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Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0269 | What’s the right typeface for text? Print issue 21

0603 | Many from one PDF bundle 39 Print issue 39

0363 | Design a logo of letters! Print issue 29

0604 | Simple, uniform, repetitive PDF bundle 39 Print issue 39

0453 | How to find the perfect color Print issue 31

0605 | Swipe it! PDF bundle 39 Print issue 39

0472 | How to cool a hot photo Print issue 33

0606 | Design easy cover patterns PDF bundle 39 Print issue 39

0600 | Design a label-style title PDF bundle 39 Print issue 39

0607 | How to design a second page PDF bundle 40 Print issue 40

0601 | Squeeze play PDF bundle 39 Print issue 39

0608 | Three documents, one look PDF bundle 40 Print issue 40

0602 | Design a peekaboo brochure PDF bundle 39 Print issue 39

0609 | Simply borderless PDF bundle 40 Print issue 40

Table of Contents

Before&After

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0610 | How to design small calendars PDF bundle 40 Print issue 40

0617 | How to look real PDF bundle 41 Print issue 41

0611 | Design a $10 clock PDF bundle 40 Print issue 40

0618 | Design a flier that comes back PDF bundle 41 Print issue 41

0612 | Open space PDF bundle 40 Print issue 40

0619 | Design Talk: Six Design Ideas PDF bundle 41 Print issue 41

0613 | What typeface goes with that? PDF bundle 40 Print issue 40

0620 | Design Talk 2: Five Design Ideas PDF bundle 41 Print issue 41

0614 | Distinctively Oriental PDF bundle 40 Print issue 40

0621 | One-Line Design PDF bundle 41 Print issue 41

0615 | Design a small chart PDF bundle 41 Print issue 41

0622 | Unleash the action! PDF bundle 42 Print issue 42

0616 | Design on a centerline PDF bundle 41 Print issue 41

0623 | Design Talk 3: Five Design Ideas PDF bundle 42 Print issue 42

Table of Contents

Before&After

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0624 | Design first things first PDF bundle 42 Print issue 42

0631 | Design simple presentations PDF bundle 43 Print issue 43

0625 | Build a picture path PDF bundle 42 Print issue 42

0632 | Design teeny-tiny brochures PDF bundle 43 Print issue 43

0626 | Design a step-up brochure PDF bundle 42 Print issue 42

0633 | Pix Trix 1: Cropping basics PDF bundle 43 Print issue 43

0627 | Design your own Christmas cards PDF bundle 42 Print issue 42

0634 | Design Talk 5: Five Design Ideas PDF bundle 43 Print issue 43

0628 | A small newsletter that reads big PDF bundle 42 Print issue 42

0635 | Make a theme PDF bundle 43 Print issue 43

0629 | Design Talk 4: Five Web Ideas PDF bundle 42 Print issue 42

0636 | Design below the line PDF bundle 43 Print issue 43

0630 | Design a multi-purpose flier PDF bundle 43 Print issue 43

0637 | Create Web page photo backgrounds PDF bundle 43 Print issue 43

Table of Contents

Before&After

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0638 | Design Talk 6: Four Design Ideas PDF bundle 44 Print issue 44

0645 | Design a beautiful Web header PDF bundle 44 Print issue 44

0639 | Design a dual-purpose letterhead PDF bundle 44 Print issue 44

0646 | Our color wheel PDF bundle 45 Print issue 45

0640 | Picture it twice PDF bundle 44 Print issue 44

0647 | Design Talk 8: Five Design Ideas PDF bundle 45 Print issue 45

0641 | Pix Trix 2: Web graphics PDF bundle 44 Print issue 44

0648 | Small site, great format PDF bundle 45 Print issue 45

0642 | Design a wrap-around brochure PDF bundle 44 Print issue 44

0649 | How to design a small poster PDF bundle 45 Print issue 45

0643 | Design Talk 7: Five Design Ideas PDF bundle 44 Print issue 44

0650 | Design Talk 9: Five Design Ideas PDF bundle 45 Print issue 45

0644 | Tiny budget, evocative card PDF bundle 44 Print issue 44

0651 | Design a story-style brochure PDF bundle 45 Print issue 45

Table of Contents

Before&After

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0652 | Design a panoramic booklet PDF bundle 45 Print issue 45

0659 | Design Talk 12: Five Design Ideas PDF bundle 46 Print issue 46

0653 | A site of unusual clarity PDF bundle 45 Print issue 45

0660 | How to set a text-only logotype PDF bundle 46 Print issue 46

0654 | Pix Trix 3: Scrapbook-style photos PDF bundle 46 Print issue 46

0661 | Design a catalog of rectangles PDF bundle 46 Print issue 46

0655 | Design Talk 10: Five Postcard Ideas PDF bundle 46 Print issue 46

0662 | Design Talk 13: Five Design Ideas PDF bundle 47 Print issue 47

0656 | Design Talk 11: Five Design Ideas PDF bundle 46 Print issue 46

0663 | Picture your group PDF bundle 47 Print issue 47

0657 | Big, bold, beautiful PDF bundle 46 Print issue 46

0664 | Design without rulers PDF bundle 47 Print issue 47

0658 | Focus your presentation PDF bundle 46 Print issue 46

0665 | Design a pocket-size brochure PDF bundle 47 Print issue 47

Table of Contents

Before&After

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0666 | Showroom-style presentation PDF bundle 47 Print issue 47

0673 | Design Talk 15: Four Design Ideas PDF bundle 48 Print issue 48

0667 | Lessons from a beautiful website PDF bundle 47 Print issue 47

0674 | Pix Trix 4: Focal points PDF bundle 48 Print issue 48

0668 | Picture your presentation PDF bundle 47 Print issue 47

0675 | Design Talk 16: Five Design Ideas PDF bundle 48 Print issue 48

0669 | Callout ideas PDF bundle 47 Print issue 47

0676 | Gestalt theory: Equilibrium PDF bundle 48 Print issue 48

0670 | Design Talk 14: Five Design Ideas PDF bundle 48 Print issue 48

0677 | How to use that typeface PDF bundle 48 Print issue 48

0671 | Design like a lazy person PDF bundle 48 Print issue 48

0678 | Design a chalkboard Web banner PDF bundle 49 Print issue 49

0672 | Fun with words and pictures PDF bundle 48 Print issue 48

0679 | Draw great visual instructions PDF bundle 49 Print issue 49

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0680 | Design from a creative brief PDF bundle 49 Print issue 49 0681 | Design a flier that sells a product PDF bundle 49 Print issue 49 0682 | Design a card the easy way PDF bundle 49 Print issue 49 0683 | Design a zig-zag brochure PDF bundle 49 Print issue 49 0684 | Design Talk 17: Five Design Ideas PDF bundle 49 Print issue 49 0685 | Create a series of cards PDF bundle 49 Print issue 49 0686 | Design Talk 18: Five Design Ideas PDF bundle 50 Print issue 50

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0269 | What’s the right typeface for text? Print issue 21 0363 | Design a logo of letters Print issue 29 0453 | How to find the perfect color Print issue 31 0472 | How to cool a hot photo Print issue 33 0600 | Design a label-style title PDF bundle 39 Print issue 39 0601 | Squeeze play PDF bundle 39 Print issue 39 0602 | Design a peekaboo brochure PDF bundle 39 Print issue 39 0603 | Many from one PDF bundle 39 Print issue 39 0604 | Simple, uniform, repetitive PDF bundle 39 Print issue 39 0605 | Swipe it! PDF bundle 39 Print issue 39 0606 | Design easy cover patterns PDF bundle 39 Print issue 39

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0607 | How to design a second page PDF bundle 40 Print issue 40 0608 | Three documents, one look PDF bundle 40 Print issue 40 0609 | Simply borderless PDF bundle 40 Print issue 40 0610 | How to design small calendars PDF bundle 40 Print issue 40 0611 | Design a $10 clock PDF bundle 40 Print issue 40 0612 | Open space PDF bundle 40 Print issue 40 0613 | What typeface goes with that? PDF bundle 40 Print issue 40 0614 | Distinctively Oriental PDF bundle 40 Print issue 40 0615 | Design a small chart PDF bundle 41 Print issue 41 0616 | Design on a centerline PDF bundle 41 Print issue 41 0617 | How to look real PDF bundle 41 Print issue 41

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0618 | Design a flier that comes back PDF bundle 41 Print issue 41 0619 | Design Talk: Six Design Ideas PDF bundle 41 Print issue 41 0620 | Design Talk 2: Five Design Ideas PDF bundle 41 Print issue 41 0621 | One-Line Design PDF bundle 41 Print issue 41 0622 | Unleash the action! PDF bundle 42 Print issue 42 0623 | Design Talk 3: Five Design Ideas PDF bundle 42 Print issue 42 0624 | Design first things first PDF bundle 42 Print issue 42 0625 | Build a picture path PDF bundle 42 Print issue 42 0626 | Design a step-up brochure PDF bundle 42 Print issue 42 0627 | Design your own Christmas cards PDF bundle 42 Print issue 42 0628 | A small newsletter that reads big PDF bundle 42 Print issue 42

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0629 | Design Talk 4: Five Web Ideas PDF bundle 42 Print issue 42 0630 | Design a multi-purpose flier PDF bundle 43 Print issue 43 0631 | Design simple presentations PDF bundle 43 Print issue 43 0632 | Design teeny-tiny brochures PDF bundle 43 Print issue 43 0633 | Pix Trix 1: Cropping basics PDF bundle 43 Print issue 43 0634 | Design Talk 2: Five Design Ideas PDF bundle 43 Print issue 43 0635 | Make a theme PDF bundle 43 Print issue 43 0636 | Design below the line PDF bundle 43 Print issue 43 0637 | Create Web page photo backgrounds PDF bundle 43 Print issue 43 0638 | Design Talk 6: Four Design Ideas PDF bundle 44 Print issue 44 0639 | Design a dual-purpose letterhead PDF bundle 44 Print issue 44

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0640 | Picture it twice PDF bundle 44 Print issue 44 0641 | Pix Trix 2: Web graphics PDF bundle 44 Print issue 44 0642 | Design a wrap-around brochure PDF bundle 44 Print issue 44 0643 | Design Talk 7: Five Design Ideas PDF bundle 44 Print issue 44 0644 | Tiny budget, evocative card PDF bundle 44 Print issue 44 0645 | Design a beautiful Web header PDF bundle 44 Print issue 44 0646 | Our color wheel PDF bundle 45 Print issue 45 0647 | Design Talk 8 : Five Design Ideas PDF bundle 45 Print issue 45 0648 | Small site, great format PDF bundle 45 Print issue 45 0649 | How to design a small poster PDF bundle 45 Print issue 45 0650 | Design Talk 9, Five Design Ideas PDF bundle 45 Print issue 45

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0651 | Design a story-style brochure PDF bundle 45 Print issue 45 0652 | Design a panoramic booklet PDF bundle 45 Print issue 45 0653 | A site of unusual clarity PDF bundle 45 Print issue 45 0654 | Pix Trix 3: Scrapbook-style photos PDF bundle 46 Print issue 46 0655 | Design Talk 10: Five Postcard Ideas PDF bundle 46 Print issue 46 0656 | Design Talk 11: Five Design Ideas PDF bundle 46 Print issue 46 0657 | Big, bold, beautiful PDF bundle 46 Print issue 46 0658 | Focus your presentation PDF bundle 46 Print issue 46 0659 | Design Talk 12: Five Design Ideas PDF bundle 46 Print issue 46 0660 | How to set a text-only logotype PDF bundle 46 Print issue 46 0661 | Design a catalog of rectangles PDF bundle 46 Print issue 46

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0662 | Design Talk 13: Five Design Ideas PDF bundle 47 Print issue 47 0663 | Picture your group PDF bundle 47 Print issue 47 0664 | Design without rulers PDF bundle 47 Print issue 47 0665 | Design a pocket-size brochure PDF bundle 47 Print issue 47 0666 | Showroom-style presentation PDF bundle 47 Print issue 47 0667 | Lessons from a beautiful website PDF bundle 47 Print issue 47 0668 | Picture your presentation PDF bundle 47 Print issue 47 0669 | Callout ideas PDF bundle 47 Print issue 47 0670 | Design Talk 14: Five Design Ideas PDF bundle 48 Print issue 48 0671 | Design like a lazy person PDF bundle 48 Print issue 48 0672 | Fun with words and pictures PDF bundle 48 Print issue 48

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0673 | Design Talk 15: Four Design Ideas PDF bundle 48 Print issue 48 0674 | Pix Trix 4: Focal points PDF bundle 48 Print issue 48 0675 | Design Talk 16: Five Design Ideas PDF bundle 48 Print issue 48 0676 | Gestalt theory: Equilibrium PDF bundle 48 Print issue 48 0677 | How to use that typeface PDF bundle 48 Print issue 48 0678 | Design a chalkboard Web banner PDF bundle 49 Print issue 49 0679 | Draw great visual instructions PDF bundle 49 Print issue 49 0680 | Design from a creative brief PDF bundle 49 Print issue 49 0681 | Design a flier that sells a product PDF bundle 49 Print issue 49 0682 | Design a card the easy way PDF bundle 49 Print issue 49 0683 | Design a zig-zag brochure PDF bundle 49 Print issue 49

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

®

Table of Contents The table of contents is updated with every new article release. Download a current list at www.bamagazine.com/TOC

0684 | Design Talk 17: Five Design Ideas PDF bundle 49 Print issue 49 0685 | Create a series of cards PDF bundle 49 Print issue 49 0686 | Design Talk 18: Five Design Ideas PDF bundle 50 Print issue 50

Table of Contents

Before&After | www.bamagazine.com

Table of Contents

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LOGO DESIGN

Monogram logo conveys character Typestyle, color and a dash of flair say volumes about your company

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5. BIND TO PATH, ADJUST Turn Preview off. Select the name and circle you just drew, and Join. Call the Element info dialog; align the top arc using Baseline and the bottom arc using Ascent. Select Edit Text. To move the words so they touch the circle, highlight the lower line, select Type specs and adjust its position with Baseline shift . . .

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istorically, a monogram was a monarch’s treasure—a hallmark bearing the most revered icon of all—the royal seal. It said little, but spoke with immediate recognition. A few centuries later, monograms still command attention. Sure, the royal seal is gone, but the monogram’s simple, quiet elegance remains —the elegance of a name, an initial, and the visible voice of character. Our easy-to-make monogram wears all coats well. To make one, you’ll draw a circle, an initial and a name. What’s exciting are the endless ways in which typestyle, value and small embellishments can then be combined to convey exactly what you want. Dress them in the costume of royalty, and they speak of the privileged. Bathe them in a spotlight of smoky blue, and they fill the imagination with slow, swaying jazz. Center them on a stage of texture and accent, and they whisk us somewhere else. Here’s how to do it:

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*Windows users: Substitute Alt for Option

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1. DRAW A CIRCLE Crisscross two ruler guides. Hold both Option* and Shift keys, and with the ellipse tool draw a 5-pica-radius circle from the center out. Set its line weight to 0p3. Now start thinking about the image you want to send out. Is it sophisticated, casual, old reliable, sporty, futuristic? And what typeface expresses it best?

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FREEHAND 3.1 SETUP You’ll be drawing a series of concentric circles. Before you begin, activate Snap to guides (from the View menu), then set FreeHand’s Fill to None and Line to Hairline. On the Layers palette move the Guides layer to the top.

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A monogram is part design, part mechanics. Follow us once through the procedure so you can quickly get on to the fun of making your own.

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How to make a monogram

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6. SPACE THE LETTERS . . . (here 0p4.5). It may take a few tries. Now space the letters to wrap most of the way around the circle. To do this, select the circle, call the Type specs dialog, and enter a Letter space value; here it’s 3-point. (To extend a too-short name, you might try adding a bullet between letters, or repeat the name, or use a more extended font.)

TM

Artistic guidelines Proportions A monogram is like a target: the eye is drawn to the center, then led outward, because its elements are scaled from large to small. How large should they be? How small?

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BALLESTRINI VINEYARDS

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The initial

Fill up the circle

4. SET YOUR NAME Type the company name in 16-point (for now) centered, in all caps. Insert a return where you want it to split into two arcs. (If your name is short, try setting it twice.) Since it’s much smaller, the font should not be ornate or detailed; ours is Charlemagne. To form a circular path for the name, draw a 5p6-radius circle.

For your initial, pick a typestyle that’s as wide as it is tall. You want it to fill the space and look substantial and secure, not to float or appear weak. Steer clear of condensed or extended typefaces, which in a circle leave big gaps.

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9. EMBELLISH Lines, texture and pattern can help to symbolize the company’s business. Use them to conjure up mental pictures. Here, horizontal lines bring to mind old engravings, or are perhaps reminiscent of the grain in the wood barrels, and turn the monogram into a wine label. Old-world dingbats fill space ar tfully, easing the “jump” between words.

Background color: C3 M3 Y12

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8. COLOR Monograms look great in just one or two colors. Pick a deep, rich main color— burgundy, grape, midnight blue, forest green, charcoal. The second color, if you use one, should be light: a pale screen of the first color, a neutral cream or gray, or a complement. Here, the inner circle is a tint of the outer. White type gives the illusion of three colors.

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Background color: C70 M67

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7. ADD AN OUTER CIRCLE Turn Preview back on. Draw the outer circle the size shown so the type is spaced evenly between the circles. Send to back. Before moving on, take a look at the whole thing; you’ll now have a better idea if the type is the size you want, if the spacing pleases you, and so on. Adjust.

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As a rule, your circular type should be one-seventh the T I Q U size of the initial. For “period” designs and KL other special pieces AW you might try it larger (right), but go easy; too big and it tends to compete. Too small TI U and it’s unQ readable.

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The name

Set it midsize

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Lines Line weight should be no heavier than the initial, and preferably lighter. Background color: C31 M40

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3. CENTER AND SCALE Center your letter by eye, not the text block indicators, and scale it to fill up the circle. Make it big; it’s all right to touch or even overlap the circle like we’ve done here. At this point it’s hard to tell what will look best, so just get it in the ballpark and we’ll fine-tune it later.

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2. SET YOUR INITIAL Your initial is the focal point of the monogram, and it’s fun to experiment with typestyles. What you are looking for is expressiveness—your choice may be ornate, blocky, rough, classic, bold, whatever. Pick one you like— we’re using Snell Roundhand—and for now set it in 120-point.

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not this:

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Monograms are beautiful in two colors. To find the most expressive ones it will help to browse FreeHand’s color libraries. Look first at burgundies, grapes, midnight blues, forest greens, charcoals. The most vivid monograms are predominantly dark. Select a light second color for N I T E B accent—a pale screen A A R of the first color, creams, grays or complements. As a rule, avoid making the light color domR I N inant, which weakM G C O ens the effect (right). O F L

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Color chart: Top logo: White initial, 100% inner circle, 40% line, 60% outer circle, 10% type. Purple: C30 M100 K30. Middle logo: 90% initial, 55% inner circle, 75% line, 35% outer circle, 75% type. Green: C100 Y85 K36. Bottom logo: 80% initial, 40% inner circle, 80% line, 60% outer circle, 20% type. Blue: C100 M40 K36.

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Tints soften and give dimension to one-color logos. Since tint values are most obvious in shades of gray, work in black & white first. Alternate values from the center out: dark, light, dark, light (right), then apply those same values to a dark color (far right).

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Tints make the most of one color

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A dark color for body, a light color for accent

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Two colors

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USE SOLID COLOR FOR BOLDNESS Bright, solid color without screens has the broadest range of use. Ideal when printing uncoated paper where screens could easily plug.

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Monograms look unusually good in black & white, but it’s color that draws attention and expresses character more than any other element. Color is why, as you read this text, you can feel the pull of Zorro’s solid red pizza box (above). Color can also affiliate a monogram with a nationality, school, sports team, and so forth.

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Background color: C26 M20 Y20

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WORKING BASIC The basics are sometimes ideal and always worth a look. This logo (left) is set in Palatino, a standard laser font.

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NAME UNEVEN? TOO SHORT? Words of uneven lengths, such as Laurelwood Books (below) can be set in uniform letterspacing (1) or uneven (2). Set TE • AL D a too-short name twice (Zorro EN pizza, left), or three or even four times (Al Dente, right). •

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Background color: C38 M28 Y28

Try first setting the circular name and initial in the same typeface; this establishes immediate uniformity and is often Pi ro z the strongest choice. Always r set the circular name in uppercase; the up-and-down shapes of lowercase make for an uneven, weak appearr z ance (right). r o P i

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Start with the same typeface

Make it expressive

T I Q U E

MAKE SURE IT’S READABLE If your initial typestyle is elaborate, you’ll need to set the circular name in a different, simpler font. Look for contrasts. Try serif/san-serif, script/serif, or bold/light combinations. Keep in mind that your choice must be easy to read at small sizes.

The circular name The initial

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For bright results quickly, start with decorative headline fonts. Look first for something energetic, blocky and bold, or ornate. Sometimes a solution is obvious: a swashy script initial, say, for a fancy hotel. But try everything; chances are you’ll be surprised by interesting results from some unlikely choices. Is your type library tiny? This is one time it doesn’t matter; since you need only one letter, thumb through the thousands in a type catalog, then scan and trace your selection (right).

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Typestyle is the costume your initial wears to express your company’s character: playful, stately, flamboyant, confident. Use the visual language of type to convey your company’s spirit:

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How to design monogram stationery FREEHAND 3.1

Monograms make outstanding stationery. Compact, elegant and useful, monogram stationery conveys more than just your name—it speaks with distinction. A basic business “system” is composed of business cards, letterhead and #10 envelopes. The design shown here is especially versatile, its tasteful suit-and-tie treatment suitable for any occasion:

Graphic devices Use line, texture and pattern to help symbolize your company’s business. Techniques:

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NANTUCKET YACHT CLUB 36 Glen Cove Way, Nantucket, MA 02554

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NANTUCKET YACHT CLUB

HOW TO MAKE A NOTCH Draw a circle. Drag a guide to mark the edge of notch. With the knife, cut away circle. Make arc into a pie shape as shown. Clone. Reflect clone 180 degrees from the center.

Mr. Steven Estes Port Authority 621 Harbor Blvd Nantucket, MA 02554 Dear Mr. Estes:

NANTUCKET YACHT CLUB JERRY HIGNIGHT Commodore

HOW TO DRAW CONCENTRIC CIRCLES Draw just the inner and outer circles. Ungroup. Apply desired line weight; Blend in as many steps as you want lines. Works with straight lines too!

36 Glen Cove Way, Nantucket, MA 02554 • 508 555-5555

Jerry Hignight

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Sincerely,

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CUSTOM FILLS ADD TEXTURE FreeHand’s custom texLERT tured fills are yummy, L especially in tints or colors. Fine textures are preferable to coarse ones. Avoid patterned fills, which A do not scale. E T I O N

Lorem ipsum dolor sit amet, consectetur adipscing elit, diam nonnumy eiusmod tempor incidunt ut labore et dolore magna aliquam erat volupat. Ut enim ad minimim veniami quis nostrud exercitation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel eum irure dolor in reprehenderit. Voluptate velit esse molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. Et harumd dereud facilis est er expedit distinct. nam liber a tempor cum soluta nobis eligend optio comque nihil quod a impedit anim id quod maxim placeat facer possim omnis es voluptas assumenda est, omnis dolor repellend. Temporem eutem quinsud et aur office debit aut tum rerum necessit atib saepe eveniet ut er repudiand sint et molestia non este recusand. Itaque earud rerum hic tentury sapiente delectus au aut prefer endis dolorib asperiore repellat.

36 Glen Cove Way, Nantucket, MA 02554 • 508 555-5555

Stationery specs

DESIGN YOUR BUSINESS CARD FIRST Because it’s smallest, everything has to fit here. Design it first, then . . .

TM

Letterhead margins Top: 16p, Bottom: 9p, Left: 10p6, Right: 10p6 Background color: C34 M40

HOW TO MAKE BICOLORED CIRCLES Draw a circle. Bisect with an overlapping rectangle. Cut the rectangle, select the circle and Paste inside. Note, above, the outer circle is divided horizontally.

COPY THE LAYOUT Use the same layout—size, arrangement, ever ything— for letterhead and envelope. Exception: Letterhead address moves to bottom.

NANTUCKET YACHT CLUB JERRY HIGNIGHT Commodore 36 Glen Cove Way, Nantucket, MA 02554 • 508 555-5555

MATCH THE TYPESTYLE Your primar y stationery font should match the monogram’s initial unless it’s too ornate, in which case it should match the circular type.

Monogram: 2p9 diameter Rules: Align vertically with company name Company: 9-point Individual: 7-point Title, address: 7-point, new font Address rule: Aligns to longest line of type

REPEAT THE NAME Although it’s part of the monogram, always repeat your company name on the stationery.

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Logo design

A DESIGN IN

FIGUREGROUND The visual technique is excellent, but this bold logotype is curiously weak. Here’s what’s wrong and what to do about it . . . FIGURE-GROUND Ground is your paper, canvas, screen, T-shirt, refrigerator door, whatever. It’s what you draw on.

Figure is what you draw. The lighter of the two will appear to recede. Most of your imagemaking is figure on ground—signing your name, for example.

Reversing the values brings the ground forward, which normally makes it apparent how BIG the ground actually is. Big and now dark, too, the ground engulfs the figure.

It’s a matter of shape Today, class, David Knight of Miami, Florida, has bravely offered his logo for our critique. With his three initials set in lowercase Helvetica Roman in the black-on-white-onblack technique of figure-ground, he’s quick to add that his design was an experiment. The idea was to convey a “traditional, corporate image” for his design business. He knew that a good logo is bold, simple and memorable, and that it must communicate quickly and unambiguously. And his logo almost achieves that. It’s bold, all right, and has an arresting quality to it; the viewer wants to look at it. That’s what’s cool about figure-ground, where one shape defines another; you create a visual puzzle. You can read the letters, too; they’re clear, if a little plain. But something isn’t quite right; the logo has no sticking power. We’re about to discover why not.

DAVID JAMES KNIGHT DESIGN Have you designed a good logo? Take this test. Glance at the logo for a few moments, then look away. What do you remember? Shape? Line? Color? This gives you quickly and easily its primary message, dominant image and the first impression. Try it with a friend.

Exaggerating the scale difference alters perception again; most viewers will see this as a white spot atop a black square.

The classic figure-ground effect occurs when figure defines ground, and viceversa. Do you see the faces? The chalice? Both?

6. Sketch the center The center is the strongest point of any visual field, so always ask what’s happening in the center. Here, right in the middle where you want it, the interior spaces reveal more good news—the letters have outstanding definition. Though mostly white air, it’s obvious what they are. Clearly the descriptive heart of this image, this is a major clue toward the solution to this logo.

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3. Sketch the letters The d and k are well defined, but where’s the j? Only its dot and tiny curl let us know it exists; remove them, and it’s gone.

D AV I D J A M E S K N I G H T D

E

S

I

G

N

The interior is so descriptive. In fact, let’s take a break and try something. How does the sketch itself work as a logo? It hits a lot of artistic targets. It uses only the best of the letters (the parts that communicate) and nothing more. It’s balanced, stable and it has that puzzle-solving intrigue. In pencil form it conveys artistry, and the sense that David is a designer who works. Clients value that. Centered above his name, it bespeaks traditional and corporate. And it’s memorable. All good for so early in the project. But it’s not bold, nor especially simple, and it has some serious versatility problems. For one, it’s gray, and can’t be anything else, so it’d always need halftone reproduction. Two, it relies on its pencilness for its value, but at low resolution, that would go away. Three, it has fine detail, which would conflict with material around it.

The problem with the j The j relies on an itty bitty bit of visual information—just its dot and tiny curl—to telegraph its existence. What’s fun about such details is that they often provoke a double-take; the viewer looks again. What weakens the effect in this case is a law of perception: Our eyes connect similarities. The only other black element is the rectangle, whose mass overwhelms the fragile j.

Let’s keep looking, but now we’re onto the answer. Without the rectangle, the image is strong—well defined, focused, tightly packaged. The solution seems obvious—get rid of that rectangle! But that leaves a problem to solve: When the rectangle goes away, the j goes away, too.

4. Sketch the lines Drawing only the straight lines reveals that the letters are skinny, mere stripes. Worse, they’re white, which recedes. Skinny, recessive lines have no chance of survival running cross-grain to a massive black rectangle. The two can coexist in a design, but not as equals.

7. Reset the type We’ve seen that the letter shapes are excellent. We’ve also seen that the rectangle is a weakening force. What to do? Get rid of the rectangle and solve the j problem. Here, the extensive range of Helvetica will help. Helvetica Roman, the original type, is part of a big family that includes Helvetica Neue (NOY-uh; it means new) Extended Heavy, shown above. Its lines are pure and modern, and its j is vigorous. Note how much mass its letters have compared to the skinny originals. This mass creates real gravity that pulls your eye directly into the descriptive center.

Glance, then look away. What do you remember?

1. Make a tissue What’s wrong with this image? Right off the bat, we can’t tell. The place to begin—no kidding; this is easiest—is with a pencil. Cover the logo with tracing paper and, one by one, sketch parts—shapes, lines, insides, outsides, and so on—big parts first, then small parts. Why? Because as a whole, all you see is the forest, but the problem is in the trees. Sketching reveals the trees.

2. Sketch the shape The glance test? This is what we most remembered. And it’s clear right away—this isn’t always the case—why this logo’s having trouble. The dominant image is a massive, dark rectangle (two rectangles, really, but the dot is overwhelmed). Ordinary and nondescript, it is a noncommunicating element.

An object’s shape is its principal identifier. Most people can identify most objects by shape alone. A lively, descriptive shape, therefore, is valuable in a logo. Think for a moment of Nike’s swoosh or McDonald’s arches. Now look again at the block. It’s just common, with nothing to allure or remind.

5. Sketch the letter shapes Here we find some good news. The letters form a lively shape that’s visually descriptive—it’s so descriptive that you could probably guess this image with no further definition. Note all three basic shapes: circle, rectangle and triangles.

Silhouetted against the background in its original configuration, however, the story is different. The letter shape seems the same, but only at a glance. What’s interesting is that if you didn’t already know it, you probably couldn’t identify this image. The rectangle weakens the definition.

White space is not empty space You’d think that figure and ground would be interchangeable; after all, not a line is different, right? But figure and ground are different, and this example illustrates why. In positive (above left), the image is simple; two white triangles describe the k. In negative, however, the same space becomes a crazy shape of many angles and corners, most of which point away from the k. The descriptive white is gone. This is a weaker image. White space is not empty space. It is active and working.

The rectangle has a horizontal ratio of 2:1, more panoramic than a movie screen (16:9). This moves the eye outward; it scans back and forth. What you want in a logo is the opposite: to bring the viewer’s eye to the center.

DOMINANT WIDTH THIRD WIDTH SECOND WIDTH

DAVID JAMES KNIGHT DESIGN

8. Simplify Sliding the j up to the baseline and coloring it white clues us to its strength but leaves a few small problems. The curve of the j vanishes into white, and the horizontal shape of its dot looks oddly weak above the ascender line. Grid lines reveal why: It’s a third width. With simple, strong lines dominating the image, that’s one too many. A single line, shape or dimension repeated is stronger than a bunch of different ones.

9. Simplify more Filling in black behind the j restores its curve. But the junction of d and j is complicated, a fussy shape (inset) full of tiny points, passages and detail foreign to the simplicity of the letters. Adjusting the . . .

corners of the j corrects it easily. Result? A beautifully simple image that reads at a glance and works even without the dot. Its clarity hits every target. It’s good at big sizes and small, high resolution and low, black & white, as well as color, it’s visually interesting and “traditionally” low-key.

DAVID JAMES KNIGHT DESIGN

10. Put the dot back Remember: repetition of line and shape. The new dot is a perfect circle—the ideal counterpoint to the square shapes—the same width as the letters. David’s full name set beneath is in the identical typeface (repetition) but all caps (contrast). How far beneath the logo should it go? About the height of the type (repetition).

ALL FIXED The dead weight is now gone; the mass and focal point are in the center, taking full advantage of the three letters’ natural visual descriptiveness. The finished logo does what David set out to do; create a visually interesting, traditionally conservative image using the technique of figure-ground. The dot in red is like a cherry on the cake and adds a note of informality appropriate for an independent designer. What’s important is that the logo works without it; the dot hasn’t been added to prop up a weak design. Of the variations on this page, the most sophisticated and “corporate” is the one with no dot.

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5

The color whirl!

Your brochure needs a cover, and you have the right photo. What you need now is the right color. Here’s how to create a palette full.

How to find the perfect color 1 Select colors from Getting that the photo just-right color is part art, part The photo is the foundation for our color choices. What’s here?—skin science. We’ll tones, red hair, blue eyes, blue jacket. Zoom close in on a photo, show you the and if you haven’t done this before, you’ll be astonished at how many easy way.

Here’s the situation. We have an academic schedule for a women’s college to design, and for a photo this straight-at-you, red-haired, freckle-faced model. The goal is to look fresh, alive and personal (no building-and-grounds shots), while conveying a sense that the program is serious and businesslike. A note of trendiness will be good. Color is involved in all of it.

No single visual element has more effect on a viewer than color. Color gets attention, sets a mood, sends a message. Working with color should be fun—and it is! But what colors are the right ones? We all have favorites, but personal preferences are unreliably subjective. There’s more science to it than that. The key is that color is relational. Colors don’t exist in a vacuum, but are always seen together and affect one another. To illustrate how, we’ll start from our photo, find its colors, relate them to others, and when we’re done, we’ll have a coordinated, messagemaking page. Watch:

colors there are! First reduce the total to a workable number. Then with an eyedropper tool, work from the biggest color—the one you see most of—to the smallest. You’ll need contrast later, so pick up dark, medium and light pixels of each.

Shadow side

JACKET

HAIR

3 Make a color palette Add colors to the colors! Pick any of the colors —let’s use this blue—and find its location, or at least its general vicinity, on the color wheel. We’ll call this the base color. We already know that the base color goes with the photo. Our job now is to find colors that go with the base color. Keep in mind that if type or other graphic is involved (pretty typical), you’ll need both dark and light colors for contrast. Possibilities:

First are the dark, medium and light values of the base color. This is a monochromatic palette. It has no color depth, but it provides the contrast of dark, medium and light that’s so important to good design.

One color step either side of the base color are its analogous colors. Analogous colors share undertones (here, blue-green, blue, and blue-violet), which create beautiful, low-contrast harmony. Analogous palettes are rich and always easy to work with.

4 Edit and apply Set type and lay out the page, and now is time to make real choices. With so many beautiful possibilities, how do you choose? Think message. You’ll find yourself naturally favoring some colors. Don’t jump. Whether working alone or with a group, keep weighing everyone’s preferences against the original purpose, which is, what is this design to say? In this case, the goal is to have a look that’s serious, direct and businesslike, while feeling fresh and even a bit trendy. Do any of the color choices shown here convey those qualities to you better than the others?

Mitner

Mitner

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

FALL SCHEDULE

ALL BUSINESS Mid-range blue is everyone’s favorite color. What’s interesting here is that blue and orange are native to the photo, giving it excellent natural contrast. The blue background swallows her jacket, allowing her intense gaze to lift right off the page. Handsome and businesslike—and most likely to be chosen.

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FALL SCHEDULE

CASUAL Analogous to the blue—a step toward green—is teal, a beautiful color not in the photo. Its difference adds depth and vibrancy and relaxes the message somewhat; it’s trendier now, more approachable. Her eyes, which against blue looked blue, now look green. Type color, still light orange, is a soft contrast.

2 Try each one on Try the photo on a swatch of each color. (Actually do it; don’t guess. Color perception is affected by adjacent color.) The results are pretty, aren’t they? What’s fun is that no matter what your photo, the results will always coordinate attractively, because the colors you’re using are already there. This is a rule of design. Work with what’s in front of you. Don’t make stuff up. Work first on the big colors. These are the ones you see at a glance; her skin and hair colors and blue jacket. Then do the small colors—her eyes, lips, the highlights in her hair and soft shadows. You can see in this image a light side and a shadow side; it’s subtle, but pay attention. Finish each area before moving on. Sort your results by color, then each color by value (light to dark). Discard lookalikes. You’ll be thrilled by what you find. Warm colors These are the warm colors—pinks, salmons, sepias, browns—of the red-haired model. The warmer colors make her look softer and more feminine. These colors would be good for a cosmetic message or a caring message. Hair with light

Face colors

Cool colors The cool colors—blues, mainly—make for a more serious, businesslike relationship, and convey a direct and to-the-point message. Note that as the values get darker, her face gets perceptually brighter and appears to rise off the page toward you.

Directly opposite the base color is its complement—in this case, the orange range. What the complement brings is contrast. A color and its complement convey energy, vigor and excitement. Typically, the complement is used in a smaller amount as an accent; a spot of orange on a blue field, for example.

One step either way are the complement’s own analogous colors. This palette is called a split complement. Its strength is in the low-contrast beauty of analogous colors, plus the added punctuation of an opposite color. In this case, the blue would most likely be used as a small accent.

In every case and always, a color can be represented by any of its values. Dark blue, for example, can be combined with light teal (analogous) or medium orange (complement).

Mitner

Mitner

Mitner

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

FALL SCHEDULE

PRETTY One step the other way is blueviolet, another color not in the photo. Blue-violet is a shift toward red; the result is a slightly flatter image, because face, hair and background are now more alike. Blue-violet is a cool color normally associated with softness, femininity, and springtime ( with undertones of freshness).

FALL SCHEDULE

INTENSE The highlights in her hair carry this page; the blue accent lends contrast and depth. An unexpected focal point is the yellow headline, which seems cut out of the photo. Dimensionally flat, this mix is intense and engaging (and would win the design contest), but only a daring client would choose it.

FALL SCHEDULE

SERIOUS This palette began in the deep red of her hair, and for an accent took two steps toward yellow. Her eyes and jacket, which on blue receded into the background, now stand in contrast. Note that the red in her hair is a mere highlight, but filling the page it acquires real weight. Serious, warm, draws the reader in.

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4HE COLOR WHIRL

(OW TO COOL A HOT SKYLINE

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ORANGES YELLOWS AND GOLDS RADIATE FROM EVERY MOLECULE EVEN THE WATER IS HOT 3AN $IEGO A FAMOUSLY BALMY CITY NEVER LOOKED LIKE THIS IN REAL LIFE "UT THE ASSIGNMENT IS TO CREATE A BROCHURE COVERONE A CONVEN TION BUREAU WOULD LIKE OR FOR ANY EVENT IN WHICH THE CITY ITSELF IS PART OF THE ATTRAC TIONAND THIS DRAMATIC GOLDEN SKYLINE IS THE PHOTO WE HAVE 3O THE CHALLENGE IS HOW DO WE COOL IT OFF SO VISITORS WONT COME EXPECTING TO SWELTER 4HE ANSWER IS FOUND ON THE COLOR WHEEL BETWEEN ICE BLUE AND YELLOW IN THE TURQUOISE BLUES AND VERDANT GREENS OF SPRINGTIME 7ATCH

&IND THE PALETTE IN YOUR PHOTO %VERY PHOTO HAS A NATURAL COLOR PALETTE lRST STEP IS TO lND IT AND ORGANIZE IT &IRST REDUCE THE PHOTO TO A MANAGEABLE NUMBER OF COLORS EASIEST WAY IS TO CREATE A MOSAIC USING )LLUSTRATORS /BJECT -OSAIC FUNC TION &ILTER/BJECT -OSAIC 7ORK ING FROM THE BIGGEST AREAS SKY SKYLINE WATER TO THE SMALL EST EXTRACT COLORS WITH THE EYEDROPPER TOOL &OR CONTRAST PICK UP DARK MEDIUM AND LIGHT PIXELS OF EACH COLOR 3ORT YOUR SELECTIONS BY COLOR AND EACH COLOR BY VALUE )TS OBVIOUS JUST BY LOOKING THAT THIS PALETTE IS VERY NARROW

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#OLDEST -ONO CHROMATIC BLUE NOTE THE DARK MEDIUM AND LIGHT IS VERY COLD AND HAS THE HIGHEST CON TRAST "LUE AND ORANGE ARE OPPOSITES THEY HAVE NOTHING IN COMMON (IGH CONTRAST MEANS HIGH ENERGY

7ARMEST "ECAUSE OF ITS PROXIMITY TO YELLOW MONOCHRO MATIC YELLOW GREEN HAS THE MOST COLOR IN COMMON WITH THE PHOTO AND YIELDS THE WARMEST IMAGE IT DOESNT REALLY COOL THE SKYLINE VERY MUCH

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,OW CONTRAST TINTS ARE SOFT AND UNDE MANDING ! BABY PRODUCTS CONVENTION

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-OVING TOWARD YELLOW WARMS THE IMAGE SLIGHTLY THE DARK BLUE GREEN CORNER ADDS CON TRAST .OW THAT YOU HAVE THE IDEA YOURE ON YOUR OWN WORKING IN JUST THIS NARROW RANGE YOULL lND MANY INTERESTING VARIATIONS

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6IVID GREEN FRESHENS LIKE DAMP GRASS DARK CORNER IS A VISUAL ANCHOR

,IGHT YELLOW GREEN DOWNPLAYS THE NAME DRAWING ATTENTION TO THE CITY

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!DD A CIRCLE TO THE SCENE AND THE ACCIDEN TAL SHAPES INCREASE EXPONENTIALLY YOUR EYES NOW TRACE ALL KINDS OF ODDBALL NICHES AND CUBBYHOLES NONE OF WHICH YOU CAN DESIGN UNTIL YOURE AWARE THEY EXIST 4HATS VISUAL COMPLEXITY

3OLUTION ,OSE THE UNINTENDED SHAPES (ERE ARE THE SQUARE AND RECTANGLE WITHOUT BORDERS AND WHAT A DIFFERENCE 4WO CLEAR OBJECTS THREE ACTUALLY IN HARMONIOUS PROPORTIONSONE THIRD TWO THIRDS THREE THIRDS SQUARE NONE ARE ACCIDENTAL .OTE THAT WHITE IS NOT A PASSIVE BACKDROP BUT AN ACTIVE COLOR IN THE COMPOSITION 4HATS SIMPLE

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7 % 4 4WO SQUIGGLY SHAPES

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#ONVEX CONCAVE CURVES #IRCULAR GLASS DIVIDES DARK SPACE FROM LIGHT RIM AND LIQUID FORM MORE CIRCLES 3TRAIGHT STRAW IS THE VISUAL hINTER RUPTERv BY SPLITTING THE TITLE IT CREATES A hLOOK AGAINv DOUBLE TAKE !RTISTS LIST NOTE ITS LOWERCASE SETTING TURNS AN ATTRACTIVE BUT MEANINGLESS IMAGE INTO EXCELLENT COMMUNICATION COVER IT WITH YOUR THUMB AND SEE WHAT IT ADDS

! CROSSING LINE ! FACE IN

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(IDDEN IN YOUR PHOTO IS THE COLOR PALETTE YOU NEED (ERES HOW TO GET IT OUT

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(ERES THE SITUATION 7E HAVE AN ACADEMIC SCHEDULE FOR A WOMENS COLLEGE TO DESIGN AND FOR A PHOTO WE HAVE THIS NO NONSENSE FRECKLE FACED MODEL 4HE GOAL IS TO LOOK FRESH ALIVE AND PERSONAL NO BUILDINGS AND GROUNDS SHOTS WHILE CONVEYING THE SENSE THAT THE PROGRAM IS SERIOUS AND BUSINESSLIKE ! NOTE OF TRENDINESS WILL BE GOOD #OLOR IS INVOLVED IN ALL OF IT

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!T NORMAL VIEWING DISTANCE LEFT WE SEE A FEW DOZEN COLORS SKIN TONES RED HAIR BLUE EYES BLUE JACKET BUT ZOOM CLOSER AND WE SEE MIL LIONS &IRST STEP IS TO REDUCE ALL THOSE COLORS TO A MANAGEABLE FEW YOU WANT TOPS )N 0HOTOSHOP lRST DUPLICATE THE PHOTO LAYER SO YOU DONT LOSE THE ORIGINAL THEN SELECT &ILTER 0IXELATE -OSAIC RIGHT ! LARGE #ELL 3IZE GIVES YOU VERY FEW COLORS IF YOU NEED MORE REDUCE THE SIZE

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7ORK lRST ON THE BIG COLORS 4HESE ARE THE ONES YOU SEE AT A GLANCE HER SKIN AND HAIR COLORS AND BLUE JACKET 4HEN DO THE SMALL COLORSHER EYES LIPS THE HIGHLIGHTS IN HER HAIR AND SOFT SHADOWS 9OU CAN SEE IN THIS IMAGE A LIGHT SIDE AND A SHADOW SIDE ITS SUBTLE BUT PAY ATTENTION &INISH EACH AREA BEFORE MOVING ON 3ORT YOUR RESULTS BY COLOR THEN EACH COLOR BY VALUE LIGHT TO DARK $ISCARD LOOKALIKES 9OULL BE THRILLED BY WHAT YOU lND

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7ARM COLORS 4HESE ARE THE WARM COLORS PINKS SALMONS SEPIAS BROWNSOF THE RED HAIRED MODEL 4HE WARMER COLORS MAKE HER LOOK SOFTER AND MORE FEMININE 4HESE COLORS WOULD BE GOOD FOR A COS METIC MESSAGE OR A CARING MESSAGE

#OOL COLORS 4HE COOL COLORSBLUES MAINLYMAKE FOR A MORE SERIOUS BUSINESSLIKE RELA TIONSHIP AND CONVEY A DIRECT TO THE POINT MESSAGE .OTE THAT AS THE VALUES GET DARKER HER FACE GETS PERCEPTUALLY BRIGHTER AND APPEARS TO RISE OFF THE PAGE TOWARD YOU

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0ICK ANY OF THE PHOTOS COLORS LETS USE THIS BLUEAND lND ITS GENERAL VICINITY ON THE COLOR WHEEL 7ELL CALL THIS THE BASE COLOR 7E ALREADY KNOW THAT THE BASE COLOR GOES WITH THE PHOTO /UR JOB NOW IS TO lND COLORS THAT GO WITH THE BASE COLOR +EEP IN MIND THAT IF TYPE OR OTHER GRAPHIC IS INVOLVED PRETTY TYPICAL YOULL NEED BOTH DARK AND LIGHT COLORS FOR CONTRAST

"ECAUSE THE WHEEL IS DELIBERATELY BASIC YOU WILL RARELY MAKE AN EXACT MATCH )TS ONLY A GUIDE

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#REATE COLOR PALETTESÊÊ

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-ONOCHROMATIC &IRST ARE THE DARK MEDIUM AND LIGHT VALUES OF THE BASE COLOR 4HIS IS A MONO CHROMATIC PALETTE )T HAS NO COLOR DEPTH BUT IT PROVIDES THE CONTRAST OF DARK MEDIUM AND LIGHT THATS SO IMPORTANT TO GOOD DESIGN

!NALOGOUS /NE COLOR STEP EITHER SIDE OF THE BASE COLOR ARE ITS ANALOGOUS COLORS !NALOGOUS COLORS SHARE UNDERTONES HERE BLUE GREEN BLUE AND BLUE VIOLET WHICH CREATE BEAUTIFUL LOW CONTRAST HARMONY !NALOGOUS PALETTES ARE RICH AND ALWAYS EASY TO WORK WITH

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#OMPLEMENT $IRECTLY OPPOSITE THE BASE COLOR IS ITS COMPLEMENTIN THIS CASE THE ORANGE RANGE 7HAT THE COMPLEMENT BRINGS IS CONTRAST ! COLOR AND ITS COMPLEMENT CONVEY ENERGY VIGOR AND EXCITEMENT 4YPICALLY THE COMPLEMENT IS USED IN A SMALLER AMOUNT AS AN ACCENT A SPOT OF ORANGE ON A BLUE lELD AS SHOWN ABOVE

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3PLIT COMPLEMENT /NE STEP EITHER WAY ARE THE COMPLE MENTS OWN ANALOGOUS COLORS 4HIS PALETTE IS CALLED A SPLIT COMPLEMENT )TS STRENGTH IS IN THE LOW CONTRAST BEAUTY OF ANALOGOUS COLORS PLUS THE ADDED PUNCTUATION OF AN OPPOSITE COLOR )N THIS CASE THE BLUE WOULD MOST LIKELY BE USED AS THE ACCENT

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#OMPLEMENTANALOGOUS 4HIS MIXED PALETTE IS THE SAME AS THE SPLIT COMPLEMENT BUT WITH MORE COLOR )TS ADDED RANGE YIELDS SOFT RICH HAR MONY ON THE WARM SIDE AND SHARP ICY CONTRAST ON THE COLD SIDE AN INTENSE AND EXCITING COMBINATION

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!NALOGOUSCOMPLEMENT #OLORS ANALOGOUS TO OUR BASE COLOR MAKE COOL HARMONY PUNCTUATED BY A HOT SPOT OF COMPLEMENTARY COLOR +EEP IN MIND THAT OPPOSITES OF THE SAME VALUE TEND TO lGHT BUT COMPLEMENT WHEN DIFFERENT BELOW 4HIS IS WHY YOU WANT TO EYEDROPPER DARK MEDIUM AND LIGHT VALUES OF EACH COLOR

/PPOSITE COLORS SAME VALUE

/PPOSITE COLORS DIFFERENT VALUES

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3ERIOUS4HIS PALETTE BEGAN IN THE DEEP RED OF HER HAIR AND FOR AN ACCENT TOOK TWO STEPS TOWARD YELLOW (ER EYES AND JACKET WHICH ON BLUE RECEDED INTO THE BACKGROUND NOW STAND IN CONTRAST .OTE THAT THE RED IN HER HAIR IS A MERE HIGHLIGHT BUT lLLING THE PAGE IT ACQUIRES REAL WEIGHT 3ERIOUS WARM DRAWS THE READER IN

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)NTENSE4HE HIGHLIGHTS IN HER HAIR CARRY THIS PAGE THE BLUE ACCENT LENDS CONTRAST AND DEPTH !N UNEXPECTED POINT OF INTEREST IS THE YELLOW HEADLINE WHICH SEEMS CUT OUT OF THE PHOTO $IMENSIONALLY mAT THIS MIX IS INTENSE AND ENGAGING AND WOULD WIN THE DESIGN CONTEST BUT IT TAKES A DARING CLIENT TO CHOOSE IT

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#ASUAL!NALOGOUS TO THE BLUEA STEP TOWARD GREENIS TEAL A BEAUTIFUL COLOR NOT IN THE PHOTO )TS DIFFERENCE ADDS DEPTH AND VIBRANCY AND RELAXES THE MESSAGE SOMEWHAT ITS TRENDIER NOW MORE APPROACHABLE (ER EYES WHICH AGAINST BLUE LOOKED BLUE NOW LOOK GREEN 4YPE COLOR STILL LIGHT ORANGE IS A SOFT CONTRAST

2EMINDER 6ALUES MIX 9OU CAN ALWAYS USE DARK MEDIUM AND LIGHT OF ANY COLOR .OTE HERE BOTH MEDIUM AND LIGHT TEAL

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0RETTY/NE STEP THE OTHER WAY IS BLUE VIOLET ANOTHER COLOR NOT IN THE PHOTO "LUE VIOLET IS A SHIFT TOWARD RED THE RESULT IS A SLIGHTLY mATTER IMAGE BECAUSE FACE HAIR AND BACK GROUND ARE NOW MORE ALIKE "LUE VIOLET IS A COOL COLOR NOR MALLY ASSOCIATED WITH SOFTNESS FEMININITY AND SPRINGTIME WITH UNDERTONES OF FRESHNESS

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7ARM COLORS 4HESE ARE THE WARM COLORS PINKS SALMONS SEPIAS BROWNSOF THE RED HAIRED MODEL 4HE WARMER COLORS MAKE HER LOOK SOFTER AND MORE FEMININE 4HESE COLORS WOULD BE GOOD FOR A COS METIC MESSAGE OR A CARING MESSAGE

#OOL COLORS 4HE COOL COLORSBLUES MAINLYMAKE FOR A MORE SERIOUS BUSINESSLIKE RELA TIONSHIP AND CONVEY A DIRECT TO THE POINT MESSAGE .OTE THAT AS THE VALUES GET DARKER HER FACE GETS PERCEPTUALLY BRIGHTER AND APPEARS TO RISE OFF THE PAGE TOWARD YOU

!DD TO THE COLORSÊÊ

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0ICK ANY OF THE PHOTOS COLORS LETS USE THIS BLUEAND lND ITS GENERAL VICINITY ON THE COLOR WHEEL 7ELL CALL THIS THE BASE COLOR 7E ALREADY KNOW THAT THE BASE COLOR GOES WITH THE PHOTO /UR JOB NOW IS TO lND COLORS THAT GO WITH THE BASE COLOR +EEP IN MIND THAT IF TYPE OR OTHER GRAPHIC IS INVOLVED PRETTY TYPICAL YOULL NEED BOTH DARK AND LIGHT COLORS FOR CONTRAST

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#REATE COLOR PALETTESÊÊ

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-ONOCHROMATIC &IRST ARE THE DARK MEDIUM AND LIGHT VALUES OF THE BASE COLOR 4HIS IS A MONOCHROMATIC PALETTE )T HAS NO COLOR DEPTH BUT IT PROVIDES THE CONTRAST OF DARK MEDIUM AND LIGHT THATS SO IMPORTANT TO GOOD DESIGN

!NALOGOUS /NE COLOR STEP EITHER SIDE OF THE BASE COLOR ARE ITS ANALOGOUS COLORS !NALOGOUS COLORS SHARE UNDERTONES HERE BLUE GREEN BLUE AND BLUE VIOLET WHICH CREATE BEAUTIFUL LOW CONTRAST HARMONY !NALOGOUS PALETTES ARE RICH AND ALWAYS EASY TO WORK WITH

#OMPLEMENT $IRECTLY OPPOSITE THE BASE COLOR IS ITS COMPLEMENTIN THIS CASE THE ORANGE RANGE 7HAT THE COMPLEMENT BRINGS IS CONTRAST ! COLOR AND ITS COMPLEMENT CONVEY ENERGY VIGOR AND EXCITEMENT 4YPICALLY THE COMPLEMENT IS USED IN A SMALLER AMOUNT AS AN ACCENT A SPOT OF ORANGE ON A BLUE lELD AS SHOWN ABOVE

3PLIT COMPLEMENT /NE STEP EITHER WAY ARE THE COMPLE MENTS OWN ANALOGOUS COLORS 4HIS PALETTE IS CALLED A SPLIT COMPLEMENT )TS STRENGTH IS IN THE LOW CONTRAST BEAUTY OF ANALOGOUS COLORS PLUS THE ADDED PUNCTUATION OF AN OPPOSITE COLOR )N THIS CASE THE BLUE WOULD MOST LIKELY BE USED AS THE ACCENT

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#OMPLEMENTANALOGOUS 4HIS MIXED PALETTE IS THE SAME AS THE SPLIT COMPLEMENT BUT WITH MORE COLOR )TS ADDED RANGE YIELDS SOFT RICH HAR MONY ON THE WARM SIDE AND SHARP ICY CONTRAST ON THE COLD SIDE AN INTENSE AND EXCITING COMBINATION

!NALOGOUSCOMPLEMENT #OLORS ANALOGOUS TO OUR BASE COLOR MAKE COOL HARMONY PUNCTUATED BY A HOT SPOT OF COMPLEMENTARY COLOR +EEP IN MIND THAT OPPOSITES OF THE SAME VALUE TEND TO lGHT BUT COMPLEMENT WHEN DIFFERENT BELOW 4HIS IS WHY YOU WANT TO EYEDROPPER DARK MEDIUM AND LIGHT VALUES OF EACH COLOR

/PPOSITE COLORS SAME VALUE

/PPOSITE COLORS DIFFERENT VALUES

%DIT AND APPLYÊÊ

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!LL BUSINESS"LUE IS EVERYONES FAVORITE COLOR 7HATS INTERESTING HERE IS THAT BLUE AND ORANGE ARE NATIVE TO THE PHOTO GIVING IT EXCELLENT NATURAL CONTRAST 4HE BLUE BACKGROUND SWALLOWS HER JACKET ALLOWING HER INTENSE GAZE TO LIFT RIGHT OFF THE PAGE (ANDSOME AND BUSINESSLIKE

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3ERIOUS4HIS PALETTE BEGAN IN THE DEEP RED OF HER HAIR AND FOR AN ACCENT TOOK TWO STEPS TOWARD YELLOW (ER EYES AND JACKET WHICH ON BLUE RECEDED INTO THE BACKGROUND NOW STAND IN CONTRAST .OTE THAT THE RED IN HER HAIR IS A MERE HIGHLIGHT BUT lLLING THE PAGE IT ACQUIRES REAL WEIGHT 3ERIOUS WARM DRAWS THE READER IN

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)NTENSE4HE HIGHLIGHTS IN HER HAIR CARRY THIS PAGE THE BLUE ACCENT LENDS CONTRAST AND DEPTH !N UNEXPECTED POINT OF INTEREST IS THE YELLOW HEADLINE WHICH SEEMS CUT OUT OF THE PHOTO $IMENSIONALLY mAT THIS MIX IS INTENSE AND ENGAGING AND WOULD WIN THE DESIGN CONTEST BUT IT TAKES A DARING CLIENT TO CHOOSE IT

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#ASUAL!NALOGOUS TO THE BLUEA STEP TOWARD GREENIS TEAL A BEAUTIFUL COLOR NOT IN THE PHOTO )TS DIFFERENCE ADDS DEPTH AND VIBRANCY AND RELAXES THE MESSAGE SOMEWHAT ITS TRENDIER NOW MORE APPROACHABLE (ER EYES WHICH AGAINST BLUE LOOKED BLUE NOW LOOK GREEN 4YPE COLOR STILL LIGHT ORANGE IS A SOFT CONTRAST

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(OW TO COOL A HOT PHOTO 7HEN YOUR PHOTO CANT BE CHANGED SURROUND IT WITH COOL COLOR

7HEW 9OU CAN ALMOST FEEL THE HEAT 2EDS ORANGES YELLOWS AND GOLDS RADIATE FROM EVERY MOLECULE EVEN THE WATER IS HOT 3AN $IEGO THAT FAMOUSLY BALMY CITY NEVER LOOKED LIKE THIS IN REAL LIFE "UT OUR ASSIGNMENT IS TO CREATE A BROCHURE COVER FOR AN UPCOMING CONFERENCE OR FOR ANY EVENT IN WHICH THE CITY ITSELF IS PART OF THE ATTRACTION AND THIS HOT MONOTONE SKYLINE IS THE PHOTO THEY WANT 3O THE CHALLENGE IS HOW DO WE COOL IT OFF SO VISITORS WONT COME EXPECTING TO SWELTER 4HE ANSWER IS FOUND ON THE COLOR WHEEL BETWEEN ICE BLUE AND YELLOW IN THE TURQUOISE BLUES AND VERDANT GREENS OF SPRINGTIME 7ATCH

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&IRST STEP &IND THE COLOR PALETTE IN YOUR PHOTO

%VERY PHOTO HAS A NATURAL COLOR PALETTE lRST STEP IS TO lND IT AND ORGANIZE IT :OOM IN ON YOUR PHOTO AND YOULL BE ASTONISHED BY HOW MANY COLORS YOU SEE

&IRST REDUCE THE PHOTO TO A MANAGEABLE NUMBER OF COLORS THE EASIEST WAY IS TO CREATE A MOSAIC USING 0HOTOSHOPS -OSAIC lLTER &ILTER0IXELATE -OSAIC 7ORKING FROM THE BIG GEST AREAS SKY SKYLINE WATER TO THE SMALLEST EXTRACT COLORS WITH THE EYEDROPPER TOOL &OR CONTRAST PICK UP DARK MEDIUM AND LIGHT PIXELS OF EACH COLOR 4HENTHIS IS IMPORTANTSORT YOUR SELECTIONS BY COLOR AND EACH COLOR BY VALUE DARK TO LIGHT 4HIS LETS YOU SEE EVERY COLOR IN RELATION TO THE OTHERS )TS OBVIOUS JUST BY LOOKING THAT THIS PALETTE IS VERY NARROW

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,OCATE YOUR COLORS ON THE WHEEL

4O lND COMPATIBLE COLORS WE lRST NEED TO KNOW THE RELATIONSHIP OF OUR COLORS TO OTHERS ON THE WHEEL 7ORKING BY EYE THE WHEELS NOT EXACT REMEMBER LOCATE YOUR SWATCHES BY HUE COLOR AND VALUE

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7HAT WE KNOW

/UR PHOTO IS FULL OF COLORS IN THE ORANGE RANGE AND VERY WARM /RANGES OPPOSITE OR COMPLEMENTIS BLUE THE COLDEST COLOR ,ETS START THERE

4INTS AND SHADES #OLOR IS MADE DARKER OR LIGHTER BY ADDING BLACK A SHADE OR WHITE A TINT "ECAUSE THEY ARE COLOR NEUTRAL BLACK AND WHITE DO NOT CHANGE THE HUE !S A RESULT ANY ONE COLOR PLUS ITS OWN TINTS AND SHADES ALWAYS COORDINATE NATURALLY 3UCH A PALETTE IS CALLED MONOCHROMATIC "LUE AND ORANGE ARE OPPOSITES OR COMPLEMENTS AS SHOWN ABOVE

! COLOR IN COMMON !DDING YELLOW TO BLUE YIELDS THE COOL RANGE THESE ARE THE COLORS OF WATER NEW GROWTH SPRINGTIME 4HEY ARE PEACEFUL COLORS TRANQUIL AND REFRESHING !S WITH A MONOCHROMATIC PALETTE ALL HUES THAT SHARE A COLOR BLUE IN THIS CASE COORDINATE NATURALLY !NY COLOR IN THIS RANGE WILL WORK WITH ANY OTHER

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)TS TIME TO TAKE THAT HOT PHOTO AND SUBMERGE IT IN COOL COLORS &OR DEPTH COOLNESS AND BEAUTY TWO COLORS ARE BETTER THAN ONE AND THREE COLORS ARE BETTER THAN TWO

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE *OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER "EFORE !FTER MAGAZINE ,INCOLN 3TREET 2OSEVILLE #! 4ELEPHONE &AX % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM #OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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#OLD

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&IRST STEP &IND THE COLOR PALETTE IN YOUR PHOTO

%VERY PHOTO HAS A NATURAL COLOR PALETTE lRST STEP IS TO lND IT AND ORGANIZE IT :OOM IN ON YOUR PHOTO AND YOULL BE ASTONISHED BY HOW MANY COLORS YOU SEE

&IRST REDUCE THE PHOTO TO A MANAGEABLE NUMBER OF COLORS THE EASIEST WAY IS TO CREATE A MOSAIC USING 0HOTOSHOPS -OSAIC lLTER &ILTER0IXELATE -OSAIC 7ORKING FROM THE BIG GEST AREAS SKY SKYLINE WATER TO THE SMALLEST EXTRACT COLORS WITH THE EYEDROPPER TOOL &OR CONTRAST PICK UP DARK MEDIUM AND LIGHT PIXELS OF EACH COLOR 4HENTHIS IS IMPORTANTSORT YOUR SELECTIONS BY COLOR AND EACH COLOR BY VALUE DARK TO LIGHT 4HIS LETS YOU SEE EVERY COLOR IN RELATION TO THE OTHERS )TS OBVIOUS JUST BY LOOKING THAT THIS PALETTE IS VERY NARROW

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE

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!BOVE LEFT 4HE CLOSE PROXIMITY OF IMAGE TO EDGE CREATES A VISUAL CONNECTION SO THE EYE PERCEIVES A BORDER -ID DLE 2EDUCE THE IMAGE FAR ENOUGH TO DISCONNECT IT FROM THE EDGE AND THE BORDER EFFECT DISAPPEARS 4HE IMAGE IS NOW LIKE A GALLERY PIECE HANGING ALONE ON A WHITE WALL RIGHT 4HIS SMALLER SIZE HAS BIG BENElT 9OU CAN CROP AND MOVE THE IMAGE AROUND AND ACTUALLY DESIGN THE PAGE !BOVE MIDDLE .OTE THAT TO MAINTAIN EQUAL MARGINS ON ALL SIDES THE IMAGE HAS BEEN CROPPED ITS SKINNIER AND THE RESULT IS MORE FOCUSED ON THE DESCRIPTIVE COASTLINE AND MORE DRAMATIC

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/PEN SPACE 9OUR DESIGN SHOULD NOT IMPOSE A STYLE BUT EXPRESS WHO YOU ARE (ERE AN AUDIO RETAILER TURNS ITS BLOCKY OLD CARD INTO A MINIMALIST BEAUTY

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4HE LOOK WE WANT

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3MOOTH SURFACES

$ 8 ' , 2 3WEEPING LINES

2ICH MATERIALS

7ELL RETAIN THE LOGO 4HE MODERN PART OF THE OLD CARD IS THE LOGO 5NDERPINNING THE LOGO ARE THE THIN SWEEP ING LINES OF SIX ELLIPSES WHICH IMPART A SENSE OF DEEP SPACE SOUND WAVES AND TO THE LITER AL MINDED THE LOOPING WIRES OF A SOUND SYSTEM 3EEN THROUGH A RECTANGULAR WIN DOW A SQUARE WOULD CONVEY MORE PRECISION THESE LINES HAVE NO BEGINNING OR END OR SYMMETRY AND SEEM TO HANG SOMEWHERE IN INlNITY

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4HE PARTS WE DONT

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'EOMETRIC SHAPES

! MISMATCH OF STYLES 2IGHT 4HE STYLE OF THE OLD CARD IS A STATIC TYPOGRAPHIC BRICK IN WHICH EVERY ELE MENT HAS BEEN FORCED INTO A RECTANGLE 4HIS REQUIRED UNNATURALLY SQUEEZING LONG LINES AND STRETCHING SHORT ONES AND YIELDED AN IRREGU LAR PATCHWORK OF TYPE THAT PULLS THE EYE HEAVILY INWARD 4HE STYLE IS DENSE AND CON GESTED IT DOESNT MATCH THE STORE AND FOR THAT MAT TER THE TEXT BLOCK DOESNT MATCH THE LOGO

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> v À > x n Ó x £ È U Ó UÓ £ ä ä 8Ê£ÈUÓUÓ£££ ÜÜÜ°>Õ`vÝ°V &ORCE JUSTIlED !BOVE &ORCE JUSTIFYING EQUALIZES LEFT AND RIGHT MARGINS BY DISTRIB UTING THE LEFTOVER WHITE SPACE BETWEEN LETTERS 4HIS TRAPS IT THE TEXT BLOCK IS CLOSED AND STATIC 4HIS IS A GOOD TECHNIQUE WHEN YOU NEED TO CONVEY A SENSE OF WARMTH AND STABILITY ALTHOUGH THE CRAFTSMAN SHIP MUST BE BETTER BUT ITS OPPO SITE THE OPENNESS OF HIGH TECH

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3 6

#ARD ONE -AXIMIZE THE WHITE

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!BOVE 3AME INFORMATION SAME SPACE BUT THE NEW CARD HAS THREE DISTINCT ELEMENTS SEPARATED BY WHITE 4HE EYE CAN MOVE FREELY AND READ EASILY 7HITE SPACE CONVEYS RADIANCE THAT IS LOTS OF LIGHT !ND IN WHITE SPACE YOU CAN REALLY DESIGNCREATE LINES OF SIGHT MOVEMENT TENSION DYNAMICSBECAUSE THERES ROOM TO DO SO

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4O lLL THE RECTANGLE THE ORIGINAL &8 HAD TO BE UNNATURALLY LARGE 4HE NEW VERSION IS SMALL LIGHT AND BLENDS BEAUTIFULLY INTO THE NAME

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7HITE IS ACTIVE

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&LOAT LOGO AND NAME ,OGO AND !5$)/&8 NAME WORK AS A UNIT THEY HAVE THE SAME WIDTH AND ARE SEPARATED BY A LETTER HEIGHT SPACE &LOAT THIS UNIT UNTIL YOU GET EQUAL MARGINS ON THREE SIDES AS SHOWN ABOVE

0LACE THE TEXT BLOCK 4HEN PLACE THE TEXT BLOCK A MARGIN WIDTH TO THE RIGHT OF THE LOGO WHICH IN THIS CASE LEAVES THE SAME WIDTH ON THE OTHER SIDE 4HE RESULT IS A CARD OF SIMPLICITY AND CLARITYONLY TWO SIZES OF OBJECT AND TWO SIZES OF WHITE

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4YPE MUST BE LIGHT

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#ARD TWO 5SE BOTH SIDES AND ADD A COLOR

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2EPEAT THE GRID

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#ARD THREE 0UT YOUR PRODUCT ON DISPLAY

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4HE LOOK WE WANT

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"EFORE

3MOOTH SURFACES

$ 8 ' , 2 3WEEPING LINES

7ELL RETAIN THE LOGO 4HE MODERN PART OF THE OLD CARD IS THE LOGO 5NDERPINNING THE LOGO ARE THE THIN SWEEP ING LINES OF SIX ELLIPSES WHICH IMPART A SENSE OF DEEP SPACE SOUND WAVES AND TO THE LITER AL MINDED THE LOOPING WIRES OF A SOUND SYSTEM 3EEN THROUGH A RECTANGULAR WIN DOW A SQUARE WOULD CONVEY MORE PRECISION THESE LINES HAVE NO BEGINNING OR END OR SYMMETRY AND SEEM TO HANG SOMEWHERE IN INlNITY

2ICH MATERIALS

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4HE PARTS WE DONT

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"EFORE

'EOMETRIC SHAPES

! MISMATCH OF STYLES 2IGHT 4HE STYLE OF THE OLD CARD IS A STATIC TYPOGRAPHIC BRICK IN WHICH EVERY ELE MENT HAS BEEN FORCED INTO A RECTANGLE 4HIS REQUIRED UNNATURALLY SQUEEZING LONG LINES AND STRETCHING SHORT ONES AND YIELDED AN IRREGU LAR PATCHWORK OF TYPE THAT PULLS THE EYE HEAVILY INWARD 4HE STYLE IS DENSE AND CON GESTED IT DOESNT MATCH THE STORE AND FOR THAT MAT TER THE TEXT BLOCK DOESNT MATCH THE LOGO

$ 8 ' , 2 £{£xÊÊÊÜiÊÊÊÛi° ->VÀ>iÌ

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#ARD ONE -AXIMIZE THE WHITE

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!BOVE 3AME INFORMATION SAME SPACE BUT THE NEW CARD HAS THREE DISTINCT ELEMENTS SEPARATED BY WHITE 4HE EYE CAN MOVE FREELY AND READ EASILY 7HITE SPACE CONVEYS RADIANCE THAT IS LOTS OF LIGHT !ND IN WHITE SPACE YOU CAN REALLY DESIGNCREATE LINES OF SIGHT MOVEMENT TENSION DYNAMICSBECAUSE THERES ROOM TO DO SO

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4O lLL THE RECTANGLE THE ORIGINAL &8 HAD TO BE UNNATURALLY LARGE 4HE NEW VERSION IS SMALL LIGHT AND BLENDS BEAUTIFULLY INTO THE NAME

7HITE IS ACTIVE

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&LOAT LOGO AND NAME ,OGO AND !5$)/&8 NAME WORK AS A UNIT THEY HAVE THE SAME WIDTH AND ARE SEPARATED BY A LETTER HEIGHT SPACE &LOAT THIS UNIT UNTIL YOU GET EQUAL MARGINS ON THREE SIDES AS SHOWN ABOVE

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0LACE THE TEXT BLOCK 4HEN PLACE THE TEXT BLOCK A MARGIN WIDTH TO THE RIGHT OF THE LOGO WHICH IN THIS CASE LEAVES THE SAME WIDTH ON THE OTHER SIDE 4HE RESULT IS A CARD OF SIMPLICITY AND CLARITYONLY TWO SIZES OF OBJECT AND TWO SIZES OF WHITE

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4YPE MUST BE LIGHT

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,IGHT AND OPEN 5NLIKE THE ORIGINAL JUSTIlED BLOCK OF TRAPPED AND IRREGULAR WHITE SPACE WHEN TYPE IS ALIGNED LEFT THE SPACES BETWEEN CHARACTERS ARE ALL THE SAME AND THE LEFTOVER WHITE SPACE IS AT THE ENDS 4HIS ALLOWS THE WHITE TO mOW INTO OPEN SPACE AND THE EYE MOVES FREELY OUTWARD

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#ARD TWO 5SE BOTH SIDES AND ADD A COLOR

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#OLOR THAT CONNECTS ,EFT /N THE ORIGINAL CARD !5$)/ AND &8 ARE SEPARATED BY A RED HAIR LINE 4HE EXTRA COLOR DOUBLES THE PRINTING COST BUT SERVES NO FUNCTIONAL PURPOSE BECAUSE ITS TOO TINY !BOVE 3ETTING BUSINESS AND EMPLOYEE NAMES IN RED PUTS THE SECOND COLOR TO EXCELLENT USE )T CREATES A FOCAL POINT ON EACH SIDE IT CONNECTS THE FRONT TO THE BACK AND IT ASSOCIATES BUSINESS NAME TO ITS EMPLOYEE ALL WITHOUT CHANGING A SINGLE TYPE SPECIFICATION

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2EPEAT THE GRID

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3TART ON THE FRONT !S ON THE PREVIOUS CARD MAKE LOGO AND BUSINESS NAME THE SAME WIDTH A LETTER HEIGHT SPACE APART 'ROUP THEN PLACE IN THE MIDDLE OF THE CARD .OTE THE TWO VERTICAL ZONES THAT RESULT

2EPEAT ON THE BACK 4RANSFER THESE ZONES TO THE BACK AND REPEAT THE PLACE MENTGRAPHIC ON THE LEFT TEXT ON THE RIGHT "ECAUSE THE TEXT BLOCK IS SLIGHTLY TALLER THAN THE FRONT SIDE LOGO CENTER IT BETWEEN TOP AND BOTTOM OF THE CARD

#ARD THREE 0UT YOUR PRODUCT ON DISPLAY

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&RONT V

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2EPEAT 4HE HEIGHT OF THE LOGO DETERMINED THE SPAC ING ABOVE AND BELOW 7HAT YOURE LEFT WITH IS PLENTY OF SPACE BELOW TO SHOWCASE YOUR PRODUCT OR SERVICE

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4ENSION 4HE SPEAKERS SLIGHTLY OFF CENTER PLACEMENT CREATES TENSION AND MOVEMENT )TS ALMOST AS IF SOUND IS PULSATING FROM THE SPEAKER ITSELF .OTE THE EQUAL MARGINS

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#ARD THREE 0UT YOUR PRODUCT ON DISPLAY

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&RONT V

"ACK V 2EPEAT 4HE HEIGHT OF THE LOGO DETERMINED THE SPACING ABOVE AND BELOW 7HAT YOURE LEFT WITH IS PLENTY OF SPACE TO SHOWCASE YOUR PRODUCT OR SERVICE

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4ENSION 4HE SPEAKERS SLIGHTLY OFF CENTER PLACEMENT CREATES TENSION AND MOVEMENT )TS ALMOST AS IF SOUND IS PULSAT ING FROM THE SPEAKER ITSELF .OTE THE EQUAL MARGINS

2EPEAT THE GRID

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2EPEAT #ONTINUITY IS MAINTAINED BY VISUAL REPETITION TYPESTYLES POSITIONS SIZES AND SO ON .OTE ESPE CIALLY THE POINTS OF YELLOW 0AUSE FOR A MOMENT AND NOTE THE CLARITY OF ALL THE CARDS %ACH HAS A SIMPLE COMPELLING FOCAL POINT SUPPORTED BY LIGHT TEXTUAL INFORMATION ARRANGED ON A lELD OF AIR /N THE ORIGINAL CARD LEFT THE DESIGNER TRIED TO FORCE A STYLE AND LOST SIGHT OF THE MESSAGE

- -/ ,/

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#ARD FOUR 2EVERSE THE lELD

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&OCAL POINT 5NDERSTAND THAT NEGATIVE SPACE IS A POWERFUL FORCE THAT INTERACTS WITH POSITIVE ELEMENTS 2IGHT 4HE VAST EMPTINESS PLACES FOCUS ON THE LOGO #OMPOSITIONALLY THE LOGO WOULD WORK IF PLACED ON THE RIGHT "UT HERE WE WANT IT TO ALIGN WITH THE CONTACT INFORMATION ON THE BACK

1 "

"ACK V

4ENSION "ELOW #ENTERED PLACEMENT IS LOGICAL BUT SYMMETRICAL AND THEREFORE STATIC 4O MIMIC THE TENSION ON THE FRONT OF THE CARD OFFSET THE IMAGE TO THE RIGHT

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0ROPORTIONSMASS 0ROPORTIONS AND MASS ARE ")' AND AFFECT EVERYTHING ELSE "ECAUSE PROPORTIONS CAN BE DECEPTIVE ITS A GOOD IDEA TO DRAW A BOUNDING BOX ABOVE !CTUALLY DRAW IT DONT TRUST YOUR EYE 4HE TREE IS s SQUARE s SYMMETRICAL s UPRIGHT

3HAPE 3HAPE IS THE PRIMARY QUALITY BY WHICH WE IDENTIFY AN IMAGE 4HE TREE IS AN OVOID SHAPE ATOP A STRAIGHT LINE VERTICAL TRUNK ON A STRAIGHT LINE HORIZONTAL BASESOMETHING OF AN EGG ON A STICK

iV>ÕÃiÊÜiÊÌi`ÊÌÊÞÊ`iÌvÞÊ>}iÃÊºÌÃÊÃÊ>ÊÌÀii»®Ê>`ÊÌÊÀi>ÞÊ ÃiiÊÌi]ÊÌÃÊ`ÀÊ>ÞÊ>ÌÊwÀÃÌÊÃiiÊiÊ}ÊvÀÊv>ViÃÊÊÌiÊVÕ`Ã°Ê ÕÌÊÊVÃiÞÆÊÌiÀi½ÃÊ>ÊÌÊÌiÀi° 4HIN 4HICK

,INE ,INE MEANS THE OVERALL SWEEP OR DRAPEAS IN THE LINE OF A DRESS AND IT ALSO MEANS EDGE (ERE WE SEE A PREDOMINANTLY HORIZONTAL SWEEP A TOP DOWN DRAPE AND A GNARLY DETAILED EDGE

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4EXTURE 4HE TREE HAS A LOT OF SURFACE TEXTURE 4HE IRREGULAR FOLIAGE IS OBVIOUS AND RANDOM BUT NOTE ESPECIALLY THE INTER ACTION OF THICK THIN NEGATIVE POSITIVE AREAS SQUINT AND ITS EASIER WHICH APPEAR AS SHAPES AND RIVERSLIKE THE SURFACE OF A MOSSY POND

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&IRST EDIT

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7ITH A VISUAL UNDERSTANDING OF THE TREE ITS EASY TO SEE THAT CONDENSED EXTENDED AND SWOOPY TYPESTYLES DONT MATCH ITS SQUARE PROPORTIONS AND SYMMETRICAL SHAPE 4HE BLOCKY TYPEFACE ABOVE RIGHT IS CLOSEST TO SQUARE BUT ARTIlCIALLY CONSTRUCTED WHICH IS LIKEWISE DISSIMILAR 4HE lRST EDIT IN THIS CASE ELIMINATES ALL TYPEFACES EXCEPT THOSE WITH STANDARD SQUARISH PROPORTIONS AND UPRIGHT POSTURE

3ECOND EDIT

7>Ì½ÃÊvÕÞÊÃÊÌ>ÌÊÃµÕ>ÀÃ]ÊÕ«À}ÌÊÃÌÞiÃÊV«ÀÃiÊ>vÊÌiÊÜÀ`½ÃÊ ÌÞ«iv>ViÃÊVÕ`}Ê>ÊÌiÊÃÌ>`>À`ÊiÃtÊ-ÊÜiÊÕÃÌÊÊvÕÀÌiÀ°Ê /iÊÃiV`Êi`Ì\ÊiÊ>`ÊÌiÝÌÕÀi°

3TANDARD PROPORTION TYPESTYLES SANS SERIF AND 2OMAN

L $E 2IGHT PROPORTIONS WRONG LINES 3ANS SERIF TYPEFACES ARE GENERALLY MECHANICAL AND TEND TO HAVE UNIFORM STROKES REPETITIVE CURVES STRAIGHT LINES AND SHARP CORNERS 4HE LINES AND TEXTURE OF THESE FACES ARE QUITE UNLIKE THE NATURAL ORGANIC TREE BELOW

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2IGHT PROPORTIONS BETTER LINES ,IKE THE TREE OLD STYLE 2OMAN TYPE FACES ARE FULL OF DETAIL AND VARIETY 4HEIR THICK THIN STROKES SERIFS TERMI NALS AND COUNTERS CREATE A LOT OF TEX TURE AND INTERACTION THAT CAN COMPLE MENT THE RICHEST MOST DETAILED IMAGE

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vÌiÀÊÌÜÊ>ÀÊi`ÌÃÊÜiÊ>ÛiÊ>ÊÕVÊÃÀÌiÀÊÌÞ«iÊÃÌÆÊÜi½ÀiÊ`ÜÊÌÊ ÃÌ>`>À`«À«ÀÌ]Ê,>ÊÌÞ«iÃÌÞiÃ°Ê7VÊÃÊLiÃÌ¶ÊÊÌÃÊV>Ãi]ÊiÊ >`ÊÌiÝÌÕÀiÊ>ÀiÊÌiÊiÞÃpLÕÌÊÜÊÜi½ÊÊVÃiÀ°

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3TANDARD PROPORTION 2OMAN TYPEFACES ARE THE OLDEST OF ALL STYLES AND THE MOST COMMON 4HEY CAN BE SORTED INTO A HALF DOZEN MAJOR CATEGORIES EACH WITH SUB CATEGORIES 4HE BASIC PROPORTIONS SERIFS AND THICK THIN STROKES MAKE 2OMAN TYPESTYLES EASY AND PLEASANT TO READ AS A RESULT THEY COMPRISE MOST OF THE TEXT IN OUR BOOKS NEWSPAPERS AND MAGAZINES

(OW OLD IS OLD 4RAJAN ONE OF TODAYS MOST POPULAR SERIF TYPESTYES IS BASED ON THE ENGRAVED TEXT AT THE FOOT OF 4RAJANS #OLUMN IN 2OME INSCRIBED NEARLY YEARS AGO -ANY OTHER EVERYDAY SERIF TYPESTYLES ARE TO YEARS OLD 4ALK ABOUT STANDING THE TEST OF TIME

4HIRD EDITÊÊ

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4IMES 2OMAN 0OPULAR 4IMES 2OMAN IS A SHARPLY DElNED TYPE FACE WITH POINTY CORNERS AND THICK THIN STROKES OF MECHANICAL REGULARITY )TS SERIFS HAVE mAT ENDS THAT ARE TOO SMALL TO BLUNT THE SENSE THEYRE TINY NEEDLES ABOVE THAT WOULD PRICK YOUR lNGER IF YOU TOUCHED THEM 4IMES 2OMAN IS TOO UNIFORM AND TOO POINTY TO COMPLEMENT THE ROUNDED ORGANIC FORMS OF THE TREE

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Ê *>ÞÊ>ÌÌiÌÊÌÊÌiÊÃ>ÊiÃ]ÊÃ>ÊÃ>«iÃÊ>`ÊiÃ«iV>ÞÊÌiÊÌiÀ >VÌÊLiÌÜiiÊiÌÌiÀÃ]ÊÜVÊVÀi>ÌiÃÊÌiÝÌÕÀi pÌiÊÌÀiiÊÃÊvÕÊvÊÌiÝÌÕÀitÊ ÊÞÕÊÃiiÊÕvÀÌÞÊÀÊÀÀi}Õ>ÀÌÞ]ÊÃ>ÀÌiÃÊÀÊ`vviÀiViÃ¶

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"AUER "ODONI 0ART OF THE -ODERN SERIF CATEGORY "AUER "ODONI IS AN UPRIGHT STYLE CHARACTERIZED BY EXTREME THICK THIN CONTRASTS AND A UNIFORM STROKE SO REPETITIVE THAT IT CREATES A PATTERN LEFT BOTTOM -ODERNS ARE BEAUTIFUL TYPEFACES WIDELY USED IN FASHION AND lNANCE BUT THEIR SHARP EDGES AND GEOMETRIC PRE CISION ARE MACHINE MADE AND RIGID QUITE DIFFERENT FROM THE SOFT TOUCHABLE TREE

Ê ,iiLiÀÊÌiÊv>ViÃÊÊÌiÊVÕ`Ã¶ÊÌ½ÃÊ>Ê>ÌÌiÀÊvÊÌÀ>}ÊÞÕÀÊiÞi]Ê LÕÌÊViÊÞÕÊV>ÊÃiiÊ«>ÌÌiÀÃÊ>`ÊVÕÀÀiÌÃ]ÊiÃ«iV>ÞÊÊÌiÊÜÌiÊÃ«>ViÃ]Ê ÞÕÀÊÜÀÊÜÊÌ>iÊ>ÊL}ÊÃÌi«ÊvÀÜ>À`°Ê iÜ]Ê>À}ÞiÊÃÊ>Ê>ÌV\

3EE THE SIMILARITIES

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'ARGOYLE -EDIUM /LD 3TYLE 'ARGOYLE IS A (UMANIST TYPEFACE MEANING IT HAS /LD 3TYLE PROPORTIONS YET WITH THE APPEARANCE OF HAVING BEEN DRAWN BY HAND INSTEAD OF MECHANICAL TOOLS )TS FULL OF VARIETY AND IRREGULARITY WITH LOW CONTRAST BETWEEN THICKS AND THINS FUNKY ROUNDED CORNERS AND QUIRKY SERIFS FEW OF WHICH ARE ALIKE )TS INTERACTION OF LINES AND SHAPES IS WARM VARIED AND ORGANIC JUST LIKE THE TREE 4HIS IS OUR TYPEFACE

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0UT IT TO WORKÊ ÃÊÜÌÊÌiÊÌÞ«i]ÊiÌÊÌiÊ>}iÊyÕiViÊÌiÊ>ÞÕÌpiÀiÊÌ½ÃÊÕ«À}ÌÊ >`ÊÃÌ>ÌiÞÊiÊÌiÊÌÀii]ÊViÌiÀi`ÊÜÌÊÀÀi}Õ>ÀÊi`}iÃ°Ê/iÊ`ii«Ê}ÀiiÊ VÀÊÃÊÀViÀÊ>`ÊÀiÊÀ}>VÊÌ>ÊÌiÊÀ}>ÊLÀ}ÌÊ}Àii°

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%VERYTHING BUILDS OFF THE TREE 4URN THE CARD UPRIGHT THEN RUN DOWN THE PAGE JUST LIKE A TREE TRUNKLOGO lRST A PHANTOM VERTICAL THEN PHONE NUMBERS 4HIS IS THE KEY INFORMATION THE OPEN SPACE ALLOWS THE EYE TO SETTLE AND TAKE IT IN

3AME THING ON THE BACK BUT WITH A SMALLER TREE AND NO NAME SO ITS NOT CONFUSED FOR THE FRONT ,INE BY LINE PRESENTATION IS EASY TO READ AND SUGGESTS AN APPROPRIATELY TREE LIKE OUTER CONTOUR 4REE TYPEFACE LAYOUT AND COLORS ARE NOW UNIlED IN A SINGLE LOOK

5FM $FMM

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)NSIDE SPREAD

2IGHT 4HE OUTSIDE PANEL HAS A FOCAL POINT THE BOWL AND ITS IN THE RIGHT PLACE THE CENTER BUT ITS TOO SMALLTOO MUCH LIKE EVERYTHING ELSETO HAVE AN IMPACT 4HE NAMES IN A GOOD PLACE TOO SURROUNDED BY MAINLY OPEN SPACE WHICH MAKES IT EASY TO READ BUT ITS SO NONDESCRIPT IT HAS NO VOICE .AME LOCATION PHONE NUMBER AND HOURS ARE ALL NEEDED TO DO BUSINESS BUT UNLIKE WHAT THE CHEF PREPARES NONE OF IT HAS BEEN ARTFULLY PRESENTED

!CCIDENTAL DESIGN 'OOD DESIGN IS INTENTIONAL !T LEFT THREE CIRCLES AND THREE RECTANGLES HAVE BEEN ARRANGED IN TWO TRIANGLES AROUND A FOCAL POINT CENTERED IN THE LARGE CIRCLE THE PLATTER 4HATS DESIGN AND ITS ATTRACTIVE !BOVE THE CENTER PANEL IS TYPOGRAPHICALLY DIFFERENT FROM THE OTHER TWOA NORMAL VISUAL DEVICEBUT FOR NO APPARENT REASON 4HATS ACCIDENTAL AND ITS UNATTRACTIVE

"OXES EVERYWHERE "OXES CORRAL THE MANY KINDS OF DISHES 4HIS MAKES SENSE ORGANIZATIONALLY BUT THE PENCIL THIN LINES HAVE NO BEAUTY AND ARE UNNECESSARY TOO THE OPEN SPACE ALONE IS SUFlCIENT TO CREATE SEPARATION BETWEEN SECTIONS 2ANDOM MARGIN WIDTHS DISRUPT ANY POSSIBLE VISUAL RHYTHM

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,OOK 2EAD ,EARN

"EGIN THE REDESIGN BY RESEARCHING WHAT #HINESE LOOKS LIKE !CTUALLY DO THE WORK $ONT RELY ON YOUR MEMORY OR YOULL END UP USING CLICH£S LIKE FORTUNE COOKIES AND CHOPSTICKS

4HE WORLD OF #HINA $ONT DREAM UP IMAGES YOULL GET BETTER RESULTS MORE EASILY TOO IF YOU LOOK THEM UP 2ESEARCH BOOKS MAGA ZINES AND ONLINE PHOTO SOURC ES 6ISIT #HINESE RESTAURANTS 7HAT TO WATCH FOR 0AY ATTEN TION TO PHYSICAL ATTRIBUTES LIKE SHAPES COLORS TEXTURES SENSUAL QUALITIES LIKE SOUND SMELL TOUCH AND HIDDEN INTANGIBLES ESPECIALLY OF HIS TORY CULTURE AND TRADITION

#HARACTERS !NCIENT WET BRUSH CALLIGRAPHIC mUID PAINSTAKING DISTINCTIVELY /RIENTAL #OLORS 2ED GOLD LEAF

"AMBOO .ATURAL ELEGANT COOL SPARE

-ASK !NCIENT HEROIC RELIGIOUS THEATRICAL COLORFUL MULTI TEXTURED 2ESTAURANT .EUTRAL COLORS SPOT LIGHTING INTRICATE WOODWORK

&ORTUNE COOKIE h-OON CAKESv PREDATE -ING $YNASTY SWEET HAPPY CIRCULAR TAN

7OK #OLORFUL HOT FRESH ROUND AROMATIC

3CREEN &INE FURNITURE INLAID HISTORIC STORY TELLING SEEN IN THE RESTAURANT

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3TART WITH FORMAT AND BACKGROUND

4WO IMAGES CAN ANCHOR THE DESIGNTHE FOLDING SCREEN BECAUSE IT RESEMBLES THE FOLDED SHEET AND THE BAMBOO PLANT WHICH WILL MAKE A GRACEFUL PLACID BACKGROUND

3CREENS ARE USUALLY DECORATED WITH LANDSCAPES PLANTS AND lGURES AND TYPICALLY HAVE THREE OR FOUR PANELS #ON VENIENTLY ENOUGH THE TWO FOLD MENU HAS THREE PANELS

#ROP THE IMAGE ,IKE THE STORY ON A FOLDING SCREEN CROP THE IMAGE TO SPAN THE PAGE AND lT ITS PROPORTIONS .OTE HOW ITS BALANCEDABOUT HALF IMAGE HALF BACKGROUND

7ITH THE IMAGE IN PLACE ITS TIME TO TURN THE BACKGROUND INTO A BEAUTIFUL CANVAS ON WHICH TO PAINT OUR WORDS

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I 3 6

#REATE A SILHOUETTE

4O CREATE THE ILLUSION OF A SHADOW CAST AGAINST THE SCREENOR VISIBLE THROUGH THE SCREENlRST SEPARATE THE BAMBOO FROM ITS BACKGROUND

7HAT WERE ABOUT TO DO IS REDUCE THE FULL COLOR PHOTO TO SOLID BLACK WHITE WITH NO GRAYS &OR AN ORGANIC IMAGE LIKE THIS ONE WITH A DISTINCT SILHOU ETTE AND WHERE PRECISION IS NOT VITAL 0HOTOSHOPS 4HRESHOLD SLIDER IS IDEAL

/PEN THE IMAGE #HANGE ITS MODE TO 'RAYSCALE )MAGE-ODE'RAYSCALE

3ET THE THRESHOLD 3ELECT )MAGE!DJUSTMENTS 4HRESHOLD CHECK 0REVIEW AND MOVE THE 4HRESHOLD SLIDER %VERYTHING ABOVE THE THRESHOLD IS WHITE AND EVERYTHING BELOW IS BLACK !DJUST FOR GREATEST CLARITY THEN CLICK /+

)NVERT AND CLEAN UP )NVERT BLACK AND WHITE BY SELECTING )MAGE!DJUSTMENTS)NVERT %RASE ANY LEFTOVER SPOTS AND UNWANTED PARTS )F NECESSARY USE THE "RUSH TOOL TO PAINT AND REDElNE SOME PARTS 3AVE A COPY OR A LAYER OF THIS IMAGE TO USE LATER

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#REATE THE ILLUSION OF NATURAL LIGHTTHE WALL

4URN THE BLACK SILHOUETTE INTO A SOFT SHADOW BY BLURRING AND LIGHTENING 4HEN PAINT DEPTH AND RADIANCE ONTO THE WHOLE PAGE

"LUR AND LIGHTEN 2ETURN THE IMAGE TO #-9+ -ODE )MAGE-ODE#-9+ 4O SOFTEN SELECT &ILTER"LUR'AUSSIAN "LUR AND ENTER A 2ADIUS AMOUNT 7HAT YOU WANT IS A SOFT BUT STILL DISTINCT SILHOU ETTE WHICH IN THIS CASE WAS PIXELS ,IGHTEN THE RESULT BY LOWERING THE OPACITY TO ABOUT

!DD DEPTH AND RADIANCE .EXT MIMIC THE DARK AND LIGHT QUALITIES OF NATU RAL LIGHT &IRST SAMPLE A LIGHT AND DARK COLOR FROM THE RESTAURANT 4HIS hCOLOR CONNECTIONv IS AN ARTISTIC TIE IN #REATE A NEW LAYER AND lLL IT WITH THE LIGHT COLOR 7ITH THE DARKER COLOR AND A FAIRLY LARGE SOFT BRUSH MAKE A SMOOTH SWEEP ING STROKE ACROSS THE PAGE

#OMBINE 3ET THE NEW LAYERS BLENDING MODE TO -ULTIPLY WHICH ALLOWS THE BAMBOO LAYER BENEATH TO SHOW THROUGH 4HE RESULT IS A CONVINC ING ILLUSION OF BAM BOO SEEN THROUGH A PAPER SCREEN

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!DD BAMBOO TO THE FOREGROUND

7ITH THE SHADOW AND LIGHTING ESTABLISHED GIVE THE PAGE MORE DEPTH BY ADDING BLACK BAMBOO WHICH YIELDS A BEAUTIFUL FOREGROUND BACKGROUND EFFECT

)SOLATE 2ETRIEVE THE SAVED BLACK WHITE COPY MOVE ITS LAYER TO THE TOP AND SET ITS BLENDING MODE TO -ULTIPLY 7ITH THE "RUSH AND %RASER TOOLS ISO LATE A FEW BAMBOO LEAVES

3EPARATE .OTE THAT AS BIG AS THE SHADOW IS ITS LIGHT VALUE AND SOFT EDGES MAKE IT RECEDE #REATE A FORWARD DIMENSION BY MOVING BLACK LEAVES TO THE CENTER OF EACH PANEL 4HE CON TRASTS OF EDGE HARD AND SOFT AND OVERLAPPING ELEMENTS DARK MEDIUM LIGHT RESULTS IN REAL DEPTH

#ONNECT 'ET ARTISTIC 7ITH THE "RUSH TOOL CREATE YOUR OWN BAM BOO PLANT BY CONNECTING THE LEAVES AND ADDING A STEM THAT ANCHORS PLANT TO PAGE 4HEN ADD ANOTHER LEAF TO SERVE AS A DOWNWARD POINTER TO THE LIST OF MENU ITEMS THAT WILL EVENTUALLY GO BENEATH IT

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#REATE A FOCAL ICON

4HE ORIGINAL BOWL IS A GOOD SIMPLE ICON FOR THE RESTAURANT IT SUGGESTS EATING CHOPSTICKS SAY #HINESE AND STEAM SAYS HOT AND FRESH ! STAMPLIKE EFFECT MAKES IT BOLDER AND EVEN MORE #HINESE #LICK DAB

)N #HINESE BRUSH PAINTINGS A STAMP WHICH IS TYPICALLY RED IS OFTEN USED AS A SIGNATURE )TS IMAGERY CAN BE EVOKED BY TURN ING THE BOWL INTO A STAMP ! RUBBER STAMP BEGINS AS A FAIRLY SHARP IMAGE THAT DEGRADES AS IT UNEVENLY HITS THE PAPER AND MORE AS THE INK SOAKS IN 4IME CAN FURTHER WEAR IT DOWN 4HE RESULT IS A RICH INTERESTING TEXTURE (ERES HOW TO MIMIC THAT IN 0HOTOSHOP

#REATE THE IMAGE 4HE ORIGINAL IMAGE CAN COME FROM ALMOST ANY SOURCE OURS WAS A SCAN SO IN SOME WAY GET IT INTO A 0HOTOSHOP lLE 2ESOLUTION PPI #OLOR -ODE 2'" #OLOR "ACKGROUND #ONTENTS 4RANSPARENTTURN IT INTO A SELECTION AND KNOCK IT OUT OF A SHAPE YOUVE DRAWN 9OU WANT THE RESULTS TO RESEMBLE THE IMAGE ABOVE

2OUGHEN THE EDGES 3ET THE &OREGROUND AND "ACK GROUND COLORS TO RED AND WHITE RESPECTIVELY 'O TO &ILTER3KETCH4ORN %DGES AND FOR THIS SIZE AND RESOLU TION ENTER THE FOLLOWING )MAGE "ALANCE 3MOOTHNESS #ONTRAST #LICK /+

3HARPEN THEN DAB )N &ILTER3HARPEN5NSHARP -ASK APPLY THE FOLLOWING SET TINGS !MOUNT 2ADIUS 4HRESHOLD #LICK /+ .EXT WITH WHITE AS THE &OREGROUND COLOR SELECT THE 3PATTER BRUSH HERE NUMBER 5SING VARI OUS BRUSH SIZES AND OPACITIES CLICK DAB TO SOFTEN AND BASI CALLY MESS UP THE EDGES

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3ELECT A DISPLAY TYPE

.OTHING EVOKES #HINA AS READILY AS ITS UNIQUE CALLIGRAPHIC CHARACTERS WHICH ON THE MENU MUST BE CONVEYED WITH 7ESTERN STYLE TYPE )N GENERAL YOULL SEE WET BRUSH DRY BRUSH AND ARTIlCIAL STYLES $RY BRUSH FONT 2UACH IN THIS CASE IS BEST

/RIENT 7ET BRUSH

/RIENT $RY BRUSH

2EFERENCE CHARACTER /NCE YOUVE FOUND A STYLE THAT YOU LIKE NOTE HOW ITS DRAWN 0AY ATTENTION TO ITS EDGES STROKE ENDS THICK TO THINNESS AND GENERAL SLANT OR DIRECTION THEN LOOK FOR SIMILARITIES IN 7ESTERN TYPESTYLES

!RTIlCIAL

Dg^Zci

R R g

6ISIGOTH 2EGULAR s &AT SLOW STROKES s &AIRLY UPRIGHT s 3OAKED INTO THE SURFACE s 6ISIBLE PAPER TEXTURE

2UACH 0LAIN s &AST LIGHT STROKES s #LEAN EDGES AND ROUGH ENDS s #LOSEST TO HANDWRITTEN s -OST LIKE THE SAMPLE

#HOC )#' 2EGULAR s .O BRUSH MARKS s .O BLEEDING s #LEAN EDGES AND ENDS s 0OSTER LIKE

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3ELECT A COMPLEMENTARY TEXT TYPEFACE

&OR THE SMALL TYPE USED FOR LISTINGS LOOK lRST FOR CLARITY AND THEN FOR A COMPLEMENTARY LINE OR SHAPE #LARITY USUALLY REQUIRES hOPENv LETTERFORMS AND LITTLE DETAIL

!PPETIZERS

!PPETIZERS

)ULHG:RQ7RQ

3RW6WLFNHUV

)ULHG:RQ7RQ (JJ5ROOV 3DSHUZUDSSHG&KLFNHQ )ULHG&KLFNHQ:LQJV 3RW6WLFNHUV

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS

3ANS SERIF (ELVETICA

2OMAN SERIF 4IMES 2OMAN

#ALLIGRAPHIC 3ANVITO

!LTHOUGH POPULAR (ELVETICA IS NOT ESPE CIALLY CLEAR AT SMALL SIZES BECAUSE ITS SMALL APERTURES TEND TO CLOSE UP !ND ITS STRAIGHT LINES ARE TOO RIGID TO COMPLE MENT FREE mOWING 2UACH

2OMAN SERIF FACES ARE MORE RElNED AND GENERALLY EASIER TO READ BECAUSE SERIFS HELP MOVE THE EYE FROM LETTER TO LETTER BUT THEYRE FULL OF TINY DETAIL AND STYLISTICALLY VERY DIFFERENT FROM 2UACH

3IMPLE LINES ")' COUNTERS ")' APER TURES AND A SWEEPING STROKE YIELD BOTH CLARITY AND CALLIGRAPHIC STYLE WITHOUT THE BRUSH DETAILS 3ANVITO IS A GOOD COMPLEMENT TO 2UACH

7F

7F

(JJ5ROOV 3DSHUZUDSSHG&KLFNHQ )ULHG&KLFNHQ:LQJV

4OO STRAIGHT

4OO SMALL

!PPETIZERS

3MALL BUT SERIFS HELP MOVE THE EYE

4C

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3WEEPING AND OPEN

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"EFORE!FTER

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#OMPLEMENT IMAGE AND LAYOUT

7ITH THE BAMBOO ALREADY ON THE PAGE CREATE A RELATIONSHIP BETWEEN IMAGE TYPE AND LAYOUT BY MIMICKING ITS SPIKY VISUAL QUALITIES

,EFT !NALYZE THE BAMBOO BASED ON LINE AND DIRECTION .OTE THAT ITS LEAVES AND STEMS POINT IN DIFFERENT DIRECTIONSHORIZONTAL DIAGONAL VERTICALWHICH CREATES A LOT OF MOVEMENT AND TENSION 4HIS ACTION CAN BE MIMICKED IN THE LAYOUT

0LACE THE SEAL 7HAT SIZE SHOULD THE SEAL BE 'ENER ALLY SPEAKING WORK WITH WHATS IN FRONT OF YOU (ERE THE BAMBOO IS GOVERN ING THE DESIGN SO GIVE THE SEAL SIMILAR MASS AND PLACE IT DIRECTLY BENEATH THE DOWNWARD POINTING hUMBRELLAv ABOUT MID PAGE

! TASTE OF

4HE /RIENT

0LACE THE BUSINESS NAME 4HE BAMBOO LEAVES HAVE BOTH SIZE AND DIRECTIONAL DIFFER ENCES -IMIC THIS WITH TWO TYPE SIZES AND STAGGERED PLACE MENT WHICH MOVES THE EYE SIMILARLY AND PUTS TENSION INTO THE LAYOUT

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

0LACE THE CONTACT INFORMATION 3INCE THIS IS A TAKE HOME MENU THE PHONE NUMBER NEEDS TO BE PROMINENT HERE ITS SIZE AND RIGHT OFFSET MAKE IT STAND OUT 2EMAINING INFORMATION ALIGNED WITH THE SEAL ESTAB LISHES CONTINUITY YET RETAINS THE STAGGERED MOVEMENT

!LIGNED WITH SEAL FOR CONTINUITY

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/RGANIZE THE MENU ITEMS

!LL THOSE BOXES ON THE ORIGINAL MENU ARE UNNECESSARY THE WHITE SPACE ALONE IS SUFlCIENT TO SEPARATE THE SECTIONS BEAUTIFULLY 3IMPLE TAB INDENTS IDENTIFY COLUMNAR ELEMENTS AND MIMIC THE BAMBOO TOO

3PECIAL 2ICE 0LATES

&AMILY 3PECIALS 6ISUAL RELATIONSHIPS !BOVE THE HEADLINE X HEIGHT DETER MINES THE TEXT SIZE "ELOW ITS OVERALL HEIGHT GOVERNS SECTION SPACING

&AMILY 3PECIALS

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

4AB INDENTS RATHER THAN mUSH LEFT ALIGNMENT YIELD TEXT BLOCKS THAT HAVE STAGGERED EDGES SIMILAR TO THE BAMBOO AND COVER LAYOUT

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2EPEAT INSIDE

7HATS GOOD FOR THE OUTSIDE IS GOOD FOR THE INSIDE #REATE CONTINUITY EASILY BY REPEATING THE BACKGROUND MARGINS COLUMN GUIDES AND TYPE TREATMENT INSIDE

/UTSIDE SPREAD

)NSIDE SPREAD !PPETIZERS

3PECIAL 2ICE 0LATES

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

0ORK

3OUP

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODLE 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

#OMBINATION 0LATES #OMBINATION 0LATE 3OUP OF THE $AY 0APER WRAPPED #HICKEN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE

#OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKEN #HOW -EIN OR &RIED 2ICE

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

3EAFOOD

0OULTRY "ROCCOLI #HICKEN !LMOND #HICKEN #ASHEW #HICKEN 3ZECHWAN #HICKEN

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

3WEET 3OUR #HICKEN 3A TAY #HICKEN ,EMON #HICKEN 3ESAME #HICKEN 4ERIYAKI #HICKEN 'ARLIC #HICKEN

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

"EEF WITH /YSTER 3AUCE 'INGER "EEF 0EPPER "EEF WITH BLACK BEAN

#ASHEW 0RAWN WITH LOBSTER SAUCE 0RAWN WITH BLACK BEAN SAUCE 3WEET 3OUR 0RAWN #URRY 0RAWN OR CALAMARI

+UNG 0AO 0RAWN OR CALAMARI

3ZECHWAN 0RAWN

6EGETABLE WITH 0RAWN

6EGETABLES 6EGETABLE $ELUXE 3ZECHWAN "EAN #URD

"RAISED "EAN #URD

&RIED 2ICE 6EGETARIAN &RIED 2ICE #HICKEN &RIED 2ICE ""1 0ORK &RIED 2ICE "EEF &RIED 2ICE 3HRIMP &RIED 2ICE #OMBINATION &RIED 2ICE

#HOW -EIN 6EGETARIAN #HOW -EIN #HICKEN #HOW -EIN ""1 0ORK #HOW -EIN "EEF #HOW -EIN 3HRIMP #HOW -EIN #OMBINATION #HOW -EIN

(OT 3PICY

2EPEAT THE BACKGROUND 5SE THE SAME BACKGROUND IMAGE INSIDE AS OUTSIDE BUT TO MAKE SPACE FOR THE MENU ITEMS DELETE THE FOREGROUND SILHOUETTES #ARRY OVER MARGINS GUIDES AND TYPE TREATMENT .OTE THAT THE BAMBOO SHADOW IS REVERSED TO CREATE THE ILLUSION OF TRANSPARENT RICE PAPER

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#OLOR UNIlES THE ELEMENTS

)TS TIME TO ADD COLOR /UR EYES CONNECT SIMILARITIESTHIS LIKE THAT #OLOR THE HEADLINES TO MATCH THE SEAL ALREADY ON THE COVER 4HE CONTRAST OF GOLD ADDS DEPTH AND SPICES UP THE HOT PALETTE

!PPETIZERS

3PECIAL 2ICE 0LATES

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

0ORK

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

3OUP

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODLE 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

#OMBINATION 0LATES #OMBINATION 0LATE 3OUP OF THE $AY 0APER WRAPPED #HICKEN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE

#OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKEN #HOW -EIN OR &RIED 2ICE

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

3EAFOOD

0OULTRY "ROCCOLI #HICKEN !LMOND #HICKEN #ASHEW #HICKEN 3ZECHWAN #HICKEN

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

3WEET 3OUR #HICKEN 3A TAY #HICKEN ,EMON #HICKEN 3ESAME #HICKEN 4ERIYAKI #HICKEN 'ARLIC #HICKEN

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

"EEF WITH /YSTER 3AUCE 'INGER "EEF 0EPPER "EEF WITH BLACK BEAN

#ASHEW 0RAWN WITH LOBSTER SAUCE 0RAWN WITH BLACK BEAN SAUCE 3WEET 3OUR 0RAWN #URRY 0RAWN OR CALAMARI

+UNG 0AO 0RAWN OR CALAMARI

3ZECHWAN 0RAWN

6EGETABLE WITH 0RAWN

6EGETABLES 6EGETABLE $ELUXE 3ZECHWAN "EAN #URD

"RAISED "EAN #URD

&RIED 2ICE 6EGETARIAN &RIED 2ICE #HICKEN &RIED 2ICE ""1 0ORK &RIED 2ICE "EEF &RIED 2ICE 3HRIMP &RIED 2ICE #OMBINATION &RIED 2ICE

#HOW -EIN 6EGETARIAN #HOW -EIN #HICKEN #HOW -EIN ""1 0ORK #HOW -EIN "EEF #HOW -EIN 3HRIMP #HOW -EIN #OMBINATION #HOW -EIN

(OT 3PICY

0HONE NUMBER IN GOLD DISTINGUISHES IT FROM THE FOOD CATEGORIES AND ADDS ANOTHER LEVEL OF DEPTH

2EMEMBER TO WORK WITH YOUR VISUAL RESEARCH DONT PULL DESIGN DECISIONS FROM A HAT .OTE HERE THE GOLD COLOR IS FROM A RESEARCH IMAGE PAGE

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0RICES ARE SUBJECT TO CHANGE

4HE BEAUTY OF THIS SIMPLE MENU IS THAT THE BACKGROUNDWHICH BLEEDSCAN BE COMMERCIALLY PRINTED IN LARGE QUANTITIES THEN ! 4ASTE OF THE /RIENT CAN UPDATE ITEMS AS NEEDED AND PRINT FRESH COPIES ON A DESKTOP PRINTER

!PPETIZERS

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HIC KEN &RIED #HICKEN 7ING S 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

3OUP

! TASTE OF

4HE /RIENT

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(OT 3PICY

AND FOLDED FOR PRESENTATION

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!S AN OPTION A HEAVY FRAME AROUND EACH PANEL LOOKS A LOT LIKE A FOLDING SCREEN

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7ITH THE ADDITION OF THE BLACK FRAME EACH PANEL BECOMES ITS OWN SEPARATE ZONE A RESULT SIMILAR TO THE ORIGINAL MENU IN WHICH EACH CATEGORY WAS BOXED IN "UT UNLIKE THE UNATTRACTIVE ORIGINAL SEVERAL ELEMENTS TIE THE ZONES TOGETHER 4HE BLACK SILHOUETTE SPANS TWO PANELS 4HE BAMBOO SHADOW SPANS ALL THREE PANELS 4HE RED COLOR REPEATS THROUGHOUT !N ACCORDION FOLD LIKE THE SCREEN WOULD HAVE BEEN ARTISTICALLY TRUER BUT THE CONTENT OF THE MENU WOULDNT PERMIT IT

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3UBSCRIBE TO "EFORE !FTER $ID YOU ENJOY THIS ARTICLE 3UBSCRIBE AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE

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!CCIDENTAL DESIGN 'OOD DESIGN IS INTENTIONAL !T LEFT THREE CIRCLES AND THREE RECTANGLES HAVE BEEN ARRANGED IN TWO TRIANGLES AROUND A FOCAL POINT CENTERED IN THE LARGE CIRCLE THE PLATTER 4HATS DESIGN AND ITS ATTRACTIVE !BOVE THE CENTER PANEL IS TYPOGRAPHICALLY DIFFERENT FROM THE OTHER TWOA NORMAL VISUAL DEVICEBUT FOR NO APPARENT REASON 4HATS ACCIDENTAL AND ITS UNATTRACTIVE

"OXES EVERYWHERE "OXES CORRAL THE MANY KINDS OF DISHES 4HIS MAKES SENSE ORGANIZATIONALLY BUT THE PENCIL THIN LINES HAVE NO BEAUTY AND ARE UNNECESSARY TOO THE OPEN SPACE ALONE IS SUFlCIENT TO CREATE SEPARATION BETWEEN SECTIONS 2ANDOM MARGIN WIDTHS DISRUPT ANY POSSIBLE VISUAL RHYTHM

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4WO IMAGES CAN ANCHOR THE DESIGNTHE FOLDING SCREEN BECAUSE IT RESEMBLES THE FOLDED SHEET AND THE BAMBOO PLANT WHICH WILL MAKE A GRACEFUL PLACID BACKGROUND

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)NVERT AND CLEAN UP )NVERT BLACK AND WHITE BY SELECTING )MAGE!DJUSTMENTS)NVERT %RASE ANY LEFTOVER SPOTS AND UNWANTED PARTS )F NECESSARY USE THE "RUSH TOOL TO PAINT AND REDElNE SOME PARTS 3AVE A COPY OR A LAYER OF THIS IMAGE TO USE LATER

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#REATE THE ILLUSION OF NATURAL LIGHTTHE WALL

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#REATE A FOCAL ICON

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&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS

3ANS SERIF (ELVETICA

2OMAN SERIF 4IMES 2OMAN

#ALLIGRAPHIC 3ANVITO

!LTHOUGH POPULAR (ELVETICA IS NOT ESPE CIALLY CLEAR AT SMALL SIZES BECAUSE ITS SMALL APERTURES TEND TO CLOSE UP !ND ITS STRAIGHT LINES ARE TOO RIGID TO COMPLE MENT FREE mOWING 2UACH

2OMAN SERIF FACES ARE MORE RElNED AND GENERALLY EASIER TO READ BECAUSE SERIFS HELP MOVE THE EYE FROM LETTER TO LETTER BUT THEYRE FULL OF TINY DETAIL AND STYLISTICALLY VERY DIFFERENT FROM 2UACH

3IMPLE LINES ")' COUNTERS ")' APER TURES AND A SWEEPING STROKE YIELD BOTH CLARITY AND CALLIGRAPHIC STYLE WITHOUT THE BRUSH DETAILS 3ANVITO IS A GOOD COMPLEMENT TO 2UACH

7F

7F

(JJ5ROOV 3DSHUZUDSSHG&KLFNHQ )ULHG&KLFNHQ:LQJV

4OO STRAIGHT

4OO SMALL

!PPETIZERS

3MALL BUT SERIFS HELP MOVE THE EYE

4C

3WEEPING AND OPEN

#OMPLEMENT IMAGE AND LAYOUT

7ITH THE BAMBOO ALREADY ON THE PAGE CREATE A RELATIONSHIP BETWEEN IMAGE TYPE AND LAYOUT BY MIMICKING ITS SPIKY VISUAL QUALITIES

,EFT !NALYZE THE BAMBOO BASED ON LINE AND DIRECTION .OTE THAT ITS LEAVES AND STEMS POINT IN DIFFERENT DIRECTIONSHORIZONTAL DIAGONAL VERTICALWHICH CREATES A LOT OF MOVEMENT AND TENSION 4HIS ACTION CAN BE MIMICKED IN THE LAYOUT

0LACE THE SEAL 7HAT SIZE SHOULD THE SEAL BE 'ENER ALLY SPEAKING WORK WITH WHATS IN FRONT OF YOU (ERE THE BAMBOO IS GOVERN ING THE DESIGN SO GIVE THE SEAL SIMILAR MASS AND PLACE IT DIRECTLY BENEATH THE DOWNWARD POINTING hUMBRELLAv ABOUT MID PAGE

! TASTE OF

4HE /RIENT

0LACE THE BUSINESS NAME 4HE BAMBOO LEAVES HAVE BOTH SIZE AND DIRECTIONAL DIFFER ENCES -IMIC THIS WITH TWO TYPE SIZES AND STAGGERED PLACE MENT WHICH MOVES THE EYE SIMILARLY AND PUTS TENSION INTO THE LAYOUT

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

0LACE THE CONTACT INFORMATION 3INCE THIS IS A TAKE HOME MENU THE PHONE NUMBER NEEDS TO BE PROMINENT HERE ITS SIZE AND RIGHT OFFSET MAKE IT STAND OUT 2EMAINING INFORMATION ALIGNED WITH THE SEAL ESTAB LISHES CONTINUITY YET RETAINS THE STAGGERED MOVEMENT

!LIGNED WITH SEAL FOR CONTINUITY

$ISTINCTIVELY /RIENTAL

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

$ISTINCTIVELY /RIENTAL

/RGANIZE THE MENU ITEMS

!LL THOSE BOXES ON THE ORIGINAL MENU ARE UNNECESSARY THE WHITE SPACE ALONE IS SUFlCIENT TO SEPARATE THE SECTIONS BEAUTIFULLY 3IMPLE TAB INDENTS IDENTIFY COLUMNAR ELEMENTS AND MIMIC THE BAMBOO TOO

3PECIAL 2ICE 0LATES

&AMILY 3PECIALS

&AMILY 3PECIALSn PEOPLE

6ISUAL RELATIONSHIPS !BOVE THE HEADLINE X HEIGHT DETER MINES THE TEXT SIZE "ELOW ITS OVERALL HEIGHT GOVERNS SECTION SPACING

&AMILY 3PECIALS

#ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

4AB INDENTS RATHER THAN mUSH LEFT ALIGNMENT YIELD TEXT BLOCKS THAT HAVE STAGGERED EDGES SIMILAR TO THE BAMBOO AND COVER LAYOUT

2EPEAT INSIDE

7HATS GOOD FOR THE OUTSIDE IS GOOD FOR THE INSIDE #REATE CONTINUITY EASILY BY REPEATING THE BACKGROUND MARGINS COLUMN GUIDES AND TYPE TREATMENT INSIDE

/UTSIDE SPREAD

)NSIDE SPREAD !PPETIZERS

3PECIAL 2ICE 0LATES

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

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#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

0ORK

3OUP

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODLE 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

#OMBINATION 0LATES #OMBINATION 0LATE 3OUP OF THE $AY 0APER WRAPPED #HICKEN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE

#OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKEN #HOW -EIN OR &RIED 2ICE

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

3EAFOOD

0OULTRY "ROCCOLI #HICKEN !LMOND #HICKEN #ASHEW #HICKEN 3ZECHWAN #HICKEN

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

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"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

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6EGETABLE WITH 0RAWN

6EGETABLES 6EGETABLE $ELUXE 3ZECHWAN "EAN #URD

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&RIED 2ICE 6EGETARIAN &RIED 2ICE #HICKEN &RIED 2ICE ""1 0ORK &RIED 2ICE "EEF &RIED 2ICE 3HRIMP &RIED 2ICE #OMBINATION &RIED 2ICE

#HOW -EIN 6EGETARIAN #HOW -EIN #HICKEN #HOW -EIN ""1 0ORK #HOW -EIN "EEF #HOW -EIN 3HRIMP #HOW -EIN #OMBINATION #HOW -EIN

(OT 3PICY

2EPEAT THE BACKGROUND 5SE THE SAME BACKGROUND IMAGE INSIDE AS OUTSIDE BUT TO MAKE SPACE FOR THE MENU ITEMS DELETE THE FOREGROUND SILHOUETTES #ARRY OVER MARGINS GUIDES AND TYPE TREATMENT .OTE THAT THE BAMBOO SHADOW IS REVERSED TO CREATE THE ILLUSION OF TRANSPARENT RICE PAPER

$ISTINCTIVELY /RIENTAL

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

$ISTINCTIVELY /RIENTAL

#OLOR UNIlES THE ELEMENTS

)TS TIME TO ADD COLOR /UR EYES CONNECT SIMILARITIESTHIS LIKE THAT #OLOR THE HEADLINES TO MATCH THE SEAL ALREADY ON THE COVER 4HE CONTRAST OF GOLD ADDS DEPTH AND SPICES UP THE HOT PALETTE

!PPETIZERS

3PECIAL 2ICE 0LATES

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

0ORK

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

! TASTE OF

4HE /RIENT

"ROCCOLI #HICKEN !LMOND #HICKEN #ASHEW #HICKEN 3ZECHWAN #HICKEN

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

3WEET 3OUR #HICKEN 3A TAY #HICKEN ,EMON #HICKEN 3ESAME #HICKEN 4ERIYAKI #HICKEN 'ARLIC #HICKEN

#OMBINATION 0LATES

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

#OMBINATION 0LATE 3OUP OF THE $AY 0APER WRAPPED #HICKEN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE

#OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKEN #HOW -EIN OR &RIED 2ICE

0OULTRY

3OUP 3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODLE 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

3EAFOOD

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

"EEF WITH /YSTER 3AUCE 'INGER "EEF 0EPPER "EEF WITH BLACK BEAN

#ASHEW 0RAWN WITH LOBSTER SAUCE 0RAWN WITH BLACK BEAN SAUCE 3WEET 3OUR 0RAWN #URRY 0RAWN OR CALAMARI

+UNG 0AO 0RAWN OR CALAMARI

3ZECHWAN 0RAWN

6EGETABLE WITH 0RAWN

6EGETABLES 6EGETABLE $ELUXE 3ZECHWAN "EAN #URD

"RAISED "EAN #URD

&RIED 2ICE 6EGETARIAN &RIED 2ICE #HICKEN &RIED 2ICE ""1 0ORK &RIED 2ICE "EEF &RIED 2ICE 3HRIMP &RIED 2ICE #OMBINATION &RIED 2ICE

#HOW -EIN 6EGETARIAN #HOW -EIN #HICKEN #HOW -EIN ""1 0ORK #HOW -EIN "EEF #HOW -EIN 3HRIMP #HOW -EIN #OMBINATION #HOW -EIN

(OT 3PICY

0HONE NUMBER IN GOLD DISTINGUISHES IT FROM THE FOOD CATEGORIES AND ADDS ANOTHER LEVEL OF DEPTH 2EMEMBER TO WORK WITH YOUR VISUAL RESEARCH DONT PULL DESIGN DECISIONS FROM A HAT .OTE HERE THE GOLD COLOR IS FROM A RESEARCH IMAGE PAGE

0RICES ARE SUBJECT TO CHANGE

4HE BEAUTY OF THIS SIMPLE MENU IS THAT THE BACKGROUNDWHICH BLEEDSCAN BE COMMERCIALLY PRINTED IN LARGE QUANTITIES THEN ! 4ASTE OF THE /RIENT CAN UPDATE ITEMS AS NEEDED AND PRINT FRESH COPIES ON A DESKTOP PRINTER

!PPETIZERS

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKE N &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

3OUP

! TASTE OF

4HE /RIENT

3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODL E 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

#OMBINATION 0LAT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

0RE PRINTED SHELLS

$ISTINCTIVELY /RIENTAL

ITEMS UPDATED PRINTED

"EFORE!FTER \ WWWBAMAGAZINECOM

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#OMBINATION 0LATE ES 3OUP OF THE $AY 0APER WRAPPED #HICKE N "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE #OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKE N #HOW -EIN OR &RIED 2ICE

0ORK

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

0OULTRY "ROCCOLI #HICKEN !LMOND #HICKEN #ASHEW #HICKEN 3ZECHWAN #HICKEN

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

3WEET 3OUR #HICKEN 3A TAY #HICKEN ,EMON #HICKEN 3ESAME #HICKEN 4ERIYAKI #HICKEN 'ARLIC #HICKEN

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

"EEF WITH /YSTER 3AUCE 'INGER "EEF 0EPPER "EEF WITH BLACK BEAN

3EAFOOD

#ASHEW SAUCE 0RAWN WITH LOBSTER SAUCE BEAN 0RAWN WITH BLACK 3WEET 3OUR 0RAWN RI

CALAMA #URRY 0RAWN OR OR CALAMARI

0RAWN 0AO +UNG

3ZECHWAN 0RAWN 6EGETABLE WITH 0RAWN

6EGETABLES

E 6EGETABLE $ELUX

3ZECHWAN "EAN #URD "RAISED "EAN #URD

&RIED 2ICE

2ICE 6EGETARIAN &RIED #HICKEN &RIED 2ICE 2ICE ""1 0ORK &RIED "EEF &RIED 2ICE 3HRIMP &RIED 2ICE 2ICE #OMBINATION &RIED

#HOW -EIN

-EIN 6EGETARIAN #HOW #HICKEN #HOW -EIN -EIN ""1 0ORK #HOW "EEF #HOW -EIN 3HRIMP #HOW -EIN -EIN #OMBINATION #HOW

(OT 3PICY

AND FOLDED FOR PRESENTATION

$ISTINCTIVELY /RIENTAL

"Y THE WAY

!S AN OPTION A HEAVY FRAME AROUND EACH PANEL LOOKS A LOT LIKE A FOLDING SCREEN

!PPETIZERS

3PECIAL 2ICE 0LATES

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

&RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICK EN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

-ONGOLIAN "EEF

#URRY #HICKEN

"ROCCOLI "EEF 3ESAME #HICKEN ,EMON #HICKEN #ASHEW #HICKEN 'ARLIC #HICKEN (UNAN #HICKEN 6EGETABLE $ELUXE

%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

#URRY 3HRIMP 3HRIMP WITH BLACK BEAN SAUCE 3HRIMP WITH LOBSTER SAUCE

3OUP

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

3OUP OF THE $AY %GG &LOWER 3OUP #HICKEN .OODLE 3OUP "EEF .OODLE 3OUP 7ON 4ON .OODLE 3OUP 7ON 4ON 3OUP #OMBINATION 7ON 4ON (OT 3OUR 3OUP

#OMBINATION 0LAT

#OMBINATION 0LATE ES 3OUP OF THE $AY 0APER WRAPPED #HICK EN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE #OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICK EN #HOW -EIN OR &RIED 2ICE

0ORK 3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

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+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

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"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

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&RIED 2ICE

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#HOW -EIN

-EIN 6EGETARIAN #HOW #HICKEN #HOW -EIN -EIN ""1 0ORK #HOW "EEF #HOW -EIN -EIN #HOW P 3HRIM -EIN #OMBINATION #HOW

(OT 3PICY

7ITH THE ADDITION OF THE BLACK FRAME EACH PANEL BECOMES ITS OWN SEPARATE ZONE A RESULT SIMILAR TO THE ORIGINAL MENU IN WHICH EACH CATEGORY WAS BOXED IN "UT UNLIKE THE UNATTRACTIVE ORIGINAL SEVERAL ELEMENTS TIE THE ZONES TOGETHER 4HE BLACK SILHOUETTE SPANS TWO PANELS 4HE BAMBOO SHADOW SPANS ALL THREE PANELS 4HE RED COLOR REPEATS THROUGHOUT !N ACCORDION FOLD LIKE THE SCREEN WOULD HAVE BEEN ARTISTICALLY TRUER BUT THE CONTENT OF THE MENU WOULDNT PERMIT IT

!RTICLE RESOURCES

3PECIAL 2ICE 0LATES

B D

B D

&AMILY 3PECIALSn PEOPLE #ANTONESE &AMILY 3PECIAL 3OUP OF THE $AY %GG 2OLLS "ROCCOLI "EEF 4ERIYAKI #HICKEN ""1 0ORK &RIED 2ICE

-ANDARIN &AMILY 3PECIAL 3OUP OF THE $AY &RIED 0RAWNS -ONGOLIAN "EEF 3A TAY #HICKEN ""1 0ORK #HOW -EIN

(OUSE &AMILY 3PECIAL 3OUP OF THE $AY 0APER WRAPPED #HICKEN #ASHEW 0RAWN 3ESAME #HICKEN 3HRIMP #HOW -EIN

!PPETIZERS &RIED 7ON 4ON %GG 2OLLS 0APER WRAPPED #HICKEN &RIED #HICKEN 7INGS 0OT 3TICKERS &RIED 0RAWNS &RIED #ALAMARI #HINESE #HICKEN 3ALAD

#OMBINATION 0LATES #OMBINATION 0LATE 3OUP OF THE $AY 0APER WRAPPED #HICKEN "ROCCOLI "EEF #HOW -EIN OR &RIED 2ICE

#OMBINATION 0LATE 3OUP OF THE $AY &RIED 0RAWNS 3WEET 3OUR #HICKEN #HOW -EIN OR &RIED 2ICE

$ISTINCTIVELY /RIENTAL

! TASTE OF

4HE /RIENT

.ORTHGATE "LVD 3ACRAMENTO #ORNER OF .ORTHGATE 3AN *UAN /PEN -n3AT FROM n CLOSED 3UNDAY $INE )N s 4AKE /UT s #ATERING

3WEET 3OUR 0ORK 'ARLIC 0ORK WITH VEGETABLES 3A TAY 0ORK 4ERIYAKI 0ORK ""1 0ORK "EAN #URD

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

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# - 9 + # - 9 +

A A

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#OLORS

AnD 3ANVITO -- \ A PT B PT C PT D PT

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%NTREE WITHOUT SHRIMP 3A TAY #HICKEN OR 0ORK 4ERIYAKI #HICKEN OR 0ORK 3WEET 3OUR #HICKEN OR 0ORK +UNG 0AO #HICKEN 3ZECHWAN "EEF

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#URRY #HICKEN

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%NTREE WITH SHRIMP #ASHEW 3HRIMP +UNG 0AO 3HRIMP 3ZECHWAN 3HRIMP

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4YPEFACES AnB 2UACH 0LAIN \ A PT B PT

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#HOW -EIN 6EGETARIAN #HOW -EIN #HICKEN #HOW -EIN ""1 0ORK #HOW -EIN "EEF #HOW -EIN 3HRIMP #HOW -EIN #OMBINATION #HOW -EIN

(OT 3PICY

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

$ISTINCTIVELY /RIENTAL

!RTICLE RESOURCES

)MAGES

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AnD 0HOTOSCOM \ A B C D 0HOTODISC6EERCOM 3TOCKBYTE6EERCOM AnF ISTOCKPHOTOCOM \ A B C D E F

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QU QU QU QU ʔcʄQU

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RU RU ʔcʄRU ʔcʆRU

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4HE RELATIONSHIPSÊ

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3UBSCRIBE TO "EFORE !FTER `ÊÞÕÊiÞÊÌÃÊ>ÀÌVi¶Ê-ÕLÃVÀLi]Ê>`Ê LiViÊ>ÊÀiÊV>«>Li]ÊVw`iÌÊ`iÃ}iÀÊ vÀÊ«iiÃÊ«iÀÊ>ÀÌVi°Ê/Êi>ÀÊÀi]Ê}ÊÌÊ ÌÌ«\ÉÉÜÜÜ°L>>}>âi°VÉ-ÕLÃVÀLi

"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE

/Ê«>ÃÃÊ>}Ê>ÊvÀiiÊV«ÞÊvÊÌÃÊ>ÀÌViÊÌÊ

*OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER

ÌiÀÃ]ÊVVÊiÀi°

%DITORIAL BOARD 'WEN !MOS #ARL 7INTHER

% MAIL THIS ARTICLE

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#OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS THIS ARTICLE AROUND BUT YOU MAY NOT ALTER IT AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW )F YOU DO THIS PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O FEATURE FREE "EFORE !FTER ARTICLES ON YOUR 7EB SITE PLEASE CONTACT US &OR PERMISSION TO INCLUDE ALL OR PART OF THIS ARTICLE IN ANOTHER WORK PLEASE CONTACT US

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$ESIGN ON A

#ENTERLINE !N IMAGE A TYPEFACE AND ONE LINE ARE ALL YOU NEED TO SET A CLASSY SCENE #ONTINUED `

#ONTINUED `

$ESIGN ON A CENTERLINE

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I 3 6

$ESIGN ON A CENTERLINE &OR CONVEYING QUIET BEAUTY NOTHING IS EASIER THAN A CENTERED LAYOUT

4HE CREATIVE BRIEF

9OUR CLIENT IS A COLLEGE WHOSE ART DEPARTMENT HAS GIVEN YOU A SMALL SCHEDULE TO DESIGN AND HAS A FEW REQUIREMENTS )T MUST CONVEY THE NOBILITY OF THE SCHOOL AND THE ARTISTIC SPIRIT OF THE MONTHS EVENTS )T MUST BE HANDY TO USE PRINTABLE IN HOUSE AND CHEAP /H AND PLEASE HAVE IT lNISHED TONIGHT (OW DO YOU DO A QUALITY JOB ON SUCH A TIGHT SCHEDULE )N THE SAME WAY THAT YOU DO ANY JOB METHODICALLY 4HE DIFFERENCE IS THAT YOU LIMIT FONTS AND COLORS TO THE BASICS AND YOUR LAYOUT TO A SIMPLE CONlGURATION

&ROM 3UBJECT $ATE 4O

#INDY (OLLAND !UGUST 3CHEDULE OF %VENTS CARD *ULY !- 0$4 $EXTER -ARK !BELLERA

(ELLO $EXTER

3ORRY FOR THE RUSH HERE #OPYS BELOW 7E NEED SOMETHING WE CAN PRINT IN THE OFlCE AND PASS OUT BY HAND SO WE WERE THINKING MAYBE THEY COULD BE CARDS THREE TO A SHEET )TS !RT -ONTH AND THE EVENTS ARE PRETTY VARIED SO WE HOPE YOU CAN lND AN ARTISTIC LOOK THAT TIES THEM TOGETHER AND STILL FEELS LIKE THE SCHOOL WHICH AS YOU KNOW IS PRETTY TRADITIONAL $EADLINES TONIGHT "EST #INDY

$ELTA #OLLEGE !RT $EPARTMENT !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

!UGUST PM

$IALOGUES IN "EAUTY $EBORAH 7ITT

3HIMA (ALL 'ALLERY !UGUST PM

3LIDE ,ECTURE !RTIST *UDY -ILLER

-ARIPOSA (ALL

!T LEFT IS THE RAW DATA WHICH YOU WILL VISUALLY hTRANSLATEv INTO IMAG ERY (IGHLIGHT ITEM BY ITEM 9OURE LOOKING FOR KEY WORDS THAT WILL GOVERN THE DESIGN 0ARAMETERS 4ITLE AND TOPIC )NTRODUCTION $ATES AND TIMES %VENT TITLE AND SPEAKER 6ENUE

!UGUST PM

3UMMER 3HOW 3TUDENT %XHIBITION

5NIVERSITY ,IBRARY 'ALLERY !UGUST PM

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS

5NIVERSITY 7EST &ORUM !UGUST PM

%XPAND 9OUR (ORIZON !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST PM

! #ONVERSATION 7ITH "EVERLY -ILLS

3HIMA (ALL 'ALLERY !UGUST PM

3UMMER !RTS #RAFTS &AIR

-AIN #OURTYARD

3UMMARY #ARD SIZE 0RINTABLE IN THE OFlCE

!UGUST PM

#LOSE %NCOUNTERS *ULIE 0ACKARD

5NIVERSITY ,IBRARY 'ALLERY !UGUST PM

,ECTURE 0AINTINGS 0RINTS *AMES 2OGERS

5NIVERSITY %AST &ORUM !UGUST PM

.EARLY 2EmECTING !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST PM

4HE 3HAPE OF #OLOR *ASON 5NTALAN

5NIVERSITY 7EST &ORUM

+EY WORDS !RTISTIC AND TRADITIONAL

!UGUST PM

0ETER +ILMER #ERAMICS

-ENDOCINO (ALL

_ OF `

$ESIGN ON A CENTERLINE

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$ESIGN ON A CENTERLINE

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I 3 6

,OOK 2EAD ,EARN

.EXT STEP IS TO lND ONE IMAGEWE HAVE NO TIME FOR MORETHAT EMBODIES THE IDEAS OF ARTISTIC AND TRADITIONAL 2EMEMBER THAT THE IMAGE MUST REPRESENT MANY KINDS OF ART

,OOK BEYOND THE OBVIOUS 7HEN LOOKING AT OBJECTS WE TEND NOT TO GET MUCH PAST THE SURFACE hTHATS AN INTERESTING MASK THERES AN OLD BOOKv "UT THE DESIGNER MUST LOOK DEEPER 0UT WORDS ON WHAT YOU SEE 7HAT EXACTLY MAKES THE MASK INTERESTING 7HAT COLORS SAY ARTISTIC 7HAT KIND OF SHAPE SAYS TRADITIONAL 7HAT TEXTURES 7HAT LINES 0AY ATTENTION TO SENSUAL QUALITIES LIKE SOUND SMELL TOUCH AND THE INTANGI BLES OF HISTORY CULTURE AND TRADITION 4HE IDEAL IMAGE NOT ONLY MAKES THE RIGHT MESSAGE ARTISTIC AND TRADITION AL BUT HAS BOLD PHYSICAL PROPERTIES LINE SILHOUETTE COLOR THAT CAN HAVE AN IMPACT ON THE DESIGN

"OOKS (IGHLY TRADITIONAL RICH TACTILE IRREGULAR DESATURATED COLORS SUGGEST SCHOLARSHIP AND HISTORY BUT NOT ARTISTRY

-ASK !RTISTIC CLAY WARM MYSTERIOUS EMOTIVE SUGGESTS THEATER TOO HUMAN

-OUSE #OLD HARD HIGH CONTRAST USED FOR ART BUT NEI THER ARTISTIC NOR TRADITIONAL

"RUSH #ALLIGRAPHIC LACQUERED WELL USED DESAT URATED COLORS BOLD SILHOUETTE TRADITIONAL A BRUSH SAYS ART TO EVERYONE 4HIS IS OUR IMAGE

_ OF `

$ESIGN ON A CENTERLINE

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"!MAGAZINECOM

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I 3 6

.OW RELATE IMAGE TO PAGE

%STABLISH A RELATIONSHIP BETWEEN IMAGE AND PAGE !SK WHAT ARE THE BOLDEST CHARACTERISTICS OF EACH AND WHAT PROPERTIES DO THEY HAVE IN COMMON 7ORK WITH THOSE

#ENTERLINE 7HAT SIZE 7HEN YOU HAVE ONLY ONE IMAGE ITS NATURAL TO WANT IT BIG "UT PAY ATTENTION )N THIS CASE A BIGGER BRUSH WOULD ISOLATE AND DEADEN THE SPACE ABOVE IT BELOW TOP 4HINK OF WHITE AS LIQUID AND LET IT mOW BOTTOM

7ORK WITH WHAT YOU HAVE 4HE PAGE IS A STRONG VERTICAL LINE THE BRUSH IS AN EVEN STRONGER LINE 0LACED PARALLEL THEY WORK TOGETHER CROSSING THEY HAVE FRICTION AND ENERGY AND IN THIS CASE THE BRUSH BECOMES A HEADER TOO 4HE CENTERLINE IS THE POINT OF HIGHEST CONTRAST BELOW AND RIGHT

,OW CONTRAST

(IGH CONTRAST

_ OF `

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"!MAGAZINECOM

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I 3 6

#REATE A SIMPLE COLOR PALETTE

#REATE A COLOR PALETTE MADE OF THE IMAGE PLUS ONE ADDITIONAL COLOR WHICH CAN HARMONIZE OR IN THIS CASE CONTRAST &OR VERSATILITY ADJUST THE COLOR TO ITS MIDDLE VALUE

3AMPLE LOCATE REDUCE 4HE DOMINANT COLOR IN AN IMAGEHERE MUTED RED WILL HAVE THE MOST INTERACTION WITH THE BACKGROUND COLOR ,OCATE THIS RED ON THE COLOR WHEEL RIGHT 3TRAIGHT ACROSS IS ITS COMPLEMENT GREEN WHICH HAS INTENSE CONTRAST %ITHER SIDE OF GREEN ARE REDS SPLIT COMPLEMENTS GREEN YEL LOW AND GREEN BLUE WHICH CONTRAST BUT WITH LESS TENSION 4O MAKE BEAUTIFULLY SOFT CON TRAST LIGHTEN THE COMPLEMENT

-IDDLE VALUE -IDDLE VALUE GREEN YIELDS THE BEST OF THREE WORLDSA TOUCH OF CONTRAST THE SEDATE SOFTNESS OF OLD WELL USED THINGS AND VISUAL DEPTH !GAINST MIDDLE VALUE THE DARK AND LIGHT OF THE BRUSH COME FORWARD MAKING A STRONG ILLUSION OF AN OBJECT THATS PHYSI CALLY ON THE PAGE

_ OF `

$ESIGN ON A CENTERLINE

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"!MAGAZINECOM

OF

I 3 6

3ELECT ONE TYPE FAMILY AND SET IT IN ONE SIZE

(ERE THE IDEA OF TRADITIONAL AND THE NEED FOR SIMPLICITY INTERSECT OLD BOOKS WERE OFTEN SET IN A SINGLE FAMILY OF SERIF TYPE WHICH HERE WILL CONVEY TRADITION AND MINIMIZE DECISIONS

.OTE THE BRUSH IS USED AS A SPACER

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 3TART WITH A BOLD STATEMENT #ENTER THE TITLE IN ALL CAPS WITH W I D E L E T T E R S P A C I N G WHICH CONVEYS PRE EMINENCE POWER PERMANENCE .OTE IN THIS CASE THAT ALL CAPS ECHO THE STRAIGHT LINE OF THE BRUSH ABOVE 5PPER AND LOWERCASE BELOW HAS A BUSY LINE THAT SETS A MORE CONVERSATIONAL TONE

$ELTA #OLLEGE

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$ESIGN ON A CENTERLINE

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I 3 6

"!MAGAZINECOM

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#ENTER THE SECOND TITLE IN SMALL CAPS

#ENTER THE SECOND TITLE THE SAME SIZE AS THE lRST BUT IN SMALL CAPS WHICH CONVEY THE PRESENCE AND AUTHORITY OF FULL CAPITALS BUT AT A SECONDARY LEVEL

3MALL CAPS 4RUE SMALL CAPS ARE UPPERCASE CHARACTERS THAT HAVE THE SAME HEIGHT AND WEIGHT AS NORMAL LOWERCASE CHARACTERS BELOW WITH WHICH THEY BLEND BEAUTIFULLY .OT ALL FONTS CONTAIN TRUE SMALL CAPS IN WHICH CASE YOU MUST MAKE YOUR OWN &ALSE SMALL CAPS ARE SERVICE ABLE BUT INCONSISTENTLY LIGHT BECAUSE THEY ARE MERELY FULL SIZE CAPS REDUCED IN SIZE

!UGUST SCHEDU

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

7IDE LETTERSPACING .ORMAL LETTERSPACING

4RUE SMALL CAPS #ONSISTENT WEIGHT 4HESE ARE PART OF THE FONT

!5'534 &ALSE SMALL CAPS )NCONSISTENT WEIGHT 4HESE YOU MAKE YOURSELF

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"!MAGAZINECOM

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2EPEAT REPEAT REPEAT

!S YOU ADD COPY KEEP THE CARD SIMPLE BY REPEATING WHATS ALREADY ON THE PAGE SAME TYPESTYLE SAME SIZE SAME SPACING ALL CENTERED

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

/NLY THREE SIZES .OTE THE CARD HAS ONLY THREE SIZES BIG SPACE TYPE SIZE SMALL SPACE 4HIS REPETITIVE APPROACH GOES TOGETHER FAST IT LOOKS GOOD AND ITS ARTISTICALLY CORRECT

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I 3 6

$IFFERENTIATE ELEMENTS BY CHANGING STYLES

$IFFERENTIATE TITLES VENUES AND DATES BY ASSIGNING EACH A STYLELIGHT ITALIC OR BOLD BUT DO NOT CHANGE THE SIZE OR SPACING

4HE BEAUTY OF A GOOD TYPE FAMILY IS IN ITS VARIETY OF STYLES (ERE NAMES ARE SET IN ONE STYLE VENUES ANOTHER DATES A THIRD 4HE SIMILARI TIES KEEP THEM TOGETHER THE DIFFERENCES KEEP THEM APART ALL HARMONIZE BEAUTIFULLY

)N AN EXCEPTIONAL PROGRAM $IALOGUES IN "EAUTY 3HIMA (ALL 'ALLERY #LEARLY VISIBLE IN THE DIAGRAM ABOVE ARE THE DIFFERENT TEXTURES AND RHYTHMS WITHIN A TYPE FAMILY EACH OF WHICH HAS A UNIQUE hVOICEv

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS )N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING $IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY 3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL 3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

#ONSISTENCY WITHIN ELEMENTS 4HE HEADLINE ENCOMPASSES THE EVENTS BELOW IT SO KEEP THE RELATION SHIP IN SIZE AND STYLE BUT DIFFERENTI ATE BY COLOR 'REEN ON GREEN HAS LESS CONTRAST AND LOWER VISIBILITY THEREFORE LOWER HIERARCHY

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

_ OF `

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I 3 6

5SE OLD STYLE NUMERALS

)F THEY ARE AVAILABLE NOT ALL FONTS HAVE THEM USE BEAUTIFUL OLD STYLE NUMERALS WHICH BLEND WITH UPPER AND LOWERCASE CHARACTERS AND CONVEY BOTH ARTISTRY AND TRADITION

!"#$%&'()* 5SE OLD STYLE NUMERALS IN TEXT !BOVE STANDARD NUMERALS ARE UPPERCASE AND MONOSPACED TO ALIGN IN COLUMNS FOR ACCOUNTING USE AND MORE "EAUTIFUL OLD STYLE NUMERALS BELOW ARE MEANT FOR USE IN TEXT 3MALLER LIKE LOWERCASE LETTERS THEYRE MORE VARIED AND OFTEN DESCEND FAR BELOW THE BASELINE !LSO LIKE LETTERS THEY HAVE DIF FERENT WIDTHS AND ARE CALLED NON LINING BECAUSE IN COLUMNS THEY DONT LINE UP !SCENDERS

*AMES 2OGERS $ESCENDERS

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS )N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING $IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY 3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL 3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

2ED DATES TIE TO THE BRUSH AND HEAD LINES AND DElNE THE CENTERLINE

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

_ OF `

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$ESIGN ON A CENTERLINE

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OF

I 3 6

4HE lNISHED CARD #ONTINUE YOUR WAY DOWN THE CENTERLINE UNTIL THE JOB IS BEAUTIFULLY COMPLETE

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

$IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY

$IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY

3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL

3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL

3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

%XPAND 9OUR (ORIZON !PRIL "REEDON PM 3HIMA (ALL 'ALLERY

%XPAND 9OUR (ORIZON !PRIL "REEDON PM 3HIMA (ALL 'ALLERY

! #ONVERSATION 7ITH "EVERLY -ILLS PM 3HIMA (ALL 'ALLERY

! #ONVERSATION 7ITH "EVERLY -ILLS PM 3HIMA (ALL 'ALLERY

3UMMER !RTS #RAFTS &AIR PM -AIN #OURTYARD

3UMMER !RTS #RAFTS &AIR PM -AIN #OURTYARD

#LOSE %NCOUNTERS *ULIE 0ACKARD PM 5NIVERSITY ,IBRARY 'ALLERY

#LOSE %NCOUNTERS *ULIE 0ACKARD PM 5NIVERSITY ,IBRARY 'ALLERY

,ECTURE 0AINTINGS 0RINTS *AMES 2OGERS PM 5NIVERSITY %AST &ORUM

,ECTURE 0AINTINGS 0RINTS *AMES 2OGERS PM 5NIVERSITY %AST &ORUM

.EARLY 2EmECTING !PRIL "REEDON PM 3HIMA (ALL 'ALLERY

.EARLY 2EmECTING !PRIL "REEDON PM 3HIMA (ALL 'ALLERY

,ECTURE 4HE 3HAPE OF #OLOR *ASON 5NTALAN PM 5NIVERSITY %AST &ORUM

,ECTURE 4HE 3HAPE OF #OLOR *ASON 5NTALAN PM 5NIVERSITY %AST &ORUM

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$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS )N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING $IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY 3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL 3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY ,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM %XPAND 9OUR (ORIZON !PRIL "REEDON PM 3HIMA (ALL 'ALLERY

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3UBSCRIBE TO "EFORE !FTER $ID YOU LEARN FROM THIS ARTICLE 3UBSCRIBE AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE

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4O PASS ALONG A FREE COPY OF THIS ARTICLE TO

*OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER

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"EFORE !FTER IS MADE TO lT YOUR BINDER "EFORE !FTER ARTICLES ARE INTENDED FOR PERMANENT REFERENCE !LL ARE TITLED AND NUMBERED &OR THE CURRENT TABLE OF CONTENTS CLICK HERE 4O SAVE TIME AND PAPER A PAPER SAVER FORMAT OF THIS ARTICLE SUITABLE FOR ONE OR TWO SIDED PRINTING IS PROVIDED ON THE FOLLOWING PAGES

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#ENTERLINE !N IMAGE A TYPEFACE AND ONE LINE ARE ALL YOU NEED TO SET A CLASSY SCENE

4HE CREATIVE BRIEF

9OUR CLIENT IS A COLLEGE WHOSE ART DEPARTMENT HAS GIVEN YOU A SMALL SCHEDULE TO DESIGN AND HAS A FEW REQUIREMENTS )T MUST CONVEY THE NOBILITY OF THE SCHOOL AND THE ARTISTIC SPIRIT OF THE MONTHS EVENTS )T MUST BE HANDY TO USE PRINTABLE IN HOUSE AND CHEAP /H AND PLEASE HAVE IT lNISHED TONIGHT (OW DO YOU DO A QUALITY JOB ON SUCH A TIGHT SCHEDULE )N THE SAME WAY THAT YOU DO ANY JOB METHODICALLY 4HE DIFFERENCE IS THAT YOU LIMIT FONTS AND COLORS TO THE BASICS AND YOUR LAYOUT TO A SIMPLE CONlGURATION

&ROM 3UBJECT $ATE 4O

#INDY (OLLAND !UGUST 3CHEDULE OF %VENTS CARD *ULY !- 0$4 $EXTER -ARK !BELLERA

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3ORRY FOR THE RUSH HERE #OPYS BELOW 7E NEED SOMETHING WE CAN PRINT IN THE OFlCE AND PASS OUT BY HAND SO WE WERE THINKING MAYBE THEY COULD BE CARDS THREE TO A SHEET )TS !RT -ONTH AND THE EVENTS ARE PRETTY VARIED SO WE HOPE YOU CAN lND AN ARTISTIC LOOK THAT TIES THEM TOGETHER AND STILL FEELS LIKE THE SCHOOL WHICH AS YOU KNOW IS PRETTY TRADITIONAL $EADLINES TONIGHT "EST #INDY

$ELTA #OLLEGE !RT $EPARTMENT !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

!UGUST PM

$IALOGUES IN "EAUTY $EBORAH 7ITT

3HIMA (ALL 'ALLERY !UGUST PM

3LIDE ,ECTURE !RTIST *UDY -ILLER

-ARIPOSA (ALL

!T LEFT IS THE RAW DATA WHICH YOU WILL VISUALLY hTRANSLATEv INTO IMAG ERY (IGHLIGHT ITEM BY ITEM 9OURE LOOKING FOR KEY WORDS THAT WILL GOVERN THE DESIGN 0ARAMETERS 4ITLE AND TOPIC )NTRODUCTION $ATES AND TIMES %VENT TITLE AND SPEAKER 6ENUE

!UGUST PM

3UMMER 3HOW 3TUDENT %XHIBITION

5NIVERSITY ,IBRARY 'ALLERY !UGUST PM

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS

5NIVERSITY 7EST &ORUM !UGUST PM

%XPAND 9OUR (ORIZON !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST PM

! #ONVERSATION 7ITH "EVERLY -ILLS

3HIMA (ALL 'ALLERY !UGUST PM

3UMMER !RTS #RAFTS &AIR

-AIN #OURTYARD

3UMMARY #ARD SIZE 0RINTABLE IN THE OFlCE

!UGUST PM

#LOSE %NCOUNTERS *ULIE 0ACKARD

5NIVERSITY ,IBRARY 'ALLERY !UGUST PM

,ECTURE 0AINTINGS 0RINTS *AMES 2OGERS

5NIVERSITY %AST &ORUM !UGUST PM

.EARLY 2EmECTING !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST PM

4HE 3HAPE OF #OLOR *ASON 5NTALAN

5NIVERSITY 7EST &ORUM

+EY WORDS !RTISTIC AND TRADITIONAL

!UGUST PM

0ETER +ILMER #ERAMICS

-ENDOCINO (ALL

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,OOK 2EAD ,EARN

.EXT STEP IS TO lND ONE IMAGEWE HAVE NO TIME FOR MORETHAT EMBODIES THE IDEAS OF ARTISTIC AND TRADITIONAL 2EMEMBER THAT THE IMAGE MUST REPRESENT MANY KINDS OF ART

,OOK BEYOND THE OBVIOUS 7HEN LOOKING AT OBJECTS WE TEND NOT TO GET MUCH PAST THE SURFACE hTHATS AN INTERESTING MASK THERES AN OLD BOOKv "UT THE DESIGNER MUST LOOK DEEPER 0UT WORDS ON WHAT YOU SEE 7HAT EXACTLY MAKES THE MASK INTERESTING 7HAT COLORS SAY ARTISTIC 7HAT KIND OF SHAPE SAYS TRADITIONAL 7HAT TEXTURES 7HAT LINES 0AY ATTENTION TO SENSUAL QUALITIES LIKE SOUND SMELL TOUCH AND THE INTANGI BLES OF HISTORY CULTURE AND TRADITION 4HE IDEAL IMAGE NOT ONLY MAKES THE RIGHT MESSAGE ARTISTIC AND TRADITION AL BUT HAS BOLD PHYSICAL PROPERTIES LINE SILHOUETTE COLOR THAT CAN HAVE AN IMPACT ON THE DESIGN

"OOKS (IGHLY TRADITIONAL RICH TACTILE IRREGULAR DESATURATED COLORS SUGGEST SCHOLARSHIP AND HISTORY BUT NOT ARTISTRY

-ASK !RTISTIC CLAY WARM MYSTERIOUS EMOTIVE SUGGESTS THEATER TOO HUMAN

-OUSE #OLD HARD HIGH CONTRAST USED FOR ART BUT NEI THER ARTISTIC NOR TRADITIONAL

"RUSH #ALLIGRAPHIC LACQUERED WELL USED DESAT URATED COLORS BOLD SILHOUETTE TRADITIONAL A BRUSH SAYS ART TO EVERYONE 4HIS IS OUR IMAGE

.OW RELATE IMAGE TO PAGE

%STABLISH A RELATIONSHIP BETWEEN IMAGE AND PAGE !SK WHAT ARE THE BOLDEST CHARACTERISTICS OF EACH AND WHAT PROPERTIES DO THEY HAVE IN COMMON 7ORK WITH THOSE

#ENTERLINE

7HAT SIZE 7HEN YOU HAVE ONLY ONE IMAGE ITS NATURAL TO WANT IT BIG "UT PAY ATTENTION )N THIS CASE A BIGGER BRUSH WOULD ISOLATE AND DEADEN THE SPACE ABOVE IT BELOW TOP 4HINK OF WHITE AS LIQUID AND LET IT mOW BOTTOM

7ORK WITH WHAT YOU HAVE 4HE PAGE IS A STRONG VERTICAL LINE THE BRUSH IS AN EVEN STRONGER LINE 0LACED PARALLEL THEY WORK TOGETHER CROSSING THEY HAVE FRICTION AND ENERGY AND IN THIS CASE THE BRUSH BECOMES A HEADER TOO 4HE CENTERLINE IS THE POINT OF HIGHEST CONTRAST BELOW AND RIGHT

,OW CONTRAST

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(IGH CONTRAST

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#REATE A SIMPLE COLOR PALETTE

#REATE A COLOR PALETTE MADE OF THE IMAGE PLUS ONE ADDITIONAL COLOR WHICH CAN HARMONIZE OR IN THIS CASE CONTRAST &OR VERSATILITY ADJUST THE COLOR TO ITS MIDDLE VALUE

3AMPLE LOCATE REDUCE 4HE DOMINANT COLOR IN AN IMAGEHERE MUTED RED WILL HAVE THE MOST INTERACTION WITH THE BACKGROUND COLOR ,OCATE THIS RED ON THE COLOR WHEEL RIGHT 3TRAIGHT ACROSS IS ITS COMPLEMENT GREEN WHICH HAS INTENSE CONTRAST %ITHER SIDE OF GREEN ARE REDS SPLIT COMPLEMENTS GREEN YEL LOW AND GREEN BLUE WHICH CONTRAST BUT WITH LESS TENSION 4O MAKE BEAUTIFULLY SOFT CON TRAST LIGHTEN THE COMPLEMENT

-IDDLE VALUE -IDDLE VALUE GREEN YIELDS THE BEST OF THREE WORLDSA TOUCH OF CONTRAST THE SEDATE SOFTNESS OF OLD WELL USED THINGS AND VISUAL DEPTH !GAINST MIDDLE VALUE THE DARK AND LIGHT OF THE BRUSH COME FORWARD MAKING A STRONG ILLUSION OF AN OBJECT THATS PHYSI CALLY ON THE PAGE

3ELECT ONE TYPE FAMILY AND SET IT IN ONE SIZE

(ERE THE IDEA OF TRADITIONAL AND THE NEED FOR SIMPLICITY INTERSECT OLD BOOKS WERE OFTEN SET IN A SINGLE FAMILY OF SERIF TYPE WHICH HERE WILL CONVEY TRADITION AND MINIMIZE DECISIONS

.OTE THE BRUSH IS USED AS A SPACER

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 3TART WITH A BOLD STATEMENT #ENTER THE TITLE IN ALL CAPS WITH W I D E L E T T E R S P A C I N G WHICH CONVEYS PRE EMINENCE POWER PERMANENCE .OTE IN THIS CASE THAT ALL CAPS ECHO THE STRAIGHT LINE OF THE BRUSH ABOVE 5PPER AND LOWERCASE BELOW HAS A BUSY LINE THAT SETS A MORE CONVERSATIONAL TONE

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#ENTER THE SECOND TITLE IN SMALL CAPS

#ENTER THE SECOND TITLE THE SAME SIZE AS THE lRST BUT IN SMALL CAPS WHICH CONVEY THE PRESENCE AND AUTHORITY OF FULL CAPITALS BUT AT A SECONDARY LEVEL

3MALL CAPS 4RUE SMALL CAPS ARE UPPERCASE CHARACTERS THAT HAVE THE SAME HEIGHT AND WEIGHT AS NORMAL LOWERCASE CHARACTERS BELOW WITH WHICH THEY BLEND BEAUTIFULLY .OT ALL FONTS CONTAIN TRUE SMALL CAPS IN WHICH CASE YOU MUST MAKE YOUR OWN &ALSE SMALL CAPS ARE SERVICE ABLE BUT INCONSISTENTLY LIGHT BECAUSE THEY ARE MERELY FULL SIZE CAPS REDUCED IN SIZE

!UGUST SCHEDU

7IDE LETTERSPACING .ORMAL LETTERSPACING

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

4RUE SMALL CAPS #ONSISTENT WEIGHT 4HESE ARE PART OF THE FONT

!5'534 &ALSE SMALL CAPS )NCONSISTENT WEIGHT 4HESE YOU MAKE YOURSELF

2EPEAT REPEAT REPEAT

!S YOU ADD COPY KEEP THE CARD SIMPLE BY REPEATING WHATS ALREADY ON THE PAGE SAME TYPESTYLE SAME SIZE SAME SPACING ALL CENTERED

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

/NLY THREE SIZES .OTE THE CARD HAS ONLY THREE SIZES BIG SPACE TYPE SIZE SMALL SPACE 4HIS REPETITIVE APPROACH GOES TOGETHER FAST IT LOOKS GOOD AND ITS ARTISTICALLY CORRECT

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$IFFERENTIATE ELEMENTS BY CHANGING STYLES

$IFFERENTIATE TITLES VENUES AND DATES BY ASSIGNING EACH A STYLELIGHT ITALIC OR BOLD BUT DO NOT CHANGE THE SIZE OR SPACING

4HE BEAUTY OF A GOOD TYPE FAMILY IS IN ITS VARIETY OF STYLES (ERE NAMES ARE SET IN ONE STYLE VENUES ANOTHER DATES A THIRD 4HE SIMILARI TIES KEEP THEM TOGETHER THE DIFFERENCES KEEP THEM APART ALL HARMONIZE BEAUTIFULLY

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM $IALOGUES IN "EAUTY 3HIMA (ALL 'ALLERY

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING $IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY 3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL

#LEARLY VISIBLE IN THE DIAGRAM ABOVE ARE THE DIFFERENT TEXTURES AND RHYTHMS WITHIN A TYPE FAMILY EACH OF WHICH HAS A UNIQUE hVOICEv

3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

#ONSISTENCY WITHIN ELEMENTS 4HE HEADLINE ENCOMPASSES THE EVENTS BELOW IT SO KEEP THE RELATION SHIP IN SIZE AND STYLE BUT DIFFERENTI ATE BY COLOR 'REEN ON GREEN HAS LESS CONTRAST AND LOWER VISIBILITY THEREFORE LOWER HIERARCHY

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

5SE OLD STYLE NUMERALS

)F THEY ARE AVAILABLE NOT ALL FONTS HAVE THEM USE BEAUTIFUL OLD STYLE NUMERALS WHICH BLEND WITH UPPER AND LOWERCASE CHARACTERS AND CONVEY BOTH ARTISTRY AND TRADITION

!"#$%&'()* 5SE OLD STYLE NUMERALS IN TEXT !BOVE STANDARD NUMERALS ARE UPPERCASE AND MONOSPACED TO ALIGN IN COLUMNS FOR ACCOUNTING USE AND MORE "EAUTIFUL OLD STYLE NUMERALS BELOW ARE MEANT FOR USE IN TEXT 3MALLER LIKE LOWERCASE LETTERS THEYRE MORE VARIED AND OFTEN DESCEND FAR BELOW THE BASELINE !LSO LIKE LETTERS THEY HAVE DIF FERENT WIDTHS AND ARE CALLED NON LINING BECAUSE IN COLUMNS THEY DONT LINE UP

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS )N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

!SCENDERS

*AMES 2OGERS $ESCENDERS

$IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY 3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL 3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

2ED DATES TIE TO THE BRUSH AND HEAD LINES AND DElNE THE CENTERLINE

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM %XPAND 9OUR (ORIZON !PRIL "REEDON PM

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4HE lNISHED CARD #ONTINUE YOUR WAY DOWN THE CENTERLINE UNTIL THE JOB IS BEAUTIFULLY COMPLETE

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

$ % ,4! # / , , % ' % ! 2 4 $ % 0! 2 4 - % . 4 !UGUST 3CHEDULE OF %VENTS

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

)N AN EXCEPTIONAL PROGRAM THAT COVERS THE ARTISTIC SPECTRUM OF THE DEPARTMENT !UGUST IS A MONTH OF THE BEST PRESENTERS AND LECTURERS CONVERSATION CRITIQUE AND BEAUTIFUL ART %NGAGING AND INSPIRING

$IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY

$IALOGUES IN "EAUTY $EBORAH 7ITT PM 3HIMA (ALL 'ALLERY

3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL

3LIDE ,ECTURE !RTIST *UDY -ILLER PM -ARIPOSA (ALL

3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

3UMMER 3HOW 3TUDENT %XHIBITION PM 5NIVERSITY ,IBRARY 'ALLERY

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS PM 5NIVERSITY 7EST &ORUM

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(OW TO LOOK REAL "EFORE DESIGNING CHECK OUT THE PARTY (ERES HOW TO TRANSFORM A DULL LAYOUT INTO AN ENERGETIC EXPRESSION OF THE REAL EVENT

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4HE TYPE IS STATIC AND THE SPACE IS TOO PASSIVE

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(IGH ENERGY COMPOSITION ÊÊ

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!NGLES CONVEY ENERGY !NGLES ARE INHERENTLY UNSTABLE WHICH MAKES THEM IDEAL FOR CONVEYING TENSION AND EXCITEMENT !LSO THE NEARER SOME THING IS THE MORE PRESENCE IT EXERTS 3O WHAT WE WANT TO DO HERE IS PLACE THE BANJO AT AN ANGLE AND AS CLOSE TO THE VIEWER BIG AS POSSIBLE LEAVING JUST ENOUGH ROOM TO SQUEEZE IN THE WORDS 4INY

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#ATCH THE EYE OF THE PASSERBY

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-AKE A PLACE FOR THE WORDS #ENTER A RECTANGLE AND REDUCE ITS OPACITY TO LET THE mAG SHOW THROUGH .OTE THAT ITS SLIGHTLY OFFSET TOWARD THE TOP

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.EXT SELECT A MONUMENTAL TYPEFACE

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4HE MAJESTY OF STONE -ODERN WESTERN TYPOG RAPHY BEGAN LITERALLY CHISELED IN THE STONE OF 4RAJANS COLUMN IN 2OME CENTURIES AGO AND SERIF STYLE UPPERCASE LETTERING HAS CONVEYED STRENGTH HIGH AUTHORITY AND PER MANENCE EVER SINCE 4O AUTHENTICALLY CONVEY THE MONUMENTAL CHARACTER OF THE PLAZA TYPOGRAPHICALLY CLASSIC 'ARAMOND BELOW IS AN IDEAL CHOICE

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#HANGE TYPESTYLES WHEN THE MESSAGE CHANGES

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6OICE MODULATION IS KEY

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE

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,/$) !2%! !,, 6%4%2!.3 0,!:! $EDICATED ON -AY QQFQUU THE AREA BETWEEN ,ODI #ITY (ALL AND #ARNEGIE &ORUM HAS BEEN TRANSFORMED INTO A LIVING TRIBUTE DEDICATED TO OUR NATIONS VETERANS PAST PRESENT AND FUTURE 3ITUATED IN THE HEART OF A CITY THAT IS KNOWN FOR ITS LOVE OF OUR NATIONS VETERANS THE MONUMENT INCORPORATES VARIOUS ARTISTIC ELEMENTS REPRESENTING ASPECTS OF SERVICE TO OUR COUNTRY 4HE }g FOOT STAINLESS STEEL OBELISK HONORS COURAGE AND GRACES THE PLAZA ENTRANCE !S YOU ENTER THE PLAZA } GRANITE STONES ARE ENGRAVED WITH POETRY FROM HISTORIC lGURES TO LOCAL ARTISTS !N ETERNAL mAME REPRESENTING VALOR AND SACRIlCE IS NESTED IN THE CENTER OF A } FOOT HIGH CURVED GRANITE WALL WHICH SERVES AS THE BACKDROP FOR A BEAUTIFUL WATERFALL ! FOOT } TON HAND HEWED SOLID GRANITE SPHERE CHARACTERIZING UNITY AND GLOBAL SERVICE APPEARS

TO BE mOATING IN A BLUE COBALT POOL BENEATH THE WATERFALL SYMBOLIZING HEALING 4HE ENTIRE MONUMENT IS DRAMATICALLY LIT AND BRINGS VISITORS ATTENTION TO OUR !MERICAN &LAG THAT IS THE BACKDROP OF THE PLAZA (OW #AN 9OU (ELP 9OUR SUPPORT IS NEEDED 4HE 0LAZA WAS PURCHASED THROUGH A LOAN FROM THE #ITY OF ,ODI ! &OUNDATION WAS ESTABLISHED WITH THE MISSION OF RAISING FUNDS TO PAY BACK THE LOAN 4O DATE MANY ,ODI VETERANS FAMILIES AND FRIENDS HAVE CONTRIBUTED TO THE PLAZA BUT MUCH WORK REMAINS 0LEASE JOIN THE COMMUNITY AND PLEDGE YOUR SUPPORT ) 7OULD ,IKE TO (ELP 0LEASE ACCEPT MY DONATION Q Q Q Q Q Q ???????

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#ATCH THE EYE OF THE PASSERBY

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4HE DIGNITY OF AGE ! FRESH NEW !MERICAN mAG IS ALWAYS APPEALING BUT ITS ALSO COMMON WE SEE THEM ALL THE TIME "ECAUSE THE PLAZA HONORS VETERANS AN OLDER WEATH ERED mAG RIGHT ONE THATS SEEN SERVICE MAY CARRY MORE WEIGHT AND EMOTION 6ISUALLY RICHER AND LESS COMMON ITS CER TAINLY MORE ARRESTING 4HE FULL PAGE PRESENTATION HAS REAL IMPACT PLUS A MARGIN SUITABLE FOR BUDGET FRIEND LY DESKTOP PRINTING

3AME

-AKE A PLACE FOR THE WORDS #ENTER A RECTANGLE AND REDUCE ITS OPACITY TO LET THE mAG SHOW THROUGH .OTE THAT ITS SLIGHTLY OFFSET TOWARD THE TOP

.EXT SELECT A MONUMENTAL TYPEFACE

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4HE MAJESTY OF STONE -ODERN WESTERN TYPOG RAPHY BEGAN LITERALLY CHISELED IN THE STONE OF 4RAJANS COLUMN IN 2OME CENTURIES AGO AND SERIF STYLE UPPERCASE LETTERING HAS CONVEYED STRENGTH HIGH AUTHORITY AND PER MANENCE EVER SINCE 4O AUTHENTICALLY CONVEY THE MONUMENTAL CHARACTER OF THE PLAZA TYPOGRAPHICALLY CLASSIC 'ARAMOND BELOW IS AN IDEAL CHOICE

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!,, 6%4%2!.3 0,!:! #ENTER THEN COLOR )N THE RECTANGLE CENTER THE TYPE LINE BY LINE .OTE THOUGH THAT ALTHOUGH THE BIG GER LINE IS MORE IMPORTANT SIZE ALONE IS NOT ENOUGH TO SET THE TWO LINES APART ABOVE .EXT STEP THEN IS TO SAMPLE THE TWO MOST DOMINANT COLORS ON THE IMAGE LEFT AND APPLY THE MORE DOMINANTIN THIS CASE ITS REDTO THE MAIN TITLE 4HE RESULT IS THAT THE COLOR DIFFERENTIATES ONE LINE FROM THE OTHER AND AT THE SAME TIME CONNECTS BOTH TO THE mAG

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#HANGE TYPESTYLES WHEN THE MESSAGE CHANGES

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3USTAIN THE THEME $ASHED BORDER LEFT MIM ICS mAG STITCHING AND ADDS A HINT OF ENCLOSURE 4O MAKE IT SIMPLY ASSIGN ROUND CAPS AND ENDS TO A DASHED LINE THEN APPLY A TINY SHADOW ! GRAPHICAL STAR SEPARATES SECTIONS

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3TEP UNIFORMLY DOWN THE PAGE "ELOW THE UPPERCASE TITLE THE MESSAGE CHANGES TO DESCRIPTIVE SENTENCE STYLE STATEMENTS WHICH SHOULD BE EXPRESSED BY A SMALL CHANGE OF TYPESTYLE HERE FROM 2OMAN TO ITALIC 4HE EMPHASIS IS ON SMALL STAY WITHIN THE TYPE FAMILY TO KEEP THE SETTING UNIlED .OTE THE DESCENDING TYPE SIZES TOP TO BOTTOM AND THAT THE TITLE REMAINS ALONE IN RED

7ORK AROUND THE ENVELOPE

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"ACK 5SE THE mAG AGAIN 4HE FULL PAGE mAG HAS MADE A POWERFUL IMPRESSION SO ON THE BACK IT TAKES ONLY A SLIVER TO REESTABLISH ITS PRESENCE 0ICK THE SLIVER CAREFULLY THIS ONE HAS STRIPES STARS AND THE BLUE lELD IN PLEASING PROPORTIONS !DD A FOCAL POINT 5SE THE IRREGULAR SHAPE OF THE 0URPLE (EART TO SOFTEN THE STRAIGHT EDGES )TS REALISM AND SLIGHT OVERLAP LEFT ADD AN EYE CATCHING COUNTERPOINT TO THE mAT PAGE AND MARK THE START OF THE STORY

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TO BE mOATING IN A BLUE COBALT POOL BENEATH THE WATERFALL SYMBOLIZING HEALING 4HE ENTIRE MONUMENT IS DRAMATICALLY LIT AND BRINGS VISITORS ATTENTION TO OUR !MERICAN &LAG THAT IS THE BACKDROP OF THE PLAZA (OW #AN 9OU (ELP 9OUR SUPPORT IS NEEDED 4HE 0LAZA WAS PURCHASED THROUGH A LOAN FROM THE #ITY OF ,ODI ! &OUNDATION WAS ESTABLISHED WITH THE MISSION OF RAISING FUNDS TO PAY BACK THE LOAN 4O DATE MANY ,ODI VETERANS FAMILIES AND FRIENDS HAVE CONTRIBUTED TO THE PLAZA BUT MUCH WORK REMAINS 0LEASE JOIN THE COMMUNITY AND PLEDGE YOUR SUPPORT ) 7OULD ,IKE TO (ELP 0LEASE ACCEPT MY DONATION Q Q Q Q Q Q ???????

-AJOR DONORS CONTRIBUTING OR MORE WILL BE PERMANENTLY RECOGNIZED AND NAMES ADDED TO PLAQUES LOCATED ON THE NORTH SIDE OF THE PLAZA !NY AMOUNT IS APPRECIATED AND YOUR DONATION IS TAX DEDUCTIBLE -AKE CHECKS PAYABLE TO ,ODI !REA 6ETERANS 0LAZA &OUNDATION

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6OICE MODULATION IS KEY

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#AP HEIGHT

TO BE mOATING IN A BLUE COBALT POOL BENEATH THE WATERFALL SYMBOLIZING HEALING 4HE ENTIRE MONUMENT IS DRAMATICALLY LIT AND BRINGS VISITORS ATTENTION TO OUR !MERICAN &LAG THAT IS THE BACKDROP OF THE PLAZA (OW #AN 9OU (ELP 9OUR SUPPORT IS NEEDED 4HE 0LAZA WAS PURCHASED THROUGH A LOAN FROM THE #ITY OF ,ODI ! &OUNDATION WAS ESTABLISHED WITH THE MISSION OF RAISING FUNDS TO PAY BACK THE LOAN 4O DATE MANY ,ODI VETERANS FAMILIES AND FRIENDS HAVE CONTRIBUTED TO THE PLAZA BUT MUCH WORK REMAINS 0LEASE JOIN THE COMMUNITY AND PLEDGE YOUR SUPPORT ) 7OULD ,IKE TO (ELP 0LEASE ACCEPT MY DONATION Q Q Q Q Q Q ???????

-AJOR DONORS CONTRIBUTING OR MORE WILL BE PERMANENTLY RECOG NIZED AND NAMES ADDED TO PLAQUES LOCATED ON THE NORTH SIDE OF THE PLAZA !NY AMOUNT IS APPRECIATED AND YOUR DONATION IS TAX DEDUCTIBLE -AKE CHECKS PAYABLE TO ,ODI !REA 6ETERANS 0LAZA &OUNDATION

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*OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER

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$ESIGN A MULTI PURPOSE mIER 4HE SINGLE SHEET mIER IS A LOW COST WORKHORSE (ERES A VERSATILE MODEL THAT HAS MANY USES

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&OR ALL OF OUR HIGH TECHNOLOGY THE LOWLY SINGLE SHEET mIER IS AS POPU LAR AS EVER )T IS INEXPENSIVE TO MAKE AND EASY TO DISTRIBUTE !ND WITH TODAYS COLOR PRINTERS IT CAN LOOK VIBRANT "UT WHO HAS TIME TO DESIGN IT WELL )F YOU WORK FROM A MODEL YOU DO ! MODEL MAKES YOUR DESIGN DECISIONS FOR YOUHEADLINE GOES HERE PHOTO GOES THERE AND SO ON 4HIS SAVES TIME AND IF YOU HAVE A SERIES OF mIERS YOU PROJECT A CONSIS TENT LOOK WHILE NOT hREINVENTING THE WHEELv ON EVERY PAGE (ERES HOW TO BUILD A VERSATILE ONE

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$ESIGN A MULTI PURPOSE mIER

"EFORE!FTER

$ESIGN A MULTI PURPOSE mIER

"!MAGAZINECOM

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I 3 6

! PLACE FOR EVERYTHING

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!DJUSTA LITTLEFOR VARIETY

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$ESIGN A MULTI PURPOSE mIER

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I 3 6

6ARIATION ONE

)NSTEAD OF SEPARATE lELDS ONE LIGHT COLOR DElNES THE BACKGROUND &IVE IMAGES SPAN THE GRID NARRATIVE TELLS THE STORY AND SMALL TEXT GIVES AT A GLANCE PARTICULARS

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$ESIGN A MULTI PURPOSE mIER

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6ARIATION TWO

(IGH COLOR CONTRASTS ARE AN EASY WAY TO CATCH ATTENTION AND DElNE THE SPACES

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$ESIGN A MULTI PURPOSE mIER

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$ESIGN A MULTI PURPOSE mIER

I 3 6

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/NE MODEL THREE LOOKS

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"EFORE!FTER

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"EFORE !FTER IS MADE TO lT YOUR BINDER "EFORE !FTER ARTICLES ARE INTENDED FOR PERMANENT REFERENCE !LL ARE TITLED AND NUMBERED &OR THE CURRENT TABLE OF CONTENTS CLICK HERE 4O SAVE TIME AND PAPER A PAPER SAVER FORMAT OF THIS ARTICLE SUITABLE FOR ONE OR TWO SIDED PRINTING IS PROVIDED ON THE FOLLOWING PAGES

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4HE SINGLE SHEET mIER IS A LOW COST WORKHORSE 4HIS VERSATILE MODEL HAS MANY USES

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&OR ALL OF OUR HIGH TECHNOLOGY THE LOWLY SINGLE SHEET mIER IS AS POPU LAR AS EVER )T IS INEXPENSIVE TO MAKE AND EASY TO DISTRIBUTE !ND WITH TODAYS COLOR PRINTERS IT CAN LOOK VIBRANT "UT WHO HAS TIME TO DESIGN IT WELL )F YOU WORK FROM A MODEL YOU DO ! MODEL MAKES YOUR DESIGN DECISIONS FOR YOUHEADLINE GOES HERE PHOTO GOES THERE AND SO ON 4HIS SAVES TIME AND IF YOU HAVE A SERIES OF mIERS YOU PROJECT A CONSIS TENT LOOK WHILE NOT hREINVENTING THE WHEELv ON EVERY PAGE (ERES HOW TO BUILD A VERSATILE ONE

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$ESIGN A MULTI PURPOSE mIER

! PLACE FOR EVERYTHING

! MODEL IMPOSES ORDER /NCE YOU KNOW WHERE THINGS GO YOUR TASK IS NOT TO DESIGN BUT SIMPLY TO EDIT EACH ELEMENT TO lT ITS SPACE

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4HERES THE STORY

3AME INFORMATION SAME SPACE BUT THE MAKEOVER BRINGS THE BROCHURE NEW LIFE )T NOW HAS A COMMUNITY OF CHILDREN AND STORIES THAT WERE INVISIBLE ARE CLEAR AND INVITING

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7HAT A CHANGE ! HIERARCHY OF ELEMENTS FROM BIG TO SMALL SHARE SPACE COMFORTABLY IN THIS MULTI FACETED LAYOUT $IFFER ENT COLUMN WIDTHS TELL THE 3OUTH WEST STORY WITH PACE AND INmEC TION TYING THE ELEMENTS TOGETHER WHILE KEEPING THEM APART "UTTER mY PROVIDES A POINT OF FOCUS AS WELL AS COLOR AND SHAPE WHICH SOFTENS THE NATURAL RECTANGLES OF THE PAGE /RANGES AND YELLOWS ARE WARM HAPPY COLORS AND GREEN IS THE COLOR OF HOPE AND NEW LIFE /N THE COVER FAR LEFT OUR YOUNG PATIENT IS NOT ALONE BUT GETTING THE CARE SHE NEEDS

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#OVER IMAGE IS KEY

4HE COVER IMAGE IS THE KEY MESSAGE MAKER IT SETS THE TONE AND ESTABLISHES THE READERS FRAME OF REFERENCE )MAGE AND HEADLINE ARE SEEN TOGETHER AND MUST WORK AS ONE

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3IMPLE IMAGES ARE MORE POWERFUL !BOVE 4HE SELF ABSORBED BOY IN THE MEADOW IS NOT ONLY ALONEA PROBLEM OF MENTAL ILLNESSBUT THE PHOTO IS COMPLEX WITH MANY COMPETING LINES AND SURFACES AND THE POINT OF THE MESSAGE IS LOST )N CONTRAST IS THE CLARITY OF THE AFTER 4HE GIRL IS AT PEACE IN THE NEARNESS OF A CARE GIVER A KEY CONCEPT IN THE BROCHURE .OTE THE SIMPLIC ITY OF THE IMAGE DESPITE RADICAL CROPPING A FEW STRONG LINES TELL US EVERYTHING WE NEED TO KNOWAND PROVIDE A SMOOTH BACKDROP FOR THE HEADLINE

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0ANELS HANDLE SEPARATE JOBS

4HE THREE OUTSIDE PANELS ARE SEEN INDEPENDENTLY AND EACH HAS A DIFFERENT JOB 4HE COVER PANEL DRAWS THE READER IN THE BACK PANEL PROVIDES KEY DATA AT A GLANCE

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! MULTI FACETED PRESENTATION

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4HE LAYOUT STARTS AT THE HEADLINE

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#AREFUL TYPOGRAPHY CREATES STORIES WITHIN STORIES 0ULL OUT KEY THOUGHTS IN A CONTRASTING TYPEFACE AND DARKER VALUE THE READER CAN THEN BROWSE LIGHTLY OR READ DEEPER

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I=:G: >H =DE: ;DG 8=>A9G:C 6C9 NDJI=

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"UTTERmY MAKES A THEME

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#OLOR CONTINUITYAND TOUCHABILITY ! THEME IS A COLOR OR SHAPE OR IMAGE THAT TIES THE ELE MENTS OF THE BROCHURE TOGETHER BY GIVING THEM A CONSIS TENTOR REPETITIVELOOK AND FEEL )N THIS CASE THE BUTTER mY WAS DUPLICATED AND PLACED INTERMITTENTLY THROUGHOUT THE BROCHURE AND ITS SIMPLE COLOR PALETTE WAS PICKED UP IN THE HEADLINES *UST AS IMPORTANT AS ITS VISUAL PROPERTIES ARE ITS MESSAGE MAKING QUALITIES THE BUTTERmY IS LIGHT NON THREATENING AND TOUCHABLE AND ITS PRESENCE REPRE SENTS HOPE TO THOSE IN THE DUNGEONS OF MENTAL ILLNESS

"UTTERmY CONNECTS FRONT TO BACK

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4O SHOW MORE OF YOUR IMAGE MERGE TWO CELLS HORIZONTALLY RIGHT TOP OR VERTICALLY RIGHT BOTTOM .OTE THAT ON ALL FOUR DESIGNS LOGO AND TEXT EDGE CONFORM TO CURVE OF THE DISC

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4YPE 4WO WAYS TO SET A LIST

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,AYOUT -ULTI CAPTION PHOTO TELLS MANY STORIES

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$ 'ET VERTICAL 2OTATING THE CARD UPRIGHT MATCHES FORMAT TO INSTRUMENT AND GETS ALL THE LINES WORKING TOGETHER .OW THE IMAGE IS BIG AND STILL lTS THE CARD .OTE HOWEVER THAT THE TALL NECK LEAVES AN UNAPPEALING HOLLOW NEAR THE TOP AND THE WEIGHT NEAR THE BOTTOM % :OOMING CLOSER BISECTS THE SPACE DISTRIBUTES THE WEIGHT EVENLY AND SHOWS OFF THE ROUGH ARTISTIC LINE

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3ATURATED COLORSTHE COLORS OF KINDERGARTENARE TOO BRIGHT FOR CLASSICAL MUSIC

4HE COLOR WHEEL SHOWS COLOR RELATION SHIPS )N THIS CASE IT ALSO REVEALS THAT SATURATED COLORSREALLY RED REDS AND BLUE BLUESARE TOO BRIGHT FOR CLASSICAL MUSIC OR EVEN JAZZ 7HAT WE NEED ARE DESATURATED COLORS MUTED AND SOPHISTICATED

$ESATURATED COLOR HAS SOME OF ITS COLOR DRAINED OUT AND REPLACED BY GRAY !S COLORS ARE DESATURATED THEIR VALUES DARKLIGHT BECOME MORE ALIKE 4O DESATURATE COLOR IN 0HOTOSHOP SELECT ANY COLOR THEN IN THE (UE3ATURATION DIALOG LEFT MOVE THE 3ATU RATION SLIDER A NEGATIVE DISTANCE HERE ITS n "ECAUSE FOR THIS JOB OUR COLOR MUST BE DARK MOVE THE ,IGHTNESS SLIDER TO IN THIS CASE n

4HE SAME COLORS DESATURATED AND DARKENED ARE SOFT AND RICH AND CON VEY AGE TRADITION PROFESSIONALISM

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#ONVERT TO 0ANTONE 3O FAR THE COLOR WHEEL HAS BEEN A HELPFUL REFERENCE TO GET US INTO THE COLOR BALLPARK "UT NOW WE MUST CONVERT FROM ITS PROCESS COLORS WHICH ARE USED FOR FOUR COLOR PRINTING TO A SINGLE SPOT COLOR &OR THAT WELL USE THE 0ANTONE -ATCHING 3YSTEM 0ANTONE IS ACCESSIBLE IN THE COLOR LIBRARIES OF 0HOTOSHOP )N$ESIGN AND )LLUSTRATOR *UST SELECT YOUR CHOICE FROM THE LIST AND ADD IT TO THE COLOR PALETTE /UR CARD USES 0ANTONE AT FULL STRENGTH AND TINTED /N WHITE PAPER THAT YIELDS OUR THREE VALUES DARK MEDIUM AND LIGHT .OTE ABOVE THE DIFFERENT EXPRESSIVE CHARACTER OF FOUR COMBINATIONS

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*)- #/,% -ATCHES 4HINGS OF ONE KIND USUALLY GO WELL TOGETHER AND ,ETTRES %CLATEES HAS A LOT IN COMMON WITH THE BRUSH STROKE ITS BOLD ERRATIC AND ROUGH "UT THATS ONLY ITS EDGE 0ROBLEM IS THAT WHILE THE INSTRUMENTS LINES ARE LONG AND SNAKY THE LETTERS ARE SHORT AND SPOTTY OVERLAID THESE DIFFERENCES WILL CLASH !LSO THE TYPEFACE LOOKS LIKE GRAFlTI WHICH IS NOT ONE OF -R #OLES KEY WORDS )F THAT WERENT ENOUGH THE CARDS BRUSH STROKE IS SO ASSERTIVE THAT A MATCHING TYPEFACE WOULD SIMPLY BE TOO MUCH OF A GOOD THING

#LASHES 9OUD THINK THAT 0ALATINO WOULD BE A GOOD CHOICE ITS A 2OMAN TYPEFACE FROM THE VISUAL ERA OF THE INSTRUMENT )T CONVEYS THE hAIRv OF ITS SUBJECTDIGNIlED FORMAL CLASSICAL !ND ITS A MASCULINE FACE BOXY AND CHISELED 3O WHY DOESNT IT WORK "ECAUSE ITS DETAILS ARE THE SAME SIZE AS THE BRUSH BUT A COM PLETELY DIFFERENT KIND )TS GRACEFUL THICK THIN STROKES AND lNELY CRAFT ED SERIFS CLASH WITH THE SPLATS JAGS CRANNIES AND BACKTRACKS OF THE BRUSH 3UCH SIMILAR SIZE BUT DIFFER ENT STYLE PROPERTIES RARELY COEXIST WELL IN CLOSE PROXIMITY

#OMPLEMENTS 5LTRA SLEEK (ELVETICA .EUE 4HIN %XTENDED HAS NOTHING IN COMMON WITH THE BRUSH STROKE )TS LINES ARE MINIMAL PURE UNADORNED 7HERE THE BRUSH IS WIDE AND ROUGH THE TYPE IS THIN AND SMOOTH 4HIS ALLOWS THE BRUSH STROKE TO DOMINATE THE CARD WHILE THE TYPE SENDS A CRYSTAL CLEAR VERBAL MES SAGE BEAUTIFULLY UNDERSTATED .AME AND DESCRIPTOR ARE SET IN UPPERCASE IN THE STRONG CENTER OF THE CARD RIGHT EVERYTHING ELSE IS IN LOWERCASE EACH TEXT BLOCK ALIGNED LEFT

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4HE HEADER OF A SIMPLE 7EB PAGE IS ITS MOST IMPORTANT VISUAL ELEMENT /N MANY BLOGS ITS THE ONLY VISUAL ELEMENT 3O IT HAS A BIG JOB TO DO )T MUST IDENTIFY THE SITE AND SET ITS VISUAL TONE )T MUST CONVEY AT A GLANCE WHAT KIND OF SITE IT IS AND WHAT IS ITS ATTITUDE 4HE HEADER MUST ALSO PROVIDE EASY NAVIGATION !LL OF THIS IS EASY TO DO BY BUILDING THREE SECTIONS ONE FOR EACH FUNCTION AND UNIFYING THEM WITH VISUAL SIMILARITIES (ERES HOW TO PUT THAT TOGETHER

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.AVIGATION

(OW BIG !S A RULE THE NAME GOES IN THE UPPER LEFT AND THE NAVIGATION AT THE BOTTOM $ONT LOSE SLEEP OVER EXACT DIVISIONS THE SIZES OF THE SECTIONS WILL DEPEND ON YOUR NAME SHORT OR LONG AND IMAGE (OWEVER AVOID SPLITTING THE TOP SPACE EXACTLY IN HALF WHICH TENDS TO DRAW ATTENTION TO THE SECTIONS RATHER THAN TO THE CONTENT ASYMMETRICAL DIVISIONS ARE BETTER

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4HE HEADER OF A SIMPLE 7EB PAGE IS ITS MOST IMPORTANT VISUAL ELEMENT /N MANY BLOGS ITS THE ONLY VISUAL ELEMENT 3O IT HAS A BIG JOB TO DO )T MUST IDENTIFY THE SITE AND SET ITS VISUAL TONE )T MUST CONVEY AT A GLANCE WHAT KIND OF SITE IT IS AND WHAT IS ITS ATTITUDE 4HE HEADER MUST ALSO PROVIDE EASY NAVIGATION !LL OF THIS IS EASY TO DO BY BUILDING THREE SECTIONS ONE FOR EACH FUNCTION AND UNIFYING THEM WITH VISUAL SIMILARITIES (ERES HOW TO PUT THAT TOGETHER

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! 7EB HEADER SPANS THE PAGE AND IS EXTREMELY SHALLOW $IVIDE IT INTO THREE SECTIONS NAME IMAGE AND NAVIGATION LINKS 7ORK ON EACH ONE SEPARATELY

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.AVIGATION

(OW BIG !S A RULE THE NAME GOES IN THE UPPER LEFT AND THE NAVIGATION AT THE BOTTOM $ONT LOSE SLEEP OVER EXACT DIVISIONS THE SIZES OF THE SECTIONS WILL DEPEND ON YOUR NAME SHORT OR LONG AND IMAGE (OWEVER AVOID SPLITTING THE TOP SPACE EXACTLY IN HALF WHICH TENDS TO DRAW ATTENTION TO THE SECTIONS RATHER THAN TO THE CONTENT ASYMMETRICAL DIVISIONS ARE BETTER

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! BEAUTIFUL PHOTO IS KEY TO A BEAUTIFUL HEADER ,OOK FOR AN IMAGE THAT CONVEYS ITS INFORMATION IN JUST A SLIVER 4HE SURPRISE IS HOW EASY THIS CAN BE TO lND

#APTURE AS MUCH INFORMATION AS YOU CAN 2IGHT 4HE PASTORAL SCENE HAS TREES GRASS MOUNTAINS AND SUNLIGHTAND LOOK ALL OF IT IS IN ONE SLIVER 4HATS WHAT YOU WANT A LITTLE OF EVERYTHING 7HATS INTERESTING IS HOW LITTLE IT TAKES TO CONVEY MEANINGA BRANCH A BLADE OF GRASS A BIT OF SKY ,OOK ESPECIALLY FOR DEPTH WHICH IS OFTEN EXPRESSED WITH DARK LIGHT VALUES FAR RIGHT IN THIS IMAGE YOU CAN SEE FOREGROUND MIDGROUND AND BACKGROUND

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#OLOR THE SECTIONS

3AMPLE A RANGE OF COLORS FROM THE PHOTO SORT FROM DARK TO LIGHT THEN APPLY A COLOR TO EACH SECTION 0AY ATTENTION TO CONTRASTS

(IGH CONTRAST SEPARATES

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(IGH CONTRAST IS HIGH ENERGY ! COMMON COLOR PALETTE UNIlES THE THREE SECTIONS "ECAUSE ALL THE COLORS EXIST IN THE PHOTO THE SECTIONS WILL WORK TOGETHER USUALLY REGARDLESS OF HOW YOU MIX AND MATCH 4HE HIGHER THE CONTRAST BETWEEN SEC TIONS THE HIGHER THE ENERGY LOW CONTRASTS ARE MORE PEACEFUL BUT USUALLY LESS MEMORABLE

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(ERE A SEMI ABSTRACT PHOTO CONVEYS $4S STYLE OF ARCHITECTURE BUT ITS BLUEGRAY COLORS ARE TOO SUBDUED FOR THE LOGO 4HE SOLUTION IS TO USE THE OPPOSITE COLOR

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(IGH ENERGY OPPOSITES 4HE PHOTO IS FULL OF COLD CORPORATE BLUES THAT DONT CONVEY THE ENERGETIC CHARACTER OF THE YOUNG DESIGN lRM 4HE SOLUTION 2ETAIN BLUES INmUENCE BY USING ITS OPPOSITE OR COMPLEMENT FOR THE LOGO ,OCATE BLUE ON THE COLOR WHEEL THEN MOVE STRAIGHT ACROSS LEFT #OMPLEMENTARY COLORS HAVE NO UNDERTONES IN COMMON UNLIKE FOR EXAMPLE GREEN AND ORANGE WHICH SHARE YEL LOW AND THEREFORE HAVE VERY HIGH CONTRAST AND ENERGY 6IOLET AND YELLOW HAVE THE HIGHEST VALUE DARK LIGHT CONTRAST ON THE COLOR WHEEL

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"LUE FROM THE PHOTO LOOKS CORRECT BUT DOESNT CONVEY THE RIGHT CHARACTER

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"ORROW THE LOGOS CHARACTERISTICS $OUBLE LINE BORDERS AND SCALLOPED COR NERS OF THE LOGO ARE EASY TO TRANSFER TO THE OTHER SECTIONS AND MAKE A CLASSIC LOOK "ECAUSE THE LOGO DETERMINES THE LOOK PHOTOS CAN COME AND GO .OTE THE WIDE CONTRAST OF TYPESTYLE BETWEEN &AIRWEATHER AND $/7.3SCRIPT 2OMAN SMALLLARGE LOWERCASEUPPER CASE YET SIMILAR LINE WEIGHTS AND EXCEL LENT CRAFTSMANSHIP COMBINE BEAUTIFULLY

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE

4O PASS ALONG A FREE COPY OF THIS ARTICLE TO

*OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER

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$ESIGN ADVISOR 'WEN !MOS

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#OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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/URCOLOR WHEEL 4HE COLOR WHEEL IS OUR TOOL FOR UNDERSTANDING WHICH COLORS GO WITH WHAT

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/UR COLOR WHEEL 0ART SCIENCE PART ART THE COLOR WHEEL IS OUR TOOL FOR UNDERSTANDING WHICH COLORS GO WITH WHAT

6ISIBLE LIGHT

7HEREVER THERE IS LIGHT THERE IS COLOR 7HILE WE THINK OF COLORS AS INDEPENDENTTHIS BLUE THAT REDA COLOR IS NEVER SEEN ALONE BUT ALWAYS IN THE CONTEXT OF OTHER COLORS ,IKE A MUSICAL NOTE NO ONE COLOR IS hGOODv OR hBADv 2ATHER ITS ONE PART OF A COMPOSITION THAT AS A WHOLE IS PLEASING OR NOT 4HE COLOR WHEEL IS OUR TOOL FOR UNDERSTANDING HOW COLORS RELATE TO ONE ANOTHER (ERES HOW IT WORKS

)NFRA RED

5LTRAVIOLET

4HE COLOR WHEEL IS THE RANGE OF VISIBLE LIGHT MADE INTO A CIRCLE

)NlNITY SIMPLIlED 7HITE LIGHT CONTAINS ALL VISIBLE COLORS WHICH FORM AN INlNITE SPECTRUM THAT ALWAYS APPEARS IN THE VIOLET TO RED SEQUENCE YOU SEE IN A RAINBOW RIGHT TOP 4O MAKE IT PRACTICAL THE COLOR WHEEL REPRESENTS THIS INlNITY WITH BASIC HUES PRETTY MUCH LIKE THOSE IN YOUR lRST BOX OF CRAYONS

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I 3 6

7HAT ARE THE COLORS

4HE WHEEL HAS BASIC HUES &IRST ARE THE THREE PRIMARY COLORS OF BLUE YELLOW AND RED 0RIMARY COLORS COMBINE TO MAKE SECONDARY COLORS WHICH COMBINE TO MAKE TERTIARY COLORS

0RIMARY COLORS ARE THE WHEELS hPARENTv COLORS THEY ARE THE ONLY COLORS NOT MADE FROM OTHER COLORS 4HE PRIMARY COLORS ARE POSITIONED AROUND THE WHEEL IN THIRDS

3ECONDARY COLORS ARE HALFWAY BETWEEN THE PRIMARY COLORS %ACH IS MADE FROM EQUAL AMOUNTS OF THE NEAREST PRIMARIES

4ERTIARY COLORS ARE HALFWAY BETWEEN THE SECONDARY COLORS %ACH IS MADE FROM EQUAL AMOUNTS OF THE ADJACENT SECONDARIES

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#OLORS IN COMMON

!S YOU CAN TELL EVERY COLOR IS PART OF THE COLOR NEXT TO IT WHICH IS PART OF THE NEXT AND THE NEXT ALL THE WAY AROUND THE WHEEL #OLORS IN COMMON ARE THE BASIS OF COLOR RELATIONSHIPS

"LUE IS COMMON TO ALL SEVEN COLORS WHICH GET LESS BLUE AS THEY FAN OUT 'REEN AND VIOLET ARE THE SECONDARIES THAT CONTAIN BLUE

9ELLOW IS COMMON TO ALL SEVEN COLORS WHICH GET LESS YELLOW AS THEY FAN OUT 'REEN AND ORANGE ARE THE SECONDARIES THAT CONTAIN YELLOW

2ED IS COMMON TO ALL SEVEN COLORS WHICH GET LESS RED AS THEY FAN OUT /RANGE AND VIOLET ARE THE SECONDARIES THAT CONTAIN RED

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#OLOR VALUE

#OLOR ALSO HAS DARKNESS AND LIGHTNESS OR VALUE 4O SHOW VALUE THE COLOR WHEEL HAS MORE RINGS TWO BIG RINGS FOR THE DARK SHADES AND TWO SMALL RINGS FOR THE LIGHT TINTS

4HE COLOR WHEEL HAS lVE CONCENTRIC RINGS FROM DARK TO LIGHT SHADES ARE THE BIG RINGS TINTS ARE THE SMALL AND HUES ARE THE MIDDLE

3HADE 4INTS AND SHADES ,EFT ! SHADE IS THE HUE PLUS BLACK AND A TINT IS THE HUE PLUS WHITE

3HADE (UE 4INT

)NlNITE GRADIENT "ELOW &IVE STEPS REPRESENT WHAT IS ACTUALLY A CONTINUOUS GRADIENT FROM WHITE TO BLACK ! TINT OR SHADE CAN FALL ANYWHERE ON THE CONTINUUM

(UE

4INT

4INTS HUE WHITE

3HADES HUE BLACK

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#OLOR RELATIONSHIPS

4HE FOLLOWING PAGES ILLUSTRATE THE SIX BASIC COLOR RELATIONSHIPS %ACH CAN YIELD AN ENDLESS NUMBER OF COLOR PALETTES

-ONOCHROMATIC &IRST ARE THE DARK MEDIUM AND LIGHT VALUES OF A SINGLE COLOR 4HIS IS A MONOCHROMATIC PALETTE )T HAS NO COLOR DEPTH BUT IT PROVIDES THE CONTRAST OF DARK MEDIUM AND LIGHT THATS SO IMPORTANT TO GOOD DESIGN

!NALOGOUS !DJACENT COLORS ARE CALLED ANALOGOUS !NALOGOUS COLORS SHARE STRONG UNDERTONES HERE YELLOW AND RED WHICH CREATE PLEASING LOW CONTRAST HARMONY !NALOGOUS PALETTES ARE RICH AND ALWAYS EASY TO WORK WITH

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!NY PALETTE CAN INCLUDE SHADES AND TINTS ALONG WITH THE HUE 4HE RESULT CAN BE ALL DARK ALL LIGHT OR ANY COMBINATION

#OMPLEMENT $IRECT OPPOSITES ON THE COLOR WHEEL ARE COMPLEMENTSIN THIS CASE BLUE AND ORANGE 7HAT THE COMPLEMENT BRINGS IS CONTRAST ! COLOR AND ITS COMPLEMENT CONVEY ENERGY VIGOR AND EXCITE MENT 4YPICALLY THE COMPLEMENT IS USED IN A SMALLER AMOUNT AS AN ACCENT A SPOT OF ORANGE ON A BLUE lELD FOR EXAMPLE

3PLIT COMPLEMENT /NE STEP EITHER WAY ARE THE COMPLEMENTS OWN ANALOGOUS COLORS 4HIS PALETTE IS CALLED A SPLIT COMPLEMENT )TS STRENGTH IS IN THE LOW CONTRAST BEAUTY OF ANALOGOUS COLORS PLUS THE ADDED PUNCTUATION OF AN OPPOSITE COLOR )N THIS CASE THE RED BECAUSE ITS MOST DIFFERENT WOULD LIKELY BE USED AS THE ACCENT

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"!MAGAZINECOM

4HE AMOUNT OF COLOR MATTERS 0ALETTES CAN BE MADE WARMERCOOLER DARKERLIGHTER STRONGERQUIETER AND SO ON BY USING MORE OR LESS OF SOME COLORS

0RIMARY 4HE PRIMARY COLORS ARE RARELY SEEN AS A TRIO EXCEPT IN CHILDRENS PRODUCTS 2ED AND YELLOW HOWEVER ARE POPULAR IN !MERICAN CULTURE FOR EVERYTHING FROM FAST FOOD TO GASOLINE 2ED AND BLUE ARE COMMON BUT ATTRACTIVE ONLY IF SEPARATED BY OPEN SPACE 2ARE

0OPULAR

#LASH

3ECONDARY 3ECONDARY COLORS HAVE A LOT IN COMMONTWO SHARE BLUE TWO SHARE YELLOW AND TWO SHARE REDSO HARMONIZE EASILY !S A TRIO THEY ARE SOFT INVITING AND RICH AND HAVE PLEASING DEPTH AND DIMENSION THAT ARE HARD TO GET IN OTHER WAYS

3EPARATED

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.OW FOR A QUIZ

4RAIN YOUR EYE %ACH COVER USES ONE OF THE BASIC COLOR RELATIONSHIPS #AN YOU NAME THEM (INT ,OOK AT THE BIG COLORS NOT THE SMALL ONES IGNORE BLACK WHITE !NSWERS ON PAGE

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M -ONOCHROMATIC M !NALOGOUS M #OMPLEMENT M 3PLIT COMPLEMENT M 0RIMARY M 3ECONDARY

M -ONOCHROMATIC M !NALOGOUS M #OMPLEMENT M 3PLIT COMPLEMENT M 0RIMARY M 3ECONDARY

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$OWNLOAD "EFORE !FTER COLOR WHEEL

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3UBSCRIBE TO "EFORE !FTER 3UBSCRIBE TO "EFORE !FTER AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE % MAIL THIS ARTICLE 4O PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS CLICK HERE *OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO HTTPWWWBAMAGAZINECOMEMAIL

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE *OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER "EFORE !FTER MAGAZINE ,INCOLN 3TREET 2OSEVILLE #! 4ELEPHONE &AX % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM #OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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"EFORE !FTER IS MADE TO lT YOUR BINDER "EFORE !FTER ARTICLES ARE INTENDED FOR PERMANENT REFERENCE !LL ARE TITLED AND NUMBERED &OR THE CURRENT TABLE OF CONTENTS CLICK HERE 4O SAVE TIME AND PAPER A PAPER SAVER FORMAT OF THIS ARTICLE SUITABLE FOR ONE OR TWO SIDED PRINTING IS PROVIDED ON THE FOLLOWING PAGES

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7HEREVER THERE IS LIGHT THERE IS COLOR 7HILE WE THINK OF COLORS AS INDEPENDENTTHIS BLUE THAT REDA COLOR IS NEVER SEEN ALONE BUT ALWAYS IN THE CONTEXT OF OTHER COLORS ,IKE A MUSICAL NOTE NO ONE COLOR IS hGOODv OR hBADv 2ATHER ITS ONE PART OF A COMPOSITION THAT AS A WHOLE IS PLEASING OR NOT 4HE COLOR WHEEL IS OUR TOOL FOR UNDERSTANDING HOW COLORS RELATE TO ONE ANOTHER (ERES HOW IT WORKS

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4HE WHEEL HAS BASIC HUES &IRST ARE THE THREE PRIMARY COLORS OF BLUE YELLOW AND RED 0RIMARY COLORS COMBINE TO MAKE SECONDARY COLORS WHICH COMBINE TO MAKE TERTIARY COLORS

0RIMARY COLORS ARE THE WHEELS hPARENTv COLORS THEY ARE THE ONLY COLORS NOT MADE FROM OTHER COLORS 4HE PRIMARY COLORS ARE POSITIONED AROUND THE WHEEL IN THIRDS

3ECONDARY COLORS ARE HALFWAY BETWEEN THE PRIMARY COLORS %ACH IS MADE FROM EQUAL AMOUNTS OF THE NEAREST PRIMARIES

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!S YOU CAN TELL EVERY COLOR IS PART OF THE COLOR NEXT TO IT WHICH IS PART OF THE NEXT AND THE NEXT ALL THE WAY AROUND THE WHEEL #OLORS IN COMMON ARE THE BASIS OF COLOR RELATIONSHIPS

"LUE IS COMMON TO ALL SEVEN COLORS WHICH GET LESS BLUE AS THEY FAN OUT 'REEN AND VIOLET ARE THE SECONDARIES THAT CONTAIN BLUE

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9ELLOW IS COMMON TO ALL SEVEN COLORS WHICH GET LESS YELLOW AS THEY FAN OUT 'REEN AND ORANGE ARE THE SECONDARIES THAT CONTAIN YELLOW

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2ED IS COMMON TO ALL SEVEN COLORS WHICH GET LESS RED AS THEY FAN OUT /RANGE AND VIOLET ARE THE SECONDARIES THAT CONTAIN RED

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#OLOR ALSO HAS DARKNESS AND LIGHTNESS OR VALUE 4O SHOW VALUE THE COLOR WHEEL HAS MORE RINGS TWO BIG RINGS FOR THE DARK SHADES AND TWO SMALL RINGS FOR THE LIGHT TINTS

4HE COLOR WHEEL HAS lVE CONCENTRIC RINGS FROM DARK TO LIGHT SHADES ARE THE BIG RINGS TINTS ARE THE SMALL AND HUES ARE THE MIDDLE

3HADE 4INTS AND SHADES ,EFT ! SHADE IS THE HUE PLUS BLACK AND A TINT IS THE HUE PLUS WHITE

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#OLOR RELATIONSHIPS

4HE FOLLOWING PAGES ILLUSTRATE THE SIX BASIC COLOR RELATIONSHIPS %ACH CAN YIELD AN ENDLESS NUMBER OF COLOR PALETTES

-ONOCHROMATIC &IRST ARE THE DARK MEDIUM AND LIGHT VALUES OF A SINGLE COLOR 4HIS IS A MONOCHROMATIC PALETTE )T HAS NO COLOR DEPTH BUT IT PROVIDES THE CONTRAST OF DARK MEDIUM AND LIGHT THATS SO IMPORTANT TO GOOD DESIGN

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!NALOGOUS !DJACENT COLORS ARE CALLED ANALOGOUS !NALOGOUS COLORS SHARE STRONG UNDERTONES HERE YELLOW AND RED WHICH CREATE PLEASING LOW CONTRAST HARMONY !NALOGOUS PALETTES ARE RICH AND ALWAYS EASY TO WORK WITH

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!NY PALETTE CAN INCLUDE SHADES AND TINTS ALONG WITH THE HUE 4HE RESULT CAN BE ALL DARK ALL LIGHT OR ANY COMBINATION

#OMPLEMENT $IRECT OPPOSITES ON THE COLOR WHEEL ARE COMPLEMENTSIN THIS CASE BLUE AND ORANGE 7HAT THE COMPLEMENT BRINGS IS CONTRAST ! COLOR AND ITS COMPLEMENT CONVEY ENERGY VIGOR AND EXCITE MENT 4YPICALLY THE COMPLEMENT IS USED IN A SMALLER AMOUNT AS AN ACCENT A SPOT OF ORANGE ON A BLUE lELD FOR EXAMPLE

3PLIT COMPLEMENT /NE STEP EITHER WAY ARE THE COMPLEMENTS OWN ANALOGOUS COLORS 4HIS PALETTE IS CALLED A SPLIT COMPLEMENT )TS STRENGTH IS IN THE LOW CONTRAST BEAUTY OF ANALOGOUS COLORS PLUS THE ADDED PUNCTUATION OF AN OPPOSITE COLOR )N THIS CASE THE RED BECAUSE ITS MOST DIFFERENT WOULD LIKELY BE USED AS THE ACCENT

4HE AMOUNT OF COLOR MATTERS 0ALETTES CAN BE MADE WARMERCOOLER DARKERLIGHTER STRONGERQUIETER AND SO ON BY USING MORE OR LESS OF SOME COLORS

0RIMARY 4HE PRIMARY COLORS ARE RARELY SEEN AS A TRIO EXCEPT IN CHILDRENS PRODUCTS 2ED AND YELLOW HOWEVER ARE POPULAR IN !MERICAN CULTURE FOR EVERYTHING FROM FAST FOOD TO GASOLINE 2ED AND BLUE ARE COMMON BUT ATTRACTIVE ONLY IF SEPARATED BY OPEN SPACE

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3ECONDARY 3ECONDARY COLORS HAVE A LOT IN COMMONTWO SHARE BLUE TWO SHARE YELLOW AND TWO SHARE REDSO HARMONIZE EASILY !S A TRIO THEY ARE SOFT INVITING AND RICH AND HAVE PLEASING DEPTH AND DIMENSION THAT ARE HARD TO GET IN OTHER WAYS

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4RAIN YOUR EYE %ACH COVER USES ONE OF THE BASIC COLOR RELATIONSHIPS #AN YOU NAME THEM (INT ,OOK AT THE BIG COLORS NOT THE SMALL ONES IGNORE BLACK WHITE !NSWERS ON PAGE

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M -ONOCHROMATIC M !NALOGOUS M #OMPLEMENT M 3PLIT COMPLEMENT M 0RIMARY M 3ECONDARY

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3UBSCRIBE TO "EFORE !FTER 3UBSCRIBE TO "EFORE !FTER AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE *OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER

% MAIL THIS ARTICLE 4O PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS CLICK HERE

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#OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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4YPE 3TRAIGHTEN THAT WIGGLY EDGE (AVE YOU SOMETIMES NOTICED THAT TYPE ALIGNED VERTICALLY DOESNT LOOK THAT WAY 4HATS BECAUSE WHILE YOUR MARGIN IS STRAIGHT THE ALPHABET ISNT AND ITS CURVES CROSSBARS AND PUNCTUATION MARKS CAN CREATE THE APPEARANCE OF MISALIGNMENT )N$ESIGNS /PTICAL -ARGIN !LIGNMENT WILL lX THAT

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0HOTO CROPPING 3IZE AND PLACEMENT TELL A STORY 4HE SIZE AND PLACEMENT OF YOUR IMAGE CAN HAVE A DRAMATIC EFFECT ON ITS IMPACT (ERE PLACING A SMALL PORTRAIT AT THE BOTTOM OF AN EMPTY lELD IS ALL IT TAKES TO CREATE A LAYOUT THAT PERFECTLY ILLUSTRATES ITS WORDS

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4HE POWER OF EMPTY SPACE 4HIS LAYOUT MAKES IT EASY TO SEE THAT EMPTY SPACE ISNT EMPTY BUT HAS MASS VOLUME AND REAL POWER 4HE HUGE BLACK lELD UNGULFS OUR UNFORTUNATE #%/ AND CREATES A SENSE OF HEAVINESS ISOLATION AND DISTANCE 7HAT MAKES THIS HAPPEN IS HER SMALL SIZE EXTREMELY LOW PLACE MENT AND FARAWAY GAZE (ER DARK SUIT IS A BONUS FADING INTO THE BACKGROUND AND LEAVING HER SOMBER EXPRESSION IN SHARP CONTRAST (EADLINE AND TEXT STYLES MUST BE PLAIN AND IN A NEUTRAL POSITION NO TENSION TO NOT STEAL ATTENTION

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$ESIGN ! CARD MADE OF SCRAPS 4O ANNOUNCE THE BIRTH OF THEIR SON $REW OUR FRIENDS $AWN AND -ICHAEL WANTED TO SEND AN ENGAGING PERSONAL CARDAND WHATS MORE PERSONAL THAN YOUR OWN HANDWRITING 7E LIKE WHAT THEY MADE

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!DOBE )LLUSTRATOR /LD FASHIONED TABS WITH A MODERN SHEEN "-7S 7EB BANNER RIGHT TELLS A CLEVER PRICING STORY USING ANIMATED CASH REGISTER POPUPS 7E LIKE ITS JUXTAPOSITION OF STYLESTHE OLD MECHANICAL DEVICE OLD TYPEFACE AND ANTIQUE COLOR BUT DRAWN WITH A MODERN PLASTICIZED SHEEN (ERES HOW TO DUPLICATE IT

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#REATE THE CURVE FOR THE HIGHLIGHT 7E NEED TO DRAW A LINE THAT WILL BISECT THE THREE TABS 3ELECT THE h(IGHLIGHTv LAYER 5SING THE 0EN 4OOL DRAW A SMOOTH CURVE ABOVE 0RESS THE 3HIFT KEY SELECT THE CURVE AND ALL THREE TABS AND GO TO 7INDOW0ATHlNDER #LICK $IVIDE BELOW TO DIVIDE THE SHAPES INTO SIX SEGMENTS

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE *OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER "EFORE !FTER MAGAZINE ,INCOLN 3TREET 2OSEVILLE #! 4ELEPHONE &AX % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM #OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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#APTION IS GENERALLY SET ONE OR TWO POINTS SMALLER THAN THE BODY COPY AND USUALLY IN ITALICS OR BOLD DEPENDING ON THE CONTRAST YOU WANT #APTIONS ARE IMPORTANT THEY WILL USUALLY BE READ BEFORE THE TEXT .OTE THAT TWO FULL LINES ARE EMPTY ABOVE IT

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/UR BOOKLET IS SET IN )4# #HELTENHAM A SQUARE PROPORTIONED TYPE FAMILY OF 2OMAN AND CONDENSED STYLES IN WEIGHTS FROM LIGHT TO ULTRA BOLD ALL WITH ITALICS 4HE ORIGINAL #HELTENHAM WAS EXTREMELY POPU LAR EARLY IN THE TH CENTURY AND VARIANTS ARE IN USE TODAY BY THE .EW 9ORK 4IMES %DDIE "AUER AND OTHERS #HELTENHAM IS EASY TO READ )TS ECCENTRICITIES GIVE IT A FUNKY TURN OF THE CENTURY CACHET AND INTERESTINGLY ALSO MAKE IT A GOOD CHOICE FOR OUTDOORSY THEMES (EADLINE IS SET IN THE BIGGEST BOLDEST TYPE ! HEADLINE THAT SPANS TWO COLUMNS SHOULD BE ONLY ONE LINE DEEP )TS COLOR IF YOU USE IT SHOULD BE THE SAME THROUGHOUT $ECKHEAD ELABORATES ON THE HEADLINE )TS SIZED BETWEEN THE HEADLINE AND TEXT IN A CONTRASTING ITALIC 3UBHEAD IS TEXT SIZE BUT SET IN ATTENTION GETTING BOLD 'ENERALLY USED TO mAG THE BEGINNING OF A NEW THOUGHT OR SECTION SUBHEADS CAN DOUBLE AS A WAY TO BREAK UP LONG UNINVITING EXPANSES OF TEXT .OTE THAT ONE FULL LINE SPACE IS LEFT EMPTY ABOVE IT $ONT INDENT

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,AYOUT CONlGURATIONS

4HE KEY TO A HANDSOME DESIGN IS UNIFORMITY AND REPETITION (EADLINES DECKHEADS AND TEXT STAY THE SAME THROUGHOUT AND PHOTOS ARE ALWAYS ONE TO FOUR COLUMNS WIDE

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% MAIL THIS ARTICLE 4O PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS CLICK HERE

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3CRAPBOOK STYLE PHOTOS

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-AKE SCRAPBOOK STYLE PHOTOS (ERE ARE SIX EASY WAYS TO ADD DEPTH AND REALISM TO mAT DIGITAL PHOTOS

$EXTER AND ,EILANI ARE MAKING A 7EB SITE FOR THEIR UPCOMING WEDDING AND HAVE YEARS WORTH OF PHOTOS TO SHARE WITH FAMILY AND FRIENDS 4HEY WANT THEIR IMAGES TO CONVEY THE WARM LIVED WITH QUALITY THAT YOUD lND IN A SCRAPBOOK OR PHOTO ALBUM 9ET DIGITAL PHOTOS ARE BY NATURE COLD mAT AND HARD EDGED SO THEYLL NEED A LITTLE HELP (ERE ARE SIX TECHNIQUES TO ADD BORDERS SHADOWS FASTENERS THE ILLUSION OF A CURL AND SO ON TO TURN THOSE COMPUTERIZED PIX INTO ONES THAT YOU CAN ALMOST TOUCH

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!DD A BORDER 4HE EASIEST THING TO DO IS SIMPLY ADD A WHITE BORDER WHICH WILL MAKE YOUR PHOTO LOOK LIKE A TRADITIONAL PRINT 7IDTHS VARY OLDER PHOTOS GENERALLY HAD WIDER BORDERS )N 0HOTOSHOP

/PEN YOUR PHOTO AND INCREASE THE #ANVAS 3IZE ENOUGH TO ACCOMMODATE A BORDER AND A SHADOW

!PPLY A WHITE STROKE TO THE OUTSIDE OF THE PHOTO )TS PIXEL WIDTH WILL DEPEND ON YOUR RESOLUTION

!DD A SHADOW #LICK THE LAYER AND ADD A VERY THIN DROP SHADOW TO MAKE THE PHOTO APPEAR TO BE ON THE PAGE NOT mOATING ABOVE IT

_ OF `

0IX 4RIX

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3TACK EM UP ! STACK OF PHOTOS SLIGHTLY ASKEW LOOKS NATURALLY CASUAL TWO OR THREE IN A STACK IS USUALLY PLENTY 4ECHNICALLY UPPER PHOTOS WOULD HAVE SOFTER SHADOWS BUT IN PRACTICE THIS USUALLY ISNT NECESSARY

,OOK FOR POINTS OF INTEREST 9OUR UPPER PHOTOS WILL CROP THE LOWER ONES BY COVERING SOME PARTS ,OOK FOR ARTISTIC PARTS )TS OBVIOUS WITH PORTRAITS THAT YOU WANT THE PEOPLE TO BE VISIBLE ABOVE BUT OTHER IMAGES WILL HAVE DIFFERENT POSSIBILITIES !LSO SKEW YOUR PHOTOS ONLY SLIGHTLYBETWEEN TWO AND FOUR DEGREES -UCH MORE THAN THAT AND THEYLL LOOK STREWN NOT STACKED RIGHT

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!DD AN OBJECT #LIPS PUSHPINS AND OTHER PHOTOGRAPHIC OBJECTS ADD REALISMAND THEYRE FUN 7HEN LOOKING FOR AN OBJECT PHOTO PAY ATTENTION TO ITS LIGHTING WHICH MUST MATCH YOUR SHADOWS OR VICE VERSA

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5SE A DECORATIVE ELEMENT !N OBJECT THAT YOUD lND IN THE SCENE MAKES A LIFELIKE ORNAMENT ! CAST SHADOW NOT A DROP SHADOW MAKES THE PINE CONE APPEAR TO BE SITTING ON A TABLETOP I3TOCKPHOTOCOM IMAGE 0INE CONE

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$RAW YOUR OWN FASTENERS 4RIANGLE SCRAPBOOK CORNERS AND TRANSLUCENT TAPE ARE EASY TO DRAW AND LOOK GREAT

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!DD SOME CURL 0APER PHOTOS ARE RARELY PERFECTLY mAT #REATE THE ILLUSION OF A SLIGHT CURL BY DRAWING A CURVED SHADOW

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4RY DIFFERENT CURLS -ODIFYING THE SHADOW SLIGHTLY hLIFTSv THE PHOTO HIGHER OFF THE PAGE .OTE IN ALL CASES THAT ONLY THE SHADOW IS ALTERED THE PHOTO REMAINS UNTOUCHED

,IFT THREE CORNERS BY ENLARGING THE SHADOW AND OFFSETTING IT HORIZONTALLY

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&ILL THE PAGE )F YOU HAVE MANY PHOTOS FROM DIFFERENT YEARS YOU CAN BRING THEM TOGETHER BEAUTIFULLY BY USING JUST ONE STYLE 4O MINIMIZE MAKING REPETITIVE STEPS THIS IS A GOOD TIME TO USE 0HOTOSHOPS !CTION FEATURE

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_ OF `

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3UBSCRIBE TO "EFORE !FTER 3UBSCRIBE TO "EFORE !FTER AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE % MAIL THIS ARTICLE 4O PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS CLICK HERE *OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO HTTPWWWBAMAGAZINECOMEMAIL

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"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE *OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER 6INCENT 0ASCUAL 3TAFF DESIGNER $EXTER -ARK !BELLERA 3TAFF DESIGNER "EFORE !FTER MAGAZINE ,INCOLN 3TREET 2OSEVILLE #! 4ELEPHONE &AX % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM #OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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"EFORE !FTER IS MADE TO lT YOUR BINDER "EFORE !FTER ARTICLES ARE INTENDED FOR PERMANENT REFERENCE !LL ARE TITLED AND NUMBERED &OR THE CURRENT TABLE OF CONTENTS CLICK HERE 4O SAVE TIME AND PAPER A PAPER SAVER FORMAT OF THIS ARTICLE SUITABLE FOR ONE OR TWO SIDED PRINTING IS PROVIDED ON THE FOLLOWING PAGES

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0IX 4RIX 3CRAPBOOK STYLE PHOTOS

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0IX 4RIX 3CRAPBOOK STYLE PHOTOS

!DD A BORDER 4HE EASIEST THING TO DO IS SIMPLY ADD A WHITE BORDER WHICH WILL MAKE YOUR PHOTO LOOK LIKE A TRADITIONAL PRINT 7IDTHS VARY OLDER PHOTOS GENERALLY HAD WIDER BORDERS )N 0HOTOSHOP

/PEN YOUR PHOTO AND INCREASE THE #ANVAS 3IZE ENOUGH TO ACCOMMODATE A BORDER AND A SHADOW

!PPLY A WHITE STROKE TO THE OUTSIDE OF THE PHOTO )TS PIXEL WIDTH WILL DEPEND ON YOUR RESOLUTION

!DD A SHADOW #LICK THE LAYER AND ADD A VERY THIN DROP SHADOW TO MAKE THE PHOTO APPEAR TO BE ON THE PAGE NOT mOATING ABOVE IT

3TACK EM UP ! STACK OF PHOTOS SLIGHTLY ASKEW LOOKS NATURALLY CASUAL TWO OR THREE IN A STACK IS USUALLY PLENTY 4ECHNICALLY UPPER PHOTOS WOULD HAVE SOFTER SHADOWS BUT IN PRACTICE THIS USUALLY ISNT NECESSARY

,OOK FOR POINTS OF INTEREST 9OUR UPPER PHOTOS WILL CROP THE LOWER ONES BY COVERING SOME PARTS ,OOK FOR ARTISTIC PARTS )TS OBVIOUS WITH PORTRAITS THAT YOU WANT THE PEOPLE TO BE VISIBLE ABOVE BUT OTHER IMAGES WILL HAVE DIFFERENT POSSIBILITIES !LSO SKEW YOUR PHOTOS ONLY SLIGHTLYBETWEEN TWO AND FOUR DEGREES -UCH MORE THAN THAT AND THEYLL LOOK STREWN NOT STACKED RIGHT

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4O PASS ALONG A FREE COPY OF THIS ARTICLE TO

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0IX 4RIX 3CRAPBOOK STYLE PHOTOS

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3HAPE IT 4HE LIFESPAN OF THE AVERAGE POSTCARD IS VERY SHORTOUT OF THE MAILBOX ONTO THE TABLE AND INTO THE TRASHWHICH IS WHY SIMPLE AND BOLD IS EFFECTIVE "UT HERES ANOTHER APPROACH DESIGN A POSTCARD THATS MEANT TO BE KEPTIN THIS CASE A YUMMY RECIPE 2ECTANGLES MAKE A FRESH EASY TO DRAW LOOK

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I 3 6

3HAPE MAKERS

3IMILARLY YOUR NAME CAN BE FORCED TO TAKE SHAPE 4HE TWO EASIEST TECHNIQUES ARE EXPANSIONSPREAD YOUR NAME OUTAND COMPRESSIONSQUEEZE IT TOGETHER

%XPANSION !BOVE 3PREADING YOUR NAME WAY OUT DISCONNECTS ITS LETTERS FROM EACH OTHER 4HIS BREAKS WHATEVER PATTERN MAY BE PRESENT AND CREATES A NEW ONEA NEAT ROW OF DOTS 4HE PANORAMIC RESULT CONVEYS A SENSE OF GRANDEUR BOTH UNDERSTATED AND ELEGANT 6ERY POPULAR IN MOVIE TITLES 4HE TECHNIQUE WORKS WITH ALMOST ANY TYPEFACE SET ALL CAPS FOR THE CLEANEST LINE

#OMPRESSION !BOVE #ONVERSELY SETTING YOUR NAME IN A HIGHLY CONDENSED TYPEFACE THEN PACKING IT TIGHTLY TOGETHER YIELDS A DENSE POWERFUL BLOCK 4HIS TECHNIQUE IS ALSO POPULAR IN THE MOVIES BECAUSE IT CAN CONVEY A MASSIVE OVERWHELMING PRESENCE ESPECIALLY IN ALL CAPS !T SMALL SIZES ITS DENSE SHAPE CARVES A DISTINCTIVE SILHOUETTE THATS EASY TO WORK WITH

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I 3 6

.EXT DESIGN A CARD

3O FAR WEVE SEEN THAT THE LETTERS IN A NAME CAN FORM A PATTERN 4HE TYPEFACE CAN MAKE OR BREAK THE PATTERN 4HE TYPEFACE CAN IMPOSE A PATTERN OF ITS OWN )N EVERY CASE THE TYPEFACE ALSO ADDS MEANING 4HE KEY TO A GREAT LOGOTYPE IS TO lND A TYPEFACE THAT MAKES THE NAME LOOK GOOD AND CONVEYS THE APPROPRIATE MEANING 4O SEE THIS AT WORK WELL NEXT SET THE NAME ON A BUSINESS CARD IN NINE DIFFERENT TYPE FACES 4HE CARD WILL GIVE US THE ADDED TOOLS OF COLOR AND LAYOUT 7E WILL USE ONLY TYPE WITH NO GRAPHICS OF ANY KIND 0AY SPECIAL ATTENTION TO THIS AND YOULL SEE HOW CLEARLY AND BEAUTIFULLYTYPE ALONE CAN COMMUNICATE

3TANDARD 53 BUSINESS CARD IS bv X v &OR THIS DEMONSTRATION WELL PUT THE NAME ON THE FRONT AND IGNORE THE CONTACT INFO WHICH IN REAL LIFE WOULD BE PUT ON THE BACK

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I 3 6

!VANT 'ARDE

BRINGS OUT .AGANOS NATURAL PATTERN 3IMPLE SHAPES ARE BOLD AND YOUTHFUL ESPECIALLY IN LOWERCASE #OLORS ARE INTERCHANGEABLE 4HIS WOULD BE A FUN TRENDY PLACE

NAGANO

7IDE

-EDIUM

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URBANGRILL

NAGANO

URBANGRILL

URBANGRILL

"RIGHT CHAIN OF HOOPS AND CIRCLES RUNS EDGE TO EDGE AND CAN BE SEEN FROM ACROSS THE ROOM 5RBAN GRILL SUBTITLE IS ALSO IN !VANT 'ARDE 'REEN AND YELLOW ARE FRESH SECONDARY COLORS THAT CAN EASILY BE SWAPPED RIGHT WITH EQUALLY BOLD RESULTS 3INGLE LINE DESIGN CONVEYS RESTRAINT A COUNTERPOINT TO THE EXU BERANT CIRCLES .OTE THE LETTERS ARE VERY CLOSE BUT NOT TOUCHING !SYMMETRICAL DIVISIONS OF SPACEWIDE MEDIUM NARROW ABOVE KEEP THE DESIGN ACTIVE

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I 3 6

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3LOOP

HAS AIRY SWEEPING LINES THAT CONVEY GRACE ELEGANCE AND TASTE APPROPRIATE FOR A VISIT FROM THE 1UEEN REALLY #ENTERED LAYOUT AND LIGHT METALLIC COLORS ADD FORMALITY

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2EAL POWER ALWAYS APPEARS NATURAL AND UNFORCED AS IF IT SIMPLY REQUIRED NO EFFORT )F IT LOOKS LIKE YOURE TRYING IT DOESNT WORK 4O PROJECT THIS YOU WANT A CENTERED LAYOUT WHICH HAS NO MOTION IT IS CALM AND AT REST 3ILVER AND GOLD COLORS SUGGEST WEALTH BUT HERE THEYRE LIGHT QUIET DISCREET 3UPERLIGHT SUBTITLE (ELVETICA .EUE 5LTRA ,IGHT IS BARELY THERE ITS TINY SIZE AND CON TRASTING 2OMAN STYLE SUPPORTS WITHOUT COMPETING 7HATS INTERESTING IS THAT FOR ALL THIS FORMALITY .AGANO IS A BOISTEROUS MIDTOWN '2),, A JUXTAPOSITION OF NAME AND IMAGE THAT WOULD PROBABLY WORK JUST lNE

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I 3 6

"!MAGAZINECOM

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!DOBE 'ARAMOND

IS A TEXT FACE IN WHICH .AGANO HAS NO PATTERN BUT A SMALL AMOUNT OF TEXTURE 'O WITH WHAT IT HAS AND ADD MORE TEXTURE #OCKEYED SETTING IS CORRESPONDINGLY ROUGH

52"!. '2),,

52"!. '2),, $ISTRESSED SERIF TYPEFACE LOOKS ROUGH WEATHERED AND CRATE STAMPED OPPO SITE THE HARD EDGED MINIMALISM OF ITS URBAN ENVIRONMENT %ARTHY COLORS ADD WARMTH 4HE WORDS CAN BE PUT JUST ABOUT ANYWHERE EXCEPT STRAIGHT AND ALIGNED YOU WANT IT TO LOOK A LITTLE THROWN TOGETHER 4HIS TECHNIQUE LOOKS ESPE CIALLY AUTHENTIC IN A STENCILED TYPEFACE INSET WHICH HINTS OF CARGO MILITARY NAUTICAL SAFARI AND SO ON

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#OPPERPLATE 'OTHIC "#

HAS TINY STRAIGHT SERIFS THAT GIVE IT OLD INDUSTRIAL ERA OVERTONES SUITABLE FOR AN URBAN ENVIRONMENT )TS CLEAR WIDE BODY MAKES IT GOOD CHOICE FOR PANORAMA

N

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G

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URBAN G RI LL

N

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URBA N G RILL

N

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URBAN G RI LL

%VEN IN VERY SMALL SIZES A PANORAMIC SETTING PROJECTS A WIDE SCREEN IMAGE AND CONVEYS FEELINGS ASSOCIATED WITH SPACIOUSNESS AND GRANDEUR )TS QUIET TOO THE CENTERED SETTING IS MOTIONLESS AND STATELY "ELOW #OPPERPLATES TINY SERIFS HELP THE EYE SPAN THE GAPS BETWEEN THE WIDELY SPACED LETTERS

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!NY COLOR LIKE HOT MAGENTA WORKS IN PANORAMA BECAUSE THERES SO LITTLE OF IT $ARK BACKGROUND ADDS CLASS FOR A PARTY LOOK MAKE IT BRIGHT

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"UREAU 'ROTESQUE %XTRA #OMPRESSED "LACK

FORCES WORDS INTO BLOCKS THAT CAN BE lT TOGETHER LIKE MASONRY "RICK WALL COLORS AND ARTISTIC COMPOSITION ARE RIGHT FOR AN ARTSY JAZZY BLUESY MIDTOWN HANGOUT

)F YOU LIKE ,EGOS YOULL LIKE DESIGNING WITH "UREAU 'ROTESQUE WHOSE DENSE BLOCKS YOU CAN STACK AND REPOSITION ENDLESSLY AND USUALLY GET EXPRES SIVE RESULTS 0AY ATTENTION TO THE NEGATIVE SPACES THAT FORM WHITE BLOCKS ABOVE LEFT WHICH ARE AS IMPORTANT AS THE POSITIVE ,IGHT h5RBANv AND h'RILLv COLORS RECEDE SO THE NAME STANDS OUT NOTE THAT BOTH ARE TINTS OF THE BACKGROUND COLOR ABOVE CENTER !BOVE RIGHT ARTISTICALLY SPARE DESIGN YIELDS A POWERFUL FOCAL POINT NOTE THE COLOR EMPHASIS ON hURBANv

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I 3 6

0LANET +OSMOS

IS AN ALPHABET OF NEARLY IDENTICAL CHARACTERS THAT HINTS OF *APANESE ANIMATION )T LOOKS FAST THE ITALICS EDGY ITS ANGLES YOUTHFUL CARTOONS AND CLEAN SIMPLE LINES

Y

YVFERKVMPP

&ASTER &OR MAXIMUM SPEED THE NAME TOUCHES BOTH ENDS THE EYE MOVES STRAIGHT ALONG THE NAME AND OFF THE PAGE

ER F V

MPP V K

2AD !NGLED SETTING IS EDGY VIBRANT IT SAYS THE RESTAURANT IS FULL OF YOUNG ENERGY BUT IS PROBABLY NOT A PLACE YOUD GO TO RELAX 5SE THE ANGLE OF THE ITALICS BELOW RATHER THAN A RANDOM ANGLE

3LOWER 3MALLER NAME CREATES AN ENCLOSING FRAME THAT THE EYE UNCONSCIOUSLY TRACES WHICH SLOWS IT SLIGHTLY

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I 3 6

(4& $IDOT

IS THE LOOK OF .EW 9ORK CITYALL GLAMOUR A BEAUTIFUL CHOICE FOR A CHIC COSMOPOLITAN RESTAURANT 7ITH ITS FASHION MODEL OVERTONES THIS WOULD BE A PLACE TO BE SEEN

;NTN[\ URBAN GRILL

;NTN[\ URBAN GRILL

(4& $IDOT IN LIPSTICK RED ON WHITE WILL STOP TRAFlC AND IN THIS CASE BECAUSE OF THE NAME IT ALSO HAS *APANESE OVERTONES $IDOTS SUPERlNE LINES MAKE THE PRESENTATION UNUSUALLY STRIKING !N IDEAL COMPLEMENT IS (ELVETICA 5LTRA ,IGHT WHOSE LINE WEIGHT MATCHES $IDOTS SERIFS INSET 2ED GRAY BLACK AND WHITE ARE ALWAYS POWERFUL TOGETHER

$IDOTS PATTERN IS SEEN IN ITS REPETITIVE VERTICAL STROKESTHEYRE NOT EVEN SLIGHTLY SLANTED A TRAIT SHARED BY OTHER TYPEFACES BUT NOT OFTEN SO OBVIOUSLY #URVY AS AND GNOTE THE BEAUTIFULLY UNDULATING THICKS AND THINSSWEETEN THE MIDDLE OF THE NAME

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I 3 6

,ETTRÏS %CLATÏES

IS A MANGY BUT ODDLY CHEERFUL TYPEFACE FULL OF REPETITIVE ELEMENTS THAT HAVE BOTH PATTERN AND TEXTURE 4HE TWO COLOR SETTING ADDS CLASS 3UBLIMELY FUNKY

/BHBOPVSCBOHSJMM

4HE SCRAGGLY TYPEFACE HAS THE STREET LOOK YOU WANT BUT HOW DO YOU KEEP IT FROM MAKING A SCRAGGLY CARD "Y CENTERING IT IN A SINGLE LINE ON RICH BLACK 4HE RESULT IS ARTISTIC AND TEXTURED FRAMED LIKE ART IN A GALLERY SLIGHT COLOR DIFFERENCE IS JUST ENOUGH TO SET .AGANO APART YET KEEP THE LINE INTACT

.OT A STRAIGHT LINE ANYWHERE ANGLES AND OVALS GIVE ,ETTRES %CLATEES ITS TEXTURE AND OUR NAME SOMETHING OF A PATTERN WHICH MAY BE EASIER TO SEE IF ITS REVERSED

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I 3 6

(ELVETICA .EUE

IMPARTS A LOOK OF 3WISS MINIMALISM WHEREVER IT APPEARS 'RACEFUL GEOMETRIC AND ICE COLD IT IS ONE OF THE WORLDS MOST FAMOUS TYPEFACES %XPECT STAINLESS STEEL AND GLASS

.OTE TIGHT LETTERSPACING LINE SPACING AND UPPER LEFT ALIGNMENT

(ELVETICA IS THE LOOK OF THE MODERN MECHANIZED WORLDBEAUTI FUL CONTROLLED AND ALOOF 9OU CAN USE IT FOR ANYTHING AS LONG AS ITS TIGHTLY ALIGNED USUALLY TO THE TOP AND LEFT (ELVETICA LOOKS BEST TIGHTLY SET AND IN A SINGLE SIZE DIFFERENTIATE WORDS ONLY WITH WEIGHT AND COLOR )TS A COLD TYPEFACE YOULL NEED lRE ON THE GRILL COLORS TO WARM IT UP

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I 3 6

!RTICLE RESOURCES

4YPEFACES

NAGANO NAGANO URBANGRILL

URBANGRILL

#OLORS

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3LOOP 3CRIPT /NE \ PT

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NAGANO NAGANO URBANGRILL

URBANGRILL

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!RTICLE RESOURCES

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#OLORS

!DOBE 'ARAMOND 2EGULAR \ A PT n LETTERSPACING $ISTRESSED IN 0HOTOSHOP USING THE %RASER TOOL 52"!. '2),,

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!RTICLE RESOURCES

4YPEFACES

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#OLORS

AnB #OPPERPLATE 'OTHIC "# A PT B PT

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# - 9 +

# - 9 +

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/, &RANKLIN 4RIPLE #ONDENSED PT LETTERSPACING

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!RTICLE RESOURCES

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YVFERKVMPP

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#OLORS

AnB 0LANET +OSMOS \ A PT B PT (4& $IDOT \ PT AnB (ELVETICA .EUE 3TD 5LTRA ,IGHT A PT n LETTERSPACING B PT n LETTERSPACING (ELVETICA .EUE 3TD "OLD \ PT n LETTERSPACING

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3UBSCRIBE TO "EFORE !FTER

I 3 6

"EFORE !FTER MAGAZINE "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE

3UBSCRIBE TO "EFORE !FTER AND BECOME A MORE CAPABLE CONlDENT DESIGNER FOR PENNIES PER ARTICLE 4O LEARN MORE GO TO HTTPWWWBAMAGAZINECOM3UBSCRIBE

*OHN -C7ADE 0UBLISHER AND CREATIVE DIRECTOR 'AYE -C7ADE !SSOCIATE PUBLISHER $EXTER -ARK !BELLERA 3TAFF DESIGNER

% MAIL THIS ARTICLE 4O PASS ALONG A FREE COPY OF THIS ARTICLE TO

"EFORE !FTER MAGAZINE ,INCOLN 3TREET 2OSEVILLE #! 4ELEPHONE &AX % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM

OTHERS CLICK HERE *OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO

#OPYRIGHT ¥ "EFORE !FTER MAGAZINE )33. !LL RIGHTS RESERVED

HTTPWWWBAMAGAZINECOMEMAIL

9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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0RINTING FORMATS `

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I 3 6

"EFORE !FTER IS MADE TO lT YOUR BINDER "EFORE !FTER ARTICLES ARE INTENDED FOR PERMANENT REFERENCE !LL ARE TITLED AND NUMBERED &OR THE CURRENT TABLE OF CONTENTS CLICK HERE 4O SAVE TIME AND PAPER A PAPER SAVER FORMAT OF THIS ARTICLE SUITABLE FOR ONE OR TWO SIDED PRINTING IS PROVIDED ON THE FOLLOWING PAGES

&OR PRESENTATION FORMAT 0RINT 3PECIFY PAGES n

&OR PAPER SAVER FORMAT 0RINT 3PECIFY PAGES n

0RINT &ORMAT ,ANDSCAPE 0AGE 3IZE &IT TO 0AGE

3AVE 0RESENTATION FORMAT OR 0APER SAVER FORMAT

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SETATEXT ONLY LOGOTYPE +EY IS TO WORK WITH THE NATURAL PATTERN OF YOUR LETTERS (ERES HOW

7ELCOME TO .AGANO 5RBAN 'RILL A POPU LAR MIDTOWN HANG OUT /UR PROJECT IS TO DESIGN ITS LOGOTYPE ! LOGO IS A COMPANYS SIGNATURE ITS A DISTINC TIVE WAY OF WRITING ITS NAME 3OME LOGOS INCLUDE GRAPHICS BUT MOST DO NOT ! GOOD LOGO IS BOLD CLEAR AND ATTRACTIVE AND IT CONVEYS AN APPROPRIATE SENSE OF THE COMPANY 4HESE QUALITIES CAN BE DIFlCULT TO COMBINE IN ONE WORD 4HE PLACE TO START ON A TEXT ONLY LOGO IS WITH THE NATURAL PATTERN OF ITS LETTERS )T GOES LIKE THIS

(OW TO SET A TEXT ONLY LOGOTYPE

%VERY WORD HAS A NATURAL PATTERN "EFORE SETTING TYPE TAKE A VISUAL INVENTORY %VEN HANDWRITTEN LEFT WE CAN SEE A DESCENDING G LOOP AND REPEAT ING AS WHICH FORM A TRIO OF ROUNDISH SHAPES MORE OR LESS IN THE MIDDLE .AGANO STARTS WITH AN ANGLE . AND ENDS WITH A CIRCLE O BOTH OF WHICH HAVE OPEN ENDS THAT LEAD THE EYE OUT WARD )T HAS SIX LETTERS 6ISUALLY .AGANO IS AN AVERAGE WORD )TS EASY TO SAY ./' UH NO AND IT HAS STRONG *APANESE ASSOCIA TIONS 4HESE QUALITIES WILL FORM THE FOUNDATION OF OUR DESIGNS

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

(OW TO SET A TEXT ONLY LOGOTYPE

! LOGOTYPE STARTS WITH THE ALPHABET

,ETTERS HAVE DISTINCT SHAPES 'ET FAMILIAR WITH THESE SHAPES %ACH HAS ITS OWN KIND OF EXPRESSIVENESS 4HE SHAPES WILL ALSO DETERMINE WHAT YOU CAN DO WITH YOUR DESIGN

#IRCLES ARE SOFT SERENE ENCLOSING

#IRCLES WITH STRAIGHTS OR HOOPS THE G

ACEO BDGPQ HMNU ILT FJRS KVWXYZ (OOPS ARE LIVELY PLAYFUL

#URLS AND HALF CIRCLES

3TRAIGHTS

!NGLES ARE UNSTABLE EDGY RESTLESS

4YPEFACE !VANT 'ARDE SHOWN HERE WHICH CONSISTS MAINLY OF SIMPLE STRAIGHTS AND CIRCLES IS ESPECIALLY GOOD AT REVEALING LETTER SHAPES 3HOWN ARE THE MAIN GROUPS DIFFERENT FONTS WILL HAVE SMALL VARIATIONS

&OR EXAMPLE

4HE NAME JJILL CONSISTS SOLELY OF STRAIGHT LETTERS THAT DO NOT CONVEY SOFTNESS LIKE ROUND LETTERS DO #ONVERSELY ROUND POD IS NOT NATURALLY SHARP AND EDGY

LOLLIOOO ICICLE BA BUMMM BA BA BA BA BUMMM BUMMM BA BUMMM

BA BUMMM BA BUMMM BA BUMMM

)LLINOIS JJILL OOO BA BUMMM BUMMM BUMMM BA

BA BA BA BA BUMMM BUMMM BA BUMMM

(OW TO SET A TEXT ONLY LOGOTYPE

BA BA BA BA BA BA

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

! WORDS PATTERN CAN BE EXPRESSED RHYTHMI CALLY 2HYTHM IS AN UNSEEN FACTOR THAT AFFECTS HOW WE PERCEIVE A WORD

(OW TO SET A TEXT ONLY LOGOTYPE

&IND YOUR PATTERN

3TART BY SETTING YOUR NAME IN UPPERCASE AND LOWERCASE AND NOTICE THE PATTERN THAT FORMS EVEN IF ITS SUBTLE 0AY SPECIAL ATTENTION TO REPETITIVE LINES AND SHAPES

5PPERCASE

"

4WO ANGLED

/NE ROUND

4WO ANGLED

/NE ROUND

NAGANO ,OWERCASE

.AGANO IN UPPERCASE &UTURA "OOK ABOVE HAS TWO GROUPS OF MIRRORED ANGLES .! !. ALTERNATING WITH TWO ROUND LETTERS A RHYTHMIC BUT SUBTLE PATTERN ,OWERCASE !VANT 'ARDE RIGHT FORMS A LINE OF ALL ROUND LETTERS A STRONG AND INTERESTING PATTERN

!LL ROUND

0ATTERN BREAKERS

9OUR NAME IN SOME TYPEFACES WILL NOT FORM A PATTERN

.O RESEMBLANCE

.AGANO .O RESEMBLANCE

,ETTERS THAT LOOK ALIKE IN !VANT 'ARDE LOOK DIFFERENT IN !DOBE 'ARAMOND ABOVE AND THE PATTERN DISAPPEARS 4HE G THAT BEFORE WAS A CIRCLE IS NOW A SNAKING TWIST ING LINE !S A RULE THE MORE DETAILED THE TYPEFACEDETAILS INCLUDE SERIFS TERMINALS lLETS VARYING STROKE WIDTHS AND SO ONTHE LESS VISIBLE THE PATTERN WILL BE

4EXTURE 0ATTERNS ARE BIG 7HEN REPETITIVE ELEMENTS ARE SMALL COMMON IN DETAILED TYPEFACES LIKE !DOBE 'ARAMOND THEY MAKE TEXTURE !BOVE YOU CAN SEE FOUR CIR CULAR COUNTERS AND OTHER REPETITIVE SHAPES IN THE MIDDLE OF THE WORD

3HAPE 2ELATED TO PATTERN IS SHAPE WHICH REFERS TO THE OVERALL FORM OF THE WORD

(OW TO SET A TEXT ONLY LOGOTYPE

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

(OW TO SET A TEXT ONLY LOGOTYPE

0ATTERN MAKERS

9OUR NAME CAN BE GIVEN A PATTERN BY THE TYPEFACE 0ATTERN MAKING IS THE MAIN FUNCTION OF MOST DECORATIVE TYPE

EX^Xef 2EPETITIVE LOOPS

2EPETITIVE ANGLE

3IMILAR CURVES .OTE THE GRACEFUL THICK TO THIN OF THE STROKES

#ALLIGRAPHIC 3LOOP HAS A STRONG GRACEFUL PATTERNITS LETTERS ARC AND mOW SMOOTHLY FROM THICK TO THIN AND HAVE COMMON ANGLES AND LOOPS %XTRA SWASHESNOTICE THE . CREATE SIMILARITY WITH OTHER LETTERS WHERE NONE EXISTS NATURALLY !NY WORD SET IN 3LOOP WILL AUTOMATICALLY HAVE A PATTERN AND WILL ALWAYS BE BEAUTIFUL

3HAPE MAKERS

3IMILARLY YOUR NAME CAN BE FORCED TO TAKE SHAPE 4HE TWO EASIEST TECHNIQUES ARE EXPANSIONSPREAD YOUR NAME OUTAND COMPRESSIONSQUEEZE IT TOGETHER

%XPANSION !BOVE 3PREADING YOUR NAME WAY OUT DISCONNECTS ITS LETTERS FROM EACH OTHER 4HIS BREAKS WHATEVER PATTERN MAY BE PRESENT AND CREATES A NEW ONEA NEAT ROW OF DOTS 4HE PANORAMIC RESULT CONVEYS A SENSE OF GRANDEUR BOTH UNDERSTATED AND ELEGANT 6ERY POPULAR IN MOVIE TITLES 4HE TECHNIQUE WORKS WITH ALMOST ANY TYPEFACE SET ALL CAPS FOR THE CLEANEST LINE

#OMPRESSION !BOVE #ONVERSELY SETTING YOUR NAME IN A HIGHLY CONDENSED TYPEFACE THEN PACKING IT TIGHTLY TOGETHER YIELDS A DENSE POWERFUL BLOCK 4HIS TECHNIQUE IS ALSO POPULAR IN THE MOVIES BECAUSE IT CAN CONVEY A MASSIVE OVERWHELMING PRESENCE ESPECIALLY IN ALL CAPS !T SMALL SIZES ITS DENSE SHAPE CARVES A DISTINCTIVE SILHOUETTE THATS EASY TO WORK WITH

(OW TO SET A TEXT ONLY LOGOTYPE

"EFORE!FTER \ WWWBAMAGAZINECOM

OF

(OW TO SET A TEXT ONLY LOGOTYPE

.EXT DESIGN A CARD

3O FAR WEVE SEEN THAT THE LETTERS IN A NAME CAN FORM A PATTERN 4HE TYPEFACE CAN MAKE OR BREAK THE PATTERN 4HE TYPEFACE CAN IMPOSE A PATTERN OF ITS OWN )N EVERY CASE THE TYPEFACE ALSO ADDS MEANING 4HE KEY TO A GREAT LOGOTYPE IS TO lND A TYPEFACE THAT MAKES THE NAME LOOK GOOD AND CONVEYS THE APPROPRIATE MEANING 4O SEE THIS AT WORK WELL NEXT SET THE NAME ON A BUSINESS CARD IN NINE DIFFERENT TYPE FACES 4HE CARD WILL GIVE US THE ADDED TOOLS OF COLOR AND LAYOUT 7E WILL USE ONLY TYPE WITH NO GRAPHICS OF ANY KIND 0AY SPECIAL ATTENTION TO THIS AND YOULL SEE HOW CLEARLY AND BEAUTIFULLYTYPE ALONE CAN COMMUNICATE

3TANDARD 53 BUSINESS CARD IS bv X v &OR THIS DEMONSTRATION WELL PUT THE NAME ON THE FRONT AND IGNORE THE CONTACT INFO WHICH IN REAL LIFE WOULD BE PUT ON THE BACK

!VANT 'ARDE

BRINGS OUT .AGANOS NATURAL PATTERN 3IMPLE SHAPES ARE BOLD AND YOUTHFUL ESPECIALLY IN LOWERCASE #OLORS ARE INTERCHANGEABLE 4HIS WOULD BE A FUN TRENDY PLACE

7IDE

-EDIUM

.ARROW

NAGANO URBANGRILL

"RIGHT CHAIN OF HOOPS AND CIRCLES RUNS EDGE TO EDGE AND CAN BE SEEN FROM ACROSS THE ROOM 5RBAN GRILL SUBTITLE IS ALSO IN !VANT 'ARDE 'REEN AND YELLOW ARE FRESH SECONDARY COLORS THAT CAN EASILY BE SWAPPED RIGHT WITH EQUALLY BOLD RESULTS 3INGLE LINE DESIGN CONVEYS RESTRAINT A COUNTERPOINT TO THE EXU BERANT CIRCLES .OTE THE LETTERS ARE VERY CLOSE BUT NOT TOUCHING !SYMMETRICAL DIVISIONS OF SPACEWIDE MEDIUM NARROW ABOVE KEEP THE DESIGN ACTIVE

(OW TO SET A TEXT ONLY LOGOTYPE

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OF

NAGANO URBANGRILL

NAGANO URBANGRILL

NAGANO URBANGRILL

(OW TO SET A TEXT ONLY LOGOTYPE

3LOOP

HAS AIRY SWEEPING LINES THAT CONVEY GRACE ELEGANCE AND TASTE APPROPRIATE FOR A VISIT FROM THE 1UEEN REALLY #ENTERED LAYOUT AND LIGHT METALLIC COLORS ADD FORMALITY

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Before&After

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i 3 6

Design a

catalog of rectangles Segway’s catalog motif is simple, handsome and versatile. Continued 0

Continued 0

Design a catalog of rectangles

0661

Before&After

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i 3 6

Design a catalog of rectangles Segway’s catalog motif is simple, handsome and versatile.

It’s a good thing the Segway Personal Transporter costs as much as it does ($5,000-ish), or we’d be out riding instead of writing—this thing is a hoot. Ahead of its time when it was introduced in 2001, the self-balancing, ride-about platform is almost magically intuitive; it runs silently indoors and out, and has become popular with urban commuters, tour groups and others who need to get places that would be too far or too slow to walk. A 28-page catalog presents the machine in tried-and-true fashion; it’s an attractive synthesis of text and images in a simple, rectangular format. What we like about the rectangles is how easy they make it to blend different elements into a uniform whole. That’ll be our focus:

Rectangular simplicity can be seen in shapes, borders and lines throughout the catalog. It allows the designer to easily meld different photos and varying amounts of text into a uniform whole.

1 h h2 of 12 0

Design a catalog of rectangles

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Before&After

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Design a catalog of rectangles

i 3 6

BAmagazine.com

3 of 12

Build it in blocks

As we work through the catalog, you’ll see that rectangles are a deliberately visible part of the design. This begins on the cover, where the elements are stacked in blocks.

3/8” white frame

J`dgcpdfm`e^ J < > N 8 P

Page 7” x 10” rectangular page

Frame Rectangular photo, slightly smaller. Result: three visual elements— photo, page and white frame, which the eye subconsciously follows.

Base Heavy black rectangle serves as a visual base and also interrupts the circuit, which draws attention to the tiny text within it.

1 h h3 of 12 0

G I F ; L : K 9 I F : ? L I <

Headline Rectangular white headline completes the page. Note the rectangles are all centered, a static arrangement that contrasts with the moving rider.

Design a catalog of rectangles

0661

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Design a catalog of rectangles

BAmagazine.com

4 of 12

i 3 6

Two-level design

Inside, the catalog is designed in two levels, one to browse and one to read. A big photo and a short block of big type are for browsing. Regular text columns are for detailed reading. Massive black sets the visual theme.

Phantom column Oversize text and a large photo make an easy-to read focal point that will be repeated throughout the catalog. Against black, the paragraph adds visual texture; its long, white lines are a contrasting counterpoint to the narrow, gray columns on the right.

The spread is made of rectangles both tall and wide. Note the product photos are inside a phantom square, a negative space defined by nearby positive elements. The columns on the far right, tinted gray, recede.

Headline at the bottom is opposite the normal position, yet it “reads” naturally. Cool.

Phantom square

1 h h4 of 12 0

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0661

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Design a catalog of rectangles

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5 of 12

i 3 6

Immersive imagery

A huge, nearly wall-to-wall photo illustrates the product in its environment. This technique is effective because it’s immersive; it’s how we experience real life.

Text-on-black theme from the opening spread is brought forward . . .

. . . and onto subsequent spreads.

Oversize text serves here as a caption, aligned right to tuck into the corner. Type like this is valuable because it’s visible and brief, so most readers will read it first. With careful editing, these captions can carry a theme—even a second story line—throughout the catalog. Small and big The huge photo does the heavy work; the small, side image is an extra.

1 h h5 of 12 0

Design a catalog of rectangles

0661

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Design a catalog of rectangles

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6 of 12

i 3 6

Big viewing, light reading

Repetitive spreads—big photo and caption, small text—present life-size vignettes of Segway’s world. In this section, the catalog is setting up the reader by helping him visualize using—and enjoying—the product.

Reverse the layout Black text column can change sides without changing the look. The small photo size should stay constant.

Place oversize text in the corner The caption can go in any corner; look for the smoothest, clearest backdrop. Its distance from the edges should remain constant, too. The caption can be black or white, whichever has the more pleasing contrast.

1 h h6 of 12 0

Design a catalog of rectangles

0661

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Design a catalog of rectangles

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7 of 12

i 3 6

Show the product

Product pages show the machine in detail. Pure white field removes all distractions, then descriptive callouts take the reader on an item-by-item tour.

Light typeface Oversize paragraph is low-key gray. Only the headline is black. Sublime.

Big and clear Shoppers like to touch stuff, look it over, think about it, so the more lifelike a product appears, the more successful it will be. Photograph an angle that shows everything well, then make the picture BIG. Here, gray type and cool, rectangular hairlines are beautifully minimal. Note the complete absence of adornment—no fills, shadows, italics, colors, nothing to take away from the product. Shadowed against pure white, the black i2 rectangle stands out with startling clarity.

Caption size of the half-spread photo is smaller to retain its proportions to the others.

1 h h7 of 12 0

Design a catalog of rectangles

0661

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Design a catalog of rectangles

BAmagazine.com

8 of 12

i 3 6

The look in triplicate

“Packages” spread shows three products; each small module contains all the elements of the large ones. Lead paragraph and mid-page headline—this time on white—recall the design of the opening spread.

Same three elements, smaller space, same look Once you’ve established a look, stay with it. In this section, the catalog restructures and reduces the look of full-size sections into smaller spaces—lead paragraph, environmental photo, product photo and rectangular callouts all are here. Type styles, sizes and colors remain the same as before. Very strong continuity, beautifully done. Crop uniformly Left, photos that are almost the same should always be cropped the same. Here, heads and wheels align.

1 h h8 of 12 0

Design a catalog of rectangles

0661

Before&After

®

Design a catalog of rectangles

BAmagazine.com

9 of 12

i 3 6

Versatile rectangles

Accessories section contains products of varying sizes, shapes and caption lengths. Rectangles do a good job of holding it all together. Careful alignment is key.

Across the page

Even columns

Down the page

Uneven columns

Bend the rules Photos of uneven proportions require uneven columns, which is not ideal, but rectangles make it fairly easy to sustain the look. Wherever possible, align your images all the way across or all the way down a page, as shown at right in blue. For flexibility, captions can go beneath or beside their photos. Captions beneath

1 h h9 of 12 0

Captions beside

Design a catalog of rectangles

0661

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Design a catalog of rectangles

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10 of 12

i 3 6

Mind the details

Consistent typography, irregular “interrupters” and gray space fillers keep the spread lively and the design flexible. Gray type recedes, keeping the products center stage.

Down

Visual interrupter The irregular shape of the shirt provides visual relief from the rectangles. Note its differences—it interrupts the border, bleeds to the edge, and is shadowed for depth.

Across

Reverse the value Rectangular gray bars neatly head each subsection. Continue the same typeface; just reverse its value to white on gray. Note the larger head is in the lighter typeface.

Across

Space filler White text in a gray field is both space filler and advertisement. These can go anywhere.

1 h h10 of 12 0

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Design a catalog of rectangles

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11 of 12

i 3 6

Article resources

Typefaces Four styles of Benton Sans Condensed are used in this product catalog: Benton Sans Condensed Book Benton Sans Condensed Regular Benton Sans Condensed Medium Benton Sans Condensed Bold

Credits Segway, Inc. & Saltworks, Inc., Designers Bob Carey, Photographer

Special thanks to Segway dealer Norris Rancourt of Carmichael Honda in Carmichael, California (www.carmichaelhonda.com) for giving us the extended demonstration.

1 h h11 of 12 0

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Subscribe to Before & After

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–12)

For paper-saver format Print: (Specify pages 14–19)

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Save Presentation format or Paper-saver format

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Design a

catalog of rectangles Segway’s catalog motif is simple, handsome and versatile.

It’s a good thing the Segway Personal Transporter costs as much as it does ($5,000-ish), or we’d be out riding instead of writing—this thing is a hoot. Ahead of its time when it was introduced in 2001, the self-balancing, ride-about platform is almost magically intuitive; it runs silently indoors and out, and has become popular with urban commuters, tour groups and others who need to get places that would be too far or too slow to walk. A 28-page catalog presents the machine in tried-and-true fashion; it’s an attractive synthesis of text and images in a simple, rectangular format. What we like about the rectangles is how easy they make it to blend different elements into a uniform whole. That’ll be our focus:

Rectangular simplicity can be seen in shapes, borders and lines throughout the catalog. It allows the designer to easily meld different photos and varying amounts of text into a uniform whole.

0661 Design a catalog of rectangles

Before&After | www.bamagazine.com

1 of 6

Design a catalog of rectangles

0661

Build it in blocks

As we work through the catalog, you’ll see that rectangles are a deliberately visible part of the design. This begins on the cover, where the elements are stacked in blocks.

3/8” white frame

J`dgcpdfm`e^

Page 7” x 10” rectangular page

Frame Rectangular photo, slightly smaller. Result: three visual elements— photo, page and white frame, which the eye subconsciously follows.

Base Heavy black rectangle serves as a visual base and also interrupts the circuit, which draws attention to the tiny text within it.

Headline Rectangular white headline completes the page. Note the rectangles are all centered, a static arrangement that contrasts with the moving rider.

Two-level design

Inside, the catalog is designed in two levels, one to browse and one to read. A big photo and a short block of big type are for browsing. Regular text columns are for detailed reading. Massive black sets the visual theme.

Phantom column Oversize text and a large photo make an easy-to read focal point that will be repeated throughout the catalog. Against black, the paragraph adds visual texture; its long, white lines are a contrasting counterpoint to the narrow, gray columns on the right.

The spread is made of rectangles both tall and wide. Note the product photos are inside a phantom square, a negative space defined by nearby positive elements. The columns on the far right, tinted gray, recede.

Headline at the bottom is opposite the normal position, yet it “reads” naturally. Cool.

Phantom square

0661 Design a catalog of rectangles

Before&After | www.bamagazine.com

2 of 6

Design a catalog of rectangles

0661

Immersive imagery

A huge, nearly wall-to-wall photo illustrates the product in its environment. This technique is effective because it’s immersive; it’s how we experience real life.

Text-on-black theme from the opening spread is brought forward . . .

. . . and onto subsequent spreads.

Oversize text serves here as a caption, aligned right to tuck into the corner. Type like this is valuable because it’s visible and brief, so most readers will read it first. With careful editing, these captions can carry a theme—even a second story line—throughout the catalog. Small and big The huge photo does the heavy work; the small, side image is an extra.

Big viewing, light reading

Repetitive spreads—big photo and caption, small text—present life-size vignettes of Segway’s world. In this section, the catalog is setting up the reader by helping him visualize using—and enjoying—the product.

Reverse the layout Black text column can change sides without changing the look. The small photo size should stay constant.

0661 Design a catalog of rectangles

Before&After | www.bamagazine.com

3 of 6

Place oversize text in the corner The caption can go in any corner; look for the smoothest, clearest backdrop. Its distance from the edges should remain constant, too. The caption can be black or white, whichever has the more pleasing contrast.

Design a catalog of rectangles

0661

Show the product

Product pages show the machine in detail. Pure white field removes all distractions, then descriptive callouts take the reader on an item-by-item tour.

Light typeface Oversize paragraph is low-key gray. Only the headline is black. Sublime.

Big and clear Shoppers like to touch stuff, look it over, think about it, so the more lifelike a product appears, the more successful it will be. Photograph an angle that shows everything well, then make the picture BIG. Here, gray type and cool, rectangular hairlines are beautifully minimal. Note the complete absence of adornment—no fills, shadows, italics, colors, nothing to take away from the product. Shadowed against pure white, the black i2 rectangle stands out with startling clarity.

Caption size of the half-spread photo is smaller to retain its proportions to the others.

The look in triplicate

“Packages” spread shows three products; each small module contains all the elements of the large ones. Lead paragraph and mid-page headline—this time on white—recall the design of the opening spread.

Same three elements, smaller space, same look Once you’ve established a look, stay with it. In this section, the catalog restructures and reduces the look of full-size sections into smaller spaces—lead paragraph, environmental photo, product photo and rectangular callouts all are here. Type styles, sizes and colors remain the same as before. Very strong continuity, beautifully done. Crop uniformly Left, photos that are almost the same should always be cropped the same. Here, heads and wheels align.

0661 Design a catalog of rectangles

Before&After | www.bamagazine.com

4 of 6

Design a catalog of rectangles

0661

Versatile rectangles

Accessories section contains products of varying sizes, shapes and caption lengths. Rectangles do a good job of holding it all together. Careful alignment is key.

Across the page

Even columns

Down the page

Uneven columns

Bend the rules Photos of uneven proportions require uneven columns, which is not ideal, but rectangles make it fairly easy to sustain the look. Wherever possible, align your images all the way across or all the way down a page, as shown at right in blue. For flexibility, captions can go beneath or beside their photos. Captions beneath

Captions beside

Mind the details

Consistent typography, irregular “interrupters” and gray space fillers keep the spread lively and the design flexible. Gray type recedes, keeping the products center stage.

Down

Visual interrupter The irregular shape of the shirt provides visual relief from the rectangles. Note its differences—it interrupts the border, bleeds to the edge, and is shadowed for depth.

Across

Reverse the value Rectangular gray bars neatly head each subsection. Continue the same typeface; just reverse its value to white on gray. Note the larger head is in the lighter typeface.

Across

Space filler White text in a gray field is both space filler and advertisement. These can go anywhere.

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Article resources

Typefaces Four styles of Benton Sans Condensed are used in this product catalog: Benton Sans Condensed Book Benton Sans Condensed Regular Benton Sans Condensed Medium Benton Sans Condensed Bold

Credits Segway, Inc. & Saltworks, Inc., Designers Bob Carey, Photographer

Special thanks to Segway dealer Norris Rancourt of Carmichael Honda in Carmichael, California (www.carmichaelhonda.com) for giving us the extended demonstration.

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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DesignTalk13

FiveDesignIdeas CAPITOL AIR CHARTER

Separate Fields Massive Typeface

Richard Ryan 916-796-5674 capitolaircharter.com

Organized Card

ECLIPSE 500

Sleeve-Style Cover

HOME LOANS

ARM (ADJUSTABLE RATE MORTGAGE) FIRST MORTGAGES SECOND MORTGAGES BFS (BUSINESS FOR SELF)

Home Page Greeting

PERSONAL LOANS

Continued `

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Layout Organize that card Our friend Richard finances his love of flying by operating a one-jet air-charter service here on the West Coast. And it’s easy to see where his heart is—he pilots a state-of-the-art jet but prints his business cards on his desktop. Let’s see if we can get those cards looking as fast as his airplane.

Before

After

CAPITOL AIR CHARTER

CapitolAirCharter

Richard Ryan 916-796-5674 capitolaircharter.com

916-796-5674

Richard Ryan

Eclipse 500

capitolaircharter.com

ECLIPSE 500

Slow The factory supplied a good photo, but Richard made a common mistake—he filled its open spaces with words. These “trap” the airplane and, lacking hierarchy, send a fragmented message. His name in aviation blue was a good idea but is too bright for the desaturated photo. And Times Roman type, while excellent for text, is too fussy for the sleek subject matter. Shadows muddy it further.

Boxy & slow

Fast The words have been pulled off the photo and into line, which is how we read. Light italics typeface looks fast. Corner flag anchors the card. Black and desaturated taupe colors are neutral, businesslike and complement the photo. The plane, back in open space, is free to fly. Sharp, hierarchical, clear.

Angled & fast

CAPITOL AIR CHARTER

Richard Ryan 916-796-5674 capitolaircharter.com

Angle matches the italics. Name is aligned right; second line is indented 2 pts to match the angle.

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Layout Separate the fields Here’s the problem. Your ad has two focal points—a powerful photo and the name of the product. How do you keep them from competing? The easiest way is to keep them apart; put the photo in one field and the words in another, then share colors and alignments. Like this:

Make two fields, one for the photo and one for the words.

Show the product Make her face big as possible, and center it (more or less). Note sightlines lead the eye.

Darken the text panel, here, with eye-shadow color, which connects the fields and brings her face forward.

Design the text Set blushcolored VIO sideways to leave a buffer zone, across which a lipstick-color . . .

. . . headline is scrawled. Note typestyles are extremely different, but the huge size differences keep them compatible.

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Layout Massive typeface makes a powerful cover Font Bureau’s Giza Nine Five typeface is so massive that a word forms a nearly solid block, which gives it a mighty voice and makes it easy to design. Work to its strengths:

=@>?K@E>K?<98JJ
Rectangular slab serifs The boldest of five weights in the Giza type family, Nine Five’s massive shapes are strongly rectangular and have almost no negative space. Result: Words can be effectively stacked like blocks. In this design, they’re sized to fit edge to edge; note below that even without paper, the four elements alone define the space.

=@>?K@E>K?<98JJ
=@>?K@E>K?<98JJ
=@>?K@E>K?<98JJ
Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Note the four blocks have different textures and values. The top block is the blackest, FIRE is a flat slab, and the text has a detailed, toothy feel. The differences yield separation and visual interest.

Geometric forces

=@>?K@E>K?<98JJ
Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Organic forces

PHOTO BY MIKE WARNER

E@E< J<M<E =@M< K?I<< FE<

Visual forces Rectangles have several unique properties that include flat, stable sides and diagonal axes that converge in the center, pulling the eye strongly inward. The photo has similar inward pull—somewhat unusual—which makes the layout doubly strong.

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Layout Design a bold, sleeve-style cover Need a bold, easy-to-make cover for a simple document? This technique simulates a wraparound sleeve. Draw a solid, horizontal band, then place your words atop it, like this:

Can’t print to the edge? Do this:

HOME LOANS

HOME LOANS

HOME LOANS

Underwriting Guidelines

HOME LOANS

Underwriting Guidelines

HOME LOANS

Underwriting Guidelines

Underwriting Guidelines

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

FIRST MORTGAGES

s

FIRST MORTGAGES

s

FIRST MORTGAGES

s

FIRST MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

s

PERSONAL LOANS

s

PERSONAL LOANS

s

PERSONAL LOANS

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

Align the elements (Above) Divide the page into columns, align your type, and add the horizontal band. Color to suit the topic—note the headline has the most contrast—and add a shadow if you’d like. Below, an asymmetrical layout is active; a centered layout is more placid.

Asymmetrical

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

Underwriting Guidelines s

ARM (ADJUSTABLE RATE MORTGAGE)

s

FIRST MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

Set a margin and trim the band evenly to fit it.

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

Add a light field in the background, thereby “redefining” the space.

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

Centered

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Web Greet your online viewers Syd Lieberman is a professional storyteller, teacher and author—and a guy who literally is his business! To picture that on his Web site, he “greets you at the door” like an old friend with stories to tell. Here’s how he crafted an appealing first impression: www.sydlieberman.com

Soft color Three horizontal bands are used for the title, navigation and the short intro. These are softened by warm, earthy colors with just a hint of a gradient and shadow (above). Mid-page navigation is unusual and effective.

A photographic interrupter Organic-shape photo interrupts the horizontal lines and stops the eye. Faint shadow adds depth. Note how the open space around each element—Syd, title, and opening text—lets each be clearly seen. Desaturated wardrobe A BIG image will be shocking if it’s also bright, but his nearly colorless clothes blend easily with the desaturated background to convey a warm, approachable image.

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Repeat the look inside—but smaller Inside is where that mid-page navigation bar goes to work. The home-page design is condensed into a header that runs atop every page and allows each topic to open beneath it.

Continuity is as important in design as it is in storytelling. Inside, the home-page elements—brown field, title, navigation, Syd, and their spatial relationships (above)—are condensed at the top and serve as a page-by-page touchstone through the site.

Fixed

Change

Literary headline Handsome, book-style type is a key design element. Note that Syd’s name is fixed on the left, while words on the right change. Simple and effective.

Light gradients differentiate interior pages from the home page and also allow better contrast with images, text, buttons and other elements.

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Article resources

Typefaces 1 2

CAPITOL AIR CHARTER

Richard Ryan 916-796-5674 capitolaircharter.com

3a

Colors

1 Helvetica Neue Std Bold Condensed Oblique | 12 pt

9

10 C53 M50 Y50 K16

2 Helvetica Neue Std Thin Condensed Oblique | 12 pt 7 9 10 ECLIPSE 500

C30 M30 Y30 K100

11 C70 M53 Y37 K70

3 (a–b) Helvetica Neue Std Light Condensed Oblique | a) 8 pt; b) 5 pt

12 C16 M76 Y59 K3

4 P22 Cezanne

13 C9 M30 Y28 K0

5 Helvetica Neue Std Light Extended 6 H&FJ Didot Light Roman (24 pt Master)

3b

4

Images 11 12 13

7 Image courtesy of Eclipse Aviation www.eclipseaviation.com 8 iStockphoto.com

6 8

5

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Article resources

Typefaces 1

1 Giza Nine Three | 42.3 pt

=@>?K@E>K?<98JJ
2 3 4

Colors

Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Underwriting Guidelines

9 10 11

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

FIRST MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

PHOTO BY MIKE WARNER

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

5

10

2 Giza Nine Five | 219 pt

12

3 ITC Franklin Gothic Heavy | 16 pt

13

4 Adobe Caslon Regular | 19.3/20 pt

6 7a

10 C0 M0 Y0 K100 11 C20 M100 Y100 K20 12 C15 M80 Y40 K65

5 ITC Franklin Gothic Book | 7 pt 6 Century Old Style Std Bold | 40/41 pt

13 C0 M5 Y30 K15

7 (a–b) Helvetica Neue Std Light a) 13.5/23 pt; b) 8 pt 8 Helvetica Neue Bold | a) 8 pt

Images 8

7b

9 Mike Warner | www.wildbryde.com

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

1 h h10 of 10

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–10)

For paper-saver format Print: (Specify pages 12–16)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

1 h hBack

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DesignTalk13

FiveDesignIdeas CAPITOL AIR CHARTER

Separate Fields

Richard Ryan 916-796-5674 capitolaircharter.com

Organized Card

Massive Typeface

ECLIPSE 500

Sleeve-Style Cover ARM (ADJUSTABLE RATE MORTGAGE) FIRST MORTGAGES SECOND MORTGAGES BFS (BUSINESS FOR SELF)

Home Page Greeting

PERSONAL LOANS

Layout Organize that card Our friend Richard finances his love of flying by operating a one-jet air-charter service here on the West Coast. And it’s easy to see where his heart is—he pilots a state-of-the-art jet but prints his business cards on his desktop. Let’s see if we can get those cards looking as fast as his airplane.

Before

After

CAPITOL AIR CHARTER

Eclipse 500

capitolaircharter.com

ECLIPSE 500

Slow The factory supplied a good photo, but Richard made a common mistake—he filled its open spaces with words. These “trap” the airplane and, lacking hierarchy, send a fragmented message. His name in aviation blue was a good idea but is too bright for the desaturated photo. And Times Roman type, while excellent for text, is too fussy for the sleek subject matter. Shadows muddy it further.

Boxy & slow

0662 Design Talk 13: Five Design Ideas

Richard Ryan 916-796-5674 capitolaircharter.com

Fast The words have been pulled off the photo and into line, which is how we read. Light italics typeface looks fast. Corner flag anchors the card. Black and desaturated taupe colors are neutral, businesslike and complement the photo. The plane, back in open space, is free to fly. Sharp, hierarchical, clear.

Angled & fast

Before&After | www.bamagazine.com

1 of 5

CAPITOL AIR CHARTER

Richard Ryan 916-796-5674 capitolaircharter.com

Angle matches the italics. Name is aligned right; second line is indented 2 pts to match the angle.

Design Talk 13: Five Design Ideas

0662

Layout Separate the fields Here’s the problem. Your ad has two focal points—a powerful photo and the name of the product. How do you keep them from competing? The easiest way is to keep them apart; put the photo in one field and the words in another, then share colors and alignments. Like this:

Make two fields, one for the photo and one for the words.

Show the product Make her face big as possible, and center it (more or less). Note sightlines lead the eye.

Darken the text panel, here, with eye-shadow color, which connects the fields and brings her face forward.

Design the text Set blushcolored VIO sideways to leave a buffer zone, across which a lipstick-color . . .

. . . headline is scrawled. Note typestyles are extremely different, but the huge size differences keep them compatible.

Layout Massive typeface makes a powerful cover Font Bureau’s Giza Nine Five typeface is so massive that a word forms a nearly solid block, which gives it a mighty voice and makes it easy to design. Work to its strengths:

E@E< J<M<E =@M< K?I<< FE< =@>?K@E>K?<98JJ
Rectangular slab serifs The boldest of five weights in the Giza type family, Nine Five’s massive shapes are strongly rectangular and have almost no negative space. Result: Words can be effectively stacked like blocks. In this design, they’re sized to fit edge to edge; note below that even without paper, the four elements alone define the space.

=@>?K@E>K?<98JJ
=@>?K@E>K?<98JJ
=@>?K@E>K?<98JJ
Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

PHOTO BY MIKE WARNER

Note the four blocks have different textures and values. The top block is the blackest, FIRE is a flat slab, and the text has a detailed, toothy feel. The differences yield separation and visual interest.

0662 Design Talk 13: Five Design Ideas

Geometric forces

=@>?K@E>K?<98JJ
Before&After | www.bamagazine.com

2 of 5

Organic forces

Visual forces Rectangles have several unique properties that include flat, stable sides and diagonal axes that converge in the center, pulling the eye strongly inward. The photo has similar inward pull—somewhat unusual—which makes the layout doubly strong.

Design Talk 13: Five Design Ideas

0662

Layout Design a bold, sleeve-style cover Need a bold, easy-to-make cover for a simple document? This technique simulates a wraparound sleeve. Draw a solid, horizontal band, then place your words atop it, like this:

Can’t print to the edge? Do this:

HOME LOANS

HOME LOANS

HOME LOANS

Underwriting Guidelines

HOME LOANS

Underwriting Guidelines

HOME LOANS

Underwriting Guidelines

Underwriting Guidelines

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

ARM (ADJUSTABLE RATE MORTGAGE)

s

s

FIRST MORTGAGES

s

FIRST MORTGAGES

s

FIRST MORTGAGES

s

ARM (ADJUSTABLE RATE MORTGAGE) FIRST MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

s

PERSONAL LOANS

s

PERSONAL LOANS

s

PERSONAL LOANS

Align the elements (Above) Divide the page into columns, align your type, and add the horizontal band. Color to suit the topic—note the headline has the most contrast—and add a shadow if you’d like. Below, an asymmetrical layout is active; a centered layout is more placid.

Asymmetrical

Underwriting Guidelines s

ARM (ADJUSTABLE RATE MORTGAGE)

s

FIRST MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

Set a margin and trim the band evenly to fit it.

Add a light field in the background, thereby “redefining” the space.

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

Centered

Web Greet your online viewers Syd Lieberman is a professional storyteller, teacher and author—and a guy who literally is his business! To picture that on his Web site, he “greets you at the door” like an old friend with stories to tell. Here’s how he crafted an appealing first impression: www.sydlieberman.com

Soft color Three horizontal bands are used for the title, navigation and the short intro. These are softened by warm, earthy colors with just a hint of a gradient and shadow (above). Mid-page navigation is unusual and effective.

A photographic interrupter Organic-shape photo interrupts the horizontal lines and stops the eye. Faint shadow adds depth. Note how the open space around each element—Syd, title, and opening text—lets each be clearly seen. Desaturated wardrobe A BIG image will be shocking if it’s also bright, but his nearly colorless clothes blend easily with the desaturated background to convey a warm, approachable image.

0662 Design Talk 13: Five Design Ideas

Before&After | www.bamagazine.com

3 of 5

Design Talk 13: Five Design Ideas

0662

Repeat the look inside—but smaller Inside is where that mid-page navigation bar goes to work. The home-page design is condensed into a header that runs atop every page and allows each topic to open beneath it.

Continuity is as important in design as it is in storytelling. Inside, the home-page elements— brown field, title, navigation, Syd, and their spatial relationships (above)—are condensed at the top and serve as a page-by-page touchstone through the site.

Fixed

Change

Literary headline Handsome, book-style type is a key design element. Note that Syd’s name is fixed on the left, while words on the right change. Simple and effective.

Light gradients differentiate interior pages from the home page and also allow better contrast with images, text, buttons and other elements.

Article resources

Typefaces 1 2

CAPITOL AIR CHARTER

Richard Ryan 916-796-5674 capitolaircharter.com

3a

1 Helvetica Neue Std Bold Condensed Oblique | 12 pt 2 Helvetica Neue Std Thin Condensed Oblique | 12 pt 3 (a–b) Helvetica Neue Std Light Condensed Oblique | a) 8 pt; b) 5 pt

7

4 P22 Cezanne

9

5 Helvetica Neue Std Light Extended

10 ECLIPSE 500

Colors 9

C30 M30 Y30 K100

10 C53 M50 Y50 K16 11 C70 M53 Y37 K70 12 C16 M76 Y59 K3 13 C9 M30 Y28 K0

6 H&FJ Didot Light Roman (24 pt Master)

3b

4

Images 11 12 13

7 Image courtesy of Eclipse Aviation www.eclipseaviation.com 8 iStockphoto.com

6 8

0662 Design Talk 13: Five Design Ideas

5

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Design Talk 13: Five Design Ideas

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Article resources

Typefaces 1

=@>?K@E>K?<98JJ
2 3 4

Colors

1 Giza Nine Three | 42.3 pt

Early afternoon, September 19, 2006, campers spotted a tiny wildfire on the side of Gold Lake Highway across from the Sardine Lakes turn-in. Fueled by dry manzanita, steep terrain and strong afternoon winds, it quickly raced up the hillside and out of control. This is the story of what happened next.

Underwriting Guidelines

9 10

s

11

FIRST MORTGAGES

s

SECOND MORTGAGES

s

BFS (BUSINESS FOR SELF)

s

PERSONAL LOANS

2 Giza Nine Five | 219 pt

12

3 ITC Franklin Gothic Heavy | 16 pt

13

4 Adobe Caslon Regular | 19.3/20 pt 5 ITC Franklin Gothic Book | 7 pt

6

ARM (ADJUSTABLE RATE MORTGAGE)

s

10

6 Century Old Style Std Bold | 40/41 pt

7a

11 C20 M100 Y100 K20 12 C15 M80 Y40 K65 13 C0 M5 Y30 K15

7 (a–b) Helvetica Neue Std Light a) 13.5/23 pt; b) 8 pt 8 Helvetica Neue Bold | a) 8 pt

PHOTO BY MIKE WARNER

BANKMB HOME LOANS | 2134 LAKE DRIVE, AUGUSTA, WI, 54722 | 715-123-4567 | www.bankmbloan.com

5

10 C0 M0 Y0 K100

Images 8

9 Mike Warner | www.wildbryde.com

7b

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0662 Design Talk 13: Five Design Ideas

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Picture your group LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD Connect. Motivate. Have Fun.

Have a dozen or more mug shots? A grid of squares gets that gang of yours looking good—together. Continued `

Continued `

Picture your group

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Picture your group Have a dozen or more mug shots? A grid of squares gets that gang of yours looking good—together.

Divide the page into a grid. Two types:

We people are social creatures. We congregate. We work together, attend school together, form clubs together. We network. We rub elbows. We’re reaching out to touch someone, it seems, all the time. And yet for all our similarities, we look plenty different. We have different faces, hairstyles, body builds, clothing. Put us together on a page, and we can make a motley herd. So how do we picture a group of us? The key to a great design is to get uniform. Get the scale, cropping and backgrounds of your photos as similar as possible, then arrange the results on a neat grid. A few ideas:

81/2”

11”

Equal divisions yield pageshaped fields. This has two assets: 1) The photos have a familiar, portrait shape, and 2) every shape including the page is identical. Downside: Letter-shape proportions are visually ambiguous.

Square divisions are symmetrical, simple (all four sides are the same) and unambiguous. This imparts an unusually sharp, intentionally designed look. Downside: Square mugs are harder to crop.

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Scale and crop for uniformity

The first step is to get your photos looking as similar as possible. Heads should be the same size, eyes at the same level, backgrounds smooth as possible.

Start with the image that has the least cropping room, and make the others match.

Before Well-lit photos taken at different viewing distances.

After Start with the most closely cropped original (above, left), then scale and crop the others to match. Center each face in its frame, and put everyone’s eyes on the same level. Male and female adult heads should be pretty much the same size. Head shape, hairstyle and tilt affect the perceived size, so make small adjustments by eye. Except for your school pictures, a group of photos is rarely taken under uniform conditions and so will benefit from post-production work. Lighting is key; adjust it as well as you can. The things to avoid (left, left to right) are heavy shadows (the kind a flash makes against a wall), washed out highlights (often from a flash), odd color casts and blurry images. Similarly, a dark photo in a field of light ones, or vice-versa, will draw unwanted attention.

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Place your photos

Place your photos on the grid, facing the perimeter photos inward (mostly) and distributing the dark-light values as evenly as you can.

Faces inward (mostly)

Distribute by value

Snap your photos to the grid. Face the perimeter photos inward or straight ahead. Where possible, distribute the darklight values evenly (note the lighter images are highlighted above). Once grouped, look for things you missed earlier—for example, are all the faces centered, and are they really the same size? Make small scale and cropping adjustments.

Soften with color

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

Adding a dark field will lower the contrast, which softens the message. The dark also makes a canvas out of which to reverse our name (left).

Connect. Motivate. Have Fun.

Centered. Note the alignment.

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Picture your group

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Variation 1 Big images

One or two big images in a field of small ones can add emphasis or context. Be sure to maintain the visual balance of the layout.

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD Connect. Motivate. Have Fun.

A mug shot enlarged One mug shot bigger than the others will draw special attention. Square format is retained.

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

LINCOLN STATE UNIVERSITY

Connect. Motivate. Have Fun.

Connect. Motivate. Have Fun.

Offset Similar-but-different image will broaden the story and lessen the impact of the first image. Different proportions and absence of alignment help it remain different.

ALUMNI ASSOCIATION BOARD

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

A different kind of image Completely different images give the mug shots context. The page now conveys several stories in one.

Connect. Motivate. Have Fun.

_ 5 of 9 `

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Variation 2 Add words

Replace some photos with colored squares, which can function as a table of contents, highlights or links. Centered words mimic the centered faces.

After Reunions & Societies

Career Services

Before A single color flattens the page (Left) Distributing photos yields an interesting checkerboard pattern, but same-color squares flatten the design— note how they “connect” and form a single field. (Right) Bring the design to life by eyedroppering from the photos a palette of desaturated colors (below). Note how the squares no longer connect but form a vibrant tapestry.

Sponsored Events

Membership Services

Classmate Search

Center focus The strength of a square is its natural pull into the center. Centered faces and text take advantage of that and yield a sharp, repetitive design of real clarity. Note the tiny shadow behind the text.

Student Programs Reunions & Societies Alumni Groups

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

Reunions & Societies

Connect. Motivate. Have Fun.

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Variation 3 Subtract

It’s the same grid, but here the white field shapes the design. It’s now full of dynamic forces that move the eye left, right, up and down, full of energy, very modern.

LINCOLN COMMUNITY COLLEGE

Connect. Motivate. Have Fun.

Connect. Motivate. Have Fun.

LINCOLN

LINCOLN STATE UNIVERSITY

Put the focal point on the axis Who says white space is passive? Here, it’s incredibly active, pressing in on all four sides and defining the central shape, which radiates out from the center logo like a pinwheel.

ALUMNI ASSOCIATION BOARD

Connect. Motivate. Have Fun.

LINCOLN

ALUMNI ASSOCIATION BOARD

ALUMNI ASSOCIATION BOARD Hard and soft edges The higher the contrasts, the more energy a design has. (Above, left) Against white, the photos’ hard edges actively move the eye left, right, up and down. (Above, right) Dark field has soft edges, and what a difference! It’s the same layout, but the page is much quieter.

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Article resources

Typefaces 1a

3a

Reunions & Societies

3b

3c

3d

Career Services

Sponsored Events

1 (a–b) ITC New Baskerville Italic a) 18/18 pt, b) 16 pt

4

C50 M45 Y70 K20

2 ITC New Baskerville Bold 28/28 pt

5

C65 M55 Y55 K30

6

C58 M55 Y78 K50

7

C50 M55 Y75 K40

8

C42 M52 Y82 K25

9

C36 M78 Y100 K45

3e

Classmate Search

3f 3g Membership Services

Colors

Student Programs

Images 3 (a–j) iStockphoto.com | e f g h i j k

a b c d

All others are from www.rubberball.com

10 C65 M60 Y70 K55 3h

Alumni Groups

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

LINCOLN STATE UNIVERSITY

Connect. Motivate. Have Fun.

4

5

6

7

8

9

10

3i

3j

ALUMNI ASSOCIATION BOARD

2

Connect. Motivate. Have Fun.

1b

11 C45 M40 Y70 K40 12 C0 M25 Y100 K5

11 12

3k

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–9)

For paper-saver format Print: (Specify pages 11–15)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

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Picture your group LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD Connect. Motivate. Have Fun.

Have a dozen or more mug shots? A grid of squares gets that gang of yours looking good—together.

Divide the page into a grid. Two types:

We people are social creatures. We congregate. We work together, attend school together, form clubs together. We network. We rub elbows. We’re reaching out to touch someone, it seems, all the time. And yet for all our similarities, we look plenty different. We have different faces, hairstyles, body builds, clothing. Put us together on a page, and we can make a motley herd. So how do we picture a group of us? The key to a great design is to get uniform. Get the scale, cropping and backgrounds of your photos as similar as possible, then arrange the results on a neat grid. A few ideas:

0663 Picture your group

81/2”

11”

Equal divisions yield pageshaped fields. This has two assets: 1) The photos have a familiar, portrait shape, and 2) every shape including the page is identical. Downside: Letter-shape proportions are visually ambiguous.

Before&After | www.bamagazine.com

1 of 5

Square divisions are symmetrical, simple (all four sides are the same) and unambiguous. This imparts an unusually sharp, intentionally designed look. Downside: Square mugs are harder to crop.

Picture your group

0663

Scale and crop for uniformity

The first step is to get your photos looking as similar as possible. Heads should be the same size, eyes at the same level, backgrounds smooth as possible.

Start with the image that has the least cropping room, and make the others match.

Before Well-lit photos taken at different viewing distances.

After Start with the most closely cropped original (above, left), then scale and crop the others to match. Center each face in its frame, and put everyone’s eyes on the same level. Male and female adult heads should be pretty much the same size. Head shape, hairstyle and tilt affect the perceived size, so make small adjustments by eye. Except for your school pictures, a group of photos is rarely taken under uniform conditions and so will benefit from post-production work. Lighting is key; adjust it as well as you can. The things to avoid (left, left to right) are heavy shadows (the kind a flash makes against a wall), washed out highlights (often from a flash), odd color casts and blurry images. Similarly, a dark photo in a field of light ones, or vice-versa, will draw unwanted attention.

Place your photos

Place your photos on the grid, facing the perimeter photos inward (mostly) and distributing the dark-light values as evenly as you can.

Faces inward (mostly)

Distribute by value

Soften with color

Snap your photos to the grid. Face the perimeter photos inward or straight ahead. Where possible, distribute the darklight values evenly (note the lighter images are highlighted above). Once grouped, look for things you missed earlier—for example, are all the faces centered, and are they really the same size? Make small scale and cropping adjustments.

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

Adding a dark field will lower the contrast, which softens the message. The dark also makes a canvas out of which to reverse our name (left).

Connect. Motivate. Have Fun.

Centered. Note the alignment.

0663 Picture your group

Before&After | www.bamagazine.com

2 of 5

Picture your group

0663

Variation 1 Big images

One or two big images in a field of small ones can add emphasis or context. Be sure to maintain the visual balance of the layout.

LINCOLN

ALUMNI ASSOCIATION BOARD Connect. Motivate. Have Fun.

A mug shot enlarged One mug shot bigger than the others will draw special attention. Square format is retained.

LINCOLN

ALUMNI ASSOCIATION BOARD

LINCOLN

ALUMNI ASSOCIATION BOARD Connect. Motivate. Have Fun.

Connect. Motivate. Have Fun.

Offset Similar-but-different image will broaden the story and lessen the impact of the first image. Different proportions and absence of alignment help it remain different.

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

A different kind of image Completely different images give the mug shots context. The page now conveys several stories in one.

Connect. Motivate. Have Fun.

Variation 2 Add words

Replace some photos with colored squares, which can function as a table of contents, highlights or links. Centered words mimic the centered faces.

After Reunions & Societies

Career Services

Before A single color flattens the page (Left) Distributing photos yields an interesting checkerboard pattern, but same-color squares flatten the design— note how they “connect” and form a single field. (Right) Bring the design to life by eyedroppering from the photos a palette of desaturated colors (below). Note how the squares no longer connect but form a vibrant tapestry.

Sponsored Events

Membership Services

Classmate Search

Center focus The strength of a square is its natural pull into the center. Centered faces and text take advantage of that and yield a sharp, repetitive design of real clarity. Note the tiny shadow behind the text.

Student Programs Reunions & Societies Alumni Groups

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

Reunions & Societies

Connect. Motivate. Have Fun.

0663 Picture your group

Before&After | www.bamagazine.com

3 of 5

Picture your group

0663

Variation 3 Subtract

It’s the same grid, but here the white field shapes the design. It’s now full of dynamic forces that move the eye left, right, up and down, full of energy, very modern.

LINCOLN

Connect. Motivate. Have Fun.

Connect. Motivate. Have Fun.

LINCOLN

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

Connect. Motivate. Have Fun.

LINCOLN

ALUMNI ASSOCIATION BOARD

ALUMNI ASSOCIATION BOARD

Put the focal point on the axis Who says white space is passive? Here, it’s incredibly active, pressing in on all four sides and defining the central shape, which radiates out from the center logo like a pinwheel.

Hard and soft edges The higher the contrasts, the more energy a design has. (Above, left) Against white, the photos’ hard edges actively move the eye left, right, up and down. (Above, right) Dark field has soft edges, and what a difference! It’s the same layout, but the page is much quieter.

Article resources

Typefaces 1a

3a

Reunions & Societies

3b

3c

3d

Career Services

Sponsored Events

4

C50 M45 Y70 K20

2 ITC New Baskerville Bold 28/28 pt

5

C65 M55 Y55 K30

6

C58 M55 Y78 K50

7

C50 M55 Y75 K40

8

C42 M52 Y82 K25

9

C36 M78 Y100 K45

3e

Classmate Search

Images

3f 3g Membership Services

Colors

1 (a–b) ITC New Baskerville Italic a) 18/18 pt, b) 16 pt

Student Programs

3 (a–j) iStockphoto.com | e f g h i j k

a b c d

All others are from www.rubberball.com

10 C65 M60 Y70 K55 3h

Alumni Groups

LINCOLN STATE UNIVERSITY

ALUMNI ASSOCIATION BOARD

LINCOLN STATE UNIVERSITY

Connect. Motivate. Have Fun.

4

5

6

7

8

9

10

3i

3j

ALUMNI ASSOCIATION BOARD

2

Connect. Motivate. Have Fun.

1b

11 C45 M40 Y70 K40 12 C0 M25 Y100 K5

11 12

3k

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Put away your ruler. Here’s how to design the way you see. Continued `

Continued `

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Design without rulers To the reader, it’s a man watering the world. To you, it’s lines, textures and funny shapes. Put away your ruler; here’s how to design the way you see!

Ever watch a street artist at work? What fun! A splash here, a dash there, and from a blank canvas a picture just . . . appears. He uses no mechanical tools at all, no columns, rulers or guides, yet the result is a beautiful whole. It’s so fluid. The best design is like that. To see how it works, let’s design a page, but instead of a grid, we’ll use this picture —what we see—as our visual guide. Its lines, shapes, proportions and their relationships will govern our choice of type, sizes, colors, layout and everything else:

What can you see? Measuring only by eye (closely, not exactly), can you answer the following? s )S THE MAN AS TALL AS THE GLOBE s )S THE MAN AS WIDE AS THE POT s (OW MANY POTS WIDE IS THE tree? s 7HAT ELSE IN THE PICTURE IS THE SIZE OF THE POT

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Take a visual inventory

Every image has lines, shapes, textures, colors and so on that can guide a design. First step is to take a visual “inventory.” Start with the big elements . . .

Basic shapes 4HE IMAGE IS MADE OF THREE BASIC SHAPES

Sizes )T HAS A HIERARCHY OF SMALL MEDIUM AND LARGE ELEMENTS

Layout 4HE COMPOSITION IS FAIRLY BALANCED

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Focal point

A good image has a focal point. This image has two—one physical and one phantom.

Physical 4HE PRIMARY FOCAL POINT IS USUALLY THE BIGGEST CLEAREST OR MOST VIVID OBJECT IN THE IMAGEIN THIS CASE THE GLOBE

Phantom 4HE THREE FORMS CREATE A COMPOSITIONAL triangle, the center of which — just what YOUD WANT IS ON THE MONEY 4HE CENTER IS THE STRONGEST POINT OF ANY VISUAL lELD

Secondary 4HE PHANTOM IS REINFORCED BY THE FOCAL CENTER OF THE WHITE TRIANGLE (AD YOU NOTICED IT

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Objects and spaces

The objects and spaces in this image are unusually repetitive . . .

4HE POT IS THE SAME SIZE AS THE SPACE ABOVE IT

AND THE SIZE OF THE SPACE BESIDE IT

)TS THE SAME SIZE AS .ORTH !MERICA

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Close enough . . .

Artistic relationships are perceptual, not mechanical. If it looks close enough, it really is close enough, so inventory by eye, not with your ruler . . .

4HE IMAGE IS FOUR POTS TALL

! ONE POT SPACE ENCIRCLES THE GLOBE

4HE MAN lTS A POT SPACE 4HIS SPACE IS SO REPETITIVE

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A natural grid

This image has a natural grid that is unusually uniform.

3HADOW .ORTH !MERICA SAME AS POT 3OUTH !MERICA COLOR CONTRAST 0OT SPACE (EAD SAME AS POT RIM 7ATERING CAN SAME AS 3OUTH !MERICA

0OT SPACE

0OT AND RIM

3HADOW THAT IT CREATES A WHOLE GRID 4HIS IS UNUSUAL

Pot WIDTH

,EG SAME AS POT RIM

Smaller elements 7HILE YOURE LOOKING AT THE LARGE ELEMENTS MAKE NOTE OF THE SMALLER ELEMENTS TOO 0AY ATTENTION TO EDGES AND CONTRASTS #LEAR EDGES ARE LIKE THE MANS HEAD AND LEGS 3OUTH !MERICA STANDS OUT BECAUSE OF ITS COLOR CONTRAST 4HE SHADOW AREAS HAVE OBVIOUS WEIGHT !ND SO ON 4AKE THE TIME TO CONSCIOUSLY OBSERVE THESE THINGS 7HAT YOURE DOING IS TRAINING YOUR EYE )T WILL SOON BECOME INTUITIVE

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Shape and texture

Be aware of what the lines are doing. Note if they’re straight or curvy, where they’re close or far apart, where they change direction, and so on.

Far PHANTOM LINES

Near

,OOK AT ALL THE TRIANGLES 4HESE CREATE VISUAL MOVEMENT

4RIANGLES ARE EVIDENT AT EVERY DISTANCE FROM FARTHEST TO NEAREST

4HE EDGES CREATE A REPETITIVE TEXTURE NOTE THE POINTINESS THROUGHOUT

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Choose colors

The next step is to create a color palette from the image . . .

A bazillion pixels! #OLOR PLAYS A MAJOR ROLE IN DESIGN 4HE EASIEST AND BEST PLACE TO GET A PERFECTLY COOR DINATED PALETTE IS THE IMAGE ITSELF &IRST REDUCE ITS THOU SANDS OF PIXEL SIZE COLORS RIGHT INSET TO A WORKABLE FEW BY APPLYING 0HOTOSHOPS OR )LLUS TRATORS BUILT IN Mosaic lLTER FAR RIGHT 2ARELY WILL YOU WANT MORE THAN COLORS AND USU ALLY OR EVEN ARE BETTER &OR FEWER COLORS INCREASE THE #ELL SIZE FOR MORE DECREASE IT

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Organize

Sample color swatches with the eyedropper tool, then arrange the swatches by color and value . . .

Arrange by color

You can see in Mosaic MODE THAT THE IMAGE HAS SEVERAL MAJOR COLORSTHE BLUES AND GREENS OF THE GLOBE TERRACOTTAS OF THE POT AND GRAYS OF THE MAN 3AMPLE DARK MEDIUM AND LIGHT PIXELS FROM EACH RIGHT .EATLY ARRANGE YOUR CHOICES BY COLOR THEN BY VALUE DARK TO LIGHT 4AKE THE TIME TO ACTUALLY DO THIS YOULL BE SURPRISED BY HOW MUCH IT HELPS YOU VISUALIZE 3AMPLE A FEW MINOR COLORSIN THIS CASE YELLOWS AND VIOLETSTHAT CAN BE USED FOR COMPLEMENTS AND COUN TERPOINTS $ISCARD LOOKALIKES

By value

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Try each one on

Try the image atop a swatch of each color. What you’ll see is that every color you picked automatically coordinates, because it’s already in there! Cool.

Warm colors 7ARM COLORS ARE SOFT EARTHY WELCOMING SUIT ABLE FOR ENVIRONMENTAL MESSAGES .OTE HOW THE BLUE GLOBE STANDS OUT AGAINST ITS OPPOSITE COLORS THE TERRACOTTAS

Cool colors #OOL COLORS ARE MORE DIRECT AND SOMEWHAT BUSINESSLIKE AND ALOOF The blue globe now BLENDS INTO THE BACK GROUND AND THOSE OPPO SITE ORANGES STAND OUT

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Select type

Next, we need a typeface that feels like the image.

Type is graphical 4HERE ARE MANY WAYS TO CHOOSE A TYPEFACE 9OU MAY HAVE A HOUSE STYLE SO NO CHOICE IS REQUIRED 9OU MAY HAVE A LOOK ALREADY IN MINDSAY FORMAL OR BUSINESSLIKE OR COLLEGIATE 9OU MAY HAVE A NEW FAVORITE TO TRY OUT WHICH IS ALWAYS FUN 7HATEVER THE CASE THE THING TO KEEP IN MIND IS THAT TYPE IS GRAPHICAL JUST LIKE AN IMAGE )TS LINES WILL SWEEP OR JOG OR DIVE )T WILL HAVE TOOTH AND GRAIN 7HEN YOU ADD TYPE TO A DESIGN ITS VISUAL CHARACTER ISTICS INTERACT WITH THOSE ALREADY ON THE PAGE FOR BETTER OR FOR WORSE &OR THIS ARTICLE THE IMAGE IS DRIVING OUR CHOICES OUR GOAL IS TO MATCH THE VISUAL

PROPERTIES OF IMAGE AND TYPE /UR TYPE CHOICE MUST ALSO BE FUNCTIONAL BEAUTIFUL READABLE REPRODUCIBLE 3O WHATS HERE 7EVE SEEN THAT THE IMAGE IS FULL OF TEXTURE IT HAS A RICH DETAILED SURFACE AND A LOT OF hLEAFY NESSv 4HE LEAVES ARE POINTY EVENLY SPACED AND ACTUALLY LOOK A LOT LIKE SERIF TYPE ,ETS LOOK AT TYPEFACES IN THREE COMMON CATEGORIES TO SEE WHAT WE CAN SEE

Glypha Myriad Pro Galliard _ 12 of 21 `

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Three viewing distances

Compare the type to the texture at three distances—near, middle and far; it will look different at each. Many typefaces are better at one distance than another.

Near

Far

ogy, research and communications locally and across interexplore how to deploy capital resources in industry, technolbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Glypha is outdoorsy A beautiful slab serif with perfect letterfit, Glypha is boxy and clean, with hard edges and repetitive shapes. It’s excellent in both headlines and text— an uncommon asset—and its bold, slab sides make it a natural for rough, outdoorsy topics like our environmental project. Glypha is also very easy to read. Problem? It looks nothing like the image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

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Turn it upside down

A reliable way to “see” a typeface is to turn it upside down, which reveals its ridges, hollows and funny knicknacks that are always felt but normally unnoticed.

Near

Far

research and communications locally and across international plore how to deploy capital resources in industry, technology, ness growth in the green sector. Join us for a day as we exprise to do good for everyone on earth by creating new busiThere has never been a greater opportunity for private enter-

Middle

Myriad is crystal clear For outright visual clarity, there is probably no typeface better than Myriad. Extremely good in headlines and short passages of text, Myriad’s large, open counters and minimal forms retain their clarity at even the lowest resolutions. Myriad projects a light, fresh, clean look that’s a natural for green topics, but it doesn’t look like our image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org. _ 14 of 21 `

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Watch the surface

While you’re comparing lines and edges, pay attention to surface texture, too. Note the leaves are irregular and grainy, with a mottled blend of colors.

Near

Far

in industry, technology, research and communications for a day as we explore how to deploy capital resources ing new business growth in the green sector. Join us enterprise to do good for everyone on earth by creatThere has never been a greater opportunity for private

Middle

Galliard Roman is textured Galliard is a Roman typeface with chiseled features and sharp, exaggerated serifs. Its thick-to-thin strokes help make Galliard easy to read, although its angles would be tiresome in large amounts. It comes in several weights, it’s well proportioned, it has the easy familiarity of serif type, and it looks like the leaves! Galliard will be our choice.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenen_ 15 of 21 `

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Layout

Layout is where those lines, shapes, spaces, colors and textures finally get put to work. We’ll illustrate how by designing a legal-size brochure page.

Legal-sized brochure, 14” x 81⁄2”

Work to the image &IRST STEP IS TO PLACE THE IMAGE ON THE PAGE 7HERE AND HOW BIG +EY IS TO HAVE VISIBLE RELATION SHIPS "ECAUSE THE GLOBE AND ITS POT HAVE A STRONG CENTRAL LINE RIGHT CENTER PAGE WILL BE ITS STRONGEST POSITION WHERE EACH WILL REINFORCE THE OTHER 2EMEMBER ITS CENTER ish; none of this is ruler EXACT 3IMILARLY THE POT SPACE WE SAW ENCIRCLE THE GLOBE WILL BE VISIBLE AS A TOP MARGIN ABOVE &OR THIS DESIGN WEVE HIDDEN THE NON PRINTING FOLD LINES LEFT WE CARE ONLY ABOUT WHAT THE EYE CAN SEE

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Set the headline

A rule of design is to work with what’s in front of you; don’t arbitrarily make stuff up. Here, the headline picks up the visual characteristics of the globe.

Our World Needs Your Help

Type based on size, color and texture (Top) Placing a headline across the top is normal, but don’t do it; the straight, horizontal line is a foreign object that’s different from what’s in front of us. Instead, a block of overlapping lines in Galliard Ultra mimics the size, mass, color and texture of the globe, a visible relationship. Its position beside the globe (above) strengthens the connection. Note how the interaction of translucent serifs (white inset, above) mimics the size and texture of the leaves. Margins are unaligned in any way.

1 h h17 of 21 0

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Add photos and text

As you add things to the page its complexity increases, and it becomes increasingly difficult to sustain visual coherency. Pay attention to what’s happening around your material—in the margins, at the edges, between things.

Toothy texture ,EFT 3ET IN 'ALLIARD 5LTRA AND COLORED LIKE THE GLOBE THE SPEAKERS NAMES STAND OUT FROM THE SURROUND ING TEXT WHILE THE WHOLE PARAGRAPH HAS THE TEXTURE OF THE ILLUSTRATION AN EASY BLEND OF FORM AND FUNCTION

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Align to the paper

The paper is also an active element that can be used as needed. Here, the lead paragraph and key details are aligned right to an edge, establishing a visual anchor.

0ARALLEL LINES HAVE AN AUTOMATIC RELATIONSHIP

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Article resources

Typefaces

1c 2b

3 1d

Colors

1 (a–d) ITC Galliard Ultra | a) 78 pt b) 9 pt, c) 16 pt, d) 12 pt

5

C7 M32 Y90 K40

2 (a–d) ITC Galliard Roman | a) 9/11 pt b) 16/19 pt, c) 12/14 pt, d) 10/12 pt

6

C31 M67 Y80 K45

7

C25 M23 Y100 K10

8

C50 M27 Y100 K38

9

C70 M35 Y80 K50

3 ITC Galliard Italic | 12 pt

Images 4 (a–d) iStockphoto.com |

a b c d

2c

11 C15 M80 Y100 K5

2d

1a 4a

4c 2a 1b 4b

5

6

7

8

9

10 C0 M0 Y0 K75

12 C0 M100 Y85 K40 13 C0 M0 Y0 K100

10 11 12 13 4d

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

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Before & After magazine "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE John McWade 0UBLISHER AND CREATIVE DIRECTOR Gaye McWade !SSOCIATE PUBLISHER Dexter Mark Abellera 3TAFF DESIGNER Before & After magazine ,INCOLN 3TREET 2OSEVILLE #! Telephone Fax E-mail MAILBOX BAMAGAZINECOM www HTTPWWWBAMAGAZINECOM Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print 3PECIFY PAGES n

For paper-saver format Print 3PECIFY PAGES n

Print &ORMAT ,ANDSCAPE 0AGE 3IZE &IT TO 0AGE

Save 0RESENTATION FORMAT OR 0APER SAVER FORMAT

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Put away your ruler. Here’s how to design the way you see.

Ever watch a street artist at work? What fun! A splash here, a dash there, and from a blank canvas a picture just . . . appears. He uses no mechanical tools at all, no columns, rulers or guides, yet the result is a beautiful whole. It’s so fluid. The best design is like that. To see how it works, let’s design a page, but instead of a grid, we’ll use this picture —what we see—as our visual guide. Its lines, shapes, proportions and their relationships will govern our choice of type, sizes, colors, layout and everything else:

0664 Design without rulers

What can you see? Measuring only by eye (closely, not exactly), can you answer the following? s )S THE MAN AS TALL AS THE GLOBE s )S THE MAN AS WIDE AS THE POT s (OW MANY POTS WIDE IS THE tree? s 7HAT ELSE IN THE PICTURE IS THE SIZE OF THE POT

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Take a visual inventory

Every image has lines, shapes, textures, colors and so on that can guide a design. First step is to take a visual “inventory.” Start with the big elements . . .

Basic shapes 4HE IMAGE IS MADE OF THREE BASIC SHAPES

Sizes )T HAS A HIERARCHY OF SMALL MEDIUM AND large elements.

Layout 4HE COMPOSITION IS FAIRLY BALANCED

Focal point

A good image has a focal point. This image has two—one physical and one phantom.

Physical 4HE PRIMARY FOCAL POINT IS USUALLY THE BIGGEST CLEAREST OR MOST VIVID OBJECT in the image—in this case, the globe.

0664 Design without rulers

Phantom 4HE THREE FORMS CREATE A COMPOSITIONAL triangle, the center of which — just what YOUD WANT IS ON THE MONEY 4HE CENTER IS THE STRONGEST POINT OF ANY VISUAL lELD

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Secondary 4HE PHANTOM IS REINFORCED BY THE FOCAL CENTER OF THE WHITE TRIANGLE (AD YOU NOTICED IT

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Objects and spaces

The objects and spaces in this image are unusually repetitive . . .

4HE POT IS THE SAME SIZE AS THE SPACE ABOVE IT

AND THE SIZE OF THE SPACE BESIDE IT

)TS THE SAME SIZE AS .ORTH !MERICA

Close enough . . .

Artistic relationships are perceptual, not mechanical. If it looks close enough, it really is close enough, so inventory by eye, not with your ruler . . .

4HE IMAGE IS FOUR POTS TALL

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! ONE POT SPACE ENCIRCLES THE GLOBE

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4HE MAN lTS A POT SPACE 4HIS SPACE IS SO REPETITIVE

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A natural grid

This image has a natural grid that is unusually uniform.

3HADOW .ORTH !MERICA SAME AS POT 3OUTH !MERICA COLOR CONTRAST 0OT SPACE (EAD SAME AS POT RIM 7ATERING CAN SAME AS 3OUTH !MERICA

0OT SPACE

0OT AND RIM

3HADOW THAT IT CREATES A WHOLE GRID 4HIS IS UNUSUAL

Pot WIDTH

,EG SAME AS POT RIM

Smaller elements 7HILE YOURE LOOKING AT THE LARGE ELEMENTS MAKE NOTE OF THE SMALLER ELEMENTS TOO 0AY ATTENTION TO EDGES AND CONTRASTS #LEAR EDGES ARE LIKE THE MANS HEAD AND LEGS 3OUTH !MERICA STANDS OUT BECAUSE OF ITS COLOR CONTRAST 4HE SHADOW AREAS HAVE OBVIOUS WEIGHT !ND SO ON 4AKE THE TIME TO CONSCIOUSLY OBSERVE THESE THINGS 7HAT YOURE DOING IS TRAINING YOUR EYE )T WILL SOON BECOME INTUITIVE

Shape and texture

Be aware of what the lines are doing. Note if they’re straight or curvy, where they’re close or far apart, where they change direction, and so on.

Far PHANTOM LINES

Near

,OOK AT ALL THE TRIANGLES 4HESE CREATE VISUAL MOVEMENT

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4RIANGLES ARE EVIDENT AT EVERY DISTANCE from farthest to nearest.

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4HE EDGES CREATE A REPETITIVE TEXTURE NOTE THE POINTINESS THROUGHOUT

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Choose colors

The next step is to create a color palette from the image . . .

A bazillion pixels! #OLOR PLAYS A MAJOR ROLE IN DESIGN 4HE EASIEST AND BEST PLACE TO GET A PERFECTLY COOR DINATED PALETTE IS THE IMAGE ITSELF &IRST REDUCE ITS THOU SANDS OF PIXEL SIZE COLORS RIGHT INSET TO A WORKABLE FEW BY APPLYING 0HOTOSHOPS OR )LLUS TRATORS BUILT IN Mosaic lLTER (far right). Rarely will you want MORE THAN COLORS AND USU ALLY OR EVEN ARE BETTER For fewer colors, increase the #ELL SIZE FOR MORE DECREASE IT

Organize

Sample color swatches with the eyedropper tool, then arrange the swatches by color and value . . .

Arrange by color

You can see in Mosaic MODE THAT THE IMAGE HAS SEVERAL MAJOR COLORSTHE BLUES AND GREENS OF THE GLOBE TERRACOTTAS OF THE POT AND GRAYS OF THE MAN 3AMPLE DARK MEDIUM AND LIGHT PIXELS FROM EACH RIGHT .EATLY ARRANGE YOUR CHOICES BY COLOR THEN BY VALUE DARK TO LIGHT 4AKE THE TIME TO ACTUALLY DO THIS YOULL BE SURPRISED BY HOW MUCH IT HELPS YOU VISUALIZE 3AMPLE a few minor colors—in this case YELLOWS AND VIOLETSTHAT CAN BE USED FOR COMPLEMENTS AND COUN TERPOINTS $ISCARD LOOKALIKES

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By value

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Try each one on

Try the image atop a swatch of each color. What you’ll see is that every color you picked automatically coordinates, because it’s already in there! Cool.

Warm colors 7ARM COLORS ARE SOFT earthy, welcoming, suit ABLE FOR ENVIRONMENTAL MESSAGES .OTE HOW THE BLUE GLOBE STANDS OUT AGAINST ITS OPPOSITE colors, the terracottas.

Cool colors #OOL COLORS ARE MORE DIRECT AND SOMEWHAT BUSINESSLIKE AND ALOOF The blue globe now BLENDS INTO THE BACK GROUND AND THOSE OPPO SITE ORANGES STAND OUT

Select type

Next, we need a typeface that feels like the image.

Type is graphical There are many ways to CHOOSE A TYPEFACE 9OU MAY HAVE A HOUSE STYLE SO NO CHOICE IS REQUIRED 9OU MAY HAVE A LOOK ALREADY IN MINDSAY FORMAL OR BUSINESSLIKE or collegiate. You may HAVE A NEW FAVORITE TO try out, which is always FUN 7HATEVER THE CASE THE THING TO KEEP IN MIND IS THAT TYPE IS GRAPHICAL JUST LIKE AN IMAGE )TS LINES WILL SWEEP OR JOG OR DIVE )T WILL HAVE TOOTH AND GRAIN 7HEN YOU ADD TYPE TO A DESIGN ITS VISUAL CHAR ACTERISTICS INTERACT WITH THOSE ALREADY ON THE PAGE FOR BETTER OR FOR WORSE &OR THIS ARTICLE THE IMAGE IS DRIVING OUR CHOICES OUR GOAL IS TO MATCH THE VISUAL

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PROPERTIES OF IMAGE AND TYPE /UR TYPE CHOICE MUST ALSO BE functional— BEAUTIFUL READABLE REPRODUCIBLE 3O WHATS HERE 7EVE SEEN THAT THE IMAGE IS FULL OF TEXTURE IT HAS A RICH DETAILED SURFACE AND A LOT OF hLEAFY NESSv 4HE LEAVES ARE POINTY EVENLY SPACED AND ACTUALLY LOOK A LOT LIKE SERIF TYPE ,ETS LOOK AT TYPEFACES IN THREE COMMON categories to see what we can see.

Glypha Myriad Pro Galliard Before&After | www.bamagazine.com

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Three viewing distances

Compare the type to the texture at three distances—near, middle and far; it will look different at each. Many typefaces are better at one distance than another.

Near

Far

Glypha is outdoorsy A beautiful slab serif with perfect letterfit, Glypha is boxy and clean, with hard edges and repetitive shapes. It’s excellent in both headlines and text— an uncommon asset—and its bold, slab sides make it a natural for rough, outdoorsy topics like our environmental project. Glypha is also very easy to read. Problem? It looks nothing like the image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

nology, research and communications locally and across explore how to deploy capital resources in industry, techbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Turn it upside down

A reliable way to “see” a typeface is to turn it upside down, which reveals its ridges, hollows and funny knicknacks that are always felt but normally unnoticed.

Near

Far

ogy, research and communications locally and across internaexplore how to deploy capital resources in industry, technolbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Myriad is crystal clear For outright visual clarity, there is probably no typeface better than Myriad. Extremely good in headlines and short passages of text, Myriad’s large, open counters and minimal forms retain their clarity at even the lowest resolutions. Myriad projects a light, fresh, clean look that’s a natural for green topics, but it doesn’t look like our image.

0664 Design without rulers

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

Before&After | www.bamagazine.com

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Watch the surface

While you’re comparing lines and edges, pay attention to surface texture, too. Note the leaves are irregular and grainy, with a mottled blend of colors.

Near

Far

Galliard Roman is textured Galliard is a Roman typeface with chiseled features and sharp, exaggerated serifs. Its thick-to-thin strokes help make Galliard easy to read, although its angles would be tiresome in large amounts. It comes in several weights, it’s well proportioned, it has the easy familiarity of serif type, and it looks like the leaves! Galliard will be our choice.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.

in industry, technology, research and communications for a day as we explore how to deploy capital resources ing new business growth in the green sector. Join us enterprise to do good for everyone on earth by creatThere has never been a greater opportunity for private

Middle

Layout

Layout is where those lines, shapes, spaces, colors and textures finally get put to work. We’ll illustrate how by designing a legal-size brochure page.

Legal-sized brochure, 14” x 81⁄2”

Work to the image &IRST STEP IS TO PLACE THE IMAGE ON THE PAGE 7HERE AND HOW BIG +EY IS TO HAVE VISIBLE RELATION SHIPS "ECAUSE THE GLOBE AND ITS POT HAVE A STRONG CENTRAL LINE RIGHT CENTER PAGE WILL BE ITS STRONGEST POSITION WHERE EACH WILL REINFORCE THE OTHER 2EMEMBER ITS CENTER ish; none of this is ruler EXACT 3IMILARLY THE POT SPACE WE SAW ENCIRCLE THE GLOBE WILL BE VISIBLE AS A TOP MARGIN ABOVE &OR THIS DESIGN WEVE HIDDEN THE NON PRINTING FOLD LINES LEFT WE CARE only about what the eye can see.

0664 Design without rulers

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Set the headline

A rule of design is to work with what’s in front of you; don’t arbitrarily make stuff up. Here, the headline picks up the visual characteristics of the globe.

Our World Needs Your Help

Type based on size, color and texture (Top) Placing a headline across the top is normal, but don’t do it; the straight, horizontal line is a foreign object that’s different from what’s in front of us. Instead, a block of overlapping lines in Galliard Ultra mimics the size, mass, color and texture of the globe, a visible relationship. Its position beside the globe (above) strengthens the connection. Note how the interaction of translucent serifs (white inset, above) mimics the size and texture of the leaves. Margins are unaligned in any way.

Add photos and text

As you add things to the page its complexity increases, and it becomes increasingly difficult to sustain visual coherency. Pay attention to what’s happening around your material—in the margins, at the edges, between things.

Toothy texture (Left) Set in Galliard Ultra and colored like the globe, the speakers’ names stand out from the surrounding text, while the whole paragraph has the texture of the illustration, an easy blend of form and function.

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Align to the paper

The paper is also an active element that can be used as needed. Here, the lead paragraph and key details are aligned right to an edge, establishing a visual anchor.

Parallel lines have an automatic relationship.

Article resources

Typefaces

1c 2b

3 1d

5

C7 M32 Y90 K40

2 (a–d) ITC Galliard Roman | a) 9/11 pt b) 16/19 pt, c) 12/14 pt, d) 10/12 pt

6

C31 M67 Y80 K45

7

C25 M23 Y100 K10

8

C50 M27 Y100 K38

9

C70 M35 Y80 K50

3 ITC Galliard Italic | 12 pt

Images 4 (a–d) iStockphoto.com |

2c 2d

1a 4a

4c 2a 1b 4b

5

6

7

8

9

Colors

1 (a–d) ITC Galliard Ultra | a) 78 pt b) 9 pt, c) 16 pt, d) 12 pt

a b c d

10

C0 M0 Y0 K75

11 C15 M80 Y100 K5 12 C0 M100 Y85 K40 13 C0 M0 Y0 K100

10 11 12 13 4d

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Put away your ruler. Here’s how to design the way you see. Continued `

Continued `

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Design without rulers To the reader, it’s a man watering the world. To you, it’s lines, textures and funny shapes. Put away your ruler; here’s how to design the way you see!

Ever watch a street artist at work? What fun! A splash here, a dash there, and from a blank canvas a picture just . . . appears. He uses no mechanical tools at all, no columns, rulers or guides, yet the result is a beautiful whole. It’s so fluid. The best design is like that. To see how it works, let’s design a page, but instead of a grid, we’ll use this picture —what we see—as our visual guide. Its lines, shapes, proportions and their relationships will govern our choice of type, sizes, colors, layout and everything else:

What can you see? Measuring only by eye (closely, not exactly), can you answer the following? s )S THE MAN AS TALL AS THE GLOBE s )S THE MAN AS WIDE AS THE POT s (OW MANY POTS WIDE IS THE tree? s 7HAT ELSE IN THE PICTURE IS THE SIZE OF THE POT

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Take a visual inventory

Every image has lines, shapes, textures, colors and so on that can guide a design. First step is to take a visual “inventory.” Start with the big elements . . .

Basic shapes 4HE IMAGE IS MADE OF THREE BASIC SHAPES

Sizes )T HAS A HIERARCHY OF SMALL MEDIUM AND LARGE ELEMENTS

Layout 4HE COMPOSITION IS FAIRLY BALANCED

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Focal point

A good image has a focal point. This image has two—one physical and one phantom.

Physical 4HE PRIMARY FOCAL POINT IS USUALLY THE BIGGEST CLEAREST OR MOST VIVID OBJECT IN THE IMAGEIN THIS CASE THE GLOBE

Phantom 4HE THREE FORMS CREATE A COMPOSITIONAL triangle, the center of which — just what YOUD WANT IS ON THE MONEY 4HE CENTER IS THE STRONGEST POINT OF ANY VISUAL lELD

Secondary 4HE PHANTOM IS REINFORCED BY THE FOCAL CENTER OF THE WHITE TRIANGLE (AD YOU NOTICED IT

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Objects and spaces

The objects and spaces in this image are unusually repetitive . . .

4HE POT IS THE SAME SIZE AS THE SPACE ABOVE IT

AND THE SIZE OF THE SPACE BESIDE IT

)TS THE SAME SIZE AS .ORTH !MERICA

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Close enough . . .

Artistic relationships are perceptual, not mechanical. If it looks close enough, it really is close enough, so inventory by eye, not with your ruler . . .

4HE IMAGE IS FOUR POTS TALL

! ONE POT SPACE ENCIRCLES THE GLOBE

4HE MAN lTS A POT SPACE 4HIS SPACE IS SO REPETITIVE

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A natural grid

This image has a natural grid that is unusually uniform.

3HADOW .ORTH !MERICA SAME AS POT 3OUTH !MERICA COLOR CONTRAST 0OT SPACE (EAD SAME AS POT RIM 7ATERING CAN SAME AS 3OUTH !MERICA

0OT SPACE

0OT AND RIM

3HADOW THAT IT CREATES A WHOLE GRID 4HIS IS UNUSUAL

Pot WIDTH

,EG SAME AS POT RIM

Smaller elements 7HILE YOURE LOOKING AT THE LARGE ELEMENTS MAKE NOTE OF THE SMALLER ELEMENTS TOO 0AY ATTENTION TO EDGES AND CONTRASTS #LEAR EDGES ARE LIKE THE MANS HEAD AND LEGS 3OUTH !MERICA STANDS OUT BECAUSE OF ITS COLOR CONTRAST 4HE SHADOW AREAS HAVE OBVIOUS WEIGHT !ND SO ON 4AKE THE TIME TO CONSCIOUSLY OBSERVE THESE THINGS 7HAT YOURE DOING IS TRAINING YOUR EYE )T WILL SOON BECOME INTUITIVE

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Shape and texture

Be aware of what the lines are doing. Note if they’re straight or curvy, where they’re close or far apart, where they change direction, and so on.

Far PHANTOM LINES

Near

,OOK AT ALL THE TRIANGLES 4HESE CREATE VISUAL MOVEMENT

4RIANGLES ARE EVIDENT AT EVERY DISTANCE FROM FARTHEST TO NEAREST

4HE EDGES CREATE A REPETITIVE TEXTURE NOTE THE POINTINESS THROUGHOUT

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Choose colors

The next step is to create a color palette from the image . . .

A bazillion pixels! #OLOR PLAYS A MAJOR ROLE IN DESIGN 4HE EASIEST AND BEST PLACE TO GET A PERFECTLY COOR DINATED PALETTE IS THE IMAGE ITSELF &IRST REDUCE ITS THOU SANDS OF PIXEL SIZE COLORS RIGHT INSET TO A WORKABLE FEW BY APPLYING 0HOTOSHOPS OR )LLUS TRATORS BUILT IN Mosaic lLTER FAR RIGHT 2ARELY WILL YOU WANT MORE THAN COLORS AND USU ALLY OR EVEN ARE BETTER &OR FEWER COLORS INCREASE THE #ELL SIZE FOR MORE DECREASE IT

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Organize

Sample color swatches with the eyedropper tool, then arrange the swatches by color and value . . .

Arrange by color

You can see in Mosaic MODE THAT THE IMAGE HAS SEVERAL MAJOR COLORSTHE BLUES AND GREENS OF THE GLOBE TERRACOTTAS OF THE POT AND GRAYS OF THE MAN 3AMPLE DARK MEDIUM AND LIGHT PIXELS FROM EACH RIGHT .EATLY ARRANGE YOUR CHOICES BY COLOR THEN BY VALUE DARK TO LIGHT 4AKE THE TIME TO ACTUALLY DO THIS YOULL BE SURPRISED BY HOW MUCH IT HELPS YOU VISUALIZE 3AMPLE A FEW MINOR COLORSIN THIS CASE YELLOWS AND VIOLETSTHAT CAN BE USED FOR COMPLEMENTS AND COUN TERPOINTS $ISCARD LOOKALIKES

By value

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Try each one on

Try the image atop a swatch of each color. What you’ll see is that every color you picked automatically coordinates, because it’s already in there! Cool.

Warm colors 7ARM COLORS ARE SOFT EARTHY WELCOMING SUIT ABLE FOR ENVIRONMENTAL MESSAGES .OTE HOW THE BLUE GLOBE STANDS OUT AGAINST ITS OPPOSITE COLORS THE TERRACOTTAS

Cool colors #OOL COLORS ARE MORE DIRECT AND SOMEWHAT BUSINESSLIKE AND ALOOF The blue globe now BLENDS INTO THE BACK GROUND AND THOSE OPPO SITE ORANGES STAND OUT

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Select type

Next, we need a typeface that feels like the image.

Type is graphical 4HERE ARE MANY WAYS TO CHOOSE A TYPEFACE 9OU MAY HAVE A HOUSE STYLE SO NO CHOICE IS REQUIRED 9OU MAY HAVE A LOOK ALREADY IN MINDSAY FORMAL OR BUSINESSLIKE OR COLLEGIATE 9OU MAY HAVE A NEW FAVORITE TO TRY OUT WHICH IS ALWAYS FUN 7HATEVER THE CASE THE THING TO KEEP IN MIND IS THAT TYPE IS GRAPHICAL JUST LIKE AN IMAGE )TS LINES WILL SWEEP OR JOG OR DIVE )T WILL HAVE TOOTH AND GRAIN 7HEN YOU ADD TYPE TO A DESIGN ITS VISUAL CHARACTER ISTICS INTERACT WITH THOSE ALREADY ON THE PAGE FOR BETTER OR FOR WORSE &OR THIS ARTICLE THE IMAGE IS DRIVING OUR CHOICES OUR GOAL IS TO MATCH THE VISUAL

PROPERTIES OF IMAGE AND TYPE /UR TYPE CHOICE MUST ALSO BE FUNCTIONAL BEAUTIFUL READABLE REPRODUCIBLE 3O WHATS HERE 7EVE SEEN THAT THE IMAGE IS FULL OF TEXTURE IT HAS A RICH DETAILED SURFACE AND A LOT OF hLEAFY NESSv 4HE LEAVES ARE POINTY EVENLY SPACED AND ACTUALLY LOOK A LOT LIKE SERIF TYPE ,ETS LOOK AT TYPEFACES IN THREE COMMON CATEGORIES TO SEE WHAT WE CAN SEE

Glypha Myriad Pro Galliard _ 12 of 21 `

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Three viewing distances

Compare the type to the texture at three distances—near, middle and far; it will look different at each. Many typefaces are better at one distance than another.

Near

Far

ogy, research and communications locally and across interexplore how to deploy capital resources in industry, technolbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Glypha is outdoorsy A beautiful slab serif with perfect letterfit, Glypha is boxy and clean, with hard edges and repetitive shapes. It’s excellent in both headlines and text— an uncommon asset—and its bold, slab sides make it a natural for rough, outdoorsy topics like our environmental project. Glypha is also very easy to read. Problem? It looks nothing like the image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

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Turn it upside down

A reliable way to “see” a typeface is to turn it upside down, which reveals its ridges, hollows and funny knicknacks that are always felt but normally unnoticed.

Near

Far

research and communications locally and across international plore how to deploy capital resources in industry, technology, ness growth in the green sector. Join us for a day as we exprise to do good for everyone on earth by creating new busiThere has never been a greater opportunity for private enter-

Middle

Myriad is crystal clear For outright visual clarity, there is probably no typeface better than Myriad. Extremely good in headlines and short passages of text, Myriad’s large, open counters and minimal forms retain their clarity at even the lowest resolutions. Myriad projects a light, fresh, clean look that’s a natural for green topics, but it doesn’t look like our image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org. _ 14 of 21 `

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Watch the surface

While you’re comparing lines and edges, pay attention to surface texture, too. Note the leaves are irregular and grainy, with a mottled blend of colors.

Near

Far

in industry, technology, research and communications for a day as we explore how to deploy capital resources ing new business growth in the green sector. Join us enterprise to do good for everyone on earth by creatThere has never been a greater opportunity for private

Middle

Galliard Roman is textured Galliard is a Roman typeface with chiseled features and sharp, exaggerated serifs. Its thick-to-thin strokes help make Galliard easy to read, although its angles would be tiresome in large amounts. It comes in several weights, it’s well proportioned, it has the easy familiarity of serif type, and it looks like the leaves! Galliard will be our choice.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenen_ 15 of 21 `

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Layout

Layout is where those lines, shapes, spaces, colors and textures finally get put to work. We’ll illustrate how by designing a legal-size brochure page.

Legal-sized brochure, 14” x 81⁄2”

Work to the image &IRST STEP IS TO PLACE THE IMAGE ON THE PAGE 7HERE AND HOW BIG +EY IS TO HAVE VISIBLE RELATION SHIPS "ECAUSE THE GLOBE AND ITS POT HAVE A STRONG CENTRAL LINE RIGHT CENTER PAGE WILL BE ITS STRONGEST POSITION WHERE EACH WILL REINFORCE THE OTHER 2EMEMBER ITS CENTER ish; none of this is ruler EXACT 3IMILARLY THE POT SPACE WE SAW ENCIRCLE THE GLOBE WILL BE VISIBLE AS A TOP MARGIN ABOVE &OR THIS DESIGN WEVE HIDDEN THE NON PRINTING FOLD LINES LEFT WE CARE ONLY ABOUT WHAT THE EYE CAN SEE

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Set the headline

A rule of design is to work with what’s in front of you; don’t arbitrarily make stuff up. Here, the headline picks up the visual characteristics of the globe.

Our World Needs Your Help

Type based on size, color and texture (Top) Placing a headline across the top is normal, but don’t do it; the straight, horizontal line is a foreign object that’s different from what’s in front of us. Instead, a block of overlapping lines in Galliard Ultra mimics the size, mass, color and texture of the globe, a visible relationship. Its position beside the globe (above) strengthens the connection. Note how the interaction of translucent serifs (white inset, above) mimics the size and texture of the leaves. Margins are unaligned in any way.

1 h h17 of 21 0

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Add photos and text

As you add things to the page its complexity increases, and it becomes increasingly difficult to sustain visual coherency. Pay attention to what’s happening around your material—in the margins, at the edges, between things.

Toothy texture (Left) Set in Galliard Ultra and colored like the globe, the speakers’ names stand out from the surrounding text, while the whole paragraph has the texture of the illustration, an easy blend of form and function.

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Align to the paper

The paper is also an active element that can be used as needed. Here, the lead paragraph and key details are aligned right to an edge, establishing a visual anchor.

0ARALLEL LINES HAVE AN AUTOMATIC RELATIONSHIP

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Article resources

Typefaces

1c 2b

3 1d

Colors

1 (a–d) ITC Galliard Ultra | a) 78 pt b) 9 pt, c) 16 pt, d) 12 pt

5

C7 M32 Y90 K40

2 (a–d) ITC Galliard Roman | a) 9/11 pt b) 16/19 pt, c) 12/14 pt, d) 10/12 pt

6

C31 M67 Y80 K45

7

C25 M23 Y100 K10

8

C50 M27 Y100 K38

9

C70 M35 Y80 K50

3 ITC Galliard Italic | 12 pt

Images 4 (a–d) iStockphoto.com |

a b c d

2c

11 C15 M80 Y100 K5

2d

1a 4a

4c 2a 1b 4b

5

6

7

8

9

10 C0 M0 Y0 K75

12 C0 M100 Y85 K40 13 C0 M0 Y0 K100

10 11 12 13 4d

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

i 3 6

Before & After magazine "EFORE !FTER HAS BEEN SHARING ITS PRACTICAL APPROACH TO GRAPHIC DESIGN SINCE "ECAUSE OUR MODERN WORLD HAS MADE DESIGNERS OF US ALL READY OR NOT "EFORE !FTER IS DEDICATED TO MAKING GRAPHIC DESIGN UNDERSTAND ABLE USEFUL AND EVEN FUN FOR EVERYONE John McWade 0UBLISHER AND CREATIVE DIRECTOR Gaye McWade !SSOCIATE PUBLISHER Dexter Mark Abellera 3TAFF DESIGNER Before & After magazine ,INCOLN 3TREET 2OSEVILLE #! Telephone Fax E-mail MAILBOX BAMAGAZINECOM www HTTPWWWBAMAGAZINECOM Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved 9OU MAY PASS ALONG A FREE COPY OF THIS ARTICLE TO OTHERS BY CLICKING HERE 9OU MAY NOT ALTER THIS ARTICLE AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW PLEASE CREDIT "EFORE !FTER MAGAZINE AND LET US KNOW 4O LINK "EFORE !FTER MAGAZINE TO YOUR 7EB SITE USE THIS 52, HTTPWWWBAMAGAZINECOM &OR ALL OTHER PERMISSIONS PLEASE CONTACT US

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|

Printing formats `

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print 3PECIFY PAGES n

For paper-saver format Print 3PECIFY PAGES n

Print &ORMAT ,ANDSCAPE 0AGE 3IZE &IT TO 0AGE

Save 0RESENTATION FORMAT OR 0APER SAVER FORMAT

_ Back

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Paper-saver format `

Put away your ruler. Here’s how to design the way you see.

Ever watch a street artist at work? What fun! A splash here, a dash there, and from a blank canvas a picture just . . . appears. He uses no mechanical tools at all, no columns, rulers or guides, yet the result is a beautiful whole. It’s so fluid. The best design is like that. To see how it works, let’s design a page, but instead of a grid, we’ll use this picture —what we see—as our visual guide. Its lines, shapes, proportions and their relationships will govern our choice of type, sizes, colors, layout and everything else:

0664 Design without rulers

What can you see? Measuring only by eye (closely, not exactly), can you answer the following? s )S THE MAN AS TALL AS THE GLOBE s )S THE MAN AS WIDE AS THE POT s (OW MANY POTS WIDE IS THE tree? s 7HAT ELSE IN THE PICTURE IS THE SIZE OF THE POT

Before&After | www.bamagazine.com

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Take a visual inventory

Every image has lines, shapes, textures, colors and so on that can guide a design. First step is to take a visual “inventory.” Start with the big elements . . .

Basic shapes 4HE IMAGE IS MADE OF THREE BASIC SHAPES

Sizes )T HAS A HIERARCHY OF SMALL MEDIUM AND large elements.

Layout 4HE COMPOSITION IS FAIRLY BALANCED

Focal point

A good image has a focal point. This image has two—one physical and one phantom.

Physical 4HE PRIMARY FOCAL POINT IS USUALLY THE BIGGEST CLEAREST OR MOST VIVID OBJECT in the image—in this case, the globe.

0664 Design without rulers

Phantom 4HE THREE FORMS CREATE A COMPOSITIONAL triangle, the center of which — just what YOUD WANT IS ON THE MONEY 4HE CENTER IS THE STRONGEST POINT OF ANY VISUAL lELD

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Secondary 4HE PHANTOM IS REINFORCED BY THE FOCAL CENTER OF THE WHITE TRIANGLE (AD YOU NOTICED IT

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Objects and spaces

The objects and spaces in this image are unusually repetitive . . .

4HE POT IS THE SAME SIZE AS THE SPACE ABOVE IT

AND THE SIZE OF THE SPACE BESIDE IT

)TS THE SAME SIZE AS .ORTH !MERICA

Close enough . . .

Artistic relationships are perceptual, not mechanical. If it looks close enough, it really is close enough, so inventory by eye, not with your ruler . . .

4HE IMAGE IS FOUR POTS TALL

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! ONE POT SPACE ENCIRCLES THE GLOBE

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4HE MAN lTS A POT SPACE 4HIS SPACE IS SO REPETITIVE

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A natural grid

This image has a natural grid that is unusually uniform.

3HADOW .ORTH !MERICA SAME AS POT 3OUTH !MERICA COLOR CONTRAST 0OT SPACE (EAD SAME AS POT RIM 7ATERING CAN SAME AS 3OUTH !MERICA

0OT SPACE

0OT AND RIM

3HADOW THAT IT CREATES A WHOLE GRID 4HIS IS UNUSUAL

Pot WIDTH

,EG SAME AS POT RIM

Smaller elements 7HILE YOURE LOOKING AT THE LARGE ELEMENTS MAKE NOTE OF THE SMALLER ELEMENTS TOO 0AY ATTENTION TO EDGES AND CONTRASTS #LEAR EDGES ARE LIKE THE MANS HEAD AND LEGS 3OUTH !MERICA STANDS OUT BECAUSE OF ITS COLOR CONTRAST 4HE SHADOW AREAS HAVE OBVIOUS WEIGHT !ND SO ON 4AKE THE TIME TO CONSCIOUSLY OBSERVE THESE THINGS 7HAT YOURE DOING IS TRAINING YOUR EYE )T WILL SOON BECOME INTUITIVE

Shape and texture

Be aware of what the lines are doing. Note if they’re straight or curvy, where they’re close or far apart, where they change direction, and so on.

Far PHANTOM LINES

Near

,OOK AT ALL THE TRIANGLES 4HESE CREATE VISUAL MOVEMENT

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4RIANGLES ARE EVIDENT AT EVERY DISTANCE from farthest to nearest.

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4HE EDGES CREATE A REPETITIVE TEXTURE NOTE THE POINTINESS THROUGHOUT

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Choose colors

The next step is to create a color palette from the image . . .

A bazillion pixels! #OLOR PLAYS A MAJOR ROLE IN DESIGN 4HE EASIEST AND BEST PLACE TO GET A PERFECTLY COOR DINATED PALETTE IS THE IMAGE ITSELF &IRST REDUCE ITS THOU SANDS OF PIXEL SIZE COLORS RIGHT INSET TO A WORKABLE FEW BY APPLYING 0HOTOSHOPS OR )LLUS TRATORS BUILT IN Mosaic lLTER (far right). Rarely will you want MORE THAN COLORS AND USU ALLY OR EVEN ARE BETTER For fewer colors, increase the #ELL SIZE FOR MORE DECREASE IT

Organize

Sample color swatches with the eyedropper tool, then arrange the swatches by color and value . . .

Arrange by color

You can see in Mosaic MODE THAT THE IMAGE HAS SEVERAL MAJOR COLORSTHE BLUES AND GREENS OF THE GLOBE TERRACOTTAS OF THE POT AND GRAYS OF THE MAN 3AMPLE DARK MEDIUM AND LIGHT PIXELS FROM EACH RIGHT .EATLY ARRANGE YOUR CHOICES BY COLOR THEN BY VALUE DARK TO LIGHT 4AKE THE TIME TO ACTUALLY DO THIS YOULL BE SURPRISED BY HOW MUCH IT HELPS YOU VISUALIZE 3AMPLE a few minor colors—in this case YELLOWS AND VIOLETSTHAT CAN BE USED FOR COMPLEMENTS AND COUN TERPOINTS $ISCARD LOOKALIKES

0664 Design without rulers

By value

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Try each one on

Try the image atop a swatch of each color. What you’ll see is that every color you picked automatically coordinates, because it’s already in there! Cool.

Warm colors 7ARM COLORS ARE SOFT earthy, welcoming, suit ABLE FOR ENVIRONMENTAL MESSAGES .OTE HOW THE BLUE GLOBE STANDS OUT AGAINST ITS OPPOSITE colors, the terracottas.

Cool colors #OOL COLORS ARE MORE DIRECT AND SOMEWHAT BUSINESSLIKE AND ALOOF The blue globe now BLENDS INTO THE BACK GROUND AND THOSE OPPO SITE ORANGES STAND OUT

Select type

Next, we need a typeface that feels like the image.

Type is graphical There are many ways to CHOOSE A TYPEFACE 9OU MAY HAVE A HOUSE STYLE SO NO CHOICE IS REQUIRED 9OU MAY HAVE A LOOK ALREADY IN MINDSAY FORMAL OR BUSINESSLIKE or collegiate. You may HAVE A NEW FAVORITE TO try out, which is always FUN 7HATEVER THE CASE THE THING TO KEEP IN MIND IS THAT TYPE IS GRAPHICAL JUST LIKE AN IMAGE )TS LINES WILL SWEEP OR JOG OR DIVE )T WILL HAVE TOOTH AND GRAIN 7HEN YOU ADD TYPE TO A DESIGN ITS VISUAL CHAR ACTERISTICS INTERACT WITH THOSE ALREADY ON THE PAGE FOR BETTER OR FOR WORSE &OR THIS ARTICLE THE IMAGE IS DRIVING OUR CHOICES OUR GOAL IS TO MATCH THE VISUAL

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PROPERTIES OF IMAGE AND TYPE /UR TYPE CHOICE MUST ALSO BE functional— BEAUTIFUL READABLE REPRODUCIBLE 3O WHATS HERE 7EVE SEEN THAT THE IMAGE IS FULL OF TEXTURE IT HAS A RICH DETAILED SURFACE AND A LOT OF hLEAFY NESSv 4HE LEAVES ARE POINTY EVENLY SPACED AND ACTUALLY LOOK A LOT LIKE SERIF TYPE ,ETS LOOK AT TYPEFACES IN THREE COMMON categories to see what we can see.

Glypha Myriad Pro Galliard Before&After | www.bamagazine.com

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Three viewing distances

Compare the type to the texture at three distances—near, middle and far; it will look different at each. Many typefaces are better at one distance than another.

Near

Far

Glypha is outdoorsy A beautiful slab serif with perfect letterfit, Glypha is boxy and clean, with hard edges and repetitive shapes. It’s excellent in both headlines and text— an uncommon asset—and its bold, slab sides make it a natural for rough, outdoorsy topics like our environmental project. Glypha is also very easy to read. Problem? It looks nothing like the image.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

nology, research and communications locally and across explore how to deploy capital resources in industry, techbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Turn it upside down

A reliable way to “see” a typeface is to turn it upside down, which reveals its ridges, hollows and funny knicknacks that are always felt but normally unnoticed.

Near

Far

ogy, research and communications locally and across internaexplore how to deploy capital resources in industry, technolbusiness growth in the green sector. Join us for a day as we terprise to do good for everyone on earth by creating new There has never been a greater opportunity for private en-

Middle

Myriad is crystal clear For outright visual clarity, there is probably no typeface better than Myriad. Extremely good in headlines and short passages of text, Myriad’s large, open counters and minimal forms retain their clarity at even the lowest resolutions. Myriad projects a light, fresh, clean look that’s a natural for green topics, but it doesn’t look like our image.

0664 Design without rulers

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.greenenergyseminar.org.

Before&After | www.bamagazine.com

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Watch the surface

While you’re comparing lines and edges, pay attention to surface texture, too. Note the leaves are irregular and grainy, with a mottled blend of colors.

Near

Far

Galliard Roman is textured Galliard is a Roman typeface with chiseled features and sharp, exaggerated serifs. Its thick-to-thin strokes help make Galliard easy to read, although its angles would be tiresome in large amounts. It comes in several weights, it’s well proportioned, it has the easy familiarity of serif type, and it looks like the leaves! Galliard will be our choice.

There has never been a greater opportunity for private enterprise to do good for everyone on earth by creating new business growth in the green sector. Join us for a day as we explore how to deploy capital resources in industry, technology, research and communications locally and across international boundaries for both private and public benefit. To reserve a seat, log onto www.

in industry, technology, research and communications for a day as we explore how to deploy capital resources ing new business growth in the green sector. Join us enterprise to do good for everyone on earth by creatThere has never been a greater opportunity for private

Middle

Layout

Layout is where those lines, shapes, spaces, colors and textures finally get put to work. We’ll illustrate how by designing a legal-size brochure page.

Legal-sized brochure, 14” x 81⁄2”

Work to the image &IRST STEP IS TO PLACE THE IMAGE ON THE PAGE 7HERE AND HOW BIG +EY IS TO HAVE VISIBLE RELATION SHIPS "ECAUSE THE GLOBE AND ITS POT HAVE A STRONG CENTRAL LINE RIGHT CENTER PAGE WILL BE ITS STRONGEST POSITION WHERE EACH WILL REINFORCE THE OTHER 2EMEMBER ITS CENTER ish; none of this is ruler EXACT 3IMILARLY THE POT SPACE WE SAW ENCIRCLE THE GLOBE WILL BE VISIBLE AS A TOP MARGIN ABOVE &OR THIS DESIGN WEVE HIDDEN THE NON PRINTING FOLD LINES LEFT WE CARE only about what the eye can see.

0664 Design without rulers

Before&After | www.bamagazine.com

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Set the headline

A rule of design is to work with what’s in front of you; don’t arbitrarily make stuff up. Here, the headline picks up the visual characteristics of the globe.

Our World Needs Your Help

Type based on size, color and texture (Top) Placing a headline across the top is normal, but don’t do it; the straight, horizontal line is a foreign object that’s different from what’s in front of us. Instead, a block of overlapping lines in Galliard Ultra mimics the size, mass, color and texture of the globe, a visible relationship. Its position beside the globe (above) strengthens the connection. Note how the interaction of translucent serifs (white inset, above) mimics the size and texture of the leaves. Margins are unaligned in any way.

Add photos and text

As you add things to the page its complexity increases, and it becomes increasingly difficult to sustain visual coherency. Pay attention to what’s happening around your material—in the margins, at the edges, between things.

Toothy texture (Left) Set in Galliard Ultra and colored like the globe, the speakers’ names stand out from the surrounding text, while the whole paragraph has the texture of the illustration, an easy blend of form and function.

0664 Design without rulers

Before&After | www.bamagazine.com

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Align to the paper

The paper is also an active element that can be used as needed. Here, the lead paragraph and key details are aligned right to an edge, establishing a visual anchor.

Parallel lines have an automatic relationship.

Article resources

Typefaces

1c 2b

3 1d

5

C7 M32 Y90 K40

2 (a–d) ITC Galliard Roman | a) 9/11 pt b) 16/19 pt, c) 12/14 pt, d) 10/12 pt

6

C31 M67 Y80 K45

7

C25 M23 Y100 K10

8

C50 M27 Y100 K38

9

C70 M35 Y80 K50

3 ITC Galliard Italic | 12 pt

Images 4 (a–d) iStockphoto.com |

2c 2d

1a 4a

4c 2a 1b 4b

5

6

7

8

9

Colors

1 (a–d) ITC Galliard Ultra | a) 78 pt b) 9 pt, c) 16 pt, d) 12 pt

a b c d

10

C0 M0 Y0 K75

11 C15 M80 Y100 K5 12 C0 M100 Y85 K40 13 C0 M0 Y0 K100

10 11 12 13 4d

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2007 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Design a

Pocket-size brochure

F

Eight small pages unfold into an informative, letter-size sheet. Continued `

Continued `

Design a pocket-size brochure

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Design a pocket-size brochure Eight small pages unfold into an informative, letter-size sheet.

This single-sheet brochure is a small beauty that gets eight pages of work out of just one. From its palm-size, 2 3⁄4 x 41⁄4 cover, a story unfolds in a natural, easy-to-read sequence. It’s easy to design, too. The key is to think small—one photo, bite-size text and a brief head per spread look quite big. And it’s inexpensive. Perfect for busy readers, it slips easily into pocket or purse, and is ideal for telling your story in brief, narrative format. Open once . . .

. . . open into a letter-size sheet A tiny cover and two brief but complete spreads lead the reader to center page, where (in this case) eight health tips give dental patients a useful takeaway and a reminder of their dentists’ care and competence.

open twice . . .

Praston Dental ™

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Cover and first spread

The brochure folds open one spread at a time. To design it, think story— give it a beginning, a middle and an end. Set a visual theme (here it’s people), and design each spread as a complete thought.

2 3 ⁄4”

Crop closely

Break out

Praston Dental ™

4 1 ⁄ 4”

Cover An attractive smile and the office name set the visual theme. Such small-space design requires bold, simple elements. This design uses four—photo, blue background, bite-size text and a brief head. Each element should do only one thing. Avoid detail—note the photo is closely cropped and has no background or other distractions. Inside (far right), the text is plain; the tiny space needs no subheads, indents or other flags. Note our cover girl is looking at the logo, a subliminal reinforcement.

Family dentistry At Praston Dental, we provide top-quality clinical care in a friendly and caring family environment. Elesara and is fay of alm. A card whint not oogum or bont. Pretty simple, glead and flasp mist of it snooling.

First spread is the introduction. “Breakout” photos that overlap the blue add depth and perceived size to the layouts. Light colors yield the biggest look. Text can be solid black, but in the tiny space 75% gray (or so) will be easier on the eyes. Here, fresh apple green and dental-office blue will sustain the theme throughout.

_ 3 of 21 `

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Before&After

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i 3 6

Second spread

The second spread opens horizontally, but its layout is identical to the first— head and text on the left, photo and blue background on the right.

smiles Thin edge, thin type Quick! What’s the thinnest possible line? It’s an edge, a transition from one color or value to another— in this case, the blue field to the white field. Edges, not ruled lines, yield the sharpest, cleanest, most minimal look. Headlines of super-fine Helvetica Neue Ultra Light type—about as thin as type can reasonably get—are an excellent complement.

Beautiful smiles Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

Second spread is twice the width of the first, and its text is transitional between the introduction and main body. Right, type sizes and positions are identical to the first spread, but did you notice its left margin is slightly wider? Probably not, because it looks the same; the wider margin has the visual proportions of the wider page.

Beautiful smiles Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

Different margins

_ 4 of 21 `

Design a pocket-size brochure

0665

Before&After

Design a pocket-size brochure

®

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5 of 8

i 3 6

Main spread

The fully opened sheet has room to elaborate. Here, health tips flank a center narrative.

Brush properly. Using a soft-bristled toothbrush, brush gently and thoroughly in a circular motion texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling.

Rinse and gargle. Mouthwashes, when used alongside a whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling flasp mist of it snooling whint card.

Dental Tips Praston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

Dental Tips Clean your tongue. For dramatically better oral hygiene and health, daily tongue cleaning texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic.

Preston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

Floss daily. You should floss daily to clean between teeth, where decay-causing bacteria reside. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm texture.

APPOINTMENT

9:00 DENNIS M.

Visit your dentist.

Eat healthy.

Visiting your dentist for regular checkups and cleanings is the best way to avoid card whint not oogum or bont. Pretty simple, glead and tarm end. Spaff forl isn’t cubular but quastic, leam restart. It’s tope, this fluant chasible.

A a well-balanced diet provides the minerals, vitamins and other nutrients essential for healthy teeth and gums. Texture and flasp net exating end mist of it snooling cachasible. It has larch to say. Elesara and order is fay of alm.

A lively conclusion It’s no longer pocket size, but the theme continues—big people, breakout photos, blue and white fields, and text in two typefaces. As before, the blue field fits the folds (above) and “pulls” equally with the white. Note the symmetry; every element is illustrated and centered.

Smile. Avoid tobacco.

Smile.

Chewing and smoking tobacco can cause serious health and dental problems. Elesara and order is fay of alm. A card whint not oogum or bont.

An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

1 h h5 of 21 0

An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

Design a pocket-size brochure

0665

_ 6 of 21 `

Design a pocket-size brochure

0665

Fold the page into eight equal parts. 2p10

3 2p2

Praston Dental ™

4

2p2

2p10

2

8 1⁄ 2”

Beautiful smiles

2p10

Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

2p10

2p10

2p10

Praston Dental ™

1

11” Letter-size page (11” x 81 ⁄ 2”) Folded size 23⁄ 4” x 41 ⁄4”

Template: Pocket-size brochure Before&After

®

Design a pocket-size brochure

6 of 8

BAmagazine.com

i 3 6

Before&After

Design a pocket-size brochure

®

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7 of 8

i 3 6

Article resources

1a

4b

Brush properly. Using a soft-bristled toothbrush, brush gently and thoroughly in a circular motion texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling.

4c

2a

4a

4e

Dental Tips

Clean your tongue. For dramatically better oral hygiene and health, daily tongue cleaning texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic.

Praston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

6 7

1b

Colors

1 (a–b) Minion Regular | a) 14/17 pt b) 9/12 pt

5

C55 M30 Y20 K60

2 (a–b) Helvetica Neue 25 Ultra Light a) 72 pt, b) 38/29 pt

6

C55 M30 Y20 K30

7

C14 M6 Y6 K0

8

C45 M20 Y100 K10

3 Helvetica Neue 85 Heavy | 10 pt

4f Floss daily.

Rinse and gargle.

5

3

Typefaces

You should floss daily to clean between teeth where decay-causing bacteria resides. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm texture.

Mouthwashes, when used along side a whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling flasp mist of it snooling whint card.

Images 4g

APPOINTMENT

9:00 DENNIS M.

Visit your dentist.

Eat healthy.

Visiting your dentist for regular checkups and cleanings is the best way to avoid card whint not oogum or bont. Pretty simple, glead and tarm end. Spaff forl isn’t cubular but quastic, leam restart. It’s tope, this fluant chasible.

A well- balanced diet provides the minerals, vitamins and other nutrients essential for healthy teeth and gums. Texture and flasp net exating end mist of it snooling cachasible. It has larch to say. Elesara and order is fay of alm.

Avoid tobacco.

Smile.

Chewing and smoking tobacco can cause serious health and dental problems. Elesara and order is fay of alm. A card whint not oogum or bont.

An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

4 (a–k) iStockphoto.com | e f g h i j k

a b c d

4h

4d

4i 2b 1a 8 6

Family dentistry

At Praston Dental, we provide top-quality clinical care in a friendly and caring family environment. Elesara and is fay of alm. A card whint not oogum or bont. Pretty simple, glead and flasp mist of it snooling.

Praston Dental ™

4j

4k

7

1 h h7 of 21 0

Design a pocket-size brochure

0665

Before&After

®

Design a pocket-size brochure

BAmagazine.com

8 of 8

Subscribe to Before & After

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

_ 8 of 21

|

Printing formats `

Design a pocket-size brochure

0665

Before&After

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®

i 3 6

Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–8)

For paper-saver format Print: (Specify pages 10–13)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

_ Back

|

Paper-saver format `

Design a

Pocket-size brochure

F

Eight small pages unfold into an informative, letter-size sheet.

This single-sheet brochure is a small beauty that gets eight pages of work out of just one. From its palm-size, 2 3⁄4 x 41⁄4 cover, a story unfolds in a natural, easy-to-read sequence. It’s easy to design, too. The key is to think small—one photo, bite-size text and a brief head per spread look quite big. And it’s inexpensive. Perfect for busy readers, it slips easily into pocket or purse, and is ideal for telling your story in brief, narrative format. Open once . . .

. . . open into a letter-size sheet A tiny cover and two brief but complete spreads lead the reader to center page, where (in this case) eight health tips give dental patients a useful takeaway and a reminder of their dentists’ care and competence.

open twice . . .

Praston Dental ™

0665 Design a pocket-size brochure

Before&After | www.bamagazine.com

1 of 4

Design a pocket-size brochure

0665

Cover and first spread

The brochure folds open one spread at a time. To design it, think story— give it a beginning, a middle and an end. Set a visual theme (here it’s people), and design each spread as a complete thought.

2 3 ⁄4”

Crop closely

Break out

Praston Dental

Family dentistry

™

4 1 ⁄ 4”

At Praston Dental, we provide top-quality clinical care in a friendly and caring family environment. Elesara and is fay of alm. A card whint not oogum or bont. Pretty simple, glead and flasp mist of it snooling.

Cover An attractive smile and the office name set the visual theme. Such small-space design requires bold, simple elements. This design uses four—photo, blue background, bite-size text and a brief head. Each element should do only one thing. Avoid detail—note the photo is closely cropped and has no background or other distractions. Inside (far right), the text is plain; the tiny space needs no subheads, indents or other flags. Note our cover girl is looking at the logo, a subliminal reinforcement.

First spread is the introduction. “Breakout” photos that overlap the blue add depth and perceived size to the layouts. Light colors yield the biggest look. Text can be solid black, but in the tiny space 75% gray (or so) will be easier on the eyes. Here, fresh apple green and dental-office blue will sustain the theme throughout.

Second spread

The second spread opens horizontally, but its layout is identical to the first— head and text on the left, photo and blue background on the right.

smiles Thin edge, thin type Quick! What’s the thinnest possible line? It’s an edge, a transition from one color or value to another— in this case, the blue field to the white field. Edges, not ruled lines, yield the sharpest, cleanest, most minimal look. Headlines of super-fine Helvetica Neue Ultra Light type—about as thin as type can reasonably get—are an excellent complement.

0665 Design a pocket-size brochure

Beautiful smiles Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

Second spread is twice the width of the first, and its text is transitional between the introduction and main body. Right, type sizes and positions are identical to the first spread, but did you notice its left margin is slightly wider? Probably not, because it looks the same; the wider margin has the visual proportions of the wider page.

Before&After | www.bamagazine.com

2 of 4

Beautiful smiles Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

Different margins

Design a pocket-size brochure

0665

Main spread

The fully opened sheet has room to elaborate. Here, health tips flank a center narrative.

Brush properly. Using a soft-bristled toothbrush, brush gently and thoroughly in a circular motion texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling.

Dental Tips

Dental Tips

Clean your tongue.

Preston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

For dramatically better oral hygiene and health, daily tongue cleaning texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic.

Praston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

Floss daily.

Rinse and gargle.

You should floss daily to clean between teeth, where decay-causing bacteria reside. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm texture.

Mouthwashes, when used alongside a whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling flasp mist of it snooling whint card.

APPOINTMENT

9:00 DENNIS M.

Visit your dentist.

Eat healthy.

Visiting your dentist for regular checkups and cleanings is the best way to avoid card whint not oogum or bont. Pretty simple, glead and tarm end. Spaff forl isn’t cubular but quastic, leam restart. It’s tope, this fluant chasible.

A a well-balanced diet provides the minerals, vitamins and other nutrients essential for healthy teeth and gums. Texture and flasp net exating end mist of it snooling cachasible. It has larch to say. Elesara and order is fay of alm.

Avoid tobacco.

Smile.

Chewing and smoking tobacco can cause serious health and dental problems. Elesara and order is fay of alm. A card whint not oogum or bont.

An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

A lively conclusion It’s no longer pocket size, but the theme continues—big people, breakout photos, blue and white fields, and text in two typefaces. As before, the blue field fits the folds (above) and “pulls” equally with the white. Note the symmetry; every element is illustrated and centered.

Smile. An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

Template: Pocket-size brochure Letter-size page (11” x 81 ⁄ 2”) Folded size 23⁄ 4” x 41 ⁄4”

11” Praston Dental

Texture and flasp net exating end mist end of it snooling. Spaff forl isn’t cubular but quastic, leam restart whint can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and whint flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm then card whint not oogum or bont thin chack.

™

2p10

2p10

1

2p10

2p10

Beautiful smiles 2

8 1⁄ 2”

Praston Dental ™

2p10

2p2

2p2

3

4

2p10

Fold the page into eight equal parts.

0665 Design a pocket-size brochure

Before&After | www.bamagazine.com

3 of 4

Design a pocket-size brochure

0665

Article resources

1a

4b

Brush properly. Using a soft-bristled toothbrush, brush gently and thoroughly in a circular motion texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling.

4c

2a

4a

4e

Dental Tips

Clean your tongue. For dramatically better oral hygiene and health, daily tongue cleaning texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic.

Praston Dental’s own Dr. Mary Mills and Dr. Donnie Wilkinson provide these easy dental tips texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t. It’s tope, this fluant chasible silk shast lape and behast mist of chack.

6 7

1b

Colors 5

C55 M30 Y20 K60

2 (a–b) Helvetica Neue 25 Ultra Light a) 72 pt, b) 38/29 pt

6

C55 M30 Y20 K30

7

C14 M6 Y6 K0

8

C45 M20 Y100 K10

3 Helvetica Neue 85 Heavy | 10 pt

4f Floss daily.

Rinse and gargle.

5

3

Typefaces 1 (a–b) Minion Regular | a) 14/17 pt b) 9/12 pt

You should floss daily to clean between teeth where decay-causing bacteria resides. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm texture.

Mouthwashes, when used along side a whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling flasp mist of it snooling whint card.

Images 4g

APPOINTMENT

9:00 DENNIS M.

Visit your dentist.

Eat healthy.

Visiting your dentist for regular checkups and cleanings is the best way to avoid card whint not oogum or bont. Pretty simple, glead and tarm end. Spaff forl isn’t cubular but quastic, leam restart. It’s tope, this fluant chasible.

A well- balanced diet provides the minerals, vitamins and other nutrients essential for healthy teeth and gums. Texture and flasp net exating end mist of it snooling cachasible. It has larch to say. Elesara and order is fay of alm.

4 (a–k) iStockphoto.com | e f g h i j k

a b c d

4h

4d Avoid tobacco.

Smile.

Chewing and smoking tobacco can cause serious health and dental problems. Elesara and order is fay of alm. A card whint not oogum or bont.

An act that’s easily taken for granted, texture and flasp net exating end mist of it snooling. Spaff forl isn’t end cubular but pretty whint quastic.

4i 2b 1a 8 6

Praston Dental

Family dentistry

4j

™

At Praston Dental, we provide top-quality clinical care in a friendly and caring family environment. Elesara and is fay of alm. A card whint not oogum or bont. Pretty simple, glead and flasp mist of it snooling.

4k

7

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0665 Design a pocket-size brochure

Before&After | www.bamagazine.com

4 of 4

Design a pocket-size brochure

0665

Before&After

BAmagazine.com

®

i 3 6

Design a showroom-style

presentation

Automobile magazine’s clever layout streams 10 cars across 18 pages. Continued `

Continued `

Design a showroom-style presentation

0666

Before&After

i 3 6

BAmagazine.com

®

Showroom-style presentation Automobile magazine’s clever layout streams 10 cars across 18 pages

JANUARY 2008

ALL STARS 2008

ALL-STARS 2008; NISSAN GT-R; BMW 1-SERIES; ALFA

!"

ROMEO 8C; ASTON MARTIN

10

DBS; SATURN ASTRA

NISSAN GT-R

BMW 1-SERIES

!"

AUTOBAHN

# # "

VOL. 22, NO. 10

Maintaining continuity Each car stars in its own spread, while a glimpse of the previous vehicle sustains pageto-page flow. Repetitive typography reinforces the continuity.

USA $4.99 Canada $5.99

CN1

!

The great thing about a magazine is that it presents material in a linear sequence—this, then the next and the next. That’s the most natural way to view and understand information. But what happens when you need to see stuff all at once—like 10 cars, for example? Those pages now break the continuity. Automobile magazine found a clever workaround for its January, 2008, “All Stars” issue. Each vehicle has its own spread, and visible in the distance is the previous vehicle. The result is a fair illusion of walking page by page through a big showroom. Have a look.

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Mimic reality

The cars are photographed like you’d experience them in person—from different angles, distances and slightly different heights. The constantly shifting vantage point conveys an active sense of walking about, looking closely.

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AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

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AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

One car leads to the next As you walk among the cars, no two spreads are alike, which keeps the presentation engaging. What’s interesting is that it takes a few pages to grasp what’s going on, but once you get it, you remember it—exactly what you’d want a layout to do!

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Low-key typography

The text is set in compact blocks, which keeps the layout spacious and ensures the cars get all the attention! Each block has several typographic “voices.”

!

A headline made of text type Super-size your favorite text type, and you may be surprised by what you see! Here, two-inch caps bring out textfont Proforma’s artistic side; curves that appear smooth at nine points are actually angled, with flat, chiseled serifs. Extremely tight spacing and an interwoven red 8 make the artistic setting that launches the article.

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AUTOMOBILE | JANUARY 2008

PHOTOGRAPHS BY

BRIAN KONOSKE

Two voices Every change of typeface, size or style projects a different “voice.” Here, headline in a box introduces each car using two voices—car name set in the text face and tiny headline in a contrasting sans-serif, all aligned right.

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JANUARY 2008 | AUTOMOBILEMAG.COM

Four voices Serif body copy is set in narrow columns separated by a vertical rule. Unusually deep right margins are the result of zero hyphenation. Contrasting lead sentence is a follow-on to the headline and completes its thought; the writer’s byline ends the text. Light gray bar at the bottom neatly defines the block width; technical data is reversed out in white (insets, above).

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Repetitive elements sustain the continuity

The text blocks sustain page-to-page continuity and tie the article to the rest of the magazine. The graphical headline is a key identifier.

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AUTOMOBILE | JANUARY 2008

PHOTOGRAPHS BY

BRIAN KONOSKE

JANUARY 2008 | AUTOMOBILEMAG.COM

Graphical headline anchors the upper left corner of every spread. It is a key “continuity graphic” that the reader will immediately recognize. If the story jumps to the back of the magazine, this graphic must go with it.

AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

Text blocks are all of similar length but alternate between two and three columns. Their general construction—type specs, colors, column width and gray bar—does not vary.

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Article resources

1

Typefaces

2

1 Proforma Ultra Light 2 Benton Sans Regular Compressed 3 Proforma Book

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Credits

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3

Automobile Magazine (www.automobilemag.com) Photographer: Brian Konoske

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AUTOMOBILE | JANUARY 2008

PHOTOGRAPHS BY

BRIAN KONOSKE

JANUARY 2008 | AUTOMOBILEMAG.COM

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

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Design a showroom-style

presentation

Automobile magazine’s clever layout streams 10 cars across 18 pages.

ALL STARS 2008 !"

10

NISSAN GT-R

BMW 1-SERIES

!"

AUTOBAHN

# # "

USA $4.99 Canada $5.99

Maintaining continuity Each car stars in its own spread, while a glimpse of the previous vehicle sustains pageto-page flow. Repetitive typography reinforces the continuity.

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0666 Design a showroom-style presentation

The great thing about a magazine is that it presents material in a linear sequence —this, then the next and the next. That’s the most natural way to view and understand information. But what happens when you need to see stuff all at once — like 10 cars, for example? Those pages now break the continuity. Automobile magazine found a clever workaround for its January, 2008, “All Stars” issue. Each vehicle has its own spread, and visible in the distance is the previous vehicle. The result is a fair illusion of walking page by page through a big showroom. Have a look.

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Mimic reality

The cars are photographed like you’d experience them in person—from different angles, distances and slightly different heights. The constantly shifting vantage point conveys an active sense of walking about, looking closely.

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AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

One car leads to the next As you walk among the cars, no two spreads are alike, which keeps the presentation engaging. What’s interesting is that it takes a few pages to grasp what’s going on, but once you get it, you remember it—exactly what you’d want a layout to do!

Low-key typography

The text is set in compact blocks, which keeps the layout spacious and ensures the cars get all the attention! Each block has several typographic “voices.”

!

A headline made of text type Super-size your favorite text type, and you may be surprised by what you see! Here, two-inch caps bring out textfont Proforma’s artistic side; curves that appear smooth at nine points are actually angled, with flat, chiseled serifs. Extremely tight spacing and an interwoven red 8 make the artistic setting that launches the article.

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AUTOMOBILE | JANUARY 2008

PHOTOGRAPHS BY

BRIAN KONOSKE

Two voices Every change of typeface, size or style projects a different “voice.” Here, headline in a box introduces each car using two voices—car name set in the text face and tiny headline in a contrasting sans-serif, all aligned right.

Before&After | www.bamagazine.com

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JANUARY 2008 | AUTOMOBILEMAG.COM

Four voices Serif body copy is set in narrow columns separated by a vertical rule. Unusually deep right margins are the result of zero hyphenation. Contrasting lead sentence is a follow-on to the headline and completes its thought; the writer’s byline ends the text. Light gray bar at the bottom neatly defines the block width; technical data is reversed out in white (insets, above).

Design a showroom-style presentation

0666

Repetitive elements sustain the continuity

The text blocks sustain page-to-page continuity and tie the article to the rest of the magazine. The graphical headline is a key identifier.

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AUTOMOBILE | JANUARY 2008

PHOTOGRAPHS BY

BRIAN KONOSKE

JANUARY 2008 | AUTOMOBILEMAG.COM

AUTOMOBILE | JANUARY 2008

JANUARY 2008 | AUTOMOBILEMAG.COM

Text blocks are all of similar length but alternate between two and three columns. Their general construction—type specs, colors, column width and gray bar—does not vary.

Graphical headline anchors the upper left corner of every spread. It is a key “continuity graphic” that the reader will immediately recognize. If the story jumps to the back of the magazine, this graphic must go with it.

Article resources

1

Typefaces

2

1 Proforma Ultra Light 2 Benton Sans Regular Compressed 3 Proforma Book

!

Credits

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3

Automobile Magazine (www.automobilemag.com) Photographer: Brian Konoske

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AUTOMOBILE | JANUARY 2008

0666 Design a showroom-style presentation

BRIAN KONOSKE

JANUARY 2008 | AUTOMOBILEMAG.COM

Before&After | www.bamagazine.com

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

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Lessons from a

beautiful site The University of Miami College of Arts & Sciences shows that beauty really is in the details. Continued 0

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Lessons from a beautiful site The University of Miami College of Arts & Sciences site shows that beauty really is in the details.

The best design is simple design: an idea, an image, a few words, open space. It’s clear, attractive, memorable. But real life is not often simple; it’s full of stuff. People, programs and commerce all need attention and screen space, and this can make for a busy, complex site. What we like about the University of Miami’s College of Arts & Sciences site is that it handles complexity beautifully. It does this in two ways: It reduces each element to its essence (the simple thing), then it beautifully crafts the details. A dozen visual techniques allow its many parts to coexist effortlessly. Let’s look at a few. Home page Two dozen elements and links easily coexist on this inviting, visually coherent page.

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Structure

The site is conveniently screen size, not too long, so most of it is always visible. It is organized in three horizontal sections; each holds a different kind of information—permanent stuff top and bottom, active stuff in the middle.

All eyes here

Color differentiates the sections A white “center stage” is flanked by a dark header and light footer. These contain the foundational elements—logo, links, search and so on. The white center is active, with transitory stories, news briefs, stuff like that. Left, a screen-size space like this conveys a tight, organized impression and is easier to read than a scrolling page. Tight editing is key.

Home page

Interior page

Header

Header

Main stage

Main stage

Footer Footer

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Header

Two dark bands—one green, one tan—form a simple, substantial header that leads the site; logo and links are reversed in white. To soften the look, a faint gradient yields an understated illusion of radiant light.

Beautiful typography is the signature element of the site. Scholarly Caslon type in classic, old-style caps and small caps (big circle, below) conveys literacy and tradition; compact line spacing (small circle) keeps minor information from floating away. The two lines of small type are the same size but spaced differently; the more-important words are in panorama.

college of

ARTS & SCIENCES

u n i v e r s i t y

o f

m i a m i

P-a-n-o-r-a-m-i-c letterspacing conveys elegance and stature. Note the tiny shadow. It’s unusual to see such a modern artifact juxtaposed with old type, but its understatement is classy and in this case adds valuable depth. Right, four permanent links on the far right are tinted to appear barely there, yet remain easily accessible.

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Main links

The highest-level links are in the tan header band. Typography, color and shadow are identical to the logo, which reinforces their connection and permanence.

Link type matches the logo. Left, tan band and green field are different colors but have virtually the same gray value (dark-light), which keeps the two connected while being different. Below, wide letterspacing is relaxed and less demanding than normal spacing and so conveys a sense of deliberation and stateliness. Onscreen, it’s easier to read, too.

ALUMNI HOME

Link

A LU M N I

A LU M N I

ABOU T THE COLLEGE

ACADEMICS

Active

Hover

ALUMNI

Three shades of tan define the link states normal, active and hover; this quietly but very clearly tells the reader where he is. Shades are progressively darker versions of one color—a monochromatic palette, right—that change the message without changing the subject. Nice.

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Sub links

As the reader moves deeper into the site, subtle changes of type case and color are all it takes to signal the different levels. Style and size remain constant.

ACADEMICS Dean’s Message

Reverse the colors The beautifully uniform look of the site results from as few typographic differences as possible. Left, the sub links retain the type size and style of the main links but just change case and reverse color.

Dean’s Message Spotlights A Chemical Change Designs by Michiko Religious Perspectives Contacts A & S Magazine

75%

As the links descend, the type color changes to black, then to gray. Note one typeface in one size easily conveys four levels of information.

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Main stage

Between header and footer, a white “main stage” is the focal point of the site. On each page, one short, book-like article is set in widely spaced lines of serif type, which conveys an airy, literary look that’s very pleasant to read.

Same typestyle and size

A gradient as light as chiffon The left column is defined by an incredibly subtle gradient that fades from less than two percent color to white. What’s interesting is how slight the edge has to be, not merely to be visible but clearly present. Beautiful.

Comfortable reading width Book-width columns of type—45 to 65 characters or so—are ideal for comfortable reading; the wide leading (spacing ) is visual silence between lines that relaxes the message. The longer your lines, the more space you should put between them.

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Footer

A correctly designed footer conveys real authority; it should be thought of not as the tail but the foundation that supports everything else. The footer holds permanent information—key links, contact information, logo.

A LU M N I

Same size, different color Identical typography—style, case, size and spacing—but reversed colors connect footer to header and unify the page. Hierarchy is important Above, left, a header and footer of equal weight result in an “Oreo cookie” that divides the reader’s attention and weakens the presentation. Instead, three-stage hierarchy gives each section appropriate weight. Keep in mind that the reader’s eye will always gravitate toward the center. Save it for your most important material, and put supporting material around it.

Background colors extend outward.

MY UM

Small logo, big impression Lower-right corner is the natural exit point of a page and the correct place for a logo, which serves as a full stop and makes an impression much bigger than its small size. Efficient.

Live matter is aligned flush.

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Type

The html text of the entire site is set in Georgia, the best onscreen serif typeface universally available. Georgia has the look of book typography plus the medium physical traits that make it especially readable at low resolution . . .

1b3c6d7

Compared to Times, the universal default . . . Georgia is bigger The perceived size of a typeface is not its point size but its x-height, that is, the size of its lowercase characters; Georgia’s are 68% of the cap height, quite average. Times is too small for onscreen clarity.

Georgia has text figures Georgia’s oldstyle numerals, or text figures, have ascenders and descenders like lowercase letters. These are more distinctive and therefore easier to read than ordinary, “all-caps” numerals. Beautiful, too.

GeorgiaTimes

a a ee Open

Wider counters The open shapes inside the characters, called counters, are as important as the outside. Georgia has big, round counters that remain open at low res.

Constricted

Bolder serifs Georgia’s serifs are bold and easy to see, and its curves are simple and open. Times’ thin, pointy serifs are handsome in print but weak onscreen, where too-few pixels are available to render them clearly.

Georgia

Times

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Type

Word- and letter spacing is as important as letter shapes, and here Georgia also excels. At text sizes it is smooth, repetitive and rhythmic.

Georgia

Times

Academics

Academics

The University of Miami’s College of Arts and Sciences is the largest

The University of Miami’s College of Arts and Sciences is the largest

academic unit within the University of Miami, home to over 4,000

academic unit within the University of Miami, home to over 4,000

students and 400 distinguished full-time faculty, working at the cutting

students and 400 distinguished full-time faculty, working at the cutting

HGJHRINQRZOHGJHLQWKHLU¿HOGV/RFDWHGLQWKHEHDXWLIXOFLW\RI&RUDO

HGJHRINQRZOHGJHLQWKHLUÀHOGV/RFDWHGLQWKHEHDXWLIXOFLW\RI&RUDO

*DEOHV)ORULGDZHDUHDSUHPLHUFROOHJHZLWKLQD&DUQHJLH5HVHDUFK,

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SULYDWHXQLYHUVLW\

Students who enter the College of Arts and Sciences have the

Students who enter the College of Arts and Sciences have the

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major areas of study and more than 45 minor concentrations -- from

major areas of study and more than 45 minor concentrations -- from

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DFWLQJWRDQDO\WLFJHRPHWU\IURPSKLORVRSK\WRSK\VLFV

Georgia reads better online Unlike Times, which is a print typeface adapted for the screen, Georgia was designed specifically for onscreen use. As a result, its letter- and word spacing at low resolution is smooth, repetitive and rhythmic, while Times’ is often choppy and fitful, an effect not visible in print (above). Even in print, however, Times’ thinner stems and serifs yield an edgier, less coherent look.

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Article resources

Typefaces

1

Colors

1 Adobe Caslon Bold OsF (www.adobe.com)

3

R245 G245 B245

2 Georgia (www.fonts.com)

4

R215 G209 B202

5

R151 G83 B10

6

R118 G63 B6

7

R75 G55 B31

8

R75 G82 B26

8 9

R103 G107 B30

Design Jody Ferry (www.jodyferry.com) WebLinc, LLC (www.weblinc.com) 3 2

10 R140 G70 B6 0%

100%

4

HOME

ABOU T THE COLLEGE

ACADEMICS

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5

6

7

9 10

5

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

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Lessons from a

beautiful site The University of Miami College of Arts & Sciences shows that beauty really is in the details.

The best design is simple design: an idea, an image, a few words, open space. It’s clear, attractive, memorable. But real life is not often simple; it’s full of stuff. People, programs and commerce all need attention and screen space, and this can make for a busy, complex site. What we like about the University of Miami’s College of Arts & Sciences site is that it handles complexity beautifully. It does this in two ways: It reduces each element to its essence (the simple thing), then it beautifully crafts the details. A dozen visual techniques allow its many parts to coexist effortlessly. Let’s look at a few. Home page Two dozen elements and links easily coexist on this inviting, visually coherent page.

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Structure

The site is conveniently screen size, not too long, so most of it is always visible. It is organized in three horizontal sections; each holds a different kind of information—permanent stuff top and bottom, active stuff in the middle.

Color differentiates the sections A white “center stage” is flanked by a dark header and light footer. These contain the foundational elements—logo, links, search and so on. The white center is active, with transitory stories, news briefs, stuff like that. Left, a screen-size space like this conveys a tight, organized impression and is easier to read than a scrolling page. Tight editing is key.

All eyes here

Home page

Interior page

Header

Header

Main stage

Main stage

Footer Footer

Header

Two dark bands—one green, one tan—form a simple, substantial header that leads the site; logo and links are reversed in white. To soften the look, a faint gradient yields an understated illusion of radiant light.

Beautiful typography is the signature element of the site. Scholarly Caslon type in classic, old-style caps and small caps (big circle, below) conveys literacy and tradition; compact line spacing (small circle) keeps minor information from floating away. The two lines of small type are the same size but spaced differently; the more-important words are in panorama.

college of

ARTS & SCIENCES u n i v e r s i t y

o f

m i a m i

P-a-n-o-r-a-m-i-c letterspacing conveys elegance and stature. Note the tiny shadow. It’s unusual to see such a modern artifact juxtaposed with old type, but its understatement is classy and in this case adds valuable depth. Right, four permanent links on the far right are tinted to appear barely there, yet remain easily accessible.

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Main links

The highest-level links are in the tan header band. Typography, color and shadow are identical to the logo, which reinforces their connection and permanence.

Link type matches the logo. Left, tan band and green field are different colors but have virtually the same gray value (dark-light), which keeps the two connected while being different. Below, wide letterspacing is relaxed and less demanding than normal spacing and so conveys a sense of deliberation and stateliness. Onscreen, it’s easier to read, too.

ALUMNI HOME

Link

A LU M N I

A LU M N I

ABOU T THE COLLEGE

ACADEMICS

Active

Hover

ALUMNI

Three shades of tan define the link states normal, active and hover; this quietly but very clearly tells the reader where he is. Shades are progressively darker versions of one color—a monochromatic palette, right—that change the message without changing the subject. Nice.

Sub links

As the reader moves deeper into the site, subtle changes of type case and color are all it takes to signal the different levels. Style and size remain constant.

ACADEMICS Dean’s Message

Reverse the colors The beautifully uniform look of the site results from as few typographic differences as possible. Left, the sub links retain the type size and style of the main links but just change case and reverse color.

Dean’s Message Spotlights A Chemical Change Designs by Michiko Religious Perspectives Contacts A & S Magazine

75%

As the links descend, the type color changes to black, then to gray. Note one typeface in one size easily conveys four levels of information.

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Main stage

Between header and footer, a white “main stage” is the focal point of the site. On each page, one short, book-like article is set in widely spaced lines of serif type, which conveys an airy, literary look that’s very pleasant to read.

Same typestyle and size

Comfortable reading width Book-width columns of type—45 to 65 characters or so—are ideal for comfortable reading; the wide leading (spacing ) is visual silence between lines that relaxes the message. The longer your lines, the more space you should put between them.

A gradient as light as chiffon The left column is defined by an incredibly subtle gradient that fades from less than two percent color to white. What’s interesting is how slight the edge has to be, not merely to be visible but clearly present. Beautiful.

Footer

A correctly designed footer conveys real authority; it should be thought of not as the tail but the foundation that supports everything else. The footer holds permanent information—key links, contact information, logo.

A LU M N I

Same size, different color Identical typography—style, case, size and spacing—but reversed colors connect footer to header and unify the page. Hierarchy is important Above, left, a header and footer of equal weight result in an “Oreo cookie” that divides the reader’s attention and weakens the presentation. Instead, three-stage hierarchy gives each section appropriate weight. Keep in mind that the reader’s eye will always gravitate toward the center. Save it for your most important material, and put supporting material around it.

MY UM

Background colors extend outward.

0667 Lessons from a beautiful site

Small logo, big impression Lower-right corner is the natural exit point of a page and the correct place for a logo, which serves as a full stop and makes an impression much bigger than its small size. Efficient.

Live matter is aligned flush.

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Type

The html text of the entire site is set in Georgia, the best onscreen serif typeface universally available. Georgia has the look of book typography plus the medium physical traits that make it especially readable at low resolution . . .

EFG

Compared to Times, the universal default . . . Georgia is bigger The perceived size of a typeface is not its point size but its x-height, that is, the size of its lowercase characters; Georgia’s are 68% of the cap height, quite average. Times is too small for onscreen clarity.

Georgia has text figures Georgia’s oldstyle numerals, or text figures, have ascenders and descenders like lowercase letters. These are more distinctive and therefore easier to read than ordinary, “all-caps” numerals. Beautiful, too.

GeorgiaTimes

a a ee Open

Wider counters The open shapes inside the characters, called counters, are as important as the outside. Georgia has big, round counters that remain open at low res.

Bolder serifs Georgia’s serifs are bold and easy to see, and its curves are simple and open. Times’ thin, pointy serifs are handsome in print but weak onscreen, where too-few pixels are available to render them clearly.

Georgia

Type

Constricted

Times

Word- and letter spacing is as important as letter shapes, and here Georgia also excels. At text sizes it is smooth, repetitive and rhythmic.

Georgia

Times

Academics

Academics

The University of Miami’s College of Arts and Sciences is the largest

The University of Miami’s College of Arts and Sciences is the largest

academic unit within the University of Miami, home to over 4,000

academic unit within the University of Miami, home to over 4,000

students and 400 distinguished full-time faculty, working at the cutting

students and 400 distinguished full-time faculty, working at the cutting

HGJHRINQRZOHGJHLQWKHLU¿HOGV/RFDWHGLQWKHEHDXWLIXOFLW\RI&RUDO

HGJHRINQRZOHGJHLQWKHLUÀHOGV/RFDWHGLQWKHEHDXWLIXOFLW\RI&RUDO

*DEOHV)ORULGDZHDUHDSUHPLHUFROOHJHZLWKLQD&DUQHJLH5HVHDUFK,

*DEOHV)ORULGDZHDUHDSUHPLHUFROOHJHZLWKLQD&DUQHJLH5HVHDUFK,

SULYDWHXQLYHUVLW\

SULYDWHXQLYHUVLW\

Students who enter the College of Arts and Sciences have the

Students who enter the College of Arts and Sciences have the

RSSRUWXQLW\WRH[SHULHQFHWKHEUHDGWKDQGGHSWKRIWKHLQWHOOHFWXDOOLIH

RSSRUWXQLW\WRH[SHULHQFHWKHEUHDGWKDQGGHSWKRIWKHLQWHOOHFWXDOOLIHRI

RIWKH8QLYHUVLW\RI0LDPL7KH&ROOHJHRI$UWVDQG6FLHQFHVRIIHUV

WKH8QLYHUVLW\RI0LDPL7KH&ROOHJHRI$UWVDQG6FLHQFHVRIIHUV

major areas of study and more than 45 minor concentrations -- from

major areas of study and more than 45 minor concentrations -- from

DFWLQJWRDQDO\WLFJHRPHWU\IURPSKLORVRSK\WRSK\VLFV

DFWLQJWRDQDO\WLFJHRPHWU\IURPSKLORVRSK\WRSK\VLFV

Georgia reads better online Unlike Times, which is a print typeface adapted for the screen, Georgia was designed specifically for onscreen use. As a result, its letter- and word spacing at low resolution is smooth, repetitive and rhythmic, while Times’ is often choppy and fitful, an effect not visible in print (above). Even in print, however, Times’ thinner stems and serifs yield an edgier, less coherent look.

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Article resources

Typefaces

1

Colors

1 Adobe Caslon Bold OsF (www.adobe.com)

3

R245 G245 B245

2 Georgia (www.fonts.com)

4

R215 G209 B202

5

R151 G83 B10

6

R118 G63 B6

7

R75 G55 B31

8

R75 G82 B26

8 9

R103 G107 B30

Design Jody Ferry (www.jodyferry.com) WebLinc, LLC (www.weblinc.com) 3 2

10 R140 G70 B6 0%

100%

4

HOME

ABOU T THE COLLEGE

ACADEMICS

8

5

6

7

9 10

5

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Photographs give your audience an emotional connection to your words. Continued 0

Continued 0

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Picture your presentation Better than charts and bullet points, photographs will give your audience an emotional connection to your words. Here’s how.

We love data! Fifty-two base hits, 23 abandoned children, Class 3 hurricane. We track data, we analyze it, we graph it—and we cheerfully present it to snoozing audiences everywhere. What’s funny is that data alone has no value. Only in the context of real life does it have meaning. And real life is conveyed best not with data but with story. So put away your text and graphs. To tell a story, you need the help of photos. Photos communicate on many channels. They wordlessly draw the audience into your world, make emotional connections, and prepare your listeners for what you have to say. Let’s see how.

The Sanctus Shelter

It’s easy to find generically happy images, but the unseen sadness that everyone bears will rattle your audience’s soul. When pitching a program like the proposed shelter above, think first not in terms of dollars or “social units” or other statistical data but about who you’re helping and why, then find an image to express it.

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You are the show

The first thing to understand is that you are the show; your audience has come to hear you, not read slides. Use a slide to fill your listeners’ minds with an image, then fill in the details orally. It’s fun!

Before By Carla Martin, Slide 10

THOMPSON GROUP, INC

Trax, Inc. acquisition by Thompson Group

We’re off to a pretty hot start this year. We acquired Trax in January for $6.4 million, and it immediately improved both companies. The creative staffs . . .

After

Trax at a glance: PLOOLRQDQQXDOUHYHQXH 2SHUDWLRQVLQWKUHHFRXQWULHV QRQUHGXQGDQWFOLHQWV 0DWXUHFRUSRUDWHVWUXFWXUH

Too much stuff (Above) This slide is basically your notes and visually useless. The information is fine, but it should come from you (right), where it can be accompanied by your personality, body language and nuance. The correct use of a slide is to make a visual statement that words alone can’t.

We acquire Trax in 2008 Use a metaphorical image Many topics—federal insurance regulations, say—don’t have literal imagery that can be photographed. In these cases, you might try using visual metaphors. Think of your talk as having chapters, and use an image to introduce each one. The image provides a visual “hook” for the audience, who will relate everything you say back to it. Avoid corny images. Keep text to a bare minimum, and use natural sentences.

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One thought at a time

Make one point per slide, even if you have room for more. This gives the viewer room to think and “own” what you’re saying, key to good communication.

Before

After

Traffic Management Systems Transportation

Passengers per week

Airplanes

589,000

Trains

377,800

Buses

320,900

Taxis

218,600

589,000 PASSENGERS PER WEEK

Planes, trains, buses, taxis, 589,000; 377,800; 320,900; 218,600—quick! got all that? It’s useful information, but who will be moved by it, much less remember it? Put the data on four slides, one topic per slide, each accompanied by a descriptive, full-screen photo. This gives your viewer room to think and own what you’re saying.

218,600 PASSENGERS PER WEEK

377,800 PASSENGERS PER WEEK

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Use surprise

Our minds naturally categorize experiences into manageable, “been-there, seenthat” compartments, after which we virtually stop seeing. (“Oh, that’s an apple.”) Surprise gets past those categories and re-engages the viewer.

Before

After

Meaningful Difference

What makes you different?

The strongest, most well-positioned brands have a distinct Meaningful Difference that is clearly communicated to the consumer in many different ways: - Maytag: - Michelin: - Disney: - Nordstrom’s: - Jack Daniel’s:

Dependability Safety Wholesome family entertainment Better shopping experience Badge of American masculinity

Not engaging The companies may be different, but this slide is only a fancy list of notes. Visual effects cannot substitute for creativity; the multicolor rectangles and shadowed type add only busy-ness, not communication value. Time to start thinking about that nap.

Engaging Orange inside the apple is surprising and familiar at the same time. The simple question—not a statement—gets the audience thinking and ready for what you’ll say next. Familiarity is important; merely weird or off the wall doesn’t work. Surprise is in giving the familiar an unexpected twist.

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Be funny

Everyone likes to laugh. Few techniques are more effective—or more enjoyable— than good humor, which can make your point faster than a mountain of data.

Before

After

June Inventory

JUNE INVENTORY Jan

Feb

Mar

Apr

May

Jun

-98 -150

-150 -173

-180

-270

A good slide Although it has no photo, this is a good slide because the chart is simple and clearly shows a trend. But oy vey! It’s been a terrible year! It started bad and got worse, and, well, it’s now so bad that the only thing to do is laugh . . .

Prepare for the unexpected. Made better . . . which is what a carefully selected image will have your audience doing. They’ll remember this picture long after they’ve forgotten your charts, and because it’s funny, you’ll have their sympathy if not their help in solving your problems.

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Find beauty

Beauty can convey our deepest aspirations. All by itself, a beautiful image can lift the audience out of the daily humdrum and into worlds rich with wonder, inspiration, possibilities. No matter what your topic, look for ways to use beauty.

Before

After

Anji is China’s Largest Bamboo Growing Garden The number of bamboo species in Anji Bamboo Growing Garden has reached 288, signifying that Anji has become China’s largest bamboo growing garden in terms of the growing area and the number of bamboo species. (www.cnzj.org.cn)

Trying too hard It’s an artistic image on an asymmetric, twotone background, but it would make a better page layout than a slide. Before doing all this work, remember: story, not data. Rather than talk about your topic, find a way to show it.

288 SPECIES BAMBOO GARDEN ANJI, CHINA

Beautiful The photo alone conveys a world of sensory information, and it’s easier to design, too! The lush image immerses your audience in the presence and feel of the forest (“So this is bamboo!”). A single line of beautiful type labels simply.

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Dramatize

Drama is theater. It’s an image intended to create an effect—exciting, unexpected, impressive. To dramatize is to project —make the motions grander, the contrasts sharper, the differences greater.

Before

After

Seven Presentation Essentials By Mark Donaldson

Essential #3:

Know your goal 04/16/08

THREE

Know your goal PAGE 1

Gratuitous graphics The problem with a stock template should be obvious here. The globe and sky gradient may look nice—by themselves—but on your slide they’re like stagehands who wandered in front of the cameras; they distract everyone’s attention. Lost in the graphics, your point is barely visible.

Dramatize Put the “know-your-goal” point center stage. Impossible with a template but easy with a photograph, note what’s here: high vantage point, dark darks, light lights, every line pulling the same direction—camera angle, shadow, lighting. This is theater— a little bigger than life, slightly unrealistic, effective. Try it!

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Show faces

More can be read in a human face than in a thousand books. It is the most familiar of all images and central to all powerful stories. There is simply no substitute. Look for faces that convey emotion—joy, sorrow, tension, suspense and so on.

Before

After

SPCA PET ADOPTION PROGRAM

1,220 contented customers.

1,220 dogs adopted in 2007.

Just the facts. It’s a cute cartoon, and the data’s there, but the graphics add nothing to the statement; you’d be better just telling your audience how many dogs were adopted. Conflicting graphical styles—dark, sophisticated gradient vs. bright, goofy cartoon—weaken it further.

Faces tell a story. There’s less actual data here—SPCA is not mentioned—but much more story; everyone in the audience will relate to this image! Instead of merely duplicating your words, this slide strengthens your talk with its emotional content; the audience will now feel what you’re saying.

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Search using iStockphoto’s CopySpace

How does one find good photos? The artistic part is up to you, but iStockphoto’s Search with CopySpace function can help with composition. Enter a keyword, specify what part of the photo you want left blank for words, and click . . .

Search with CopySpace™ Sensitivity

Clear

Advanced Search Need help?

Green is blank In iStockphoto (you’ll need an account; it’s free), call up Advanced Search, then in Search with CopySpace click grid squares to specify areas of the photo to remain blank; clicked squares turn green. Enter a keyword (near upper left in the window) —try “face”— and watch what happens (right). It’s cool.

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Article resources

Typefaces 1

Four more shops

The Sanctus Shelter

2

6 7 16

Colors

1 Franklin Gothic No. 2 Roman (adobe.com/type)

16 C0 M0 Y0 K100

2 Trajan Pro Regular (adobe.com/type)

17 C0 M0 Y0 K80

3 (a–b) Trade Gothic Light (adobe.com/type) 4 Trade Gothic Condensed No. 18 (adobe.com/type) 5 ITC Franklin Gothic Medium (adobe.com/type)

589,000

4

PASSENGERS PER WEEK

8

17

16 3a

3b

9

We acquire Trax in 2008

7 (855854) 8 (4289321)

12

What makes you different?

16 10

Images: iStockphoto 6 (5012748)

11 5

Images

14 13

15

9 (3302463) 10 (3694952) 11 (3435466) 12 (4718833) 13 (5400589) 14 (4016944) 15 (5348420)

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Article resources

Typefaces

Colors

1 Myriad Pro Semibold (adobe.com/type)

June Inventory

1

19 C0 M15 Y100 K0

2 Trajan Pro Bold (adobe.com/type) 3 Futura Extra Bold (adobe.com/type)

6

288 SPECIES BAMBOO GARDEN ANJI, CHINA

7

4 Minion Bold (adobe.com/type)

2

5 Myriad Pro Bold (adobe.com/type)

19

Images Images: iStockphoto

1,220 contented customers.

5 9

8

6 (4639111) 7 (4747897) 8 (4003080)

3

9 (3312023) THREE

10 (403471)

Know your goal

4

11 (5234339) 12 (3748632) 13 (3929084) 14 (4678919)

10

11

12

13

14

15

15 (3826016) 16 (3859721) 17 (3083861)

16

17

18

18 (3089010)

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–13)

For paper-saver format Print: (Specify pages 15–21)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

_ Back

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Four more shops

Picture your

presentation

Photographs give your audience an emotional connection to your words.

We love data! Fifty-two base hits, 23 abandoned children, Class 3 hurricane. We track data, we analyze it, we graph it—and we cheerfully present it to snoozing audiences everywhere. What’s funny is that data alone has no value. Only in the context of real life does it have meaning. And real life is conveyed best not with data but with story. So put away your text and graphs. To tell a story, you need the help of photos. Photos communicate on many channels. They wordlessly draw the audience into your world, make emotional connections, and prepare your listeners for what you have to say. Let’s see how.

0668 Picture your presentation

The Sanctus Shelter

It’s easy to find generically happy images, but the unseen sadness that everyone bears will rattle your audience’s soul. When pitching a program like the proposed shelter above, think first not in terms of dollars or “social units” or other statistical data but about who you’re helping and why, then find an image to express it.

Before&After | www.bamagazine.com

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Picture your presentation

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You are the show

The first thing to understand is that you are the show; your audience has come to hear you, not read slides. Use a slide to fill your listeners’ minds with an image, then fill in the details orally. It’s fun!

We’re off to a pretty hot start this year. We acquired Trax in January for $6.4 million, and it immediately improved both companies. The creative staffs . . .

Before By Carla Martin, Slide 10

THOMPSON GROUP, INC

Trax, Inc. acquisition by Thompson Group

After

Trax at a glance: PLOOLRQDQQXDOUHYHQXH 2SHUDWLRQVLQWKUHHFRXQWULHV QRQUHGXQGDQWFOLHQWV 0DWXUHFRUSRUDWHVWUXFWXUH

We acquire Trax in 2008

Too much stuff (Above) This slide is basically your notes and visually useless. The information is fine, but it should come from you (right), where it can be accompanied by your personality, body language and nuance. The correct use of a slide is to make a visual statement that words alone can’t.

Use a metaphorical image Many topics—federal insurance regulations, say—don’t have literal imagery that can be photographed. In these cases, you might try using visual metaphors. Think of your talk as having chapters, and use an image to introduce each one. The image provides a visual “hook” for the audience, who will relate everything you say back to it. Avoid corny images. Keep text to a bare minimum, and use natural sentences.

One thought at a time

Make one point per slide, even if you have room for more. This gives the viewer room to think and “own” what you’re saying, key to good communication.

Before

After

589,000

Traffic Management Systems Transportation

Passengers per week

Airplanes

589,000

Trains

377,800

Buses

320,900

Taxis

218,600

PASSENGERS PER WEEK

Planes, trains, buses, taxis, 589,000; 377,800; 320,900; 218,600—quick! got all that? It’s useful information, but who will be moved by it, much less remember it? Put the data on four slides, one topic per slide, each accompanied by a descriptive, full-screen photo. This gives your viewer room to think and own what you’re saying.

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218,600 PASSENGERS PER WEEK

377,800 PASSENGERS PER WEEK

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Use surprise

Our minds naturally categorize experiences into manageable, “been-there, seenthat” compartments, after which we virtually stop seeing. (“Oh, that’s an apple.”) Surprise gets past those categories and re-engages the viewer.

Before

After

What makes you different?

Meaningful Difference The strongest, most well-positioned brands have a distinct Meaningful Difference that is clearly communicated to the consumer in many different ways: - Maytag: - Michelin: - Disney: - Nordstrom’s: - Jack Daniel’s:

Dependability Safety Wholesome family entertainment Better shopping experience Badge of American masculinity

Not engaging The companies may be different, but this slide is only a fancy list of notes. Visual effects cannot substitute for creativity; the multicolor rectangles and shadowed type add only busy-ness, not communication value. Time to start thinking about that nap.

Engaging Orange inside the apple is surprising and familiar at the same time. The simple question—not a statement—gets the audience thinking and ready for what you’ll say next. Familiarity is important; merely weird or off the wall doesn’t work. Surprise is in giving the familiar an unexpected twist.

Be funny

Everyone likes to laugh. Few techniques are more effective—or more enjoyable— than good humor, which can make your point faster than a mountain of data.

Before

After

June Inventory

JUNE INVENTORY Jan

Feb

Mar

Apr

May

Jun

-98 -150

-150 -173

-180

-270

A good slide Although it has no photo, this is a good slide because the chart is simple and clearly shows a trend. But oy vey! It’s been a terrible year! It started bad and got worse, and, well, it’s now so bad that the only thing to do is laugh . . .

0668 Picture your presentation

Prepare for the unexpected. Made better . . . which is what a carefully selected image will have your audience doing. They’ll remember this picture long after they’ve forgotten your charts, and because it’s funny, you’ll have their sympathy if not their help in solving your problems.

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Find beauty

Beauty can convey our deepest aspirations. All by itself, a beautiful image can lift the audience out of the daily humdrum and into worlds rich with wonder, inspiration, possibilities. No matter what your topic, look for ways to use beauty.

Before

After

Anji is China’s Largest Bamboo Growing Garden 7KHQXPEHURIEDPERRVSHFLHVLQ$QML %DPERR*URZLQJ*DUGHQKDVUHDFKHG VLJQLI\LQJWKDW$QMLKDVEHFRPH &KLQD¶VODUJHVWEDPERRJURZLQJJDUGHQ LQWHUPVRIWKHJURZLQJDUHDDQGWKH QXPEHURIEDPERRVSHFLHV

288 SPECIES BAMBOO GARDEN ANJI, CHINA

ZZZFQ]MRUJFQ

Trying too hard It’s an artistic image on an asymmetric, twotone background, but it would make a better page layout than a slide. Before doing all this work, remember: story, not data. Rather than talk about your topic, find a way to show it.

Beautiful The photo alone conveys a world of sensory information, and it’s easier to design, too! The lush image immerses your audience in the presence and feel of the forest (“So this is bamboo!”). A single line of beautiful type labels simply.

Dramatize

Drama is theater. It’s an image intended to create an effect—exciting, unexpected, impressive. To dramatize is to project — make the motions grander, the contrasts sharper, the differences greater.

Before

After

Seven Presentation Essentials By Mark Donaldson

Essential #3:

Know your goal 04/16/08

THREE

Know your goal PAGE 1

Gratuitous graphics The problem with a stock template should be obvious here. The globe and sky gradient may look nice—by themselves—but on your slide they’re like stagehands who wandered in front of the cameras; they distract everyone’s attention. Lost in the graphics, your point is barely visible.

0668 Picture your presentation

Dramatize Put the “know-your-goal” point center stage. Impossible with a template but easy with a photograph, note what’s here: high vantage point, dark darks, light lights, every line pulling the same direction—camera angle, shadow, lighting. This is theater— a little bigger than life, slightly unrealistic, effective. Try it!

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Show faces

More can be read in a human face than in a thousand books. It is the most familiar of all images and central to all powerful stories. There is simply no substitute. Look for faces that convey emotion—joy, sorrow, tension, suspense and so on.

Before

After

SPCA PET ADOPTION PROGRAM

1,220 contented customers.

1,220 dogs adopted in 2007.

Just the facts. It’s a cute cartoon, and the data’s there, but the graphics add nothing to the statement; you’d be better just telling your audience how many dogs were adopted. Conflicting graphical styles—dark, sophisticated gradient vs. bright, goofy cartoon—weaken it further.

Faces tell a story. There’s less actual data here—SPCA is not mentioned—but much more story; everyone in the audience will relate to this image! Instead of merely duplicating your words, this slide strengthens your talk with its emotional content; the audience will now feel what you’re saying.

Search using iStockphoto’s CopySpace

How does one find good photos? The artistic part is up to you, but iStockphoto’s Search with CopySpace function can help with composition. Enter a keyword, specify what part of the photo you want left blank for words, and click . . .

Search with CopySpace™ Sensitivity

Clear

Advanced Search Need help?

Green is blank In iStockphoto (you’ll need an account; it’s free), call up Advanced Search, then in Search with CopySpace click grid squares to specify areas of the photo to remain blank; clicked squares turn green. Enter a keyword (near upper left in the window) —try “face”— and watch what happens (right). It’s cool.

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Article resources

Typefaces 1

Four more shops

The Sanctus Shelter

2

Colors

1 Franklin Gothic No. 2 Roman (adobe.com/type)

16 C0 M0 Y0 K100

2 Trajan Pro Regular (adobe.com/type)

17 C0 M0 Y0 K80

3 (a–b) Trade Gothic Light (adobe.com/type)

6 7

4 Trade Gothic Condensed No. 18 (adobe.com/type)

16

5 ITC Franklin Gothic Medium (adobe.com/type) 3b

589,000

4

PASSENGERS PER WEEK

8

17

16 3a

5

Images Images: iStockphoto 6 (5012748)

We acquire Trax in 2008

9

7 (855854)

11

9 (3302463)

8 (4289321)

12

What makes you different?

16

14 13

10

15

10 (3694952) 11 (3435466) 12 (4718833) 13 (5400589) 14 (4016944) 15 (5348420)

Article resources

Typefaces 1 Myriad Pro Semibold (adobe.com/type)

June Inventory

1

Colors 19 C0 M15 Y100 K0

2 Trajan Pro Bold (adobe.com/type) 3 Futura Extra Bold (adobe.com/type)

6

288 SPECIES BAMBOO GARDEN ANJI, CHINA

7

4 Minion Bold (adobe.com/type)

2

5 Myriad Pro Bold (adobe.com/type)

19

Images Images: iStockphoto

1,220 contented customers.

5 9

8

6 (4639111) 7 (4747897) 8 (4003080)

3

9 (3312023) THREE

10 (403471)

Know your goal

4

11 (5234339) 12 (3748632) 13 (3929084) 14 (4678919)

10

11

12

13

14

15

15 (3826016) 16 (3859721) 17 (3083861)

16

0668 Picture your presentation

17

18

18 (3089010)

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

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Callout ideas

Quotes pulled from the text are fundamental storytelling tools. Continued 0

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Callout ideas Pull your reader into a story by using these eye-catching techniques

Kicker Byline

Deckhead and text typeface are the same.

Every reader of magazines and newspapers is familiar with callouts. Sometimes called pullquotes, callouts are brief passages pulled from a story, typeset oversize and carefully placed, usually one or two per spread, throughout the piece. Callouts serve many purposes. The most basic simply fill space or break up large, unappealing expanses of gray type. But the best callouts are active. They draw readers who would otherwise pass by, summarize articles, establish themes, set waypoints, reveal meaning and even tell sub-stories. Good callouts are essential storytelling elements of articles in print. They’re fun to design, too. Let’s have a look.

Headline Deckhead

Callout

Time magazine page illustrates the function of an active callout. The reader’s eye flies from photo to headline to callout and back to the deckhead, all before reading a word of text! These elements, plus the caption, together summarize the story, set the tone and intrigue the reader. Single bold typeface is the visual connector. Caption

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The basic callout

Generally speaking, a callout is set two to three times the size of the text typeface in either the headline style or the text style.

SHEDDING POUNDS NATURALLY by AMY S. HAYWARD, R.Ph., CDE, CPT

If you think going super low-cal is a good idea, think again. Spaff forl isn’t then cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” Why? Elesara and order is fay of alm. A card is whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that’s can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating is bend mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or

“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.” 58

DIET & FITNESS

|

SPRING 2008

SPRING 2008

|

DIET & FITNESS

59

“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.”

Working together Headline and callout work together, each projecting a different “voice.” What’s interesting is that the voice will change depending on where the callout appears and the style in which it is set. Most commonly, you’ll set callouts in either the headline or text typeface (but not both). Note here that the headline color comes from the photo.

Headline typeface or . . . Text typeface

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Callout as story center

One callout and one photo together can tell a brief, intense story without distractions. Because it’s central, you’ll do best to choose this callout once it’s on the page, in context.

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Two techniques Her dramatically lit face and back turned to the page convey aloneness, emptiness, loss. Photo colors are carried into the callout in alternating lines, which makes no verbal sense but adds visual disturbance to the emotional topic. (Below) Centered in the sea of gray text, the callout is also “alone.” Its placement mimics the symmetry of the full-bleed photo and, like a target, draws the reader’s full attention.

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Callout as theme-setter

Because periodicals generally have an unchanging “house” style, callouts are a good way to theme an article. Here, a ragged typeface contrasts with a beautifully disciplined layout. Establish a look, then sustain it throughout the article. Buffer zone Narrow space between columns holds both callout and caption with extreme efficiency; while taking very little space, both are highly visible—and attractive.

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

Below Simple glead and tarm. Texture and flasp net exating end of it snooling. Pretty it’s and tarm net exating end mist flasp. Right Exating end mist of it snooling spaff forl isn’t cubular but quastic gleaad and tarm.

fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

Callout within a callout Tall, condensed typeface snuggles into the narrow space and makes a long callout possible. Dense line spacing conveys urgency. Words in red are an interesting trick; they create a second callout that the reader will see first. 48

May 2008

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Callout ideas

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Callout ideas

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A callout always works in context with other elements . . .

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, fluant chasible. Silk, shast, lape and behast the thin chack. especially ifElesara it’s and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp words to thebeing songplayedornetwell. exating end mist of it snooling. Texture and flasp net

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast the Elesara quastic, leam is you thereubular thint but chack. that can’t prebast. and orderthen is fayrestart the alm. A card tope, there’s there fluant whint notIt’s oogum bont. chasible. Silk,simple, shast, its lapeand and behast Pretty these glead thintcubular chack. Elesara tarm. Texture and flasp net exating. you Spaffthere forl isn’t and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape Below Simple glead and and tarm. behast the thin chack. Elesara and order is fay of alm. Texture and flasp netAexating card too whint not oogum bont. Pretty simple, glead and end of it snooling. Pretty it’s and tarm. Texture and flasp net exating end mist of it snooling tarm net exating end mist flasp. Right Exating end mist of “It it has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. snooling spaff forl isn’t cubular but quastic gleaad and tarm. simple, glead and tarm and flasp net exating end. Pretty Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It to hassay larch say fan.” and tarm pretty simple. “It has larch fan.”toglead andglead tarm pretty simple.

I get swept up in the emotion, being played well.

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

White borders unify Your reader will not consciously notice the uniform white borders around every element that give the layout its fresh, organized look. Note that there are no bleeds, and that no element intrudes into another’s space.

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

Below Simple glead and tarm. Texture and flasp net exating end of it snooling. Pretty it’s and tarm net exating end mist flasp. Right Exating end mist of it snooling spaff forl isn’t cubular but quastic gleaad and tarm.

i 3 6

Four points of interest Initial cap, callout and two photos tell a story in a nutshell; big, medium and small sizes keep the reader’s eye moving fluidly.

fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

48

May 2008

May 2008

49

Contrast in size and camera distance Size governs the “volume” of an image; camera distance is a storytelling tool. Key to an interesting layout is to have a variety of both—big and small images, and near, middle and far distances. Here, distant and close-up views make a rich, engaging mix.

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Callout ideas

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Callout ideas

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Callout as photo story

Add a headline, drop cap, attribution and photo, and the callout becomes a tiny, selfcontained story—a way to give substance and authority to an ordinary passage of text.

The trouble with Bessie

C

ows do not add to the amounts of carbon dioxide in the atmosphere.They do not run aground and spill crude oil. But they do ruminate—which is to say that they give off methane when they chew their cud and belch, and nitrous oxide and ammonia when they leave manure all over the barnyard. So that pungent odor you smell on a farm? It’s bad for the global environment. —ABC News

Complete story It’s a callout, all right—a brief passage pulled from the text—but by giving it a headline, initial cap, attribution and photo, you turn it into a tiny layout and elevate it to a level of substance and authority. Compose accordingly. Use its brevity; the callout can summarize, entertain, intrigue. A series of these can carry a reader happily through an entire article. Drop-cap color matches the barn for visual continuity Translucent white background Cow-nose-in-the-lens is funny, even at a small size. Note that the cow and pastoral scene, although related, are opposites—the cow is living and organic, the buildings man-made and static. The cow is near, the buildings far. Such contrasts create visual liveliness and interest.

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Callout ideas

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Callout as quotation

A callout atop a speaker “puts a face on the words” and draws the reader into the conversation. The more intense the quote, the more direct the engagement.

ERQW LWV DQG ÀDVS QHW H[DWLQJ WR LW VQRROLQJ VSDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW LW¶V WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGÀDVSZKLQWQRWRRJXPLW¶VRUERQW 3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJHQGRILWVQRROLQJ/HDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVW ODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"$FDUGDQG ÀDVSZKLQWQRWRRJXPRUERQW3UHWW\VLPSOH

Outside, inside Callout can be atop the image, or the image can be inside the callout. Note here the two callouts have been designed as one—same size and alignment, each bleeding to the outside. Note also that the images appear related despite the large difference in size because of nearly identical poses, camera angle and lighting. Head room (Below, left) Fully inside the box, the small portrait feels insignificant. Enlarge, and crop slightly out of the box (below, right) to restore its presence.

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16 February 23, 2008 UCB CAMPUS LIFE

Too small

Just right

UCB CAMPUS LIFE

February 23, 2008

17

Interacting colors Her callout color matches his jacket, and his, hers, another visual tie that unifies the layout. Text in both cases is white.

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Callout ideas

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Before&After

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Callout ideas

BAmagazine.com

9 of 17

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Callout as design element

Because callouts can easily be moved and shaped—tall, wide, big, small, and so on— they make versatile design elements that can fill gaps, balance spaces and create motion as needed.

No images necessary Type and layout alone create this handsome, hard-edged design, which the super-sharp typeface (Didot) amplifies. Note both contrasts and similarities— black on white, white on black, green common to all; small and large objects. Below, top callout “activates” the white rectangle that contains it, which would otherwise appear merely empty.

“Without a good business plan, you might as well drive blindfolded.”

SMALL BUSINESS SUCCESS

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BY PHILLIP BAUERS

“Without a good business plan, you might as well drive blindfolded.”

SMALL BUSINESS SUCCESS

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BY PHILLIP BAUERS

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HQGPLVWWKHLWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODU EXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WKHUH¶V VD\ IDQ´ :K\" (OHVDUD DQG LWV RUGHU LV ID\ RI DOP $FDUGZKLQWQRWRRJXPRUERQW3UHWW\IRUO WKHUH¶VVLPSOHJOHDGVDQGWDUP(QGPLVWHURILW VQRROLQJ6SDIIIRUOLVQ¶WWKHUHFXEXODUEXWTXDVWLF OHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKHUH¶V this ÀXDQWFKDVLEOH6LONVKDVWODSHLWDQGEHKDVW WKHWKLQVFKDFN³,WKDVODUFKWRVD\IDQ´:K\" (OHVDUDDQGRUGHUVLVID\RIDOP$LWVFDUGZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDGV DQG WDUP7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILW VQRROLQJ7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W OHDP UHVWDUW WKDW FDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LON VKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFK VLPSOH WKLV WR VD\ IDQ´ :K\" $ FDUG DQG ÀDVS ZKLQWQRWRRJXPWKHQLWVRUERQW3UHWW\VLPSOH $FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJ HQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXW TXDVWLFOHDPÀDVSUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V WRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7RLWWKHVQRROLQJVSDIIIRUOLVQ¶WFXEXODUEXW TXDVWLF OHDP UHVWDUW LW¶V WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP $ FDUG ÀDVSZKLQWQRWRRJXPLW¶VRUERQW3UHWW\VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGRILWVQRROLQJDQGEHKDVWWKHVLPSOHWKLQ /HDP UHVWDUW VLPSOH WKHUH¶V WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ FDUGV DQG LWV ZKLQW

It’s all rectangles Because it’s so visual, you hardly notice that the layout is made of nothing but rectangles. Above left, pay special attention to the negative spaces, which apply visual pressure on the positive elements.

QRW UHVWDUWV WKH WKHUH¶V LWV ERRJXP EDRU ÀDVS VLPSOH IRUO KDVW WKHQ ERQW 3UHWW\ WKHUH VLPSOH $FDUGZKLQWQRWRRJXPLWWRUERQW3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG PLVW RI LWV VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXWH TXDVWLF OHDPV ÀDVS UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW LWV FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WRWH VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RIWH DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG LW WDUP 7H[WXUH and ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀuant chaVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN ³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶W SUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVW

HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP ÀDVS UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WRR LW VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\ VLPSOHJOHDGVWRDQGWDUP7RLWVQRROLQJVSDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW LW¶V WKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LVID\RIDOP$FDUGÀDVSZKLQWQRWRRJXPLW¶V RU ERQW 3UHWW\ LV VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG RI LW VQRROLQJ 'HORUHOHDPUHVWDUWWKDWFDQ¶WSUHEDVW ,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ WKHUH FDUG DQG ÀDVS ZKLQW QRW RRJXP RUERQWWRSHWKLVÀXDQWFKDVLEOH3UHWW\VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXW TXDVWLFLWOHDP ÀDVSWKHUHVWDUW WKDW¶VFDQ¶WSUHEDVWHU,W¶VWRSH this Àuant chaVLEOH6LONVKDVW ODSHDQGEHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[ture and ÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV Àuant FKDVLEOH6LONVKDVWLVODSHDQGEHKDVWWKHWKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP

“It’s important to manage your cashflow and expenses.” ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWWH[WXUHDQGWKHUHSUHWW\ÀDVS 6SDII IRUO LVQ¶W JOHDP UHVWDUWV WKDW¶V FDQ¶W SUHEDVW ,W¶V WRSH VLPSOH LW¶V WKLV Àuant chasiEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ FDUG DQG ÀDVS ZKLQWQRWRRJXPVLPSOHRUERQW3UHWW\ VLPSOH $FDUGZKLQWQRWRRJXPRUERQWSUHRSOH *OHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ

UHVWDUWWKDWFDQ¶WSUHEDVW,W¶VLVWRSHWKLVÀuant FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN³,WKDVODUFKWRWKHUHVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP$LVFDUGZKLQWQRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG PLVWRIWHQELWVQRROLQJ6SDIIIRUOLVQ¶WWRROHDP UHVWDUWVWKDWHFDQ¶W6LONVKDVWODSHDQGEHKDVWH WKHVLPSOHWKLQFKDFN³,WKDVODUFKLWVLPSOHWR VD\IDQ´:K\"$FDUGDQGÀDVSZKLQWQRWRRJXP WKH RU ERQW 3UHWW\ WKHUH¶V LV QR VLPSOH $ FDUG ZKLQWQRWSUHWW\VLPSOHWRLWVRRJXPRUERQWHQ 3UHWW\ VLPSOH JOHDGHU EDQG WDUP 7H[WXUH DQG ÀDVSLQHWH[DWLQJHQGPLVWZKRLWVQRROLQJ6SDII IRUOLVQ¶WFXEXODUWKHUHEXWTXDVWLFOHDPWKHÀDVS UHVWDUWWKHQLW¶VSUHEDVW,W¶VWRSHWKHLWVQRWKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUDDQGRUGHUVLVID\RIDOP$FDUGVZKLQWQRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7RLWVQRROLQJVSDIIIRUOLVQ¶WFXEXODUEXWTXDVWLF OHDPUHVWDUWLW¶VWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGÀDVSZKLQW QRWRRJXPLW¶VRUERQW3UHWW\VLPSOHJOHDGDQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG RI LW VQRROLQJOHDPUHVWDUWLW¶VWKDWFDQ¶WSUHEDVW /HDP UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH this ÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVW WKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"$ FDUGDQGÀDVSZKLQWQRWRRJXPRUERQW3UHWW\ VLPSOH$WKLVLVFDUGZKLQWQRWRRJXPRUERQW 3UHWW\ VLPSOH JOHDG QRW DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP ÀDVS UHVWDUW WKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD LV DQG RU-

Alignment

Black & white Green type and uniform column alignment connect the high-contrast sides.

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Callout ideas

0669

Before&After

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Callout ideas

BAmagazine.com

10 of 17

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Callouts as sub-story

Similar to a sidebar, callouts can combine to tell a sub-story. Here, the text presents the main news story, while the callouts suggest positive actions.

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

Going Greener

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison 32

Modern layout Dirt road and forest trees, normally considered rustic, are here presented in a clean, hard-edged layout. (Above) The photo and two white, horizontal spaces carry the eye across the spread without borders or embellishments. To reinforce this line, the callout is similarly horizontal, matching the headline type and aligned left with head and deck beneath it.

Going Greener

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison

Card Whint Fluant To it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast.

estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum then bont. Pretty simple, glead and tarm. Texture and flasp net exating end

mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t

cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say there is fan.” Why? A card and flasp whint not oogum there or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.

32 THE GREEN MAGAZINE May 28, 2008

May 28, 2008

THE GREEN MAGAZINE

33

Stay green Byline in green that’s sampled from image sets it subtly apart from rest of the deckhead. Green drop cap matches the headline face.

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Callout ideas

0669

Before&After

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Callout ideas

BAmagazine.com

11 of 17

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Callouts keep a second story line running beside the first. Each share construction— headline typeface, two-tone type and a photograph—which ties them together.

“Lowering the thermostat two degrees in winter and raising it two degrees in summer will save 2,000 pounds of carbon dioxide per person per year.” Card whint fluant elesara pretty simple quastic To it snooling spaff forl isn’t cubular but quastic, then leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum pretty simple larch to say fan.

Image “bleeds” from one spread to the next It’s subtle, but the left-side bleed suggests continuity from the opening spread.

“Planting trees in your neighborhood really is one of the best things you can do for the local environment and for the planet.”

Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Leam restart that can’t prebast bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch too say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating bend mist of it snooling. Spaff forl isn’t leam restarts that can’t prebast. It’s toper, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple there too say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order its fay of alm. A cards whint not oogum or bont. Pretty simple, glead and tarm. Gone it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope,

this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam re-

“Look for packaging made from recycled materials, and recycle once you’re done.” start that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum there’s bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm.

34 THE GREEN MAGAZINE May 28, 2008

Centered callout Centered callout takes advantage of the symmetrical image; the lines of sight direct your eyes right down the page.

A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast the thin chack. “It has larch there’s say fan.” Why? Elesara and order is fay of alm. A cards whint not oogum four bont. Pretty simple, glead and tarm. Texture and flasp nets exating bend mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then thin its not too chack. “It has larch to say there is fan there this fluant chasible. Card band flasp whint not oogum there’s or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum there bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it

May 28, 2008

THE GREEN MAGAZINE

35

Illustrated callouts Photos with the callouts are points of interest and fun to design, too. Note the small images have no visual relationship to the big image, but the two-tone type makes the connection.

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Callout that reveals meaning

It’s another dry statistic that deadens the nightly news, but set in a shockingly intense typeface—black, ratty and spattered in blood—the callout delivers a visceral impact that words alone can’t.

Dirty typeface, intense color and grungy, askew placement are repellent, together conveying instability and agitation; gray photos add a sense of dread. White type turns “Traffic crashes” into a headline. Black, white, yellow and red are extremely visible colors, very high energy.

³5SBG¿DDSBTIFTBSF UIFMFBEJOHDBVTF PGUFFOGBUBMJUJFT BDDPVOUJOHGPS PGUFFOEFBUITJO UIF64´ Just spaff forl isn’t cubular but quastic, leam is restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast there’s thin chack. “It’s has larch then say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snool-

³5SBG¿DDSBTIFTBSF UIFMFBEJOHDBVTF PGUFFOGBUBMJUJFT BDDPVOUJOHGPS PGUFFOEFBUITJO UIF64´

ing. Spaff forl isn’t to cubular but quastic, leam restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it simple. Texture band flasp net exating bends mist of it’s snooling. Spaff forl isn’t is cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant is chasible. Silk, shast, lape and behast the thin chack. Elesara and order Pretty simple glead and tarm. Texture is and

net exating end mist of it snooling it’s tope a card whint simple end not oogum or bont.

is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture band flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl

(Above) Police tape and the driver’s line of sight reinforce the position of the callout. Blood spatters provide visual continuity from top to bottom.

16 | ROAD SCENE MAGAZINE

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Callout as visual device

Office supplies—pencil lines, felt pen, highlighter and sticky note—together make a workaday impression that can easily be modified.

Playful callouts Different-style callouts—made with highlighters, sticky notes and so on—are normally something you’d avoid but work here because they’re all one kind of thing. On subsequent spreads you could throw in pens and paper clips, too—heck, maybe even a coffee stain. The variety allows you to fit these almost anywhere to keep your layout lively.

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net end forl and order mist.

forl it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist the it snooling. Spaff forl isn’t cubular. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch there’s say fan.” Why? Elesara and its order is fay of alm.

A card whint not oogum or bont. Pretty forl there’s simple, gleads and tarm. End mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, there’s this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch to say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty

“Don’t commit to more than what you can handle. Learn to say no.” simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple this to say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty si flasp simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm not oogum then its or bont this fluant chasible.

To it the snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling and behast the simple thin. Leam restart simple there’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A cards and its whint not restarts the there’s its boogum baor flasp simple forl hast then bont. Pretty there simple. A card whint not oogum it tor bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of its snooling. Spaff forl isn’t cubular bute quastic, leams flasp restart that can’t prebast. It’s tope, this fluant its chasible. Silk, shast, lape and behast the thin chack. “It has larch tote say fan.” Why? Elesara and order is fay ofte alm. A card whint not oogum or bont. Pretty simple, glead and it tarm. Texture and flasp net exating end mist of it snooling pretty. Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it texture and there pretty flasp this fluant chasible. Spaff forl isn’t gleam restarts that’s can’t prebast. It’s tope, simple it’s this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum simple or bont. Pretty simple. A card whint not oogum or bont preople simple flasp restart that can’t prebast. Glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too it say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, gleads to and tarm. To it snooling spaff forl isn’t cubular but quastic, is leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty is simple, glead and tarm. Texture and flasp net exating end of it snooling not oogum flasp restart that can’t prebast. Delore leam restart that can’t prebast. It’s

on’t “If you d ng like worki ’t late, don ate.” n procrasti

56

“Don’t commit to more than what you can handle. Learn to say no.”

“If you don’tg like workin late, don’t ” procrastinate.

“Your reputation as a freelancer is based on two things: the quality of your work and how well you meet deadlines. . . Deadlines help you prioritize your work. If your client doesn’t give you a date, ask for one.” tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A there card and flasp whint not oogum or bont tope, this fluant chasible. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, it leam flasp the restart that’s can’t prebaster. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty there simple, glead and tarm. Texture and flasp its net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk shast, is lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is the fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it mist. Spaff forl isn’t cubular but quastic, leam restart the can’t prebast. It’s

JULY, 2008

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s fluant this tope chasible. Silk, shast, lape and is behast the thin chack. It has larch to say fan.

JULY, 2008

57

Interrupters Interruption is a lively design technique. The layout starts as a boxy grid (far left). Elements are then placed to overlap the grid lines (left). In this case, several elements also force text wraps. Office-supply callouts can easily be lengthened or shortened as needed.

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Article resources

10a

2

3

1

10b

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Spaff forl isn’t then cubular but quastic, leam restart that can’t

ÀXDQWFKDVLEOH6LONVKDVWODSH

prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the

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thin chack. “It has larch then say fan.” Why? Elesara and order is fay

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tarm. Texture and flasp net exating end mist of it snooling. Spaff forl

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isn’t cubular but quastic, leam restart that’s can’t prebast. It’s tope,

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this fluant chasible. Silk, shast, lape and behast the thin chack. “It

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has larch too say fan.” Why? Elesara and order is fay of alm. A card

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whint not oogum or bont. Pretty simple, glead and tarm.

but quastic, leam restart that can’t

Texture and flasp net exating end mist of it snooling. Texture

SUHEDVW,W¶VWRSHWKLVÀXDQWFKD-

and flasp net exating is bend mist of it snooling. Spaff forl isn’t cubu-

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lar but quastic, leam restart that can’t prebast. It’s tope, this fluant

WKHWKLQFKDFN(OHVDUDDQGRUGHU

chasible. Silk, shast, lape and behast the thin chack. Elesara and order

LVID\RIDOP$FDUGLWVZKLQWQRW

is fay of alm. A card whint not oogum or bont. Pretty simple, glead

DQGEHKDVWWKHDQGÀDVSOHDPUHVWDUWWKDWFDQ¶WSUHEDVWDQGÀDVSQHW

quastic, leam restart that can’t prebast. It’s tope, this fluant chasible.

H[DWLQJHQGPLVWRILWVQRROLQJRRJXPRUERQWIRUOLVQ¶W

Silk, shast, lape and behast the thin chack. “It has larch to say fan.”

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5

SPRING 2008

5

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

SPRING 2008

7 I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

Below Simple glead and tarm. Texture and flasp net exating end of it snooling. Pretty it’s and tarm net exating end mist flasp. Right Exating end mist of it snooling spaff forl isn’t cubular but quastic gleaad and tarm.

3

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DIET & FITNESS

59

5

6

5 Glypha 75 Black 6 Glypha 75 Light

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7 Sabotage

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8 ITC Franklin Gothic Heavy

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4 Georgia Italic

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9 Utopia Regular

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10e The trouble with Bessie

C

ows do not add to the amounts of carbon dioxide in the atmosphere.They do not run aground and spill crude oil. But they do ruminate—which is to say that they give off methane when they chew their cud and belch, and nitrous oxide and ammonia when they leave manure all over the barnyard. So that pungent odor you smell on a farm? It’s bad for the global environment.

10 (a–f) iStockphoto.com | e f

a b c d

8 9 9

—ABC News

10f May 2008

6

WRSHWKLVWKHUH¶VÀXDQWFKDVLEOH Silk, shast, lape and behast the

3 Georgia

Images

fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple.

May 2008

10c

OHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V

:K\"(OHVDUDDQGRUGHULVID\RIDOP $VLPSOHLWVWKHQFDUGWKHZKLQWQRW

hast the thin chack forl is cubular but quastic isn’t cubular but quastic,

,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN

3

1

Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre48

3UHWW\VLPSOHJOHDGDQGWDUP

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7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ

COMMUNITY YOUTH SERVICES $XJXVW

WKHWKLQZKLQWQRJOHDGFKDFN

Spaff forl its too cubular but quastic,

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³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP$FDUG

48

not oogum or bont lape and behast

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“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.” |

No survivor lost more than Valerie Smith, whose entire family—husband, children and parents— SHULVKHGLQWKH¿UH+HU close friends have gotten her through, but a year later her hands still shake HYHU\GD\³7KH\ZHUHP\ ZKROHOLIH´VKHVDLG³, GRQ¶WNQRZZKDWWRGR´

oogum or bont forl isn’t cubular but quastic but quastic, leam restart

and tarm Texture and flasp net exating. Spaff forl isn’t cubular but

Why? Elesara and order is fay of alm. A card whint not oogum or

3

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cubular but quastic, leam restart

of alm. A card is whint not oogum or bont. Pretty simple, glead and

LVQ¶WFXEXODUEXWWKLQFKDFNTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V WRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,W KDVODUFKÀDVSLVVD\LWVIDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP,W¶V

WXUHDQGÀDVSQHWH[DWLQJODSHDQGEHKDVWWKHWKLQFKDFN

RRJXPWRUERQW3UHWW\VLPSOH

by AMY S. HAYWARD, R.Ph., CDE, CPT

DIET & FITNESS

$ÀDVSEXWFXEXODURUERQWFDUGZKLQWQRWRRJXPRUERQW3UHWW\

1 Helvetica Neue 37 Thin Condensed 2 Helvetica Neue 95 Black

LWVQRROLQJ7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDII WKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHQWKLQFKDFN VLPSOHJOHDGDQGWDUP7H[WXUHLW¶VDQGÀDVSQHWWKHQH[DWLQJ6SDIIIRUO

FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGLW¶VDQGWDUP7H[Spaff forl isn’t cubular but quastic, leam its restart there can’t

4

IRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSH

DQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOH

If you think going super low-cal is a good idea, think again.

58

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LVFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWR

QHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLF

SHEDDING POUNDS NATURALLY

DQGWDUP6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶W

EXWTXDVWLFOHDPÀDVSUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQW VD\IDQ´:K\"(OHVDUDDQGRUGHULVID\WRRRIDOP$FDUGZKLQWQRW

49

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Callout ideas

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Before&After

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BAmagazine.com

15 of 17

Callout ideas

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Article resources

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UCB CAMPUS LIFE

1

11

2

1

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February 23, 2008

4

“Without a good business plan, you might as well drive blindfolded.”

SMALL BUSINESS SUCCESS

³7KHUH¶VSUHVVXUHIURPP\ SDUHQWVIRUPHWRJUDGXDWHZLWK KLJKKRQRUV$WWKHVDPHWLPH WKH\¶UHPLOHVDZD\²,FDQ VWLOOKDYHIXQ´—KIM SWAIN, UCB JUNIOR

16 February 23, 2008 UCB CAMPUS LIFE

3

4

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HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP ÀDVS UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WRR LW VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\ VLPSOHJOHDGVWRDQGWDUP7RLWVQRROLQJVSDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW LW¶V WKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LVID\RIDOP$FDUGÀDVSZKLQWQRWRRJXPLW¶V RU ERQW 3UHWW\ LV VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG RI LW VQRROLQJ 'HORUHOHDPUHVWDUWWKDWFDQ¶WSUHEDVW ,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ WKHUH FDUG DQG ÀDVS ZKLQW QRW RRJXP RUERQWWRSHWKLVÀXDQWFKDVLEOH3UHWW\VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXW TXDVWLFLWOHDP ÀDVSWKHUHVWDUW WKDW¶VFDQ¶WSUHEDVWHU,W¶VWRSH this Àuant chaVLEOH6LONVKDVW ODSHDQGEHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[ture and ÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV Àuant FKDVLEOH6LONVKDVWLVODSHDQGEHKDVWWKHWKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP

“It’s important to manage your cashflow and expenses.” ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWWH[WXUHDQGWKHUHSUHWW\ÀDVS 6SDII IRUO LVQ¶W JOHDP UHVWDUWV WKDW¶V FDQ¶W SUHEDVW ,W¶V WRSH VLPSOH LW¶V WKLV Àuant chasiEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ FDUG DQG ÀDVS ZKLQWQRWRRJXPVLPSOHRUERQW3UHWW\ VLPSOH $FDUGZKLQWQRWRRJXPRUERQWSUHRSOH *OHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ

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4

Card whint fluant elesara pretty simple quastic To it snooling spaff forl isn’t cubular but quastic, then leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum pretty simple larch to say fan.

Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast.

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say there is fan.” Why? A card and flasp whint not oogum there or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.

32 THE GREEN MAGAZINE May 28, 2008

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May 28, 2008

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Leam restart that can’t prebast bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch too say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating bend mist of it snooling. Spaff forl isn’t leam restarts that can’t prebast. It’s toper, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple there too say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order its fay of alm. A cards whint not oogum or bont. Pretty simple, glead and tarm. Gone it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope,

Card Whint Fluant To it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast.

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison

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THE GREEN MAGAZINE

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4 Linotype Didot Bold 5 Georgia 7 Janson Text 55 Roman 8 Janson Text 56 Italic 9 ITC Franklin Gothic Heavy Italic

12d “Lowering the thermostat two degrees in winter and raising it two degrees in summer will save 2,000 pounds of carbon dioxide per person per year.”

Going Greener

3 Futura Book

10 ITC Franklin Gothic Heavy 5

mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t

2 Futura Extra Bold

6 ITC Franklin Gothic Demi Compressed

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12a

estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum then bont. Pretty simple, glead and tarm. Texture and flasp net exating end

5

1 Times New Roman

“Planting trees in your neighborhood really is one of the best things you can do for the local environment and for the planet.” 34 THE GREEN MAGAZINE May 28, 2008

this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam re-

“Look for packaging made from recycled materials, and recycle once you’re done.” start that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum there’s bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm.

A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast the thin chack. “It has larch there’s say fan.” Why? Elesara and order is fay of alm. A cards whint not oogum four bont. Pretty simple, glead and tarm. Texture and flasp nets exating bend mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then thin its not too chack. “It has larch to say there is fan there this fluant chasible. Card band flasp whint not oogum there’s or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum there bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it

May 28, 2008

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THE GREEN MAGAZINE

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Images 11 Rubberball.com

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Callout ideas

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Before&After

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Article resources

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Typefaces 1 ITC Stone Serif Medium

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net end forl and order mist.

forl it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist the it snooling. Spaff forl isn’t cubular. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch there’s say fan.” Why? Elesara and its order is fay of alm.

A card whint not oogum or bont. Pretty forl there’s simple, gleads and tarm. End mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, there’s this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch to say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty

“Don’t commit to more than what you can handle. Learn to say no.” simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple this to say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty si flasp simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm not oogum then its or bont this fluant chasible.

To it the snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling and behast the simple thin. Leam restart simple there’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A cards and its whint not restarts the there’s its boogum baor flasp simple forl hast then bont. Pretty there simple. A card whint not oogum it tor bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of its snooling. Spaff forl isn’t cubular bute quastic, leams flasp restart that can’t prebast. It’s tope, this fluant its chasible. Silk, shast, lape and behast the thin chack. “It has larch tote say fan.” Why? Elesara and order is fay ofte alm. A card whint not oogum or bont. Pretty simple, glead and it tarm. Texture and flasp net exating end mist of it snooling pretty. Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it texture and there pretty flasp this fluant chasible. Spaff forl isn’t gleam restarts that’s can’t prebast. It’s tope, simple it’s this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum simple or bont. Pretty simple. A card whint not oogum or bont preople simple flasp restart that can’t prebast. Glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too it say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, gleads to and tarm. To it snooling spaff forl isn’t cubular but quastic, is leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty is simple, glead and tarm. Texture and flasp net exating end of it snooling not oogum flasp restart that can’t prebast. Delore leam restart that can’t prebast. It’s

n’t “If you do ng like worki late, don’t ate.” procrastin

³5SBG¿DDSBTIFTBSF UIFMFBEJOHDBVTF PGUFFOGBUBMJUJFT BDDPVOUJOHGPS PGUFFOEFBUITJO UIF64´

7b 7h

4 ITC Franklin Gothic Heavy Italic 5 ITC Franklin Gothic Book Italic

that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast there’s thin chack. “It’s has larch then say fan.” Why? Elesara and order is fay of alm. A

6 ITC Officina Serif Book

card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t to cubular but quastic, leam restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it simple. Texture band flasp net exating bends mist of it’s snool-

tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A there card and flasp whint not oogum or bont tope, this fluant chasible. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, it leam flasp the restart that’s can’t prebaster. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty there simple, glead and tarm. Texture and flasp its net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk shast, is lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is the fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it mist. Spaff forl isn’t cubular but quastic, leam restart the can’t prebast. It’s

ing. Spaff forl isn’t is cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant is chasible. Silk, shast, lape and behast the thin chack. Elesara and order Pretty simple glead and tarm. Texture is and

net exating end mist of it snooling it’s tope a card whint simple end not oogum or bont.

is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture band flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.”

Images

Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s fluant this tope chasible. Silk, shast, lape and is behast the thin chack. It has larch to say fan.

JULY, 2008

7a

3 Trixie Cameo 7g

Just spaff forl isn’t cubular but quastic, leam is restart

“Your reputation as a freelancer is based on two things: the quality of your work and how well you meet deadlines. . . Deadlines help you prioritize your work. If your client doesn’t give you a date, ask for one.”

56 JULY, 2008

2

2 Franklin Gothic Condensed

7d

57

and flasp net exating end mist of it snooling. Spaff forl

7 (a–g) iStockphoto.com | e f g h

16 | ROAD SCENE MAGAZINE

4

5

7f

6

a b c d

8 Time Magazine (www.time.com) 8

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Callout ideas

Quotes pulled from the text are fundamental storytelling tools.

Kicker Byline

Deckhead and text typeface are the same.

Every reader of magazines and newspapers is familiar with callouts. Sometimes called pullquotes, callouts are brief passages pulled from a story, typeset oversize and carefully placed, usually one or two per spread, throughout the piece. Callouts serve many purposes. The most basic simply fill space or break up large, unappealing expanses of gray type. But the best callouts are active. They draw readers who would otherwise pass by, summarize articles, establish themes, set waypoints, reveal meaning and even tell sub-stories. Good callouts are essential storytelling elements of articles in print. They’re fun to design, too. Let’s have a look.

Headline Deckhead

Callout

Time magazine page illustrates the function of an active callout. The reader’s eye flies from photo to headline to callout and back to the deckhead, all before reading a word of text! These elements, plus the caption, together summarize the story, set the tone and intrigue the reader. Single bold typeface is the visual connector. Caption

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The basic callout

Generally speaking, a callout is set two to three times the size of the text typeface in either the headline style or the text style.

SHEDDING POUNDS NATURALLY by AMY S. HAYWARD, R.Ph., CDE, CPT

If you think going super low-cal is a good idea, think again. Spaff forl isn’t then cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” Why? Elesara and order is fay of alm. A card is whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that’s can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating is bend mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or

“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.” 58

DIET & FITNESS

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SPRING 2008

SPRING 2008

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DIET & FITNESS

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“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.”

Working together Headline and callout work together, each projecting a different “voice.” What’s interesting is that the voice will change depending on where the callout appears and the style in which it is set. Most commonly, you’ll set callouts in either the headline or text typeface (but not both). Note here that the headline color comes from the photo.

Headline typeface or . . . Text typeface

Callout as story center

One callout and one photo together can tell a brief, intense story without distractions. Because it’s central, you’ll do best to choose this callout once it’s on the page, in context.

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COMMUNITY YOUTH SERVICES $XJXVW

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Two techniques Her dramatically lit face and back turned to the page convey aloneness, emptiness, loss. Photo colors are carried into the callout in alternating lines, which makes no verbal sense but adds visual disturbance to the emotional topic. (Below) Centered in the sea of gray text, the callout is also “alone.” Its placement mimics the symmetry of the full-bleed photo and, like a target, draws the reader’s full attention.

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0669 Callout ideas

Before&After | www.bamagazine.com

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Callout ideas

0669

Callout as theme-setter

Because periodicals generally have an unchanging “house” style, callouts are a good way to theme an article. Here, a ragged typeface contrasts with a beautifully disciplined layout. Establish a look, then sustain it throughout the article. Buffer zone Narrow space between columns holds both callout and caption with extreme efficiency; while taking very little space, both are highly visible—and attractive.

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple.

Below Simple glead and tarm. Texture and flasp net exating end of it snooling. Pretty it’s and tarm net exating end mist flasp. Right Exating end mist of it snooling spaff forl isn’t cubular but quastic gleaad and tarm.

Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

Callout within a callout Tall, condensed typeface snuggles into the narrow space and makes a long callout possible. Dense line spacing conveys urgency. Words in red are an interesting trick; they create a second callout that the reader will see first. 48

May 2008

May 2008

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

A callout always works in context with other elements . . .

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, fluant chasible. Silk, shast, lape and behast the thin chack. especially ifElesara it’s and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp words to thebeing songplayedornetwell. exating end mist of it snooling. Texture and flasp net

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast the Elesara quastic, leam is you thereubular thint but chack. that can’t prebast. and orderthen is fayrestart the alm. A card tope, there’s there fluant whint notIt’s oogum bont. chasible. Silk,simple, shast, its lapeand and behast Pretty these glead thintcubular chack. Elesara tarm. Texture and flasp net exating. you Spaffthere forl isn’t and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

I get swept up in the emotion, being played well.

exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple.

ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

Below Simple glead and tarm. Texture and flasp net exating end of it snooling. Pretty it’s and tarm net exating end mist flasp. Right Exating end mist of it snooling spaff forl isn’t cubular but quastic gleaad and tarm.

Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

White borders unify Your reader will not consciously notice the uniform white borders around every element that give the layout its fresh, organized look. Note that there are no bleeds, and that no element intrudes into another’s space.

49

Four points of interest Initial cap, callout and two photos tell a story in a nutshell; big, medium and small sizes keep the reader’s eye moving fluidly.

fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay simple it’s palm card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple. Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t pre-

48

May 2008

May 2008

49

Contrast in size and camera distance Size governs the “volume” of an image; camera distance is a storytelling tool. Key to an interesting layout is to have a variety of both—big and small images, and near, middle and far distances. Here, distant and close-up views make a rich, engaging mix.

0669 Callout ideas

Before&After | www.bamagazine.com

3 of 8

Callout ideas

0669

Callout as photo story

Add a headline, drop cap, attribution and photo, and the callout becomes a tiny, selfcontained story—a way to give substance and authority to an ordinary passage of text.

The trouble with Bessie

C

ows do not add to the amounts of carbon dioxide in the atmosphere.They do not run aground and spill crude oil. But they do ruminate—which is to say that they give off methane when they chew their cud and belch, and nitrous oxide and ammonia when they leave manure all over the barnyard. So that pungent odor you smell on a farm? It’s bad for the global environment. —ABC News

Complete story It’s a callout, all right—a brief passage pulled from the text—but by giving it a headline, initial cap, attribution and photo, you turn it into a tiny layout and elevate it to a level of substance and authority. Compose accordingly. Use its brevity; the callout can summarize, entertain, intrigue. A series of these can carry a reader happily through an entire article. Drop-cap color matches the barn for visual continuity Translucent white background Cow-nose-in-the-lens is funny, even at a small size. Note that the cow and pastoral scene, although related, are opposites—the cow is living and organic, the buildings man-made and static. The cow is near, the buildings far. Such contrasts create visual liveliness and interest.

Callout as quotation

A callout atop a speaker “puts a face on the words” and draws the reader into the conversation. The more intense the quote, the more direct the engagement.

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Outside, inside Callout can be atop the image, or the image can be inside the callout. Note here the two callouts have been designed as one—same size and alignment, each bleeding to the outside. Note also that the images appear related despite the large difference in size because of nearly identical poses, camera angle and lighting. Head room (Below, left) Fully inside the box, the small portrait feels insignificant. Enlarge, and crop slightly out of the box (below, right) to restore its presence.

³0\DGYLFHIRUWKHVHQHZELHV" 3ULRULWL]H\RXUWLPHDQGEHPRUH UHVSRQVLEOH
16

Too small

0669 Callout ideas

It’s mist of then snooling chast itsFDUGLWVZKLQWQRWRRJXP WKHQERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJHQG PLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPÀDVSUHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVWWKHQWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHU LVID\RIDOP$FDUGZKLQWQRWVLPSOHLW¶VRRJXPRUERQW3UHWW\VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ EHQG PLVW RI LW VQRROLQJ 6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V WRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDV ODUFKWKHQVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP7H[WXUH DQG ÀDVS QHW H[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDP UHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQG EHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULV ID\RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP 7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ7H[WXUHDQGÀDVS QHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDP UHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN (OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJ6SDIIIRUOLVQ¶WFXEXODU EXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSH WKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKH WKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUD DQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXPRU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW WKDW FDQ¶W SUHEDVW,W¶VWRSHWKHUHÀXDQWFKDVLEOHFDUGZKLQW QRWRRJXPSUHWW\VLPSOHFKDVWVD\DOPRUERQW 6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶V WRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDV ODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXP,W¶VRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHLVDQGÀDVSQHW H[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDP ÀDVSLW¶VWKHQUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LON

February 23, 2008

VKDVWODSHDQGEHKDVWWKHWKLQFKDFN(OHVDUDDQGRUGHULVID\RIDOP$FDUG WRRZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQG ÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ7H[WXUHDQGÀDVSQHWH[DWLQJHQG PLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWVLPSOH FKDVWVD\DOPRUERQW A card whint then not bont WRSHUWKLVWKHQÀXDQWODSHFKDVLEOH 6LONVKDVWODSHDQGEHKDVWWKHQLWWKLQFKDFN³,WKDVSUHWW\VLPSOHFDUG ZKLQWODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP$FDUGLW¶V ZKLQWQRWRRJXPRU7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ 7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶W FXEXODUEXWTXDVWLFOHDPUHVWDUWLW¶VWKDWFDQ¶WSUHEDVWH[DWLQJHQGPLVWRI LWVQRROLQJ,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVWWKH WKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP $FDUGÀDVSZKLQWQRWRRJXPLW¶VRUERQW3UHWW\VLPSOHJOHDGDQGWDUP 7H[WXUHDQGÀDVSQHWPLVWRILWVQRROLQJ,W¶VWRSHWKLVÀXDQWFKDVLEOH6LON VKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"$FDUG DQGÀDVSZKLQWQRWRRJXPWKHQERQW3UHWW\VLPSOH A cards whint not oogum the bont. 3UHWW\VLPSOHJOHDGDQGWDUP 7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPÀDVSUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWLV FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´:K\"(OHVDUDDQGRUGHULVID\WRRRIDOP$FDUGZKLQWQRWRRJXP RUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHWREDQGÀDVSQHWH[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW

³7KHUH¶VSUHVVXUHIURPP\ SDUHQWVIRUPHWRJUDGXDWHZLWK KLJKKRQRUV$WWKHVDPHWLPH WKH\¶UHPLOHVDZD\²,FDQ VWLOOKDYHIXQ´—KIM SWAIN, UCB JUNIOR WKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQGEHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP$ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUHDQGÀDVSQHWWRRH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\

UCB CAMPUS LIFE

UCB CAMPUS LIFE

February 23, 2008

17

Interacting colors Her callout color matches his jacket, and his, hers, another visual tie that unifies the layout. Text in both cases is white.

Just right

Before&After | www.bamagazine.com

4 of 8

Callout ideas

0669

Callout as design element

Because callouts can easily be moved and shaped—tall, wide, big, small, and so on— they make versatile design elements that can fill gaps, balance spaces and create motion as needed.

No images necessary Type and layout alone create this handsome, hard-edged design, which the super-sharp typeface (Didot) amplifies. Note both contrasts and similarities— black on white, white on black, green common to all; small and large objects. Below, top callout “activates” the white rectangle that contains it, which would otherwise appear merely empty.

“Without a good business plan, you might as well drive blindfolded.”

SMALL BUSINESS SUCCESS

,I\RX¶UHOLNHPRVWEXVLQHVV RZQHUV\RXSUREDEO\GHFLGHGWR VWDUW\RXURZQEXVLQHVVIRUWKH IUHHGRPLWSURYLGHVQRWIRUWKH SUREOHPVWKDWFDPHDORQJZLWKLW +HUHDUHWHQUXOHVWRPDNH\RXU EXVLQHVVJURZDQGSURVSHU

BY PHILLIP BAUERS

SMALL BUSINESS SUCCESS

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“Without a good business plan, you might as well drive blindfolded.”

,I\RX¶UHOLNHPRVWEXVLQHVV RZQHUV\RXSUREDEO\GHFLGHGWR VWDUW\RXURZQEXVLQHVVIRUWKH IUHHGRPLWSURYLGHVQRWIRUWKH SUREOHPVWKDWFDPHDORQJZLWKLW +HUHDUHWHQUXOHVWRPDNH\RXU EXVLQHVVJURZDQGSURVSHU

BY PHILLIP BAUERS

“It’s important to manage your cashflow and expenses.”

Pressure

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It’s all rectangles Because it’s so visual, you hardly notice that the layout is made of nothing but rectangles. Above left, pay special attention to the negative spaces, which apply visual pressure on the positive elements.

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“It’s important to manage your cashflow and expenses.” ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWWH[WXUHDQGWKHUHSUHWW\ÀDVS 6SDII IRUO LVQ¶W JOHDP UHVWDUWV WKDW¶V FDQ¶W SUHEDVW ,W¶V WRSH VLPSOH LW¶V WKLV Àuant chasiEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ FDUG DQG ÀDVS ZKLQWQRWRRJXPVLPSOHRUERQW3UHWW\ VLPSOH $FDUGZKLQWQRWRRJXPRUERQWSUHRSOH *OHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ

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Alignment

Black & white Green type and uniform column alignment connect the high-contrast sides.

Callouts as sub-story

Similar to a sidebar, callouts can combine to tell a sub-story. Here, the text presents the main news story, while the callouts suggest positive actions.

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

Going Greener

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison

Modern layout Dirt road and forest trees, normally considered rustic, are here presented in a clean, hard-edged layout. (Above) The photo and two white, horizontal spaces carry the eye across the spread without borders or embellishments. To reinforce this line, the callout is similarly horizontal, matching the headline type and aligned left with head and deck beneath it.

Going Greener

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison 32 THE GREEN MAGAZINE May 28, 2008

Card Whint Fluant To it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast.

estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum then bont. Pretty simple, glead and tarm. Texture and flasp net exating end

mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t

cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say there is fan.” Why? A card and flasp whint not oogum there or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.

May 28, 2008

THE GREEN MAGAZINE

33

Stay green Byline in green that’s sampled from image sets it subtly apart from rest of the deckhead. Green drop cap matches the headline face.

0669 Callout ideas

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Callout ideas

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Callouts keep a second story line running beside the first. Each share construction— headline typeface, two-tone type and a photograph—which ties them together.

“Lowering the thermostat two degrees in winter and raising it two degrees in summer will save 2,000 pounds of carbon dioxide per person per year.” Card whint fluant elesara pretty simple quastic To it snooling spaff forl isn’t cubular but quastic, then leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum pretty simple larch to say fan.

Image “bleeds” from one spread to the next It’s subtle, but the left-side bleed suggests continuity from the opening spread.

Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Leam restart that can’t prebast bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch too say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating bend mist of it snooling. Spaff forl isn’t leam restarts that can’t prebast. It’s toper, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple there too say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order its fay of alm. A cards whint not oogum or bont. Pretty simple, glead and tarm. Gone it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope,

“Planting trees in your neighborhood really is one of the best things you can do for the local environment and for the planet.”

this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam re-

“Look for packaging made from recycled materials, and recycle once you’re done.” start that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum there’s bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm.

34 THE GREEN MAGAZINE May 28, 2008

A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast the thin chack. “It has larch there’s say fan.” Why? Elesara and order is fay of alm. A cards whint not oogum four bont. Pretty simple, glead and tarm. Texture and flasp nets exating bend mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then thin its not too chack. “It has larch to say there is fan there this fluant chasible. Card band flasp whint not oogum there’s or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum there bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it

May 28, 2008

Centered callout Centered callout takes advantage of the symmetrical image; the lines of sight direct your eyes right down the page.

THE GREEN MAGAZINE

35

Illustrated callouts Photos with the callouts are points of interest and fun to design, too. Note the small images have no visual relationship to the big image, but the two-tone type makes the connection.

Callout that reveals meaning

It’s another dry statistic that deadens the nightly news, but set in a shockingly intense typeface—black, ratty and spattered in blood—the callout delivers a visceral impact that words alone can’t.

Dirty typeface, intense color and grungy, askew placement are repellent, together conveying instability and agitation; gray photos add a sense of dread. White type turns “Traffic crashes” into a headline. Black, white, yellow and red are extremely visible colors, very high energy.

³5SBG¿DDSBTIFTBSF UIFMFBEJOHDBVTF PGUFFOGBUBMJUJFT BDDPVOUJOHGPS PGUFFOEFBUITJO UIF64´ Just spaff forl isn’t cubular but quastic, leam is restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast there’s thin chack. “It’s has larch then say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t to cubular but quastic, leam restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it simple. Texture band flasp net exating bends mist of it’s snooling. Spaff forl isn’t is cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant is chasible. Silk, shast, lape and behast the thin chack. Elesara and order Pretty simple glead and tarm. Texture is and

net exating end mist of it snooling it’s tope a card whint simple end not oogum or bont.

is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture band flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl

(Above) Police tape and the driver’s line of sight reinforce the position of the callout. Blood spatters provide visual continuity from top to bottom.

0669 Callout ideas

16 | ROAD SCENE MAGAZINE

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Callout ideas

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Callout as visual device

Office supplies—pencil lines, felt pen, highlighter and sticky note—together make a workaday impression that can easily be modified.

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net end forl and order mist.

Playful callouts Different-style callouts—made with highlighters, sticky notes and so on—are normally something you’d avoid but work here because they’re all one kind of thing. On subsequent spreads you could throw in pens and paper clips, too—heck, maybe even a coffee stain. The variety allows you to fit these almost anywhere to keep your layout lively.

forl it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist the it snooling. Spaff forl isn’t cubular. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch there’s say fan.” Why? Elesara and its order is fay of alm.

A card whint not oogum or bont. Pretty forl there’s simple, gleads and tarm. End mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, there’s this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch to say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty

To it the snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling and behast the simple thin. Leam restart simple there’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A cards and its whint not restarts the there’s its boogum baor flasp simple forl hast then bont. Pretty there simple. A card whint not oogum it tor bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of its snooling. Spaff forl isn’t cubular bute quastic, leams flasp restart that can’t prebast. It’s tope, this fluant its chasible. Silk, shast, lape and behast the thin chack. “It has larch tote say fan.” Why? Elesara and order is fay ofte alm. A card whint not oogum or bont. Pretty simple, glead and it tarm. Texture and flasp net exating end mist of it snooling pretty. Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it texture and there pretty flasp this fluant chasible. Spaff forl isn’t gleam restarts that’s can’t prebast. It’s tope, simple it’s this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum simple or bont. Pretty simple. A card whint not oogum or bont preople simple flasp restart that can’t prebast. Glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too it say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, gleads to and tarm. To it snooling spaff forl isn’t cubular but quastic, is leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty is simple, glead and tarm. Texture and flasp net exating end of it snooling not oogum flasp restart that can’t prebast. Delore leam restart that can’t prebast. It’s

“Don’t commit to more than what you can handle. Learn to say no.” simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple this to say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty si flasp simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm not oogum then its or bont this fluant chasible.

n’t “If you do ing like work t n’ do e, lat nate.” procrasti

“Your reputation as a freelancer is based on two things: the quality of your work and how well you meet deadlines. . . Deadlines help you prioritize your work. If your client doesn’t give you a date, ask for one.” tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A there card and flasp whint not oogum or bont tope, this fluant chasible. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, it leam flasp the restart that’s can’t prebaster. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty there simple, glead and tarm. Texture and flasp its net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk shast, is lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is the fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it mist. Spaff forl isn’t cubular but quastic, leam restart the can’t prebast. It’s

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s fluant this tope chasible. Silk, shast, lape and is behast the thin chack. It has larch to say fan.

56 JULY, 2008

JULY, 2008

57

Interrupters Interruption is a lively design technique. The layout starts as a boxy grid (far left). Elements are then placed to overlap the grid lines (left). In this case, several elements also force text wraps. Office-supply callouts can easily be lengthened or shortened as needed.

Article resources

10a

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10b

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SHEDDING POUNDS NATURALLY

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KDVODUFKÀDVSLVVD\LWVIDQ´:K\"(OHVDUDDQGRUGHULVID\RIDOP,W¶V pretty simple order then is forl simple whint there’s no glead and tarm

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prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the

Spaff forl it cubular but quastic,

thin chack. “It has larch then say fan.” Why? Elesara and order is fay

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of alm. A card is whint not oogum or bont. Pretty simple, glead and

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tarm. Texture and flasp net exating end mist of it snooling. Spaff forl

Silk, shast, lape and behast the

isn’t cubular but quastic, leam restart that’s can’t prebast. It’s tope,

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this fluant chasible. Silk, shast, lape and behast the thin chack. “It

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has larch too say fan.” Why? Elesara and order is fay of alm. A card

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whint not oogum or bont. Pretty simple, glead and tarm.

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Texture and flasp net exating end mist of it snooling. Texture

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and flasp net exating is bend mist of it snooling. Spaff forl isn’t cubu-

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Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or

I’ve chosen the words to the song because they mean something to me. I get swept up in the emotion, especially if it’s being played well.

6

0669 Callout ideas

6

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7 Sabotage

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fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then it thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or Texture and. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling “It has larch simple too say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm and flasp net exating end. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular it quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. Elesara and order is fay of alm. A card too whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Pretty simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” glead and tarm pretty simple.

5

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10e The trouble with Bessie

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ows do not add to the amounts of carbon dioxide in the atmosphere.They do not run aground and spill crude oil. But they do ruminate—which is to say that they give off methane when they chew their cud and belch, and nitrous oxide and ammonia when they leave manure all over the barnyard. So that pungent odor you smell on a farm? It’s bad for the global environment.

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10c

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“A starvation diet is a temporary solution. 99% of the time, you’ll gain the weight back.”

3 Georgia

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3

No survivor lost more than Valerie Smith, whose entire family—husband, children and parents— SHULVKHGLQWKH¿UH+HU close friends have gotten her through, but a year later her hands still shake HYHU\GD\³7KH\ZHUHP\ ZKROHOLIH´VKHVDLG³, GRQ¶WNQRZZKDWWRGR´

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3

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If you think going super low-cal is a good idea, think again.

7

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5

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4

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ubular but the quastic, leam is then restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, its lape and behast you there thint chack. Elesara and order is fay the alm. A card whint not oogum there’s bont. Pretty these simple, glead and tarm. Texture and flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch then say fan.” glead and tarme pretty simple. Elesara and order is fay of alm. A is card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible card whint not its oogum or bont. It’s mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that it’s can’t pretty simple prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum It’s or bont. Pretty simple, glead and tarm. Texture is and flasp net exating end mist of it snooling. Spaff forl isn’t cubular quastic, leam flasp it’s then restart that can’t prebast. It’s tope, this

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by AMY S. HAYWARD, R.Ph., CDE, CPT

5

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10 (a–f) iStockphoto.com | d e f

a b c

8 9 9

—ABC News

10f 10d

Before&After | www.bamagazine.com

7 of 8

Callout ideas

0669

Article resources

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16

February 23, 2008

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UCB CAMPUS LIFE

1

11

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February 23, 2008

4

“Without a good business plan, you might as well drive blindfolded.”

SMALL BUSINESS SUCCESS

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UCB CAMPUS LIFE

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4

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QRW UHVWDUWV WKH WKHUH¶V LWV ERRJXP EDRU ÀDVS VLPSOH IRUO KDVW WKHQ ERQW 3UHWW\ WKHUH VLPSOH $FDUGZKLQWQRWRRJXPLWWRUERQW3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQG PLVW RI LWV VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXWH TXDVWLF OHDPV ÀDVS UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW LWV FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WRWH VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RIWH DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG LW WDUP 7H[WXUH and ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀuant chaVLEOH6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN ³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUHDQGÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDWFDQ¶W SUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVW

HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP ÀDVS UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV ÀXDQW FKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WRR LW VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\ VLPSOHJOHDGVWRDQGWDUP7RLWVQRROLQJVSDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW LW¶V WKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LVID\RIDOP$FDUGÀDVSZKLQWQRWRRJXPLW¶V RU ERQW 3UHWW\ LV VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG RI LW VQRROLQJ 'HORUHOHDPUHVWDUWWKDWFDQ¶WSUHEDVW ,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSHDQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ WKHUH FDUG DQG ÀDVS ZKLQW QRW RRJXP RUERQWWRSHWKLVÀXDQWFKDVLEOH3UHWW\VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXW TXDVWLFLWOHDP ÀDVSWKHUHVWDUW WKDW¶VFDQ¶WSUHEDVWHU,W¶VWRSH this Àuant chaVLEOH6LONVKDVW ODSHDQGEHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUDDQGRUGHULVID\RIDOP$FDUGZKLQWQRW RRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[ture and ÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP UHVWDUW WKDW FDQ¶W SUHEDVW ,W¶V WRSH WKLV Àuant FKDVLEOH6LONVKDVWLVODSHDQGEHKDVWWKHWKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[ture and ÀDVS QHW H[DWLQJ HQG PLVW RI LW VQRROLQJ 6SDII IRUO LVQ¶W FXEXODU EXW TXDVWLF OHDP

“It’s important to manage your cashflow and expenses.” ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" (OHVDUD DQG RUGHU LV ID\ RI DOP $ FDUG ZKLQW QRW RRJXP RU ERQW 3UHWW\ VLPSOH JOHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ HQGPLVWRILWWH[WXUHDQGWKHUHSUHWW\ÀDVS 6SDII IRUO LVQ¶W JOHDP UHVWDUWV WKDW¶V FDQ¶W SUHEDVW ,W¶V WRSH VLPSOH LW¶V WKLV Àuant chasiEOH 6LON VKDVW ODSH DQG EHKDVW WKH WKLQ FKDFN ³,W KDV ODUFK WR VD\ IDQ´ :K\" $ FDUG DQG ÀDVS ZKLQWQRWRRJXPVLPSOHRUERQW3UHWW\ VLPSOH $FDUGZKLQWQRWRRJXPRUERQWSUHRSOH *OHDG DQG WDUP 7H[WXUH DQG ÀDVS QHW H[DWLQJ

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12a

4

Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast.

cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say there is fan.” Why? A card and flasp whint not oogum there or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.

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Leam restart that can’t prebast bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch too say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating bend mist of it snooling. Spaff forl isn’t leam restarts that can’t prebast. It’s toper, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple there too say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order its fay of alm. A cards whint not oogum or bont. Pretty simple, glead and tarm. Gone it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope,

Card Whint Fluant To it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast.

The human population of the planet is approximately six billion and rising. As the population continues to increase, there is the fear of more and more strain on the environment. By Michelle Morrison

12b 6

9

5 Georgia 7 Janson Text 55 Roman 8 Janson Text 56 Italic 9 ITC Franklin Gothic Heavy Italic

12d

“We can’t change the damage done yesterday, but we can make a huge difference in tomorrow.”

mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t

4 Linotype Didot Bold

10 ITC Franklin Gothic Heavy 5

“Lowering the thermostat two degrees in winter and raising it two degrees in summer will save 2,000 pounds of carbon dioxide per person per year.”

estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum then bont. Pretty simple, glead and tarm. Texture and flasp net exating end

2 Futura Extra Bold 3 Futura Book

6 ITC Franklin Gothic Demi Compressed

17

Card whint fluant elesara pretty simple quastic To it snooling spaff forl isn’t cubular but quastic, then leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum pretty simple larch to say fan.

Going Greener

5

1 Times New Roman

“Planting trees in your neighborhood really is one of the best things you can do for the local environment and for the planet.”

this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. estart to it snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Leam re-

“Look for packaging made from recycled materials, and recycle once you’re done.” start that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum the or bont. Pretty simple. A card whint not oogum there’s bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, too lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm.

A card the whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape band behast the thin chack. “It has larch there’s say fan.” Why? Elesara and order is fay of alm. A cards whint not oogum four bont. Pretty simple, glead and tarm. Texture and flasp nets exating bend mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast then thin its not too chack. “It has larch to say there is fan there this fluant chasible. Card band flasp whint not oogum there’s or bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. to it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum there bont. Pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Bend mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, it

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Images 11 Rubberball.com

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12 (a–e) iStockphoto.com | d e

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Article resources

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Typefaces 1 ITC Stone Serif Medium

Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net end forl and order mist.

forl it snooling spaff forl too isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, simple shast, lape and behast the thin chack. “It has larch to say fan.” Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling. Beam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast simple there the thin chack. “It has larch to say fan.” Why? A card and flasp pretty simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist the it snooling. Spaff forl isn’t cubular. Leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch there’s say fan.” Why? Elesara and its order is fay of alm.

A card whint not oogum or bont. Pretty forl there’s simple, gleads and tarm. End mister of it snooling. Spaff forl isn’t there cubular but quastic, leam restart that can’t prebast. It’s tope, there’s this fluant chasible. Silk, shast, lape it and behast the thins chack. “It has larch to say fan.” Why? Elesara and orders is fay of alm. A its card whint not oogum or bont. Pretty

“Don’t commit to more than what you can handle. Learn to say no.” simple, gleads and tarm. Texture and flasp net exating end mist of it snooling. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch simple this to say fan.” Why? A card and flasp whint not oogum then its or bont. Pretty si flasp simple. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm not oogum then its or bont this fluant chasible.

To it the snooling spaff forl isn’t cubular but quastic, leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty simple, glead and tarm. Texture and flasp net exating end of it snooling and behast the simple thin. Leam restart simple there’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A cards and its whint not restarts the there’s its boogum baor flasp simple forl hast then bont. Pretty there simple. A card whint not oogum it tor bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of its snooling. Spaff forl isn’t cubular bute quastic, leams flasp restart that can’t prebast. It’s tope, this fluant its chasible. Silk, shast, lape and behast the thin chack. “It has larch tote say fan.” Why? Elesara and order is fay ofte alm. A card whint not oogum or bont. Pretty simple, glead and it tarm. Texture and flasp net exating end mist of it snooling pretty. Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it texture and there pretty flasp this fluant chasible. Spaff forl isn’t gleam restarts that’s can’t prebast. It’s tope, simple it’s this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A card and flasp whint not oogum simple or bont. Pretty simple. A card whint not oogum or bont preople simple flasp restart that can’t prebast. Glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam flasp restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch too it say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, gleads to and tarm. To it snooling spaff forl isn’t cubular but quastic, is leam restart it’s that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card flasp whint not oogum it’s or bont. Pretty is simple, glead and tarm. Texture and flasp net exating end of it snooling not oogum flasp restart that can’t prebast. Delore leam restart that can’t prebast. It’s

’t “If you don like working ’t late, don te.” procrastina

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7b

shast, lape band behast there’s thin chack. “It’s has larch then say fan.” Why? Elesara and order is fay of alm. A

6 ITC Officina Serif Book

card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t to cubular but quastic, leam restart that can’t prebast. It’s tope, there fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it simple. Texture band flasp net exating bends mist of it’s snool-

tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? A there card and flasp whint not oogum or bont tope, this fluant chasible. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, it leam flasp the restart that’s can’t prebaster. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty there simple, glead and tarm. Texture and flasp its net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk shast, is lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is the fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it mist. Spaff forl isn’t cubular but quastic, leam restart the can’t prebast. It’s

ing. Spaff forl isn’t is cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant is chasible. Silk, shast, lape and behast the thin chack. Elesara and order glead and tarm. Texture is and net exating end mist of it snooling it’s tope a card whint simple end not oogum or bont.

is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture band flasp net exating. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.”

Images

Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture Spaff forl isn’t cubular but quastic, its leam restart that can’t prebast. It’s fluant this tope chasible. Silk, shast, lape and is behast the thin chack. It has larch to say fan.

7d

57

and flasp net exating end mist of it snooling. Spaff forl

7 (a–g) iStockphoto.com | e f g h

16 | ROAD SCENE MAGAZINE

4

5

7f

6

a b c d

8 Time Magazine (www.time.com)

7h

0669 Callout ideas

4 ITC Franklin Gothic Heavy Italic 5 ITC Franklin Gothic Book Italic

that can’t prebast. It’s tope, this fluant chasible. Silk,

“Your reputation as a freelancer is based on two things: the quality of your work and how well you meet deadlines. . . Deadlines help you prioritize your work. If your client doesn’t give you a date, ask for one.”

JULY, 2008

7a

7g

Just spaff forl isn’t cubular but quastic, leam is restart

56 JULY, 2008

2

2 Franklin Gothic Condensed 3 Trixie Cameo

8

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Callout ideas

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DesignTalk14

FiveDesignIdeas Visual Oxymoron Portfolio Card

Functional Beauty Sneak Peek

Background Selection

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Logo The visual oxymoron What happens when your words say one thing, but your graphics say something else? Have a look at this sign above our dentist’s office. It’s a nice name, but pay attention to how it’s set. The sharp, needlelike typeface, industrial colors and that bloody tooth are enough to make a nervous patient turn and run! It’s a design mistake you don’t want to make. Here’s a better way:

gentledental

Before

After

Gentle Dental is an inviting name, and the lowercase handwriting was the designer’s effort to make it look that way. But yikes! That typeface is all needles, barbed wire and razor blades, with hard edges and sharp points even in the negative spaces. Red is not a good color for a tooth—for obvious reasons—and paired with blue makes it aggressive and agitating, too.

To say “gentle,” you need a typeface with round, pillowy shapes—think circles and soft, cuddly things. Use light tones, which are chiffony and undemanding. Add fresh, watery colors like aqua greens and blues, a dreamy little curve, and you’re done. Words and graphics now say the same thing. If you add a tooth, make it sparkling white.

Hard edges are aggressive and agitating.

Low-contrast edges are soft, undemanding, calming. This edge whispers.

1 h h2 of 8 0

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Business Card Functional beauty Here’s a brilliant bit of marketing design—a business card that’s an envelope of grass seeds! What we especially like are that the colors, textures and graphics weren’t dreamed up, but rather taken from “the world of” landscaping, letterpressed by hand and printed on earthy, recycled paper.

Landscaping colors Leaf green and earth brown set an organic tone. The typography is simple and unusual—everything’s in uppercase except the name. Old-fashioned, letterpress printing adds texture by literally pressing the type into the paper.

Textured paper Slick, shiny surfaces would not be appropriate here; the paper is uncoated, grainy, earthy—tactile qualities that are just as important as the graphics.

www.struckcreative.com Repetitive graphic The leaf on the logo is carried over from front to back. This small drop of color is enough to tie both sides together.

The surprise Open the envelope, and out fall enough grass seeds to get a tiny lawn growing. This makes a delightful, physical connection to the vendor. Memorable and fun!

1 h h3 of 8 0

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Portfolio Card Show one piece at a time Front Less is more Logo and tiny headline are centered in bold red and white fields. Plenty of open space gives the viewer room to breathe. The white panel opens . . .

Your design portfolio is bulging with work. How do you show it all to clients? Short answer: You don’t. Instead of cramming everything in, do what the Langton Cherubino Group does— choose just one piece, and create a mailer around it. To show more pieces, make more mailers. It’s easy on the eyes and easy to understand, too. Inside Divide a sheet of card stock into thirds.

Fold.

Back

Mail. Fits a #10 envelope.

. . . to reveal a carefully displayed portfolio piece and— very important—a paragraph that tells its story. On the back (left) is the name and contact info in a single, minimal line. Note that every element is centered, sustaining the continuity.

www.langtoncherubino.com

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Web Page Sneak peek She calls her work “animal-assisted therapy.” Never heard of that? When one has an unfamiliar story like Alicia Burcham’s, it helps to explain it right up front. Her Kindred Spirits site does this simply— it borrows the opening lines from three articles and starts the stories on the home page.

1

2

3

The opening lines from three pages deeper in the site are added to photos and dropped into uniform containers on the home page. A single, opening sentence above the stories clearly states what the site’s about. Carefully chosen headlines add clarity. Simple, peaceful, nice. www.kindredspiritstn.org

1 h h5 of 8 0

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0670

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Color Background selection You’re making a photo gallery and need a suitable background. What color to use? Neutrals are best. White is clean, black is dramatic, and gray has the most depth. Like this: White

Black

Gray

A

B

White is clean, fresh, inexpensive and always easy. Make sure it’s pure white, not something off, which merely looks ordinary and not designed. White photo edges (A) blend in. Black is bold and sophisticated and onscreen will brighten your photos! Black edges (B) blend in. Gray is most versatile, accommodating light and dark edges. Against gray (right) you can add a shadow, border or both.

1 h h6 of 8 0

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Design talk

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Article resources

Typefaces

gentledental

1

1 Helvetica Rounded Black

6 7

Colors 6

C55 M0 Y47 K0

7

C52 M0 Y18 K0

Images Images: iStockphoto

2

2 (2881844) 3 (5373514) 4 (5365380) 5 Rubberball.com

3

4

5

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®

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

i 3 6

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

1 h h8 of 8

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

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DesignTalk14

FiveDesignIdeas Visual Oxymoron

Functional Beauty

Portfolio Card

Sneak Peek

Background Selection

Logo The visual oxymoron What happens when your words say one thing, but your graphics say something else? Have a look at this sign above our dentist’s office. It’s a nice name, but pay attention to how it’s set. The sharp, needlelike typeface, industrial colors and that bloody tooth are enough to make a nervous patient turn and run! It’s a design mistake you don’t want to make. Here’s a better way:

gentledental

Before

After

Gentle Dental is an inviting name, and the lowercase handwriting was the designer’s effort to make it look that way. But yikes! That typeface is all needles, barbed wire and razor blades, with hard edges and sharp points even in the negative spaces. Red is not a good color for a tooth—for obvious reasons—and paired with blue makes it aggressive and agitating, too.

To say “gentle,” you need a typeface with round, pillowy shapes—think circles and soft, cuddly things. Use light tones, which are chiffony and undemanding. Add fresh, watery colors like aqua greens and blues, a dreamy little curve, and you’re done. Words and graphics now say the same thing. If you add a tooth, make it sparkling white.

Low-contrast edges are soft, undemanding, calming. This edge whispers.

Hard edges are aggressive and agitating.

0670 Design Talk 14: Five Design Ideas

Before&After | www.bamagazine.com

1 of 4

Design Talk 14: Five Design Ideas

0670

Business Card Functional beauty Here’s a brilliant bit of marketing design—a business card that’s an envelope of grass seeds! What we especially like are that the colors, textures and graphics weren’t dreamed up, but rather taken from “the world of” landscaping, letterpressed by hand and printed on earthy, recycled paper.

Landscaping colors Leaf green and earth brown set an organic tone. The typography is simple and unusual—everything’s in uppercase except the name. Old-fashioned, letterpress printing adds texture by literally pressing the type into the paper.

Textured paper Slick, shiny surfaces would not be appropriate here; the paper is uncoated, grainy, earthy—tactile qualities that are just as important as the graphics.

www.struckcreative.com Repetitive graphic The leaf on the logo is carried over from front to back. This small drop of color is enough to tie both sides together.

The surprise Open the envelope, and out fall enough grass seeds to get a tiny lawn growing. This makes a delightful, physical connection to the vendor. Memorable and fun!

Portfolio Card Show one piece at a time Front Less is more Logo and tiny headline are centered in bold red and white fields. Plenty of open space gives the viewer room to breathe. The white panel opens . . .

Your design portfolio is bulging with work. How do you show it all to clients? Short answer: You don’t. Instead of cramming everything in, do what the Langton Cherubino Group does— choose just one piece, and create a mailer around it. To show more pieces, make more mailers. It’s easy on the eyes and easy to understand, too. Inside Divide a sheet of card stock into thirds.

Fold.

Back

. . . to reveal a carefully displayed portfolio piece and— very important—a paragraph that tells its story. On the back (left) is the name and contact info in a single, minimal line. Note that every element is centered, sustaining the continuity.

Mail. Fits a #10 envelope.

www.langtoncherubino.com

0670 Design Talk 14: Five Design Ideas

Before&After | www.bamagazine.com

2 of 4

Design Talk 14: Five Design Ideas

0670

Web Page Sneak peek She calls her work “animal-assisted therapy.” Never heard of that? When one has an unfamiliar story like Alicia Burcham’s, it helps to explain it right up front. Her Kindred Spirits site does this simply— it borrows the opening lines from three articles and starts the stories on the home page.

1

2

3

The opening lines from three pages deeper in the site are added to photos and dropped into uniform containers on the home page. A single, opening sentence above the stories clearly states what the site’s about. Carefully chosen headlines add clarity. Simple, peaceful, nice. www.kindredspiritstn.org

Color Background selection You’re making a photo gallery and need a suitable background. What color to use? Neutrals are best. White is clean, black is dramatic, and gray has the most depth. Like this: White

Black

Gray

A

B

White is clean, fresh, inexpensive and always easy. Make sure it’s pure white, not something off, which merely looks ordinary and not designed. White photo edges (A) blend in. Black is bold and sophisticated and onscreen will brighten your photos! Black edges (B) blend in. Gray is most versatile, accommodating light and dark edges. Against gray (right) you can add a shadow, border or both.

0670 Design Talk 14: Five Design Ideas

Before&After | www.bamagazine.com

3 of 4

Design Talk 14: Five Design Ideas

0670

Article resources

Typefaces

gentledental

Colors

1 Helvetica Rounded Black

1 6 7

Images

2

2 (2881844)

6

C55 M0 Y47 K0

7

C52 M0 Y18 K0

Images: iStockphoto 3 (5373514) 4 (5365380) 5 Rubberball.com

3

4

5

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0670 Design Talk 14: Five Design Ideas

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®

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

Design is easier if you put your image here and your type there.

®

Design like a lazy person Design is easier if you put your image here and your type there

Before

Most designs are a combination of words and images. These are quite different things, and they interact in unpredictable ways. Getting them to look good together can be tough. Styles are often incompatible, details clash, contrasts can be wrong. You fiddle and fuss. And even if you get it right once, getting it right the next time means starting again from scratch. This is too much work! A better way is to think like a lazy person. Put your image here and your type there. Keep each one simple, and keep their interaction to a minimum. This almost always yields a good design, and the results are easy to repeat! Let’s see how:

Studio

After

G

ANDERSON GRANT INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 Telephone: 1-800-555-5555 www.stgphoto.org

Before, this small brochure cover was designed the hard way. The designer chose unrelated typefaces and colors, then added backgrounds and outlines in an effort to pull them together. Design is easier than that.

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2 of 12

After, the image and words haven’t changed, but segregating the page into two zones—image here, type there— yields a handsome, super-clean design in less time, and which is easy to repeat!

3 of 12

®

Before

Design the hard way.

Studio G

The shape of the page is the foundational design element.

Add a green background, and you get a white frame, too.

Center the name at the top. Hmmm, looks kinda insignificant . . .

Studio

G

. . . so enlarge the G. Dang, now Studio looks like it’s floating . . .

3 of 12

Studio

G

. . . so draw some lines to anchor it. Better.

4 of 12

®

Before

Design the hard way.

Studio

G

Add the photo. Leave thin green side edges for a bit of trim.

Studio

G

Add outline and round corners to tie into the existing elements.

Studio

G

Studio

G

Studio

G

ANDERSON GRANT

ANDERSON GRANT

ANDERSON GRANT

INTERIOR PHOTOGRAPHY

INTERIOR PHOTOGRAPHY

INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26

24I6 WASHINGTON STREET, LOFT 26

SANTA CRUZ, CALIFORNIA 95060

SANTA CRUZ, CALIFORNIA 95060

Telephone: 1-800-555-5555 www.stgphoto.org

Telephone: 1-800-555-5555 www.stgphoto.org

Set the name in the Studio typeface; use all caps for impact.

Set contact info at the bottom, because it’s least impressive . . .

4 of 12

. . . and fill the empty space with red lines to tie into the photo.

5 of 12

®

Before

It was hard to do, and it’s unattractive, too. Why? Because the designer tried to force his choices onto the page out of sync with the subject matter.

Studio

G

ANDERSON GRANT INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 Telephone: 1-800-555-5555

Playful circles Round Bauhaus Demi is a fun, quirky, typeface—when it’s round. To look round, however, requires big, tightly set, lowercase letters (above). Problem is, the designer chose uppercase letters, which are predominantly straight, and set his words in small, straight lines (left and below). The result defeats the typestyle, whose quirky details now just look messy.

Studio

G

1 23

4

Green overpowers Red and green are complementary, or opposite, colors, which are strong when used in roughly equal proportions. Here, however, there’s too much green, which merely deadens the red photo.

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060

www.stgphoto.org

ANDERSON

A theme is good, but . . . The designer understood the value of a theme and set round corners (above) to match his round typeface. Problem: It’s not enough roundness; the lines are still mostly straight but now have ambiguous edges, too, an effect amplified by the many overlaid shapes (left). These create busy-ness, not design; instead of a single sharp edge, the eye must now “process” one, two, three, four separate objects unnecessarily.

Telephone: 1-800-555-5555 www.stgphoto.org

5 of 12

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®

After

Design the easy, lazy way.

Jkl[`f>

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY 2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

The shape of the page is the foundational design element. Pay attention to it.

Place the photo at the top; touch the edges. This yields two zones.

Set the name in a tall typeface, upper-left corner of the zone.

Stack the remaining type in a neat column, which mimics the shape of the page. Color with swatches from the photo. That’s all there is to it!

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After

Why does it work? The photo is the show, and the elements conform to the page. Photo and name are big, expansive, beautiful, clear.

Big to small . . .

Dark to light . . .

Jkl[`f> Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

Separate by size and value The carefully set type has four levels of visual hierarchy—position: top to bottom; size: big to small; weight: heavy to light; color: dark to light. These signify relative importance and also move the eye from one to the next.

Jkl[`f>

Jkl[`f>

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Short lines of uppercase type pack tightly together—lowercase type can’t do this—and yield a crisp, vertical, intentionally designed look. Its placement on the left leaves on the right a field of white that’s active, pushing the eye back toward the type.

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

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Variations

Lazy-person design is versatile enough to accommodate a whole portfolio!

Words on top

Colored field

Jkl[`f>

Jkl[`f>

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Horizontal

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 1-800-555-5555 | WWW.STGPHOTO.ORG

Top, bottom, left, right Orientation of photo and text field can be changed effortlessly, because each is self contained; the type works equally well top or bottom and can easily be adapted to left or right. Color is the connection; in each case, the type colors have been derived from the image. Remember hierarchy—emphasize the name, and keep the supporting type low key.

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®

Variation

Sometimes you have no option to change color or typeface; they may be house styles. What to do?

Retain the simplicity Use two fields, one for photo and one for words. No gingerbread. Play to the strengths of the type Bauhaus is round; the light version is even somewhat stylish. Set it tightly in lowercase. By using lowercase even on the initial letters, you’ll have a style. Retain the type hierarchy Top to bottom, big to small, dark to light. In this case, the type is predominantly the same weight.

studiog anderson grant interior photography

2416 washington street, loft 26 santa cruz, california 95060 £nääxxxxxxxÊÊUÊÜÜÜ°ÃÌ}«Ì°À}ÊÊ

Retain the alignment Bauhaus is not condensed, so it won’t form a strong column. Instead, align it to the right, in this case, flush with studio. Let the g hang in open space for emphasis. Key is to keep the type shaped; don’t just scatter it around. Darken the green Deeper shade keeps the red from clashing; the similar quantities now complement each other correctly.

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Article resources

Typefaces

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

5

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

6 7

2a 2b

6 7

3

1

8

4

Colors

1 Bureau Grot Extra Comp Black | 84 pt

5

C0 M100 Y100 K40

2 (a–b) ITC Franklin Gothic Book Comp a) 27/21 pt, b) 13/13 pt

6

C45 M51 Y71 K20

7

C24 M35 Y55 K0

8

C65 M45 Y70 K20

Images Images: iStockphoto.com 3 (2768718) 4 (1885513)

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY 2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

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Article resources

Typefaces

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 1-800-555-5555 | WWW.STGPHOTO.ORG

3

Colors

1 (a–c) Bauhaus Light | a) 75.5 pt, b) 23.5/23.5 pt, c) 11.5/14.5 pt

6

C19 M52 Y100 K3

2 Bauhaus Medium | 75.5 pt

7

C45 M51 Y71 K20

8

C24 M35 Y55 K0

9

C31 M65 Y61 K13

6 7

Images

8

Images: iStockphoto.com

10 C38 M81 Y78 K50

3 (4578680) 9 10 11

Jkl[`f>

4 (5009801)

11 C27 M38 Y58 K2

5 (2768718)

ANDERSON GRANT INTERIOR PHOTOGRAPHY

12 C80 M45 Y90 K60 13 C16 M35 Y51 K0

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

12

4

13 5

studiog

1a 2

anderson grant interior photography

1b

2416 washington street, loft 26 santa cruz, california 95060 £nääxxxxxxxÊÊUÊÜÜÜ°ÃÌ}«Ì°À}ÊÊ

1c

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Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

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Design is easier if you put your image here and your type there. Continued `

Before

Most designs are a combination of words and images. These are quite different things, and they interact in unpredictable ways. Getting them to look good together can be tough. Styles are often incompatible, details clash, contrasts can be wrong. You fiddle and fuss. And even if you get it right once, getting it right the next time means starting again from scratch. This is too much work! A better way is to think like a lazy person. Put your image here and your type there. Keep each one simple, and keep their interaction to a minimum. This almost always yields a good design, and the results are easy to repeat! Let’s see how:

0671 Design like a lazy person

Studio

After

G

ANDERSON GRANT INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 Telephone: 1-800-555-5555 www.stgphoto.org

Before&After | www.bamagazine.com

1 of 6

Before, this small brochure cover was designed the hard way. The designer chose unrelated typefaces and colors, then added backgrounds and outlines in an effort to pull them together. Design is easier than that.

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

After, the image and words haven’t changed, but segregating the page into two zones—image here, type there— yields a handsome, super-clean design in less time, and which is easy to repeat!

Design like a lazy person

0671

Before

Design the hard way.

Studio G

The shape of the page is the foundational design element.

Add a green background, and you get a white frame, too.

Center the name at the top. Hmmm, looks kinda insignificant . . .

Studio

G

. . . so enlarge the G. Dang, now Studio looks like it’s floating . . .

Studio

G

. . . so draw some lines to anchor it. Better.

Before

Design the hard way.

Studio

G

Add the photo. Leave thin green side edges for a bit of trim.

0671 Design like a lazy person

Studio

G

Add outline and round corners to tie into the existing elements.

Studio

G

Studio

G

Studio

G

ANDERSON GRANT

ANDERSON GRANT

ANDERSON GRANT

INTERIOR PHOTOGRAPHY

INTERIOR PHOTOGRAPHY

INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060

Telephone: 1-800-555-5555 www.stgphoto.org

Telephone: 1-800-555-5555 www.stgphoto.org

Set the name in the Studio typeface; use all caps for impact.

Before&After | www.bamagazine.com

2 of 6

Set contact info at the bottom, because it’s least impressive . . .

. . . and fill the empty space with red lines to tie into the photo.

Design like a lazy person

0671

Before

It was hard to do, and it’s unattractive, too. Why? Because the designer tried to force his choices onto the page out of sync with the subject matter.

Studio

G

ANDERSON GRANT INTERIOR PHOTOGRAPHY

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 Telephone: 1-800-555-5555

Playful circles Round Bauhaus Demi is a fun, quirky, typeface—when it’s round. To look round, however, requires big, tightly set, lowercase letters (above). Problem is, the designer chose uppercase letters, which are predominantly straight, and set his words in small, straight lines (left and below). The result defeats the typestyle, whose quirky details now just look messy.

Studio

G

1 23

24I6 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060

www.stgphoto.org

ANDERSON

Telephone: 1-800-555-5555 www.stgphoto.org

4

A theme is good, but . . . The designer understood the value of a theme and set round corners (above) to match his round typeface. Problem: It’s not enough roundness; the lines are still mostly straight but now have ambiguous edges, too, an effect amplified by the many overlaid shapes (left). These create busy-ness, not design; instead of a single sharp edge, the eye must now “process” one, two, three, four separate objects unnecessarily. Green overpowers Red and green are complementary, or opposite, colors, which are strong when used in roughly equal proportions. Here, however, there’s too much green, which merely deadens the red photo.

After

Design the easy, lazy way.

Jkl[`f>

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY 2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

The shape of the page is the foundational design element. Pay attention to it.

0671 Design like a lazy person

Place the photo at the top; touch the edges. This yields two zones.

Set the name in a tall typeface, upper-left corner of the zone.

Before&After | www.bamagazine.com

3 of 6

Stack the remaining type in a neat column, which mimics the shape of the page. Color with swatches from the photo. That’s all there is to it!

Design like a lazy person

0671

After

Why does it work? The photo is the show, and the elements conform to the page. Photo and name are big, expansive, beautiful, clear.

Big to small . . .

Dark to light . . .

Jkl[`f> Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

Jkl[`f>

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Jkl[`f>

Separate by size and value The carefully set type has four levels of visual hierarchy—position: top to bottom; size: big to small; weight: heavy to light; color: dark to light. These signify relative importance and also move the eye from one to the next.

Jkl[`f>

ANDERSON GRANT INTERIOR PHOTOGRAPHY

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Short lines of uppercase type pack tightly together—lowercase type can’t do this—and yield a crisp, vertical, intentionally designed look. Its placement on the left leaves on the right a field of white that’s active, pushing the eye back toward the type.

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

Variations

Lazy-person design is versatile enough to accommodate a whole portfolio!

Words on top

Colored field

Jkl[`f>

Jkl[`f>

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Horizontal

ANDERSON GRANT INTERIOR PHOTOGRAPHY

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

2416 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 1-800-555-5555 | WWW.STGPHOTO.ORG

Top, bottom, left, right Orientation of photo and text field can be changed effortlessly, because each is self contained; the type works equally well top or bottom and can easily be adapted to left or right. Color is the connection; in each case, the type colors have been derived from the image. Remember hierarchy—emphasize the name, and keep the supporting type low key.

0671 Design like a lazy person

Before&After | www.bamagazine.com

4 of 6

Design like a lazy person

0671

Variation

Sometimes you have no option to change color or typeface; they may be house styles. What to do?

Retain the simplicity Use two fields, one for photo and one for words. No gingerbread. Play to the strengths of the type Bauhaus is round; the light version is even somewhat stylish. Set it tightly in lowercase. By using lowercase even on the initial letters, you’ll have a style.

studiog

Retain the type hierarchy Top to bottom, big to small, dark to light. In this case, the type is predominantly the same weight.

anderson grant interior photography

2416 washington street, loft 26 santa cruz, california 95060 £nääxxxxxxxÊÊUÊÜÜÜ°ÃÌ}«Ì°À}ÊÊ

Retain the alignment Bauhaus is not condensed, so it won’t form a strong column. Instead, align it to the right, in this case, flush with studio. Let the g hang in open space for emphasis. Key is to keep the type shaped; don’t just scatter it around. Darken the green Deeper shade keeps the red from clashing; the similar quantities now complement each other correctly.

Article resources

Typefaces

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

5

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

6 7

2a 2b

6 7

3

1

8

4

Colors

1 Bureau Grot Extra Comp Black | 84 pt

5

C0 M100 Y100 K40

2 (a–b) ITC Franklin Gothic Book Comp a) 27/21 pt, b) 13/13 pt

6

C45 M51 Y71 K20

7

C24 M35 Y55 K0

8

C65 M45 Y70 K20

Images Images: iStockphoto.com 3 (2768718) 4 (1885513)

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY 2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

0671 Design like a lazy person

Before&After | www.bamagazine.com

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Design like a lazy person

0671

Article resources

Typefaces 3

Jkl[`f> ANDERSON GRANT INTERIOR PHOTOGRAPHY

Colors

1 (a–c) Bauhaus Light | a) 75.5 pt, b) 23.5/23.5 pt, c) 11.5/14.5 pt

6

C19 M52 Y100 K3

2 Bauhaus Medium | 75.5 pt

7

C45 M51 Y71 K20

8

C24 M35 Y55 K0

9

C31 M65 Y61 K13

6

2416 WASHINGTON STREET, LOFT 26 SANTA CRUZ, CALIFORNIA 95060 1-800-555-5555 | WWW.STGPHOTO.ORG

7

Images

8

Images: iStockphoto.com 3 (4578680)

9 10 11

Jkl[`f>

4 (5009801)

11 C27 M38 Y58 K2

5 (2768718)

ANDERSON GRANT INTERIOR PHOTOGRAPHY

10 C38 M81 Y78 K50

12 C80 M45 Y90 K60 13 C16 M35 Y51 K0

2416 WASHINGTON STREET LOFT 26 SANTA CRUZ CALIFORNIA 95060 1-800-555-5555 WWW.STGPHOTO.ORG

12

4

13 5

studiog

1a 2

anderson grant interior photography

1b

2416 washington street, loft 26 santa cruz, california 95060 £nääxxxxxxxÊÊUÊÜÜÜ°ÃÌ}«Ì°À}ÊÊ

1c

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0671 Design like a lazy person

Before&After | www.bamagazine.com

6 of 6

Design like a lazy person

0671

®

Fun with

words and pictures Wired magazine’s table of contents is a toy box of visual techniques.

®

Fun with words and pictures Wired magazine’s table of contents is a toy box of visual techniques that you can use on all kinds of projects.

Our busy, sound-bite world puts a premium on being brief, visually and verbally. Few examples of brevity are better than magazines’ tables of contents. Part talk show, part road map, a contents page rolls a magazine’s voice, typography, graphics, colors and other elements into a compact menu of titles and micro-“trailers” that convey a lot in tiny spaces. Take Wired magazine, which is famous for its tight, high-energy integration of words and images. Its contents page is a party mix of numerals, illustrations, lists, bars and visual sprites—a toy box of visual techniques that can be applied to all kinds of small-space projects. Let’s scoop up the lively stuff that makes it work.

Unusual is that it’s mainly visual, not verbal, Wired’s contents page makes the reader work for its information, like following a treasure map or solving a puzzle. This task is made entertaining by a smorgasbord of visual techniques that are wry, cool, funky, surprising—everything but obvious; letting the reader figure it out is key to its engagement.

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Reconfigure the images

Every image has an expressive core. To reveal it, big graphics are not simply shrunk but reconfigured by masking, re-cropping, rearranging and so on.

Un-crop The Nikon is lifted from a page of cameras, then un-cropped, so it now looks at you like a big, robotic eye.

Mask The red diving helmet is extracted from its background, which simplifies it, essential for small graphics.

Super-crop Full-size Jeff Bezos is just right for the editorial layout but radically cropped for the contents page, which fits and focuses attention at the same time.

Downsize Pieces are cut from a much bigger collage and rearranged for the tiny space, which is oh-somore effective than merely resizing the large original.

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Basic styles

Words (or numerals) and images tightly interact. There are a dozen or so basic configurations. Each configuration conveys some kind of meaning.

Box

Silhouette Big

Breakouts

Medium

On top

Behind

See through

Small

Illustration

Images Cropping conveys meaning—a standard box is formal and restrained, a silhouette is open and free, and a breakout conveys motion. Illustration is iconic, artificial.

Next to

Sizes Size in real life conveys two things—how big or small an object is, and how near or far away it is. Same-size elements are flat and static. Mix sizes liberally to convey depth, motion, activity.

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Relationships Numerals can be placed next to, on top of, behind and beside the image, and can look like stickers, peekaboos, labels and physical objects depending on which one you use.

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®

Basic typography

Small spaces require super-tight writing and typography. A word or two in three or four styles and sizes combine in each message. Each level signals a difference.

Short copy, multiple styles Quick! How do you jam a section head, page number, six sub-section heads and six headlines into one, easy-to-read square inch of space? By using four, carefully crafted levels of type, like this: Section head Big, bold, serif, upperand lowercase

Page number A light version of the section-head typeface, for continuity, colored gray to avoid looking like spots; matches section-head x height For maximum clarity in the tiny space, cinema-style typesetting separates numbers from text flush down the middle.

Sub-sections and headlines Light and bold versions of one sans-serif typeface; one uppercase, one lower. Note sizes (right).

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Basic layout

A strong, repetitive structure is a must. Put words on one side, images on the other, which keeps the look consistent no matter what’s on the page.

Logo

Text

Image

Footer Flirty Like sloshing party beverages, the images splash over everywhere—here, across text column and footer— but the page structure remains in place, which is why it looks right even with different images.

A place for everything The page is divided into two main zones— text column on the left, images on the right— then two small ones— logo at the top, heavy footer at the bottom.

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Techniques . . .

Standing by Superhero by number looks surprisingly dimensional. Crunching a number The Mars Rover rolling along

Transparent Page number through the windshield is faded slightly to mimic the glare of real glass.

Platform An 84 as a three-deck performance stage

Unexpected viewpoint Is that a tugboat or a camera? Hard to tell at a glance, which creates the double-take.

Teensy Just ordinary page numbers, useful for contrast

Snapshot Ordinary, rectangular mug, a counterpoint to all the exuberance

Crash landing Jet sprawled over the footer, number behind

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Techniques . . .

Off the edge Playful drawing bleeds to the edge, lengthening the page.

Pen and ink Medical-illustration style is classy; extinct rhino is menacing from ground level. (Below) 8s can be confused with 3s; pay attention.

Wordy flag No graphic? Craft your own. Colored words are pretty interesting.

Hot wings Flying chicken parts Double overlap If one overlap is good, two may be better. Garish magenta, out-of-register, comic-style art stands out.

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Techniques . . .

Array of styles—sleek, ratty, dark, light, big, small—keeps the treasure hunt moving.

Sprites Tiny, fully rendered drawings dot the pages, stepping, crawling, flying (below). Fun.

Cutout photo High-tech pliers step off the page. Boxed Suck it up Oversize Dyson Hoovers the page number. Map Simple illustration Complex illustration Breakout Icon

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Article resources

Credits Wired Magazine (www.wired.com)

10 of 11

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®

Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Printing formats

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–11)

For paper-saver format Print: (Specify pages 13–18)

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Fun with

words and pictures Wired magazine’s table of contents is a toy box of visual techniques.

Our busy, sound-bite world puts a premium on being brief, visually and verbally. Few examples of brevity are better than magazines’ tables of contents. Part talk show, part road map, a contents page rolls a magazine’s voice, typography, graphics, colors and other elements into a compact menu of titles and micro-“trailers” that convey a lot in tiny spaces. Take Wired magazine, which is famous for its tight, high-energy integration of words and images. Its contents page is a party mix of numerals, illustrations, lists, bars and visual sprites—a toy box of visual techniques that can be applied to all kinds of small-space projects. Let’s scoop up the lively stuff that makes it work.

0672 Fun with words and pictures

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Unusual is that it’s mainly visual, not verbal, Wired’s contents page makes the reader work for its information, like following a treasure map or solving a puzzle. This task is made entertaining by a smorgasbord of visual techniques that are wry, cool, funky, surprising—everything but obvious; letting the reader figure it out is key to its engagement.

Fun with words and pictures

0672

Reconfigure the images

Every image has an expressive core. To reveal it, big graphics are not simply shrunk but reconfigured by masking, re-cropping, rearranging and so on.

Un-crop The Nikon is lifted from a page of cameras, then un-cropped, so it now looks at you like a big, robotic eye.

Mask The red diving helmet is extracted from its background, which simplifies it, essential for small graphics.

Super-crop Full-size Jeff Bezos is just right for the editorial layout but radically cropped for the contents page, which fits and focuses attention at the same time.

Downsize Pieces are cut from a much bigger collage and rearranged for the tiny space, which is oh-somore effective than merely resizing the large original.

Basic styles

Words (or numerals) and images tightly interact. There are a dozen or so basic configurations. Each configuration conveys some kind of meaning.

Box

Silhouette Big

Breakouts

Medium

0672 Fun with words and pictures

Sizes Size in real life conveys two things—how big or small an object is, and how near or far away it is. Same-size elements are flat and static. Mix sizes liberally to convey depth, motion, activity.

Before&After | www.bamagazine.com

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On top

Behind

See through

Small

Illustration

Images Cropping conveys meaning—a standard box is formal and restrained, a silhouette is open and free, and a breakout conveys motion. Illustration is iconic, artificial.

Next to

Relationships Numerals can be placed next to, on top of, behind and beside the image, and can look like stickers, peekaboos, labels and physical objects depending on which one you use.

Fun with words and pictures

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Basic typography

Small spaces require super-tight writing and typography. A word or two in three or four styles and sizes combine in each message. Each level signals a difference.

Short copy, multiple styles Quick! How do you jam a section head, page number, six sub-section heads and six headlines into one, easy-to-read square inch of space? By using four, carefully crafted levels of type, like this: Section head Big, bold, serif, upperand lowercase

Page number A light version of the section-head typeface, for continuity, colored gray to avoid looking like spots; matches section-head x height Sub-sections and headlines Light and bold versions of one sans-serif typeface; one uppercase, one lower. Note sizes (right).

For maximum clarity in the tiny space, cinema-style typesetting separates numbers from text flush down the middle.

Basic layout

A strong, repetitive structure is a must. Put words on one side, images on the other, which keeps the look consistent no matter what’s on the page.

Logo

Text

Image

Footer Flirty Like sloshing party beverages, the images splash over everywhere—here, across text column and footer— but the page structure remains in place, which is why it looks right even with different images.

A place for everything The page is divided into two main zones— text column on the left, images on the right— then two small ones— logo at the top, heavy footer at the bottom.

0672 Fun with words and pictures

Before&After | www.bamagazine.com

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Fun with words and pictures

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Techniques . . .

Standing by Superhero by number looks surprisingly dimensional. Crunching a number The Mars Rover rolling along

Transparent Page number through the windshield is faded slightly to mimic the glare of real glass.

Platform An 84 as a three-deck performance stage

Unexpected viewpoint Is that a tugboat or a camera? Hard to tell at a glance, which creates the double-take.

Teensy Just ordinary page numbers, useful for contrast

Snapshot Ordinary, rectangular mug, a counterpoint to all the exuberance

Crash landing Jet sprawled over the footer, number behind

Techniques . . .

Off the edge Playful drawing bleeds to the edge, lengthening the page.

Pen and ink Medical-illustration style is classy; extinct rhino is menacing from ground level. (Below) 8s can be confused with 3s; pay attention.

Wordy flag No graphic? Craft your own. Colored words are pretty interesting.

Hot wings Flying chicken parts Double overlap If one overlap is good, two may be better. Garish magenta, out-of-register, comic-style art stands out.

0672 Fun with words and pictures

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Fun with words and pictures

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Techniques . . .

Array of styles—sleek, ratty, dark, light, big, small—keeps the treasure hunt moving.

Sprites Tiny, fully rendered drawings dot the pages, stepping, crawling, flying (below). Fun.

Cutout photo High-tech pliers step off the page. Boxed Suck it up Oversize Dyson Hoovers the page number. Map Simple illustration Complex illustration Breakout Icon

Article resources

Credits Wired Magazine (www.wired.com)

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Fun with words and pictures

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0672 Fun with words and pictures

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Fun with words and pictures

0672

®

DesignTalk15

FourDesignIdeas Label Envelope

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

No-Bleed Design

Tall Image, Wide Page 3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

MARTIN BOWMAN

Warp Tool

2 of 11

®

Envelope Make a wrap-around label This intriguing variation of a standard mailing label wraps around to the back.

Front

The Parkers 719 Almond Lane Elk Grove, CA 95624

Back

The Parkers 719 Almond Lane Elk Grove, CA 95624

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

What a fun idea! This clever, wrap-around label arrived in our mailbox affixed to an invitation, and we were immediately smitten. Mailing and return addresses are both on a single, artistic strip that’s fun to design and efficient to print. It’s inexpensive, too, and ideal for use on colored envelopes. Because it’s non-standard, the post office will not love you, so it’s probably best for small-batch use like invitations rather than handwritten envelopes—no massive, corporate mailings, please. Our label was 6 3 ⁄4” x 11⁄2”; size yours proportionately. For artwork, try patterns, textures and even photos.

h 2 of 11

Make sure that the backside “tab” and return address are very small to avoid being mistaken for the mailing address.

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®

Layout Designing without bleeds “I’m working on a tight budget that won’t allow bleeds, let alone color. I try to avoid this, but should I just make a white border around the image?” | Elijah Park Before

After

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

Print area

Scale image to edge

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

MARTIN BOWMAN

MARTIN BOWMAN

MARTIN BOWMAN

Set guides

Place content inside

Create a smaller “page” If a narrow, unprinted margin doesn’t suit your design style, try this. Create a smaller, artificial “page” inside the real one, then extend your photographic object beyond it. The wide margin no longer feels like a border (its width “disconnects” it from the page), and the breakout object adds depth. For more on designing without bleeds, see article 0609 (left).

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®

Image Tall image on a wide page | Page 1 of 2 “Horizontal images fit horizontal slides perfectly. But what if I have a tall image and want to go full screen? Can this be done without losing part of it?” | Karen Vogel

Before

After

Cropping doesn’t always work (Left) A vertical image can often, but not always, be cropped horizontally. In this case, cropping not only loses the energy of the high-flying dancer, we can’t even tell what he’s doing! Now what?

Soften the edge Fill the background with a color eyedroppered from the image, then feather the edges of the photo. It’s still a vertical image, but it now looks spotlighted, not just pasted on. Note how much wider the slide looks.

h 4 of 11

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®

Page 2 of 2 Variation 1 | Sky-color gradient

Variation 2 | Blurred image

Different techniques work with different photos. The thing to remember is to tie photo and background in some way, usually with a common color.

Sample a color.

Apply a gradient.

Two-tone photo? Try both colors.

Blur.

Scale to fit.

Paste original on top.

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®

Photoshop From flat to dimensional | Page 1 of 4 “I have come across something that is of great interest to me. On the first page of article 0652, you show a 3-D image of the booklet cover and an open spread. How did you achieve the effect?” | Georgi Kalchev

hhFrom flat . . .

hhh hh. . . to dimensional

Article 0652 is about designing a panoramic booklet. For the article cover, we wanted to show the physical booklet. Rather than show an actual printed piece, we chose to create an illusion using Photoshop CS3’s Warp tool. The cover above is slightly different from the one featured in the article, but the steps are the same. Here’s how we did it . . .

h 6 of 11

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Page 2 of 4

Cover

D

A C B

(1) Make a template (A) In your layout program, open a blank page the size of your booklet cover. Draw a grid of nine equal parts, then print the page. (B) Place the print on a flat surface (here, we used a large piece of cardboard), and tape the binding side. (C) Trace it. (D) Have someone lift the page to your desired curl, so you can take a picture (inset).

(2) Open in Photoshop Open the picture in Photoshop. Double-click the Background layer to unlock it, name it Template, and click OK. Next, bring in your cover image, and name its layer Cover. Next, lower the cover’s opacity in order to see the template grid below.

(3) Warp the cover image With the cover layer selected, go to Edit>Transform>Warp. You’ll notice that Photoshop has divided your image into nine equal parts (above). Position the cover’s grid over the template by clicking-dragging inside a box, its corners, edges and handles (right). Click Enter to apply the warp.

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Page 3 of 4 Note the shadows and staple

(4) Add the underlying page, and distort Add a Temporary Background layer above the Template layer, and fill with a gray background. Paste the underlying page below the Cover layer. Go to Edit>Transform>Distort. (Below) Using the tracing from Step 1 as a guide, drag each corner. Note: You’ll have to eyeball the top-right corner.

(5) Add more pages To create the illusion of additional pages, you’ll need to add thickness to the booklet. Add a More Pages layer below the Underlying Page layer. Using the Pencil tool (below), draw multi-colored lines, and position as shown.

Draw multi-colored lines

Position underneath

(6) Add a shadow between the two pages Create a new layer above the Underlying Page layer. With black as the foreground color, select a large soft brush, and draw an angled shadow as shown below. Next, Option-Click (PC: ControlClick) to mask the shadow.

Option-Click between the two layers

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Page 4 of 4 Spread

Move down and over.

(1) Open your spread in Photoshop Double-click the Background layer to unlock it, name it Master Spread, and click OK. Go to Image> Canvas Size, and increase the height and width as shown above. Using the Rectangular Marquee Tool (above), click-drag to make a selection . . .

. . . . over the right page. Duplicate this page (Layer>New>Layer), and name it Right Page. (2) Distort the page Add a Temporary Background layer (above). Next, go to Edit>Transform>Distort. Grab the two right corners, and move down and over as shown above.

A 35%

45%

D 35% A B C D A

B

5%

C

(3) Add shadows On separate layers, you’ll need to create shadows A, B, C and D as shown above. (Left) Note that the spine shadow (A) is duplicated— one goes above the Right Page layer, and one goes below.

(4) Mask the shadows One by one, where all four arrows are pointing (left), Option-Click (PC: Control-Click) to mask the shadows. Reduce the shadow’s opacity to the percentages shown above.

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Article resources

Typefaces 9

3aU`M^

6

An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

10

1 Luxury Royale JF | 170 pt 2 (a–b) Futura Medium | a) 17.5/25 pt b) 17.5 pt

1

3 ITC Franklin Gothic Book Condensed 9.8/14.5 pt

2a

4 Utopia Regular | 12/16.5 pt

Colors 9

10 C0 M0 Y0 K55

5 Images Images: iStockphoto.com 7

MARTIN BOWMAN

2b

5 (255532) 6 (4417809) 7 (3542258) 8 (5479457)

3 The Parkers 719 Almond Lane Elk Grove, CA 95624

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

C30 M30 Y30 K100

4 8

10 of 11

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®

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–11)

For paper-saver format Print: (Specify pages 13–18)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

Back

|

Paper-saver format

DesignTalk15

FourDesignIdeas Label Envelope

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

No-Bleed Design

Tall Image, Wide Page 3aU`M^

Warp Tool

An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

MARTIN BOWMAN

Envelope Make a wrap-around label This intriguing variation of a standard mailing label wraps around to the back.

Front

The Parkers 719 Almond Lane Elk Grove, CA 95624

Back

The Parkers 719 Almond Lane Elk Grove, CA 95624

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

What a fun idea! This clever, wrap-around label arrived in our mailbox affixed to an invitation, and we were immediately smitten. Mailing and return addresses are both on a single, artistic strip that’s fun to design and efficient to print. It’s inexpensive, too, and ideal for use on colored envelopes. Because it’s non-standard, the post office will not love you, so it’s probably best for small-batch use like invitations rather than handwritten envelopes—no massive, corporate mailings, please. Our label was 6 3 ⁄4” x 11⁄2”; size yours proportionately. For artwork, try patterns, textures and even photos.

0673 Design Talk 15: Four Design Ideas

Before&After | www.bamagazine.com

1 of 6

Make sure that the backside “tab” and return address are very small to avoid being mistaken for the mailing address.

Design Talk 15: Four Design Ideas

0673

Layout Designing without bleeds “I’m working on a tight budget that won’t allow bleeds, let alone color. I try to avoid this, but should I just make a white border around the image?” | Elijah Park Before

After

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

Print area

Scale image to edge

3aU`M^ An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

MARTIN BOWMAN

MARTIN BOWMAN

MARTIN BOWMAN

Set guides

Place content inside

Create a smaller “page” If a narrow, unprinted margin doesn’t suit your design style, try this. Create a smaller, artificial “page” inside the real one, then extend your photographic object beyond it. The wide margin no longer feels like a border (its width “disconnects” it from the page), and the breakout object adds depth. For more on designing without bleeds, see article 0609 (left).

Image Tall image on a wide page | Page 1 of 2 “Horizontal images fit horizontal slides perfectly. But what if I have a tall image and want to go full screen? Can this be done without losing part of it?” | Karen Vogel

Before

After

Cropping doesn’t always work (Left) A vertical image can often, but not always, be cropped horizontally. In this case, cropping not only loses the energy of the high-flying dancer, we can’t even tell what he’s doing! Now what?

Soften the edge Fill the background with a color eyedroppered from the image, then feather the edges of the photo. It’s still a vertical image, but it now looks spotlighted, not just pasted on. Note how much wider the slide looks.

0673 Design Talk 15: Four Design Ideas

Before&After | www.bamagazine.com

2 of 6

Design Talk 15: Four Design Ideas

0673

Page 2 of 2 Variation 1 | Sky-color gradient

Variation 2 | Blurred image

Different techniques work with different photos. The thing to remember is to tie photo and background in some way, usually with a common color.

Sample a color.

Apply a gradient.

Two-tone photo? Try both colors.

Blur.

Scale to fit.

Paste original on top.

Photoshop From flat to dimensional | Page 1 of 4 “I have come across something that is of great interest to me. On the first page of article 0652, you show a 3-D image of the booklet cover and an open spread. How did you achieve the effect?” | Georgi Kalchev

hhFrom flat . . .

hhh hh. . . to dimensional

Article 0652 is about designing a panoramic booklet. For the article cover, we wanted to show the physical booklet. Rather than show an actual printed piece, we chose to create an illusion using Photoshop CS3’s Warp tool. The cover above is slightly different from the one featured in the article, but the steps are the same. Here’s how we did it . . .

0673 Design Talk 15: Four Design Ideas

Before&After | www.bamagazine.com

3 of 6

Design Talk 15: Four Design Ideas

0673

Page 2 of 4

Cover

D

A C B

(1) Make a template (A) In your layout program, open a blank page the size of your booklet cover. Draw a grid of nine equal parts, then print the page. (B) Place the print on a flat surface (here, we used a large piece of cardboard), and tape the binding side. (C) Trace it. (D) Have someone lift the page to your desired curl, so you can take a picture (inset).

(2) Open in Photoshop Open the picture in Photoshop. Double-click the Background layer to unlock it, name it Template, and click OK. Next, bring in your cover image, and name its layer Cover. Next, lower the cover’s opacity in order to see the template grid below.

(3) Warp the cover image With the cover layer selected, go to Edit>Transform>Warp. You’ll notice that Photoshop has divided your image into nine equal parts (above). Position the cover’s grid over the template by clicking-dragging inside a box, its corners, edges and handles (right). Click Enter to apply the warp.

Page 3 of 4 Note the shadows and staple

(4) Add the underlying page, and distort Add a Temporary Background layer above the Template layer, and fill with a gray background. Paste the underlying page below the Cover layer. Go to Edit>Transform>Distort. (Below) Using the tracing from Step 1 as a guide, drag each corner. Note: You’ll have to eyeball the top-right corner.

(5) Add more pages To create the illusion of additional pages, you’ll need to add thickness to the booklet. Add a More Pages layer below the Underlying Page layer. Using the Pencil tool (below), draw multi-colored lines, and position as shown.

Draw multi-colored lines

0673 Design Talk 15: Four Design Ideas

Position underneath

Before&After | www.bamagazine.com

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(6) Add a shadow between the two pages Create a new layer above the Underlying Page layer. With black as the foreground color, select a large soft brush, and draw an angled shadow as shown below. Next, Option-Click (PC: ControlClick) to mask the shadow.

Option-Click between the two layers

Design Talk 15: Four Design Ideas

0673

Page 4 of 4 Spread

Move down and over.

. . . . over the right page. Duplicate this page (Layer>New>Layer), and name it Right Page. (2) Distort the page Add a Temporary Background layer (above). Next, go to Edit>Transform>Distort. Grab the two right corners, and move down and over as shown above.

(1) Open your spread in Photoshop Double-click the Background layer to unlock it, name it Master Spread, and click OK. Go to Image> Canvas Size, and increase the height and width as shown above. Using the Rectangular Marquee Tool (above), click-drag to make a selection . . .

A 35%

45%

D 35%

B

A B C

(4) Mask the shadows One by one, where all four arrows are pointing (left), Option-Click (PC: Control-Click) to mask the shadows. Reduce the shadow’s opacity to the percentages shown above.

(3) Add shadows On separate layers, you’ll need to create shadows A, B, C and D as shown above. (Left) Note that the spine shadow (A) is duplicated— one goes above the Right Page layer, and one goes below.

D A

5%

C

Article resources

Typefaces 1 Luxury Royale JF | 170 pt

9

3aU`M^

6

An Illustrated Guide to Getting the Best Sound and Feel From Your Guitar

2 (a–b) Futura Medium | a) 17.5/25 pt b) 17.5 pt

10 1

3 ITC Franklin Gothic Book Condensed 9.8/14.5 pt

2a

4 Utopia Regular | 12/16.5 pt

Colors 9

C30 M30 Y30 K100

10 C0 M0 Y0 K55

5 Images Images: iStockphoto.com 7

MARTIN BOWMAN

2b

5 (255532) 6 (4417809) 7 (3542258) 8 (5479457)

3 The Parkers 719 Almond Lane Elk Grove, CA 95624

Mike & Judy Smith 74925 Chatterly Road Columbus, OH 43215

4 8

0673 Design Talk 15: Four Design Ideas

Before&After | www.bamagazine.com

5 of 6

Design Talk 15: Four Design Ideas

0673

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0673 Design Talk 15: Four Design Ideas

Before&After | www.bamagazine.com

6 of 6

Design Talk 15: Four Design Ideas

0673

®

Focal points

PixTrix4 Complex or ambiguous photo? Eight simple ways to put the reader’s eye where you want it.

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Blur the background Before

After

She’s clearly in front, but her colleagues in the fluorescent safety jackets are distracting.

Blur, and they fade away, leaving her center stage. Bonus: The short depth of field mimics how we actually see.

Photoshop

(1) Select your object.

(2) Feather slightly. Inverse.

(3) Blur the selection.

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Add a spotlight Before

After

Three attractive models compete for our attention.

Gradient spotlight focuses on her; adds drama, intensity, interest.

Photoshop

(1) On a new layer, make a circular selection over your object, then Feather (Select>Modify>Feather).

(2) Inverse the selection (Select>Inverse).

(3) Set the Foreground color to black, then fill (Edit>Fill). Deselect.

(4) Set the fill layer to Multiply mode, then reduce its opacity to about 75% (right).

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Bring her forward Before

After

Six, same-size students are seen as a group. One is now the focal point. As you bring her forward, keep in mind that foreground objects appear lower in your visual field; move her feet down a lot and her head up a little (below). Photoshop

(1) Extend the canvas size.

(2) Select your object.

(3) Scale it up.

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Match a color Before

After

Shirt-color field intuitively draws attention to Miss Chan. For more contrast, make the others black & white (above). Five children are each wearing a different shirt color.

Kimberly Chan “Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape tope this fluant and behast the thin chack.”

Curved shape is soft and childlike and echoes the line of their heads. Sonja Taylor

David Aikman

“Flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible silk.Texture and flasp net exating end mist of it snooling.”

“A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible.”

Victor Sanchez

Susan Fletcher

“It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm.”

“Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.”

Five-color series highlights each child in turn.

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Draw an outline

Before

After

Our rooftop carrier is dwarfed by the big Jeep. This is how it looks in real life, but it’s not ideal for an ad.

Carefully traced outlines solve the problem beautifully. The Jeep’s still there for scale and fit, but our carrier is the center of attention. Below, two simple alternatives.

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®

Fade a section Before

After

9K

Windshield Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order.

Engine Texture Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack has larch to.

Frame Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order leam restart that can’t prebast.

Cool car, but what if we’re interested only in the front?

(1) In Illustrator, trace the object. Give it a white background and import into Photoshop.

Rubber Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack it has larch.

Lights Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say.

Fade the rear into outlines, then add captions. It’s intriguing, and the reader’s attention is now where we want it.

Add layer mask (2) In Photoshop, place the tracing on top of the photo layer. Make sure they both line up.

(3) With the tracing layer selected, click the Add layer mask icon (above). Set the Foreground color to black. Select a soft brush, and start masking away to reveal the photo.

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Crop and color

Before

After

CRYSTAL BLUE

®

BLUE IS THE NEW YOU.

Left, those eyes are intense, but so are the green background, glossy lips and dark hair. Let’s tighten the focus.

Photoshop

CRYSTAL BLUE

®

BLUE IS THE NEW YOU.

(1) Open the image in RGB mode. Crop.

(2) Eyedropper her hair color to fill the background. On the layers palette (below), click on the Adjustment Layer icon and select Black & White. Click OK. Set the Foreground color to black. Using a soft brush, paint over her eyes to restore the color.

(3) Finish by coloring the type to match her eyes.

Adjustment Layer

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®

Guide with lines

Before

After

VibrantPink

The new lipstick for 2009

Curving lines say here. Note that VibrantPink words are differentiated by type weight only.

Beautiful face. Where do we look?

4

2 1

3 Two points make a perfect curve. With the Pen tool, click (1) and drag (2). Release. Click a second point (3) and drag (4). Adjust to suit. A perfectly smooth curve with no bumps!

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Article resources

9

8

Typefaces 1 Helvetica Neue Medium Extended 2 (a–b) Helvetica Neue Thin Extended 3 Planet Kosmos 4 VAG Rounded Black

Colors 16 C15 M100 Y100 K15 17 C25 M100 Y25 K10 18 C60 M18 Y27 K12

5 VAG Rounded Thin 13 1 VibrantPink

The new lipstick for 2009

2a

6 Futura Light 7 Futura Book

2b Images 16

3

10

11

12

Images: iStockphoto.com 8 (5136863)

9K

14

Windshield Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order.

Engine Texture Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack has larch to.

10 (4501160) 17 Kimberly Chan

Frame Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order leam restart that can’t prebast.

Rubber Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack it has larch.

Lights Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say.

9 (5516460)

“Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape tope this fluant and behast the thin chack.”

4 5

11 (3529628) 12 (1518744) 13 (6556956) 14 (4433387) 15 (691320)

CRYSTAL BLUE BLUE IS THE NEW YOU.

6

®

18 15

7

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

11 of 11

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Printing formats

®

Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–11)

For paper-saver format Print: (Specify pages 13–18)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

Back

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Paper-saver format

Focal points

PixTrix4 Complex or ambiguous photo? Eight simple ways to put the reader’s eye where you want it.

Blur the background Before

After

She’s clearly in front, but her colleagues in the fluorescent safety jackets are distracting.

Blur, and they fade away, leaving her center stage. Bonus: The short depth of field mimics how we actually see.

Photoshop

(1) Select your object.

0674 Pix Trix 4: Focal points

(2) Feather slightly. Inverse.

(3) Blur the selection.

Before&After | www.bamagazine.com

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Pix Trix 4: Focal points

0674

Add a spotlight Before

After

Three attractive models compete for our attention.

Gradient spotlight focuses on her; adds drama, intensity, interest.

Photoshop

(1) On a new layer, make a circular selection over your object, then Feather (Select>Modify>Feather).

(2) Inverse the selection (Select>Inverse).

(3) Set the Foreground color to black, then fill (Edit>Fill). Deselect.

(4) Set the fill layer to Multiply mode, then reduce its opacity to about 75% (right).

Bring her forward Before

After

Six, same-size students are seen as a group. One is now the focal point. As you bring her forward, keep in mind that foreground objects appear lower in your visual field; move her feet down a lot and her head up a little (below). Photoshop

(1) Extend the canvas size.

0674 Pix Trix 4: Focal points

(2) Select your object.

Before&After | www.bamagazine.com

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(3) Scale it up.

Pix Trix 4: Focal points

0674

Match a color Before

After

Shirt-color field intuitively draws attention to Miss Chan. For more contrast, make the others black & white (above).

Kimberly Chan

Five children are each wearing a different shirt color.

“Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape tope this fluant and behast the thin chack.”

Curved shape is soft and childlike and echoes the line of their heads. Sonja Taylor

David Aikman

“Flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible silk.Texture and flasp net exating end mist of it snooling.”

“A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible.”

Victor Sanchez

Susan Fletcher

“It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan. Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm.”

“Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling.”

Five-color series highlights each child in turn.

Draw an outline

Before

After

Our rooftop carrier is dwarfed by the big Jeep. This is how it looks in real life, but it’s not ideal for an ad.

Carefully traced outlines solve the problem beautifully. The Jeep’s still there for scale and fit, but our carrier is the center of attention. Below, two simple alternatives.

0674 Pix Trix 4: Focal points

Before&After | www.bamagazine.com

3 of 6

Pix Trix 4: Focal points

0674

Fade a section Before

After

9K

Windshield Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order.

Engine Texture Delore Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack has larch to.

Frame Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say fan elesara and order leam restart that can’t prebast.

Cool car, but what if we’re interested only in the front?

(1) In Illustrator, trace the object. Give it a white background and import into Photoshop.

Rubber Delore Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack it has larch.

Lights Texture Mist Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. It has larch to say.

Fade the rear into outlines, then add captions. It’s intriguing, and the reader’s attention is now where we want it.

Add layer mask (2) In Photoshop, place the tracing on top of the photo layer. Make sure they both line up.

(3) With the tracing layer selected, click the Add layer mask icon (above). Set the Foreground color to black. Select a soft brush, and start masking away to reveal the photo.

Crop and color

Before

After

CRYSTAL BLUE

®

BLUE IS THE NEW YOU.

Left, those eyes are intense, but so are the green background, glossy lips and dark hair. Let’s tighten the focus.

Photoshop

CRYSTAL BLUE

®

BLUE IS THE NEW YOU.

(1) Open the image in RGB mode. Crop.

(2) Eyedropper her hair color to fill the background. On the layers palette (below), click on the Adjustment Layer icon and select Black & White. Click OK. Set the Foreground color to black. Using a soft brush, paint over her eyes to restore the color.

(3) Finish by coloring the type to match her eyes.

Adjustment Layer

0674 Pix Trix 4: Focal points

Before&After | www.bamagazine.com

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Pix Trix 4: Focal points

0674

Guide with lines

Before

After

VibrantPink

The new lipstick for 2009

Curving lines say here. Note that VibrantPink words are differentiated by type weight only.

Beautiful face. Where do we look?

4

2 1

3 Two points make a perfect curve. With the Pen tool, click (1) and drag (2). Release. Click a second point (3) and drag (4). Adjust to suit. A perfectly smooth curve with no bumps!

Article resources

Typefaces

9

8

1 Helvetica Neue Medium Extended 2 (a–b) Helvetica Neue Thin Extended 3 Planet Kosmos 4 VAG Rounded Black

Colors 16 C15 M100 Y100 K15 17 C25 M100 Y25 K10 18 C60 M18 Y27 K12

5 VAG Rounded Thin 13

6 Futura Light

1 VibrantPink

The new lipstick for 2009

2a

7 Futura Book

2b Images 16

3

10

11

12

Images: iStockphoto.com 8 (5136863)

9K

14

9 (5516460) 10 (4501160)

17 Kimberly Chan “Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape tope this fluant and behast the thin chack.”

4 5

11 (3529628) 12 (1518744) 13 (6556956) 14 (4433387) 15 (691320)

CRYSTAL BLUE BLUE IS THE NEW YOU.

6

®

18 15

7

0674 Pix Trix 4: Focal points

Before&After | www.bamagazine.com

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Pix Trix 4: Focal points

0674

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0674 Pix Trix 4: Focal points

Before&After | www.bamagazine.com

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Pix Trix 4: Focal points

0674

®

DesignTalk16

FiveDesignIdeas Coin Cover Outie Innie

Change for the Envıronment

Make money by recycling

Many From One Accordion Program

Inside Action

®

2 of 9

Cover Fewer coins make a better cover Negative space gets no respect, but without it, positive images have little impact. This spiral-bound cover illustrates how:

Change for the Envıronment

Make money by recycling Lots of money, no impact Wall-to-wall pile of coins has no negative space and leaves the eye nowhere to look.

RECYCLING PROGRAM CITY OF COPPELL

Less money, more impact Editing the coins creates shape and difference, makes breathing room and leads the eye to the headline.

Change for the Envıronment Make money by recycling

100% positive

Delete about half. Note the shape.

Color the negative space.

Place elements.

2 of 9

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®

Image One image into “many” “My photo library is tiny. I like how your Many from one article (0603) created several images out of one photo. Do you have other similar techniques?” | Amy Flint . . . into “many” One image . . .

You can tell it’s only one photo, but the three overlapping frames add a level of visual interest that conveys the sense of more.

InDesign

(1) Make some “frames” out of overlaid rectangles.

(2) Position your photo as shown, then Cut.

(3) One at a time, select each frame, and Edit>Paste Into.

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®

Image Place the action inside Double your fun! Put the party inside your people!

Photoshop 1) Open (or Place) flat silhouettes. Background must be transparent.

2) Import your photo.

3) With the photo layer active, choose Layer>Create Clipping Mask. Reposition by dragging either image.

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®

Device Tiny triangle makes a small point “I’d say the design of my document is low-key. I need to put a quote into a small space. Is there a subtle way to draw attention to the person’s name?” | David Fletcher

Outie (Right) Outside the box, tiny triangle turns a photographic callout into a rectangular “talk balloon” with the speaker’s name below it. Reversed type inside the box contrasts easily with the name.

ÈK_\Ôm\Xe^c\[Zffc`e^_fc\j`e k_\Xcld`eld]ifek_flj`e^gldgX`i k_ifl^_k_\dfkfin_`c\`kilej%É 9XikfeJdpk_\#\e^`e\\i Underline (Above) Colored line adds a point of visual interest simply.

“The Audyssey Sound Equalizer genuinely enhanced the sound of my system . . . Once it was installed, I could simply leave it alone and enjoy a more transparent and coherent soundstage . . . Imaging was greatly improved—individual voices and instruments were more precisely locatable . . . the low bass was tighter and more detailed.”

A BREATH OF FRESH AIR “Last week’s school break was long overdue. I made a short, 3-day trek with a few buddies up to the Sierra mountains. The events that unfolded shook my perspective on life.”—Ron Mills

Innie Inside the box, the triangle becomes a pointer. Because of its subtlety, the triangle would be most effective in a series of quotations, because it could move from place to place.

Kalman Rubinson, Stereophile

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®

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Program Unhinged cover makes a classy program Our friends’ handmade wedding program looked at first like a booklet, but then it opened like an accordion into an unexpectedly classy presentation. Nice.

4 1 ⁄ 4”

5 1 ⁄ 2”

Black card stock is glued to the ends of a 17-inch sheet, then accordion-folded into four pages. There is no back side. The program can be read like a booklet or opened into the panoramic—and unexpectedly elegant—presentation shown here. The black & white theme makes typography easy and inexpensive; center each panel, and print on a black & white laser. All type is the same size and leading. Our friends said they spent a busy evening assembling these; the homemade charm is part of the appeal.

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®

Template: Accordion program Flat size (About 163⁄ 4” x 51 ⁄ 2”) Final size (41 ⁄ 4” x 51 ⁄ 2”) 17”

8 1 ⁄ 2”

11”

1

3

11”

Make the cover using a letter-size card stock sheet. Trim into four equal parts.

2

Design the inside on a tabloid-size sheet, twoup. Specify left and right margin of 0p9, top and bottom of 1p6, and 3p0 between top and bottom.

4

Fold the pages.

5

Trim margins and pages. Dotted lines are folds.

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Glue the covers.

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®

Article resources

Typefaces 1 Myriad Pro Semibold 10

2 Myriad Pro Light 3 Myriad Pro Italic 4 Verdana Bold 5 Georgia Regular

9

6 Georgia Bold 7 ITC Franklin Gothic Heavy 8 Adobe Garamond Italic A BREATH OF FRESH AIR “Last week’s school break was long overdue. I made a short, 3-day trek with a few buddies up to the Sierra mountains. The events that unfolded shook my perspective on life.”—Ron Mills

13

1 2 14 15

3

“The Audyssey Sound Equalizer genuinely enhanced the sound of my system . . . Once it was installed, I could simply leave it alone and enjoy a more transparent and coherent soundstage . . . Imaging was greatly improved—individual voices and instruments were more precisely locatable . . . the low bass was tighter and more detailed.”

5

14 C0 M0 Y0 K100 15 C0 M0 Y0 K40 16 C100 M50 Y0 K5 17 C0 M0 Y0 K70 18 C70 M0 Y100 K60 19 C60 M25 Y100 K5

4 16 17 14

11

Colors

6

Images Images: iStockphoto.com 9 (5110361) 10 (4143297) 11 (3209890)

18 19

12 (4247230) 13 (www.audyssey.com)

12

Kalman Rubinson, Stereophile

Change for the Envıronment

Make money by recycling

7 RECYCLING PROGRAM CITY OF COPPELL

8

8 of 9

9 of 9

®

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe E-mail this article To pass along a free copy of this article to others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to http://www.bamagazine.com/email

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

9 of 9

|

Printing formats

®

Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–9)

For paper-saver format Print: (Specify pages 11–15)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

Back

|

Paper-saver format

DesignTalk16

FiveDesignIdeas Coin Cover

Change for the Envıronment

Make money by recycling

Outie Innie

Many From One Accordion Program

Inside Action

Cover Fewer coins make a better cover Negative space gets no respect, but without it, positive images have little impact. This spiral-bound cover illustrates how:

Change for the Envıronment

Make money by recycling Lots of money, no impact Wall-to-wall pile of coins has no negative space and leaves the eye nowhere to look.

RECYCLING PROGRAM CITY OF COPPELL

Less money, more impact Editing the coins creates shape and difference, makes breathing room and leads the eye to the headline.

Change for the Envıronment Make money by recycling

100% positive

0675 Design Talk 16: Five Design Ideas

Delete about half. Note the shape.

Before&After | www.bamagazine.com

1 of 5

Color the negative space.

Place elements.

Design Talk 16: Five Design Ideas

0675

Image One image into “many” “My photo library is tiny. I like how your Many from one article (0603) created several images out of one photo. Do you have other similar techniques?” | Amy Flint . . . into “many” One image . . .

You can tell it’s only one photo, but the three overlapping frames add a level of visual interest that conveys the sense of more.

InDesign

(1) Make some “frames” out of overlaid rectangles.

(2) Position your photo as shown, then Cut.

(3) One at a time, select each frame, and Edit>Paste Into.

Image Place the action inside Double your fun! Put the party inside your people!

Photoshop 1) Open (or Place) flat silhouettes. Background must be transparent.

0675 Design Talk 16: Five Design Ideas

3) With the photo layer active, choose Layer>Create Clipping Mask. Reposition by dragging either image.

2) Import your photo.

Before&After | www.bamagazine.com

2 of 5

Design Talk 16: Five Design Ideas

0675

Device Tiny triangle makes a small point “I’d say the design of my document is low-key. I need to put a quote into a small space. Is there a subtle way to draw attention to the person’s name?” | David Fletcher

Outie (Right) Outside the box, tiny triangle turns a photographic callout into a rectangular “talk balloon” with the speaker’s name below it. Reversed type inside the box contrasts easily with the name.

ÈK_\Ôm\Xe^c\[Zffc`e^_fc\j`e k_\Xcld`eld]ifek_flj`e^gldgX`i k_ifl^_k_\dfkfin_`c\`kilej%É 9XikfeJdpk_\#\e^`e\\i Underline (Above) Colored line adds a point of visual interest simply.

“The Audyssey Sound Equalizer genuinely enhanced the sound of my system . . . Once it was installed, I could simply leave it alone and enjoy a more transparent and coherent soundstage . . . Imaging was greatly improved—individual voices and instruments were more precisely locatable . . . the low bass was tighter and more detailed.”

A BREATH OF FRESH AIR “Last week’s school break was long overdue. I made a short, 3-day trek with a few buddies up to the Sierra mountains. The events that unfolded shook my perspective on life.”—Ron Mills

Innie Inside the box, the triangle becomes a pointer. Because of its subtlety, the triangle would be most effective in a series of quotations, because it could move from place to place.

Kalman Rubinson, Stereophile

Program Unhinged cover makes a classy program Our friends’ handmade wedding program looked at first like a booklet, but then it opened like an accordion into an unexpectedly classy presentation. Nice.

4 1 ⁄ 4”

5 1 ⁄ 2”

Black card stock is glued to the ends of a 17-inch sheet, then accordion-folded into four pages. There is no back side. The program can be read like a booklet or opened into the panoramic—and unexpectedly elegant—presentation shown here. The black & white theme makes typography easy and inexpensive; center each panel, and print on a black & white laser. All type is the same size and leading. Our friends said they spent a busy evening assembling these; the homemade charm is part of the appeal.

0675 Design Talk 16: Five Design Ideas

Before&After | www.bamagazine.com

3 of 5

Design Talk 16: Five Design Ideas

0675

Template: Accordion program Flat size (About 163⁄ 4” x 51 ⁄ 2”) Final size (41 ⁄ 4” x 51 ⁄ 2”) 17”

8 1 ⁄ 2”

11”

1

3

11”

Make the cover using a letter-size card stock sheet. Trim into four equal parts.

2

Design the inside on a tabloid-size sheet, twoup. Specify left and right margin of 0p9, top and bottom of 1p6, and 3p0 between top and bottom.

4

Fold the pages.

5

Glue the covers.

Trim margins and pages. Dotted lines are folds.

Article resources

Typefaces 1 Myriad Pro Semibold 10

2 Myriad Pro Light 3 Myriad Pro Italic 4 Verdana Bold 5 Georgia Regular

9

6 Georgia Bold 7 ITC Franklin Gothic Heavy 8 Adobe Garamond Italic A BREATH OF FRESH AIR “Last week’s school break was long overdue. I made a short, 3-day trek with a few buddies up to the Sierra mountains. The events that unfolded shook my perspective on life.”—Ron Mills

13

1 2 14 15

3

“The Audyssey Sound Equalizer genuinely enhanced the sound of my system . . . Once it was installed, I could simply leave it alone and enjoy a more transparent and coherent soundstage . . . Imaging was greatly improved—individual voices and instruments were more precisely locatable . . . the low bass was tighter and more detailed.”

5

14 C0 M0 Y0 K100 15 C0 M0 Y0 K40 16 C100 M50 Y0 K5 17 C0 M0 Y0 K70 18 C70 M0 Y100 K60 19 C60 M25 Y100 K5

4 16 17 14

11

Colors

6

Images Images: iStockphoto.com 9 (5110361) 10 (4143297) 11 (3209890)

18 19

12 (4247230) 13 (www.audyssey.com)

12

Kalman Rubinson, Stereophile

Change for the Envıronment

Make money by recycling

7 RECYCLING PROGRAM

8

0675 Design Talk 16: Five Design Ideas

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Design Talk 16: Five Design Ideas

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Design Talk 16: Five Design Ideas

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®

Our sense of balance affects everything we see Are there rules for design? Early last century, psychologists in Austria and Germany developed a school of psychology called Gestalt, which attempts to explain human behavior in terms of pattern seeking. Gestalt theory explains how the eye organizes visual experiences and how the brain interprets them. Gestalt is not design, but knowing the visual principles of Gestalt will give you a valuable design toolbox. By Bob Dahlquist with the Before & After staff

equilibrium

®

Gestalt theory: Equilibrium

2 of 7

Find equilibrium in nature

Consciously or not, our sense of balance deeply influences our visual judgments. The Gestalt principle of equilibrium addresses the stability we seek in everything we see.

In nature, an object tends towards a stable, resting state, as seen in a water droplet: Splashed water beads up— draws inward—and comes to rest in a circle. This is a stable state.

Equilibrium is everywhere! (Below) Notice how our eye is pulled to the center. Our eye is most comfortable at the center, the point of greatest equilibrium.

Plant seed

Lime wedge

Pumpkin

2 of 7

®

Gestalt theory: Equilibrium

3 of 7

Create equilibrium in objects

A water droplet, in its simplest form, is a dot that pulls your eye to the center. This similar concept has been applied to famous logos and trademarks.

Mimicking nature, we create equilibrium when we draw a plain dot. Like the droplet, a dot is a shape at rest, under no tension. This shape displays equilibrium.

Look at me! (Below) Equilibrium gives these logos rest, stability and permanence. Each one commands your extreme attention, because your eye is drawn towards the center.

CBS by William Golden

Woolmark by Francesco Saroglia

Ralston Purina by William Danforth

3 of 7

®

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Gestalt theory: Equilibrium

Equilibrium in placement

Our eye is naturally drawn to the center of a field. An object placed elsewhere draws our eye away and toward the object and edge, which creates tension.

Tension

Ambiguity

The dot far off center results in tension from three elements tugging at your eye—the center, the dot and the edge.

Equilibrium

Neither centered nor clearly off center, our eye struggles with this ambiguity.

Equilibrium at work. Our eye recognizes that the dot is in the center. Tension ceases. The composition comes to rest.

(Often-overlooked fact: The paper is not a passive carrier but an active part of any composition.)

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®

Gestalt theory: Equilibrium

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Create equilibrium in your layout

Every element has shape, direction and value. Create equilibrium by arranging elements and adjusting values so the primary visual weight is in the center. For interest, you can then create tension within the equilibrium.

GLOBAL NETWORK SOLUTIONS

2008 ANNUAL REPORT

Specializing in International Trade, Business Consultation and Information Technology Services

GLOBAL NETWORK SOLUTIONS

2008 ANNUAL REPORT

2008 ANNUAL REPORT Specializing in International Trade, Business Consultation and Information Technology Services

GLOBAL NETWORK SOLUTIONS Specializing in International Trade, Business Consultation and Information Technology Services

Tension Elements gathered all the way to the left yield an unbalanced, active page.

Equilibrium with tension The visual weight is in the center. The center itself is asymmetrical and active.

Equilibrium The centered layout is balanced, stable, in repose.

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Gestalt theory: Equilibrium

®

Article resources

Typefaces

Colors

1 Futura Bold | 14 pt 4

1

2008 ANNUAL REPORT

12 C58 M30 Y100 K5

2 Trajan | 35/38 pt

13 C0 M0 Y0 K100

3 Futura Light | 14/18.5 pt 5 Images Images: iStockphoto.com GLOBAL NETWORK SOLUTIONS Specializing in International Trade, Business Consultation and Information Technology Services

2

4 (599110)

3

5 (6656607)

12 13 6

7

8

6 (110668) 7 (395496) 8 (301688) 9 (CBS.com) 10 (Wool.com) 11 (Purina.com)

9

10

11

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–7)

For paper-saver format Print: (Specify pages 9–12)

Print Format: Landscape Page Size: Fit to Page

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Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Our sense of balance affects everything we see Are there rules for design? Early last century, psychologists in Austria and Germany developed a school of psychology called Gestalt, which attempts to explain human behavior in terms of pattern seeking. Gestalt theory explains how the eye organizes visual experiences and how the brain interprets them. Gestalt is not design, but knowing the visual principles of Gestalt will give you a valuable design toolbox. By Bob Dahlquist with the Before & After staff

equilibrium

Find equilibrium in nature

Consciously or not, our sense of balance deeply influences our visual judgments. The Gestalt principle of equilibrium addresses the stability we seek in everything we see.

In nature, an object tends towards a stable, resting state, as seen in a water droplet: Splashed water beads up— draws inward—and comes to rest in a circle. This is a stable state.

Equilibrium is everywhere! (Below) Notice how our eye is pulled to the center. Our eye is most comfortable at the center, the point of greatest equilibrium.

Plant seed

0676 Gestalt theory: Equilibrium

Lime wedge

Before&After | www.bamagazine.com

1 of 4

Pumpkin

Gestalt theory: Equilibrium

0676

Create equilibrium in objects

A water droplet, in its simplest form, is a dot that pulls your eye to the center. This similar concept has been applied to famous logos and trademarks.

Mimicking nature, we create equilibrium when we draw a plain dot. Like the droplet, a dot is a shape at rest, under no tension. This shape displays equilibrium.

Look at me! (Below) Equilibrium gives these logos rest, stability and permanence. Each one commands your extreme attention, because your eye is drawn towards the center.

CBS by William Golden

Woolmark by Francesco Saroglia

Ralston Purina by William Danforth

Equilibrium in placement

Our eye is naturally drawn to the center of a field. An object placed elsewhere draws our eye away and toward the object and edge, which creates tension.

Tension

Ambiguity

The dot far off center results in tension from three elements tugging at your eye—the center, the dot and the edge.

Equilibrium

Neither centered nor clearly off center, our eye struggles with this ambiguity.

Equilibrium at work. Our eye recognizes that the dot is in the center. Tension ceases. The composition comes to rest.

(Often-overlooked fact: The paper is not a passive carrier but an active part of any composition.)

0676 Gestalt theory: Equilibrium

Before&After | www.bamagazine.com

2 of 4

Gestalt theory: Equilibrium

0676

Create equilibrium in your layout

Every element has shape, direction and value. Create equilibrium by arranging elements and adjusting values so the primary visual weight is in the center. For interest, you can then create tension within the equilibrium.

GLOBAL NETWORK SOLUTIONS

2008 ANNUAL REPORT

Specializing in International Trade, Business Consultation and Information Technology Services

GLOBAL NETWORK SOLUTIONS

2008 ANNUAL REPORT

2008 ANNUAL REPORT Specializing in International Trade, Business Consultation and Information Technology Services

GLOBAL NETWORK SOLUTIONS Specializing in International Trade, Business Consultation and Information Technology Services

Tension Elements gathered all the way to the left yield an unbalanced, active page.

Equilibrium The centered layout is balanced, stable, in repose.

Equilibrium with tension The visual weight is in the center. The center itself is asymmetrical and active.

Article resources

Typefaces 1 Futura Bold | 14 pt 4

1

2008 ANNUAL REPORT

2 Trajan | 35/38 pt 3 Futura Light | 14/18.5 pt

Colors 12 C58 M30 Y100 K5 13 C0 M0 Y0 K100

5 Images Images: iStockphoto.com 2

GLOBAL NETWORK SOLUTIONS

3

Specializing in International Trade, Business Consultation and Information Technology Services

12 13 6

7

8

4 (599110) 5 (6656607) 6 (110668) 7 (395496) 8 (301688) 9 (CBS.com) 10 (Wool.com) 11 (Purina.com)

9

0676 Gestalt theory: Equilibrium

10

11

Before&After | www.bamagazine.com

3 of 4

Gestalt theory: Equilibrium

0676

Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0676 Gestalt theory: Equilibrium

Before&After | www.bamagazine.com

4 of 4

Gestalt theory: Equilibrium

0676

®

How to use that typeface That font you love won’t work just anywhere; it has a style that needs to be complemented. Here’s how to work to its strengths.

®

How to use that typeface That font you love won’t work just anywhere; it has a style that needs to be complemented. Here’s how to work to its strengths.

Ever spot a typeface that you really like and can’t wait to use? It’s exciting, but go slow. Before you buy it, you’ll want to know if the lines, shapes and little doodads that make it so appealing here will work as well over there. How to tell? Reading a typeface is a little like reading a real face. Tiny differences in the arch of an eyebrow, the curve of a lip and the contour of a cheekbone convey real presence, personality and attitude. These need complementary presence and “attitude” from the other visual elements, or the result will be awkward, weak or just funny looking. Here’s how to do that.

University Roman Spotted on Monterey’s famous Cannery Row, funky University Roman on this slab of a gift-shop sign is out of its element. Its offbeat letterforms, opulent curlicues and toothpick serifs are like a mardi-gras costume in political science class. Not a match. This is a typeface that wants to party! Let’s find it one!

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Make a visual overview

Set the full alphabet and make a visual overview. Write down what you see. Why write it down? To make sure you’ve actually seen it. Seriously.

A and e have extremely small counters, or enclosed spaces. Flamboyant University Roman was developed in 1983 by the Letraset Type Studio. It’s quirky and popular as a display typeface, especially on greeting cards. It’s good for more than that, as we’ll see.

Other letters have REALLY BIG counters.

AaBbCcDdEeFfGgHhIiJj KkLlMmNnOoPpQqRrSs TtUuVvWwXxYyZz 1234567890!$%&? Swashy tails

Characters like N and O that in ordinary alphabets are the same width are very different in University Roman Conversely, characters like M and T that are normally different are alike here.

Opulent swirls and curlicues

Thick-to-thin stroke differences are subtle but present on every character. If the signmaker on the previous page had been writing this stuff down, he wouldn’t have affixed the V to his signboard backward.

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Look at the details

University Roman is full of swashy idiosyncracies that give it a hand-made, Christmasy style especially suitable for fanciful and romantic topics.

N O Ee PRAB Quilt

Serif extensions rise above cap height and drop below baseline

Asymmetrical serifs

Exaggerated sizes

Oddball character widths All straight letters are thin. Really thin. All round letters are wide. Really wide—so wide that round lowercase letters are wider than their uppercase counterparts! (Ee, above right)

Radical 50°- angle serifs and terminals! But only in lowercase!

Wacky x-heights Bulbous, rubbery letters have an Alice-in-Wonderland quality; some have HUGE tops, some have HUGE bottoms, no apparent rhyme or reason.

A tail long enough to tickle three characters over.

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Note strengths and weaknesses

The irregular proportions and embellishments that make University Roman an entertaining display face make it very hard to read in text. Key is to keep it big.

University Roman, a display face . . .

Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp Bembo, a text face . . . Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture Its irregularities make University Roman unsuitable for text, where a rhythmic, medium typeface works best (above). University Roman can be used for very brief passages (left), but for anything more than a sentence or so, use a real text face.

Best of the Season to you! Chris & Robin

Big, tight, even University Roman looks best big. Its enormous, round letters create a lot of internal white space that looks better when it’s squeezed out, so set your words tightly and as evenly spaced as possible (below).

aloe

Even spacing Put more space between straight letters, less between round.

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Put it to work

The challenge now is to combine type with graphics in a coherent whole. To learn how, let’s start at the end—with two cards that illustrate University Roman perfectly tuned to its environment. Card 2 Card 1

NOW THROUGH MARCH 28

Two beautiful cards The lines, shapes and colors of type and image are so tightly integrated that the designs appear completely natural and unforced. Both type and image are strong but together are greater than the sum of their parts.

MASQUERADE YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

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Look for common shapes

To find an image that goes with your typeface, start with shapes. Round letters go naturally with round images. Avoid triangles, squares and ambiguous shapes, which will compete and weaken your design.

Circles (Right) Round shapes are obvious in the round letters, but look at the smaller parts, too—the loops and swirls and negative spaces that are also round. Teardrops (Below) Teardrops in the image mirror those in the swashy S.

NOW THROUGH MARCH 28

OC Dbae Complementary typeface (Above) Pair a fancy display face with an ordinary typeface for contrast plus readability at small sizes. Look for similarities. What’s interesting here is how different Futura is from University Roman, yet they have roundness in common.

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Blend type and image using color and “edge”

Now bring the image into the type, which in this case means literally. Wrap the type around the edge contours, then apply its beautiful gradients to the lettering.

Blend using color Magenta to yellow (above) and cyan to green (left) are light, fresh combinations. Sample color pairs from the image, add to the color palette as gradient swatches, then apply to the type, which will take on a natural radiance that blends beautifully into the image.

NOW THROUGH MARCH 28

NOW THROUGH MARCH 28

Blend using a common edge Wrap the words tightly to the contours of the image (left). As a rule with display type, you’ll do this by eye, paying attention to the nooks, crannies and other details that the software would miss.

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Lay out the card

Place type and image on the small card, which confines and focuses the design. A small, duplicate image activates the opposite corner and completes the layout.

Splashy composition is beautiful in open space (left), but its elements must work on a card, which confines them. Set as big as possible, bleeding beyond the lower right corner (below).

Faint image activates a space A smaller, lighter duplicate image in the upper left activates the passive white and balances the design.

NOW THROUGH MARCH 28

NOW THROUGH MARCH 28

NOW THROUGH MARCH 28

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Party down! MASQUERADE YOUR PRESENCE IS REQUESTED

Intrigue, mystery, fantasy. For card 2, our fanciful typeface goes looking for an ideal party image and finds it in a gold mask.

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

Picking the right image is key To illustrate a masquerade party, a mask is a natural choice, but which one? A quick search brought up a multitude of lavish creations, all visually interesting.

Flowers, flourishes and detailed textures mimic the extravagant forms of University Roman. Monochromatic gold is direct and intense and will partner well with the typeface. Multicolor masks (left, top) are so engaging they require the stage to themselves. Real faces are similarly distracting; instead of a powerful design, the viewer will be wondering who it is. Remember: common lines and shapes.

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The image then designs the page

With type and image together, now transfer the colors, ornaments and textures of the mask to the rest of the page. Result—a unified, powerful design.

Ornamental border Corners of the barelythere border—just enough to frame the page—mimic the image.

MASQUERADE YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE,

MASQUERADE Sample two colors Combine light to dark monochromatic golds sampled from the mask into a gradient swatch, then apply to the typeface. As we saw earlier, the new radiance beautifully reflects the qualities of the image (right).

MYSTERY AND FANTASY.

MASQUERADE

Symmetrical mask is naturally “centered.” Centered layout then doubles its power.

YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

Woodcut Final, matching ornament punctuates the page with a full stop, completing the design.

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Article resources

Typefaces

1a

Colors

1 (a–b) University Roman | a) 112/82 pt b) 46 pt

11 C0 M85 Y0 K5

2 Futura Light | 18/21.5 pt

12 C0 M15 Y90 K0

11

3 Futura Extra Bold | 10 pt

12

4 Adobe Caslon Regular | 10.7/17 pt

13 C30 M45 Y80 K40

5 Adobe Wood Type Std Regular 2 3

6 Images

NOW THROUGH MARCH 28

Images: iStockphoto.com 5

8

7

6 (4836134) 7 (433813) 8 (2626360) 9 (1357805) 10 (3866203)

13

9

14

MASQUERADE 10

YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE,

1b 4

MYSTERY AND FANTASY.

5

12 of 13

14 C10 M10 Y30 K20

13 of 13

®

Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

13 of 13

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Printing formats

®

Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–13)

For paper-saver format Print: (Specify pages 15–21)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

Back

|

Paper-saver format

How to use that typeface That font you love won’t work just anywhere; it has a style that needs to be complemented. Here’s how to work to its strengths.

Ever spot a typeface that you really like and can’t wait to use? It’s exciting, but go slow. Before you buy it, you’ll want to know if the lines, shapes and little doodads that make it so appealing here will work as well over there. How to tell? Reading a typeface is a little like reading a real face. Tiny differences in the arch of an eyebrow, the curve of a lip and the contour of a cheekbone convey real presence, personality and attitude. These need complementary presence and “attitude” from the other visual elements, or the result will be awkward, weak or just funny looking. Here’s how to do that.

0677 How to use that typeface

University Roman Spotted on Monterey’s famous Cannery Row, funky University Roman on this slab of a gift-shop sign is out of its element. Its offbeat letterforms, opulent curlicues and toothpick serifs are like a mardi-gras costume in political science class. Not a match. This is a typeface that wants to party! Let’s find it one!

Before&After | www.bamagazine.com

1 of 7

How to use that typeface

0677

Before&After

®

How to use that typeface

BAmagazine.com

3 of 13

i 3 6

Make a visual overview

Set the full alphabet and make a visual overview. Write down what you see. Why write it down? To make sure you’ve actually seen it. Seriously.

A and e have extremely small counters, or enclosed spaces. Flamboyant University Roman was developed in 1983 by the Letraset Type Studio. It’s quirky and popular as a display typeface, especially on greeting cards. It’s good for more than that, as we’ll see.

Other letters have REALLY BIG counters.

AaBbCcDdEeFfGgHhIiJj KkLlMmNnOoPpQqRrSs TtUuVvWwXxYyZz 1234567890!$%&? Swashy tails

Characters like N and O that in ordinary alphabets are the same width are very different in University Roman Conversely, characters like M and T that are normally different are alike here.

Opulent swirls and curlicues

Thick-to-thin stroke differences are subtle but present on every character. If the signmaker on the previous page had been writing this stuff down, he wouldn’t have affixed the V to his signboard backward.

Before&After

®

How to use that typeface

BAmagazine.com

4 of 13 3 of 13

i 3 6

How to use that typeface

0677

Look at the details

University Roman is full of swashy idiosyncracies that give it a hand-made, Christmasy style especially suitable for fanciful and romantic topics.

N O Ee PRAB Quilt

Serif extensions rise above cap height and drop below baseline

Asymmetrical serifs

Exaggerated sizes

Oddball character widths All straight letters are thin. Really thin. All round letters are wide. Really wide—so wide that round lowercase letters are wider than their uppercase counterparts! (Ee, above right)

Radical 50°- angle serifs and terminals! But only in lowercase!

Wacky x-heights Bulbous, rubbery letters have an Alice-in-Wonderland quality; some have HUGE tops, some have HUGE bottoms, no apparent rhyme or reason.

0677 How to use that typeface

Before&After | www.bamagazine.com

2 of 7

A tail long enough to tickle three characters over.

4 of 13

How to use that typeface 0677 How to use that typeface 0677

Note strengths and weaknesses

The irregular proportions and embellishments that make University Roman an entertaining display face make it very hard to read in text. Key is to keep it big.

University Roman, a display face . . .

Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp Bembo, a text face . . . Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture Its irregularities make University Roman unsuitable for text, where a rhythmic, medium typeface works best (above). University Roman can be used for very brief passages (left), but for anything more than a sentence or so, use a real text face.

Best of the Season to you! Chris & Robin

Big, tight, even University Roman looks best big. Its enormous, round letters create a lot of internal white space that looks better when it’s squeezed out, so set your words tightly and as evenly spaced as possible (below).

aloe

Even spacing Put more space between straight letters, less between round.

Put it to work

The challenge now is to combine type with graphics in a coherent whole. To learn how, let’s start at the end—with two cards that illustrate University Roman perfectly tuned to its environment. Card 2 Card 1

MASQUERADE

NOW THROUGH MARCH 28

Two beautiful cards The lines, shapes and colors of type and image are so tightly integrated that the designs appear completely natural and unforced. Both type and image are strong but together are greater than the sum of their parts.

0677 How to use that typeface

Before&After | www.bamagazine.com

3 of 7

YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

How to use that typeface

0677

Look for common shapes

To find an image that goes with your typeface, start with shapes. Round letters go naturally with round images. Avoid triangles, squares and ambiguous shapes, which will compete and weaken your design.

Circles (Right) Round shapes are obvious in the round letters, but look at the smaller parts, too—the loops and swirls and negative spaces that are also round. Teardrops (Below) Teardrops in the image mirror those in the swashy S.

NOW THROUGH MARCH 28

OC Dbae Complementary typeface (Above) Pair a fancy display face with an ordinary typeface for contrast plus readability at small sizes. Look for similarities. What’s interesting here is how different Futura is from University Roman, yet they have roundness in common.

Blend type and image using color and “edge”

Now bring the image into the type, which in this case means literally. Wrap the type around the edge contours, then apply its beautiful gradients to the lettering.

Blend using color Magenta to yellow (above) and cyan to green (left) are light, fresh combinations. Sample color pairs from the image, add to the color palette as gradient swatches, then apply to the type, which will take on a natural radiance that blends beautifully into the image.

NOW THROUGH MARCH 28

Blend using a common edge Wrap the words tightly to the contours of the image (left). As a rule with display type, you’ll do this by eye, paying attention to the nooks, crannies and other details that the software would miss.

NOW THROUGH MARCH 28

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Lay out the card

Place type and image on the small card, which confines and focuses the design. A small, duplicate image activates the opposite corner and completes the layout.

Splashy composition is beautiful in open space (left), but its elements must work on a card, which confines them. Set as big as possible, bleeding beyond the lower right corner (below).

Faint image activates a space A smaller, lighter duplicate image in the upper left activates the passive white and balances the design.

NOW THROUGH MARCH 28

NOW THROUGH MARCH 28

NOW THROUGH MARCH 28

Party down! MASQUERADE YOUR PRESENCE IS REQUESTED

Intrigue, mystery, fantasy. For card 2, our fanciful typeface goes looking for an ideal party image and finds it in a gold mask.

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

Picking the right image is key To illustrate a masquerade party, a mask is a natural choice, but which one? A quick search brought up a multitude of lavish creations, all visually interesting.

0677 How to use that typeface

Flowers, flourishes and detailed textures mimic the extravagant forms of University Roman. Monochromatic gold is direct and intense and will partner well with the typeface. Multicolor masks (left, top) are so engaging they require the stage to themselves. Real faces are similarly distracting; instead of a powerful design, the viewer will be wondering who it is. Remember: common lines and shapes.

Before&After | www.bamagazine.com

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The image then designs the page

With type and image together, now transfer the colors, ornaments and textures of the mask to the rest of the page. Result—a unified, powerful design.

Ornamental border Corners of the barelythere border—just enough to frame the page—mimic the image.

MASQUERADE YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE,

MASQUERADE Sample two colors Combine light to dark monochromatic golds sampled from the mask into a gradient swatch, then apply to the typeface. As we saw earlier, the new radiance beautifully reflects the qualities of the image (right).

MYSTERY AND FANTASY.

MASQUERADE

Symmetrical mask is naturally “centered.” Centered layout then doubles its power.

YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE, MYSTERY AND FANTASY.

Woodcut Final, matching ornament punctuates the page with a full stop, completing the design.

Article resources

Typefaces

1a

11 C0 M85 Y0 K5

2 Futura Light | 18/21.5 pt

12 C0 M15 Y90 K0

11

3 Futura Extra Bold | 10 pt

12

4 Adobe Caslon Regular | 10.7/17 pt 5 Adobe Wood Type Std Regular

2 3

Colors

1 (a–b) University Roman | a) 112/82 pt b) 46 pt

13 C30 M45 Y80 K40 14 C10 M10 Y30 K20

6 Images

NOW THROUGH MARCH 28

Images: iStockphoto.com 5

8

7

6 (4836134) 7 (433813) 8 (2626360) 9 (1357805) 10 (3866203)

13

9

14

MASQUERADE 10

YOUR PRESENCE IS REQUESTED

FOR A FESTIVE EVENING OF INTRIGUE,

1b 4

MYSTERY AND FANTASY.

5

0677 How to use that typeface

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Subscribe to Before & After Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone. John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2008 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

0677 How to use that typeface

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How to use that typeface

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®

Design a

chalkboard Web banner Handwriting on the board makes a powerful, simple statement.

Design a chalkboard Web banner

0678

®

Design a chalkboard Web banner Handwriting on the board makes a powerful, simple statement

Next Play Consulting Group was created to supplement the public school system by teaching practical life skills. With public schools often focused on helping students pass standardized tests, Next Play’s workshops teach how to apply academic lessons to the outside world—real-life challenges like getting a job and budgeting that first paycheck. It’s a great idea. So how do you convey that on a Web site? How about by writing it on a big, bold, chalkboard! Faster than you can add 2+2, the viewer sees that Next Play is an educational site, what it’s about and who’s involved. And the board makes an excellent focal point. Let’s see what else we can learn.

Bold, familiar—and she even matches the logo Even if you were napping in class, when something went up on the board, you paid attention. That’s a focal point that everyone understands, and it works on a Web site, too!

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Design a chalkboard Web banner

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®

Start at the top

Key to the site is a full-width chalkboard that the viewer will read before anything else. Handwritten text pulls the viewer into the story and on down the page.

Chalkboard banner has unusually strong associations because everyone’s spent endless hours looking at one. Its visual properties only make it stronger—it’s big, bold (black against white), and it’s on top. In this space, Next Play tells its story literally and graphically. A student at the chalkboard conveys the classroom setting. The who they are and what they do that would otherwise be buried in the text are now at the top of the page where they’ll do the most good.

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®

Continue the theme . . .

The chalkboard anchors every page, each with a different student and message. Together, they convey a strong sense of personality and community.

Quote

Image

CZmiEaVn8dchjai^c\^hXdbb^iiZYidi]ZYZkZadebZcid[ X]^aYgZcVcYi]Z^gÆa^[ZVeea^XVi^dcÇZYjXVi^dc Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Æ:YjXVi^dc^haZVgc^c\l]VindjY^YcÉiZkZc `cdlndjY^YcÉi`cdl#ÇÅ 9Vc^Za?#7ddghi^c Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Same handwritten typeface but set larger to fit the space

Student “leaning” adds dimension.

ÆI]Zl]daZejgedhZd[ZYjXVi^dc^hidijgc b^ggdgh^cidl^cYdlh#ÇÅ HnYcZn?#=Vgg^h Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Æ6aadjgYgZVbhXVcXdbZigjZ!^[lZ]VkZi]Z XdjgV\ZidejghjZi]Zb#ÇÅ LVai9^hcZn Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Nothing draws attention like a face. Smiling students convey welcome, cordiality, interest. Be sure to represent your diversity.

Same size. Note, top of heads stick out to create depth.

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Make the banner

Text area

Navigation area (1) Select an image, and in Photoshop mask out or otherwise delete the chalkboard. You can remain in Photoshop for the following steps or move your cutout image into InDesign.

(2) Reflect the image if necessary and place it on the right. Draw a “chalkboard” rectangle the width of your page, and fill it very dark gray (about 98%). At the bottom draw a thin navigation bar, and fill it solid black.

CZmiEaVn8dchjai^c\^hXdbb^iiZYidi]ZYZkZadebZcid[ X]^aYgZcVcYi]Z^gÆa^[ZVeea^XVi^dcÇZYjXVi^dc Chalkboard texture

(3) Add realism The only attractive chalkboard is a clean chalkboard, but for some realism, you can mess up the surface slightly. We used Mister Retro’s (www.misterretro.com) Machine Wash abrasive filter, but an easy alternative is to paste in a second photo (above) that has a tiny amount of dust.

Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

(4) Add the words in a handwritten typeface to finish the look. Typeset the secondary message, and color it low-key gray. Add green to highlight the company name and balance the design (right).

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®

Design the body of the page

Blog-style three-column page is an efficient organizer; the main story is told in the wide left column, and supporting content is in the right two.

Logo

Header

Navigation

Structure (Right) The site is divided into six sections from big to small, pretty much in order of importance. Navigation bar (note its file-tab appearance, above) and footer hold permanent links and contact info.

Main content

Secondary Secondary content content

Continuity (Next page) With a strong header and simple structure anchoring the site, it’s time to add the details. These we’ll borrow from the logo. Because the logo has more permanent status than the pages, we’ll transfer its typefaces, colors and other elements to the rest of the site.

Footer

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®

Examine the logo

The characteristics of the logo will govern the details of the site. First step is to take a visual inventory. Pay attention to typeface, color, line and shape.

NP Color Yellow-green conveys vibrancy, loudness, warmth and youth, all of which describe the target audience. That’s good stuff. But too much of it (top, left) is not a smart choice, because Next Play and Consulting Group now run together. Instead, set the descriptive line in a darker color.

XT

Angles are active. When combining two letters, ideally you want both to share a similar edge (top, left). But because letters X and T have different edges, an angled gap is used to combine the two.

NEXTPLAY CONSULTING GROUP Typeface Futura Extra Bold is an American classic; clear, very bold and simple—strokes are straight, and curves are almost perfect circles. For logos and short titles, set it very tightly—the bigger the tighter; letters should overlap or nearly.

Shapes change with distance (Above, left) Far away, Futura Extra Bold caps form simple rectangles that stack neatly. Up close reveals an energetic interplay of negative shapes (above, right), and those circles are easy to see.

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®

Apply logo elements to the page . . .

Angles Angles are used for background lines, navigation bar and footer. Gradient background has fabric-like texture that adds depth and radiance to the white page. Light opacity softens the look.

Circles and rectangles Nearly-perfect-circle shapes of Futura Extra Bold are mimicked in rounded corners, which also add a schoolroom softness. Below, rectangular construction ties to the logo.

PROGRAMS

TESTIMONIALS

REFERENCE LETTERS

Typeface Navigation titles and subheads are set in Futura Extra Bold and colored green.

ABOUT USVIDEO TESTIMON

Kathy Trembino 5th Grade Teacher Elementary School

CONTACT

8 of 12

Color Navigational links, headlines, subheads and gradient background all use the logo’s green, or tints of it. Note the links are standard blue underlines, which yields three benefits: They’re instantly familiar, they stand apart from the subheads, and they cool the page.

Design a chalkboard Web banner

0678

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®

. . . and don’t forget the footer

The humble footer contains key contact information and can serve as a visual base. Treat it like every other design element.

ABOUT US

PROGRAMS

TESTIMONIALS

1

Repeat the navigation bar Same height, same color, same angled lines sustain the look.

2

Fill to define a “permanent” tab Two-tone green mimicks the light-dark radiance of the site.

CONTACT 3

RESOURCES

JENNY JONES CONSULTANT, AUTHOR, SPEAKER | jenny@n

Add the words CONTACT is set in Futura Extra Bold. Jenny Jones in green catches your eye due to its color relationship with the green tab. The remaining type is white.

Will it fall off? High contrast between dark banner and light content area results in a mild disconnect. Content area has no solid base to “sit on.”

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Ground it Dark footer becomes a base, holding the page together. Visual similarities tie banner to footer.

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Add an e-newsletter

Does an e-newsletter accompany your Web site? Match the look!

today’s youth, tomorrow’s leader

teens how to interview and introduces them today’s youth, tomorrow’s leader

to workplace etiquette in the 21st century.

7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWLW¶V TXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSH DQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\ WKHQRIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUH DQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDP

Same look, just smaller Same typeface, same colors, same chalkboard, same layout, just smaller, probably 540 to 600 pixels maximum width. And skip the bold footer.

UHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUD WRRDQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDG DQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ7H[WXUHDQGÀDVSQHW H[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDW FDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOHWKHWKLQFKDFN/HDUQPRUH

This e-mail was sent to [email protected], by [email protected] Update Email Address | Unsubscribe from future e-mails | Privacy Policy.

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®

Article resources

Typefaces

Colors

1 Felt Tip Roman

13 C0 M0 Y0 K100

2 ITC Bookman Light

1

13

3 Futura Extra Bold

14

2

15 16

3 4

5

6

14 C0 M0 Y0 K98 15 C0 M0 Y0 K50

Images

16 C29 M0 Y100 K0

Images: iStockphoto 4 (6857727)

7

5 (1551201) 6 (6168770) 7 (7290470) 8 (3944500) 9 (5950186) 10 (5143219) 8

11 (5854264)

9

12 (6880981)

10

11

12

11 of 12

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®

Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

h h12 of 12

|

Printing formats

Design a chalkboard Web banner

0678

®

Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–12)

For paper-saver format Print: (Specify pages 14–19)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

Back

|

Paper-saver format

Design a

chalkboard Web banner Handwriting on the board makes a powerful, simple statement.

Continued 0

Next Play Consulting Group was created to supplement the public school system by teaching practical life skills. With public schools often focused on helping students pass standardized tests, Next Play’s workshops teach how to apply academic lessons to the outside world—real-life challenges like getting a job and budgeting that first paycheck. It’s a great idea. So how do you convey that on a Web site? How about by writing it on a big, bold, chalkboard! Faster than you can add 2+2, the viewer sees that Next Play is an educational site, what it’s about and who’s involved. And the board makes an excellent focal point. Let’s see what else we can learn.

0678 Design a chalkboard Web banner

0678

Bold, familiar—and she even matches the logo Even if you were napping in class, when something went up on the board, you paid attention. That’s a focal point that everyone understands, and it works on a Web site, too!

Before&After | www.bamagazine.com

1 of 6

Design a chalkboard Web banner

Design a chalkboard Web banner

0678

Start at the top

Key to the site is a full-width chalkboard that the viewer will read before anything else. Handwritten text pulls the viewer into the story and on down the page.

Chalkboard banner has unusually strong associations because everyone’s spent endless hours looking at one. Its visual properties only make it stronger—it’s big, bold (black against white), and it’s on top. In this space, Next Play tells its story literally and graphically. A student at the chalkboard conveys the classroom setting. The who they are and what they do that would otherwise be buried in the text are now at the top of the page where they’ll do the most good.

Continue the theme . . .

The chalkboard anchors every page, each with a different student and message. Together, they convey a strong sense of personality and community.

Quote

Image

Same handwritten typeface but set larger to fit the space

ÆI]Zl]daZejgedhZd[ZYjXVi^dc^hidijgc b^ggdgh^cidl^cYdlh#ÇÅ HnYcZn?#=Vgg^h

CZmiEaVn8dchjai^c\^hXdbb^iiZYidi]ZYZkZadebZcid[ X]^aYgZcVcYi]Z^gÆa^[ZVeea^XVi^dcÇZYjXVi^dc Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Æ:YjXVi^dc^haZVgc^c\l]VindjY^YcÉiZkZc `cdlndjY^YcÉi`cdl#ÇÅ 9Vc^Za?#7ddghi^c

Æ6aadjgYgZVbhXVcXdbZigjZ!^[lZ]VkZi]Z XdjgV\ZidejghjZi]Zb#ÇÅ LVai9^hcZn

Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

Nothing draws attention like a face. Smiling students convey welcome, cordiality, interest. Be sure to represent your diversity.

0678 Design a chalkboard Web banner

Student “leaning” adds dimension.

Same size. Note, top of heads stick out to create depth.

Before&After | www.bamagazine.com

2 of 6

Design a chalkboard Web banner

0678

Make the banner

Text area

Navigation area (2) Reflect the image if necessary and place it on the right. Draw a “chalkboard” rectangle the width of your page, and fill it very dark gray (about 98%). At the bottom draw a thin navigation bar, and fill it solid black.

(1) Select an image, and in Photoshop mask out or otherwise delete the chalkboard. You can remain in Photoshop for the following steps or move your cutout image into InDesign.

CZmiEaVn8dchjai^c\^hXdbb^iiZYidi]ZYZkZadebZcid[ X]^aYgZcVcYi]Z^gÆa^[ZVeea^XVi^dcÇZYjXVi^dc Chalkboard texture

Next Play will change the way children are educated about life. Today’s youth really are tomorrow’s leaders.

(4) Add the words in a handwritten typeface to finish the look. Typeset the secondary message, and color it low-key gray. Add green to highlight the company name and balance the design (right).

(3) Add realism The only attractive chalkboard is a clean chalkboard, but for some realism, you can mess up the surface slightly. We used Mister Retro’s (www.misterretro.com) Machine Wash abrasive filter, but an easy alternative is to paste in a second photo (above) that has a tiny amount of dust.

Design the body of the page

Blog-style three-column page is an efficient organizer; the main story is told in the wide left column, and supporting content is in the right two.

Logo

Header

Navigation

Structure (Right) The site is divided into six sections from big to small, pretty much in order of importance. Navigation bar (note its file-tab appearance, above) and footer hold permanent links and contact info.

Main content

Secondary Secondary content content

Continuity (Next page) With a strong header and simple structure anchoring the site, it’s time to add the details. These we’ll borrow from the logo. Because the logo has more permanent status than the pages, we’ll transfer its typefaces, colors and other elements to the rest of the site.

Footer

0678 Design a chalkboard Web banner

Before&After | www.bamagazine.com

3 of 6

Design a chalkboard Web banner

0678

Examine the logo

The characteristics of the logo will govern the details of the site. First step is to take a visual inventory. Pay attention to typeface, color, line and shape.

NP

XT

Angles are active. When combining two letters, ideally you want both to share a similar edge (top, left). But because letters X and T have different edges, an angled gap is used to combine the two.

Color Yellow-green conveys vibrancy, loudness, warmth and youth, all of which describe the target audience. That’s good stuff. But too much of it (top, left) is not a smart choice, because Next Play and Consulting Group now run together. Instead, set the descriptive line in a darker color.

NEXTPLAY CONSULTING GROUP Typeface Futura Extra Bold is an American classic; clear, very bold and simple—strokes are straight, and curves are almost perfect circles. For logos and short titles, set it very tightly—the bigger the tighter; letters should overlap or nearly.

Shapes change with distance (Above, left) Far away, Futura Extra Bold caps form simple rectangles that stack neatly. Up close reveals an energetic interplay of negative shapes (above, right), and those circles are easy to see.

Apply logo elements to the page . . .

Angles Angles are used for background lines, navigation bar and footer. Gradient background has fabric-like texture that adds depth and radiance to the white page. Light opacity softens the look.

Circles and rectangles Nearly-perfect-circle shapes of Futura Extra Bold are mimicked in rounded corners, which also add a schoolroom softness. Below, rectangular construction ties to the logo.

PROGRAMS

TESTIMONIALS

REFERENCE LETTERS

Typeface Navigation titles and subheads are set in Futura Extra Bold and colored green. Kathy Trembino 5th Grade Teacher Elementary School

ABOUT USVIDEO TESTIMON

CONTACT

0678 Design a chalkboard Web banner

Before&After | www.bamagazine.com

4 of 6

Color Navigational links, headlines, subheads and gradient background all use the logo’s green, or tints of it. Note the links are standard blue underlines, which yields three benefits: They’re instantly familiar, they stand apart from the subheads, and they cool the page.

Design a chalkboard Web banner

0678

. . . and don’t forget the footer

The humble footer contains key contact information and can serve as a visual base. Treat it like every other design element.

ABOUT US

PROGRAMS

TESTIMONIALS

1

Repeat the navigation bar Same height, same color, same angled lines sustain the look.

2

Fill to define a “permanent” tab Two-tone green mimicks the light-dark radiance of the site.

CONTACT 3

RESOURCES

JENNY JONES CONSULTANT, AUTHOR, SPEAKER | jenny@n

Add the words CONTACT is set in Futura Extra Bold. Jenny Jones in green catches your eye due to its color relationship with the green tab. The remaining type is white.

Will it fall off? High contrast between dark banner and light content area results in a mild disconnect. Content area has no solid base to “sit on.”

Ground it Dark footer becomes a base, holding the page together. Visual similarities tie banner to footer.

Add an e-newsletter

Does an e-newsletter accompany your Web site? Match the look!

7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWLW¶V TXDVWLFOHDPUHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH6LONVKDVWODSH DQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUDDQGRUGHULVID\ WKHQRIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDGDQGWDUP7H[WXUH DQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDP

Same look, just smaller Same typeface, same colors, same chalkboard, same layout, just smaller, probably 540 to 600 pixels maximum width. And skip the bold footer.

UHVWDUWWKDWFDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOH 6LONVKDVWODSHDQGEHKDVWWKHWKLQFKDFN³,WKDVODUFKWRVD\IDQ´:K\"(OHVDUD WRRDQGRUGHULVID\RIDOP$FDUGZKLQWQRWRRJXPRUERQW3UHWW\VLPSOHJOHDG DQGWDUP7H[WXUHDQGÀDVSQHWH[DWLQJHQGPLVWRILWVQRROLQJ7H[WXUHDQGÀDVSQHW H[DWLQJHQGPLVWRILWVQRROLQJ6SDIIIRUOLVQ¶WFXEXODUEXWTXDVWLFOHDPUHVWDUWWKDW FDQ¶WSUHEDVW,W¶VWRSHWKLVÀXDQWFKDVLEOHWKHWKLQFKDFN/HDUQPRUH

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Images

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16 C29 M0 Y100 K0

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Draw great

Have something to demonstrate or explain? Don’t say it; show it!

®

Draw great visual instructions Have something to demonstrate or explain? Don’t say it; show it!

Ever bogged down reading a TV manual? Assembly instructions for a folding table? Directions for your food processor? We have, too! Even written in plain English, they’re too darn verbal. We live in a visual world. To convey directions intuitively (not to mention globally), we need to use visual language. We need to speak in pictures. Key to easy production is to draw from snapshots. Drawing allows you to arrange and rearrange the action quickly with no regard for details. Once a snapshot is made, you are immediately free to pick out important parts, change positions, exaggerate key actions and so forth to make the message clear. Let’s see what we can do.

If “< >” appears, more information can be accessed by using the arrow (< >) keys (Available in Standby Mode for PC5516, PC5516Z and PC5532Z). Press [<] to see the previous function or item of information. Refer to page 17.

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®

Work from photos

Small digital cameras are great tools for composing visual instructions, because you can work quickly and fluidly, without regard for lighting and other details.

Before Compose with a photo

After Clarify with a drawing Unwanted objects

Glare

Center of interest is too small.

Blurry

Contrast of value (black, gray, white) clarify the action. 90./; 3,-; :7,(2,9

Unnecessary details are now gone.

Designer has full control

Unnecessary detail

Shadowy

Key details are murky.

Sharp

Center of interest is drawn larger than life size for extra clarity.

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Clear

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®

Picture the action

Make a storyboard. Before drawing, take a series of shots and ask, “does the series as a whole express the action clearly?” Then ask, “does each shot make its point clearly?”

90./; 3,-; :7,(2,9 90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

While a simple action can be presented as a single panel, instructions are usually a multipanel sequence of step-by-steps—do this, then that, then the other (above). Illustrated hands are excellent communicators! Although arrows and pointers can do the job, hands are more lifelike and allow us to project ourselves into the action. Hand action in a sequence has another benefit—it appears to be moving, which is how we naturally see things. Plan your action thoroughly. Go overboard; too many pictures are preferable to too few. Import your snapshots into your drawing program, and begin tracing. Things to watch for . . .

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®

Draw only the parts you need

90./; 3,-; :7,(2,9

Extra parts divide the reader’s attention.

RIGHT LEFT SPEAKER

Think minimum. At each step in a sequence, draw only the parts pertinent to that step—in this case a mere outline of the radio and the plug-in panel. Also draw any parts needed to orient the object— in other words, to clue the reader where he is. Above, the small rectangles in the upper corners tell the reader this is the back of the radio. Less radical (but busier) is to gray out the extra parts (left).

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Find the best pose

90./; 3,-; :7,(2,9

Unclear In real life you’d probably press the button this way—by gripping the radio so you don’t push it off your desk. But this action does not translate into a clear instruction.

90./; 3,-; :7,(2,9

It’s clearer this way. Hands are so expressive that every nuance conveys information, so careful work at this step is key to creating clear instructions. Be sure to look at the pictures you make; although you know you were pushing the button, the viewer won’t unless you’ve captured the action visually. Experiment; sometimes the most expressive action will feel awkward.

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®

Zoom in or exaggerate

90./; 3,-; :7,(2,9

Close, closer, closest. Crop to bring the action up close, but watch for two things: Leave a large enough portion of the image to not disorient the reader—note above how the contour of the radio’s bottom edge tells you where you are—and show as much of the hands as possible.

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Exaggerate In an effort to show detail, the inset (left) is cropped too close. A better approach is to enlarge only one part of the image; (above) the plug-in panel is enlarged relative to the rest of the drawing.

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Highlight

90./; 3,-; :7,(2,9

90./; ; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Maximum clarity For maximum clarity, feel free to disregard your photo’s natural colors or grays, and color your drawing artificially. Note the black radio, above, left, matches the photo, but the action is not sharply defined. A lighter radio (above, center) contrasts clearly with its dark plug-in panel, but now the white background and hands have no contrast. Black background (above, right) solves the problem.

Highlight the action A useful way to highlight action in a dark or confined area is with a spotlight. Create a lighter version of the image, then paste it inside a circle.

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®

Move and reuse parts

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Look for ways to use the same parts more than once. Starting from the previous image, the hands above are easily rotated and repositioned to illustrate the next step—plugging a wire into the second socket. Reusing parts saves drawing time, but be careful; if your old images don’t express the new action with equal clarity, take another snapshot.

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®

Modify, simplify

Modify Drawing gives you the freedom to modify! The screwdriver above was drawn in two pieces from separate photos and spliced. It was then easy to shorten or lengthen the shaft. Typically, you would do this to fit a space or clarify an action. You don’t need to copy a photo literally.

Simplify Think minimum. Wherever you can simplify an object without altering the reader’s perception of it, do so. Right, the threads have been reduced from three lines to two.

Repetitive parts, patterns and actions can often be drawn quickly. Here, a single thread is duplicated to create the screw.

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®

Create x-ray views, explode parts

Create x-ray views Your drawings can reveal parts and actions the camera cannot see—an indispensable asset; here, the drawing illustrates access to a recessed screw.

Exploded views show how parts fit together. Above, we traced the assembled part from a photo, then added pins to the knobs and hung them in midair. For more complex objects you may need to work from several separate photos. An excellent way to create assembly instructions is to first show an exploded view of the parts, then follow with the steps of fitting them together.

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®

Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Save Presentation format or Paper-saver format

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Draw great

Have something to demonstrate or explain? Don’t say it; show it! Continued `

Ever bogged down reading a TV manual? Assembly instructions for a folding table? Directions for your food processor? We have, too! Even written in plain English, they’re too darn verbal. We live in a visual world. To convey directions intuitively (not to mention globally), we need to use visual language. We need to speak in pictures. Key to easy production is to draw from snapshots. Drawing allows you to arrange and rearrange the action quickly with no regard for details. Once a snapshot is made, you are immediately free to pick out important parts, change positions, exaggerate key actions and so forth to make the message clear. Let’s see what we can do.

0679 Draw great visual instructions

If “< >” appears, more information can be accessed by using the arrow (< >) keys (Available in Standby Mode for PC5516, PC5516Z and PC5532Z). Press [<] to see the previous function or item of information. Refer to page 17.

Before&After | www.bamagazine.com

1 of 6

Draw great visual instructions

0679

Work from photos

Small digital cameras are great tools for composing visual instructions, because you can work quickly and fluidly, without regard for lighting and other details.

Before Compose with a photo

After Clarify with a drawing Unwanted objects

Glare

Center of interest is too small.

Blurry

Contrast of value (black, gray, white) clarify the action. 90./; 3,-; :7,(2,9

Unnecessary details are now gone.

Designer has full control

Unnecessary detail

Shadowy

Sharp

Key details are murky.

Center of interest is drawn larger than life size for extra clarity.

Clear

Picture the action

Make a storyboard. Before drawing, take a series of shots and ask, “does the series as a whole express the action clearly?” Then ask, “does each shot make its point clearly?”

90./; 3,-; :7,(2,9 90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

While a simple action can be presented as a single panel, instructions are usually a multipanel sequence of step-by-steps—do this, then that, then the other (above). Illustrated hands are excellent communicators! Although arrows and pointers can do the job, hands are more lifelike and allow us to project ourselves into the action. Hand action in a sequence has another benefit—it appears to be moving, which is how we naturally see things. Plan your action thoroughly. Go overboard; too many pictures are preferable to too few. Import your snapshots into your drawing program, and begin tracing. Things to watch for . . .

0679 Draw great visual instructions

Before&After | www.bamagazine.com

2 of 6

Draw great visual instructions

0679

Draw only the parts you need

90./; 3,-; :7,(2,9

RIGHT LEFT SPEAKER

Extra parts divide the reader’s attention.

Think minimum. At each step in a sequence, draw only the parts pertinent to that step—in this case a mere outline of the radio and the plug-in panel. Also draw any parts needed to orient the object— in other words, to clue the reader where he is. Above, the small rectangles in the upper corners tell the reader this is the back of the radio. Less radical (but busier) is to gray out the extra parts (left).

Find the best pose

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Unclear In real life you’d probably press the button this way—by gripping the radio so you don’t push it off your desk. But this action does not translate into a clear instruction.

0679 Draw great visual instructions

It’s clearer this way. Hands are so expressive that every nuance conveys information, so careful work at this step is key to creating clear instructions. Be sure to look at the pictures you make; although you know you were pushing the button, the viewer won’t unless you’ve captured the action visually. Experiment; sometimes the most expressive action will feel awkward.

Before&After | www.bamagazine.com

3 of 6

Draw great visual instructions

0679

Zoom in or exaggerate

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Close, closer, closest. Crop to bring the action up close, but watch for two things: Leave a large enough portion of the image to not disorient the reader—note above how the contour of the radio’s bottom edge tells you where you are—and show as much of the hands as possible.

90./; 3,-; :7,(2,9

Exaggerate In an effort to show detail, the inset (left) is cropped too close. A better approach is to enlarge only one part of the image; (above) the plug-in panel is enlarged relative to the rest of the drawing.

Highlight

90./; 3,-; :7,(2,9

90./; ; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Maximum clarity For maximum clarity, feel free to disregard your photo’s natural colors or grays, and color your drawing artificially. Note the black radio, above, left, matches the photo, but the action is not sharply defined. A lighter radio (above, center) contrasts clearly with its dark plug-in panel, but now the white background and hands have no contrast. Black background (above, right) solves the problem.

0679 Draw great visual instructions

Before&After | www.bamagazine.com

4 of 6

Highlight the action A useful way to highlight action in a dark or confined area is with a spotlight. Create a lighter version of the image, then paste it inside a circle.

Draw great visual instructions

0679

Move and reuse parts

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

90./; 3,-; :7,(2,9

Look for ways to use the same parts more than once. Starting from the previous image, the hands above are easily rotated and repositioned to illustrate the next step—plugging a wire into the second socket. Reusing parts saves drawing time, but be careful; if your old images don’t express the new action with equal clarity, take another snapshot.

Modify, simplify

Modify Drawing gives you the freedom to modify! The screwdriver above was drawn in two pieces from separate photos and spliced. It was then easy to shorten or lengthen the shaft. Typically, you would do this to fit a space or clarify an action. You don’t need to copy a photo literally.

Repetitive parts, patterns and actions can often be drawn quickly. Here, a single thread is duplicated to create the screw.

Simplify Think minimum. Wherever you can simplify an object without altering the reader’s perception of it, do so. Right, the threads have been reduced from three lines to two.

0679 Draw great visual instructions

Before&After | www.bamagazine.com

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Draw great visual instructions

0679

Before&After

®

Draw great visual instructions

BAmagazine.com

11 of 12

i 3 6

Create x-ray views, explode parts

Create x-ray views Your drawings can reveal parts and actions the camera cannot see—an indispensable asset; here, the drawing illustrates access to a recessed screw.

Exploded views show how parts fit together. Above, we traced the assembled part from a photo, then added pins to the knobs and hung them in midair. For more complex objects you may need to work from several separate photos. An excellent way to create assembly instructions is to first show an exploded view of the parts, then follow with the steps of fitting them together.

Before&After

®

Draw great visual instructions

BAmagazine.com

12 of 12 11 of 12

Subscribe to Before & After

i 3 6

Draw great visual instructions

0679

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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®

Design from a

creative brief Designer and client must work toward the same goal. Here’s how to do that.

®

Design from a creative brief To know if you’ve reached a design goal, you must first know what the goal is. Here’s where to start answering that.

When 30-year-old Jennifer Diamond quietly passed away of appendiceal carcinoma, a rare form of cancer, on July 23, 2002, she left behind family, friends and a gentle legacy of gracefulness and love. And she left her father Harvey with a mission—“to share the knowledge gained from this experience with others.” So was born the Jennifer Diamond Foundation, which would be “dedicated to helping people win the fight against all forms of cancer.” Soon after, designer Karen Barranco was retained to give Jennifer’s foundation a public image. The beautiful logo she made is a textbook lesson in how to design for a client—and work to a shared, creative vision. The process begins not on a computer but face to face with the client, for as long as it takes, listening, building rapport, understanding—and sharing—the mission. Here’s how she did it:

Write it down The creative brief is the blueprint for the project. It is a collaboration of designer and client. It includes a project overview, goals, messages, audience description, budget, schedule, and so on. The act of writing all this down means that everyone has talked through and agreed on what the design is to embody.

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Listen

When you meet your client, your most important tools are your ears. Hear who they are and what they’re saying. As you proceed together, talk about the goals for the design. (Which is different from what the design should look like.) Develop the creative brief. Keep it short. Use clear headlines and bulleted lists. Project description The project description is a brief summary of what we’re doing and why. Because dragonflies had symbolic meaning to Jennifer and her family, the decision was made at the outset that a dragonfly would be central to the image, so it was included here.

Meanings What is the symbolism of the dragonfly? Don’t assume you know. Listen to your client. Participate; fill in the gaps with research, but check your results with the client. Think in metaphors, which helps you avoid becoming too literal. Avoid clichés.

PROJECT DESCRIPTION This identity will capture the true essence of Jennifer Diamond’s legacy to help people with rare cancers to be strong, informed and promote healing through mind and body connections and will set the tone for all future design applications. This identity will use the metaphor and symbolism of the Dragonfly as the “healing messenger,” intertwined with the following meanings: Powerful The Dragonfly is an important insect in legend, where they are creatures with supernatural powers. Prosperity and Harmony The Dragonfly represents the powers of light and transformation, and the ability to see through illusion. The dragonfly teaches a free and joyful sense of being. Informed The Dragonfly teaches us to apply the art of knowledge to our own questions and situations—to remember things are never completely as they seem. Ability to be Positive The shifting movement, energy, form, and color of its iridescent wings open vague memories, reminding us of alternative perspectives. Communicator The Dragonfly is the essence of change, the messages of enlightenment and wisdom. It also brings communication from the elemental world, nature spirits. Dare to Dream The Dragonfly is the doorkeeper who allows the gates to the dream dimensions to be opened through the breaking of the physical illusion.

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Audience An image that has meaning to one group may be meaningless to another. Understand who the audience is. Let your client guide you. Don’t assume you know the audience or what it is like . Keep in mind that the first audience is the client himself and his employees and volunteers. They must enjoy their logo and be proud of it and what it represents. Seriously.

Messages A logo is a signature, not a marketing program. It does not need to “tell the whole story.” Nevertheless, it has a story to tell. The logo may picture the product or service. It may be only the name. But it will always convey an intangible—perhaps a vision or attitude or feeling. In this, it is similar to clothing; a red suit says something different from jeans. Write down everything you imagine. This is the artistic step. We must say visually what words alone cannot.

Approaches This step is more mechanical than artistic. Write down what can and can’t be done. This helps you and the client approach the conceptual stage with better clarity and focus.

AUDIENCE UÊ "À}>â>ÌÊÌÊ`Û`Õ>ÊqÊÊ«ÀwÌ UÊ ÀiÊ/>À}iÌ\Ê`Û`Õ>ÃÊ>`Êv>ÞÊiLiÀÃÊÜÌÊÀ>ÀiÊV>ViÀÃ UÊ -iV`>ÀÞÊ/>À}iÌ\Êi`V>Ê ÕÌÞ UÊ /iÀÌ>ÀÞÊ/>À}iÌ\Ê«ÀÛ>ÌiÊ>`ÊLÕÃiÃÃÊÃiVÌÀÃÊ«ÌiÌ>Ê`ÀÃ GOALS/PROJECT OBJECTIVES UÊ*ÃÌÊ>ÃÊ>Ê«ÀiÕÊ«ÀwÌÊÀ}>â>ÌÊ«iÀ>Ì}ÊÊ a niche market. UÊÌÌÀ>VÌÊÌiÀiÃÌÊ>`ÊÀiÃ«iVÌ° MESSAGES UÊ ÛiÞÊVw`iVi]ÊÌÀÕÃÌi`Ê}Õ`>Vi]ÊVÀi`LÌÞ]Ê«ÀviÃÃ>Ã UÊ *ÀiVÌÊ}ÀÜÌ]ÊÃÌ>LÌÞÊ>`ÊÌÀÕÃÌ UÊ /iiÃÃiÃÃ ÉÌÊÌÀi`Þ UÊ ÃiÀÛ>ÌÛi]ÊÀi>Li]ÊÌ>ÃÌivÕ]Êii}>Ì]ÊÃÕLÌi UÊ 1`iÀÃÌ>Ìi`ÊÃ«VÌÞ]Ê i>Ê>`ÊÃ«iÊÜÌÊ>ÊºiÃ» UÊ ii]ÊÃvÌÊ>`ÊÜ>ÀÊÜÌÕÌÊLi}ÊÌÊº}ÀÞ» UÊ 7iV}Ê>`Ê>««À>V>Li UÊ -«ÃÌV>Ìi`]ÊÌÊÌÊÀV]ÊÌÕ}°Ê LÃÃ}Ê>ÞÊLiÊÌÊ ºiÝÌÀ>Û>}>Ì»ÊvÀÊÊ«ÀwÌÆÊÜiÊV>Ê`ÃVÕÃÃ° APPROACHES UÊ ÊÌÊÕÃiÊ>VÀÞÃ\Ê UÊ 1ÃiÊºiviÀÊ >`ÊÕ`>Ì» UÊ ÊÌÊVÕ`iÊºV°» UÊ iÃÊÌÊÛÃÕ>ÞÊÀi>ÌiÊÌÊV>ViÀ UÊ >ÃÌÊÉÃ«ÃÌVÊ>««À>V UÊ ÀâÌ>ÊvÀ>ÌÊ«ÀiviÀÀi`® UÊ /Þ«}À>«V>ÊÃÕÌÊÜÌÊÌiÊÌi}À>ÌÊvÊ>ÊÃÞLÉ>À UÊ Ý«ÀiÊÕÃ}ÊÌiÊ`À>}yÞÊ>ÃÊ>ÊÃÞL UÊ 1«ÊÌÊÌÀiiÊVÀÃ]Ê«iÊÌÊÀi¶ UÊ ÕÃÌÊLiÊÕÃi`ÊÊVÀÊ>`ÊLÉÜ

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®

Get to work

A dragonfly will be central to the logo. A dragonfly in real life is beautiful but complex, and the logo needs to be simple. One way to achieve simplicity is to use a silhouette. A silhouette must have just the right pose . . .

Top view This is the strong view. Simple, symmetrical, graceful. No legs, no body parts, all attention is on those wings. Side view It’s a beautifully engineered creature, but sticky little insect legs say bug, not warmth, femininity or welcome.

Front view What is this? It’s hard to tell at a glance, and you probably don’t want it crawling on you.

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Get artistic

The logo must convey many intangible qualities. Fill in the silhouette, then begin working out lines and shapes; each small variation will “say” something different.

Rotate Upright orientation is natural to our eye, because it’s the most like us. In this position, the dragonfly appears balanced, motionless, stable, “standing” like an object to be admired, almost as if we’re viewing a statue.

Angled edges Flattening the curves yields somewhat crystalline shapes. The idea is interesting, but here it appears heavy and masculine, which we don’t want.

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Abstract Sharp points and flat head look too much like a nail or a plant. The tapered body, however, shows potential; it lightens the weight of the silhouette, a feminine quality.

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Push

Because lighter is better, push that direction. Lighten it more by outlining the silhouette. Listen to what the lines are saying. As you work, pay attention to small improvements.

Continuous line Single line makes a fluid image, sweeping and graceful, like a spinning ballerina. This image is light but fairly abstract—we’re losing the sense of a dragonfly—but its attributes are desirable.

Continuous line, simplified The complex, single line is replaced with a simplified line, which often yields better results but here does not. Yet while the single wings look nothing like a dragonfly, they do suggest an angel.

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Abstract, outlined Pointed wings take the angel idea further. Four wings say dragonfly, but the image has now morphed into a symbol and is no longer an insect. The lines can also be seen as single wings in motion. The taper has returned.

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Expand

Two lines and a circle are a breakthrough. The image not only has dragonfly symbolism but acquires that of an angelic figure, too, clearly feminine.

Flat head The wings are sleek and pretty, but the blunt “head” still looks like a nail. Although unfinished, key at this point is that the design has developed a clear direction.

Arms added Two curves become arms that are open in gentle welcome . . .

. . . and a circle becomes a head. The body is widened into a tapered diamond—which, of course, has its own symbolism— and the image has become beautiful. This sketch was shown to the client, who loved everything except one detail . . .

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Converging lines are deleted because they reminded Harvey of the tubes that were attached to Jennifer at the hospital.

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Render

Refine on the computer. A single line weight lends strength and posture and ties the two chief images—Jennifer and dragonfly—together.

Position of arms Open arms welcome; clasped “hands” portray care, watchfulness.

Floating like an angel Tapered base conveys weightlessness.

The finished symbol is a beautiful blend of images, simple, engaging, timeless, powerful. It connects on many levels—inviting, caring, confident, dignified, angelic and so on.

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Type

Mighty Trajan, first inscribed in stone on Emperor Trajan’s column in Rome, has the dignity and stability that befits a premium cancer foundation.

FOUN Main typeface It’s seen a lot of use in recent years, but Trajan is timeless—strong, permanent, a direct connection to the ancient past. Its default letterspacing is like the engraved column, above. It can be looser but should not be tighter than this.

Secondary typeface The simple forms of modern classic Futura Book are crystal clear and nearly style-neutral. Because of this, Futura makes an excellent complement to Trajan and many other typefaces as well. Note its panoramic letterspacing (left).

The stable center Centered type reinforces the symmetrical symbol. Centering is robust, stable, motionless, which strengthens the sense of permanence.

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Color

A colorful dragonfly suggests bright, spring hues, but they would be too active. Muting the colors conveys softness, professionalism, trust.

Too bright

Desaturated

Subdued blues The client prefered to use blue, which suggests lightness, healing, medicine. Desaturated blue was applied only to the logo, not the type. The colors work naturally together because they’re analogous (side by side on the color wheel) and mainly gray.

Spring greens Vibrant colors are pretty but too “new” and inappropriately active to use here. The solution is to desaturate, which replaces hue with gray and yields muted, dusty tones. Note above that the original colors were eyedroppered from the image.

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Our report card

As we have seen, the creative brief gives everyone goals to work toward. And now that we’re done, it provides the measure by which to judge the outcome. Keep in mind that many goals —“professional,” for example—are subjective, and that the client gets a vote.

Does the logo meet the goals? From the creative brief . . . s #APTURES THE hTRUE ESSENCE OF *ENNIFER Diamond’s legacy to help people with rare cancers be strong, informed and promote healing . . .” s !TTRACTIVE TO hINDIVIDUALS AND FAMILY members with rare cancers, plus the medical community and donors” s $RAGONmY This central feature is clearly visible in the outcome. s #ONVEYS hCONlDENCE CREDIBILITY professionalism”

s 4HE IMAGE IS THAT OF A hPREMIUM non-profit organization.” s )T hATTRACTS INTEREST AND RESPECTv s #ONVEYS hSTABILITY TRUST CREDIBILITYv s !PPEARS hTIMELESS NOT TRENDYv s )TS hCONSERVATIVE RELIABLE TASTEFUL elegant, subtle.” s )TS hFEMININE SOFT AND WARM WITHOUT being girly.” s )TS hWELCOMING AND APPROACHABLEv

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Letterhead Light colors and small, light type convey a sense of peacefulness and dignity. Top logo and bottom address are far apart, but centered alignment keeps them connected. Key personnel are on the far left; wide line spacing sustains the airiness.

President Harvey Diamon d

Vice President Matthew Diamon d

Secretary Rachel Farle y

Treasurer David Jackel

Board of Dir ectors Harvey Diamond, Chair

Harvey Diamon d

Matthew Diamon d

President

Rachel Farle y 1880 Century Park East, 16th Floo r

Marshall Gelfand

Los Angeles, CA 9006 7

phone 310 551 080 0 fax 805 379 291 3 [email protected] www.jenniferdiamondfoundation.org

Letterhead, envelope and business card are designed as a package; note the logo and type are the same size on all three pieces.

Business card Vertical format heightens the sense of a floating angel. Aligned-left copy repeats that on the envelope and letterhead.

1880 Century Park East 16th Floo r Los Angeles, CA 9006 7

1880 Century Park East 16th Floor Los Angeles, CA 90067

phone 310 551 0800 fax 805 379 291 3

www.jenniferdiamondfoundation.org

Envelope White logo on the printed flap is an impressive touch that draws full attention to the message it wordlessly conveys. Manufacturing the full-bleed flap requires that the envelope be printed flat, then assembled.

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Article resources

Special thanks to the ever-impressive Karen Barranco for allowing us to morph her beautiful work into a design lesson. Developing an image of this caliber is neither as easy, nor as linear, as a condensed, 1–2–3 article makes it appear and often involves nail biting and sleepless nights. And, of course, a true brand is about much more than a logo. Nevertheless, the principles shown here are correct and in good order and have a lot to teach us.

Typefaces

Colors

1 Adobe Garamond Italic 2 Frutiger Roman 3 Futura Book 4 Trajan Pro

Images Images: iStockphoto 5 (6980328)

About Karen we can say this—that if we were in need of a designer, she would be on our short list of people to phone. See more of her work—and read about her process—on her Web site, www.specialmoderndesign.com.

6 (7339555)

7

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Visit the Jennifer Diamond Cancer Foundation at www.jenniferdiamondfoundation.org. Harvey Diamon d

President

1880 Century Park East, 16th Floo r Los Angeles, CA 9006 7

phone 310 551 080 0 fax 805 379 291 3 [email protected] www.jenniferdiamondfoundation.org

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PMS 550

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Design from a

creative brief Designer and client must work toward the same goal. Here’s how to do that.

When 30-year-old Jennifer Diamond quietly passed away of appendiceal carcinoma, a rare form of cancer, on July 23, 2002, she left behind family, friends and a gentle legacy of gracefulness and love. And she left her father Harvey with a mission—“to share the knowledge gained from this experience with others.” So was born the Jennifer Diamond Foundation, which would be “dedicated to helping people win the fight against all forms of cancer.” Soon after, designer Karen Barranco was retained to give Jennifer’s foundation a public image. The beautiful logo she made is a textbook lesson in how to design for a client—and work to a shared, creative vision. The process begins not on a computer but face to face with the client, for as long as it takes, listening, building rapport, understanding—and sharing—the mission. Here’s how she did it:

0680 Design from a creative brief

Before&After | www.bamagazine.com

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Write it down The creative brief is the blueprint for the project. It is a collaboration of designer and client. It includes a project overview, goals, messages, audience description, budget, schedule, and so on. The act of writing all this down means that everyone has talked through and agreed on what the design is to embody.

Design from a creative brief

0680

Listen

PROJECT DESCRIPTION /ÃÊ`iÌÌÞÊÜÊV>«ÌÕÀiÊÌiÊÌÀÕiÊiÃÃiViÊvÊiviÀÊ >`½ÃÊi}>VÞÊ ÌÊi«Ê«i«iÊÜÌÊÀ>ÀiÊV>ViÀÃÊÌÊLiÊÃÌÀ}]ÊvÀi`Ê>`Ê«ÀÌiÊ i>}ÊÌÀÕ}Ê`Ê>`ÊL`ÞÊViVÌÃÊ>`ÊÜÊÃiÌÊÌiÊÌiÊvÀÊ >ÊvÕÌÕÀiÊ`iÃ}Ê>««V>ÌÃ°Ê/ÃÊ`iÌÌÞÊÜÊÕÃiÊÌiÊiÌ>«ÀÊ>`Ê ÃÞLÃÊvÊÌiÊ À>}yÊÞÊ>ÃÊÌiÊºi>}ÊiÃÃi}iÀ]»ÊÌiÀÌÜi`ÊÜÌÊ ÌiÊvÜ}Êi>}Ã\

When you meet your client, your most important tools are your ears. Hear who they are and what they’re saying. As you proceed together, talk about the goals for the design. (Which is different from what the design should look like.) Develop the creative brief. Keep it short. Use clear headlines and bulleted lists.

Powerful /iÊ À>}yÊÞÊÃÊ>Ê«ÀÌ>ÌÊÃiVÌÊÊi}i`]ÊÜiÀiÊÌiÞÊ>ÀiÊVÀi>ÌÕÀiÃÊ ÜÌÊÃÕ«iÀ>ÌÕÀ>Ê«ÜiÀÃ°Ê Prosperity and Harmony /iÊ À>}yÊÞÊÀi«ÀiÃiÌÃÊÌiÊ«ÜiÀÃÊvÊ}ÌÊ>`ÊÌÀ>ÃvÀ>Ì]Ê>`Ê ÌiÊ>LÌÞÊÌÊÃiiÊÌÀÕ}ÊÕÃ°Ê/iÊ`À>}yÊÞÊÌi>ViÃÊ>ÊvÀiiÊ>`ÊÞvÕÊ ÃiÃiÊvÊLi}°

Project description The project description is a brief summary of what we’re doing and why. Because dragonflies had symbolic meaning to Jennifer and her family, the decision was made at the outset that a dragonfly would be central to the image, so it was included here.

Informed /iÊ À>}yÊÞÊÌi>ViÃÊÕÃÊÌÊ>««ÞÊÌiÊ>ÀÌÊvÊÜi`}iÊÌÊÕÀÊÜÊ µÕiÃÌÃÊ>`ÊÃÌÕ>ÌÃpÌÊÀiiLiÀÊÌ}ÃÊ>ÀiÊiÛiÀÊV«iÌiÞÊ>ÃÊ ÌiÞÊÃii° Ability to be Positive /iÊÃvÌ}ÊÛiiÌ]ÊiiÀ}Þ]ÊvÀ]Ê>`ÊVÀÊvÊÌÃÊÀ`iÃViÌÊÜ}ÃÊ «iÊÛ>}ÕiÊiÀiÃ]ÊÀi`}ÊÕÃÊvÊ>ÌiÀ>ÌÛiÊ«iÀÃ«iVÌÛiÃ°Ê

Meanings What is the symbolism of the dragonfly? Don’t assume you know. Listen to your client. Participate; fill in the gaps with research, but check your results with the client. Think in metaphors, which helps you avoid becoming too literal. Avoid clichés.

Communicator /iÊ À>}yÊÞÊÃÊÌiÊiÃÃiViÊvÊV>}i]ÊÌiÊiÃÃ>}iÃÊvÊi}ÌiiÌÊ >`ÊÜÃ`°ÊÌÊ>ÃÊLÀ}ÃÊVÕV>ÌÊvÀÊÌiÊiiiÌ>ÊÜÀ`]Ê >ÌÕÀiÊÃ«ÀÌÃ°Ê Dare to Dream /iÊ À>}yÊÞÊÃÊÌiÊ`Àii«iÀÊÜÊ>ÜÃÊÌiÊ}>ÌiÃÊÌÊÌiÊ`Ài>Ê `iÃÃÊÌÊLiÊ«ii`ÊÌÀÕ}ÊÌiÊLÀi>}ÊvÊÌiÊ«ÞÃV>ÊÕÃ°

AUDIENCE UÊ "À}>â>ÌÊÌÊ`Û`Õ>ÊqÊÊ«ÀwÊÌ UÊ ÀiÊ/>À}iÌ\Ê`Û`Õ>ÃÊ>`Êv>ÞÊiLiÀÃÊÜÌÊÀ>ÀiÊV>ViÀÃ UÊ -iV`>ÀÞÊ/>À}iÌ\Êi`V>Ê ÕÌÞ UÊ /iÀÌ>ÀÞÊ/>À}iÌ\Ê«ÀÛ>ÌiÊ>`ÊLÕÃiÃÃÊÃiVÌÀÃÊ«ÌiÌ>Ê`ÀÃ

Audience An image that has meaning to one group may be meaningless to another. Understand who the audience is. Let your client guide you. Don’t assume you know the audience or what it is like . Keep in mind that the first audience is the client himself and his employees and volunteers. They must enjoy their logo and be proud of it and what it represents. Seriously.

GOALS/PROJECT OBJECTIVES UÊ*ÃÌÊ>ÃÊ>Ê«ÀiÕÊ«ÀwÊÌÊÀ}>â>ÌÊ«iÀ>Ì}ÊÊ >ÊViÊ>ÀiÌ° UÊÌÌÀ>VÌÊÌiÀiÃÌÊ>`ÊÀiÃ«iVÌ° MESSAGES UÊ ÛiÞÊVwÊ`iVi]ÊÌÀÕÃÌi`Ê}Õ`>Vi]ÊVÀi`LÌÞ]Ê«ÀviÃÃ>Ã UÊ *ÀiVÌÊ}ÀÜÌ]ÊÃÌ>LÌÞÊ>`ÊÌÀÕÃÌ UÊ /iiÃÃiÃÃ ÉÌÊÌÀi`Þ UÊ ÃiÀÛ>ÌÛi]ÊÀi>Li]ÊÌ>ÃÌivÕ]Êii}>Ì]ÊÃÕLÌi UÊ 1`iÀÃÌ>Ìi`ÊÃ«VÌÞ]Ê i>Ê>`ÊÃ«iÊÜÌÊ>ÊºiÃ» UÊ ii]ÊÃvÌÊ>`ÊÜ>ÀÊÜÌÕÌÊLi}ÊÌÊº}ÀÞ» UÊ 7iV}Ê>`Ê>««À>V>Li UÊ -«ÃÌV>Ìi`]ÊÌÊÌÊÀV]ÊÌÕ}°Ê LÃÃ}Ê>ÞÊLiÊÌÊ ºiÝÌÀ>Û>}>Ì»ÊvÀÊÊ«ÀwÊÌÆÊÜiÊV>Ê`ÃVÕÃÃ°

Messages A logo is a signature, not a marketing program. It does not need to “tell the whole story.” Nevertheless, it has a story to tell. The logo may picture the product or service. It may be only the name. But it will always convey an intangible—perhaps a vision or attitude or feeling. In this, it is similar to clothing; a red suit says something different from jeans. Write down everything you imagine. This is the artistic step. We must say visually what words alone cannot.

APPROACHES UÊ ÊÌÊÕÃiÊ>VÀÞÃ\Ê UÊ 1ÃiÊºiviÀÊ >`ÊÕ`>Ì» UÊ ÊÌÊVÕ`iÊºV°» UÊ iÃÊÌÊÛÃÕ>ÞÊÀi>ÌiÊÌÊV>ViÀ UÊ >ÃÌÊÉÃ«ÃÌVÊ>««À>V UÊ ÀâÌ>ÊvÀ>ÌÊ«ÀiviÀÀi`® UÊ /Þ«}À>«V>ÊÃÕÌÊÜÌÊÌiÊÌi}À>ÌÊvÊ>ÊÃÞLÉ>À UÊ Ý«ÀiÊÕÃ}ÊÌiÊ`À>}yÊÞÊ>ÃÊ>ÊÃÞL UÊ 1«ÊÌÊÌÀiiÊVÀÃ]Ê«iÊÌÊÀi¶ UÊ ÕÃÌÊLiÊÕÃi`ÊÊVÀÊ>`ÊLÉÜ

Approaches This step is more mechanical than artistic. Write down what can and can’t be done. This helps you and the client approach the conceptual stage with better clarity and focus.

0680 Design from a creative brief

Before&After | www.bamagazine.com

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Design from a creative brief

0680

Get to work

A dragonfly will be central to the logo. A dragonfly in real life is beautiful but complex, and the logo needs to be simple. One way to achieve simplicity is to use a silhouette. A silhouette must have just the right pose . . .

Top view This is the strong view. Simple, symmetrical, graceful. No legs, no body parts, all attention is on those wings. Side view It’s a beautifully engineered creature, but sticky little insect legs say bug, not warmth, femininity or welcome.

Front view What is this? It’s hard to tell at a glance, and you probably don’t want it crawling on you.

Get artistic

The logo must convey many intangible qualities. Fill in the silhouette, then begin working out lines and shapes; each small variation will “say” something different.

Rotate Upright orientation is natural to our eye, because it’s the most like us. In this position, the dragonfly appears balanced, motionless, stable, “standing” like an object to be admired, almost as if we’re viewing a statue.

0680 Design from a creative brief

Angled edges Flattening the curves yields somewhat crystalline shapes. The idea is interesting, but here it appears heavy and masculine, which we don’t want.

Before&After | www.bamagazine.com

3 of 8

Abstract Sharp points and flat head look too much like a nail or a plant. The tapered body, however, shows potential; it lightens the weight of the silhouette, a feminine quality.

Design from a creative brief

0680

Push

Because lighter is better, push that direction. Lighten it more by outlining the silhouette. Listen to what the lines are saying. As you work, pay attention to small improvements.

Continuous line Single line makes a fluid image, sweeping and graceful, like a spinning ballerina. This image is light but fairly abstract—we’re losing the sense of a dragonfly—but its attributes are desirable.

Continuous line, simplified The complex, single line is replaced with a simplified line, which often yields better results but here does not. Yet while the single wings look nothing like a dragonfly, they do suggest an angel.

Abstract, outlined Pointed wings take the angel idea further. Four wings say dragonfly, but the image has now morphed into a symbol and is no longer an insect. The lines can also be seen as single wings in motion. The taper has returned.

Expand

Two lines and a circle are a breakthrough. The image not only has dragonfly symbolism but acquires that of an angelic figure, too, clearly feminine.

Flat head The wings are sleek and pretty, but the blunt “head” still looks like a nail. Although unfinished, key at this point is that the design has developed a clear direction.

0680 Design from a creative brief

. . . and a circle becomes a head. The body is widened into a tapered diamond—which, of course, has its own symbolism— and the image has become beautiful. This sketch was shown to the client, who loved everything except one detail . . .

Arms added Two curves become arms that are open in gentle welcome . . .

Before&After | www.bamagazine.com

4 of 8

Converging lines are deleted because they reminded Harvey of the tubes that were attached to Jennifer at the hospital.

Design from a creative brief

0680

Render

Refine on the computer. A single line weight lends strength and posture and ties the two chief images—Jennifer and dragonfly—together.

Position of arms Open arms welcome; clasped “hands” portray care, watchfulness.

Floating like an angel Tapered base conveys weightlessness.

The finished symbol is a beautiful blend of images, simple, engaging, timeless, powerful. It connects on many levels—inviting, caring, confident, dignified, angelic and so on.

Type

Mighty Trajan, first inscribed in stone on Emperor Trajan’s column in Rome, has the dignity and stability that befits a premium cancer foundation.

FOUN Main typeface It’s seen a lot of use in recent years, but Trajan is timeless—strong, permanent, a direct connection to the ancient past. Its default letterspacing is like the engraved column, above. It can be looser but should not be tighter than this.

Secondary typeface The simple forms of modern classic Futura Book are crystal clear and nearly style-neutral. Because of this, Futura makes an excellent complement to Trajan and many other typefaces as well. Note its panoramic letterspacing (left).

The stable center Centered type reinforces the symmetrical symbol. Centering is robust, stable, motionless, which strengthens the sense of permanence.

0680 Design from a creative brief

Before&After | www.bamagazine.com

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Design from a creative brief

0680

Color

A colorful dragonfly suggests bright, spring hues, but they would be too active. Muting the colors conveys softness, professionalism, trust.

Too bright

Desaturated

Subdued blues The client prefered to use blue, which suggests lightness, healing, medicine. Desaturated blue was applied only to the logo, not the type. The colors work naturally together because they’re analogous (side by side on the color wheel) and mainly gray.

Spring greens Vibrant colors are pretty but too “new” and inappropriately active to use here. The solution is to desaturate, which replaces hue with gray and yields muted, dusty tones. Note above that the original colors were eyedroppered from the image.

Our report card

As we have seen, the creative brief gives everyone goals to work toward. And now that we’re done, it provides the measure by which to judge the outcome. Keep in mind that many goals —“professional,” for example—are subjective, and that the client gets a vote.

Does the logo meet the goals? From the creative brief . . .

s 4HE IMAGE IS THAT OF A hPREMIUM non-profit organization.”

s #APTURES THE hTRUE ESSENCE OF *ENNIFER Diamond’s legacy to help people with rare cancers be strong, informed and promote healing . . .”

s )T hATTRACTS INTEREST AND RESPECTv s #ONVEYS hSTABILITY TRUST CREDIBILITYv s !PPEARS hTIMELESS NOT TRENDYv

s !TTRACTIVE TO hINDIVIDUALS AND FAMILY members with rare cancers, plus the medical community and donors”

s )TS hCONSERVATIVE RELIABLE TASTEFUL elegant, subtle.”

s $RAGONmY This central feature is clearly visible in the outcome.

s )TS hFEMININE SOFT AND WARM WITHOUT being girly.”

s #ONVEYS hCONlDENCE CREDIBILITY professionalism”

0680 Design from a creative brief

s )TS hWELCOMING AND APPROACHABLEv

Before&After | www.bamagazine.com

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Design from a creative brief

0680

Letterhead Light colors and small, light type convey a sense of peacefulness and dignity. Top logo and bottom address are far apart, but centered alignment keeps them connected. Key personnel are on the far left; wide line spacing sustains the airiness.

President Harvey Diamon d

Vice President Matthew Diamon d

Secretary Rachel Farle y

Treasurer David Jackel

Board of Dir ectors Harvey Diamond, Chair

Harvey Diamon d

Matthew Diamon d

President

Rachel Farle y 1880 Century Park East, 16th Floo r

Marshall Gelfand

Los Angeles, CA 9006 7

phone 310 551 080 0 fax 805 379 291 3 [email protected] www.jenniferdiamondfoundation.org

Letterhead, envelope and business card are designed as a package; note the logo and type are the same size on all three pieces.

Business card Vertical format heightens the sense of a floating angel. Aligned-left copy repeats that on the envelope and letterhead.

1880 Century Park East 16th Floo r Los Angeles, CA 9006 7

1880 Century Park East 16th Floor Los Angeles, CA 90067

Envelope White logo on the printed flap is an impressive touch that draws full attention to the message it wordlessly conveys. Manufacturing the full-bleed flap requires that the envelope be printed flat, then assembled.

phone 310 551 0800 fax 805 379 291 3

www.jenniferdiamondfoundation.org

Article resources

Special thanks to the ever-impressive Karen Barranco for allowing us to morph her beautiful work into a design lesson. Developing an image of this caliber is neither as easy, nor as linear, as a condensed, 1–2–3 article makes it appear and often involves nail biting and sleepless nights. And, of course, a true brand is about much more than a logo. Nevertheless, the principles shown here are correct and in good order and have a lot to teach us.

Typefaces

Colors

1 Adobe Garamond Italic 2 Frutiger Roman 3 Futura Book

7

PMS 550

8

PMS 7539

4 Trajan Pro

Images Images: iStockphoto 5 (6980328)

About Karen we can say this—that if we were in need of a designer, she would be on our short list of people to phone. See more of her work—and read about her process—on her Web site, www.specialmoderndesign.com.

6 (7339555)

7

8

Visit the Jennifer Diamond Cancer Foundation at www.jenniferdiamondfoundation.org. Harvey Diamon d

President

1880 Century Park East, 16th Floo r Los Angeles, CA 9006 7

phone 310 551 080 0 fax 805 379 291 3 [email protected] www.jenniferdiamondfoundation.org

1

0680 Design from a creative brief

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0680

Before&After

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Design from a creative brief

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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0680 Design from a creative brief

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Design from a creative brief

Design from a creative brief

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®

Design a flier that sells The key to an advertisement that sells is simple: Keep all eyes on the product.

®

Design a flier that sells a product Whether you spend a little or a lot, the key to an advertisement that sells is simple: Keep all eyes on the product.

Before

PIER SEVEN PATIO

AND

S

AL NT

INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

RE

SA

LE

S

INDOOR-OUTDOOR FURNITURE AND MORE FOR WEDDINGS, PARTIES AND SPECIAL OCCASIONS

BEAUTIFUL STRONG WICKER FURNITURE FOR INDOOR OR OUTDOOR MODERN LIVING

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

HWY. 99

To Stockton

W S

N E

Perkins Blvd.

Mr. Wilson was late for the home show, and busy. There were trucks to rent, contracts to sign, furniture to arrange. The new lines hadn’t arrived. Was the flier done yet? At least the flier would be easy: He had beautiful products, one location, a simple message; what could go wrong? Lots. The common, throwaway flier is advertising’s low man. It is most often used to put an advertiser’s message on paper when there’s no time and no money. But its allure can be deceptive. Why? Because it’s so easy to think cheap and miss what’s obvious to others—that on that rickety, 10-cent page is nothing less than your company’s precious, irreplacable image. Let’s see if we can make a flier worthy of that.

PIER SEVEN

To Sacramento

ANTELOPE RD. Diamond Park

x

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

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Look familiar? Words everywhere, photos misaligned, a map made of sticks, whew! The problem isn’t that this flier is ugly (ugly ads can be effective salesmen, which drives designers nuts) but that the products—the items actually for sale—are smothered in visual chatter. The retailer scrupulously avoided hype and carefully provided his store’s location, contact info and even a map, but forgot that the product must come first! Once the reader decides he likes the product, he’ll find your store.

®

Design a flier that sells a product

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In real life . . .

If you walked into Mr. Wilson’s store, this is what you’d see: a line of beautifully modern, casual furniture. Handsome, isn’t it? Surrounded by such nice stuff, it’s easy to see how, in his mind’s eye, Mr. Wilson’s readers could see the product as clearly as he.

To an ad designer, reality, incredibly, can be misleading! Why? Because while you can see and touch the product, the reader experiences nothing except what’s on paper (or screen). Your goal, therefore, is, through words, pictures and composition, to make your product speak for itself.

3 of 15

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Design a flier that sells a product

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Before you begin . . .

Advertising design would be the same as any other kind of design except for two especially distorting influences: our self-consciousness (we tend to see ourselves, while shoppers see the products), and the money at stake. It will pay to consider . . .

No one shops everywhere. Many people will never buy your product, no matter how obvious its qualities are to you, and nothing shreds money faster than trying to change their minds. The way to profits is to visualize those who are interested, and present your product to them. Maintain your poise. As people, we share a troublesome tendency to weigh our negatives more heavily than our positives. But comparing ourselves to others usually results in overreaction, which typically takes the form of TALKING LOUDER or talkingfasterandcrowdingmorein. Maintain your poise. Mr. Wilson’s furniture is excellent; we can sell that. A shopper isn’t looking for a store; he’s looking for a product. Be cool. Your audience is just like you—intelligent and preoccupied. Visualize a business meeting: Dress well. Be prepared. Be clear. Make your point. Be concise. Don’t waste their time.

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Design a flier that sells a product

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Start by setting a stage

If you think of your paper or screen as a stage—like a theater stage—you’ll be in the right frame of mind. Why? Because a good advertising page is a stage, not a spreadsheet, on which you’ll craft drama, tension, impact, interest.

Place guides Because it will be printed on a desktop, your images can’t touch the edges, or “bleed.” Place border guides wide enough for your printer but no wider— typically a quarter inch or so in—and place a guide on the centerline. The powerful center Like center stage, center is the most powerful place in any visual field. (By center, we mean center-ish, not the exact mechanical center.) Remember this as you plan your page, and think “center out,” not “top down.”

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Design a flier that sells a product

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Place your product

Place your product on the page in the same way that you’d show it off to your friends: Set it out in the center of things where it can be seen and touched.

(Right) It is tempting to play with a design in an effort to add one’s artistic touch. Resist! In product advertising, the product is the show. Don’t tilt the photo or distort it in any way. Don’t add ruffles and flourishes. Don’t make it tiny, thinking a shopper would prefer to read about it. And don’t crop it like an art poster, which will just frustrate an interested buyer.

Picture your product clearly! To do this well, you need a photograph. The factory or distributor is often able to furnish a good one; call them. Failing that, you may hire a photographer who specializes in product photography (a different skill from portraiture or nature photography). Keep in mind that if shoppers cannot see your product clearly, they will not buy it.

No!

No!

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Design a flier that sells a product

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Add a headline

Elucidate! Once your product is on the page, add words to reveal detail and nuance and direct the reader to virtues or uses of the product that are not evident just by looking at it.

We like stuff Shoppers enjoy seeing and experiencing new products. (We like to be thrilled, basically.) You’ll write your best headlines if you think of your readers as eager listeners. Think, What’s the first thing I would tell my friends about this product? Begin with the feature that you find most interesting or exciting. In this case, it’s that the soft wicker is beautifully combined with strong, durable steel. If your product is more ordinary—a screwdriver, perhaps, or a set of bath towels—think, What do I like most about this product? Explain that.

DÒPXR_steel.

Use photo colors Colors eyedroppered from the photo will always coordinate perfectly. Note the small deckhead color matches the chair.

G8K@F8E;@E;FFI=LIE@KLI<

Rule of thumb #1 A short headline is preferable to a long one In oral conversation we yak on and on with 20 words when one or two would do. As readers, however, we are bored quickly. Shoppers want to like your product, but they won’t tolerate much blather. English is a rich, descriptive language; there’s usually a perfect word. Finding it will pay off. Rule of thumb #2 Avoid catchy slogans Why? 1) You won’t be able to think one up. 2) If you do, it will be corny.

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Design a flier that sells a product

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What typestyles?

Wıcker&Steel PATIO AND INDOOR FURNITURE

Always appropriate: The classics Understatement, the classic mark of confidence, allows the product to shine. Match headline and deckhead (the line beneath it) in a face that’s designed for text. Some of the best: Garamond (above), Caslon, Century, Times, Bembo, Sabon. Classic type complements almost any product. Note that the deckhead is in uppercase.

DÒPXR_steel.

WICKER&STEEL PATIO AND INDOOR FURNITURE

G8K@F8E;@E;FFI=LIE@KLI<

Not so good: Decoratives Rosewood (above) is a heavily styled typeface— part of a class called decoratives—whose presence is a scene stealer. Decoratives are really showy on type specimen sheets, which is why they’re tempting to use, but remember that the product, not the type, is the show. Decoratives are better for posters than for product ads.

Cool: Styles that express their words Here, beautiful typestyles reflect their words—in this case, light wicker and heavy steel. This technique is best in understatement; it will fail if the connection feels obvious or artificial, which is likeliest to occur if the type is heavily stylized. It also requires care to pull off; if you’re uncertain, we recommend using classics, which are easier.

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Design a flier that sells a product

®

Add your text

As you write, bear in mind that a shopper will be reading if—but only if—the product and its headline have interested him sufficiently. As you compose your text, therefore, have confidence that your reader is interested. Be clear. Keep your poise.

PIER SEVEN PATIO

AND

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INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

RE

SA

DÒPXR_steel. G8K@F8E;@E;FFI=LIE@KLI<

LE

S

DÒPXR_steel.

Rule of thumb #3 Be kind It is the reader, not you, who is in the driver’s seat. No matter how big you are, nothing will happen unless the reader wants it to happen. Respect that. A proper advertisement is a dignified product presentation, not a stick-up. It is an American fantasy to think a shopper can be compelled to buy a product. As shoppers, we actually sell ourselves.

G8K@F8E;@E;FFI=LIE@KLI<

INDOOR-OUTDOOR FURNITURE AND MORE FOR WEDDINGS, PARTIES AND SPECIAL OCCASIONS

BEAUTIFUL STRONG WICKER FURNITURE FOR INDOOR OR OUTDOOR MODERN LIVING

ANDROMEDA CHAISE $999

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

W S

N E ANTELOPE RD.

x

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

Perkins Blvd.

HWY. 99

To Stockton

Diamond Park

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

PIER SEVEN

To Sacramento

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Design simply Willy-nilly layout (above left) is not only unattractive, but it’s difficult to do—there are too many decisions to make! The makeover is simple, horizontal lines—head, deckhead, photo, text—right down the page. Easy! What makes it so clear is that the lines run edge to edge; your eye isn’t stopping, zigging, zagging and backing up as it moves around the page.

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

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Help! When business success is at stake, making an ad can give your tummy big butterflies. You may find it helpful to visualize your friends and imagine showing your product to them. Why? Because that’s who we are—people just like you. A good sale will be a relaxed, win-win transaction.

®

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Design a flier that sells a product

Add your logo

Present yourself last, and small. Two reasons: You are the last link in the sale— remember, we shop for products, not stores—and small says confident.

Full stop The lower-right corner is the exit point of the page and an excellent place to put your logo, where it works like a punctuation point and brings the reader to a stop. A small logo is more authoritative than a big one; real power always appears effortless. In this case, the surrounding white field adds to its visibility, although the reader will not be aware of that. Add contact information below the logo or at least in the vicinity. Note how the flier is divided into four easily digested pieces—headline, photo, text and store name—which together make a clear, coherent statement.

DÒPXR_steel. G8K@F8E;@E;FFI=LIE@KLI<

Here’s an easy way to make a logotype:

Pier Seven Type your name

PierSeven Remove the word space

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

PierSeven Tighten the letter spacing

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

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PierSeven Color

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Design a flier that sells a product

®

Add a map

A map is an underused asset. Especially thoughtful of shoppers are maps of labyrinthine parking garages, one-way streets, off-the-beaten-path entryways, things like that. Start with a Google map, then modify.

Too big, too detailed

Antelope Rd

DÒPXR_steel.

Delete streets, move the highway

G8K@F8E;@E;FFI=LIE@KLI<

Antelope Rd

N

Perkins Blvd Perki ns Blvd

Perkins Blvd

Perkins Blvd

A

Perkins Blvd

Antelope Rd

Move the highway

Antelope Rd

Antelope Rd

99

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful Antelope Rd

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

Antelope Rd

N

Perkins Blvd

A 99

Antelope Rd

Google maps are excellent, but for a tiny space they’re too detailed. To simplify, import a screen image of your Google map, then trace new roads over Google’s. Skip all but the main streets, then (in this case) move an important but distant highway . . .

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

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. . . closer to the store (above). To draw local detail not on the map (an alley or office park, for example), follow Google’s style of white roads on light neutral background. Match Google’s colors with the eyedropper tool. Crop tightly to fit (left).

®

12 of 15

Design a flier that sells a product

Have more products?

Tight budgets usually mean doing more with less, so your flier may need to show more products. There are two good ways to do this. The first is shown below—put one product center stage, and make your other products much smaller . . .

PIER SEVEN PATIO

AND

S

AL NT

INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

RE

SA

LE

S

INDOOR-OUTDOOR FURNITURE AND MORE FOR WEDDINGS, PARTIES AND SPECIAL OCCASIONS

BEAUTIFUL STRONG WICKER FURNITURE FOR INDOOR OR OUTDOOR MODERN LIVING

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

W S

N E ANTELOPE RD.

Diamond Park

x

Perkins Blvd.

HWY. 99

To Stockton

PIER SEVEN

To Sacramento

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Clear hierarchy One big photo and a row of small photos yields clear visual hierarchy, which aids understanding. Key is that the sizes are boldly different; small differences create only ambiguity and clutter, as you’ll remember from the busy original (left). Note the map has been moved to the end of the row, sustaining the horizontal theme.

DÒPXR_steel. G8K@F8E;@E;FFI=LIE@KLI<

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living. Antelope Rd

N

Perkins Blvd

A Antelope Rd

99

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd.

Crop uniformly Photos of like objects in a row should be cropped so that the objects are the same size, or as close as possible. Judge size by the bulk of the object, not details like legs and other small parts.

916-555-8212 www.pierseven.net

Logo moves to align with the photo.

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®

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Design a flier that sells a product

More products

The second way is to make your products the same size and group them center stage. Now the group, not a single product, is the focal point. Reward the reader by providing names and prices right on the photos.

PIER SEVEN PATIO

AND

S

AL NT

INDOOR FURNITURE SA

LE

The Warmth of Wicker The Strength of Steel

RE

S

INDOOR-OUTDOOR FURNITURE AND MORE FOR WEDDINGS, PARTIES AND SPECIAL OCCASIONS

BEAUTIFUL STRONG WICKER FURNITURE FOR INDOOR OR OUTDOOR MODERN LIVING

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

W S

N E ANTELOPE RD.

Diamond Park

x

Perkins Blvd.

HWY. 99

To Stockton

PIER SEVEN

To Sacramento

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Misaligned, zigzaggy

DÒPXR_steel. G8K@F8E;@E;FFI=LIE@KLI<

Same-size photos A crisp block of photos becomes a multi-image focal point. Key to this technique is that all the furniture be the same size, or almost, so crop with that in mind. Arrange so that the outside chairs face inward, if possible.

DÒPXR_steel. G8K@F8E;@E;FFI=LIE@KLI<

GRANDMA JO CHAIR $699

SAFARI CHAIR $499

TROPICAL CHAISE $799

ECLIPSE POD CHAIR $799

MOON POD CHAIR $499

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a GRANDMA JO CHAIR $699

SAFARI CHAIR $499

MOON POD CHAIR $499

robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

TROPICAL CHAISE $799

ECLIPSE POD CHAIR $799

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

Straight and clear

N A

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

N

Perkins Blvd

A 99

Antelope Rd

PierSeven

PierSeven

Antelope Rd

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

Half width, same size You don’t notice at a glance, but two of the photos are exactly half width. The key is exactly, which creates an intentional, not ambiguous, look. Stack the photos in horizontal and vertical segments (above left); avoid a “brick wall” arrangement (above right), which introduces zigzags. And remember that even at half width, the furniture must be the same size as in the other photos.

Map remains small to sustain the hierarchy.

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Article resources

Typefaces

15

1

DÒPXR_steel.

2 3

G8K@F8E;@E;FFI=LIE@KLI<

Colors

1 HTF Didot | 84 pt 2 Franklin Gothic Condensed | 84 pt 3 Benton Sans Condensed Book | 27 pt

16 C20 M25 Y60 K10

4 (a–b) ITC Franklin Gothic Heavy a) 14 pt, b) 11pt

17 C0 M0 Y0 K70

16 17

5 Helvetica Neue Bold | 44 pt

18 C9 M57 Y100 K41

6 (a–c) Trade Gothic Light | a) 11 pt b) 14/22 pt, c) 10 pt

19 C25 M100 Y100 K25

9

18 19 6c 6b

7 Trade Gothic Oblique | 11 pt 4a

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

Images

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living. Antelope Rd

11

N

Perkins Blvd

A Antelope Rd

99

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

10

8 (www.maps.google.com)

8

Images: iStockphoto

5

9 (6175780)

6

10 (542325) 11 (7220638) 12 (3173386)

12

15 C0 M0 Y0 K100

13

14

4b

6a

7

13 (3172210) 14 (2682001)

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®

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Design a flier that sells a product

Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Staff designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

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Design a flier that sells The key to an advertisement that sells is simple: Keep all eyes on the product.

Before

0681 Design a flier that sells a product

PIER SEVEN PATIO

AND

S AL NT

INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

RE

LE

S

BEAUTIFUL STRONG WICKER FURNITURE FOR INDOOR OR OUTDOOR MODERN LIVING

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

HWY. 99

To Stockton

W S

N E ANTELOPE RD.

Diamond Park

x

PIER SEVEN

To Sacramento

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Before&After | www.bamagazine.com

1 of 8

SA

INDOOR-OUTDOOR FURNITURE AND MORE FOR WEDDINGS, PARTIES AND SPECIAL OCCASIONS

Perkins Blvd.

Mr. Wilson was late for the home show, and busy. There were trucks to rent, contracts to sign, furniture to arrange. The new lines hadn’t arrived. Was the flier done yet? At least the flier would be easy: He had beautiful products, one location, a simple message; what could go wrong? Lots. The common, throwaway flier is advertising’s low man. It is most often used to put an advertiser’s message on paper when there’s no time and no money. But its allure can be deceptive. Why? Because it’s so easy to think cheap and miss what’s obvious to others—that on that rickety, 10-cent page is nothing less than your company’s precious, irreplacable image. Let’s see if we can make a flier worthy of that.

Look familiar? Words everywhere, photos misaligned, a map made of sticks, whew! The problem isn’t that this flier is ugly (ugly ads can be effective salesmen, which drives designers nuts) but that the products—the items actually for sale—are smothered in visual chatter. The retailer scrupulously avoided hype and carefully provided his store’s location, contact info and even a map, but forgot that the product must come first! Once the reader decides he likes the product, he’ll find your store.

Design a flier that sells a product

0681

Before&After

®

Design a flier that sells a product

BAmagazine.com

3 of 15

i 3 6

In real life . . .

If you walked into Mr. Wilson’s store, this is what you’d see: a line of beautifully modern, casual furniture. Handsome, isn’t it? Surrounded by such nice stuff, it’s easy to see how, in his mind’s eye, Mr. Wilson’s readers could see the product as clearly as he.

To an ad designer, reality, incredibly, can be misleading! Why? Because while you can see and touch the product, the reader experiences nothing except what’s on paper (or screen). Your goal, therefore, is, through words, pictures and composition, to make your product speak for itself.

Before&After

®

Design a flier that sells a product

BAmagazine.com

4 of 15 3 of 15

i 3 6

Design a flier that sells a product

0681

Before you begin . . .

Advertising design would be the same as any other kind of design except for two especially distorting influences: our self-consciousness (we tend to see ourselves, while shoppers see the products), and the money at stake. It will pay to consider . . .

No one shops everywhere. Many people will never buy your product, no matter how obvious its qualities are to you, and nothing shreds money faster than trying to change their minds. The way to profits is to visualize those who are interested, and present your product to them. Maintain your poise. As people, we share a troublesome tendency to weigh our negatives more heavily than our positives. But comparing ourselves to others usually results in overreaction, which typically takes the form of TALKING LOUDER or talkingfasterandcrowdingmorein. Maintain your poise. Mr. Wilson’s furniture is excellent; we can sell that. A shopper isn’t looking for a store; he’s looking for a product. Be cool. Your audience is just like you—intelligent and preoccupied. Visualize a business meeting: Dress well. Be prepared. Be clear. Make your point. Be concise. Don’t waste their time.

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Start by setting a stage

If you think of your paper or screen as a stage—like a theater stage—you’ll be in the right frame of mind. Why? Because a good advertising page is a stage, not a spreadsheet, on which you’ll craft drama, tension, impact, interest.

Place guides Because it will be printed on a desktop, your images can’t touch the edges, or “bleed.” Place border guides wide enough for your printer but no wider— typically a quarter inch or so in—and place a guide on the centerline. The powerful center Like center stage, center is the most powerful place in any visual field. (By center, we mean center-ish, not the exact mechanical center.) Remember this as you plan your page, and think “center out,” not “top down.”

Place your product

Place your product on the page in the same way that you’d show it off to your friends: Set it out in the center of things where it can be seen and touched.

(Right) It is tempting to play with a design in an effort to add one’s artistic touch. Resist! In product advertising, the product is the show. Don’t tilt the photo or distort it in any way. Don’t add ruffles and flourishes. Don’t make it tiny, thinking a shopper would prefer to read about it. And don’t crop it like an art poster, which will just frustrate an interested buyer.

Picture your product clearly! To do this well, you need a photograph. The factory or distributor is often able to furnish a good one; call them. Failing that, you may hire a photographer who specializes in product photography (a different skill from portraiture or nature photography). Keep in mind that if shoppers cannot see your product clearly, they will not buy it.

No!

No!

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Add a headline

Elucidate! Once your product is on the page, add words to reveal detail and nuance and direct the reader to virtues or uses of the product that are not evident just by looking at it.

We like stuff Shoppers enjoy seeing and experiencing new products. (We like to be thrilled, basically.) You’ll write your best headlines if you think of your readers as eager listeners. Think, What’s the first thing I would tell my friends about this product? Begin with the feature that you find most interesting or exciting. In this case, it’s that the soft wicker is beautifully combined with strong, durable steel. If your product is more ordinary—a screwdriver, perhaps, or a set of bath towels—think, What do I like most about this product? Explain that.

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Use photo colors Colors eyedroppered from the photo will always coordinate perfectly. Note the small deckhead color matches the chair.

Rule of thumb #1 A short headline is preferable to a long one In oral conversation we yak on and on with 20 words when one or two would do. As readers, however, we are bored quickly. Shoppers want to like your product, but they won’t tolerate much blather. English is a rich, descriptive language; there’s usually a perfect word. Finding it will pay off. Rule of thumb #2 Avoid catchy slogans Why? 1) You won’t be able to think one up. 2) If you do, it will be corny.

What typestyles?

Wıcker&Steel PATIO AND INDOOR FURNITURE

Always appropriate: The classics Understatement, the classic mark of confidence, allows the product to shine. Match headline and deckhead (the line beneath it) in a face that’s designed for text. Some of the best: Garamond (above), Caslon, Century, Times, Bembo, Sabon. Classic type complements almost any product. Note that the deckhead is in uppercase.

0681 Design a flier that sells a product

WICKER&STEEL PATIO AND INDOOR FURNITURE

Not so good: Decoratives Rosewood (above) is a heavily styled typeface— part of a class called decoratives—whose presence is a scene stealer. Decoratives are really showy on type specimen sheets, which is why they’re tempting to use, but remember that the product, not the type, is the show. Decoratives are better for posters than for product ads.

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Cool: Styles that express their words Here, beautiful typestyles reflect their words—in this case, light wicker and heavy steel. This technique is best in understatement; it will fail if the connection feels obvious or artificial, which is likeliest to occur if the type is heavily stylized. It also requires care to pull off; if you’re uncertain, we recommend using classics, which are easier.

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Add your text

As you write, bear in mind that a shopper will be reading if—but only if—the product and its headline have interested him sufficiently. As you compose your text, therefore, have confidence that your reader is interested. Be clear. Keep your poise.

PIER SEVEN PATIO

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INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

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ANDROMEDA CHAISE $999

The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

N E ANTELOPE RD.

x

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

Perkins Blvd.

HWY. 99 W S

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

PIER SEVEN

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

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Design simply Willy-nilly layout (above left) is not only unattractive, but it’s difficult to do—there are too many decisions to make! The makeover is simple, horizontal lines—head, deckhead, photo, text—right down the page. Easy! What makes it so clear is that the lines run edge to edge; your eye isn’t stopping, zigging, zagging and backing up as it moves around the page.

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

Rule of thumb #3 Be kind It is the reader, not you, who is in the driver’s seat. No matter how big you are, nothing will happen unless the reader wants it to happen. Respect that. A proper advertisement is a dignified product presentation, not a stick-up. It is an American fantasy to think a shopper can be compelled to buy a product. As shoppers, we actually sell ourselves.

Help! When business success is at stake, making an ad can give your tummy big butterflies. You may find it helpful to visualize your friends and imagine showing your product to them. Why? Because that’s who we are—people just like you. A good sale will be a relaxed, win-win transaction.

Add your logo

Present yourself last, and small. Two reasons: You are the last link in the sale— remember, we shop for products, not stores—and small says confident.

Full stop The lower-right corner is the exit point of the page and an excellent place to put your logo, where it works like a punctuation point and brings the reader to a stop. A small logo is more authoritative than a big one; real power always appears effortless. In this case, the surrounding white field adds to its visibility, although the reader will not be aware of that. Add contact information below the logo or at least in the vicinity. Note how the flier is divided into four easily digested pieces—headline, photo, text and store name—which together make a clear, coherent statement.

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Pier Seven Type your name

PierSeven Remove the word space

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

PierSeven Tighten the letter spacing

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

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Here’s an easy way to make a logotype:

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PierSeven Color

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Add a map

A map is an underused asset. Especially thoughtful of shoppers are maps of labyrinthine parking garages, one-way streets, off-the-beaten-path entryways, things like that. Start with a Google map, then modify.

Too big, too detailed

Delete streets, move the highway

Antelope Rd

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Antelope Rd

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Perkins Blvd Perki ns Blvd

Perkins Blvd

Perkins Blvd

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Perkins Blvd

Antelope Rd

Move the highway

Antelope Rd

Antelope Rd

99

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful Antelope Rd

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

Antelope Rd

Google maps are excellent, but for a tiny space they’re too detailed. To simplify, import a screen image of your Google map, then trace new roads over Google’s. Skip all but the main streets, then (in this case) move an important but distant highway . . .

PierSeven

N

Perkins Blvd

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19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd.

Antelope Rd

99

916-555-8212 www.pierseven.net

. . . closer to the store (above). To draw local detail not on the map (an alley or office park, for example), follow Google’s style of white roads on light neutral background. Match Google’s colors with the eyedropper tool. Crop tightly to fit (left).

Have more products?

Tight budgets usually mean doing more with less, so your flier may need to show more products. There are two good ways to do this. The first is shown below—put one product center stage, and make your other products much smaller . . .

PIER SEVEN PATIO

AND

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INDOOR FURNITURE

The Warmth of Wicker The Strength of Steel

A NT

RE

SA

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The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

N E ANTELOPE RD.

x

Perkins Blvd.

HWY. 99 W S

PIER SEVEN

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Clear hierarchy One big photo and a row of small photos yields clear visual hierarchy, which aids understanding. Key is that the sizes are boldly different; small differences create only ambiguity and clutter, as you’ll remember from the busy original (left). Note the map has been moved to the end of the row, sustaining the horizontal theme.

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ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living. Antelope Rd

N

Perkins Blvd

A Antelope Rd

99

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd.

Crop uniformly Photos of like objects in a row should be cropped so that the objects are the same size, or as close as possible. Judge size by the bulk of the object, not details like legs and other small parts.

916-555-8212 www.pierseven.net

Logo moves to align with the photo.

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More products

The second way is to make your products the same size and group them center stage. Now the group, not a single product, is the focal point. Reward the reader by providing names and prices right on the photos.

PIER SEVEN PATIO

AND

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INDOOR FURNITURE SA

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The Warmth of Wicker The Strength of Steel

A NT

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The beauty and warmth of Handwoven wicker over a framework of structural steel. Extremely Durable And Strong, The steel is wrapped in Epoxy. Beautiful and almost Maintenance free. Many Styles to choose from, from Antique to Modern. Cushion Pattern And Colors To Compliment Your Decor.

N E ANTELOPE RD.

x

Perkins Blvd.

HWY. 99 W S

PIER SEVEN

19661 Antelope Rd. Elk Grove, Calif. 95624

916-555-8212

/.% ",/#+ 3/54( /& 0%2+).3 ",6$ s 7770)%23%6%..%4

Misaligned, zigzaggy

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Same-size photos A crisp block of photos becomes a multi-image focal point. Key to this technique is that all the furniture be the same size, or almost, so crop with that in mind. Arrange so that the outside chairs face inward, if possible.

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GRANDMA JO CHAIR $699

SAFARI CHAIR $499

TROPICAL CHAISE $799

ECLIPSE POD CHAIR $799

MOON POD CHAIR $499

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a GRANDMA JO CHAIR $699

SAFARI CHAIR $499

robust framework of structural steel to make furniture that cradles your body and is practically

MOON POD CHAIR $499

indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

TROPICAL CHAISE $799

ECLIPSE POD CHAIR $799

PierSeven

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living.

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd.

N

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd.

A 99

916-555-8212 www.pierseven.net

916-555-8212 www.pierseven.net

Straight and clear

N

Perkins Blvd

Antelope Rd

PierSeven

Antelope Rd

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

Half width, same size You don’t notice at a glance, but two of the photos are exactly half width. The key is exactly, which creates an intentional, not ambiguous, look. Stack the photos in horizontal and vertical segments (above left); avoid a “brick wall” arrangement (above right), which introduces zigzags. And remember that even at half width, the furniture must be the same size as in the other photos.

Map remains small to sustain the hierarchy.

Article resources

Typefaces

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16 17

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18 19 6c 6b

1 HTF Didot | 84 pt 2 Franklin Gothic Condensed | 84 pt 3 Benton Sans Condensed Book | 27 pt

Colors 15 C0 M0 Y0 K100 16 C20 M25 Y60 K10

4 (a–b) ITC Franklin Gothic Heavy a) 14 pt, b) 11pt

17 C0 M0 Y0 K70

5 Helvetica Neue Bold | 44 pt

18 C9 M57 Y100 K41

6 (a–c) Trade Gothic Light | a) 11 pt b) 14/22 pt, c) 10 pt

19 C25 M100 Y100 K25

7 Trade Gothic Oblique | 11 pt 4a

ANDROMEDA CHAISE $999

The warmth of wicker and the strength of steel come together in Wicker & Steel, a beautiful

Images

line of casual furniture in styles from classic to ultramodern. Select wicker is hand-woven over a robust framework of structural steel to make furniture that cradles your body and is practically indestructible. Visit our store soon to see our entire line of furniture for indoor and outdoor living. Antelope Rd

11

N

Perkins Blvd

A Antelope Rd

99

PierSeven

19661 Antelope Road, Elk Grove, CA 95624 One block south of Perkins Blvd. 916-555-8212 www.pierseven.net

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8 (www.maps.google.com)

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Images: iStockphoto

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9 (6175780)

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10 (542325) 11 (7220638) 12 (3173386)

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

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Printing formats

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Design a card the easy way After

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A photo and one block of type is all it takes to make a beautiful card.

Design a card the easy way

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Design a card the easy way A photo and one block of type is all it takes to make a beautiful card.

When photographer Jayne Kettner sent us her photos and asked our help making a logo for her Web class, we had to wonder why she’d want one. Her photos were rich, well composed and pleasing, just what she’d want the world to see. A logo is an artificial device used to represent a product, service or group of people. It would add only a barrier; when you have the real thing—i.e., Jayne’s photos—why do you need a representative? Her request was followed the same week by two other photographers in the same situation. This, of course, gave us a batch of great photos to work with, so here, class, is how to design a card the (super-) easy way.

Sketches galore! Jayne started out the right way; when you’re designing a logo, you can’t make too many sketches. But her efforts were going nowhere. Said she, “I was striving for a professional image, but kind of ended up with more whimsical and fun looks. I like the color combinations of cyan, teal, and violet, but I also like something dramatic like red and black. I sort of mixed the two and didn’t end up with anything pleasing.” This is actually common; it happens whenever a design goal is unclear or even incorrect. In this case, Jayne doesn’t need a logo at all; her photos (below) will speak for themselves.

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Start with the words

Set your words in a block of ordinary type—not fancy type—and place it in the upper-left corner.

(1) Set your type—business name, your name, address and contact information—in a single block, align left, and place it in the upper-left corner. Make the business name bold. (2) Add a half space—a whole space works as well—below the business name, then (3) tint the type 60% (or so) gray; leave the business name black. This simple “block in the corner” has a minimal, intentionally designed look that leaves the white space as the dominant element. You’ll be tempted to fill the space, but don’t.

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Add the photo

Place and crop your photo all the way to the edges. Color the type white, and you’re done.

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Place and crop Most business cards are horizontal. Select a photo with open space in the upper-left corner, place and crop. Don’t be afraid to crop radically, which can yield unexpected and powerful results. Touch all the edges (full bleed).

1⁄ 16

inch bleed

Color the words Bring the words to the front. On a dark image like this one, finish by coloring the business name white and the body light gray. That, class, is all there is to it. No artificial graphics, no distracting layouts. It quietly places your work, literally, into the client’s hand, simply, clearly, beautifully.

Extend the photo to create a bleed area, which is an extra 1⁄ 16 inch around your card. This prevents any white lines along the edges of the card when it’s trimmed to final size.

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Use both sides

If your favorite photo has no room for words, use the back.

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Artist’s canvas Without words, winter trees fill the card like a painting on canvas, quietly speaking volumes about your work. On the back, the minimal, gallery-style layout.

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Add some background

Photo doesn’t fill the space? Add an artificial background.

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(1) It’s a beautiful magnolia, but it doesn’t fill the space. When you have a solid background like this, (2) eyedropper the color nearest the edge and (3) fill the card behind the image. In this case, we then eyedropper some pink from the flower and (4) add it to the business name, creating a beautifully soft connection.

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Fade to black

A too-narrow image with a multicolor background requires fading.

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A change of type Bob Schnell is a people photographer. Small change of typeface from Benton Sans to Didot—on only the business name—softens the name suitably while retaining the look. Classy.

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Fade your photo in InDesign. (1) Fill the card black (in this case, to complement his suit), then (2) place and crop the photo; note the resulting hard edge. (3) Click to select the photo. Select the Gradient Feather Tool (left), drag from right to left, stopping just short of the edge, and you’re done (4). Not quite right? Drag again.

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Get vertical

Vertical-format cards are less common but can be dramatic.

Classic, but too stark? . . .

/\O @PU[RYY =U\a\T_N]Uf 9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

It’s tempting to move the words around, but don’t do it. The upper-left corner makes a clear, designed statement—especially if it’s consistent on all pieces. If an image won’t work with that position, use a different image.

Soften with color.

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

(Right) You don’t want to lose a great shot because it doesn’t fit the space. If you crop, we recommend making the image square, which looks intentional, not ambiguous.

Her asymmetrical position activates the page.

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Find color

Eyedropper colors right from the image for a perfect complement every time.

Her lips . . .

Her hair . . .

Her dress . . .

The background . . .

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

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Use an object

An alternative to a portfolio photo is to picture an object from your studio. Just knock out its background and place it on the page. Include its shadow.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Small is big White space is the controlling element on these cards—note how your eye immediately registers the images, despite their small sizes. Small is important; if you make them big, the objects become the story, not you. Note, too, that although they’re predominantly black, the objects are in color, just like you’d see them in real life.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

White space is not empty but has real force. Note above how it pushes your eye to the left and creates a strong sense of depth behind the studio umbrella.

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Create a gallery

Instead of one photo, create a tiny gallery. Make a matching Web gallery, and you’ll have a direct, card-to-Web connection, useful for branding.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Make a grid . . .

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

. . . add your photos.

Square images are harder to crop but look designed, and they correspond to Web thumbnails and avatars, too. Background can be white or black (below). AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

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Article resources

1 2

Typefaces AXpe\ËjG_fkf^iXg_p

Colors

1 Benton Sans Cond Black | 7.5 pt

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

2 Benton Sans Cond Book | 7.5/9 pt 3 HTF Didot 11 Light | 10 pt

6

C0 M0 Y0 K100

7

C0 M0 Y0 K60

Images Images: iStockphoto 4 (6750578) 3 2

4

5 (3458269)

/\O @PU[RYY =U\a\T_N]Uf 9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

6 7

5

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Subscribe to Before & After

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Senior designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

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You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Before & After is made to fit your binder Before & After articles are intended for permanent reference. All are titled and numbered. For the current table of contents, click here. To save time and paper, a paper-saver format of this article, suitable for one- or two-sided printing, is provided on the following pages.

For presentation format Print: (Specify pages 1–13)

For paper-saver format Print: (Specify pages 15–21)

Print Format: Landscape Page Size: Fit to Page

Save Presentation format or Paper-saver format

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Paper-saver format

Before

Design a card the easy way After

A photo and one block of type is all it takes to make a beautiful card.

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

When photographer Jayne Kettner sent us her photos and asked our help making a logo for her Web class, we had to wonder why she’d want one. Her photos were rich, well composed and pleasing, just what she’d want the world to see. A logo is an artificial device used to represent a product, service or group of people. It would add only a barrier; when you have the real thing—i.e., Jayne’s photos—why do you need a representative? Her request was followed the same week by two other photographers in the same situation. This, of course, gave us a batch of great photos to work with, so here, class, is how to design a card the (super-) easy way.

0682 Design a card the easy way

Sketches galore! Jayne started out the right way; when you’re designing a logo, you can’t make too many sketches. But her efforts were going nowhere. Said she, “I was striving for a professional image, but kind of ended up with more whimsical and fun looks. I like the color combinations of cyan, teal, and violet, but I also like something dramatic like red and black. I sort of mixed the two and didn’t end up with anything pleasing.” This is actually common; it happens whenever a design goal is unclear or even incorrect. In this case, Jayne doesn’t need a logo at all; her photos (below) will speak for themselves.

Before&After | www.bamagazine.com

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Start with the words

Set your words in a block of ordinary type—not fancy type—and place it in the upper-left corner.

(1) Set your type—business name, your name, address and contact information—in a single block, align left, and place it in the upper-left corner. Make the business name bold. (2) Add a half space—a whole space works as well—below the business name, then (3) tint the type 60% (or so) gray; leave the business name black. This simple “block in the corner” has a minimal, intentionally designed look that leaves the white space as the dominant element. You’ll be tempted to fill the space, but don’t.

1

2

3

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Add the photo

Place and crop your photo all the way to the edges. Color the type white, and you’re done.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Place and crop Most business cards are horizontal. Select a photo with open space in the upper-left corner, place and crop. Don’t be afraid to crop radically, which can yield unexpected and powerful results. Touch all the edges (full bleed).

1⁄ 16

inch bleed

0682 Design a card the easy way

Color the words Bring the words to the front. On a dark image like this one, finish by coloring the business name white and the body light gray. That, class, is all there is to it. No artificial graphics, no distracting layouts. It quietly places your work, literally, into the client’s hand, simply, clearly, beautifully.

Extend the photo to create a bleed area, which is an extra 1⁄ 16 inch around your card. This prevents any white lines along the edges of the card when it’s trimmed to final size.

Before&After | www.bamagazine.com

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Use both sides

If your favorite photo has no room for words, use the back.

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Artist’s canvas Without words, winter trees fill the card like a painting on canvas, quietly speaking volumes about your work. On the back, the minimal, gallery-style layout.

Add some background

Photo doesn’t fill the space? Add an artificial background.

1

2

3

4

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

(1) It’s a beautiful magnolia, but it doesn’t fill the space. When you have a solid background like this, (2) eyedropper the color nearest the edge and (3) fill the card behind the image. In this case, we then eyedropper some pink from the flower and (4) add it to the business name, creating a beautifully soft connection.

0682 Design a card the easy way

Before&After | www.bamagazine.com

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Fade to black

A too-narrow image with a multicolor background requires fading.

1

2

3

4

/\O @PU[RYY =U\a\T_N]Uf 9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

A change of type Bob Schnell is a people photographer. Small change of typeface from Benton Sans to Didot—on only the business name—softens the name suitably while retaining the look. Classy.

/\O @PU[RYY =U\a\T_N]Uf

Fade your photo in InDesign. (1) Fill the card black (in this case, to complement his suit), then (2) place and crop the photo; note the resulting hard edge. (3) Click to select the photo. Select the Gradient Feather Tool (left), drag from right to left, stopping just short of the edge, and you’re done (4). Not quite right? Drag again.

Get vertical

Vertical-format cards are less common but can be dramatic.

Classic, but too stark? . . .

/\O @PU[RYY =U\a\T_N]Uf 9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

It’s tempting to move the words around, but don’t do it. The upper-left corner makes a clear, designed statement—especially if it’s consistent on all pieces. If an image won’t work with that position, use a different image.

Soften with color.

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

(Right) You don’t want to lose a great shot because it doesn’t fit the space. If you crop, we recommend making the image square, which looks intentional, not ambiguous.

Her asymmetrical position activates the page.

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Before&After | www.bamagazine.com

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Find color

Eyedropper colors right from the image for a perfect complement every time.

Her lips . . .

Her hair . . .

Her dress . . .

The background . . .

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

/\O @PU[RYY =U\a\T_N]Uf

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

Use an object

An alternative to a portfolio photo is to picture an object from your studio. Just knock out its background and place it on the page. Include its shadow.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Small is big White space is the controlling element on these cards—note how your eye immediately registers the images, despite their small sizes. Small is important; if you make them big, the objects become the story, not you. Note, too, that although they’re predominantly black, the objects are in color, just like you’d see them in real life.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

White space is not empty but has real force. Note above how it pushes your eye to the left and creates a strong sense of depth behind the studio umbrella.

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Before&After | www.bamagazine.com

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Create a gallery

Instead of one photo, create a tiny gallery. Make a matching Web gallery, and you’ll have a direct, card-to-Web connection, useful for branding.

AXpe\ËjG_fkf^iXg_p

AXpe\ËjG_fkf^iXg_p

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Make a grid . . .

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

. . . add your photos.

Square images are harder to crop but look designed, and they correspond to Web thumbnails and avatars, too. Background can be white or black (below). AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

Article resources

1 2

Typefaces AXpe\ËjG_fkf^iXg_p

1 Benton Sans Cond Black | 7.5 pt

AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

2 Benton Sans Cond Book | 7.5/9 pt 3 HTF Didot 11 Light | 10 pt

Colors 6

C0 M0 Y0 K100

7

C0 M0 Y0 K60

Images Images: iStockphoto 4 (6750578) 3 2

4

5 (3458269)

/\O @PU[RYY =U\a\T_N]Uf 9fYJZ_e\cc /'+$-+.$*-+' `e]f7YfYjZ_e\ccg_fkf%Zfd nnn%YfYjZ_e\ccg_fkf%Zfd

AXpe\ËjG_fkf^iXg_p AXpe\B\kke\i *,)--Fc[?fd\iIfX[ N`efeX#DE,,0/. ,'.$+,)$0*''[\jb ,'.$)'/$('-.Z\cc aXpe\7aXpe\b\kke\i%Zfd nnn%aXpe\b\kke\i%Zfd

6 7

5

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Before&After

®

BAmagazine.com

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Subscribe to Before & After

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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understandable, useful and even fun for everyone.

Subscribe to Before & After, and become a more capable, confident designer for pennies per article. To learn more, go to http://www.bamagazine.com/Subscribe

John McWade Publisher and creative director Gaye McWade Associate publisher Dexter Mark Abellera Senior designer

E-mail this article To pass along a free copy of this article to

Before & After magazine 323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995 E-mail [email protected] www http://www.bamagazine.com

others, click here. Join our e-list To be notified by e-mail of new articles as they become available, go to

Copyright ©2009 Before & After magazine ISSN 1049-0035. All rights reserved

http://www.bamagazine.com/email

You may pass along a free copy of this article to others by clicking here. You may not alter this article, and you may not charge for it. You may quote brief sections for review; please credit Before & After magazine, and let us know. To link Before & After magazine to your Web site, use this URL: http://www.bamagazine.com. For all other permissions, please contact us.

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Newsletters & Newspapers

Newsletters & Newspapers

Beautiful and simple, too, win accolades with this one-column gem.

How to design a news letter

Once upon a time, newsletter meant an actual

letter, with news. That was before desktop publishing got us making them into little newspapers, with columns and boxes and all that. Why wrestle with such complications? This sleek, letter-style design communicates better—and is much easier to make. Print it on nice paper, and you’ll win raves—and get your evenings back. Here’s how.

1

Set up the grid

Although the text is set in one wide column, a sophisticated, six-column grid underlies the page. It is used to guide your placement of headlines, photos, captions and quotes, ensuring a neat, consistent layout.

2

Newsletters and Newspapers

Type Note This design uses Times for text and Futura—a very bold sans serif—for heads, captions and quotes. It is a handsome combination, but many others will do. When choosing, look for lots of contrast; the small heads need to stand out.

TIMES

FUTURA EX BOLD

Page specs Here are the measurements used (in picas): a lettersize page, left margin of 13p; right margin, 9p; top margin 4p; and bottom margin, 4p. There are six columns, with one pica between each. Using your ruler guides, drag your horizontal guides to 4, 11.5, 19, 59 and 62 picas. Drag vertical guides to 2, 9 and 44 picas.

What makes it work? Recessed headlines and bylines. One size, one width, no clutter.

Photos, quotes and text snap to vertical grid for handsome, consistent pages.

Asymmetrical page leaves room for stuff—a logo, list of corporate officers, newsletter staff, publication date, photos, quotes, anything.

Spacious, 18-point text leading yields high legibility, adds an elegant air. Keeps production peppy, too—it snaps right to the standard ruler.

How to design a news letter

3

Set up style sheets

2

Edit style

Type

Paragraph

Spacing Hyph

Name

Based on Next

Font

Size Lead Color Case

Body

No style

Same

Times

10.5

18

Black

Normal

Left First Right Align After Letter 0

1

0

Just

On

Body First Body

Body

Times

10.5

18

Black

Normal

0

0

0

Just

On

Byline

No style

Same

FutBd

6

7

Black

All caps

0

0

1

Left

Headline

No style

Byline

FutXBd

10

12

Black

All caps

0

0

1

Left* 0p4

Quote

No style

Same

FutXBd

7

8

White

All caps

1

1

0

Ctr

On

Caption

Quote

Same

FutXBd

7

8

Black

Normal

1

1

0

Ctr

On

Address

No style

Same

FutBd

6

15

Black

Normal

0

0

0

Left

On

Date

Address

Same

FutBd

5.5

7

Black

Normal

0

0

0

Left

On

40 0

Off Off

*Add rule below paragraph: Weight: 1pt., Offset: 0p6, Length: text. Remove rule when setting remaining styles.

3

Build the nameplate

The nameplate relies on a bold, condensed typestyle for its visual muscle; the font used here is Onyx. Note that the condensed characters, normally used to save space, have here been spread apart. This visual counterpoint gives the nameplate its unique style. To do this, force-justify the name to the ends of the bars

125-point Onyx forcejustified to bar width 20K bar 60K bar Set the name in two text blocks: force justify; drag into position. 9 points 161 points

The finished result.

4

Newsletters and Newspapers

beneath. To look as if you’ve worked harder, set the first letter bigger, in a separate text block, and stretch the others to meet it. Then align the tops as shown; note where the finished word rests on the gray bars. The white subtitle is also force justified within the gray bar.

The back page Flow the text from the top margin (to align it with the front-page nameplate). When adding photos and quotes, make use of the six-column grid for precise alignment. Amet, consectetur adipscing elit, diam nonnumy eiusmod tempor incidunt ut labore et dolore magna aliquam erat volupat. Ut enim ad minimim veniami quis nostrud exercitation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo dolore magna consequat.

Place the photo and its caption in the wide outside margin. The white space frames the photo and calls attention to it.

Duis autem vel eum irure dolor in reprehenderit volu. Molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. ea commodo consequat. Duis autem vel eum irure dolor in reprehenderit in voluptate velit esse molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et. Accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. Consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provi-

Stretch the text block to the left and right edges of the quote box, 1 pica from the top, and center the type. Indent the text 1 pica left and right.

dent, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. Ea commodo consequat. Duis eum henderit in voluptate velit esse molestaie son consequat, vel illum dolore eu fugiat nulla. Amet, consectetur adipscing elit, diam nonnumy

To place the caption text block, drag a guide 1 pica to the left of the text. Set the baseline of the caption to be 15 points from the bottom of the photo.

eiusmod tempor incidunt ut labore et dolore magna aliquam erat volupat. Ut enim ad minimim veniami quis nostrud exercitation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel eum irure dolor in reprehenderit in voluptate velit esse molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. ea commodo consequat. Duis autem vel eum irure dolor in reprehenderit in voluptate velit esse molestaie son

Amet, consectetur adipscing elit, diam nonnumy eiusmod tempor

Amet, consectetur adipscing elit, diam nonnumy eiusmod tempor incidunt ut

incidunt ut labore et dolore magna aliquam erat volupat. Ut enim

labore et dolore magna aliquam erat volupat. Ut enim ad minimim veniami quis

ad minimim veniami quis nostrud exercitation ullamcorper suscip-

nostrud exercitation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo

it laboris nisl ut aliquip ex ea commodo dolore magna consequat.

dolore magna consequat. Duis autem vel eum irure dolor in volu.

Duis autem vel eum irure dolor in reprehenderit volu. Molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit

Molestaie son consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio

praesent lupatum delenit aigue duos dolor et molestais exceptur

dignissim qui blandit praesent lupatum delenit aigue

sint occaecat cupidat non provident, simil tempor sunt in culpa qui

duos dolor et molestais exceptur sint occaecat cupidat non provident, simil

officia deserunt mollit anim id est laborum et dolor

est laborum et dolor fugai. Consequat, vel illum dolore eu fugiat nulla pariatur.

fugai. ea commodo consequat. Duis autem vel eum

At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum

irure dolor in reprehenderit in voluptate velit esse

delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provi-

molestaie son consequat, vel illum dolore eu fugiat

dent, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum

nulla pariatur. At vero eos et.

et dolor fugai. Ea commodo consequat. Duis eum henderit in voluptate velit esse

Accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. Consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum

et praesent lupatum delenit reprehenderit. Os dolor et molestais exceptur sint occaecat cupidat non provident, simil est laborum et dolor fugai. Consequat, vel illum dolore eu fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim qui blandit praesent lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provident, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum

delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provi-

et dolor fugai. Ea commodo consequat. Duis eum henderit in voluptate velit esse

dent, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum

delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non provi-

et dolor fugai. Ea commodo consequat. Duis eum henderit in voluptate velit esse

lupatum delenit aigue duos dolor et molestais exceptur sint occaecat cupidat non

molestaie son consequat, vel illum dolore eu fugiat nulla.

provident, simil tempor sunt in culpa qui officia deserunt mollit anim id est laborum et dolor fugai. Ea commodo consequat. Duis eum henderit in voluptate

Amet, consectetur adipscing elit, diam nonnumy eiusmod tempor incidunt ut labore et dolore magna

To set up a spread, mirror the existing grid; you want the blank columns to the outside.

aliquam erat volupat. Ut enim ad minimim veniami quis nostrud exercitation ullamcorper suscipit laboris nisl ut aliquip ex ea

velit esse molestaie son consequat, vel illum dolore eu fugiat nulla. Amet, consectetur adipscing elit, diam nonnumy eiusmod tempor inci-

commodo consequat. Duis autem vel eum irure dolor in reprehenderit in

dunt ut labore et dolore magna aliquam erat volupat. Ut enim ad minimim

voluptate velit esse molestaie son consequat, vel illum dolore eu

veniami quis nostrud exercitation ullamcorper suscipit laboris nisl

fugiat nulla pariatur. At vero eos et accusam et justo odio dignissim

ut aliquip ex ea commodo consequat. Duis autem vel eum irure

qui blandit praesent lupatum delenit aigue duos dolor et molestais

dolor in reprehenderit in voluptate velit esse molestaie son conse-

exceptur sint occaecat cupidat non provident, simil tempor sunt in

quat, vel illum dolore eu fugiat nulla pariatur. At vero eos et

culpa qui officia deserunt mollit anim id est laborum et dolor fugai.

accusam et justo odio dignissim qui blandit praesent lupatum

ea commodo consequat. Duis autem vel eum irure dolor in repre-

delenit aigue duos dolor et molestais exceptur sint occaecat cupi-

henderit in voluptate velit esse molestaie son

dat non provident, simil tempor sunt in culpa qui officia.

To add a photograph above the headline Place the photo across the two columns. Apply text wrap: Left, 1p0; Right, 1p0; Top, 0p3; Bottom, 4p6. Adjust the headline/byline spacing as shown. If it crowds the text, add space between the byline and text by adjusting the wrap tolerance.

Apply text wrap directly to photo. 6 points

Maintain at least 12 points of breathing room.

How to design a news letter

5

Newsletters & Newspapers

A cross between paperback and magazine, this low-key, text-rich format is ideally suited for long, thoughtful articles—and it’s easy to lay out.

This digest-size newsletter is for readers

Three of the most popular five magazines

in America, Reader’s Digest, TV Guide, and National Geographic, share an interesting physical trait: All three are smaller than regular magazines. Each is approximately digest size. Paperback books are even more popular— and their pages are smaller still. Is there something special about a small page? Sure! It’s eminently portable. A small page confines the reader’s attention naturally. Its design, therefore, can be as quiet as a library. This makes it ideal for education or business topics. The designer is free to work on the words. Upline calls itself a newsletter but is less news than instructional and motivational articles, the kind you’d find in seminars and schools. It’s a perfect candidate for a digest: Its smooth, beautifully set stories are just right for putting up your feet for a good read. Let’s take it apart to see how it was done.

6

Newsletters and Newspapers

Great for short runs and small budgets, a digest can be published right in your office. Print two pages on each side of a letter-size sheet, then stack, fold and staple the results. Be aware that pages must be laid out in a different sequence than how you read them—in printer spreads. For example, in a 12-pager, page 1 abuts page 12, page 2 abuts page 11, and so on. The oddnumbered pages are always on the right. Lay out your pages normally if your layout program offers the option to build printer spreads or a booklet. Otherwise, fold yourself a paper dummy, number its pages, and figure the juxtaposition of pages from that.

Upline and its contents are copyright of MLM Success, Inc., Charlottesville, VA.

Depth and variety in B&W Look at what you can do in black and white! Synopsis-style contents makes the most of page 1, then tints of black add visual depth. The background should be your middle value (here 30 percent black), against which light and dark tints will have the greatest effect. Small type should have the highest contrast; note

here the headlines are boldface white while the text is lightface black. Large type can be much more subtle; note shading of the nameplate (50 and 10 percent black). If your final output will be from a low-res printer, your background should remain white (below left).

The scholarly look As easy to read as a book, this format imparts to its subject a sense of scholarship and authority that is difficult and often impossible to attain on showier pages. Set all in one type family (two if you want), its handsome typography provides visual variety without distractions. The design has three key layouts: an article spread for feature stories, a news spread for briefs, and the table of contents, which this design carries on page 1. As you work with it, you’ll find that small type and pictures seem bigger than they do on normal pages, just like fish look bigger in a small bowl. That’s a bonus of a digest: You can comfortably stuff (and read) more per inch than you otherwise could.

Page 1

Article spread This digest-size newsletter is for readers

7

1

Set up the grid

Wide margins impart a big-page look The one-column grid is designed to accommodate a variety of features, some aesthetic, others for production efficiency. Its wide outer margins impart an expansive, big-page look— valuable in such a small space—and make room to extend pictures and callouts, which will provide visual relief from the gray columns. The narrower columns are made from ruler guides or text boxes, not column guides, so text will flow freely across them. In the few cases where the narrow columns are needed, just drag your text into position. Two middle horizontal guides mark the locations from which various texts will “hang.”

8

Newsletters and Newspapers

Page specs The specs for this page are: 33 × 51 picas, facing pages. The inside margin (in picas) is 3p; outside, 7p; top, 5p; and bottom, 5p. Zero rulers at top center. On the master pages or template, place vertical ruler guides at 29.5, 15.25 and 13.75 picas, both sides of center. Place the horizontal ruler guides at 2, 7 and 47.5 picas. Note: The cover has backward margins. Build it to fit a left-hand page, then make it page 1.

2

Select your type

Typestyle sets the stage Your choice of typestyle is the easiest place to establish your digest’s visual character. For an authentic book look, use just a single typeface and its italic, with no bold at all (to also look scholarly, select an older typeface, such as Caslon). More flexible is a big type family, which includes bold and extra bold characters; typical is Century Condensed. Its contrasts give you many tones of voice, which you’ll find helpful if you have a lot of subheads and miscellaneous items. For more difference, add a

3

display face (Poplar is used here) for headlines, drop caps and callouts. In every case, we recommend a light, serif typeface for text, to which readers are most accustomed.

Lay out the pages

Start at the top The template is designed on a highly convenient 12-point grid and demonstrated by a single type family; the sizes given here are specific to this design. Your type sizes will have to be adjusted for the face(s) you choose. All stories start at the top of a page with a kicker, headline, deckhead and a very large

Set first few words in small caps

initial drop cap. Note that the gray kicker box touches the edge; this will be truncated by a laser printer, in which case the box can be traded for an underline. Note, too, the first few words of text are set in small caps; this is one of those sophisticated details that requires individual attention and can be skipped if time is tight.

Kicker Font: Century Light Condensed, 11/11 Department name: All caps, white Byline: U&lc, black. Type insets 4 pts from edges of K50 bar Headline Font: Century Light Condensed 33/36, align left Deckhead Font: Century Light Condensed 15/18, align left Text Font: Century Light Condensed 10/12, justify

Align drop cap with sixth text baseline

Drop cap Font: Century Light Condensed 120/120, color K60

This digest-size newsletter is for readers

9

4

Add visual interest

How to break up the page without artwork If text is placidly flowing water, drop caps and large-type callouts are rocks in the riverbed— they create eddies and swirls that give the page a natural, visual appeal. Callouts go to the outside. Choose your text carefully: Callouts are read first and create a frame of reference for the entire spread. (A wise editor can put this to good use.) And stick to one drop cap per page. More than two on a spread, and your reader will try to figure out what they spell.

2nd page plain

2nd page with breaks

Three ways to start a new topic…

Insert a line space… One empty line is the shortest kind of pause other than a paragraph indent. The new line is not indented (no need for both kinds at once). This break can occur anywhere on the page, but it’s most effective near the middle.

10

Newsletters and Newspapers

OR use a bold phrase… A phrase in bold will draw the eye more sharply. After a line break, simply set the first few words of the next sentence in bold type. Be sure to be consistent: Caps, if used once, should be used every time.

AND try a drop cap A drop cap creates by far the biggest ripple in the text. Unlike the lead cap, secondary caps like this are five, not six lines deep. Note, too, the gray color (60 percent black). Size and color serve to tone down the effect.

Callouts draw the reader in A callout aligns with a center ruler guide and extends into the outside margin. Note text flows uniformly around; any extra space goes underneath the callout. Best locations (below) are top, bottom and at 15 pica.

Space: 1p6

Minimum 1p6 space Callout Font: Century Light Condensed 16/18, align left

5

Make it fit

Filler stories are tiny vacations All work and no play makes even bright readers wish they were elsewhere. A smart editor will relieve the weight of feature articles with a variety of short, preferably light, ones. The perfect place for these is the leftover spaces at the end of long articles. Fill with reports, quotations, cartoons, whatever. It’s smart to build a library of material of various lengths.

?

News filler Gray background box extends from outer ruler guide 1 pica past the inside margin. The head is set 18/18 and is aligned left. Lead paragraph is set in italics 10/12, justified and the two-column text is one point size smaller, 8/12, and is justified. Quotation filler Capitalize and center the head, italicize the body, 10/12, justified, and set the attribution in small caps, tabbed right or aligned right. Rule above quote is 2 points. To be ideal, the space between the items would stay consistent, but it can be adjusted to fit.

This digest-size newsletter is for readers

11

6

Design the news

Two columns for flexibility News pages are set in two columns divided by a vertical rule, which differentiates them clearly from feature articles. Type is designed in several “levels” to accommodate different kinds of articles and tones of voice. This enables the editor

12

Newsletters and Newspapers

to tune each story to the exact volume and pitch it warrants. It also avoids the visual choppiness often found on news pages. For variety, news pages make full use of the template’s narrow outer margins.

Four head levels 1 Flags the section. Black box draws the eye to very light type.

1 2

Century Light Condensed 48/48, align left

3

2 An umbrella covering separate but closely related articles. Century Light Condensed 24/24, align left

3 Minor heads related directly to umbrella. Century Ultra Condensed 9/12, align left

4 For news stories that stand alone. One, two or three lines deep.

4

Century Light Condensed, 15/15, align left

Subheads have an important voice No opportunity for good communication is more often overlooked than the simple subhead. While the job of a news headline is to report impersonally, a subhead can speak quite naturally. It can be used to expand a headline’s meaning, as it does here, but it’s also the best place to address your readers in your everyday voice.

Century Light Condensed Italic 9/12, align left. Indent 1p0.

Half-column photos As with drop caps and callouts, think of photos as rocks in a riverbed and always make sure your type can flow around them; don’t create a dam. Two types are illustrated here: rectangular and silhouette. Rectangular photos should all be the same width; a half-column is ideal. Silhouettes can be bigger; they are more interesting and will be perceived as more important. Near the silhouette is an excellent place for an important caption, like an announcement, because everyone will read it.

This digest-size newsletter is for readers

13

Adjust news heads for fit Three goals here: You need the flexibility of one-, two-, and three-line headlines, which don’t all land on the grid; you want your text to align horizontally across columns, and you want the empty spaces to look even. This can all be done by adjusting Spacing before. News head: Century Light Condensed 15/15, align left, set all Spacing after to 0p6

Text aligns across columns

1-line head: Space once after the last paragraph, then add 0p3 Spacing before to the head. 2-line head: Space twice after the last paragraph, then set the head.

3-line head: Space once after the last paragraph, then add 0p9 Spacing before to the head.

7

Back pages

Leave room for the mailing label A digest is almost always stapled but rarely folded and therefore mails flat. A half-page space for the label is typical, but you can get away with less. Check with the post office before finalizing your design. Whatever you choose, be consistent from issue to issue. Note that a small nameplate is part of the return address.

14

Newsletters and Newspapers

How to name your newsletter Naming a newsletter can be tough: Titles can sound corny, dull, trite or all three. And the best design in the world can’t compensate for a dumb name or a mediocre idea. Tricks and easy turns-of-phrase usually have no regard what really must be done: communication. Here are several suggestions: One, in working out a name, whether it is for a newsletter or a product or a whole business, the best advice is to do it alone. You are the only one who cares. Usually, committees don’t come up with good names. (If you are already on a committee, assign the job to the person who has the strongest feelings about it.) Similarly, don’t poll office colleagues or friends; as much as they may try, they can’t be objective. Your feedback should, and can, come from one source only, your potential readers. This is the key. No matter how much you—or the boss—like the name, if readers yawn, no design can save it. To name your newsletter, think outside-in. That is, think like a reader. You will realize that a reader responds only when his or her personal interests, opinions and preferences are clearly addressed.

For example, if your name is George, you may be personally flattered by The George Report, but how does a reader see it? To get the idea, visualize your name on someone else’s product. Then, you can be more objective. The Doe Report is less interesting, isn’t it? Corny names are often the result of disrespect for the product or the reader. Label-type names can be dull because they usually give the reader no point of entry. For example, Update is a common but closed name. To see this, compare Informer, Spy, Tattler and Juice. They may not be appropriate for your publication, but each is open-ended; that is, each engages the reader—in these cases, by hinting at inside information. Open your thesaurus. Find words with meanings common to everyone. Look for picture words: Gibraltar, for example, is much better than solid or trustworthy. Olympus is richer than powerful. If your name or reputation is very well known, you should use it in your publication name. Most important, persist. Your name is extremely valuable, and it is worth every minute it takes to find the right one.

This digest-size newsletter is for readers

15

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