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7/29/2019 Before and After 0644

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Continued

XiBAmagazine.com U

Tiny budget, evocative card 0644

Tiny budget,

evocatvecardTurn a one-color business cardinto a visual statement.

Continued


2/18

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2of11

XiBAmagazine.com U


Its just one ink color

on matte-finish paper

Designed and printed on atiny budget, this card fea-

tures a lot of sophisticated

techniques. Key is that one

ink on white paper yields

three levels of tonal depth

dark, medium and light.

This allowed the designer

to get extreme with scale;

the illustration is huge

without overpowering the

card. Thin type is modern

and understated in size, yet

holds its own in white. The

rough brush stroke conveys

the evocative lines of the

instrument without appear-

ing feminine. Similarly, the

matte paper texture is mas-

culine and earthy.

Jim Cole is busy. Between his chamber

quartet, jazz band and six students, hes

a musician on the move. He makes hismusic on the cello and the double bass,

instruments as versatile as they are

beautiful. Whats cool about his business

card is its visual economynot just

thats its printed inexpensively in one color, but that

it gets a lot of visual atmosphere out of just a

few elements. Set in faint tonal contrasts, theillustration dominates the space but does

not overpower the card. It conveys the air of

classical musicianship without being stuffy;

its simple and masculine. To achieve all

this, the designer had many decisions to

make. Lets see what we can learn:

Tiny budget, evocative cardHeres how to turn a one-color business card into a visual statement.


3/18

Before&After

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XiBAmagazine.com UTiny budget, evocative card 3of 11


Start with key words

The place to start is to determine what you want your design to say. This is especiallyimportant on a small job where every nuance counts. Begin by creatingkey words.

Key words

Open a dictionary or thesaurus and find

words that fit Mr. Coles character and

work. For example, to convey a sense ofclassicalmusic as well as a fine instru-

ment: formal, artistic, handmade,

professional, masculine, crafts-

manship. To expressjazz and that Mr.

Cole is personable, mobile and easy to

work with: friendly, informal, upbeat,

light. You can see in these lists some

opposites: formal/informal, classical/

upbeat. This is what you want; opposites

create tension that almost always yields

better designs.

Because cost is a limiting factor, we

wont be using a photograph. Instead,

well develop a style concept based

on the traditional-ness ofline. Well look

next at how properties ofline, together

with size, colorand value, work

together to express the design goal.

Which line looks more

masculine?

Design: Every nuance conveys meaning

Which size looks

more upbeat?

Which colors look

more classical?

Which values look

more formal?


4/18

Before&After

4of11



Drawn lines

Flat-nib pen line (A) flows

like a ribbon, which conveys

a sense of motion, water, air.

Its associations are emo-

tional, casual, feminine. A

curving, single-width line (B)

is gender neutral. By itself,

the line has little character,

but as a drawing it is light,

casual, approachable.

Violins, violas, cellos and

basses have some of the

worlds most beautiful lines.

Look carefully, and writedown what you see.

(Above)

Converging lines

create motion; spiral is

the focal point. Intricate

detailing reveals hand

craftsmanship; suggests

skill, care, love, attentive-

ness to detail.

Curvy lines

duck and weave.

Spritely, playful,

joyous.

Sweeping line

suggests airiness,

grandeur, majesty.

What kind of line?

Lines are very expressive. Look carefully at your image. What do its lines say?

Straight line

Upright centerline suggests power,

formality, dignity, stateliness.

The edge can be seen as a sweep

or a series of detailed curves.

(Above)

Graceful lines appear when the

instrument is viewed from an angle.

Smooth, sensuous, feminine.

BA


5/18

Before&After

5of11



Unlike the graceful, feminine

lines of the instrument, a

charcoal line is rough, bold

and guy-like. Adobe Illustra-

tor will create a rough stroke

with a single click. Its easy:

(1 ) Open Illustrator, Place your

photo for reference (low resolu-

tion is all you need), then with the

Pen or Pencil tool trace its lines.There is no need for precision.

Hide or delete the photo.

Draw it

Our card needs a masculine line, one that follows the familiar, feminine silhouette butin a way thats bold, gritty, less flowing. To get it, well trade our pen for a brush.

1 2 3

(2) Adjust the line widths. (You

may find this easier to do once

the charcoal is applied.)

(3) Select the lines, then in the

Brushes palette click Rough Charcoal.

Edit your lines to suit.


6/18

Before&After

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How big, where does it go, and which way?

Size, position and orientation are key factors in how an image is perceived. As youcreate your layout, strive first to achieve clarity of message, then beauty.

(D) Get vertical Rotating the card upright matches

format to instrument and gets all the lines working

together. Now the image is big and still fits the card.

Note, however, that the tall neck leaves an unappealing

hollow near the top and the weight near the bottom.

(E) Zooming closer bisects the space, distributes the

weight evenly and shows off the rough, artistic line.

A

B

C

(A) Small Reduce the image to fit

the space, and have a look. It fits, but

what message does it send? It looks

insignificant, doesnt it? A double bassis BIG, and it BOOMS; this instrument

looks delicate, distant, incidental. Pay

attention here; such impressions are

real. Size, position and orientation

really communicate.

(B) Big Super size can have dramatic

effect. In this case, however, the hori-

zontal format crops too closely, and

the key line of the instruments body

is lost. The result is spotty and unclear.

(C) Sideways Turn the image hori-

zontally. It now flows with the space

but again sends the wrong message;

it looks like a guitar.

E

Hollow

Heavy

Bisected space

Evenly

distributed

weight

D


7/18

Before&After

7of11



What color?

Color is key to this job. We need not a palette full but a single color that can convey ourmood and message in dark, medium and light values. Key to this is saturation.

The color wheel shows color relation-ships. In this case, it also reveals that

saturatedcolorsreally redreds and blue

bluesare too bright for classical music or

even jazz. What we need are desaturated

colors, muted and sophisticated.

Desaturated colorhas some of its color

drained out and replaced by gray. As colors

are desaturated, their values (dark/light)

become more alike. To desaturate color in

Photoshop, select any color, then in the

Hue/Saturation dialog (left) move the Satu-

ration slider a negative distance; here its

60. Because for this job our color must be

dark, move the Lightness slider to, in this

case, 40.

Saturated colorsthe colors of

kindergartenare too bright for

classical music.

The same colors, desaturated and

darkened, are soft and rich and con-

vey age, tradition, professionalism.


8/18

Before&After

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5815 50%

What values?

Because desaturated colors are mostly gray, they can be fully lightened or darkened withoutchanging their essential color. This allows us to use all the values of our one color!

Even darker

(Above) Because one color will

do all the work, it must begin very

dark, so well darken our desatu-rated colors further, all the way

to 60. Note that heavily darkened,

desaturated colors look almost

alike. As a result, all will function

pretty much the same; the gray

does the real work, and the hint

of color provides the flavor.

Convert to Pantone So far, the color wheel has been a helpful reference to get us into the color ballpark.

But now we must convert from itsprocess colors, which are used for four-color printing, to a single spot color.

For that well use the Pantone Matching System. Pantone is accessible in the color libraries* of Photoshop,

InDesign and Illustrator. Just select your choice from the list, and add it to the color palette.

Our card uses Pantone 5815 at full strength and tinted 50%. On white paper that yields our three values

dark, medium and light. Note above the different expressive character of four combinations.

*Pantone is also available in printed swatch books (above). The Pantone colors shown here are simulations.


9/18

Before&After

9of11



Ratty

Graceful

What type?

Type has a dual role to play as image maker and message maker. What face to use?Because lineis dominant, base your selection on the line of the typeface.

Matches

Things of one kindusually go well

together, and Lettres Eclatees has

a lot in common with the brush

stroke; its bold, erratic and rough.But thats only its edge. Problem

is that while the instruments lines

are long and snaky, the letters are

short and spotty; overlaid, these

differences will clash. Also, the

typeface looks like graffiti, which

is not one of Mr. Coles key words.

If that werent enough, the cards

brush stroke is so assertive that a

matching typeface would simply

be too much of a good thing.

Clashes

Youd think that Palatino would

be a good choice; its a Roman

typeface from the visual era of the

instrument. It conveys the airof its subjectdignified, formal,

classical. And its a masculine face,

boxy and chiseled. So why doesnt

it work? Because its details are the

same size as the brush but a com-

pletely different kind. Its graceful,

thick-thin strokes and finely craft-

ed serifs clash with the splats, jags,

crannies and backtracks of the

brush. Such similar (size) but differ-

ent (style) properties rarely coexistwell in close proximity.

Complements

Ultra-sleek Helvetica Neue Thin

Extended has nothing in common

with the brush stroke. Its lines are

minimal, pure, unadorned. Wherethe brush is wide and rough,

the type is thin and smooth.

This allows the brush stroke to

dominate the card, while the type

sends a crystal clear verbal mes-

sage, beautifully understated.

Name and descriptor are set in

uppercase in the strong center of

the card (right), everything else

is in lowercase, each text block

aligned left.

Our finished card

Simple, clear, handsome, cheap.


10/18

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XiBAmagazine.com U


Tiny budget, evocative card 10of11

Typefaces

1 (ac) Helvetica Neue 33 Thin Ext

a) 12 pt, b) 7 pt, +40 letterspacing,

c) 8/11 pt, +20 letterspacing

Images

2 (ae) iStockphoto.coma b c d e

3 pantone.com | Pantone formula guide

Program

adobe.com | Adobe Illustrator

Article resources

Colors

PMS 5815

PMS 5815/50%

4

5

2c

2a

1c

2e

1a

2b

3

2d

1b


11/18

11of11 | Printing formats

Before&After XiBAmagazine.com UTiny budget, evocative card 11of 11


Tiny budget, evocative card 11of 11

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 understand-

able, useful and even fun for everyone.

John McWade Publisher and creative director

Gaye McWade Associate publisher

Vincent Pascual Staff designer

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 2006 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.

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 articleTo 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


12/18

Back | Paper-saver format

XiBAmagazine.com UBefore&After

For paper-saver formatPrint: (Specify pages 1318)

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.

Print

Format: Landscape

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Save

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For presentation formatPrint: (Specify pages 111)


13/18

Before&After|www.bamagazine.com

1of6

Tinybudget,evocati

vecard0644

0644Tinybudget,ev

ocativecard

Itsjustoneinkcolor

onmatte-finishpap

er

Designedandprinted

ona

tinybudget,thiscardfea-

turesalotofsophistic

ated

techniques.Keyisthatone

inkonwhitepaperyie

lds

threelevelsoftonaldepth

dark,mediumandligh

t.

Thisallowedthedesig

ner

togetextremewithscale;

theillustrationishuge

withoutoverpowering

the

card.Thintypeismod

ern

andunderstatedinsiz

e,yet

holdsitsowninwhite.The

roughbrushstrokeco

nveys

theevocativelinesof

the

instrumentwithoutap

pear-

ingfeminine.Similarly,the

mattepapertextureis

mas-

culineandearthy.

JimColeisbus

y.Betweenhischamber

quartet,jazzbandandsixstudents,he

s

amusicianon

themove.Hemakeshis

musiconthec

elloandthedoublebass,

instrumentsasversatileastheyare

beautiful.Wha

tscoolabouthisbusine

ss

cardisitsvisualeconom

ynotjust

thats

itsprintedinexpensive

lyinonecolor,butthat

itgetsalotofvisualatmosph

ereoutof

justa

fewe

lements.Setinfaintton

alcontrasts,the

illustrationdominatesthespacebutdoes

notoverpowerthecard.Itconveystheairof

classicalmusicianshipwithoutbeingstuffy;

itssimpleandmasculine.To

achieveall

this,thedesignerhadman

yd

ecisionsto

make

.Letsseewhatwecanlearn:

Tinybudget,

evo

catve

c

ard

Turnaon

e-colorbus

inesscard

intoavisual

statement.


14/18


2of6

Tinybudget,evocativecard0644

0644Tinybudget,ev

ocativecard

Startwithkeywo

rds

Theplacetostartistodeterminewhatyou

wantyourdesigntosa

y.Thisisespecially

importantonasmalljobwhereeverynuan

cecounts.Beginbycreatingkeywords.

Keyw

ords

Opena

dictionaryorthesaurusandfind

wordsthatfitMr.Colescharacterand

work.F

orexample,toconveyasenseof

classicalmusicaswellasafineinstru-

ment:formal,artistic,handmade,

profes

sional,masculine,crafts-

mansh

ip.ToexpressjazzandthatMr.

Coleis

personable,mobileandeasyto

workw

ith:friendly,informal,upbeat,

light.Youcanseeintheselistssome

opposites:formal/informal,classical/

upbeat.Thisiswhatyouwant;opposites

createtensionthatalmostalwaysyields

betterdesigns.

Beca

usecostisalimitingfactor,we

wontb

eusingaphotograph.Instead,

welldevelopastyleconceptbased

onthetraditional-nessofline.Welllook

nextat

howpropertiesofline,together

withsize,colorandvalue,work

togethe

rtoexpressthedesigngoal.

Whichlinelooksmor

e

masculine?

Design:Everynuance

conveysmeaning

Whichsizelooks

moreupbeat?

Whichcolorslook

moreclassical?

Whichvalueslook

moreformal?

Drawnlines

Flat-nibpenline(A

)flows

likearibbon,whic

hconveys

asenseofmotion,water,air.

Itsassociationsareemo-

tional,casual,feminine.A

curving,single-wid

thline(B)

isgenderneutral.Byitself,

thelinehaslittlec

haracter,

butasadrawingitislight,

casual,approachable.

Violins,violas,cellosand

basseshave

someofthe

worldsmost

beautifullines.

Lookcarefully,andwrite

downwhaty

ousee.

(Above)

Converginglines

createmotion;spiralis

thefocalpoint

.Intricate

detailingrevea

lshand

craftsmanship;suggests

skill,care,love

,attentive-

nesstodetail.

Curv

ylines

duck

andweave.

Spritely,playful,

joyou

s.

Sweepingline

suggestsairines

s,

grandeur,majesty.

Whatkindofline?

Linesareveryexpr

essive.Lookcarefullyat

yourimage.Whatdoits

linessay?

Straightline

Uprightcenterlinesuggestspower,

formality,dignit

y,stateliness.

Theedgecanbe

seenasasweep

oraseriesofde

tailedcurves.

(Above)

Gracefullinesappearwhenthe

instrumentisviewedfro

manangle.

Smooth,sensuous,feminine.

B

A


15/18


3of6


0644Tinybudget,ev

ocativecard

Unliketh

egraceful,feminine

linesoftheinstrument,a

charcoal

lineisrough,bold

andguy-like.AdobeIllustra-

torwillcreatearoughstroke

withasingleclick.Itseasy:

(1)OpenIllustrator,Place

your

photoforreference(lowresolu-

tionisally

ouneed),thenwiththe

PenorPen

ciltooltraceitslines.

Thereisno

needforprecision.

Hideorde

letethephoto.

Drawit

Ourcardneedsam

asculineline,onethatfollowsthefamiliar,femininesilhouettebut

inawaythatsbold

,gritty,lessflowin

g.Togetit,welltradeour

pen

forabrush.

1

2

3

(2)Adjustthelinewidths.(You

mayfindthiseasiertodoonce

thecharcoalisapplied.)

(3)Selectthelines,theninthe

BrushespaletteclickRough

Charcoal.

Edityourlinestosuit.

Howbig,whered

oesitgo,andwhichw

ay?

Size,positionandorientationarekeyfacto

rsinhowanimageis

pe

rceived.Asyou

createyourla

yout,

strivefirsttoachieveclarityofmessage,thenbeauty.

(D)GetverticalRotatingthecarduprightmatches

formattoinstrume

ntandgetsallthelinesworking

together.Nowthe

imageisbigandstillfitsthecard.

Note,however,tha

tthetallneckleavesanunappealing

hollowneartheto

pandtheweightnearthebottom.

(E)Zoomingcloserbisectsthespace,distributesthe

weightevenlyand

showsofftherough,artisticline.

ABC

(A)Sma

llReducetheimagetofit

thespac

e,andhavealook.Itfits,but

whatme

ssagedoesitsend?Itlooks

insignific

ant,doesntit?Adoublebass

isBIG,an

ditBOOMS;thisinstrument

looksdelicate,distant,incidental.Pay

attention

here;suchimpressionsare

real.Size

,positionandorientation

reallycommunicate.

(B)BigSupersizecanhavedramatic

effect.In

thiscase,however,thehori-

zontalfo

rmatcropstooclosely,and

thekeylineoftheinstrumentsbody

islost.Theresultisspottyandunclear.

(C)Side

waysTurntheimagehori-

zontally.

Itnowflowswiththespace

butagainsendsthewrongmessage;

itlookslikeaguitar.

E

Hollow

Heavy

BisectedspaceEve

nly

distributed

weight

D


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4of6


0644Tinybudget,ev

ocativecard

Whatcolor?

Coloriskeytothis

job.Weneednotapalet

tefullbutasinglecolor

thatcanconveyour

moodandmessageindark,mediumandli

ghtvalues.Keytothisis

saturation.

Thecolorwheelshowscolorrelation-

ships.Inthiscase,italso

revealsthat

saturatedcolorsreallyredredsandblue

bluesaretoobrightfor

classicalmusicor

evenjazz.Whatweneed

aredesaturated

colors,mutedandsophisticated.

Desaturatedcolorhas

someofitscolor

drainedoutandreplaced

bygray.Ascolors

aredesaturated,theirvalues(dark/light)

becomemorealike.Todesaturatecolorin

Photoshop,selectanyco

lor,theninthe

Hue/Saturationdialog(left)movetheSatu-

rationslideranegativedistance;hereits

60.Becauseforthisjobourcolormustbe

dark,movetheLightness

sliderto,inthis

case,40.

Saturatedcolorsthecolorsof

kindergartenaretoobrigh

tfor

classicalmusic.

Thesamecolors,desaturatedand

darkened,aresoftandrich

andcon-

veyage,tradition,professio

nalism.

5815

50%

Whatvalues?

Becausedesaturatedcolorsaremostlygra

y,theycanbefullylighte

nedordarkenedwithou

t

chan

gin

gtheiressentialcolor.Thisallowsustouseallthevaluesofouronecolor!

Evenda

rker

(Above)Becauseonecolorwill

doallthework,itmustbeginvery

dark,sowelldarkenourdesatu-

ratedcolorsfurther,alltheway

to60.N

otethatheavilydarkened,

desatura

tedcolorslookalmost

alike.As

aresult,allwillfunction

prettym

uchthesame;thegray

doesthe

realwork,andthehint

ofcolorprovidestheflavor.

ConverttoPantoneSofar,thec

olorwheelhasbeenahelpfulrefe

rencetogetusintothecolorballpark.

Butnowwemustconvertfromitsp

rocess

colors,whichareusedforfour-colorprinting,toasinglespotcolor.

ForthatwellusethePantoneMat

chingSystem.Pantoneisaccessib

leinthecolorlibraries*ofPhotoshop,

InDesignandIllustrator.Justselect

yourchoicefromthelist,andadd

ittothecolorpalette.

OurcardusesPantone5815atfullstrengthandtinted50%.Onwh

itepaperthatyieldsourthreevalues

dark,mediumandlight.Noteabovethedifferentexpressivecharacteroffourcombinations.

*Pantoneisalsoavailableinprinted

swatchbooks(above).ThePantonecolorsshownherearesimulations.


17/18


5of6


0644Tinybudget,ev

ocativecard

Ratty

Graceful

Whattype?

Typehasadualroletoplayasimagemakerandmessagemaker.W

hatfacetouse?

Becauselineisdom

inant,baseyourselectiononthelineofthetyp

eface.

Matches

Thingsofone

kindusuallygowell

together,and

LettresEclateeshas

alotincomm

onwiththebrush

stroke;itsbold,erraticandrough.

Butthatsonlyitsedge.Problem

isthatwhilet

heinstrumentslines

arelongandsnaky,thelettersare

shortandspo

tty;overlaid,these

differencesw

illclash.Also,the

typefacelookslikegraffiti,which

isnotoneofMr.Coleskeywords.

Ifthatwerentenough,thecards

brushstrokeissoassertivethata

matchingtypefacewouldsimply

betoomuchofagoodthing.

Clashes

Youd

thinkthatPalatinowould

beagoodchoice;itsaRoman

typef

acefromthevisualeraofthe

instru

ment.Itconveystheair

ofits

subjectdignified,formal,

classical.Anditsamasculineface,

boxy

andchiseled.Sowhydoesnt

itwork?Becauseitsdetailsarethe

same

sizeasthebrushbutacom-

pletelydifferentkind.Itsgraceful,

thick-thinstrokesandfinelycraft-

edse

rifsclashwiththesplats,jags,

crann

iesandbacktracksofthe

brush

.Suchsimilar(size)butdiffer-

ent(style)propertiesrarelycoexist

wellincloseproximity.

Complements

Ultra-sleekHelveticaNeueThin

Extendedhasnothingincommon

withthebrushstroke.Itslinesare

minimal,pure,unadorned.Where

thebrushiswideandrough,

thetypeisthinandsmooth.

Thisallowsthebrushstroketo

dominatethecard,whilethety

pe

sendsacrystalclearverbalmes-

sage,beautifullyunderstated.

Nameanddescriptoraresetin

uppercaseinthestrongcenter

of

thecard(right),everythingelse

isinlowercase,eachtextblock

alignedleft.

Ourfinishedcard

Simple,clear,handsome,cheap.

Typefaces

1(ac)HelveticaNeue33ThinExt

a

)12pt,b)7pt,+40letterspacing,

c

)8/11pt,+20letterspacing

Images

2(ae)iStockphoto.com

a

b

c

d

e

3p

antone.com|Pantoneformulaguide

Program

adobe.com|AdobeIllustrator

Articleresources

Colors

PMS5815

PMS5815/50%

45

2c

2a

1c2e

1a

2b3

2d

1b


18/18


6of6


0644Tinybudget,ev

ocativecard

Before&Aftermag

azine

Before&Afterhasbeensharingitspracticalapproach

tographicdesignsince1990.Becauseourmodernworld

hasmadedesignerso

fusall(readyornot),Before&

Afterisdedicatedtom

akinggraphicdesignunderstand

-

able,usefulandevenfunforeveryone.

JohnMcWadePublis

herandcreativedirector

GayeMcWadeAssociatepublisher

VincentPascualSta

ffdesigner

DexterMarkAbelle

raStaffdesigner

Before&Aftermag

azine

323LincolnStreet,Roseville,CA95678

Telephone916-784-3880

Fax916-784-3995

E-mailmailbox@bama

gazine.com

wwwhttp://www.bam

agazine.com

Copyright2006Be

fore&Aftermagazine

ISSN1049-0035.All

rightsreserved

Youmaypassalonga

freecopyofthisarticletoothers

byclickinghere.Youm

aynotalterthisarticle,andyou

maynotchargeforit.

Youmayquotebriefsections

forreview;pleasecreditBefore&Aftermagazine,and

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fore&Aftermagazinetoyour

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:http://www.bamagazine.com.

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ns,pleasecontactus.

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&After

SubscribetoBefore&After,andbecomea

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