Before and After Magazine 41

In this issueDesign a small chart 0615

Design on a center line 0616 How to look real 0617

Design a flier that comes back 0618 Design Talk: Six Design Ideas 0619

Design Talk 2: Five Design Ideas 0620 One-Line Design 0621

Issue 41 | 2006 www.bamagazine.com How to design cool stuff®

Make expressive designs easily and quickly with just a line.

One-Line Design

In this issue:0615 Design a small chart | 0616 Design on a centerline

0617 How to look real | 0618 Design a flier that comes back 0619 Design Talk: Six Design Ideas | 0620 Design Talk 2: Five Design Ideas

0621 One-Line Design

Before&After | www.bamagazine.com

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Design a small chart 06150615 Design a small chart

Visual simplicity transforms a kitchen gimmick into a useful tool

Design a small chart

Pinch or dash = less than 1⁄8 tsp

DRY measures

LIQUID measures

Your recipe for success! Compliments of Stacy Thomas, Realtor .. • www.stacythomas.com

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

You’re up to your elbows in eggs and flour, the reci-pe’s calling for a quarter cup of cornstarch, and all you can reach is a tablespoon. Quick! How many are in a quarter cup? Smart you. Stuck to the ’fridge door is Stacy Thomas’ handy measurement chart; one look, and you keep cooking without missing a step.

Such usefulness is the idea behind these flat, lightly mag netic vinyl charts; pass them out to your customers, and you stay in their kitchens forever. They’re great for visibility.

But, of course, to be visible, they must be kept, and for that they must be attractive and easy to use. The keys to this are good organization and visual simplicity. Here’s how to transform a hard-to-read, clip-arty gimmick into a sleek kitchen helper.

Before

After


DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz 1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz 1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz 1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz 1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml 3⁄4 cup = 12 tbsp = 36 tsp = 175 ml 2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml 1⁄2 cup = 8 tbsp = 24 tsp = 125 ml 1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml 1⁄4 cup = 4 tbsp = 12 tsp = 50 ml 1⁄8 cup = 2 tbsp = 6 tsp = 30 ml 1⁄16 cup = 1 tbsp = 3 tsp = 15 ml


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No rhythm Stuff is aligned left (1), right (2), center (3).

Misdirected Unco-ordinated lines pull the eye everywhere.

Unfocused Absence of a focal point leaves the page vague.

Diluted Because positive and negative elements have similar sizes, they strongly compete, diluting their effectiveness.

1 2

3

3

Before

Why veggies? It’s a kitchen chart, but the topic is measurements, not food.

Before: It’s festive and informative, but . . . The original 4”x 7” magnet has the “use-me” qualities of a good promotional piece, but it’s complicated and unattractive. That’s because the space wasn’t designed.

While excellent at headline size, Helvetica is not the best choice for small type—its curve strokes curl around far enough to leave only small openings, called aper-tures, which at small sizes tend to close up. Lower case letters a, e and s are especially vulnerable to “filling in” (right) and can be mistaken for one another.

agc 31/2Closes

Closes

Helvetica Medium

Closes

Full-size fractions are never a good idea. Same-size numerals have no visual hierarchy and can easily be mistaken for sepa-rate characters; they require careful (and slow) reading to decipher.

Before

. . . the type is almost rightHelvetica is a versatile typeface, but at small sizes and low resolution it loses readability; ink (or pixels) can obscure its fine detail and fill in small apertures.


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agc 3 1⁄2The strength of Myriad Pro is its brevity—lines are straight, junctions are simple, and its curves don’t “close,” the benefit of which is clarity even at small sizes (below) and poor resolution. Look again at Helvetica.

Myriad Pro Regular

Open

Open

Open

After

Myriad Pro includes true frac-tions, whose weight is pro-portional to full-size numerals. Numerators align with the cap height, denominators sit on the baseline, and the slash has a steeper angle than the key-board back slash. Clear hierarchy, easy to read at a glance.

Steeper angle


DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

After: Start over with clearer type A clear typeface is key to any chart. Look for simplicity—straight lines, plain junctions, no extra curlicues—before stylishness, which can be conveyed by other elements.

Spread it out The magnet looks like it’s about cooking, but actually it’s about numbers. To make numbers reader-friendly, put them in columns, and spread them out.

1gal = 4 qt = 16 cups = 128 fl oz 1/2 gal = 2 qt = 8 cups = 64 fl oz 1/4 gal = 1 qt = 4 cups = 32 fl oz 1/2 qt = 2 cups = 16 fl oz1/4 qt = 1 cup = 8 fl oz

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

AfterAligned

right


DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

Before: AllruntogetherThe original chart was typed sentence-style as though the designer were typing a letter. Elements are congested and undifferentiated—and there-fore hard to read.

After: Clearly visibleClarity is what white space creates. Spread the numbers into rows and columns; here, rows are equivalencies, and columns are like kinds of data—gallons, quarts, pints and so on. Note columns are aligned to the right.


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Lighten it upNext, separate measures from quantities. Lighten the type weight and tint it gray, which creates visual depth and yields two levels of hierarchy.

1⁄4 gal 1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1⁄4 galMyriad Pro Light Lighter weight and value (65%) recede

All the same Contrasts add clarity

After


DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

Well differentiatedQuantities—which change—remain bold; measures—which repeat—recede in gray. Now well differentiated, the comparisons are easy to see and attractive, too. Note the kinds of separation: Space separates columns, hairlines separate rows, and gray separates foreground from midrange.

The layout Charts centered on the page are the focal point of the design. The remaining information and images are added as supporting, not primary, elements.


DRY measures

LIQUID measures

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml


DRY measures

LIQUID measures

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

The data is the messageCenter the data like a picture in a frame. A centered layout is motion-less, so eyes can rest on the data.

Add the titlesThe titles, not the data, are where you can be typographically expres-sive (quietly, in this case).

Add the imagesUse images that really depict the topic. Don’t mix image styles, and don’t vary the sizes.

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml


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DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml


DRY measures

LIQUID measures

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml


DRY measures

LIQUID measures

1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

Create differenceThe sponsorship area is another kind of information, so differentiate it visually with a background color.

Bridge the sectionsPortrait links the two sections, yet they remain distinct. Organic silhouette softens the hard edge.

Finish with typeFont matches (in this case) the title font. Small type is professionally low-key, yet the section is highly visible.

The layout Images carefully placed draw the reader’s eye into the information, not away from it. Note that the images are what they illustrate.


DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

The relationships Always adjust to what’s on the page, not what’s on your rulers (or in your head). Note how relationships of color, value, size and alignment unify the design.

United by size and value (Below) Glass, powder and face are the same size and even have similar value (light-dark). This uniformity connects the elements and at the same time simplifies the design.

AlignedColors from the image unify

type and background.

(Left) Note the spacing. Because they’re the same, the glass and margin harmonize without visual tension, which allows the charts to remain primary.


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DRY measures

LIQUID measures


1 gal = 4 qt = 8 pt = 16 cup = 128 fl oz

1⁄2 gal = 2 qt = 4 pt = 8 cup = 64 fl oz

1⁄4 gal = 1 qt = 2 pt = 4 cup = 32 fl oz

1⁄8 gal = 1⁄2 qt = 1 pt = 2 cup = 16 fl oz

1⁄16 gal = 1⁄4 qt = 1⁄2 pt = 1 cup = 8 fl oz

1 cup = 16 tbsp = 48 tsp = 250 ml

3⁄4 cup = 12 tbsp = 36 tsp = 175 ml

2⁄3 cup = 10 2⁄3 tbsp = 32 tsp = 150 ml

1⁄2 cup = 8 tbsp = 24 tsp = 125 ml

1⁄3 cup = 5 1⁄3 tbsp = 16 tsp = 75 ml

1⁄4 cup = 4 tbsp = 12 tsp = 50 ml

1⁄8 cup = 2 tbsp = 6 tsp = 30 ml

1⁄16 cup = 1 tbsp = 3 tsp = 15 ml

Typefaces

1 (a–b) Adobe Garamond Regular a) 18 pt, b) 10.5/13 pt

2 Adobe Garamond Bold | 10.5/13 pt

3 Myriad Pro Regular | 12/18 pt

4 Myriad Pro Light | 10.5/18 pt

Images

5 (a–c) iStockphoto.com | a b c

6 Rubberball.com

Article resources

Colors

C10 M20 Y35 K65

C18 M12 Y20 K0

7

8

87

5b1a

1a

1b

3

3

5c

6

4

4

2

5a

Page size: 4”x 7”

Before & After back issues

16 years of cool stuff!

Round out your design library!

Are your old issues worn out? Did the dog eat your favorite? Before & After back issues are a treasury of practical design instruction and experienced advice. Reach into our archive and complete your design library. Visit www.bamagazine.com for a detailed list of available content and to place an order. Learn more. Design better.

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Design on a centerline 06160616 Design on a centerline

Your client is a college whose art department has given you a small schedule to design and has a few requirements. It must convey the nobility of the school and the artistic spirit of the month’s events. It must be handy to use, printable in-house and cheap. Oh, and please have it finished tonight.

How do you do a quality job on such a tight schedule? In the same way that you do any job—methodically. The difference is that you limit fonts and colors to the basics and your layout to a simple configuration.

At left is the raw data, which you will visually

“translate” into imag-ery. Highlight item by item. You’re looking for key words that will govern the design.

(1) Parameters (2) Title and topic(3) Introduction(4) Dates and times(5) Event title and

speaker (6) Venue

SummaryCard sizePrintable in the office

Key words Artistic and traditional

The creative brief

Design on a

CenterlineAn image, a typeface and one line are all you need to set a classy scene.

From:Subject:

Date: To:

Cindy HollandAugust Schedule of Events cardJuly 25, 2005 9:30 AM PDTDexter Mark Abellera

From:Subject:

Date: To:

Cindy HollandAugust Schedule of Events cardJuly 25, 2005 9:30 AM PDTDexter Mark Abellera

3

1Hello Dexter,

Sorry for the rush here. Copy’s below. We need something we can print in the office and pass out by hand, so we were thinking maybe they could be cards three to a sheet. It’s Art Month, and the events are pretty varied, so we hope you can find an artistic look that ties them t ogether and still feels like the school, which, as you know, is pretty traditional. Deadline’s tonight. Best,Cindy

------------------------------------------------

Delta College Art Department, August Schedule of Events

In an exceptional program that covers the artistic spectrum of the department, August is a month of the best presenters and lecturers, conversation, critique and beautiful art. Engaging and inspiring.

August 4, 2005, 7:30 p.m -- Dialogues in Beauty, Deborah Witt -- Shima Hall Gallery

August 6, 2005, 6 p.m. -- Slide Lecture, Artist Judy Miller -- Mariposa Hall 2000

August 7, 2005, 5:30 p.m. -- Summer Show, Student Exhibition -- University Library Gallery

August 8, 2005, 4:30 p.m. -- Lecture, Graphic Designer James Rogers -- University West Forum

August 10, 2005, 7 p.m. -- Expand Your Horizon, April Breedon -- Shima Hall Gallery

August 12, 2005, 6:30 p.m. -- A Conversation With Beverly Mills -- Shima Hall Gallery

August 13, 2005, 2 p.m. -- Summer Arts & Crafts Fair -- Main Courtyard

August 17, 2005, 5:30 p.m -- Close Encounters, Julie Packard -- University Library Gallery

August 19, 2005, 4:30 p.m. -- Lecture, Paintings & Prints, James Rogers -- University East Forum

August 20, 2005, 7 p.m. -- Nearly Reflecting, April Breedon -- Shima Hall Gallery

August 23, 2005, 5:30 p.m. -- The Shape of Color, Jason Untalan -- University West Forum

August 27, 2005, 7:30 p.m. -- Peter Kilmer Ceramics -- Mendocino Hall 2100

54 6

2


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Now relate image to pageEstablish a relationship between image and page. Ask, what are the boldest characteristics of each, and, what properties do they have in common? Work with those.

What size?When you have only one image, it’s natural to want it big. But pay attention. In this case, a bigger brush would isolate and deaden the space above it (below, top). Think of white as liquid, and let it flow (bottom).

High contrastLow contrast

Centerline

Work with what you have The page is a strong vertical line; the brush is an even stronger line. Placed parallel, they work together; crossing, they have friction and energy, and in this case the brush becomes a header, too. The centerline is the point of highest contrast (below and right).

Look. Read. Learn.Next step is to find one image—we have no time for more—that embodies the ideas of artistic and traditional. Remember that the image must represent many kinds of art.

Look beyond the obviousWhen looking at objects, we tend not to get much past the surface—

“that’s an interesting mask; there’s an old book.” But the designer must look deeper. Put words on what you see. What, exactly, makes the mask interesting? What colors say artistic? What kind of shape says traditional? What textures? What lines? Pay attention to sensual qualities like sound, smell, touch, and the intangi-bles of history, culture and tradition. The 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.

Brush Calligraphic, lacquered, well used, desat-urated colors, bold silhouette, traditional; a brush says art to everyone. This is our image.

Books Highly traditional, rich, tactile, irregular, desaturated colors, suggest scholarship and history but not artistry

Mouse Cold, hard, high contrast, used for art but nei-ther artistic nor traditional

Mask Artistic, clay, warm, mysterious, emotive, suggests theater, too human


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Create a simple color paletteCreate a color palette made of the image plus one additional color, which can harmonize or, in this case, contrast. For versatility, adjust the color to its middle value.

Sample, locate, reduce The dominant color in an image—here, muted red— will have the most interaction with the background color. Locate this red on the color wheel (right). Straight across is its complement (green), which has intense contrast. Either side of green are red’s split complements (green-yel-low and green-blue), which contrast but with less tension. To make beautifully soft con-trast, lighten the complement.

24%

D E LTA C O L L E G E A RT D E PA RT M E N T

Select one type family, and set it in one size Here, 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.

D e l t a C o l l e g e

Start with a bold statement Center 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. Note in this case that all caps echo the straight line of the brush (above). Upper- and lowercase (below) has a

busy line that sets a more conversational tone.

Note the brush is used as a spacer.

Middle value Middle-value green yields the best of three worlds—a touch of contrast, the sedate softness of old, well-used things, and visual depth. Against middle value, the dark and light of the brush come forward, making a strong illusion of an object that’s physi-cally on the page.

D E LTA C O L L E G E A RT D E PA RT M E N T


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D E LTA C O L L E G E A RT D E PA RT M E N T August Schedule of Events

In an exceptional program that covers the artistic spectrum of the department, August is a month of the best presenters and lecturers,

conversation, critique and beautiful art. Engaging and inspiring.

August schedu

Center the second title in small capsCenter the second title the same size as the first but in small caps, which convey the presence and authority of full capitals but at a secondary level.

Small caps True small caps are uppercase characters that have the same height and weight as normal lowercase characters (below), with which they blend beautifully. Not all fonts contain true small caps, in which case you must make your own. False small caps are service-able but inconsistently light, because they are merely full-size caps reduced in size.

True small caps Consistent weightThese are part of the font.

False small caps Inconsistent weightThese you make yourself.

AUGUST


Wide letterspacingNormal letterspacing

Repeat, repeat, repeatAs you add copy, keep the card simple by repeating what’s already on the page—same typestyle, same size, same spacing, all centered.

2

1

3

2

33

Only three sizes Note the card has only three sizes: (1) big space, (2) type size, (3) small space.

This repetitive approach goes together fast, it looks good, and it’s artistically correct.

1

1


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In an exceptional program

The beauty of a good type family is in its variety of styles. Here, names are set in one

style, venues another, dates a third. The similari-ties keep them together, the differences keep

them apart; all harmonize beautifully.

135678 James Rogers

135678ABCDEFGHIJ




Dialogues in Beauty, Deborah Witt, 7:30 p.m. Shima Hall Gallery

4

Slide Lecture, Artist Judy Miller, 6 p.m. Mariposa Hall 2000

6

Summer Show, Student Exhibition, 5:30 p.m. University Library Gallery

7

Lecture, Graphic Designer James Rogers, 4:30 p.m. University West Forum

8

Expand Your Horizon, April Breedon, 7 p.m.

Dialogues in Beauty

Shima Hall Gallery

Consistency within elements The headline encompasses the events below it, so keep the relation-ship in size and style, but differenti-ate by color. Green on green has less contrast and lower visibility, therefore lower hierarchy.





4


6


7


8

Clearly visible in the diagram above are the different textures and rhythms within a type

family, each of which has a unique “voice.”

Differentiate elements by changing stylesDifferentiate titles, venues and dates by assigning each a style—light, italic or bold—but do not change the size or spacing.

Ascenders

Descenders

Red dates tie to the brush and head-lines and define the centerline.

Use old-style numeralsIf 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.

Use old-style numerals in text Above, standard numerals are uppercase and monospaced to align in columns for accounting use and more. Beautiful old-style numerals, below, are meant for use in text. Smaller like lowercase letters, they’re more varied and often descend far below the baseline. Also like letters they have dif-ferent widths and are called non-lining, because in columns they don’t line up.


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4


6


7


8

Expand Your Horizon, April Breedon, 7 p.m. Shima Hall Gallery

10

A Conversation With Beverly Mills, 6:30 p.m. Shima Hall Gallery

12

Summer Arts & Crafts Fair, 2 p.m. Main Courtyard

13

Close Encounters, Julie Packard, 5:30 p.m. University Library Gallery

17

Lecture, Paintings & Prints, James Rogers, 4:30 p.m. University East Forum

19

Nearly Reflecting, April Breedon, 7 p.m. Shima Hall Gallery

20

Lecture, The Shape of Color, Jason Untalan, 5:30 p.m. University East Forum

23

Peter Kilmer Ceramics, 7:30 p.m. Mendocino Hall 2100

27

For desktop printing . . . Print 3-up on a standard letter sized sheet, allow a quarter-inch (or so) margin on all sides, then print and trim.

The finished card Continue your way down the centerline until the job is beautifully complete.





4


6


7


8


10

A Conversation With Beverly Mills, 6:30 p.m. Shima Hall Gallery

12

Summer Arts & Crafts Fair, 2 p.m. Main Courtyard

13

Close Encounters, Julie Packard, 5:30 p.m. University Library Gallery

17

Lecture, Paintings & Prints, James Rogers, 4:30 p.m. University East Forum

19

Nearly Reflecting, April Breedon, 7 p.m. Shima Hall Gallery

20

Lecture, The Shape of Color, Jason Untalan, 5:30 p.m. University East Forum

23

Peter Kilmer Ceramics, 7:30 p.m. Mendocino Hall 2100

27

Jane W. Smith1234 West Cedar Blvd. Stockton, CA 98765-6278

11”

81/2”

Typefaces

1 Adobe Garamond Bold | 8 pt

2 Adobe Garamond Semibold SC | 8 pt

3 Adobe Garamond Regular | 8/9.6 pt

4 Adobe Garamond Italic | 8 pt

Images

5 (a–b) Photos.com | a b


Article resources

Colors

C25 M90 Y95 K25

C33 M29 Y55 K60

C33 M29 Y55 K40

C14 M11 Y25 K0

7

8

9

10

7

8

9

10





4


6


7


8


10

1

2

3

2

4

1

5a

6c5b6a 6b

Mail. Fits a #9 envelope

Or send as a postcard.


1 of 5

How to look real 06170617 How to look real

Set the stage with authentic visual cues.

How to

look real

The Kentucky Mine Summer Concert Series in the Sierra Nevada mountains is low-budget entertainment under the stars. From a small stage beneath 150-foot pines, the rousing

sounds of blue grass, balladeers and folk singers mingle with the sweet fragrance of summer in the forest. It’s a great time.

Problem is, the Web banner promoting all this conveys

none of it. It’s well-crafted and tidy (right), but that’s what’s wrong. Its neat lines and smooth surfaces project no energy, no musicality and no sense of place. That’s because the designer was thinking layout and missed the event. Here’s how to get all of that good stuff in.

Before

Where’s the party? The black hat hints at the country-western theme of the summer concerts, but nothing’s happening; the lines are too straight, the type is too static, and the space is too empty to convey the rollick-ing, banjo-twanging, foot-stomping energy of the real thing.

SUMMER CONCERT SERIESFoot-stompin’ fun! Every Friday, 8 p.m. July 1 thru August 5

KENTUCKY MINE AMPHITHEATER


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Sleek and smooth country?The “before” is crafted well enough. It has a focal point, harmonious colors, consistent use of type, and things are neatly aligned. But the result is lifeless. That’s because it doesn’t express the subject. Smooth surfaces and straight lines, for example, are elements of urban boardrooms (left), not the moun-

tain outdoors (above). The banner mixes other visual signals:• Color fields are flat and smooth.• Top bar is mechanical, and its type is reversed.• Color palette is made up, not based on the real scene.• The real outdoors has rocks, trees, wooden buildings,

wagon wheels and dirt, all gritty, weathered and rough.• Old-West printing had no fancy reverses.• Old paper has color and texture.

It was designed “by the book” The designer of this ad was unfamiliar with the event and so made a common mistake— he designed from his imagination. Such results will almost always look artificial.

Inauthentic elements• Positive-negative color fields• Straight edges and sharp corners• Contemporary color paletteSUM-

KENTUCKY MINE AMPHI-

Before Reversed type is inauthentic. Old printing was always dark on light.



SUMMER Half serifs Cupped

feetSmooth edges

Full serifs

Dips

The type is static, and the space is too passive Usherwood Black has designed-in quirks, but the effect looks polished and synthetic. The black hat has no owner, and music is nowhere in sight.

(Above) Quirky ITC Usherwood Black is an appeal-ing type choice for several reasons, one of which are the unique half serifs on its M’s and N’s. Although its characters are full of the irregularities one might see in old, wooden type, the edges are sharp and its overall line strong and uniform. The result: Usherwood looks designed and not authen-tically old.

Before

Where’s the music? The hat is the focal point, and the “read breeze”—our natural left-to-right drift across a page—reinforces its position (the eye moves towards it), but it’s a passive image that conveys neither forest nor music nor party. The result is a disconnect between image and message.




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It’s time to start over To convey the real event, we need authentic visual cues —real objects, real colors, real textures. And because it’s a party, we need something surprising—less space.

Before

After

Space, texture, object • A small room jammed with people makes a party; a big,

empty room does not. So the first step is to get rid of the excess space. Shrink the banner height, in this case to 65%.

• Lose the “smooth.” A backdrop of weathered parchment adds texture, dimension and ambiance.

• Lose the hat. A banjo (right) instantly conveys not only music but a particular flavor of music.

The perfect rustic types The correct typefaces will look real, not designed, like they’ve been around since the Gold Rush. And to really crowd the room, the headline typeface must be massive.

SUMMER CONCERTPoplar Standard Black

Poplar is a recent design based on an 1830s original. It’s massive and powerful because it has almost no interior white space, and it’s quirky like old wooden type would be—uneven, unrefined, irregular. Its only drawback: at small sizes (left), its density makes it hard to read.

Irregular

Fat body, stubby arm

Slit-like counters

Tiny negative spaces

Rosewood Fill (above) makes an excellent companion typeface for use in small sizes. Like Poplar, it has quirky letters of unpredictable width, odd serifs, stubby arms (E and F) and irregular stroke weights. The differ-ence: It has lots of open space, which is why it’s readable when small.

every friday

Authentic colors come from the real world. Left, earth tones complement the paper and express the event perfectly.

KENTUCKY

What goes with brown? Analogous (adjacent) colors always harmonize; here, brick red adds heat.

Stubby, bulbous footFunky, slab-like apertureMassive positive forms

Use the eyedropper.


4 of 5


High-energy composition With background and image in hand—the event is beginning to look real—it’s time to arrange the space for party energy. To do this, think mass, silhouette and angle.

After

Angles convey energy Angles are inherently unstable, which makes them ideal for conveying tension and excitement. Also, the nearer some-thing is, the more presence it exerts. So 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.

To quickly find the right size, think in extremes. Here, the tiny banjo fits the space without cropping, but it’s indistinct and lacks energy.

Giant size is daring and has in-your-face pres-ence, but in this case it’s too big—it would put the focus on the banjo, not the event.

A fuller silhouette at the angle it’s played is just right. Tension is amplified by its midair position facing back against the flow of the ad.

Tiny Giant Just right

Add the words Make the type as big as possible, leaving only enough room for the modulation and pauses of real speech. You want the words to make some noise!

After

Type should never just be placed, no matter how neatly. Type is living speech made visible. As you add the words, use differences in typeface, size, color and position to mimic natural speech, which modulates from high to low, loud to soft, and includes pauses. But crowd it by removing excess space from between words and lines.

Massive presence Set in one size and style, the words are impossible to miss but unnatural. Without differences in size and style, there is no voice modulation or hierarchy of information.

Clear hierarchy Simple size difference separates two thoughts. Because of its impor-tance, the smaller line has the higher position. Long lines, though, are skinny and lose impact.

Squeeze in the rest Wrapped line regains its weight. Dates and times are stacked tightly in a more readable typeface and shoved into the open space, resulting in a massive block.

KENTUCKY MINE AMPHITHEATER SUMMER CONCERT SERIES EVERY FRIDAY, 8 P.M. JULY 1 THRU AUGUST 5

KENTUCKY MINE AMPHITHEATER SUMMER CONCERT SERIES

every friday, 8 p. m. July 1 thru August 5

KENTUCKY MINE AMPHITHEATER SUMMER CONCERT SERIES

SUMMER CONCERT SERIES




5 of 5





Finish and repeat Foot-stompin’ fun! —a character line—completes the energetic setting. The final task is to repeat the process in smaller ads of different proportions.

After

Foot-stompin’ fun! is a character line set to match the dates and times; the two similar blocks now

“bookend” the main copy. Colored black, the small Kentucky Mine Amphitheater gains strength against the larger words in brown. The T tucked just beneath the banjo amplifies the depth.

FOOT-STOMPIN’ FUN!

Design a campaign Different venues require different formats. Key to repeating the ad in other sizes and shapes is to “dance with the gal what brung ya”—this is not the place for a new design or different graphics. Repeat the parchment, banjo, typefaces, colors and the “crowded room” layout. Retain the colors and hierarchies. Focus on look and feel instead of slavishly repeating measurements. For example, you want the banjo big and at an angle, the type massive, the space full. Note that to fit the space, the banjo has had to move around. Here you can see that “playing” position (top) conveys more energy than the upright, “resting” position (left).

576 x 190 px

190 x 95 px

144 x 235 px



Every Friday, 8 p.m. July 1 thru August 5

foot-stompin’ fun!



Every Friday at 8 p.m. July 1 —August 5

Foot-stompin’ fun!





Foot-stompin’ fun!

Typefaces

1 (a–b) Poplar Std Black | a) 25/48.5 pt, b) 65.25/48.5 pt

2 (a–b) Rosewood Std Fill | a) 18/48.5 pt, b) 25/21 pt

3 ITC Usherwood Black

Images

4 (a–g) iStockphoto.com | a b c d e f g

5 David John and the Comstock Cowboys www.comstockcowboys.com

Article resources

Colors

C0 M65 Y100 K75

C20 M90 Y100 K10

C25 M15 Y60 K30

6

7

6 7

1a

1b

2a

2b

4b 4c

4d 4e 4f

4a

5

3

8

8

4g


1 of 5

Design a flier that comes back 06180618 Design a flier that comes back

On a budget? Need a response? Design a flier that’s its own return envelope!

flierthat comes back

Design a

LODI AREA ALL VETERANS PLAZAP.O. BOX 1102LODI, CA 95241-1102

Tom Gniewek 4594 Rosemary DrLodi, CA 95241


PLACE STAMP HERE

LODI AREA ALL VETERANS

PLAZA

“Give To Remember Those Who Gave For Us”

A lasting tribute to all veterans, living and dead, present and future, of all

branches of the military

Front Back Folded for mailing

To raise money from private donors to pay for its new, city center plaza, the Lodi Veterans Plaza Foundation needs an attractive but inexpensive appeal. Here’s a great solution—a flier that tells the story and collects the money! It’s a letter-size sheet suitable for desktop printing that folds to become its own return envelope, neatly securing the donor’s check.


Major donors contributing $1,000 or more will be permanently recognized and names added to plaques located on the north side of the plaza. Any amount is appreciated, and your donation is tax deductible. Make checks payable to: Lodi Area Veterans Plaza Foundation.

to be floating in a blue cobalt pool beneath the waterfall, symbolizing healing. The entire monument is dramatically lit and brings visitors attention to our American Flag that is the backdrop of the plaza.

How Can You Help? Your support is needed! The Plaza was purchased through a $450,000 loan from the City of Lodi. A Foundation was established with the mission of raising funds to pay back the loan. To date, many Lodi veterans, families and friends have contributed to the plaza, but much work remains. Please join the community and pledge your support. I Would Like to Help! Please accept my donation: ❑ $25 ❑ $100 ❑ $250 ❑ $500 ❑ $1000 ❑ $_______

Dedicated on May 22, 2004, the area between Lodi City Hall and Carnegie Forum has been transformed into a living tribute dedicated to our nation’s veterans past, present and future. Situated in the heart of a city that is known for its love of our nation’s veterans, the monument incorporates various artistic elements representing aspects of service to our country. The 21.5-foot stainless-steel obelisk honors courage and graces the plaza entrance.

As you enter the plaza, 13 granite stones are engraved with poetry from historic figures to local artists. An eternal flame representing valor and sacrifice is nested in the center of a 16-foot high curved granite wall, which serves as the backdrop for a beautiful waterfall. A 7-foot, 16-ton, hand-hewed solid granite sphere characterizing unity and global service appears

LODI AREA ALL VETERANS PLAZA

PLACE STAMP HERE


2 of 5


Catch the eye of the passerbyWhether displayed on bulletin board or countertop, the first goal is simply to be seen. For that, the flier needs a powerful front-side image that’s big.

Make a place for the words Center a rectangle, and reduce its opacity to let the flag show through. Note that it’s slightly offset toward the top.

The dignity of age A fresh, new American flag is always appealing, but it’s also common; we see them all the time. Because the plaza honors veterans, an older, weath-ered flag (right)—one that’s seen service—may carry more weight and emotion. Visually richer and less common, it’s cer-tainly more arresting. The full-page presentation has real impact plus a margin suitable for budget-friend-ly desktop printing.

Same

SameFront

VETERANS

Next, select a monumental typefaceThe most powerful typography is literally set in stone. Serif-style, uppercase inscriptions convey strength, high authority and permanence and are appropriate for this project.


PLAZA

The majesty of stone Modern western typog-raphy began literally chiseled in the stone of Trajan’s column in Rome 20 centuries ago, and serif-style, uppercase lettering has conveyed strength, high authority and per-manence ever since. To authentically convey the monumental character of the plaza typographically, classic Garamond (below) is an ideal choice.

Center, then color In the rectangle, center the type line by line. Note, though, that although the big-ger line is more important, size alone is not enough to set the two lines apart (above). Next step, then, is to sample the two most dominant colors on the image (left), and apply the more dominant—in this case it’s red—to the main title. The result is that the color differentiates one line from the other and at the same time connects both to the flag.


PLAZAUnited States Supreme Court building

Upright

Moderate weight Moderate thicks and thins

Front


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Work around the envelopeThe back side is tricky. For continuity, first bring all the front-side elements—flag, colors and typography—around, then divide your design into panels created by the flaps.

BackFront








PLACE STAMP HERE

Add a focal point Use the irregular shape of the Purple Heart to soften the straight edges. Its realism and slight overlap (left) add an eye-catching counterpoint to the flat page and mark the start of the story.

Use the flag again The full-page flag has made a powerful impression, so on the back it takes only a sliver to re-establish its presence. Pick the sliver carefully; this one has stripes, stars and the blue field in pleasing proportions.

Change typestyles when the message changes Because it has no motion, centered typography conveys permanence, but a softening of the message requires a small change in typestyle to less-commanding italic.





PLAZALODI AREA

ALL VETERANS PLAZA




Sustain the theme Dashed border (left) mim-ics flag stitching and adds a hint of enclosure. To make it, simply assign round caps and ends to a dashed line, then apply a tiny shadow. A graphical star separates sections.

The rule in design is to work with what’s on the page (in this case, the details of the flag); don’t arbitrarily add different effects.

Step uniformly down the page Below the uppercase title, the message changes to descriptive, sentence-style statements, which should be expressed by a small change of typestyle, here from Roman to italic. The emphasis is on small; stay within the type family to keep the setting unified. Note the descending type sizes top to bottom and that the title remains alone in red.

Front


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(A) Return address fill-in: 0.25 pt lines, 17.5 pt apart (B) Organization address: Adobe Garamond Bold, 12.5/17 pt (C) Stamp reminder: Adobe Garamond Regular, 9.5/11.5 pt Stamp box: 0.65” x 0.75,” 0.25 pt line

Note: Scotch tape works fine as a seal, but If you have the budget, have the sheet commercially gummed. Similarly, using postage-paid reply mail will increase response.

TemplateLetter-size page (11” x 81/2”)

81/2”

11”

1

2

3

4

LODI AREA ALL VETERANS PLAZA P.O. BOX 1102 LODI, CA 95241-1102

AC

1 3/4” 1 3/4”

1”

3 11/16”

B

PLACE STAMP HERE

3 13/16”





Major donors contributing $1,000 or more will be permanently recog-nized and names added to plaques located on the north side of the plaza. Any amount is appreciated, and your donation is tax deductible. Make checks payable to: Lodi Area Veterans Plaza Foundation.


Voice modulation is keyWith a little space to tell a lot of story, text handling is key. Help the reader read by setting markers—bold subheads and italics to differentiate this from that.

(3) Sidebar information Side panels, which have a built-in width contrast, are ideal for sidebar information. Give the sidebar a different texture by setting it in italics, making it smaller, increasing the leading (line spacing), putting a differ-ent background behind it—in this case a darker version of the main panel—or some com-bination of all that.

Back

(1) Headline Borrow the headline from the front—same style, same color, uppercase. Note its cap height governs the space below it.

(2) Subheads Use space-saving run-in subheads, which you want to blend in while standing out. To blend in, set at text size; to stand out, use extreme weight contrast—black with regular is better than merely bold with regular.

Dedicated on May 22, 2004, the area between Lodi City Hall and Carnegie Forum has been transformed into a living

LODI AREA ALL VETERANS PLAZACap height 1

2

Major donors contributing $1,000 or more will be permanently recog-nized and names added to plaques

3


5 of 5


Typefaces

1 (a–c) Adobe Garamond Semibold a) 16 pt, b) 23/24 pt, c) 15.5/24 pt

2 ITC Zapf Dingbats | 22 pt

3 (a–b) Adobe Garamond Semibold Italic | a) 12.5/15 pt, b) 10/12 pt

4 Adobe Garamond Bold | 10.5/12.6 pt

5 Adobe Garamond Bold Expert 10.5/12.6 pt

6 Adobe Garamond Regular 10.5/12.6 pt

7 Adobe Garamond Regular Expert 10.5/12.6 pt

8 Adobe Garamond Bold Italic | 10/13 pt

9 Adobe Garamond Italic | 10/13 pt

Images


11 Photos.com

Article resources

Colors

C65 M65 Y55 K35

C30 M100 Y100 K35

C12 M11 Y38 K10

C12 M11 Y38 K015

14

13

12

12

13

3b

3a








14

15

1a

21b

10b 4 1c

10a

6

98

PLACE STAMP HERE


PLAZA




5 7

11

10c

Print $42 | PDF $24Subscribe today!Choose from two great formats!

Before & After is a one-of-a-kind design resource available in two formats. Before & After in print gives you four beautiful glossy issues per subscription and includes the PDF version for free. Before & After in PDF gives you the same content at nearly half the price; download and enjoy a new article almost every week. Which format is best for you? Learn more, and subscribe online.

www.bamagazine.com


1 of 4

Design Talk: Six Design Ideas 06190619 Design Talk: Six Design Ideas

Her storytelling logo says it all: Jennifer exercises dogs for their busy owners. Neither fancy typography nor a painstakingly crafted graphic would be as effective as just showing the action. A silhouette is easy to make—just trace and fill—and can be assembled from several images.

Logo Silhouette turns a photo into a storytelling logo

There’s a logo in this image One great thing about using silhouettes is that it gets rid of detail, which is one characteristic of a well-designed logo. (Right) Even at thumbnail size, the silhouette is still clear.

Transform Another useful characteristic is that a silhouette can be flipped or oth-erwise transformed. In this case, the origi-nal action moved right to left (far right), which on the card would have unnaturally lead back into the page.

Jennifer’s Doggie Gym


2245 West Manchester Rd.Columbus, IN 47201

P 815.123.4567F 812.123.5678

[email protected]

SixDesignIdeasStorytelling Logo Beautiful Card

Quick FlierS Great Notepad

Expressive Typography Simple Brochure

DesignTalk

Design Talk: Six Design Ideas 0619


2 of 4


Too many focal points With similar sizes and value, graphics com-pete with headlines and text.

Lower the opacity Lighter, they recede toward white (distance); headlines and text now prevail.

Receding into the distanceOne way our eyes judge distance is through atmospheric perspective—as objects recede, they become more like their background; in daylight they get lighter, and at night they get darker.

Sw

If you are between the ages of 4 and 7, come to this fun class to learn all about your favorite

animals; whales, bugs, snakes, dinosaurs, elephants, butterflies, and many more. Each

class focuses on a different animal, and includes stories, games, crafts, snacks, and stickers!

Advanced class so both parent and child learn together. More structured environment than

Kinder Nature for the older child.

Become a

Hutchins Street SquareClass enrollment is $40, and starts

Wednesdays from 2–3 p.m. Parent must accompany child.

For more info., call 209-333-5511 February 2, 9, 16, 23

March 2, 9, 16, 30 April 6, 13, 20, 27

Delta Discovereri

Sw

iIf you are between the ages of 4 and 7, come

to this fun class to learn all about your favorite animals; whales, bugs, snakes, dinosaurs,

elephants, butterflies, and many more. Each class focuses on a different animal, and includes

stories, games, crafts, snacks, and stickers! Advanced class so both parent and child learn together. More structured environment than


Become a




March 2, 9, 16, 30 April 6, 13, 20, 27

Delta Discoverer

You’ve whipped out an inexpensive, black & white flier, but its cute little animals are starting to take over; they’re bolder than the text! Here’s a quick fix: Instead of redesigning, just lower their opacity, and watch them quietly recede.

Layout Too many focal points? Don’t redesign; just send ’em to the back!

How do you combine the word zero, youth, and the idea of diet-friendly into a logotype without drawing a single image? Exactly as Coke is doing with this simple, typographic device—four letters, each skinnier than the one before. Lowercase says young; extra space between letters keeps the setting light.

Logo Coca-Cola Zero’s new logotype looks like what it says!

Fat . . . . . . . . . . sip, sip, sip, sip, sip, sip . . . . . . . . . . thin

The cold silver outline adds chill (zero’s marketing slogan)

to the image and physical dimension similar to Coca-Cola.


3 of 4


Repeat the colorThe tiny dot is all you need to connect top to bottom. Cover it up and see.

1/2

1

11 1

Repeat the shapes Repeat the lineOne width. Note the negative spaces.

Repeat the space

Motorola’s University Market Cafe no longer exists, but that’s not because of its handsome signage. The card’s serene beauty is the result of its graphical similarities; you use only a few different elements—color, shape, line, space—and repeat them. The similarities, like twins, naturally harmonize. Have a look:

Layout Its visual similarities make it beautiful— and beautifully simple!

Repeat logo

3 1⁄2“

7“

Image Ghosted logo makes a great notepad

The Fun Ships®

Information. Comments. Room Service. Please dial “0” for a representative.

Because people will be writing on your image, keep it light—10% opacity is a good place to start.

Repeat logo

growing together in Christ

We’re not big fans of ghosted logos, which are normally overlaid by text as shown here, weakening (or obscuring) the image and complicating reading. But here’s a great exception. It’s a note-pad that shows off your logo and lets the reader cover it up—s-l-o-w-l-y spending time literally atop your image!

For branding integrity, run the logo normally at full strength, and make the ghost a duplicate.

Lancaster Baptist Church


4 of 4


Layout Super-simple brochure layout will have your cash register ringing

It’s tiny, but black compensates.

Four lines of copy per product. Identical format; no variations.

Full bleed pages. Margins would add busy-ness.

Products are the same size and centered. Type is centered.

Empty backgrounds have no distractions.

This pocket-size, Sharper Image catalog is a great example of sharper design. Key is its one-product-per-page layout that showcases each high-tech gizmo with no distracting (and sales-robbing) gingerbread. It’s handsome and—this is especially nice—really easy to do.

Repetitive format is effective and blissfully easy—same size, same position, page after page. Note the following . . .

3 1⁄2“

5“

Typefaces

1 (a–b) Hobo Std Medium | a) 12.75 pt, b) 18.5 pt

2 Caliban Std Regular | 10/11 pt

3 (a–c) Acme Animals Regular a) 165 pt, b) 125 pt, c) 140 pt

4 Utopia Bold | 26 pt

5 (a–b) ITC Motter Corpus MM a) 75/54 pt, b) 14 pt

6 (a–b) Utopia Regular | a) 20/25 pt, b) 12/15 pt

Images


Article resources

Colors

C16 M26 Y41 K13

C25 M90 Y95 K45

C0 M0 Y0 K25

8

9

10

8

1a

9


2245 West Manchester Rd.Columbus, IN 47201

P 815.123.4567F 812.123.5678

[email protected]

1b

2

i

Sw

If you are between the ages of 4 and 7, come to this fun class to learn all about your favorite

animals; whales, bugs, snakes, dinosaurs, elephants, butterflies, and many more. Each

class focuses on a different animal, and includes stories, games, crafts, snacks, and stickers!

Advanced class so both parent and child learn together. More structured environment than


Become a




March 2, 9, 16, 30 April 6, 13, 20, 27

Delta Discoverer

3a

4

5a

6a

5b6b

3b

3c

7a

10

7b


1 of 4

Design Talk 2: Five Design Ideas 06200620 Design Talk 2: Five Design Ideas

FiveDesignIdeasPhoto Identity Powerful Cover

Simple Home Page CD Calendar

Extended Image

DesignTalk2

DEAN + THOMAS

10 Ocean Drive Granite Bay, CA 95746

tel 916.555.6595 fax 916.555.6569

www.dean_thomas.com

DEAN + THOMAS


tel 916.555.6595 fax 916.555.6569

www.dean_thomas.com

A R C H I T E C T U R E

Logo Design stationery that’s almost a brochure

Graphical symbolism has its place, but sometimes there is no substitute for showing the real thing. Instead of designing a conventional logo, Dean & Thomas Architecture chose three projects to adorn its stationery, effectively creating a photographic logo that’s nearly as good as a brochure. The visual key is consistency of type, size, placement, alignment and color from letterhead to envelope to business card.

Photos are the same size, shape and position on all three pieces and bleed to the top.

Business cardBecause space is tightest here, design the card first, then transfer its look to the other documents.

Copy and image are aligned right.

Type set in one style and color quietly, professionally recedes and is

identical on all documents.


DEAN + THOMAS


tel 916.555.6595 fax 916.555.6569

www.dean_thomas.com


Letterhead

Envelope

Left margin is one-half the image width; on the card it’s one-third.


2 of 4


Utah has awe-inspiring national parks, but that’s hard to tell by the cover of the guidebook below, where canyonlands, sky and background run together in an indistinct blur. Unlike a panoramic vista, good design must have a focal point, or it will have no holding power. Take a look.

Erasing the back-ground adds power by leaving the eye no choice but to look at the monument.

After

(Right) Get focused! The opposite of a panorama, Bryce Canyon’s mighty

Thor’s Hammer hoodoo arrests your eye and holds

it tightly. Unlike the yel-low rectangle, the organic

typeface is complemen-tary, not unnaturally differ-

ent. To amplify an image, complement its charac-

teristics. In this case, the tall page, centered image,

tall typeface and centered layout are all like the rock

and carry the eye down the page without distract-

ing or diluting.

Where do you look? Canyon and its amaz-ingly similar sky share colors and texture. Adding a similarly textured background flat-tened the page completely (above left), which the designer resolved by adding a yellow rect-angle. Problem: The unappealing rectangle, not the natural beauty, is what you see.

Layout The power of a focal point

Before

ZION • BRYCE • CAPITOL REEF • ARCHES • CANYON LANDS

National ParksHiking, Camping, and Vacationing in Utah’s Canyon Country

RON ADKISON

UTAH’s

Layout The power of a focal point, take 2

If you can sum up Lance Armstrong’s determination in three words, Nike’s slogan, Just do it, is fittingly appro-priate and powerfully presented on this simple Web page. What makes the design so strong? It’s that small things are in big fields:

www.nike.com/wearyellow

Just do it. When you have an evocative image, it’s

the designer’s job to help the image do the talking. Here, the field is first divided in half—

scarred, contemplative Armstrong on one side, black on the other—then small type in high contrast yellow is set alone in the

black field directly in his line of sight. That’s all it takes—no fussiness, no self-conscious

“design”—and the result is deep power.

Second field runs the business You don’t immediately notice (that’s intentional) that this ad has an “offstage” level designed like the first—small elements alone in open space (right) that’s similarly effective.

Line of sight


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Here’s a great way to spend a year on someone’s desktop. Design a CD-size deck of loose cards (two dozen on heavy stock is about right), and deliver in a clear CD case that flips open for desktop display. You may want to include a cover card and in the back a brochure-like text card or two. Cards can be printed on one or both sides. The more “keep-able” your piece is, the better; calendars are perfect, as are favorite sayings, recipes or tips on topics of shared interest. S M T W T F S

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Tom Lewis Photography | 415.123.4567 | www.tomlewisphotography.com

MAY 2006

5 3/8”

You’ll find flip-open CD cases here.

Cool stuff Design a CD-size card deck that opens into its own display

Image Create a natural backdrop from recycled parts

Make a place for text (Below) Covering green leaves with a pink petal creates a useful foreground. Simple edges and similar backgrounds are easiest to work with.

Do you sometimes get a photo that doesn’t have a natural place for text? Or it’s flat and needs some depth? Or it doesn’t fill the space? Try this. Copy a part, scale it up, and carefully blend it in, creating a natural stage.

Lengthen a page (Below) In Photoshop, copy and paste the wing tip, scale it up, and move it to the bottom. (1) Use a soft brush to blend it in. (2) Sample its color, then with a soft brush extend the color further.

botanical garden

Fairchild Tropical

Blurry wing creates depth of field.

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LAKE COUNTY, CALIFORNIA

SPONSORED BY THE LAKE COUNTY CHAMBER OF COMMERCE

FestivalSEPTEMBER 7–9, 2006

Heron

4 5/8”


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Typefaces

1 (a–c) Helvetica Neue Light | a) 9 pt, b) 6 pt, c) 6.5/9.5 pt

2 Avenir 85 Heavy | 12 pt

3 (a–b) Avenir 45 Book | a) 7.5/11.8 pt, b) 8.5 pt

Images

4 (a–d) iStockphoto.com | a b c d

Article resources

Colors

C0 M0 Y0 K65

C0 M40 Y100 K0

C50 M65 Y100 K45

C9 M8 Y13 K30

DEAN + THOMAS


tel 916.555.6595 fax 916.555.6569

www.dean_thomas.com


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S M T W T F S

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Tom Lewis Photography | 415.123.4567 | www.tomlewisphotography.com

MAY 2006

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Typefaces

1 (a–b) Bernhard Bold Cond | a) 83 pt, b) 25 pt

2 Trade Gothic Bold | 10.5 pt

3 Cochin Bold Italic | 70/24 pt

4 (a–b) Franklin Gothic Condensed a) 14/17 pt, 12° skew, b) 9 pt

5 Utopia Regular | 10 pt

6 ITC Serif Gothic Bold | 30/22.5 pt

Images

7 iStockphoto.com


Article resources

Colors

C5 M7 Y17 K0

C10 M10 Y75 K20

C70 M30 Y10 K0

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botanical garden

Fairchild Tropical

LAKE COUNTY, CALIFORNIA

SPONSORED BY THE LAKE COUNTY CHAMBER OF COMMERCE

FestivalSEPTEMBER 7–9, 2006

Heron

4b

3

1110 8a

ZION • BRYCE • CAPITOL REEF • ARCHES • CANYON LANDS

National ParksHiking, Camping, and Vacationing in Utah’s Canyon Country

RON ADKISON

UTAH’s

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One-Line Design 06210621 One-Line Design

LineOne-

DesignMake expressive designs easily and quickly with just a line.

Simple, low key, effectiveA credit-card-size rectangle is all it takes to convey exactly what’s inside (if you miss it, the word card backs it up). Black card color expands to fill the cover powerfully.

THE BANANA REPUBLIC CARD

AUTHORIZED SIGNATURE - NOT VALID UNLESS SIGNEDBy using this card, the holder agrees to all terms and/or agreement under which it was issued or as may be amended from time to time. To protect your account, do not write your Personal Identification Number (PIN) on this card. This card belongs to the issuing institution and must be surrendered upon demand.

TThere you are, shopping again at Banana Republic, when beside the cash register this credit-card application catches your eye. How did it do it?—it’s basically just a black page. Its strength is in its simplicity—one powerful color, one line of text, one familiar shape. That’s all it takes; anything more—photos, graphics, borders and so on—would weaken it. What’s nice for the designer is that this technique is so easy. Have a look.

THE BANANA REPUBLIC CARD


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City ToursSan Francisco

WR

Use a dingbat Not handy with the pen tool? Dingbat fonts are full of interesting images; just convert to outlines, and adjust the line weight.

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Value difference creates depth (Right) On a dark field the lightest object will always come forward, even when it’s smaller in size (lower right).

Emphasize leaf or name (Above) On a middle-value background like the green, both white and black type show equally well; the leaf, with reduced opacity, recedes. (Right) Translucent name recedes; white leaf comes forward.

Start by tracing Many images can be traced with the pen tool; all you need is a clear outline, which you’ll find in stand-alone objects (above) or as part of larger images.

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MAPLE WOODS NATURAL AREA

Diana’sHAIRST YLESGladstone Parks Department

P.O. Box 16819, 5510 N. Holmes, Gladstone, MO 64188, 816-123-4567


Use letterforms as art Letters can do more than just make words—at large sizes, they can be used as artwork. Find a beautiful typeface, set it Big, and convert to outlines.

WINE & ROSES

WINE & ROSES

Trace part of an image When working with a more detailed image, find its most descriptive edge; here, it’s the skyline. The line technique is a great way to get value from blurry or otherwise unusable photos.

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Draw a single line (Above) A single line sends a clear message; tracing the other lines (right) adds complexity and turns design into a mere effect.

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Eliminate conflict To keep overlapping lines from clashing (right, top), reduce the opacity of the less detailed one, in this case the outline (bottom).


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Crop for clarity Because the one-line technique elim-inates details such as color and texture, concentrate on contours. In this simple example (right), it’s the curve that tells the reader this is an arch.

Crop an image it’s not necessary to show a whole image to convey what it is, especially if it’s an iconic shape like gate-way Arch in St. Louis. Examine your image, determine its most descriptive line, and crop out the rest.

Create distance (A) Same-size and value objects have no depth. (B) Shrink one, and it appers to be farther away. (C) Reduce its opacity, and it recedes even farther.

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A B C

Christmas Party

You’re invited to a

Repeat an object get more out of your image by repeating it several times. Create difference and depth by rotating, changing size or applying a unique color to each.

GATEWAY ARCHRiverFRONT

SAINT LOUIS, MISSOURI

SIGHTSEEING | FINE RESTAURANTS | LIVELY NIGHT LIFE | FAMILY ACTIVITIES

Lighting angle is key The key in determining the ideal shadow is when it becomes very descriptive. Note, right, how the light source from 45° above describes the H better than straight from the side.

Exaggerate the line Both silhouettes (right) say pepper. However, to con-vey the feeling of what it’s like to eat one of these, a more animated, jagged line is an appropriate choice.

Hot & excitedMild & calm

Draw only the shadow side Another way to convey dimension is to outline only an object’s shadow, which creates the illusion of light.

Embellish a line Every line, whether fat or thin, curved or jagged, communicates a feeling. Here, exaggerate the smooth line to convey hotness and excitement.

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Diana’sHAIRST YLES

Typefaces

1 Centaur MT | 12 pt

2 (a–b) Vectora Roman | a) 9 pt b) 8.5 pt

3 Baileywick Happy Grams | 82 pt

4 Avenir Medium | 6.5 pt

5 Bickham Script MM | 30 pt

6 Adobe Jenson Light | 202 pt

7 (a–b) Adobe Jenson Semi Bold a) 16 pt, b) 9.5 pt

8 Adobe Wood Type Ornaments 1 | 22 pt

9 Coronet Bold | 13 pt

10 Broadway D | 11 pt

images

11 Photos.com

12 iStockphoto.com

Article resources

Colors

C30 M15 Y100 K60

C30 M15 Y100 K40

C30 M15 Y100 K0

C0 M0 Y0 K100

C0 M0 Y0 K22

C15 M80 Y0 K5

C30 M20 Y50 K0

C25 M90 Y95 K25

C0 M35 Y100 K7

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Gladstone Parks Department

P.O. Box 16819, 5510 N. Holmes, Gladstone, MO 64188, 816-123-4567


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SAN LUIS OBISPO’S MOST ROMANTIC LOCATION

WINE & ROSES

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Typefaces

1 Futura Medium | 10.5 pt

2 Aldous Vertical | 48/18 pt

3 Verdana | 8.5 pt

4 Vectora Bold | 14 pt

5 Atlas | 26 pt

6 ITC Zapf Dingbats Medium (Set in various sizes and tints)

7 (a–b) Salsa | a) 28 pt, b) 16 pt

8 (a–b) ITC Franklin Gothic Heavy a) 9 pt, b) 11 pt

9 ITC Franklin Gothic Medium | 5.5/10 pt

10 Texas Hero | 148 pt

11 (a–c) Baskerville | a) 16 pt b) 17.5/9 pt, c) 17.5 pt

images

12 (a–f) iStockphoto.com | a b c d e f

Article resources

Colors

C70 M38 Y5 K12

C3 M3 Y40 K0

C0 M0 Y0 K60

C0 M100 Y80 K15

C65 M40 Y0 K0

C50 M0 Y90 K20

C0 M100 Y100 K0

C0 M65 Y100 K0

C0 M30 Y90 K0

C25 M80 Y95 K45

C0 M20 Y30 K60

C40 M35 Y65 K25

C0 M20 Y32 K58

C1 M2 Y3 K0

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The Complete Illustrated reference to the ingredients, equipment, terms, and techniques used in the kitchen

THE SIMPLE LIVING SERIES

KitchenBy Angela Payne

Milk please! A comprehensive guide to over 200 hot sauce reci-

pes around the world, with detailed profiles and heat levels, plus

funny stories about the makers.

HOT SAUCE RECIPES

BY MARIBELA GONZALES

7a 8a 8b 9 7b 10 11a 11b 11c

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GATEWAY ARCHRiverFRONT

SAINT LOUIS, MISSOURI

SIGHTSEEING | FINE RESTAURANTS | LIVELY NIGHT LIFE | FAMILY ACTIVITIES

Christmas Party

You’re invited to a

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are real, which, of course, they are not. How does this work? Good type is based

on the physical world, specifically the mechanics and proportions of the human body. That’s why it remains powerful over time. Trajan, the typeface above, is a digital rendition of a 2,000-year-old font from the Roman Empire.

This power of type is in your hands. It’s a big gun. But you must know it and con-trol it. A few tips:

1) Choose type for its voice, not your taste. Some-times the two are the same, but not always.

2) Don’t add meaningless stuff—outlines, bevels, shadows, flames. Look again at these examples. Their purity is their power.

3) Space carefully and evenly. Letters are not naturally uniform; the spaces between them are as important as the letters.

Type is the most influential tool to which the designer has everyday access. It is also the most mishandled. Typography is not the same as typing. Typing is e-mail. Typography is architecture, structure, theater, motion, art, life. Type has a voice. Take it seriously.

John McWade | Type, the visible voice

John McWade Publisher and creative directorGaye McWade Associate publisher

Vincent Pascual Staff designerDexter Mark Abellera Staff designer

Design advisor Gwen Amos

Editorial offices Before & After magazine

323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880

Fax 916-784-3995E-mail [email protected]

Before&After®

How to design cool stuff

Do business with us online! At www.bamagazine.com you can sub-scribe, can cel, renew, order back issues, change address and so on, conve-niently and securely. Subscription rates: Before & After in PDF is $24 for 32 articles and is accessed at www.bamagazine.com. Before & After in print is $42 for the same 32 articles in four glossy issues (8 articles each). Canadian subscribers please add $8 and remit in U.S. funds; all other countries add $20. Before & After, How to design cool stuff (ISSN 1049-0035), is published by JMS Publishing LLC, 323 Lincoln Street, Rose ville, CA 95678. Postmaster: Please send address change to: Before & After, 323 Lincoln Street, Roseville, CA 95678. Issue 41, 2006. Copyright 2006, JMS Publishing LLC. All rights re-served. JMS Publishing LLC, John McWade, CEO; Michael Solomon, Chairman.

www.bamagazine.com

The headline above looks like it belongs on a movie screen, doesn’t it? Or it could be carved in stone. What gives it its monu-mental presence? Is it the large size? Yes. Its capital letters? Yes. Its position on the page? Yes. Its equal-length lines? Yes. Those are properties the designer controls. Its presence is also in the drawing itself—the lines, shapes, proportions and idiosyncra-cies of its pieces and parts.

Type well drawn and correctly set reveals the author’s world and invites you

in. This is high art. Take the road sign here. Clear

as a bell. That’s its world. A road sign is about visibility, direct-

ness, utility. It must have no gratuities, nothing to distract the eye.

And the chalkboard. That type is there to teach. Its

simple shapes and lines are easy to see, grasp and follow. The letters

are rounded, small, vulnerable. It’s for children. That’s its world.

What’s fun for me—and what you don’t notice—is that in all three examples I set the type. I chose the style, the size, the spacing. The result is an illusion strong enough to convince you that these things

A Brief Ode to the power of Type

read me

Before and After Magazine 41

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