Before & After

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

0603 | Many from one PDF bundle 39 Print issue 39

0363 | Design a logo of letters! Print issue 29

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

0453 | How to find the perfect color Print issue 31

0605 | Swipe it! PDF bundle 39 Print issue 39

0472 | How to cool a hot photo Print issue 33

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

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

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

0601 | Squeeze play PDF bundle 39 Print issue 39

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

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

0609 | Simply borderless PDF bundle 40 Print issue 40

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

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

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

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

0612 | Open space PDF bundle 40 Print issue 40

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

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

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

0614 | Distinctively Oriental PDF bundle 40 Print issue 40

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

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

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

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

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

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

0631 | Design simple presentations PDF bundle 43 Print issue 43

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

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

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

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

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

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

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

0635 | Make a theme PDF bundle 43 Print issue 43

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

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

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

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

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

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

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

0646 | Our color wheel PDF bundle 45 Print issue 45

0640 | Picture it twice PDF bundle 44 Print issue 44

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

0663 | Picture your group PDF bundle 47 Print issue 47

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

0664 | Design without rulers PDF bundle 47 Print issue 47

0658 | Focus your presentation PDF bundle 46 Print issue 46

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

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

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

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

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

0668 | Picture your presentation PDF bundle 47 Print issue 47

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

0669 | Callout ideas PDF bundle 47 Print issue 47

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

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

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

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

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

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

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

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

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

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®

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Table of Contents

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

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

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LOGO DESIGN

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

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

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

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

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

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

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

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

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BALLESTRINI VINEYARDS

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The initial

Fill up the circle

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

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

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

Background color: C3 M3 Y12

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

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Background color: C70 M67

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

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

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

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

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

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

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

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

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Tints make the most of one color

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A dark color for body, a light color for accent

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

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

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

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

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

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Make it expressive

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

The circular name The initial

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

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

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How to design monogram stationery FREEHAND 3.1

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

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

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

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NANTUCKET YACHT CLUB

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

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

NANTUCKET YACHT CLUB JERRY HIGNIGHT Commodore

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

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

Jerry Hignight

R

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Sincerely,

O

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

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

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

Stationery specs

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

TM

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

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

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

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

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

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

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

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4HIS ARTICLE WAS ORIGINALLY PUBLISHED IN "EFORE  !FTER MAGAZINE ISSUE  4O LEARN MORE ABOUT "!S GREAT DESIGN SOLUTIONS AND TO ORDER SUBSCRIPTIONS AND BACK ISSUES GO TO WWWBAMAGAZINECOM #OPYRIGHT  "EFORE  !FTER MAGAZINE !LL RIGHTS RESERVED .O PART OF THIS DOCUMENT MAY BE REPRODUCED IN WHOLE OR IN PART WITHOUT WRITTEN PERMISSION OF THE PUBLISHER 7RITE TO MAILBOX BAMAGAZINECOM

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Logo design

A DESIGN IN

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

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

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

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

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

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

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

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

4

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

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

E

S

I

G

N

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

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

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

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

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

Glance, then look away. What do you remember?

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

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

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

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

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

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

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

DOMINANT WIDTH THIRD WIDTH SECOND WIDTH

DAVID JAMES KNIGHT DESIGN

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

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

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

DAVID JAMES KNIGHT DESIGN

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

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

Before&After

Issue 31

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5

The color whirl!

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

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

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

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

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

Shadow side

JACKET

HAIR

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

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

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

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

Mitner

Mitner

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

FALL SCHEDULE

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

2

Before&After

Issue 31

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FALL SCHEDULE

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

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

Face colors

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

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

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

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

Mitner

Mitner

Mitner

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

SCHOOL OF BUSINESS ADMINISTRATION

FALL SCHEDULE

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

FALL SCHEDULE

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

FALL SCHEDULE

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

Before&After

Issue 31

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3

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

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4HE COLOR WHEEL IS AN ARTIlCIAL DEVICE GOOD BUT NOT PERFECTˆCOLORS IN NATURE ARENT SO EVENLY DISTRIBUTED WHOSE PURPOSE IS TO SHOW COLOR RELATIONSHIPS !LSO VISIBLE ARE VALUES DARK LIGHT AND TEMPERATURE

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4HE OPPOSITE OR COMPLEMENT OF THE WARM ORANGES IS BLUE THE COLDEST COLOR

3AN$IEGO

3AN$IEGO

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

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

3AN$IEGO

3AN$IEGO

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

(IGH CONTRAST CORNER HIGHLIGHTS THE CHECKERBOARD LIGHT COLORS RECEDE

!DDING YELLOW TO BLUE YIELDS THE COOL RANGEˆTHE COLORS OF WATER NEW GROWTH SPRING TIME 4HESE ARE PEACEFUL COL ORS TRANQUIL AND REFRESHING

!S WITH A SINGLE COLOR ALL THE HUES THAT SHARE A COLOR BLUE IN THIS CASE COORDINATE NATU RALLY !NY COLOR IN THIS RANGE WILL WORK WITH ANY OTHER

3AN$IEGO

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#OOL #OOLEST PRETTIEST AND MOST REFRESHING IS A MIX OF BLUES AND GREENS THE GREENS SHARE YELLOWS WITH THE PHOTO WHILE THE BLUES PROVIDE THE ICE 4HE COLORS SHOWN HERE HAVE SIMI LAR VALUE SOOTHING LOW CONTRAST

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

3AN$IEGO

3AN$IEGO

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

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

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4WO SQUIGGLY SHAPES 4HE BEAUTIFUL PIANO COVER FORMS AN UNBROKEN LINE FROM

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!N AWARD WINNING GRAPHIC DESIGNER *OHN /DAM IS HIGHLY RESPECTED BY "! FOR HIS CREATIVE VER SATILITY (E UNDERSTANDS AND MEETS THE ARTISTIC DEMANDS OF VISUAL COMMUNICATION AND HE OFFERS MULTIPLE SOLUTIONS *OHN HAS CO AUTHORED THE BOOKS 3TART WITH A 3CAN 3TART WITH A $IGITAL #AMERA 0EACHPIT 0RESS AND 4HE 'RAY "OOK 6ENTANA 0RESS ALL OF WHICH DISPLAY HIS DISTINC TIVE STYLE OF SIMPLE BEAUTY

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9OU SEE THE SQUARE AND RECTANGLE ALL RIGHT BUT WHAT YOU HAVENT NOTICED   

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

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

4WO RECTANGLES DIVIDE THE lELD INTO A DARK HALF AND A WHITE HALF 4HE WHITE DOESNT LOOK EMPTY DOES IT )TS PLAY ING A VERY ACTIVE ROLE !S A BEAUTIFUL ALTERNATIVE DARKEN THE WHITE HALF BELOW WHICH EFFECTIVELY CREATES A SOLID lELD PUNCTUATED BY A RAGGED SPOT OF LIGHT IN THE CORNER IDENTI CAL IN CONCEPT TO THE PIANO COVER !LTHOUGH TINY TYPE ON THE BOUNDARY COMMANDS GREAT ATTENTION BY ITS ISOLATION

7 % 4 4WO SQUIGGLY SHAPES

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

! CROSSING LINE ! FACE IN

SILHOUETTE ALTERS AN OTHERWISE SYMMETRICAL PHOTOGRAPH 4O RESTORE BALANCE THE TYPE ALIGNS mUSH LEFT NOTE REALLY SHORT LINES ON THE CENTER AXIS 9ELLOW lELD ECHOES THE SUNSET AND MAKES A NEUTRAL BACKGROUND FOR THE BLACK HEADLINE AND WHITE SUBHEAD



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"ACKGROUND TEXTURES ARE THE MOST PLENTIFUL OF ALL PHOTOGRAPHIC STOCK IMAGES 9OU CAN ALSO PHOTOGRAPH AND EVEN SCAN YOUR OWN JUST THROW A BURLAP SACK OR A DOILY OR WHATEVER ON YOUR SCANNER BED
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7HEN TWO STYLES ARE MIXED IN A LOGOTYPE THE PRIMARY WORD IS TYPICALLY THE MORE FORMAL THE DESCRIPTIVE TAGLINE MORE CASUAL !T LEFT THE SEQUENCE HAS BEEN REVERSED AND THE RESULT IS AN AIR OF REAL SOPHISTICATION 3PACING OUT THE SMALL CAPITALS 4RAJAN IMPARTS A SENSE OF HIGH FORMALITY 7HAT A CONTRAST


#HARLES PRETTY PINK AQUA COLOR SCHEME IS CALLED A SPLIT COMPLEMENT4HATS A COLOR PLUS THE COLOR IMMEDIATELY ADJACENT TO ITS COMPLEMENT OPPOSITE ON THE COLOR WHEEL

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"LUR 4WIRL    0HOTOSHOPS MANY lLTERS CAN BE APPLIED IN SEQUENCE /UR HAPLESS PICKNICKERS WERE lRST BLURRED &ILTER"LUR'AUSSIAN "LUR THEN TWIRLED &ILTER$ISTORT   

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&OR PRINT WORK AT  PIXELS PER INCH AT ACTUAL SIZE OR LARGER

!DD NOISE TO THE lELD !N ASH COLORED lELD SOFTENS THE CONTRAST AND WARMS THE IMAGE 4O RECOLOR THE lELD LIKE THIS ACTIVATE ITS LAYER AND LOCK ITS LAYER PIXELS FAR LEFT SET A NEW FOREGROUND COLOR LEFT THEN /PTION $ELETE /NCE THE NEW COLORS IN PLACE ADD MORE NOISE

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

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

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

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

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

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

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

/PPOSITE COLORS SAME VALUE

/PPOSITE COLORS DIFFERENT VALUES

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"IG MEDIUM SMALL .OTE THE GREAT DIFFERENCES IN SIZE AMONG THE THREE IMAGES 4HESE DIFFERENCES ARE USEFUL FOR CREATING VISUAL HIERARCHY THE READERS EYE MOVES THROUGH THE LAYOUT FROM BIG TO SMALL LEFT 

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3AME TECHNIQUE DIFFERENT LOOK


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%VERY IMAGE ON THE PAGE IS A SLICE OF THIS CHAIR

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4EXTURE AND mASP NET EXATING END MIST OF IT SNOOLING 3PAFF FORL ISNT CUBULAR BUT QUASTIC LEAM RESTART THAT CANT PREBAST )TS TOPE THIS mUANT CHASIBLE 3ILK SHAST LAPE AND BEHAST THE THIN CHACK h)T HAS LARCH TO SAY FANv 7HY %LESARA AND ORDER IS FAY OF ALM ! CARD WHINT NOT OOGUM OR BONT 0RETTY SIMPLE GLEAD AND TARM

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3POTLIGHT A PRODUCT


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

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0ORTRAIT CLOCK

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4HE LOOK WE WANT

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3MOOTH SURFACES

$ 8 ' , 2 3WEEPING LINES

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4HE PARTS WE DONT

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'EOMETRIC SHAPES

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#ARD ONE -AXIMIZE THE WHITE

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

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7HITE IS ACTIVE

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4YPE MUST BE LIGHT

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ˆ 3 6

#ARD TWO 5SE BOTH SIDES AND ADD A COLOR

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2EPEAT THE GRID

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#ARD THREE 0UT YOUR PRODUCT ON DISPLAY

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

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#ARD TWO 5SE BOTH SIDES AND ADD A COLOR

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#ARD THREE 0UT YOUR PRODUCT ON DISPLAY

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

iV>ÕÃiÊÜiÊÌi˜`Ê̜ʜ˜Þʈ`i˜ÌˆvÞʈ“>}iÃÊ­ºÌ…ˆÃʈÃÊ>ÊÌÀii»®Ê>˜`ʘœÌÊÀi>ÞÊ ÃiiÊ̅i“]Ê̅ˆÃÊ`ÀˆÊ“>ÞÊ>ÌÊwÀÃÌÊÃii“ʏˆŽiʏœœŽˆ˜}ÊvœÀÊv>ViÃʈ˜Ê̅iÊVœÕ`Ã°Ê ÕÌʏœœŽÊVœÃiÞÆÊ̅iÀi½ÃÊ>ʏœÌÊ̅iÀi° 4HIN 4HICK

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

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

7HAT TYPEFACE GOES WITH THAT



&IRST EDIT

/…iÀiÊ>ÀiÊÜʓ>˜ÞÊÌÞ«iv>ViÃÊ>Û>ˆ>LiÊ̅>ÌÊÜiʅ>ÛiÊ̜ÊVՏÊœÕÌʓ>˜ÞÊ µÕˆVŽÞ°Ê-Ì>ÀÌÊ܈̅Ê̅iÊLˆ}}iÃÌÊii“i˜ÌÃp«Àœ«œÀ̈œ˜Ê>˜`ÊÅ>«ip>˜`Ê iˆ“ˆ˜>ÌiÊ̅iÊÃÌޏiÃÊ̅>ÌÊ>ÀiʓœÃÌÊ`ˆvviÀi˜Ì°

)NCOMPATIBLE TYPESTYLES

/ / ) #ONDENSED

%XTENDED

3WOOPY

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

3ECOND EDIT

7…>̽ÃÊv՘˜ÞʈÃÊ̅>ÌÊõÕ>ÀˆÃ…]ÊÕ«Àˆ}…ÌÊÃÌޏiÃÊVœ“«ÀˆÃiʅ>vÊ̅iÊܜÀ`½ÃÊ ÌÞ«iv>ViÃʈ˜VÕ`ˆ˜}Ê>Ê̅iÊÃÌ>˜`>À`ʜ˜iÃtÊ-œÊÜiʓÕÃÌʏœœŽÊvÕÀ̅iÀ°Ê /…iÊÃiVœ˜`Êi`ˆÌ\ʈ˜iÊ>˜`ÊÌiÝÌÕÀi°

3TANDARD PROPORTION TYPESTYLES SANS SERIF AND 2OMAN


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


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

+DUU\ 6RQV 7UHH6HUYLFH 3UXQLQJ5HPRYDO 7ULPPLQJ6WXPS 5HPRYDO&OHDQXSV )LUHZRRG5HPRYDO &OHDQXSV)LUHZRRG

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7HATS LEFT


vÌiÀÊÌܜʓ>œÀÊi`ˆÌÃÊÜiʅ>ÛiÊ>ʓÕV…ÊŜÀÌiÀÊÌÞ«iʏˆÃÌÆÊÜi½ÀiÊ`œÜ˜ÊÌœÊ ÃÌ>˜`>À`‡«Àœ«œÀ̈œ˜]Ê,œ“>˜ÊÌÞ«iÃÌޏiðÊ7…ˆV…ʈÃÊLiÃ̶ʘÊ̅ˆÃÊV>Ãi]ʏˆ˜iÊ >˜`ÊÌiÝÌÕÀiÊ>ÀiÊ̅iʎiÞÃpLÕÌʘœÜÊÜi½ÊœœŽÊVœÃiÀ°

2OMAN TYPESTYLES

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

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


4HIRD EDITÊÊ


ÃÊLivœÀi]ÊÜi½ÀiʏœœŽˆ˜}ÊvœÀÊVœ““œ˜>ˆÌˆiÃÊLÕÌʘœÜʈ˜Ê̅iÊ`iÌ>ˆÃ°Ê œœŽÊ>ÌÊ>Ê̅ÀiiÊۈi܈˜}ʺ`ˆÃÌ>˜ViûʭLiœÜ®]ÊLiV>ÕÃiÊ`ˆvviÀi˜ÌÊ>˜`Ê ÕÃivՏÊV…>À>VÌiÀˆÃ̈VÃÊ>ÀiÊiۈ`i˜ÌÊ>ÌÊi>V…Êœ˜i°Ê

$EHWJ .EAR ,INES AND EDGES

7UHH 6HUYLFH -IDDLE 3HAPE AND PATTERN

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

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Ê *>ÞÊ>ÌÌi˜Ìˆœ˜Ê̜Ê̅iÊÓ>Êˆ˜iÃ]ÊÓ>ÊÅ>«iÃÊ>˜`ÊiëiVˆ>ÞÊ̅iʈ˜ÌiÀ‡ >V̈œ˜ÊLiÌÜii˜ÊiÌÌiÀÃ]Ê܅ˆV…ÊVÀi>ÌiÃÊÌiÝÌÕÀi p̅iÊÌÀiiʈÃÊvՏÊœvÊÌiÝÌÕÀitÊ œÊޜÕÊÃiiÊ՘ˆvœÀ“ˆÌÞʜÀʈÀÀi}Տ>ÀˆÌÞ]Êȓˆ>ÀˆÌˆiÃʜÀÊ`ˆvviÀi˜Viö

/ÀiiÊ -iÀۈVi


LiÌ} >ÀÀÞÊEÊ-œ˜ÃÊ/ÀiiÊ -iÀۈViÊ*À՘ˆ˜}Ê ,i“œÛ>Ê/Àˆ““ˆ˜}Ê -ÌՓ«Ê,i“œÛ>Ê

/Àˆ““ˆ˜}

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

Ê ,i“i“LiÀÊ̅iÊv>ViÃʈ˜Ê̅iÊVœÕ`öÊ̽ÃÊ>ʓ>ÌÌiÀʜvÊÌÀ>ˆ˜ˆ˜}ÊޜÕÀÊiÞi]Ê LÕÌʜ˜ViÊޜÕÊV>˜ÊÃiiÊ«>ÌÌiÀ˜ÃÊ>˜`ÊVÕÀÀi˜ÌÃ]ÊiëiVˆ>Þʈ˜Ê̅iÊ܅ˆÌiÊë>ViÃ]Ê ÞœÕÀÊܜÀŽÊ܈ÊÌ>ŽiÊ>ÊLˆ}ÊÃÌi«ÊvœÀÜ>À`°Ê iœÜ]Ê>À}œÞiʈÃÊ>ʓ>ÌV…\

3EE THE SIMILARITIES

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4POT
5SFF
4FSWJDF
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'ARGOYLE -EDIUM /LD 3TYLE 'ARGOYLE IS A (UMANIST TYPEFACE MEANING IT HAS /LD 3TYLE PROPORTIONS YET WITH THE APPEARANCE OF HAVING BEEN DRAWN BY HAND INSTEAD OF MECHANICAL TOOLS )TS FULL OF VARIETY AND IRREGULARITY WITH LOW CONTRAST BETWEEN THICKS AND THINS FUNKY ROUNDED CORNERS AND QUIRKY SERIFS FEW OF WHICH ARE ALIKE )TS INTERACTION OF LINES AND SHAPES IS WARM VARIED AND ORGANIC JUST LIKE THE TREE 4HIS IS OUR TYPEFACE

7HAT TYPEFACE GOES WITH THAT



0UT IT TO WORKÊ
ÃÊ܈̅Ê̅iÊÌÞ«i]ʏiÌÊ̅iʈ“>}iʈ˜yÕi˜ViÊ̅iʏ>ޜÕÌp…iÀiʈ̽ÃÊÕ«Àˆ}…ÌÊ >˜`ÊÃÌ>ÌiÞʏˆŽiÊ̅iÊÌÀii]ÊVi˜ÌiÀi`Ê܈̅ʈÀÀi}Տ>ÀÊi`}iðÊ/…iÊ`ii«Ê}Àii˜Ê VœœÀʈÃÊÀˆV…iÀÊ>˜`ʓœÀiʜÀ}>˜ˆVÊ̅>˜Ê̅iʜÀˆ}ˆ˜>ÊLÀˆ}…ÌÊ}Àii˜°

&RONT

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)BSSZ

4POT

1SVOJOH
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TUVNQ
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DMFBOVQ 'SFF
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5SFF
4FSWJDF

)BSSZ

4POT

5SFF
4FSWJDF

'SFF
FTUJNBUFT "MM
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5FM
 $FMM


-JD


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

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

5FM
 $FMM


1SVOJOH
5PQQJOH 5SJNNJOH
.JTUMFUPF
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TUVNQ
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mSFXPPE 'SFF
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!RTICLE RESOURCESÊÊ

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3UBSCRIBE TO "EFORE  !FTER ˆ`ÊޜÕÊi˜œÞÊ̅ˆÃÊ>À̈Vi¶Ê-ÕLÃVÀˆLi]Ê>˜`Ê LiVœ“iÊ>ʓœÀiÊV>«>Li]ÊVœ˜w`i˜ÌÊ`iÈ}˜iÀÊ vœÀÊ«i˜˜ˆiÃÊ«iÀÊ>À̈Vi°Ê/œÊi>À˜Ê“œÀi]Ê}œÊÌœÊ …ÌÌ«\ÉÉÜÜÜ°L>“>}>∘i°Vœ“É-ÕLÃVÀˆLi

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

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*OIN OUR E LIST /œÊLiʘœÌˆwi`ÊLÞÊi‡“>ˆÊœvʘiÜÊ>À̈ViÃÊ>ÃÊ Ì…iÞÊLiVœ“iÊ>Û>ˆ>Li]Ê}œÊÌœÊ …ÌÌ«\ÉÉÜÜÜ°L>“>}>∘i°Vœ“Éi“>ˆ

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

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7HAT TYPEFACE GOES WITH THAT



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$ISTINCTIVELY /RIENTAL 4AKE HOME MENU CAPTURES THE mAVOR OF THE &AR %AST IN A UNIQUE /RIENTAL FORMAT

$ELICIOUS SAVORY MOUTH WATERING #HINESE CUISINEˆTHATS WHAT THE BUSINESS LUNCH CROWD GETS AT ! 4ASTE OF THE /RIENT A SMALL FAMILY OWNED RESTAURANT INSIDE A NEIGHBORHOOD SHOPPING MALL "UT YOUD NEVER KNOW THAT BY LOOKING AT THEIR MENU RIGHT A PLAIN PINK LEFTOVER FROM THE -ING $YNASTY TH CENTURY %NGLISH PERIOD  )TS SO NONDESCRIPT
! 4ASTE OF THE /RIENT NEEDS A MENU THATS AS BEAUTIFUL AS ITS FOOD IS TASTY AND THAT CONVEYS ITS DISTINCTIVE #HINESE CULTURE )T NEEDS A MENU THAT WILL BE POSTED ON THE OFlCE BULLETIN BOARD NOT HIDDEN IN THE BOTTOM DRAWER ,ETS MAKE ONE

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)TS NOT DESIGNED AT ALL

4HE INKS ON THE PAPER ALL RIGHT BUT THE PAGE IS NOT DESIGNED ITS JUST lLLED IN 4HE DESIGNER LEFT HIS VISUAL TOOLS OF SCALE CONTRAST AND DEPTH AT HOME


/UTSIDE SPREAD

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

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

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

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

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3TART WITH FORMAT AND BACKGROUND

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

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

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

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

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#REATE A SILHOUETTE

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

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

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I 3 6

#REATE THE ILLUSION OF NATURAL LIGHTTHE WALL

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



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

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

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

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!DD BAMBOO TO THE FOREGROUND

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

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

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

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

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#REATE A FOCAL ICON

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

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

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

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

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

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3ELECT A DISPLAY TYPE

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

/RIENT 7ET BRUSH

/RIENT $RY BRUSH

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

!RTIlCIAL

Dg^Zci

R R g

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

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

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

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3ELECT A COMPLEMENTARY TEXT TYPEFACE

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

!PPETIZERS

!PPETIZERS

)ULHG:RQ7RQ

3RW6WLFNHUV

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

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

3ANS SERIF (ELVETICA

2OMAN SERIF 4IMES 2OMAN

#ALLIGRAPHIC 3ANVITO

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

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

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

7F

7F

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

4OO STRAIGHT

4OO SMALL

!PPETIZERS

3MALL BUT SERIFS HELP MOVE THE EYE

4C

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3WEEPING AND OPEN

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#OMPLEMENT IMAGE AND LAYOUT

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

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

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

! TASTE OF

4HE /RIENT

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

! TASTE OF

4HE /RIENT 

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

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

!LIGNED WITH SEAL FOR CONTINUITY

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"!MAGAZINECOM

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/RGANIZE THE MENU ITEMS

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

3PECIAL 2ICE 0LATES

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

&AMILY 3PECIALS

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



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



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



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



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



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

 -ONGOLIAN "EEF

 #URRY #HICKEN

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

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

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

! TASTE OF

4HE /RIENT 

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

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

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2EPEAT INSIDE

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

/UTSIDE SPREAD

)NSIDE SPREAD !PPETIZERS

3PECIAL 2ICE 0LATES

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



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



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



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

 -ONGOLIAN "EEF

 #URRY #HICKEN

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

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

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

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

0ORK        

3OUP

! TASTE OF

4HE /RIENT 

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

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

       

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



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



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

3EAFOOD     

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

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

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

            

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

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

       

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

+UNG 0AO 0RAWN OR CALAMARI

3ZECHWAN 0RAWN

6EGETABLE WITH 0RAWN

       

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

"RAISED "EAN #URD

  

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

     

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

     

(OT  3PICY

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

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#OLOR UNIlES THE ELEMENTS

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

!PPETIZERS

3PECIAL 2ICE 0LATES

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



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



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



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

 -ONGOLIAN "EEF

 #URRY #HICKEN

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

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

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

0ORK

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

       

3OUP

! TASTE OF

4HE /RIENT 

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

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

       

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



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



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

3EAFOOD     

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

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

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

            

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

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

       

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

+UNG 0AO 0RAWN OR CALAMARI

3ZECHWAN 0RAWN

6EGETABLE WITH 0RAWN

       

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

"RAISED "EAN #URD

  

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

     

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

     

(OT  3PICY

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

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

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0RICES ARE SUBJECT TO CHANGE

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

!PPETIZERS

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

3OUP

! TASTE OF

4HE /RIENT

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

#OMBINATION 0LA TES #OM

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

0RE PRINTED SHELLS   

   ITEMS UPDATED PRINTED   

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

0ORK                 



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

    

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

+UNG 0AO #HICKEN

(UNAN #HICKEN

#URRY #HICKEN

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

            

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

+UNG 0AO "EEF

(UNAN "EEF

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

       

3EAFOOD

#ASHEW ER SAUCE 0RAWN WITH LOBST BEAN SAUCE 0RAWN WITH BLACK N 3WEET  3OUR 0RAW ARI

CALAM #URRY 0RAWN OR OR CALAMARI

+UNG 0AO 0RAWN

N 0RAW WAN 3ZECH N 6EGETABLE WITH 0RAW

6EGETABLES

6EGETABLE $ELUXE

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

&RIED 2ICE

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

#HOW -EIN

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

                      

(OT  3PICY

   AND FOLDED FOR PRESENTATION

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"Y THE WAY   

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

!PPETIZERS

3PECIAL 2ICE 0LATES

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



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



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



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

 -ONGOLIAN "EEF

 #URRY #HICKEN

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

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

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

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

3OUP

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

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

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! TASTE OF

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!LIGNED WITH SEAL FOR CONTINUITY

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/RGANIZE THE MENU ITEMS

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

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2EPEAT INSIDE

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

/UTSIDE SPREAD

)NSIDE SPREAD !PPETIZERS

3PECIAL 2ICE 0LATES

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



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



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(OT  3PICY

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

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#OLOR UNIlES THE ELEMENTS

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

!PPETIZERS

3PECIAL 2ICE 0LATES

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



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

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

0ORK

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

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(OT  3PICY

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

0RICES ARE SUBJECT TO CHANGE

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

!PPETIZERS

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

3OUP

! TASTE OF

4HE /RIENT

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#OMBINATION 0LAT

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

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

0ORK                 



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

    

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(UNAN #HICKEN

#URRY #HICKEN

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

            

"EEF "ROCCOLI "EEF -ONGOLIAN "EEF

3ZECHWAN "EEF

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(UNAN "EEF

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

CALAMA #URRY 0RAWN OR OR CALAMARI

0RAWN 0AO +UNG

3ZECHWAN 0RAWN 6EGETABLE WITH 0RAWN

6EGETABLES

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

&RIED 2ICE

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

#HOW -EIN

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

(OT  3PICY

                      

   AND FOLDED FOR PRESENTATION

$ISTINCTIVELY /RIENTAL



"Y THE WAY   

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

!PPETIZERS

3PECIAL 2ICE 0LATES

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



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



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



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

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 -ONGOLIAN "EEF

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

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3OUP

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

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

                



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(OT  3PICY

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

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



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



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

       

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! TASTE OF

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

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

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

     

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

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







!UGUST    PM

$IALOGUES IN "EAUTY $EBORAH 7ITT

3HIMA (ALL 'ALLERY !UGUST    PM

3LIDE ,ECTURE !RTIST *UDY -ILLER

-ARIPOSA (ALL 

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

!UGUST    PM

3UMMER 3HOW 3TUDENT %XHIBITION

5NIVERSITY ,IBRARY 'ALLERY !UGUST    PM

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS

5NIVERSITY 7EST &ORUM !UGUST    PM

%XPAND 9OUR (ORIZON !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST    PM

! #ONVERSATION 7ITH "EVERLY -ILLS

3HIMA (ALL 'ALLERY !UGUST    PM

3UMMER !RTS  #RAFTS &AIR

-AIN #OURTYARD

3UMMARY #ARD SIZE 0RINTABLE IN THE OFlCE

!UGUST    PM

#LOSE %NCOUNTERS *ULIE 0ACKARD

5NIVERSITY ,IBRARY 'ALLERY !UGUST    PM

,ECTURE 0AINTINGS  0RINTS *AMES 2OGERS

5NIVERSITY %AST &ORUM !UGUST    PM

.EARLY 2EmECTING !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST    PM

4HE 3HAPE OF #OLOR *ASON 5NTALAN

5NIVERSITY 7EST &ORUM

+EY WORDS !RTISTIC AND TRADITIONAL

!UGUST    PM

0ETER +ILMER #ERAMICS

-ENDOCINO (ALL 

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,OOK 2EAD ,EARN

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

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

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

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

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

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

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.OW RELATE IMAGE TO PAGE

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

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

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

,OW CONTRAST

(IGH CONTRAST

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#REATE A SIMPLE COLOR PALETTE

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

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

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



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3ELECT ONE TYPE FAMILY AND SET IT IN ONE SIZE

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

.OTE THE BRUSH IS USED AS A SPACER

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

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

$ELTA #OLLEGE

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#ENTER THE SECOND TITLE IN SMALL CAPS

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

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

!UGUST SCHEDU

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

7IDE LETTERSPACING .ORMAL LETTERSPACING

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

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

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2EPEAT REPEAT REPEAT

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

 

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



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



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





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$IFFERENTIATE ELEMENTS BY CHANGING STYLES

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

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

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

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

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

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

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5SE OLD STYLE NUMERALS

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

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

 *AMES 2OGERS $ESCENDERS

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

&OR DESKTOP PRINTING    7HILE A FULL BLEED FAR LEFT IS IDEAL TO PRINT  UP ON A STANDARD DESKTOP PRINTER YOULL NEED TO ALLOW A QUARTER INCH OR SO MARGIN ON ALL SIDES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

7ITT  PM

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

.EARLY 2EmECTING !PRIL "REEDON  PM 3HIMA (ALL 'ALLERY  ,ECTURE 4HE 3HAPE OF #OLOR *ASON 5NTALAN  PM 5NIVERSITY %AST &ORUM 

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

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

#LOSE %NCOUNTERS *ULIE 0ACKARD  PM 5NIVERSITY ,IBRARY 'ALLERY  ,ECTURE 0AINTINGS  0RINTS *AMES 2OGERS  PM 5NIVERSITY %AST &ORUM 

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

#LOSE %NCOUNTERS *ULIE 0ACKARD  PM 5NIVERSITY ,IBRARY 'ALLERY  ,ECTURE 0AINTINGS  0RINTS *AMES 2OGERS  PM 5NIVERSITY %AST &ORUM 

*AMES 2OGERS  PM ,ECTURE 'RAPHIC $ESIGNER 5NIVERSITY 7EST &ORUM  !PRIL "REEDON  PM %XPAND 9OUR (ORIZON 3HIMA (ALL 'ALLERY 

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

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$IALOGUES IN "EAUTY $EBORAH 7ITT  PM 3HIMA (ALL 'ALLERY  3LIDE ,ECTURE !RTIST *UDY -ILLER  PM -ARIPOSA (ALL   3UMMER 3HOW 3TUDEN T %XHIBITION 5NIVERSITY ,IBRARY 'ALLERY  PM  ,ECTURE 'RAPHIC $ESIGNER *AMES 2OGER S  PM 5NIVERSITY 7EST &ORUM  %XPAND 9OUR (ORIZ ON !PRIL "REEDON  PM 3HIMA (ALL 'ALLERY  ! #ONVERSATION 7ITH "EVERLY -ILLS  PM 3HIMA (ALL 'ALLERY  3UMMER !RTS  #RAFTS &AIR  PM -AIN #OURTYARD  #LOSE %NCOUNTERS *ULIE 0ACKARD 5NIVERSITY ,IBRARY 'ALLERY  PM  ,ECTURE 0AINTINGS  0RINTS *AMES 2OGER S  PM 5NIVERSITY %AST &ORUM  .EARLY 2EmECTING !PRIL "REEDON  PM 3HIMA (ALL 'ALLERY  ,ECTURE 4HE 3HAPE OF #OLOR *ASON 5NTAL AN  PM 5NIVERSITY %AST &ORUM  0ETER +ILMER #ERAM ICS  PM -ENDOCINO (ALL  

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

*AMES 2OGERS  PM ,ECTURE 0AINTINGS  0RINTS 5NIVERSITY %AST &ORUM  "REEDON  PM .EARLY 2EmECTING !PRIL 3HIMA (ALL 'ALLERY   PM

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$ % ,4! # / , , % ' % ! 2 4 $ % 0! 24 - % . 4 !UGUST 3CHEDULE OF %VENTS

#OLOR *ASON 5NTALAN ,ECTURE 4HE 3HAPE OF 5NIVERSITY %AST &ORUM   PM 0ETER +ILMER #ERAMICS -ENDOCINO (ALL  

3UMMER 3HOW 3TUDENT %XHIBITION  PM 5NIVERSITY ,IBRARY 'ALLERY  ,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS  PM 5NIVERSITY 7EST &ORUM 

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

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I 3 6

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

4O PASS ALONG A FREE COPY OF THIS ARTICLE TO

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

OTHERS CLICK HERE

%DITORIAL BOARD 'WEN !MOS #ARL 7INTHER

% MAIL THIS ARTICLE

*OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO HTTPWWWBAMAGAZINECOMEMAIL

"EFORE  !FTER MAGAZINE  ,INCOLN 3TREET 2OSEVILLE #!  4ELEPHONE    &AX    % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM #OPYRIGHT ¥ "EFORE  !FTER MAGAZINE )33.   !LL RIGHTS RESERVED 9OU MAY PASS THIS ARTICLE AROUND BUT YOU MAY NOT ALTER IT AND YOU MAY NOT CHARGE FOR IT 9OU MAY QUOTE BRIEF SECTIONS FOR REVIEW )F YOU DO THIS PLEASE CREDIT "EFORE  !FTER MAGAZINE AND LET US KNOW 4O FEATURE FREE "EFORE  !FTER ARTICLES ON YOUR 7EB SITE PLEASE CONTACT US &OR PERMISSION TO INCLUDE ALL OR PART OF THIS ARTICLE IN ANOTHER WORK PLEASE CONTACT US

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

&OR PRESENTATION FORMAT 0RINT 3PECIFY PAGES n

&OR PAPER SAVER FORMAT 0RINT 3PECIFY PAGES n

0RINT &ORMAT ,ANDSCAPE 0AGE 3IZE &IT TO 0AGE

3AVE 0RESENTATION FORMAT OR 0APER SAVER FORMAT

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

4HE CREATIVE BRIEF

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

&ROM 3UBJECT $ATE 4O

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

(ELLO $EXTER



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



































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



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







!UGUST    PM

$IALOGUES IN "EAUTY $EBORAH 7ITT

3HIMA (ALL 'ALLERY !UGUST    PM

3LIDE ,ECTURE !RTIST *UDY -ILLER

-ARIPOSA (ALL 

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

!UGUST    PM

3UMMER 3HOW 3TUDENT %XHIBITION

5NIVERSITY ,IBRARY 'ALLERY !UGUST    PM

,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS

5NIVERSITY 7EST &ORUM !UGUST    PM

%XPAND 9OUR (ORIZON !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST    PM

! #ONVERSATION 7ITH "EVERLY -ILLS

3HIMA (ALL 'ALLERY !UGUST    PM

3UMMER !RTS  #RAFTS &AIR

-AIN #OURTYARD

3UMMARY #ARD SIZE 0RINTABLE IN THE OFlCE

!UGUST    PM

#LOSE %NCOUNTERS *ULIE 0ACKARD

5NIVERSITY ,IBRARY 'ALLERY !UGUST    PM

,ECTURE 0AINTINGS  0RINTS *AMES 2OGERS

5NIVERSITY %AST &ORUM !UGUST    PM

.EARLY 2EmECTING !PRIL "REEDON

3HIMA (ALL 'ALLERY !UGUST    PM

4HE 3HAPE OF #OLOR *ASON 5NTALAN

5NIVERSITY 7EST &ORUM

+EY WORDS !RTISTIC AND TRADITIONAL

!UGUST    PM

0ETER +ILMER #ERAMICS

-ENDOCINO (ALL 

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,OOK 2EAD ,EARN

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

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

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

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

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

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

.OW RELATE IMAGE TO PAGE

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

#ENTERLINE

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

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

,OW CONTRAST

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(IGH CONTRAST

"EFORE!FTER \ WWWBAMAGAZINECOM

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$ESING ON A CENTERLINE



#REATE A SIMPLE COLOR PALETTE

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

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

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



3ELECT ONE TYPE FAMILY AND SET IT IN ONE SIZE

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

.OTE THE BRUSH IS USED AS A SPACER

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

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

$ELTA #OLLEGE

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#ENTER THE SECOND TITLE IN SMALL CAPS

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

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

!UGUST SCHEDU

7IDE LETTERSPACING .ORMAL LETTERSPACING

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

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

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

2EPEAT REPEAT REPEAT

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







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



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



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

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$IFFERENTIATE ELEMENTS BY CHANGING STYLES

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

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

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

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

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

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

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

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

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

5SE OLD STYLE NUMERALS

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

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

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

!SCENDERS

 *AMES 2OGERS $ESCENDERS

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

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

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

 $ESIGN ON A CENTERLINE

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$ESIGN ON A CENTERLINE



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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

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

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

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

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

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

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

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

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

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

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

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

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

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

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

0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

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

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

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

-%.4

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

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

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

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

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

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

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

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

$EBORAH 7ITT  PM 3HIMA (ALL 'ALLERY  3LIDE ,ECTURE !RTIST *UDY -ILLER  PM -ARIPOSA (ALL   3UMMER 3HOW 3TUDENT %XHIBITION 5NIVERSITY ,IBRARY 'ALLERY  PM  ,ECTURE 'RAPHIC $ESIGNER *AMES 2OGERS  PM 5NIVERSITY 7EST &ORUM  %XPAND 9OUR (ORIZON !PRIL "REEDON  PM 3HIMA (ALL 'ALLERY  ! #ONVERSATION 7ITH "EVERLY -ILLS  PM 3HIMA (ALL 'ALLERY  3UMMER !RTS  #RAFTS &AIR  PM -AIN #OURTYARD  #LOSE %NCOUNTERS *ULIE 0ACKARD 5NIVERSITY ,IBRARY 'ALLERY  PM  ,ECTURE 0AINTING S  0RINTS *AMES 2OGERS  PM 5NIVERSITY %AST &ORUM  .EARLY 2EmECTING !PRIL "REEDON  PM 3HIMA (ALL 'ALLERY  ,ECTURE 4HE 3HAPE OF #OLOR *ASON 5NTALAN  PM 5NIVERSITY %AST &ORUM  0ETER +ILMER #ERAMICS  PM -ENDOCINO (ALL  

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

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

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

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

$IALOGUES IN "EAUTY

*AMES 2OGERS  PM ,ECTURE 'RAPHIC $ESIGNER 5NIVERSITY 7EST &ORUM  !PRIL "REEDON  PM %XPAND 9OUR (ORIZON 3HIMA (ALL 'ALLERY 

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-ILLS  PM ! #ONVERSATION 7ITH "EVERLY 3HIMA (ALL 'ALLERY  &AIR  PM 3UMMER !RTS  #RAFTS -AIN #OURTYARD 

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

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$ % ,4! # / , , % ' % ! 2 4 $ % 0! 24 - % . 4 !UGUST 3CHEDULE OF %VENTS

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

*AMES 2OGERS  PM ,ECTURE 0AINTINGS  0RINTS 5NIVERSITY %AST &ORUM  "REEDON  PM .EARLY 2EmECTING !PRIL 3HIMA (ALL 'ALLERY   PM

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

#OLOR *ASON 5NTALAN ,ECTURE 4HE 3HAPE OF 5NIVERSITY %AST &ORUM   PM 0ETER +ILMER #ERAMICS -ENDOCINO (ALL  

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

&OR DESKTOP PRINTING    7HILE A FULL BLEED FAR LEFT IS IDEAL TO PRINT  UP ON A STANDARD DESKTOP PRINTER YOULL NEED TO ALLOW A QUARTER INCH OR SO MARGIN ON ALL SIDES

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    OR SEND AS A POSTCARD WHICH HAS THE BENElT OF ITS VISUAL APPEAL 4HE CARD IS TOO LONG TO GET POSTCARD MAILING RATES THOUGH IT REQUIRES lRST CLASS

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3PACE TEXTURE OBJECT s ! SMALL ROOM JAMMED WITH PEOPLE MAKES A PARTY A BIG EMPTY ROOM DOES NOT 3O THE lRST STEP IS TO GET RID OF THE EXCESS SPACE 3HRINK THE BANNER SIZE IN THIS CASE TO  s ,OSE THE hSMOOTHv ! BACKDROP OF WEATHERED PARCHMENT ADDS TEXTURE DIMENSION AND AMBIANCE s ,OSE THE HAT ! BANJO RIGHT INSTANTLY CONVEYS NOT ONLY MUSIC BUT A PARTICULAR mAVOR OF MUSIC

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2OSEWOOD &ILL ABOVE MAKES AN EXCELLENT COMPANION TYPEFACE FOR USE IN SMALL SIZES ,IKE 0OPLAR IT HAS QUIRKY LETTERS OF UNPREDICTABLE WIDTH ODD SERIFS STUBBY ARMS % AND & AND IRREGULAR STROKE WEIGHTS 4HE DIFFER ENCE )T HAS LOTS OF OPEN SPACE WHICH IS WHY ITS READABLE WHEN SMALL

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(IGH ENERGY COMPOSITION ÊÊ

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

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4HE 0LAZA WAS PURCHASED THROUGH A   LOAN FROM THE #ITY OF ,ODI ! &OUNDATION WAS ESTABLISHED WITH THE MISSION OF RAISING FUNDS TO PAY BACK THE LOAN 4O DATE MANY ,ODI VETERANS FAMILIES AND FRIENDS HAVE CONTRIBUTED TO THE PLAZA BUT MUCH WORK REMAINS 0LEASE JOIN THE COMMUNITY AND PLEDGE YOUR SUPPORT ) 7OULD ,IKE TO (ELP
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#ATCH THE EYE OF THE PASSERBY

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

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

.EXT SELECT A MONUMENTAL TYPEFACE

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5NITED 3TATES 3UPREME #OURT BUILDING

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

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

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#HANGE TYPESTYLES WHEN THE MESSAGE CHANGES

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

7ORK AROUND THE ENVELOPE

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TO BE mOATING IN A BLUE COBALT POOL BENEATH THE WATERFALL SYMBOLIZING HEALING 4HE ENTIRE MONUMENT IS DRAMATICALLY LIT AND BRINGS VISITORS ATTENTION TO OUR !MERICAN &LAG THAT IS THE BACKDROP OF THE PLAZA (OW #AN 9OU (ELP 9OUR SUPPORT IS NEEDED
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-AJOR DONORS CONTRIBUTING   OR MORE WILL BE PERMANENTLY RECOGNIZED AND NAMES ADDED TO PLAQUES LOCATED ON THE NORTH SIDE OF THE PLAZA !NY AMOUNT IS APPRECIATED AND YOUR DONATION IS TAX DEDUCTIBLE -AKE CHECKS PAYABLE TO ,ODI !REA 6ETERANS 0LAZA &OUNDATION

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6OICE MODULATION IS KEY

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#AP HEIGHT



TO BE mOATING IN A BLUE COBALT POOL BENEATH THE WATERFALL SYMBOLIZING HEALING 4HE ENTIRE MONUMENT IS DRAMATICALLY LIT AND BRINGS VISITORS ATTENTION TO OUR !MERICAN &LAG THAT IS THE BACKDROP OF THE PLAZA (OW #AN 9OU (ELP 9OUR SUPPORT IS NEEDED
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-AJOR DONORS CONTRIBUTING   OR MORE WILL BE PERMANENTLY RECOG NIZED AND NAMES ADDED TO PLAQUES LOCATED ON THE NORTH SIDE OF THE PLAZA !NY AMOUNT IS APPRECIATED AND YOUR DONATION IS TAX DEDUCTIBLE -AKE CHECKS PAYABLE TO ,ODI !REA 6ETERANS 0LAZA &OUNDATION



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

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0RETTY SIMPLE GLEAD AND TARM 4EXTURE AND mASP NET EXATING END MIST OF IT SNO OLING SPAFF FORL #ARD WHINT NOT OOGUM OR BONT 0RETTY SIMPLE GLEAD AND TARM 3PAFF FORL ISNT CUBULAR BUT QUASTIC LEAM RESTART THAT CANT PREBAST )TS TOPE THIS mUANT CHASIBLE 3ILK SHAST LAPE AND BEHAST

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%LESARA AND ORDER IS FAY OF ALM .ATOMAS 0RETTY SIMPLE GLEAD AND TARM 4EXTURE AND mASP NET EXATING END MIST OF IT SNOOLING SPAFF FORL ,EAM RESTART THAT TOO ! CARD WHINT NOT OOGUM OR BONT 0RETTY SIMPLE GLEAD AND TARM4EXTURE AND mASP NET EXATING END MIST OF IT SNOOLING 3PAFF FORL ISNT CUBULAR BUT QUASTIC LEAM RESTART THAT CANT PREBAST )TS TOPE THIS mUANT CHASIBLE 3ILK SHAST LAPE AND BEHAST THE THIN

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4EXTURE AND mASP NET

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0RETTY SIMPLE GLEAD AND TARM 4EXTURE AND mASP NET EXATING END MIST OF IT SNO OLING SPAFF FORL #ARD WHINT NOT OOGUM OR BONT 0RETTY SIMPLE GLEAD AND TARM 3PAFF FORL ISNT CUBULAR BUT QUASTIC LEAM RESTART THAT CANT PREBAST )TS TOPE THIS mUANT CHASIBLE 3ILK SHAST LAPE AND BEHAST

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4HE .ATOMAS *OURNAL

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#OLOR AND ALIGNMENT KEEP THE SMALL PHOTO hCONNECTEDv TO THE BIG ONE

#ROSSOVERS CONNECT THE lELDS

7HERE THERE ARE FEW OR NO NATURAL ALIGNMENTS YOU CAN USE GRAPHICS TO MAKE PHYSICAL CONNECTIONS 9OUR GOAL IS TO KEEP THE lELDS VISUALLY TOGETHER

œÀ̅Ü>À`Ê œÕ˜`Ê˜Ê >̜“>à /iÝÌÕÀiÊ>˜`Êy>ëʘiÌÊ>ÎÊiÝ>̈˜}Êi˜`ʓˆÃÌÊ>ÎʜvʈÌÊ؜œˆ˜}°Ê 4EXTURE AND mASP NET 0RETTY SIMPLE GLEAD AND TARM 4EXTURE AND mASP NET EXATING END MIST OF IT SNO OLING SPAFF FORL #ARD WHINT NOT OOGUM OR BONT 0RETTY SIMPLE GLEAD AND TARM 3PAFF FORL ISNT CUBULAR BUT QUASTIC LEAM RESTART THAT CANT PREBAST )TS TOPE THIS mUANT CHASIBLE 3ILK SHAST LAPE AND BEHAST

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

"UTTERmY CONNECTS FRONT TO BACK

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

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)NSIDE

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

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3TRAIGHT LINE 5PRIGHT CENTERLINE SUGGESTS POWER FORMALITY DIGNITY STATELINESS

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7HAT COLOR

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

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7HAT COLOR

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3ATURATED COLORSˆTHE COLORS OF KINDERGARTENˆARE TOO BRIGHT FOR CLASSICAL MUSIC

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(OW TO DESIGN A SMALL POSTER 9OU USE A SMALL POSTER TO MAKE A BIG IMPRESSION AT CLOSE RANGE 4O DESIGN IT USE BOLD IMAGES AND HIGH CONTRASTS

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%VALUATE THE PHOTOS


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(ER FACE TELLS A DEEP STORY -ASK OUT THE REMAINING BACKGROUND AND THE IMAGE IS TRANSFORMED INTO ONE WITH REAL POWER .OW WE BEGIN TO SEE ELEMENTS OF LINE AND CONTRAST THAT WE DIDNT SEE BEFORE -ANY HO HUM ORIGINALS HAVE SIMILARLY STRONG IMAGES INSIDE 4HE KEY TO DISCOVERY IS TO MAKE IT SIMPLE AND MAKE IT BIG

7HATS IN THE PICTURES 4HE FAN LEFT IS A SIMPLE IMAGE WITH A BOLD SILHOUETTE AND A PLAIN BACKGROUNDˆALL GOOD QUALITIESˆBUT ITS TOO GENERIC TO ANCHOR THE POSTER INSTEAD IT MAY BE USEFUL AS SUPPORT 4HE GEISHA  SHOULD CONVEY THE STORY BUT THE IMAGE IS WEAK IT HAS TWO FOCAL POINTS FACE AND BOX AND MANY DISTRACTING LINES AND SHAPES THAT SEND THE EYE TO AND FRO "UT SHE HAS AN INTERESTING FACE THAT WE MIGHT WORK WITH #ROPPING  ELIMINATES THE WEAK PARTS AND RETAINS THE STRONG CENTER OF INTEREST

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7HERE DO YOU PUT IT

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-OTIONLESS IN THE CENTER 4HE IMAGE IS HIGHLY TRIANGULAR (ER SHOULDERS AND HEAD FORM A TRIANGLE HER FACE IS TRIANGULAR EYES AND MOUTH FORM A TRIANGLE AND THE LAPELS AND FOLDS OF HER KIMONO ARE TRIANGULAR (ER GAZE EYES EYELIDS AND EYEBROWS ALL POINT DOWN AND TOWARD THE CENTER 3UCH SYMMETRY IS NATURALLY MOTIONLESS AND WITHOUT TENSION 4O MIMIC THAT IN LAYOUT THE PHOTO SHOULD BE PLACED AT THE BOTTOM CENTER WHERE ITS hON THE GROUNDv AT REST )N CON TRAST NOTE INSET THAT OFFSET AND IN THE AIR IS A TENSE UNSTABLE POSITION WHERE PHOTO AND LAYOUT ARE NOT WORKING TOGETHER

"LACK ADDS DRAMA 4URNING THE BACKGROUND BLACK ADDS SILENCE POWER AND INCREDIBLE CONTRAST (ER BLACK HAIR NOW RECEDES WHILE HER WHITE FACE AND KIMONO BECOME THE hCANVASv AGAINST WHICH HER BLACK EYES BROWS AND RED LIPS STAND OUT IN ARRESTING RELIEF .OTE HER HEAD IS CENTERED IN THE POSTER WHICH IS THE STRONGEST POSITION AND AMPLIlES ITS POWER 4HE STORY IS IN HER FACE WHICH NOW HAS OUR UNDIVIDED ATTENTION

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3ELECT AND SET THE HEADLINE TYPE

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&INISH WITH THE SUPPORTING DETAIL

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3AME ELEMENTS TWO BOLD VARIATIONS

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7HATS IN THE PICTURES 4HE FAN LEFT IS A SIMPLE IMAGE WITH A BOLD SILHOUETTE AND A PLAIN BACKGROUNDˆALL GOOD QUALITIESˆBUT ITS TOO GENERIC TO ANCHOR THE POSTER INSTEAD IT MAY BE USEFUL AS SUPPORT 4HE GEISHA  SHOULD CONVEY THE STORY BUT THE IMAGE IS WEAK IT HAS TWO FOCAL POINTS FACE AND BOX AND MANY DISTRACTING LINES AND SHAPES THAT SEND THE EYE TO AND FRO "UT SHE HAS AN INTERESTING FACE THAT WE MIGHT WORK WITH #ROPPING  ELIMINATES THE WEAK PARTS AND RETAINS THE STRONG CENTER OF INTEREST

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ÊV>À`Ê Ü…ˆ˜ÌʘœÌʜœ}ÊLœ˜Ì°Ê*ÀiÌÌÞÊȓ«i]Ê}i>`Ê>˜`ÊÌ>À“°Ê/i݇ ÌÕÀiÊ>˜`Êy>ëʘiÌÊiÝ>̈˜}Êi˜`ʓˆÃÌʜvʈÌÊ؜œˆ˜}°Ê-«>vvÊ vœÀÊˆÃ˜½ÌÊVÕLՏ>ÀÊLÕÌʵÕ>Ã̈V]ʏi>“ÊÀiÃÌ>ÀÌÊ̅>ÌÊV>˜½ÌÊ «ÀiL>ÃÌ°Ê̽ÃÊ̜«i]Ê̅ˆÃÊyÕ>˜ÌÊV…>ÈLiÊ܅ˆ˜ÌÊÅ>ÃÌʏ>«iÊ Li…>ÃÌÊvœÀÊˆÃ˜½ÌÊVÕLՏ>ÀÊLÕÌʘiÌÊiÝ>̈˜}Êi˜`ʓˆÃÌ°Ê Ê -ˆŽ]ÊÅ>ÃÌ]ʏ>«iÊ>˜`ÊLi…>ÃÌÊ̅iÊ̅ˆ˜ÊV…>VŽ°ÊºÌʅ>ÃÊ̅iÊ >ÀV…Ê̜ÊÃ>ÞÊv>˜°»Ê7…Þ¶Ê iÃ>À>Ê>˜`ʜÀ`iÀʈÃÊv>ÞʜvÊ>“°Ê ÌÃÊV>À`Ê܅ˆ˜ÌʘœÌʏi>“ÊÀiÃÌ>ÀÌÊ̅>ÌÊV…>VŽ°Ê/iÝÌÕÀiÊ>˜`Ê y>ëʘiÌʜvÊiÝ>̈˜}Êi˜`ʓˆÃÌʜvʈ̰Ê-«>vvÊvœÀÊˆÃ˜½ÌÊVÕLՏ>ÀÊ LÕÌʵÕ>Ã̈V]ʏi>“ÊÀiÃÌ>ÀÌÊ̅>ÌÊV>˜½ÌÊ«ÀiL>ÃÌ°Ê̽ÃÊ̜«i]Ê Ì…ˆÃÊyÕ>˜ÌÊV…>ÈLi°Ê-ˆŽ]ÊÅ>ÃÌ]ʏ>«iÊ>˜`ÊLi…>ÃÌÊ̅iÊ̅ˆ˜Ê œÕ˜`ʜ˜Þʈ˜Ê œÀ̅Ê
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#APTION IS GENERALLY SET ONE OR TWO POINTS SMALLER THAN THE BODY COPY AND USUALLY IN ITALICS OR BOLD DEPENDING ON THE CONTRAST YOU WANT #APTIONS ARE IMPORTANT THEY WILL USUALLY BE READ BEFORE THE TEXT .OTE THAT TWO FULL LINES ARE EMPTY ABOVE IT

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"ODY COPY 'ENERALLY SET IN  OR  PT SIZE BODY COPY CAN BE ALIGNED LEFT AS IT IS HERE OR JUSTIlED LIKE A BOOK 7HICHEVER YOU CHOOSE BE CONSISTENT THROUGHOUT $ONT INDENT lRST PARAGRAPHS

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

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

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4HREE COLUMN LEAD PHOTO

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/NE COLUMN END ONE COLUMN LEAD PHOTO

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

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,AYOUT CONlGURATIONS

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

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)S IT JUST US OR IS THE 7EB IMPROVING 7ERE SEEING MORE BEAUTIFUL SITES THAN EVER 4HIS ONE BELONGS TO $ESIGN (OVIE 3TUDIOS )NC OF 3EATTLE )TS A SITE OF MOSTLY LIGHT OPEN SPACE UNUSUALLY SPARE AND STAR TLING IN ITS CLARITY 7HAT WE ESPECIALLY LIKE IS THAT ITS BEAUTY IS ACHIEVED PURELY WITH LAYOUT 4HE SITE HAS NO POPUPS NOTHING MOVES THERES NOT EVEN A ROLL OVER ,ETS SEE WHAT WE CAN LEARN

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! PLACE FOR EVERYTHING %VERYTHINGS IN THE OPEN ON (OVIES SITE IT HAS NO HIDDEN MENUS POPUPS OR ROLLOVERS !LL THE TEXT IS A SINGLE SIZE ALL HIGHLIGHTS ARE A SINGLE COLOR GREEN AND THE FORMAT IS CON STANT FROM PAGE TO PAGE

! SITE OF UNUSUAL CLARITY



3TRUCTURE

4HE SITE IS BUILT IN lVE COLUMNS STORIES ARE TOLD IN THE MIDDLE COLUMN )TS FOCAL CENTER IS A PERMANENT GREEN lELD ATOP A PHOTOGRAPH THAT CHANGES FROM PAGE TO PAGE

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4HE MEDIUM IS PART OF THE MESSAGE #ONVEYING THE STUDIOS DESIGN AESTHETIC IS A BEAUTIFULLY MINIMAL SITE )TS LEFT FOUR COLUMNS ARE LIGHT AS AIR THE WHITE RIGHT HAND hCOL UMNv IS A PHANTOM THAT WE PERCEIVE ONLY BECAUSE OF ITS TINY BIT OF TEXT AND ON THE HOME PAGE A MODEL  EXPAND THE WINDOW AND ITS WHITE EXPANDS ENDLESSLY BELOW 

,IKE A GALLERY %ACH COLUMN CONTAINS ONE KIND OF COPY )F ON A PAGE THERES NO COPY FOR THAT COLUMN IT REMAINS EMPTY 9OU CAN SEE THIS ABOVE WHERE 3UB -ENU LINKS ARE NOW VISIBLE AND THE CAPTION COLUMN IS EMPTY 7HATS INTERESTING IS THAT EACH PAGE HAS LESS DATA THAN STRUC TURE )T PRESENTS ITS MATERIAL ONE SMALL BITE PER PAGE LIKE PAINTINGS HANGING ON GALLERY WALLS 6ERY EASY TO hREADv

)TS PURE 7ITH NO CLUTTER lGHTING FOR ATTENTION DETAILS CAN BE EQUALLY MINIMAL !BOVE TINY GREEN ARROWS GUIDE NAVIGATION WHITE LINES DIVIDE LINKS (ANDSOME HERE NEITHER COULD SUCCEED ON A BUSY SITE

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4WO SIMILAR SANS SERIF TYPEFACES ARE USED MORE OR LESS AS A SINGLE FACEˆLIGHT (ELVETICA HEADS SET THE DESIGN STYLE AND 6ERDANA MAKES THE SMALL TEXT CLEAR AND READABLE

,IGHT (ELVETICA IS THE QUINTESSENTIAL MINIMAL IST 3WISS STYLE (ELVETICA MAKES AN EXCELLENT DISPLAY FACE BUT AT LOW 7EB RESO LUTION ITS A POOR TEXT FACE 3O HERE ITS USE IS LIMITED TO THE hHOVIEv LOGOTYPE AND THE SMALL STYLE SETTING HEADS BELOW  /PPOSITE IS 6ERDANA FAR RIGHT WHICH IS HO HUM AT DISPLAY SIZES BUT EXCELLENT AS 7EB TEXT 4OGETHER THEY WORK AS ONE

6ERDANA IS THE 7EBS MOST LEGIBLE TEXT TYPEFACE 3ANS SERIF 6ERDANA PAIRS WELL WITH (ELVETICA 4WO QUALITIES MAKE IT CLEAR AT SMALL SIZESˆITS WIDE APERTURES THAT REMAIN hOPEN v AND NORMALLY SIMILAR LETTERS CBE BELOW THAT LOOK DIFFERENT (ELVETICA

!T LOW RESOLUTION IDENTICAL hROUNDNESSv MAKES SMALL LETTERS HARD TO DIFFERENTIATE AND NARROW APERTURES hCLOSEv ABOVE  6ERDANA &LAT JUNCTIONS

!N )NTERNATIONAL 'RAPHIC $ESIGN "OUTIQUE -AIN -ENU 3UB -ENU 3EATTLE \ -ILAN

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#OLOR

3PRING GREEN THE COLOR OF NEW LIFE IS THE ONLY COLOR IN THE DESIGN AND DOES DOUBLE DUTY ITS VISUALLY VIVACIOUS AND ALSO CONVEYS THE STUDIOS INTEREST IN ENVIRONMENTAL ISSUES

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-EDIUM *UST RIGHT

-EDIUM IS BEST 2ECTANGULAR GREEN lELD IS THE VISUAL ANCHOR FOR THE SITE "ECAUSE THIS lELD IS ALWAYS PRESENT KEY WAS TO lND A COLOR THAT WOULD WORK WITH THE EVER CHANGING IMAGES BENEATH IT 4HATS A LOT TO ASK AND IT HELPS THAT THERE ARE MORE HUES AND SHADES OF GREEN THAN ANY OTHER COLOR )T HAD TO BE THE RIGHT VALUE TOO .OTE ABOVE THAT TOO LIGHT HAS INSUF lCIENT PRESENCE AND TOO DARK WHILE IT LOOKS GOOD WITH MANY IMAGES WOULD BECOME CLOYING WITH REPETITION !PPLY THE COLOR THROUGHOUT 4HE GREEN IS EYEDROPPERED AND APPLIED SITE WIDE TO HEADS AND LINKS RIGHT  4HE SINGLE COLOR MOTIF MAKES A SIMPLE BEAUTIFULLY COHERENT LOOK

0HOTOS

0HOTOS ARE LIMITED TO A SINGLE lXED WIDTH lELD BENEATH THE GREEN RECTANGLE 4HIS RESTRICTION MEANS THAT THE SPACE IS SOMETIMES SHARED AND MUST BE PURPOSEFULLY ARRANGED

.O ZIG ZAGS /NE KEY TO THE SITES CLEAN LOOK IS THAT SIGHT LINES RUN ONLY VERTICAL OR HORIZONTAL AND EDGE TO EDGE IN ANY lELD ABOVE LEFT  4HERE ARE NO ZIGZAGGED OR DIAGONAL ARRANGE MENTS NOR ARE THERE OVERLAPPING SHAPES !LL WOULD ADD COMPLEXITY 0HOTOS THAT SHARE SPACE THEREFORE MUST BE IN FULL ROWS OR COLUMNS "UT IN A SPACE THAT HOLDS  PHOTOS THE SITE USES ONLY  ABOVE  +EY IS THAT THEYRE ARRANGED NOT IN A ZIGZAG BUT SCATTERED RIGHT AND THE TWO EMPTY SPACES lLLED WITH THE SITES TRADEMARK GREEN .ICE

 ! SITE OF UNUSUAL CLARITY

!N )NTERNATIONAL 'RAPHIC $ESIGN "OUTIQUE

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! SITE OF UNUSUAL CLARITY



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

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

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

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*OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO HTTPWWWBAMAGAZINECOMEMAIL

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

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"EFORE!FTER

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3CRAPBOOK STYLE PHOTOS

0IX4RIX

(ERE ARE SIX EASY WAYS TO ADD DEPTH AND REALISM TO YOUR DIGITAL PHOTOS #ONTINUED `

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

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

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

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

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

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

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

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

3AVE lLE SIZE /NE PHOTO CAN LOOK LIKE A DOZEN
3AVE lLE SIZE BY SUBSTI TUTING A SOLID COLOR FOR THE UNDERLYING IMAGES RIGHT AND mATTENING THE lLE

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

3ELECT

#UT #LIP IT
0HOTO OF A BINDER CLIP IS CUT FROM ITS BACKGROUND LEFT SHADOWED AND SIMPLY SET ATOP THE PHOTOS I3TOCKPHOTOCOM IMAGE "INDER CLIP \ 0USH PIN \ 0APER CLIP

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

3HADOW

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

$RAW CORNER TABS 7HAT SAYS PHOTO ALBUM MORE THAN THOSE LITTLE CORNER TABS *UST DRAW lLL AND APPLY A VERY THIN SHADOW -AKE ALL THE TABS IN YOUR ALBUM THE SAME SIZE

$RAW A TRIANGLE

&ILL

3HADOW

$RAW TRANSLUCENT TAPE )N REAL LIFE YOUD RARELY TAPE YOUR PHOTOS LIKE THIS BUT HEY IT LOOKS GOOD AND YOU CAN USE A LOT OF VARIETYˆWHITE TAPE BEIGE THIN WIDE LONG SHORT AND SO ON

$RAW A SHAPE .OTE SERRATED ENDS

&ILL WITH WHITE

2EDUCE ITS OPACITY AND APPLY SHADOW

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

#URVED SHADOW CREATES THE ILLUSION OF THE PHOTO CURLING WITHOUT DISTORTING THE IMAGE $RAWING A FREEHAND SHADOW IS ABOUT AS EFFECTIVE AS ANY MECHANICAL TECHNIQUE AND YIELDS SHADOWS THAT ARE SLIGHTLYˆAND NATURALLYˆIRREGULAR

$RAW A SHAPE WITH CORNERS LIKE THESE

&ILL THEN BLUR THE EDGES

0LACE THE IMAGE

,IGHTEN THE SHADOW

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

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

,IFT THE TOP BY SHORTENING THE SHADOW AS SHOWN

,IFT MORE 4HE LARGER AND SOFTER A SHADOW IS THE FARTHER ABOVE THE SURFACE IT APPEARS TO BE 4O MODIFY AN EXISTING SHADOW ENLARGE IT MORE THEN IN 0HOTO SHOP SELECT THE ERASER TOOL A SOFT BRUSH AND START ERASING ABOVE  ! SLIGHT TILT LEFT MAKES IT MORE DYNAMIC

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-AKE YOUR OWN 0OLAROID .O OLD PHOTO COLLECTION WOULD BE COMPLETE WITHOUT A 0OLAROID LOOKING PRINT THAT HAS THAT CHARACTERISTICALLY WIDE BOTTOM MARGIN )MAGE TO FRAME PROPORTIONS VARY JUST GET CLOSE  v

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,AYOUT 3ET A BEAUTIFUL TITLE IN ONE LINE 9œÕÀÊ̈̏iʈÃʈ“«œÀÌ>˜Ì]ÊLÕÌÊÜʈÃÊޜÕÀÊ«…œÌœpÜʅœÜÊ`œÊޜÕÊ«ÕÌÊ̅i“Ê̜}i̅iÀ¶Ê/ÀÞÊ̅ˆÃ°Ê-iÌÊ̅iÊÊ ÌˆÌiʈ˜Êœ˜i]Ê̅ˆ˜Êˆ˜i°Ê7ˆ`iÞÊë>Vi`]ÊÕ««iÀV>ÃiÊÌÞ«iÊVœ˜ÛiÞÃÊÃÌ>Ìiˆ˜iÃÃÊ>˜`Ê«œÜiÀÆÊÓ>ÊÈâiʅ>ÃÊ µÕˆiÌÊ>Õ̅œÀˆÌÞ°ÊiÞʈÃÊ̅iÊÌÀ>˜ÃÕVi˜ÌÊÃÌÀˆ«i]Ê܅ˆV…ÊLÀˆ˜}ÃÊ«…œÌœÊ>˜`ÊܜÀ`ÃÊ̜}i̅iÀ°

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/NE LINE TITLE INTERRUPTS THE PHOTO WITHOUT DISTURBING IT AND TAKES ADVANTAGE OF THE NATURAL POWER OF THE CENTER $RAW A THIN WHITE RECT ANGLE LOWER ITS OPACITY HERE TO  ADD A FAINT SHADOW RIGHT AND SET THE TITLE IN UPPERCASE WITH VERY WIDE TRACKING  BELOW 

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,OGO 4HE SHADOW TELLS HALF THE STORY "ODY LANGUAGE OFTEN CONVEYS UNSPOKEN MEANING (ERE SOFT SHADOWS SPEAK IN A hSECOND VOICEv THAT ADDS MEANING TO THE MESSAGES )LLUSTRATIONS IN SILHOUETTE ARE IDEAL FOR MAKING SHADOWS

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

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,AYOUT 3ET A BEAUTIFUL TITLE IN ONE LINE 9OUR TITLE IS IMPORTANT BUT SO IS YOUR PHOTOˆSO HOW DO YOU PUT THEM TOGETHER 4RY THIS 3ET THE TITLE IN ONE THIN LINE 7IDELY SPACED UPPERCASE TYPE CONVEYS STATELINESS AND POWER SMALL SIZE HAS QUIET AUTHORITY +EY IS THE TRANSLUCENT STRIPE WHICH BRINGS PHOTO AND WORDS TOGETHER

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/NE LINE TITLE INTERRUPTS THE PHOTO WITHOUT DISTURBING IT AND TAKES ADVANTAGE OF THE NATURAL POWER OF THE CENTER $RAW A THIN WHITE RECT ANGLE LOWER ITS OPACITY HERE TO  ADD A FAINT SHADOW RIGHT AND SET THE TITLE IN UPPERCASE WITH VERY WIDE TRACKING  BELOW 

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,OGO 4HE SHADOW TELLS HALF THE STORY "ODY LANGUAGE OFTEN CONVEYS UNSPOKEN MEANING (ERE SOFT SHADOWS SPEAK IN A hSECOND VOICEv THAT ADDS MEANING TO THE MESSAGES )LLUSTRATIONS IN SILHOUETTE ARE IDEAL FOR MAKING SHADOWS

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"IG BOLD BEAUTIFUL 3OUTHWEST !IRLINES IN mIGHT MAGAZINE 3PIRIT IS A QUICK READ FOR THE BUSY TRAVELER (ERE ARE THE TECHNIQUES THAT MAKE IT WORK

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)NSIDE PAGES

9œÕ½Àiʜ˜Ê>Ê-œÕ̅ÜiÃÌÊÇÎÇÊi>}iÀÞÊ>««Àœ>V…ˆ˜}Ê̅iÊÀ>˜`Ê >˜Þœ˜Ê܅i˜Ê>ÊÌܜ‡ÃÌ>ÌiÊVœÕ`Ê >ÞiÀʜLÃVÕÀiÃÊޜÕÀÊۈiÜ°Ê Õ““iÀ°Ê9œÕÊÀi>V…ÊvœÀÊ̅iʈ˜‡yˆ}…Ìʓ>}>∘i°Ê7…>̽ÃʅiÀi¶Ê1˜ˆŽiÊ -«œÀÌÃʏÕÃÌÀ>Ìi`ʜÀÊ"«À>…½ÃÊ"]Ê>˜Êˆ˜‡yˆ}…Ìʓ>}>∘iʅ>ÃʘiˆÌ…iÀÊ>ÊÀi}Տ>ÀÊ>Õ`ˆi˜ViʘœÀÊ>Ê Vœ““œ˜Ê̜«ˆV°Ê iV>ÕÃiʜvÊ̅ˆÃ]ʈÌʓÕÃÌÊ«ÀiÃi˜ÌʈÌÃʓ>ÌiÀˆ>Êˆ˜Ê՘ˆµÕi]Ê>ÌÌi˜Ìˆœ˜‡}iÌ̈˜}ÊÜ>ÞÃ°Ê iÈ}˜i`ʈ˜ÊVœ>LœÀ>̈œ˜Ê܈̅Ê*i˜Ì>}À>“]Ê-«ˆÀˆÌ ½ÃÊŜÀÌ]Êi>Ãއ̜‡Ài>`Ê>À̈ViÃʈÕÃÌÀ>ÌiʅœÜÊ ÌœÊ`iÈ}˜ÊvœÀʵՈVŽÊˆ“«>VÌ]ÊLi>ṎvՏÞ°Êi̽ÃÊÃiiÊ܅>ÌÊÜiÊV>˜Êi>À˜°

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4HE BASICS

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"IG HEADLINES

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6ERTICAL BAR

4O SNAG THE BUSY TRAVELER STORIES IN 3PIRIT MAGAZINE ARE DELIBERATELY SHORT USUALLY ONLY A PAGE OR TWO -OST HAVE ONLY ONE IMAGE (EADLINES ARE SHORT AND OVERSIZE %ACH EXPRESSES ONE IDEA IDEAL FOR QUICK COMPREHENSION  A GOOD IDEA ANYTIME BY THE WAY  )MAGES ARE BIG ANDˆTHIS IS IMPORTANTˆSIMPLE WHICH MAKES THEM EASY TO UNDERSTAND 0HOTOS ARE FAVORED OVER ILLUSTRA TIONS WHICH TEND TO BE COMPLEX AND LESS DIRECT ! THIRD DEVICE IS A VERTICAL BAR ABOVE RIGHT THAT APPEARS IN VARIOUS COLORS THROUGHOUT THE MAGAZINE

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0ORTRAITS SET THE THEME

ÛiÀÞÊVœÛiÀʈÃÊ>ÊVœÃi‡Õ«Ê«œÀÌÀ>ˆÌp>Ê«œÜiÀvՏ]Ê՘ˆÛiÀÃ>Ê̅i“i°Ê­/…iʅՓ>˜Êv>ViʈÃÊ Ì…iÊÃÌÀœ˜}iÃÌʜvÊ>Êˆ“>}ið®Ê/…iÊvœÀ“>ÌʈÃÊLœ`]ʘi>ÀÞÊõÕ>Ài]Ê՘VÕÌÌiÀi`°

"LUE SKY ESTABLISHES THE MAGAZINES VENUE AND IS A PER MANENT ELEMENT ON EVERY COVER .OTE THAT THE CLOUDS CHANGE

"LACK HORIZONTAL BAR DOES DOUBLE DUTY )TS A BASE THAT BLENDS NICELY WITH THE TITLE AND ITS A BUF FER THAT DIVIDES THE BLUE SKY ABOVE FROM THE PORTRAIT IMAGE BELOW

/NE BIG CLOSE UP 7HAT DO PEOPLE HAVE IN COMMON )TS THEIR PEOPLE NESS
7ITHOUT A COMMON DENOMINATOR LIKE SPORTS OR QUILTING TO ANCHOR THE MAGAZINE PEOPLE STORIES ARE A GREAT WAY TO BRING READERS TOGETHER %VEN BETTER PEOPLE PICTURES CONNECT INSTANTLY ,EFT 7HILE TYPICAL COVERS ARE PEPPERED WITH HEADLINES HERE A FEW LINES OF TYPE SET QUIETLY IN THE BOTTOM RIGHT CORNER ALLOW THE READER TO FOCUS ENTIRELY ON THE FACE .OTE THAT THE VERTICAL BAR COLOR IS EYEDROPPERED FROM THE IMAGE AND CONNECTS PORTRAIT TO NAMEPLATE

0OWERFUL FOCAL POINT

#REDITS 3PIRIT

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"EAUTIFUL TYPOGRAPHY

ˆ}ʅi>`ˆ˜iÃÊÀiµÕˆÀiÊ>ÊLi>ṎvՏÊÌÞ«iv>ViÊ̅>̽ÃÊv>ˆÀÞʏˆ}…Ìʜ˜Ê̅iÊ«>}i°Ê/Ê ˆ`œÌʈÃÊ >Ê}>“œÀœÕÃÊV…œˆVi]ÊvՏÊœvÊiÝ«ÀiÃÈÛiʏˆ˜iÃÊ>˜`ÊÃÌޏˆÃ̈VʵՈÀŽÃ°ÊiÀi½ÃÊ܅>̽ÃÊVœœ\

%XTREMELY HIGH CONTRAST BETWEEN THICKS AND THINS 3UPERTHIN LINES GIVE (4& $IDOT ITS LIGHTNESS AND GLAMOUR #LASSY SHEARED TERMINALS AND    (ORIZONTAL STRESS 4HE HEAVY PARTS OF THE STROKES ARE HORIZONTAL NOT ANGLED

   A SWASHY DOLLOP OF A mAG HAVE STYLISH UNEXPECTED mAIR

(AIRLINE STROKES .OTE THE TINY END LOOP

(AIRLINE SERIFS AND STROKES ARE ELEGANT AT LARGE SIZES BUT DISAPPEAR WHEN SMALL 4O COMPENSATE (4& $IDOT COMES IN SIX MASTER SIZES WHICH GET PRO GRESSIVELY HEAVIER AS THE SIZE GETS SMALLER #OMPARE RIGHT THE MASTER DESIGNED FOR USE AT TEXT SIZES

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3UPPORTING TYPEFACES

/ܜÊÌÞ«iv>ViÃʅ>˜`iÊ̅iÊܜÀŽÊœvÊLœ`ÞÊVœ«Þ]ÊV>«Ìˆœ˜ÃÊ>˜`ʜ̅iÀÊÓ>ÊÌiÝÌ°ÊiÞÊ̜Ê>Ê ÜœÀŽ…œÀÃiÊÌÞ«iv>ViʈÃÊ̜ÊV…œœÃiʓi`ˆÕ“]ʘœÌÊiÝÌÀi“i]ÊÜiˆ}…ÌÃÊ>˜`Ê«Àœ«œÀ̈œ˜Ã°

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! +ICKER \ "LISS  IS AS SHARP EDGED AS (4& $IDOT BUT OF MEDIUM PROPORTIONS AND EASY TO READ QUICK LY +ICKERS ARE SET IN !,, #!03 W I D E L Y SPACED

8emb[ZEl[h " #APTION \ "LISS  IS VERY CLEAR AT SMALL SIZES #

IN UPPER AND LOWERCASE SO IS USED FOR ALL SMALL TITLES LABELS AND CAPTIONS BOTH SHORT AND LONG


ÊÃÕ«iÀ‡Ãœ>ŽiÀ "

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"IG IMAGES

"ÛiÀÈâiÊ«…œÌœÃpÌÞ«ˆV>Þʜ˜iÊ«iÀÊëÀi>`pˆ““iÀÃiÊ̅iÊÀi>`iÀʈ˜Ê>ÊۈÃÕ>Ê ºÃÕÀÀœÕ˜`ÃV>«i°»ÊiÞʈÃÊȓ«ˆVˆÌÞ\ʜ˜iÊvœV>Ê«œˆ˜Ì]ʘœÊ`ˆÃÌÀ>V̈˜}ÊL>VŽ}ÀœÕ˜`ð

3INGLE OBJECT IMAGES ARE STRONGER 4O FOCUS THE READER ON THE SUBJECT FOCUS ON THE SUBJECT
(ERE YOURE PRACTICALLY BUMPING INTO -R 7AITS WHOSE mINTY EYED STARE TELLS YOU THAT YOURE A LITTLE TOO CLOSE 4HATS ENGAGEMENTˆPRETTY GOOD FOR ONLY A PHOTO
)N CONTRAST THE GROUP SHOT ABOVE LEFT DIVIDES THE READERS ATTENTION NINE WAYS WHICH WORKS ONLY IF THE GROUP ITSELF IS THE POINT
7HEN EVALUATING PHOTOS ALWAYS THINK h)F ) COULD SHOW ONLY ONE THING WHAT WOULD IT BEv 4HEN DO IT

#ENTER STAGE 4HIS LAYOUT ILLUSTRATES THE POWER OF THE CENTER !NGLED PORTRAIT DIVIDES THE SPREAD IN HALVES HEADLINE ON THE LEFT ITS CONTOURS FOLLOW HIS FACE TEXT ON THE RIGHT 4HE BACKGROUND IS FEATURELESS AND EVEN THAT HAS BEEN BLURRED LEAVING THE READ ER NOTHING TO SEE EXCEPT WELL THE THING HE CAME TO SEE

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6ERTICAL BAR

1˜ˆµÕiÊ̜Ê-«ˆÀˆÌʈÃÊ>ÊÛiÀ̈V>ÊL>ÀÊ̅>ÌÊÀi«i>ÌÃÊ̅ÀœÕ}…œÕÌÊ̅iʓ>}>∘iÆʈ̽ÃÊ>˜Ê>ÀLˆÌÀ>ÀÞÊ `iۈViÊ̅>ÌʈÃÊܓï“iÃÊÕÃi`Ê̜Ê`ˆÛˆ`iʈ˜vœÀ“>̈œ˜]ʜ̅iÀÊ̈“iÃÊvœÀÊ`iVœÀ>̈œ˜°

6ERTICAL BAR AND KICKER FORM HORIZONTAL AND VERTICAL LINES THAT RECUR THROUGHOUT THE MAGAZINE LEFT  4O ACCOMODATE DIFFERENT PAGE CONTENTS THIS BAR MOVES TO THE LEFT OR RIGHT BELOW 

6ERTICAL BAR IS TYPICALLY USED TO DIVIDE ONE KIND OF INFORMATION FROM ANOTHER !BOVE RIGHT IT DIVIDES THE EDITORS NARRATIVE ON THE RIGHT FROM SHORT BULLET STYLE TRIVIA ON THE LEFT .OTE THE OTHER CONTRASTS USED TO SEPARATE INFORMATION TEXT IS WHITE ON THE LEFT BLACK ON THE RIGHT NARROW ON THE LEFT WIDE ON THE RIGHT SMALL ON THE LEFT BIG ON THE RIGHT AND THE TYPEFACES ARE DIFFERENT

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6ARIATIONS

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! &ULL PAGE IMAGE CROSSES BENEATH THE BAR WHICH IS USED TO ANCHOR A TINY CAPTION HEADLINE AND TEXT REMAIN TO THE RIGHT " 1UARTER PAGE IMAGE STOPS AT THE BAR WHILE THE STORY RUNS ON THE OTHER SIDE .OTE THE HEADLINE IS AT THE BOTTOM YET STILL READS AS A HEADLINE NOT A hTAILv LINE
# 3TANDARD MAGAZINE LAYOUT ILLUSTRATION HEAD TEXT REQUIRED PUSHING THE BAR OFFSTAGE TO THE EXTREME RIGHT WHERE IT INTER SECTS THE KICKER IN THE UPPER RIGHT BUT EXISTS MAINLY TO SUSTAIN THE THEME

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"IG OBJECTS

º/…iÊ Õ“LiÀûÊÃiV̈œ˜ÊVœ˜ÃˆÃÌÃʜvÊȘ}i‡œLiVÌÊVÕ̜ÕÌÊ«…œÌœÃÊ>˜`ʘՓiÀ>ÃÊÜÊLˆ}Ê Ì…>ÌÊ̅iÞÊLiVœ“iʜLiVÌÃ]Ê>˜ÊiÞi‡>ÀÀiÃ̈˜}ÊÛ>Àˆ>̈œ˜ÊœvÊ̅iʺLˆ}ʈ“>}iûʈ`i>°

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#REATE A VERBAL OBJECT 3UPERSIZE NUMERALS MAKE IT OBVIOUS THAT CHARACTERS ARE GRAPHICS TOO
ˆA BEAUTIFUL TYPEFACE (4& $IDOT ITALIC MAKES THIS APPEALING 4HE TECHNIQUE IS CON TRIVEDˆIT WOULD BE OUT OF PLACE IN SAY 53 .EWS  7ORLD 2EPORTˆBUT ITS PERFECTLY BITE SIZE FOR 3PIRITS DIVERSE ON THE mY AUDIENCE

-AKE A SERIES h4HE .UMBERSv SECTION IS A SERIES OF SINGLE PAGES BOLDLY PRESENTED ONE BIG CUTOUT ONE BIG NUMBER SMALLER HEADLINE SMALL TEXT AND THE UBIQUITOUS VERTICAL BAR %VERYTHING IS EXAGGERATED 4HE LAYOUTS ARE SIMILAR BUT NEVER THE SAME %XTREME CONTRASTS OF TEXTUREˆmAT SMOOTH EXPANSES SMALL DETAILED TEXTˆKEEP THE VISUAL INTEREST HIGH 4EXTURAL CONTRASTSˆCURVING BLACK SOLE RECTANGULAR GRAY TEXT WHITE EXPANSE BEHIND

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"IG CONTENTS PAGE 

/>LiʜvÊVœ˜Ìi˜ÌÃʈÃÊÃiÌÊVˆ˜i“>ÊÃÌޏi]ʘՓLiÀÊwÀÃÌ]ÊVi˜ÌiÀi`ʜ˜Ê̅iÊ«>}i°Ê7ˆÌ…œÕÌÊë>Vi‡ Ü>Ã̈˜}Ê`œÌʏi>`iÀÃ]ʘՓiÀ>ÃÊ>˜`ÊÌiÝÌÊV>˜ÊLiÊLˆ}]ÊLœ`]Ê>˜`Êi>ÃÞÊ̜ʍՓ«ÊÀˆ}…Ìʈ˜Ìœ°

#OLUMNS ARE ALIGNED RIGHT AND LEFT

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.EXT DESIGN A CARD

3O FAR WEVE SEEN THAT THE LETTERS IN A NAME CAN FORM A PATTERN 4HE TYPEFACE CAN MAKE OR BREAK THE PATTERN 4HE TYPEFACE CAN IMPOSE A PATTERN OF ITS OWN )N EVERY CASE THE TYPEFACE ALSO ADDS MEANING 4HE KEY TO A GREAT LOGOTYPE IS TO lND A TYPEFACE THAT MAKES THE NAME LOOK GOOD AND CONVEYS THE APPROPRIATE MEANING 4O SEE THIS AT WORK WELL NEXT SET THE NAME ON A BUSINESS CARD IN NINE DIFFERENT TYPE FACES 4HE CARD WILL GIVE US THE ADDED TOOLS OF COLOR AND LAYOUT 7E WILL USE ONLY TYPE WITH NO GRAPHICS OF ANY KIND 0AY SPECIAL ATTENTION TO THIS AND YOULL SEE HOW CLEARLYˆ AND BEAUTIFULLYˆTYPE ALONE CAN COMMUNICATE

3TANDARD 53 BUSINESS CARD IS bv X v &OR THIS DEMONSTRATION WELL PUT THE NAME ON THE FRONT AND IGNORE THE CONTACT INFO WHICH IN REAL LIFE WOULD BE PUT ON THE BACK

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!VANT 'ARDE

BRINGS OUT .AGANOS NATURAL PATTERN 3IMPLE SHAPES ARE BOLD AND YOUTHFUL ESPECIALLY IN LOWERCASE #OLORS ARE INTERCHANGEABLE 4HIS WOULD BE A FUN TRENDY PLACE

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#OCKEYED SETTING IS CORRESPONDINGLY ROUGH

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#OPPERPLATE 'OTHIC "#

HAS TINY STRAIGHT SERIFS THAT GIVE IT OLD INDUSTRIAL ERA OVERTONES SUITABLE FOR AN URBAN ENVIRONMENT )TS CLEAR WIDE BODY MAKES IT GOOD CHOICE FOR PANORAMA

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%VEN IN VERY SMALL SIZES A PANORAMIC SETTING PROJECTS A WIDE SCREEN IMAGE AND CONVEYS FEELINGS ASSOCIATED WITH SPACIOUSNESS AND GRANDEUR )TS QUIET TOO THE CENTERED SETTING IS MOTIONLESS AND STATELY "ELOW #OPPERPLATES TINY SERIFS HELP THE EYE SPAN THE GAPS BETWEEN THE WIDELY SPACED LETTERS

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"UREAU 'ROTESQUE %XTRA #OMPRESSED "LACK

FORCES WORDS INTO BLOCKS THAT CAN BE lT TOGETHER LIKE MASONRY "RICK WALL COLORS AND ARTISTIC COMPOSITION ARE RIGHT FOR AN ARTSY JAZZY BLUESY MIDTOWN HANGOUT





)F YOU LIKE ,EGOS YOULL LIKE DESIGNING WITH "UREAU 'ROTESQUE WHOSE DENSE BLOCKS YOU CAN STACK AND REPOSITION ENDLESSLY AND USUALLY GET EXPRES SIVE RESULTS 0AY ATTENTION TO THE NEGATIVE SPACES THAT FORM WHITE BLOCKS ABOVE LEFT WHICH ARE AS IMPORTANT AS THE POSITIVE ,IGHT h5RBANv AND h'RILLv COLORS RECEDE SO THE NAME STANDS OUT NOTE THAT BOTH ARE TINTS OF THE BACKGROUND COLOR ABOVE CENTER  !BOVE RIGHT ARTISTICALLY SPARE DESIGN YIELDS A POWERFUL FOCAL POINT NOTE THE COLOR EMPHASIS ON hURBANv

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0LANET +OSMOS

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3LOWER 3MALLER NAME CREATES AN ENCLOSING FRAME THAT THE EYE UNCONSCIOUSLY TRACES WHICH SLOWS IT SLIGHTLY

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(4& $IDOT

IS THE LOOK OF .EW 9ORK CITYˆALL GLAMOUR A BEAUTIFUL CHOICE FOR A CHIC COSMOPOLITAN RESTAURANT 7ITH ITS FASHION MODEL OVERTONES THIS WOULD BE A PLACE TO BE SEEN

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,ETTRÏS %CLATÏES

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(ELVETICA .EUE

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3UBSCRIBE TO "EFORE  !FTER

I 3 6

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

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

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

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

"EFORE  !FTER MAGAZINE  ,INCOLN 3TREET 2OSEVILLE #!  4ELEPHONE    &AX    % MAIL MAILBOX BAMAGAZINECOM WWW HTTPWWWBAMAGAZINECOM

OTHERS CLICK HERE *OIN OUR E LIST 4O BE NOTIlED BY E MAIL OF NEW ARTICLES AS THEY BECOME AVAILABLE GO TO

#OPYRIGHT ¥ "EFORE  !FTER MAGAZINE )33.   !LL RIGHTS RESERVED

HTTPWWWBAMAGAZINECOMEMAIL

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

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

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&OR PAPER SAVER FORMAT 0RINT 3PECIFY PAGES n

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SETATEXT ONLY LOGOTYPE +EY IS TO WORK WITH THE NATURAL PATTERN OF YOUR LETTERS (ERES HOW

7ELCOME TO .AGANO 5RBAN 'RILL A POPU LAR MIDTOWN HANG OUT /UR PROJECT IS TO DESIGN ITS LOGOTYPE ! LOGO IS A COMPANYS SIGNATURE ITS A DISTINC TIVE WAY OF WRITING ITS NAME 3OME LOGOS INCLUDE GRAPHICS BUT MOST DO NOT ! GOOD LOGO IS BOLD CLEAR AND ATTRACTIVE AND IT CONVEYS AN APPROPRIATE SENSE OF THE COMPANY 4HESE QUALITIES CAN BE DIFlCULT TO COMBINE IN ONE WORD 4HE PLACE TO START ON A TEXT ONLY LOGO IS WITH THE NATURAL PATTERN OF ITS LETTERS )T GOES LIKE THIS

 (OW TO SET A TEXT ONLY LOGOTYPE

%VERY WORD HAS A NATURAL PATTERN "EFORE SETTING TYPE TAKE A VISUAL INVENTORY %VEN HANDWRITTEN LEFT WE CAN SEE A DESCENDING G LOOP AND REPEAT ING AS WHICH FORM A TRIO OF ROUNDISH SHAPES MORE OR LESS IN THE MIDDLE .AGANO STARTS WITH AN ANGLE . AND ENDS WITH A CIRCLE O BOTH OF WHICH HAVE OPEN ENDS THAT LEAD THE EYE OUT WARD )T HAS SIX LETTERS 6ISUALLY .AGANO IS AN AVERAGE WORD )TS EASY TO SAY ./' UH NO AND IT HAS STRONG *APANESE ASSOCIA TIONS 4HESE QUALITIES WILL FORM THE FOUNDATION OF OUR DESIGNS

"EFORE!FTER \ WWWBAMAGAZINECOM

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(OW TO SET A TEXT ONLY LOGOTYPE



! LOGOTYPE STARTS WITH THE ALPHABET

,ETTERS HAVE DISTINCT SHAPES 'ET FAMILIAR WITH THESE SHAPES %ACH HAS ITS OWN KIND OF EXPRESSIVENESS 4HE SHAPES WILL ALSO DETERMINE WHAT YOU CAN DO WITH YOUR DESIGN

#IRCLES ARE SOFT SERENE ENCLOSING

#IRCLES WITH STRAIGHTS OR HOOPS THE G

ACEO BDGPQ HMNU ILT FJRS KVWXYZ (OOPS ARE LIVELY PLAYFUL

#URLS AND HALF CIRCLES

3TRAIGHTS

!NGLES ARE UNSTABLE EDGY RESTLESS

4YPEFACE !VANT 'ARDE SHOWN HERE WHICH CONSISTS MAINLY OF SIMPLE STRAIGHTS AND CIRCLES IS ESPECIALLY GOOD AT REVEALING LETTER SHAPES 3HOWN ARE THE MAIN GROUPS DIFFERENT FONTS WILL HAVE SMALL VARIATIONS

&OR EXAMPLE   

4HE NAME JJILL CONSISTS SOLELY OF STRAIGHT LETTERS THAT DO NOT CONVEY SOFTNESS LIKE ROUND LETTERS DO #ONVERSELY ROUND POD IS NOT NATURALLY SHARP AND EDGY

LOLLIOOO ICICLE BA BUMMM BA BA BA BA BUMMM BUMMM BA BUMMM   

BA BUMMM BA BUMMM BA BUMMM   

)LLINOIS JJILL OOO BA BUMMM BUMMM BUMMM BA   

BA BA BA BA BUMMM BUMMM BA BUMMM   

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BA BA BA BA BA BA   

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! WORDS PATTERN CAN BE EXPRESSED RHYTHMI CALLY 2HYTHM IS AN UNSEEN FACTOR THAT AFFECTS HOW WE PERCEIVE A WORD

(OW TO SET A TEXT ONLY LOGOTYPE



&IND YOUR PATTERN

3TART BY SETTING YOUR NAME IN UPPERCASE AND LOWERCASE AND NOTICE THE PATTERN THAT FORMS EVEN IF ITS SUBTLE 0AY SPECIAL ATTENTION TO REPETITIVE LINES AND SHAPES

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!LL ROUND

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.O RESEMBLANCE

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,ETTERS THAT LOOK ALIKE IN !VANT 'ARDE LOOK DIFFERENT IN !DOBE 'ARAMOND ABOVE AND THE PATTERN DISAPPEARS 4HE G THAT BEFORE WAS A CIRCLE IS NOW A SNAKING TWIST ING LINE !S A RULE THE MORE DETAILED THE TYPEFACEˆDETAILS INCLUDE SERIFS TERMINALS lLETS VARYING STROKE WIDTHS AND SO ONˆTHE LESS VISIBLE THE PATTERN WILL BE

4EXTURE 0ATTERNS ARE BIG 7HEN REPETITIVE ELEMENTS ARE SMALL COMMON IN DETAILED TYPEFACES LIKE !DOBE 'ARAMOND THEY MAKE TEXTURE !BOVE YOU CAN SEE FOUR CIR CULAR COUNTERS AND OTHER REPETITIVE SHAPES IN THE MIDDLE OF THE WORD

3HAPE 2ELATED TO PATTERN IS SHAPE WHICH REFERS TO THE OVERALL FORM OF THE WORD

 (OW TO SET A TEXT ONLY LOGOTYPE

"EFORE!FTER \ WWWBAMAGAZINECOM

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(OW TO SET A TEXT ONLY LOGOTYPE



0ATTERN MAKERS

9OUR NAME CAN BE GIVEN A PATTERN BY THE TYPEFACE 0ATTERN MAKING IS THE MAIN FUNCTION OF MOST DECORATIVE TYPE

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3HAPE MAKERS

3IMILARLY YOUR NAME CAN BE FORCED TO TAKE SHAPE 4HE TWO EASIEST TECHNIQUES ARE EXPANSIONˆSPREAD YOUR NAME OUTˆAND COMPRESSIONˆSQUEEZE IT TOGETHER

%XPANSION !BOVE 3PREADING YOUR NAME WAY OUT DISCONNECTS ITS LETTERS FROM EACH OTHER 4HIS BREAKS WHATEVER PATTERN MAY BE PRESENT AND CREATES A NEW ONEˆA NEAT ROW OF DOTS 4HE PANORAMIC RESULT CONVEYS A SENSE OF GRANDEUR BOTH UNDERSTATED AND ELEGANT 6ERY POPULAR IN MOVIE TITLES 4HE TECHNIQUE WORKS WITH ALMOST ANY TYPEFACE SET ALL CAPS FOR THE CLEANEST LINE

#OMPRESSION !BOVE #ONVERSELY SETTING YOUR NAME IN A HIGHLY CONDENSED TYPEFACE THEN PACKING IT TIGHTLY TOGETHER YIELDS A DENSE POWERFUL BLOCK 4HIS TECHNIQUE IS ALSO POPULAR IN THE MOVIES BECAUSE IT CAN CONVEY A MASSIVE OVERWHELMING PRESENCE ESPECIALLY IN ALL CAPS !T SMALL SIZES ITS DENSE SHAPE CARVES A DISTINCTIVE SILHOUETTE THATS EASY TO WORK WITH

 (OW TO SET A TEXT ONLY LOGOTYPE

"EFORE!FTER \ WWWBAMAGAZINECOM

 OF 

(OW TO SET A TEXT ONLY LOGOTYPE



.EXT DESIGN A CARD

3O FAR WEVE SEEN THAT THE LETTERS IN A NAME CAN FORM A PATTERN 4HE TYPEFACE CAN MAKE OR BREAK THE PATTERN 4HE TYPEFACE CAN IMPOSE A PATTERN OF ITS OWN )N EVERY CASE THE TYPEFACE ALSO ADDS MEANING 4HE KEY TO A GREAT LOGOTYPE IS TO lND A TYPEFACE THAT MAKES THE NAME LOOK GOOD AND CONVEYS THE APPROPRIATE MEANING 4O SEE THIS AT WORK WELL NEXT SET THE NAME ON A BUSINESS CARD IN NINE DIFFERENT TYPE FACES 4HE CARD WILL GIVE US THE ADDED TOOLS OF COLOR AND LAYOUT 7E WILL USE ONLY TYPE WITH NO GRAPHICS OF ANY KIND 0AY SPECIAL ATTENTION TO THIS AND YOULL SEE HOW CLEARLYˆ AND BEAUTIFULLYˆTYPE ALONE CAN COMMUNICATE

3TANDARD 53 BUSINESS CARD IS bv X v &OR THIS DEMONSTRATION WELL PUT THE NAME ON THE FRONT AND IGNORE THE CONTACT INFO WHICH IN REAL LIFE WOULD BE PUT ON THE BACK

!VANT 'ARDE

BRINGS OUT .AGANOS NATURAL PATTERN 3IMPLE SHAPES ARE BOLD AND YOUTHFUL ESPECIALLY IN LOWERCASE #OLORS ARE INTERCHANGEABLE 4HIS WOULD BE A FUN TRENDY PLACE

7IDE

-EDIUM

.ARROW

NAGANO URBANGRILL

"RIGHT CHAIN OF HOOPS AND CIRCLES RUNS EDGE TO EDGE AND CAN BE SEEN FROM ACROSS THE ROOM
5RBAN GRILL SUBTITLE IS ALSO IN !VANT 'ARDE 'REEN AND YELLOW ARE FRESH SECONDARY COLORS THAT CAN EASILY BE SWAPPED RIGHT WITH EQUALLY BOLD RESULTS 3INGLE LINE DESIGN CONVEYS RESTRAINT A COUNTERPOINT TO THE EXU BERANT CIRCLES .OTE THE LETTERS ARE VERY CLOSE BUT NOT TOUCHING !SYMMETRICAL DIVISIONS OF SPACEˆWIDE MEDIUM NARROW ABOVE ˆKEEP THE DESIGN ACTIVE

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NAGANO URBANGRILL

NAGANO URBANGRILL

NAGANO URBANGRILL

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HAS AIRY SWEEPING LINES THAT CONVEY GRACE ELEGANCE AND TASTE APPROPRIATE FOR A VISIT FROM THE 1UEEN REALLY  #ENTERED LAYOUT AND LIGHT METALLIC COLORS ADD FORMALITY

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2EAL POWER ALWAYS APPEARS NATURAL AND UNFORCED AS IF IT SIMPLY REQUIRED NO EFFORT )F IT LOOKS LIKE YOURE TRYING IT DOESNT WORK
4O PROJECT THIS YOU WANT A CENTERED LAYOUT WHICH HAS NO MOTION IT IS CALM AND AT REST 3ILVER AND GOLD COLORS SUGGEST WEALTH BUT HERE THEYRE LIGHT QUIET DISCREET 3UPERLIGHT SUBTITLE (ELVETICA .EUE 5LTRA ,IGHT IS BARELY THERE ITS TINY SIZE AND CON TRASTING 2OMAN STYLE SUPPORTS WITHOUT COMPETING 7HATS INTERESTING IS THAT FOR ALL THIS FORMALITY .AGANO IS A BOISTEROUS MIDTOWN '2),, A JUXTAPOSITION OF NAME AND IMAGE THAT WOULD PROBABLY WORK JUST lNE

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IS A TEXT FACE IN WHICH .AGANO HAS NO PATTERN BUT A SMALL AMOUNT OF TEXTURE 'O WITH WHAT IT HAS AND ADD MORE TEXTURE
#OCKEYED SETTING IS CORRESPONDINGLY ROUGH

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52"!. '2),, $ISTRESSED SERIF TYPEFACE LOOKS ROUGH WEATHERED AND CRATE STAMPED OPPO SITE THE HARD EDGED MINIMALISM OF ITS URBAN ENVIRONMENT %ARTHY COLORS ADD WARMTH 4HE WORDS CAN BE PUT JUST ABOUT ANYWHERE EXCEPT STRAIGHT AND ALIGNED YOU WANT IT TO LOOK A LITTLE THROWN TOGETHER 4HIS TECHNIQUE LOOKS ESPE CIALLY AUTHENTIC IN A STENCILED TYPEFACE INSET WHICH HINTS OF CARGO MILITARY NAUTICAL SAFARI AND SO ON

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#OPPERPLATE 'OTHIC "#

HAS TINY STRAIGHT SERIFS THAT GIVE IT OLD INDUSTRIAL ERA OVERTONES SUITABLE FOR AN URBAN ENVIRONMENT )TS CLEAR WIDE BODY MAKES IT GOOD CHOICE FOR PANORAMA

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%VEN IN VERY SMALL SIZES A PANORAMIC SETTING PROJECTS A WIDE SCREEN IMAGE AND CONVEYS FEELINGS ASSOCIATED WITH SPACIOUSNESS AND GRANDEUR )TS QUIET TOO THE CENTERED SETTING IS MOTIONLESS AND STATELY "ELOW #OPPERPLATES TINY SERIFS HELP THE EYE SPAN THE GAPS BETWEEN THE WIDELY SPACED LETTERS

!NY COLORˆ LIKE HOT MAGENTA
ˆ WORKS IN PANORAMA BECAUSE THERES SO LITTLE OF IT $ARK BACKGROUND ADDS CLASS FOR A PARTY LOOK MAKE IT BRIGHT

"UREAU 'ROTESQUE %XTRA #OMPRESSED "LACK

FORCES WORDS INTO BLOCKS THAT CAN BE lT TOGETHER LIKE MASONRY "RICK WALL COLORS AND ARTISTIC COMPOSITION ARE RIGHT FOR AN ARTSY JAZZY BLUESY MIDTOWN HANGOUT





)F YOU LIKE ,EGOS YOULL LIKE DESIGNING WITH "UREAU 'ROTESQUE WHOSE DENSE BLOCKS YOU CAN STACK AND REPOSITION ENDLESSLY AND USUALLY GET EXPRES SIVE RESULTS 0AY ATTENTION TO THE NEGATIVE SPACES THAT FORM WHITE BLOCKS ABOVE LEFT WHICH ARE AS IMPORTANT AS THE POSITIVE ,IGHT h5RBANv AND h'RILLv COLORS RECEDE SO THE NAME STANDS OUT NOTE THAT BOTH ARE TINTS OF THE BACKGROUND COLOR ABOVE CENTER  !BOVE RIGHT ARTISTICALLY SPARE DESIGN YIELDS A POWERFUL FOCAL POINT NOTE THE COLOR EMPHASIS ON hURBANv

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0LANET +OSMOS

IS AN ALPHABET OF NEARLY IDENTICAL CHARACTERS THAT HINTS OF *APANESE ANIMATION )T LOOKS FAST THE ITALICS EDGY ITS ANGLES YOUTHFUL CARTOONS AND CLEAN SIMPLE LINES 

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3LOWER 3MALLER NAME CREATES AN ENCLOSING FRAME THAT THE EYE UNCONSCIOUSLY TRACES WHICH SLOWS IT SLIGHTLY

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IS THE LOOK OF .EW 9ORK CITYˆALL GLAMOUR A BEAUTIFUL CHOICE FOR A CHIC COSMOPOLITAN RESTAURANT 7ITH ITS FASHION MODEL OVERTONES THIS WOULD BE A PLACE TO BE SEEN

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(4& $IDOT IN LIPSTICK RED ON WHITE WILL STOP TRAFlC AND IN THIS CASE BECAUSE OF THE NAME IT ALSO HAS *APANESE OVERTONES $IDOTS SUPERlNE LINES MAKE THE PRESENTATION UNUSUALLY STRIKING !N IDEAL COMPLEMENT IS (ELVETICA 5LTRA ,IGHT WHOSE LINE WEIGHT MATCHES $IDOTS SERIFS INSET  2ED GRAY BLACK AND WHITE ARE ALWAYS POWERFUL TOGETHER

$IDOTS PATTERN IS SEEN IN ITS REPETITIVE VERTICAL STROKESˆTHEYRE NOT EVEN SLIGHTLY SLANTED A TRAIT SHARED BY OTHER TYPEFACES BUT NOT OFTEN SO OBVIOUSLY #URVY AS AND GˆNOTE THE BEAUTIFULLY UNDULATING THICKS AND THINSˆSWEETEN THE MIDDLE OF THE NAME

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,ETTRÏS %CLATÏES

IS A MANGY BUT ODDLY CHEERFUL TYPEFACE FULL OF REPETITIVE ELEMENTS THAT HAVE BOTH PATTERN AND TEXTURE 4HE TWO COLOR SETTING ADDS CLASS 3UBLIMELY FUNKY

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4HE SCRAGGLY TYPEFACE HAS THE STREET LOOK YOU WANT BUT HOW DO YOU KEEP IT FROM MAKING A SCRAGGLY CARD "Y CENTERING IT IN A SINGLE LINE ON RICH BLACK 4HE RESULT IS ARTISTIC AND TEXTURED FRAMED LIKE ART IN A GALLERY SLIGHT COLOR DIFFERENCE IS JUST ENOUGH TO SET .AGANO APART YET KEEP THE LINE INTACT

.OT A STRAIGHT LINE ANYWHERE ANGLES AND OVALS GIVE ,ETTRES %CLATEES ITS TEXTURE AND OUR NAME SOMETHING OF A PATTERN WHICH MAY BE EASIER TO SEE IF ITS REVERSED

(ELVETICA .EUE

IMPARTS A LOOK OF 3WISS MINIMALISM WHEREVER IT APPEARS 'RACEFUL GEOMETRIC AND ICE COLD IT IS ONE OF THE WORLDS MOST FAMOUS TYPEFACES %XPECT STAINLESS STEEL AND GLASS

.OTE TIGHT LETTERSPACING LINE SPACING AND UPPER LEFT ALIGNMENT

(ELVETICA IS THE LOOK OF THE MODERN MECHANIZED WORLDˆBEAUTI FUL CONTROLLED AND ALOOF 9OU CAN USE IT FOR ANYTHING AS LONG AS ITS TIGHTLY ALIGNED USUALLY TO THE TOP AND LEFT (ELVETICA LOOKS BEST TIGHTLY SET AND IN A SINGLE SIZE DIFFERENTIATE WORDS ONLY WITH WEIGHT AND COLOR )TS A COLD TYPEFACE YOULL NEED lRE ON THE GRILL COLORS TO WARM IT UP

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

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

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Before&After

BAmagazine.com

®

i 3 6

Design a

catalog of rectangles Segway’s catalog motif is simple, handsome and versatile. Continued 0

Continued 0

Design a catalog of rectangles

0661

Before&After

BAmagazine.com

®

i 3 6

Design a catalog of rectangles Segway’s catalog motif is simple, handsome and versatile.

It’s a good thing the Segway Personal Transporter costs as much as it does ($5,000-ish), or we’d be out riding instead of writing—this thing is a hoot. Ahead of its time when it was introduced in 2001, the self-balancing, ride-about platform is almost magically intuitive; it runs silently indoors and out, and has become popular with urban commuters, tour groups and others who need to get places that would be too far or too slow to walk. A 28-page catalog presents the machine in tried-and-true fashion; it’s an attractive synthesis of text and images in a simple, rectangular format. What we like about the rectangles is how easy they make it to blend different elements into a uniform whole. That’ll be our focus:

Rectangular simplicity can be seen in shapes, borders and lines throughout the catalog. It allows the designer to easily meld different photos and varying amounts of text into a uniform whole.

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Design a catalog of rectangles

0661

Before&After

®

Design a catalog of rectangles

i 3 6

BAmagazine.com

3 of 12

Build it in blocks

As we work through the catalog, you’ll see that rectangles are a deliberately visible part of the design. This begins on the cover, where the elements are stacked in blocks.

3/8” white frame

J`dgcpdfm`e^ J < > N 8 P

Page 7” x 10” rectangular page

Frame Rectangular photo, slightly smaller. Result: three visual elements— photo, page and white frame, which the eye subconsciously follows.

Base Heavy black rectangle serves as a visual base and also interrupts the circuit, which draws attention to the tiny text within it.

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