how to design cool stuff
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Before&After®
HowtoDesignCoolStuff
JohnMcWade
Before & After: How toDesignCoolStuffJohnMcWadePeachpit1249EighthStreetBerkeley,CA94710510/524-2178510/524-2221(fax)Find us on the Web at:www.peachpit.comTo report errors, please senda note to
[email protected] is a division ofPearsonEducationCopyright © 2010 by JMSPublishingProject Editor: Nikki EchlerMcDonaldProduction Editor: TraceyCroomDevelopment and CopyEditor:CathyFishelLane
Indexer:KenDellaPentaCoverdesign:JohnMcWadeInterior designer andcompositor: Kim Scott,BumpyDesignNoticeofRightsAll rights reserved. No partof this book may bereproduced or transmitted inany form by any means,electronic, mechanical,photocopying, recording, or
otherwise, without the priorwritten permission of thepublisher.Forinformationongetting permission forreprintsandexcerpts,[email protected] information in thisbookis distributed on an “As Is”basis without warranty.While every precaution hasbeentakeninthepreparation
of the book, neither theauthor nor Peachpit shallhave any liability to anypersonor entitywith respecttoanylossordamagecausedor alleged to be causeddirectly or indirectly by theinstructionscontained in thisbook or by the computersoftware and hardwareproductsdescribedinit.Trademarks
Many of the designationsused by manufacturers andsellers to distinguish theirproducts are claimed astrademarks. Where thosedesignations appear in thisbook, and Peachpit wasaware of a trademark claim,the designations appear asrequestedbytheownerofthetrademark.All other productnamesandservicesidentifiedthroughoutthisbookareused
in editorial fashion only andfor the benefit of suchcompanies with no intentionof infringement of thetrademark. No such use, ortheuseofanytradename,isintended to conveyendorsement or otheraffiliationwiththisbook.ISBN13:978-0-321-58012-2ISBN10:0-321-58012-5
987654321Printed and bound in theUnitedStatesofAmerica
Acknowledgements
Anonlinereadernotlongagowrotetomeandsaidsimply,“You’re a rich man, JohnMcWade.” Bywhich hewasreferring to the trust that somany of you have placed inme, and the fact that I canpose, in his case, a simplequestion, and so many arewillingtopitchinandhelp.
Inthisway,Iamindeedrich.Before & After has theworld’s best audience—curious, creative, expressive,loyal.Someofyouhavebeenwith us for 20 years. Somewe hear from often, othersrarely. Some of you are avisible part of our lives,contributing directly andobviously to ourwork.Withothers, we gladly share ourhours and our confidence.
Stillothers teamwithusandworktoacommonvision.This book is the product ofsuchteamwork.I’d like to thank our friendMichael Solomon, withoutwhom we could not havegotten our second start.Thank you to our industrycolleagues, whose co-operation—in the full senseof the word—has yieldednew markets, new revenue,
and,notleast,moralsupport.And thanks to Seth Godinand Sean D’Souza, friendsand foils who see the worlddifferently than we do andprovidevaluableperspective.Closer to home, there’s mystaff.MywifeGaye,withoutwhom I would be someoneelse, someone smaller.DexterAbellera,ourtalentedand tireless senior designer,whoseworkfillsthepagesof
this book; e-mail Dexter at3:00a.m.andyou’llprobablygetareply.AndourunnamedWebmaster, not shy butsecretiveanyway,whokeepsus online and, basically, inbusiness, with her abundanttechnical skills andher care.HernameisDr.Evil.I’m delighted to thank thehardworkingcrewatPeachpitPress, who pretty muchhounded us intomaking this
book. (This is a goodproblem to have!) I’ll startwith publisher NancyRuenzelandaddeditorCathyLane, who also editsLogoLounge.com.Both,onceupon a time, werecompetitors of ours but thencame over from the DarkSide.NikkiMcDonald is theacquisitions editor who gotthisprojectlaunchedandhaskeptitsailingsmoothly.AndthankstoKimScott,whohas
now laidout all threeof ourbooks, and productionmanagerTraceyCroom.None of us ever createsanything alone, and I amgratefulforeveryoneofyouwho,inwayslargeandsmall,visible and invisible, hashelped shapeBefore&Afterintowhatitistoday.
Contents
Knowledge
Design without rulers:Put away your ruler.Here’s how to designthewayyousee.
The empty page has alottosay:Don’tflypastthat setup dialog! It’s
where your designbegins!
Our color wheel:Thecolor wheel is our toolforunderstandingwhichcolorsgowithwhat.
How to find the perfectcolor:The color paletteyou need is alreadyhidden in the photo.Here’showtofindit.
Whattypefacegoeswith
that?:How to pick atypeface thatcomplementsagraphic.
How contrasts createtype style:Usingcontrast properly canmake or break yourtypographicdesign.
Typography101:Typeisatool:Learnhowtouseit properly, and yourworkimproves.
Characterparts
Technique
Many from one:Bigphotos have smallphotos inside. Here’show to get severalimages out of oneoriginal.
Morefromless
Croppingbasics:Howtocropphotosforfunction
andmeaning.
Backgroundselection
Focal points:Complexor ambiguous photo?Eightsimplewaystoputthe reader’s eye whereyouwantit.
Cool covers:Tensimpleideas for great-lookingcovers.
How todesign a second
page:You’vedesignedabeautiful outside. Howdo you follow it upinside?Simply.
Bringtheoutsidein
Simply borderless:Howto design pages fordesktop printers thatcan’tprinttotheedge.
Voice-over captions:Acaption can be muchmore than a label.
Here’s how to get itonto your picture andintoyourstory.
Multi-caption phototellsmanystories
Multiple captions inhighstyle
Lessonsfromabeautifulsi te:The University ofMiami College of Arts& Sciences shows thatbeauty really is in the
details.
A welcoming homepage:Greet all of youronlineviewers.
Simple, bold, bright:Minimalism works onanyscale.
Organizethatcard
The power of thepostcard:Bigimageandsmall type, or big type
andsmallimage:Eitherworkswell.
Put a photo in yourn a m e :Words andpicturescanbestrongerthanwordsalone.
Functionalbeauty
Projects
Makea theme:Asimplegraphic can provide afocal point, color, and
continuity.
Design a story-styleb r o c h u r e :Fold—andunfold—a single sheetinto an appealing,narrative-likepresentation.
Template: Story-stylebrochure
Design a pocket-sizebrochure:Eight smallpagestellabigstory.
Template: Pocket-sizebrochure
A small newsletter thatreads big:Half-sizepage is easy to designand creates a strongimpression.
Designa“photo”graph
Design a card the easyway:A photo and oneblock of type is all it
takes to make abeautifulcard.
Design a dual-purposel e t t e r head :Legal-sizesheet can serve as yourletterheadandprovideabonus,too.
How to set a text-onlylogotype:The key is towork with the naturalpatternofyourletters.
Design a flier that
comesbacktoyou:Onabudget? Design a flierthat doubles as its ownreturnenvelope!
Template: Flier thatcomesback
Smallsite,greatformat:This simple beauty isideal for professionalsandsmallenterprises.
Template: Small formatwebsite
Design a beautifulWebh e a d e r :Create aneffectiveheadertheeasyway. Just think insections.
Design simplepr esen t a t i ons :Visualbrevitywillhelpagreattalk.
Picture yourpresentation:Photographs give your
audience an emotionalconnection to yourwords.
Design a panoramicb o o k l e t :A crossbetween book andmagazine, thislandscape format isunusually easy to layout.
Template: Panoramicbooklet
Design below the line:Simple techniquecreates a report thatlooksopenandinviting.
Index
Introduction
This book, like the twobefore it, isacompilationofarticles that firstappeared inour magazine,Before &After, How to design coolstuff.Before&After, for youwhodon’t know, is a magazinethat teaches graphic design.
Abetterway to say itwouldbe that it’s a magazine thatexplains graphic design, orillustrates it, because wedon’t teach in the sense ofconducting a formal courseof study, where skills arelearned in a sequence, eachbuildinguponthelast.What we do is show it,typically with a reallifeproject, and explain what’sgoing on—whythese colors
gotogether(ornot),whythisobject must be bigger thanthat object to convey thus-and-such a meaning, and soon.Somepeopleget thiskindofinstruction in school, butmost do not.Most of us arelike you. You know someabout design, you have aninterest in it,andyouhaveaneedforit. Maybe you have a
brochuretowrite. Or a slide presentation
tomake. Oranewslettertoedit. OraWebsitetobuild.Maybe you need a logo foryournewbusiness.Oranad.OraDVDcover.Whatever the case, youhavea story to tell that has somekind of visual expression,
meaning that it can beseen.That’s where design comesin.Inherent in the meaning ofdesign is the idea ofplanning. To design abuildingoragarmentorevena business means to plan it,thenactuallyworktheplan.Graphic design, of course,means to plan the visualpresentation of a thing.Design isabouthowit looks,
but there’s more, becausehow it looks can’t beseparated from what it saysanddoes.There is aprocess todesign,and the key step is the firstone:Decidewhatneedstobeachieved. Ask, in otherwords,where are we going?Once you know, you workoutwhatneedstobesaid,theconcept you’ll use to say it,the elements—type, colors,
images, and soon—thatwillexpresstheconcept,thenyouwork them together into thefinishedpiece.Before & After does this intherealworld.We’ve arranged this book inthree sections: Knowledge,Technique, and Projects.Becauseeverydesignhasallthree,theynaturallyoverlap.Knowledge is about the
basics. Basics are calledbasic not because they’resimple-headed but becausethey are the basis, orfoundation, of every design.Basics include line, shape,direction, motion, scale,proportion, similarity,proximity, color,composition, and soon.Youlearnthebasicsbecausetheymake your work easier andyourdesignsbetter.
Technique illustratespractical ways and methods.What’s valuable about thissection is its transferability.Thewayyou crop photos onthisbrochurecanberepeatedon that Web page. The wayyousetyourtypeorhandleamargin or overlap an objectin this advertisement can bedoneagaininthatnewsletter.Some techniques have a bigeffect and make dramaticdesigns and because of that
are obvious. Others areinfluentialbut small andcanbe repeated foreverunnoticed. All have theirplace.You’llsee.Projects are whole jobs—brochures, newsletters, Websites, business cards, slidepresentations, and logotypes—in which knowledge andtechnique come together andwork. Projects show conceptand application at once—
what’s been done, how, andespeciallywhy. Our projectsalso make great blueprintsfor your projects. You can,more or less, copy ourdesigns, and use ourknowledge to make themworkforyou.Twenty years ago when wewere dreaming up thisadventure calledBefore &After,Irecallonedaydrivingaround thinking how to
describe what the magazinewould be about. “Graphicdesign for desktoppublishers” was as close asI’d gotten. It would showhow to design newsletters(big at the time), brochures,stationery,andotherbusinessdocuments. It wouldillustratedesignconceptsandhow to set type. It wasn’tabout point-and-click butrather about the aesthetics—the whys and hows of good
visualcommunication.But it was too much. Thereare too many differentaspects of design tosummarize in a sound bite.“Howtodopage layout”notonly didn’t describe it fully,it was dull, too. AndBefore&After wasn’t aboutdull: Itwasaboutcool.Coolstuff.Sowhynotjustcallitthat?Iasked out loud in the emptycar.Howtodesigncoolstuff.
And that’swhat it became. Ihope you find this bookenables you to do exactlythat.—JohnMcWade
Knowledge
Design withoutrulers: Put awayyour ruler. Here’show to design thewayyousee.
Ever watch a street artist atwork? What fun! A splashhere,adashthere,andfromablank canvas a picture just...
appears. He uses nomechanical tools at all, nocolumns, rulers, or guides,yet the result is a beautifulwhole.It’ssofluid.Thebestdesignislikethat.To see how it works, let’sdesignapage,but insteadofa grid,we’ll use this picture—whatwesee—asourvisualguide. Its lines, shapes,proportions, and theirrelationshipswillgovernour
choice of type, sizes, colors,layout,andeverythingelse.Whatcanyousee?Measuring only by eye(closely, not exactly), canyouanswerthefollowing? • Is the man as tall as
theglobe? • Is theman aswide as
thepot? •Howmanypotswideis
thetree? • What else in the
pictureisthesizeofthepot?
1. Take a visual
inventory
Every image has lines,shapes, textures, colors andsoonthatcanguideadesign.First step is to take a visual“inventory.” Start with thebigelements.
BasicshapesThe
imageismadeofthreebasicshapes.
SizesIthasa
hierarchyofsmall,medium,andlarge
elements.
LayoutThecompositionisfairly
balanced.Focalpoint
A good image has a focalpoint. This image has two—one physical and onephantom.
PhysicalTheprimary
focalpointisusuallythebiggest,clearest,ormostvividobjectintheimage—inthiscase,theglobe.
PhantomThethree
formscreateacompositionaltriangle,thecenterofwhich—justwhatyou’dwant—isonthemoney.Thecenteristhe
strongestpointofanyvisualfield.
SecondaryThe
phantomisreinforcedbythefocalcenterofthewhitetriangle.Had
younoticedit?Objectsandspaces
Theobjectsandspacesinthisimage are unusuallyrepetitive.
Thepotisthesamesizeasthespace
aboveit...
...andthesizeofthe
spacebesideit.
It’sthesamesizeas
NorthAmerica!Closeenough...
Artistic relationships areperceptual, not mechanical.If it looks close enough, itreal lyis close enough, soinventoryonlybyeye.
Theimageisfourpots
tall.
Aone-potspace
encirclestheglobe.
Themanfitsapot
space.
Anaturalgrid
Thisimagehasanaturalgridthatisunusuallyuniform.Itselements are so repetitivethattheycreateawholegrid!
Smallerelements
Whileyou’relookingatthelargeelements,makenoteofthe
smallerelements,too.Payattentiontoedgesandcontrasts.Clearedgesarelikethe
man’sheadandlegs.SouthAmericastandsoutbecauseofitscolorcontrast.Theshadowareashave
obviousweight,andso
on.Takethetimetoconsciouslyobservethesethings.Whatyou’redoingis
trainingyoureye.Itwillsoonbecome
intuitive.Shapeandtexture
Be aware of what the linesare doing. Note if they’restraight or curvy, wherethey’re close or far apart,where they change direction,andsoon.
Lookatallthe
triangles!Thesecreate
visualmovement.
Trianglesareevidentateverydistancefromfarthesttonearest.
Theedgescreatea
repetitivetexture;note
thepointinessthroughout.
2.Choosecolors
The next step is to create acolorpalettefromtheimage.
Abazillionpixels!Colorplaysamajorroleindesign.Theeasiestandbestplacetogetaperfectly
coordinatedpaletteistheimageitself.First,reduceitsthousandsof
pixel-sizecolors(right,inset)toaworkablefewby
applyingPhotoshop’sorIllustrator’sbuilt-inMosaicfilter(far
right).Rarelywillyou
wantmorethan64colors,andusually32oreven16arebetter.Forfewercolors,
increasetheCellsize;formore,decreaseit.Organize
Sample color swatches withthe eyedropper tool, then
arrangealloftheswatchesbycolorandvalue.Youcansee inMosaicmodethat the image has severalmajor colors—the blues andgreens of the globe,terracottas of the pot, andgrays of the man. Sampledark, medium, and lightpixelsfromeach(belowleft).Neatly arrange your choicesbycolor,thenbyvalue(darkto light). Take the time to
actually do this; you’ll besurprised by how much ithelpsyouvisualize.Sampleafew minor colors—in thiscase, yellows and violets—that can be used forcomplements andcounterpoints. Discardlookalikes.
Tryeachoneon
Try the image atop a swatchof each color. What you’llsee is that every color youpicked automaticallycoordinates, because it’salreadyinthere!
CoolcolorsCoolcolorsaremoredirect
andsomewhatbusinesslikeandaloof.Theblueglobenowblendsintothe
background,andthoseoppositeorangesstand
out.
WarmcolorsWarmcolorsaresoft,earthy,welcoming,suitableforenvironmentalmessages.Notehowtheblueglobestandsoutagainstitsoppositecolors,theterracottas.
3.Selecttype
Next, we need to select atypeface that feels like theimage.There are many ways tochoose a typeface.You mayhave a house style, so nochoice is required.Youmayhave a look already inmind—say,formalorbusinesslike
or collegiate.Youmay havea new favorite to try out,which is always fun.Whatever the case, keep inmind that type is graphical,just like an image. Its lineswill sweep or jog or dive. Itwill have tooth and grain.When you add type to adesign, its visualcharacteristics interact withthosealreadyonthepage,forbetterorforworse.
For this article, the image isdrivingourchoices.Ourgoalis to match the visualpropertiesofimageandtype.Ourtypechoicemustalsobefunctional—beautiful,readable,andreproducible.So what’s here?We’ve seenthat the image is full oftexture:Ithasarich,detailedsurface and a lot of “leafy-ness.”The leavesarepointy,evenly spaced, and they
actually look a lot like seriftype.Let’stakealookattypefacesin three common categoriesto discover what similaritieswecanfind.
Threeviewingdistances
Compare the type to the
texture at three distances—near,middle, and far; itwilllook different at each.Manytypefaces are better at onedistancethananother.
GlyphaisoutdoorsyAbeautifulslabserifwithperfectletterfit,Glyphaisboxyand
clean,withhardedgesandrepetitiveshapes.It’sexcellentinbothheadlinesandtext—anuncommonasset—anditsbold,slabsidesmakeitanaturalforoutdoorsynatureoftheart.Glyphaisalsoveryeasytoread.
Problem?Itlooksnothingliketheimage.
Near
Middle
Far
Turnitupsidedown
A reliable way to “see” atypeface is to turn it upsidedown, which reveals itsridges, hollows and, funnyknicknacks that are alwaysfeltbutnormallyunnoticed.
MyriadiscrystalclearForoutright
visualclarity,thereisprobablynotypefacebetterthanMyriad.Extremelygoodinheadlinesandshortpassagesoftext,
Myriad’slarge,opencountersandminimalformsretaintheirclarityateventhe
lowestresolutions.Myriadprojectsa
light,fresh,cleanlookthat’sanaturalforgreentopics,butitdoesn’tlooklikeour
image.
Near
Middle
Far
Watchthesurface
While you’re comparinglinesandedges,payattentionto surface texture, too. Notethe leaves are irregular andgrainy,with amottled blendofcolors.
GalliardRomanistexturedGalliardisa
Romantypefacewithchiseledfeaturesandsharp,exaggerated
serifs.Itsthick-to-thinstrokeshelpmake
Galliardeasytoread,althoughitsangleswouldbetiresomeinlargeamounts.Itcomesinseveral
weights,it’swellproportioned,ithastheeasyfamiliarityofseriftype,anditlooks
liketheleaves!Galliardwillbeour
choice.
Near
Middle
Far
4.Layout
Layout is where those lines,shapes, spaces, colors, andtextures finally get put towork.We’llillustratehowbydesigning a legal-sizebrochurepage.
WorktotheimageFirststepistoplacetheimageonthepage.Where,andhowbig?
Thekeyistohavevisiblerelationships.Becausetheglobeanditspothaveastrongcentralline(right),
centerpagewillbeitsstrongestposition,whereeachwill
reinforcetheother.(Remember,it’s
center-ish;noneofthisisrulerexact.)Similarly,thepot
spacewesawencircletheglobewillbe
visibleasatopmargin(right).
Forthisdesign,we’vehiddenthenon-printingfoldlines(left);wecareonlyaboutwhattheeye
cansee.
Legal-sizedbrochure,
14″×8½″Settheheadline
A rule of design is to workwith what’s in front of you;don’t arbitrarily make stuffup. Here, the headline picksup the visual characteristicsoftheglobe.
Typebasedonsize,color,andtexture(Right)Placinga
headlineacrossthetopisnormal,butdon’tdo
it;thestraight,horizontallineisaforeignobjectthat’sdifferentfromwhat’sinfrontofus.Instead,
ablockofoverlappinglinesinGalliardUltramimicsthesize,mass,color,andtextureoftheglobe,avisiblerelationship.Its
positionbesidetheglobe(below)strengthensthe
connection.Notehow
theinteractionoftranslucentserifs(whiteinset,below,right)mimicsthesizeandtextureoftheleaves.Marginsareunalignedinanyway.
Addphotosandtext
As you add things to the
page, its complexityincreases, and it becomesincreasingly difficult tosustainvisualcoherency.Payattentiontowhat’shappeningaroundyourmaterial—inthemargins, at the edges,betweenthings.
Rectangularspace,organicdesignAparadoxofdesignisthatwhilenatureis
organicandirregular,paperandtextblocksarerectangular.Theserectangleshavestrongandoftenunwantedvisualpresence,andit’sachallengeto
“unrectangle”apagewithoutmessingupthereading.Butthere
areways.Inthiscase,thephotosandtext
remainunaligned,yetmeanderdownwardfollowingthegeneralcontoursoftheglobe
(left).Unlikeastandardtextwrap,makesurethatnoidentifiablewhite
shapesformbetweenelements.
Toothytexture(Left)SetinGalliardUltraandcoloredliketheglobe,thespeakers’
namesstandoutfromthesurroundingtext,whilethewholeparagraphhasthetextureofthe
illustration,aneasyblendofformand
function.Aligntothepaper
The paper is also an activeelement that can be used asneeded. Here, the leadparagraphandkeydetailsarealigned right to an edge,establishingavisualanchor.
ThatrecurringpotspaceIfyou’vetakenthetimetothoroughlyinventoryyourimage,you’llfindyourselfseeing(orfeeling)
thingsyou’dotherwisemiss.Above,thepotspacerecursalmostintuitivelybetween
elementsonthepage.Asaresult,whilethelayoutappearsonlylooselystructured,ithasrealcoherencythat’sfeltmorethanconsciouslyobserved.Notealsothattheleadtextblockintheupperright,liketheheadline
acrossfromit,isthegeneralsizeandshapeoftheglobe,anotherintuitivesetting.
Descendingsizes
Finally,textalignedrightdescendstothelower-rightcorner,thenaturalexitpointof
thepage,inincreasingdetail.Notethattheragged-leftedgesmeanderloosely
aroundtheimageasbefore.
The empty page hasalottosay:Don’tflypast that setupdialog! It’s whereyourdesignbegins!
A blank page may havenothing on it, but it’s themost importantnothing adesignerwill encounter. It is
the platform upon whichgreat design is built. It ishere that you establish yourworld—the dimensions ofyourpage, itsorientation, itsactive space, and whether itappears alone or in pairs.Thesechoicesaffecthowthepage is perceived, how it’stouched, how it’s read, andultimately,itssuccess.Which page size does what?Where does a reader’s eye
go? What does empty spacedo?Herearesomeanswerstoquestions you didn’t knowneededasking.
Payattentiontoallofthedesignresources
andoptionsavailabletoyoubeforeyou
clickOK.1.Pagesize
Why are movies at thetheater better thanmovies athome? Because they’re soBIG!They thunder, they fly;ourheadsmustturntofollow
the action. At home we cansee thewhole scene at once.Thedifference in size is onenot of performance but ofperception, and it plays avitalroleinourexperience.We relate image size to ourown size. It is our humanscale that governs how wesee.Inprint,ourfocal“zone”isaspaceroughlythesizeofourown head—at reading
distance, about a letter-sizesheet.Adesign in this spacewillbeperceivedasawhole.Atabloid,attwicethesize,istoo big for a single view; totake it in our eyes mustmove, so we see it (and itmust be designed) insections.Our perception of a page isalso influenced by itsproportions. We thinkdifferently of a tall, narrow
page(airy)thanasquareone(earthy).Theidealproportionhas for millennia beenconsidered the “goldenrectangle,” a ratioRenaissance mathematiciansdefined as 1 to 1.618. TheGreek Parthenon is a goldenrectangle. Goldenproportions can be found inwindows, tabletops, photos(3″×5″,4″×6″,etc.)andthehuman bust. Generallyspeaking, the most pleasing
rectangle has a length oneandahalftimesitswidth.
Torunonmodernpresses,aestheticsmustoftenyieldtoefficiency,whichmeansemployingstandardpapersizes
(left).TheInternationalStandardASeries(below)illustrateshow
efficientlysmallsheetsaremadefromlargeones.TheAseriesisbasedonasizecalledtheA0,arectangularsheet841mmby
1189mm[*](33 ″by46¾″).CuttinganA0inhalfproducestwoA1sheets,cuttingan
A1inhalfproducestwoA2sheets,andsoon.Everysheetintheseries,nomatterhowsmall,hasthesame
shape.
Goldenrectangle
A page can be foldedcrosswise or lengthwise, inhalves, thirds, quarters, orasymmetrically. A foldeddocument has heft andsubstance that a flat sheetdoes not. And while a flatpage reveals its contents allat once, a folded documenthides some to be revealedlater, a tantalizingopportunityforthedesigner.
Foldinhalfineither
direction...
...ortwicetomakeanotecardthatprintsonasingleside.
Letterfold
Gatefold
Off-centerfold
2.Orientation
Orientationreferstohowthe
pageisplacedinfrontofus.A tall page “looks in”—thatis, the reader focuses on itsvisual center. A wide page“looks out,” meaning thereader looks to the right andleft margins, wanting to seetheentiresheetatonce.
Weinstinctivelyholdawidepagefartherawaythanatallpagesoournaturalfieldofviewcancapturetheentirepagewithout
scanning.
Thevisualcenterofapage—ourfocalpoint—isateyelevelorslightlyhigher,notinthegeographicmiddle.Thisistrueonboth
tallandwidepages.Thenaturalstartingpointforprinted
material,therefore,isnear,orslightlyabove,eyeheight.
Oureyesdonoteasilycometorestonawideor“landscape”page(above).Theyroam
insteadfrommarginto
margintoembracetheentirefield.Ifyouwantyourreadertofocusonasingle
objectorinanarrowzone,useaportraitview(left),which
drawstheeyeinward.3.Marginwidth
Margins play a key role inattractive, effectivecommunication. Marginsframe the printed materialand act as a container. Toonarrow and there is nocontainment; the framingeffectisdefeated,andtheeyetends to wander (the biggerthe page, the greater thiseffect).Ifthemarginsaretoowide thematerialcanappearfrivolous.
How much space should bedevoted tomargins?Rule ofthumb:Fiftypercent,or1½″per side around a 9″ × 12″page, keeps the reader well-focusedonthematerial.
Toonarrow;no
containment
Toowide;canseem
frivolous
Justright
EqualEverymarginis
thesamewidth.Common.Static.
Bureaucratic.Readerwillhaveno
awarenessofmarginsatall.
FramedFramedlikea
picture.Sidesandtopsamewidths,bottomwider.Grounded.Stable.Hasthe
illusionoffourequalmargins.
ProgressiveThe
traditionalbookmargins.Narrowest
marginisonthegutterside;topmarginishalfagainaswide,outsidetwiceaswide,bottomthreetimesaswide.
ProportionalClassic
margins;theprintedareaisthesameshape
asthepage.Noarithmeticinvolved:Drawadiagonal,thenconnectthecorners.Offsettotheinside.
AspreadisasingleimagewithamiddlemarginAspreadturnstwotallpagesintoonewidelandscape.Youmustdesignthesepagesconcurrently,notseparately,
becausethey’llalwaysbeviewedintandem.
Toprightillustratestheproblemofsettingupmarginsseparately;equal-widthmarginsleaveadouble-widegapbetweenpages.Progressivenarrow-wider-widestmargins(right,bottom)solvethis;gutternow
matchesoutsidemarginsandpagesflowharmoniously
together.
Drawdiagramsasshown
GreatguidelinesSet
desiredinner
guidelines,thendoublethewidthfortheouterguidelines.
Drawhorizontallines
whereguidelinesanddiagonalsintersect.
Repeatontheoppositepage
Ourcolorwheel:Thecolor wheel is ourtool forunderstanding whichcolorsgowithwhat.
Whereverthereislight,thereis color. While we think ofcolors as independent—thisblue, that red—a color is
never seen alone but alwaysinthecontextofothercolors.Like a musical note, no onecolor is “good” or “bad.”Rather, it’s one part of acomposition thatas a wholeis pleasing or not. The colorwheel is our tool forunderstanding how colorsrelate to one another.Here’showitworks.
Thecolorwheelistherangeofvisiblelightmadeintoacircle.
Infinity,simplifiedWhitelightcontains
allvisiblecolors,whichformaninfinitespectrumthatalwaysappearsintheviolet-to-redsequenceyouseeinarainbow
(above).Tomakeitpractical,thecolorwheelrepresentsthisinfinitywith12basic
huesprettymuchlikethoseinyourfirstbox
ofcrayons.Whatarethecolors?
Thewheelhas12basichues.First are the threeprimarycolors of blue, yellow, andred. Primary colors combineto makesecondary colors,
which combine to maketertiarycolors.
Primarycolorsare
thewheel’s“parent”colors;theyaretheonlycolorsnotmadefromothercolors.Theprimarycolorsare
positionedaroundthewheelinthirds.
Secondarycolorsarehalfwaybetweentheprimarycolors.Eachismadefromequal
amountsofthenearestprimaries.
Tertiarycolorsfilltheremaininggaps.Theyaremadefromequalamountsoftheadjacentprimaryandsecondarycolors.
Colorsincommon
As you can tell, every color
ispartofthecolornexttoit,whichispartof thenextandthe next, all the way aroundthewheel.Colorsincommonare the basis of colorrelationships.
Blueiscommontoallsevencolors,whichgetlessblueasthey
fanout.Greenandvioletarethe
secondariesthatcontainblue.
Yellowiscommontoallsevencolors,whichgetlessyellowasthey
fanout.Greenandorangearethesecondariesthatcontainyellow.
Rediscommontoallsevencolors,which
getlessredastheyfan
out.Orangeandvioletarethesecondariesthatcontainred.
Colorvalue
Color also has darkness andlightness, orvalue. To showvalue, the color wheel hasmorerings:twobigringsforthe darkshades and two
smallringsforthelighttints.
Tintsandshades
(Left)Ashadeisthehueplusblack,andatintisthehueplus
white.
Infinitegradient(Below)Fivestepsrepresentwhatis
actuallyacontinuousgradientfromwhitetoblack.Atintorshadecanfallanywhereon
thecontinuum.Colorrelationships
The following pagesillustrate the six basic colorrelationships.Each can yieldan endless number of colorpalettes.Any palette can includeshades and tints along withthehue.Theresultcanbealldark, all light, or anycombination.
MonochromaticFirstarethedark,medium,andlightvaluesofasinglecolor.Thisisa
monochromatic
palette.Ithasnocolordepth,butitprovidesthecontrastofdark,medium,andlight
that’ssoimportanttogooddesign.
AnalogousAdjacentcolorsarecalled
analogous.Analogouscolorssharestrong
undertones(here,yellowandred),
whichcreatepleasing,low-contrastharmony.Analogouspalettesarerichandalwayseasy
toworkwith.
ComplementDirectoppositesonthecolor
wheelarecomplements—inthiscase,blueandorange.
Whatthecomplementbringsiscontrast.A
coloranditscomplementconveyenergy,vigor,and
excitement.Typically,thecomplementisusedinasmaller
amountasanaccent—aspotoforangeona
bluefield,maybe.
SplitcomplementOnestepeitherwayarethecomplement’s
ownanalogouscolors.Thispaletteiscalledasplitcomplement.Itsstrengthisinthelow-contrastbeautyof
analogouscolors,plustheaddedpunctuationofanoppositecolor.Inthiscasethered,becauseit’smost
different,wouldlikelybeusedastheaccent.Theamountofcolormatters.Palettes can be madewarmer/cooler,darker/lighter,stronger/quieter,andsoonbyusing more or less of somecolors.
PrimaryTheprimarycolorsarerarelyseenasatrioexceptin
children’sproducts.Redandyellow,
however,arepopularinAmericancultureforeverythingfromfastfoodtogasoline.Redandblueare
commonbutattractiveonlyifseparatedby
openspace.
SecondarySecondarycolorshavealotincommon—twoshare
blue,twoshareyellow,andtwoshare
red—sotheyharmonizeeasily.Asa
triotheyaresoft,inviting,andrich,andhavepleasingdepth
anddimensionthatarehardtogetinother
ways.
Nowforaquiz
Trainyoureye:Eachcoverusesoneofthe
basiccolorrelationships
(monochromatic,analogous,
complement,splitcomplement,primary,orsecondary).Can
younamethem?Hint:
Lookatthebigcolors,notthesmallones;ignoreblackandwhite.Answersare
below.Answerslefttoright:monochromatic;complementary;
primary;analogous
How to find theperfect color: Thecolor palette youneed is alreadyhidden in the photo.Here’showtofindit.
Here’sthesituation:We’redesigningan
academicscheduleforawomen’scollege,andforaphotowe
havethisno-nonsense,freckle-facedmodel.Thegoalistolookfresh,alive,and
personal(nobuildingsandgroundsshots)whileconveyingthesensethattheprogram
isseriousandbusinesslike.Anoteof
trendinesswillbegood.Coloris
involvedinallofit.Nosinglevisualelementhasmoreeffectonaviewerthancolor. Color gets attention,sets a mood, sends amessage.Butwhatcolorsarethe right ones? The key ist h a tcolor is relational.Colors don’t exist in avacuum but are always seen
withothercolors.Becauseofthis, you can design a color-coordinated document basedon the colors in anyelementonthepage.Here’show.
1. Look close, closer,closest
Every photo has a naturalcolor palette. First step is tofinditandorganizeit.Zoomin on your photo, and you’llbe astonished by how manycolorsyousee.
Atnormalviewingdistance(left)weseeafewdozencolors:skintones,redhair,blueeyes,bluejacket.Butzoomcloser,andweseemillions!Firststepistoreduceallthosecolorstoa
manageablefew;you
want16,32,64tops.InPhotoshop,firstduplicatethephotolayer(soyoudon’t
losetheoriginal),thenselectFilter>Pixelate>Mosaic(right).A
largeCellSizegivesyouveryfewcolors;ifyouneedmore,reduce
thesize.2.Pulloutthecolors
Now extract colors with theeyedropper tool. Work fromthebiggestcolor(theoneyouseemost of) to the smallest.For contrast, pick up dark,medium, and light pixels ofeach.Work firston thebigcolors.
Thesearetheonesyouseeata glance; her skin and haircolors and blue jacket. Thendo the small colors—hereyes, lips, the highlights inher hair, and soft shadows.You can see in this image alightsideandashadowside;it’s subtle,butpayattention.Finish each area beforemovingon.Sort your resultsby color, then each color byvalue(lighttodark).Discardlookalikes.You’llbe thrilled
bywhatyoufind.
3.Tryeachoneon
Place the photo on a swatchofeachcolor.Theresultsarepretty, aren’t they? What’s
fun is that this will alwayslookgood,becausethecolorsyou’re using arealreadythere.
WarmcolorsThesearethewarmcolors—pinks,salmons,sepias,
browns—ofthered-hairedmodel.Thewarmercolorsmakeherlooksofterand
morefeminine.Thesecolorswouldbegood
foracosmeticmessageoracaring
message.
CoolcolorsThecoolcolors—blues,mainly—makeforamoreserious,businesslike
relationshipandconveyadirect,to-the-pointmessage.
Notethatasthevaluesgetdarker,herfacegetsperceptually
brighterandappearstoriseoffthepage
towardyou.
4.Addtothecolors
Thenextstep is toaddmorecolors. Select any of thecolors, and locate it on thecolorwheel.Thepurposeofacolorwheel is toshowyouacolor’s relationship to othercolors.
Pick any of the photo’scolors—let’s use this blue—and find its generalvicinity[*]onthecolorwheel.We’llcallthisthebasecolor.We already know that thebase color goes with thephoto.Ourjobnowistofindcolors that go with the basecolor. Keep in mind that iftype or other graphics areinvolved (pretty typical),you’ll need both dark and
lightcolorsforcontrast.
5. Create colorpalettes
From your base color, youcan now create an exciting
range of coordinated colorpalettes.Valuescanmix.Forexample,mediumblueworksw i t hlight teal anddarkviolet.
MonochromaticFirstarethedark,medium,andlightvaluesofthe
basecolor.Thisisamonochromatic
palette.Ithasnocolordepth,butitprovidesthecontrastofdark,medium,andlight
that’ssoimportanttogooddesign.
AnalogousOnecolorsteptoeithersideofthebasecolorareitsanalogouscolors.Analogouscolorsshareundertones(here,blue-green,
blue,andblue-violet),whichcreatebeautiful,low-contrastharmony.Analogouspalettesarerichandalwayseasy
toworkwith.
ComplementDirectlyoppositethebasecolorisitscomplement—inthiscase,theorangerange.Whatthe
complementbringsiscontrast.Acolorand
itscomplementconveyenergy,vigor,
andexcitement.
Typically,thecomplementisusedinasmalleramountasan
accent;aspotoforangeonabluefield,
asshownabove.
Complement/analogousThismixedpaletteisthesameasthesplitcomplementbutwithmorecolor.Itsaddedrangeyieldssoft,richharmonyonthewarmsideandsharp,icycontrastonthecoldside,anintenseand
excitingcombination.
SplitcomplementOnestepeitherwayonthewheelarethecomplement’sown
analogouscolors.This
paletteiscalledasplitcomplement.Its
strengthisinthelow-contrastbeautyof
analogouscolors,plustheaddedpunctuationofanoppositecolor.Inthiscase,thebluewouldmostlikelybeusedastheaccent.
Analogous/complementColorsanalogoustoourbasecolormake
coolharmonypunctuatedbyahot
spotofcomplementary
color.Keepinmindthatoppositesofthesamevaluetendtofightbutcomplement
whendifferent(below).Thisiswhy
youwanttoeyedropperdark,medium,andlightvaluesofeachcolor.
Oppositecolors,same
value
Oppositecolors,
differentvalues6.Editandapply
Designthepage,andnowit’stime to make color choices.How to pick? The key is tothinkmessage. Weigh eachagainst the original purposeby asking,whichcolorsmeetthegoaloutlinedon the firstpageofthisarticle?
AllbusinessBlueiseveryone’sfavorite
color.What’sinterestinghereisthatblueandorangeare
nativetothephoto,givingitexcellentnaturalcontrast.Thebluebackground
swallowsherjacket,allowingherintensegazetoliftrightoffthepage.Handsomeandbusinesslike.
SeriousThispalettebeganinthedeepredofherhair,andforanaccenttooktwosteps
towardyellow.Hereyesandjacket,whichonbluerecededintothebackground,nowstandincontrast.Notethattheredinherhairisamerehighlight,butfillingthepageitacquiresrealweight.Serious,warm,draws
thereaderin.
IntenseThehighlightsinherhaircarrythispage;theblueaccentlendscontrastand
depth.Anunexpectedpointofinterestistheyellowheadline,
whichseemscutoutofthephoto.
Dimensionallyflat,thismixisintenseandengaging(andwould
winthedesigncontest),butittakesa
daringclienttochooseit.
Reminder:Valuesmix.Youcanalwaysusedark,medium,andlightofanycolor.Notehereboth
mediumandlightteal.CasualAnalogoustotheblue—astep
towardgreen—isteal,abeautifulcolornotin
thephoto.Itsdifferenceaddsdepthandvibrancyandrelaxesthemessage
somewhat;it’strendiernow,more
approachable.Hereyes,whichagainstbluelookedblue,nowtendtowardgreen.
Typecolor,stilllightorange,isasoft
contrast.
PrettyOnesteptheotherwayisblue-violet,anothercolor
notinthephoto.Blue-violetisashifttowardred;theresultisa
slightlyflatterimage,becauseface,hair,andbackgroundarenowmorealike.Blue-violetisacoolcolornormallyassociated
withsoftness,
femininity,andspringtime(withundertonesoffreshness).
What typeface goeswith that?: How topick a typeface thatcomplements agraphic.
You’ve found the graphicyouwantandneedatypefaceto go with it. How do youchoose?
We think of type assomethingtoread,buttypeisactuallyartwork:A,B,andCare lines, corners andsquiggles—images—towhich we’ve assigned soundandmeaning.This is why type is soexpressive. While thealphabet representsdata,words in print conveyplayfulness, stateliness, orbusiness depending on how
they’redrawn.Whichisthekeytoselectingjust the right typeface.Sincetype and graphics are,visually speaking, thesamething,youneedtocoordinatetheirvisualproperties.We’ll show you. In thisarticle,Harry&Sonshaveafavorite graphic—this treehere—forwhich theywant acomplementary typeface tocompletetheirbusinesscard.
Watch.
Before
1.Evaluatetheimage
To coordinate type andimage, we must first findtheir common visualproperties. Start with thegraphic, and evaluate it forproportion, shape, line, andtexture.Because we tend to onlyidentify images (“this is atree”) and not reallyseethem, this drill may at firstseemlikelookingforfacesin
the clouds.But look closely;there’salotthere.
Proportions/massProportionsandmassareBIGandaffecteverything.Becauseproportionscanbe
deceptive,it’sagoodideatodrawa
boundingbox(above).Actuallydrawit;don’ttrustyoureye.The
treeissquare,symmetrical,upright.
LineLinemeanstheoverallsweepordrape—asinthelineofadress—anditalso
meansedge.Here,weseeapredominantlyhorizontalsweep,a
top-downdrape,andagnarly,detailededge.
ShapeShapeistheprimaryqualityby
whichweidentifyanimage.Thetreeisanovoidshapeatopastraight-line,verticaltrunk,andhorizontalbase—somethingofan
eggonastick.
TextureThetreehas
alotofsurfacetexture.Theirregularfoliageisobviousandrandom,butnoteespeciallythe
interactionofthick-thin,negative-positiveareas(squintandit’seasier);whichappearasshapesandrivers—
likethesurfaceofamossypond.
2. First edit:Incompatibletypestyles
There aresomany typefacesavailablethatwehavetoculloutmanyquickly.Startwiththe biggest elements—
proportion and shape—andeliminate the styles that aremostdifferent.With a visual understandingof the tree, it’s easy to seethat condensed, extended,and swoopy typestyles don’tmatch its square proportionsand symmetrical shape. Theblocky typeface is closest tosquare but artificiallyconstructed, which islikewisedissimilar.The first
edit in this case eliminatesall typefaces except thosewith standard, squarishproportions and uprightposture.
Condensed
Extended
Swoopy
Blocky
3. Second edit: Lineandproportion
What’s funny is thatsquarish, upright stylescomprise half the world’stypefaces including all thestandard ones! So we mustlookfurther.Thesecondedit:lineandproportion.
Rightproportions,
wronglinesSans-seriftypefacesare
generallymechanicalandtendtohaveuniformstrokes,repetitivecurves,straightlines,andsharpcorners.Thelinesandtextureofthesefacesarequite
unlikethenatural,organictree(below).
Rightproportions,betterlinesLikethetree,old-styleRoman
typefacesarefullofdetailandvariety.Theirthick-thinstrokes,serifs,terminals,and
counterscreatealotoftextureandinteractionthatcancomplementtherichest,mostdetailedimage.
4.What’sleft?
After two major edits wehaveamuchshortertypelist.We’re down to standard-proportion, Romantypestyles.Which isbest? Inthiscase,lineandtexturearethekeys—butnowwe’lllook
closer.Standard-proportion, Romantypefaces are the oldest[*] ofall styles and the mostcommon.Theycanbesortedinto a half-dozen majorcategories, each with sub-categories. The basicproportions,serifs,andthick-thin strokes make Romantypestyles easy and pleasantto read; as a result, theycomprisemost of the text in
our books, newspapers, andmagazines.
Romantypestyles
5.Thirdedit
As before,we’re looking forcommonalitiesbutnowinthedetails. Look at all three
viewing “distances,” becausedifferent and usefulcharacteristics are evident ateachone.
MiddleShapeand
pattern
FarTextureand
“color”Times Roman PopularTimes Roman is a sharplydefined typefacewith pointycornersandthick-thinstrokes
of mechanical regularity. Itsserifs have flat ends that aretoo small to blunt the sensethey’re tiny needles thatwould prick your finger ifyou touched them. TimesRoman is too uniform andtoopointytocomplementtherounded,organicformsofthetree.
NearLinesandedgesPay attention to the smalllines, small shapes, andespecially the interactionbetween letters, whichcreatestexture—the tree isfull of texture! Do you seeuniformity or irregularity,
similaritiesordifferences?
BauerBodoniPartoftheModernserif
category,BauerBodoniisanuprightstylecharacterizedbyextremethick-thincontrastsandauniformstrokesorepetitivethatitcreatesapattern
(above).Modernsarebeautifultypefaces
widelyusedinfashionandfinance,buttheirsharpedgesand
geometricprecisionaremachine-madeandrigid,quitedifferent
fromthesoft,touchabletree.
MiddleShapeand
pattern
FarTextureand“color”
NearLinesandedgesRemember the faces in theclouds? It’s a matter oftraining your eye, but once
you can see patterns andcurrents, especially in thewhite spaces,yourworkwilltake a big step forward.Gargoyleisamatch.
GargoyleMediumOldStyleGargoyleisaHumanisttypeface;meaningithasOldStyleproportionsyet
withtheappearanceofhavingbeendrawnby
handinsteadofmechanicaltools.It’sfullofvarietyand
irregularity,withlowcontrastbetweenthicksandthins;funky,rounded
cornersandquirky
serifs,fewofwhicharealike.Its
interactionoflinesandshapesiswarm,
varied,andorganicjustlikethetree.Thisisourtypeface.
6.Putittowork
As with the type, let theimageinfluencethelayout—here it’s upright and statelylike the tree, centered withirregular edges. The deepgreen color is richer andmore organic than theoriginalbrightgreen.
After
Everythingbuildsoffthetree.Turnthecardupright,thenrundownthepagejustlikea
treetrunk—logofirst,aphantomvertical,
thenphonenumbers.Thisisthekey
information;theopenspaceallowstheeyetosettleandtakeitin.Samethingonthebackbutwitha
smallertreeandnoname,soit’snot
confusedforthefront.
Line-bylinepresentationiseasytoreadandsuggestsanappropriatelytree-likeoutercontour.Tree,typeface,layout,andcolorsarenowunified
inasinglelook.
Howcontrastscreatetype style: Usingcontrastproperlycanmake or break yourtypographicdesign.
Creatingcontrast is themostcommonofall typographicaltechniques; it yields thegreatest results in the
shortest time.How? It is thecontrastbetweenobjects thatdraws the eye: big againstsmall, black against white,few against many, and soforth. An insect can hidemotionless on a leaf andremain invisible until itmoves. Then, it is thecontrastofmovementagainsta stable background thatmakesitvisible.In type, contrast takesmany
forms: large/small,upper/lower case,roman/italic, serif/sans serif,heavy/light, black/white,plain/fancy. As theserelationships change, themessage’s tone—andsometimes its substance—changes.Typehasneverbeeneasiertoalter;yourcomputermakesitpossible to explore hundredsof permutations in a click.
Here are some principles towatch for, using gas stationsignageasourexamples.1. What pump areyouon,Sir?
By setting the sign in NeueHelveticaBlack,thedesignerhas chosen a businesslikepresentation. But the settingbegs a question: What’s the
5? Although the English iscorrect, the type gives thethree messages (pumpnumber, brand name, andtype of gasoline) the samevoice; that is, the same toneandemphasis.Sinceallthreeareequallyimportant,what’smissing? Contrasts!Although the messages areequal, theyarenot thesame;differences in weight andcolor will help the motoristbetter understand the
message.
2.A change of colorclarifies
Reversing the 5 from a barerasesthedoubt:Neitherfontnor reading order has
changed, but it’s now clearthere are two kinds ofinformation;ExxaneRegularis the gasoline; the 5 issomethingelse.It’snotclearthat 5 signifies a pumpnumber, yet when asked“What pump are you on?”it’sprobablywhatwillcometo mind. It’s equallyeffectiveinblackandwhite.
3. Weight changeaddsathirdlevel
One advantage of a typefamily with a wide range ofweights is that contrast canbe created without changingthe font. Here, HelveticaNeue Thin makes Exxanerecede—the motoristprobably knowswhat station
he’s at—so the key wordregular stands out. Insetemphasizesbrandname.Thecontrastissogreatthewordsare distinct even with nospacebetweenthem.
4. Color contrastsarestylish
Here, three levels areachieved with color changesonly; the type weights areidentical. Reversed to white,Exxane is light andattractive, yet theinformation of realimportancetothemotoristisleftblackandisdominant.Inblack,white,andgray(50%),the setting is clean, but thetwo white elements leaveroom to confuse number 5
andExxane.
5. Without the bar,spaceisneeded
With Exxane—the leastsignificant information (tothemotorist)—in thinwhite,an illusion of open space
appears; bold, black type iswhat the eye sees first. It’sacceptablebut less effective,as it pulls theeye twoways.On a dark color (right,below),whitetypeisstrongerthan black; reading order isreversed and improved.Why? The eye naturallymoves from left to right andignoresthelargegap.
6. Stacked in twocolumns
Stacked type improves thebar-less setting; it keeps theeye focused in a small area.Against blue, beige Exxanerecedes sufficiently to allowthin, white Regular to beseen. The result? Threedistinct voices. Inset, we
achieve clarity using colorchanges only. Contrast is sogreatbetweenthewhite5andblack background, it standsdistinct from lower-contrastcolorwords.Aquick-to-readsolution.
Typography 101:Type isa tool:Learnhow to use itproperly, and yourworkimproves.
When you italicize a word,should you also italicize thepunctuation that follows it?What’saligature?Docertain
charactersreallyhaveears?Oncesuchquestionswerethesole domain of typesettersand copy editors. Today,they’re your business. Theanswer to the first questioncan be found in theillustration below. For theanswers to the otherquestions,readon.But typographic issues aremyriad. For answers to justaboutanyquestionthatmight
comeup,consultoneofthesethree books, long-time andreliable sources ofinformation for editors:TheChicago Manual of Style;United States GovernmentPrintingOfficeStyleManual;andWordsintoType.1. What should youdo?
There are so many tinytypographic issues thatcomeup in so many jobs. Butthere’s a solution to everyone of them, if you consultthe right sources. Handlingthe situation properlyimprovesyourtypography.Proper style forpunctuation following aword:
Roman,Roman
Italics,italics
Roman,italics,Roman2. Watch yourspacing
Extremely narrow columnsof text are hard to read andharder to set, especially ifthey’re justified. Thisexample, clipped from anewspaper, illustrates the
hazard:
Asitappeared
Tighter
letterspacing
Alignedleft
Widercolumn
(A)Nowthisiswhatwecallariver;itmost
oftenoccurswhenjustifiedtypeispouredintoaverynarrow
column.Onesolution(B)istosetwiderletterspacingand
tighterwordspacingallowances.Betterstill(C)istosetthetypeAlignedleft,which
placesallexcessspaceatline’send.Anevenbettersolution(D)istoalignleftonawider
column.3. Learn to useligatures
Aligatureisatypecharacter
made when two or morecharacters are combined intoone. The most commonligaturesarefiandfl,bothofwhich occur commonly inEnglish andarepart ofmostfonts’ standardcharacter set.Most ligatures involve thelowercase f. A few fontsinclude more exoticcombinations.Ligaturesareconsideredveryfine typography but they’re
notalwaysworththetrouble.Here are the most typicalthreeconditions.
ClassicGaramondshouldalwayshavetheligature;notehow
thefandiactuallycollide.
HandsomeBookmangivesyouachoice;thecharacterslookgood
eitherway.
Withoutaligature,CenturyExpandedappearstohaveadoubledot.Theligatureeliminates
this.4. Use properfractions
Fractions that are part of afont are not simply smallversions of full-sizenumerals. They have beenspecially drawn to be morelike full-size numerals inweightandproportion.Given
a choice, use the truefractional numerals thatcomewithafont.If you don’t have truefractional numerals, you’llhavetomakeyourown.Youdo this by using yourprogram’s superscript andsubscript function for yournumerator and denominator.Set the size to about 70%(thisvariesbytypeface),andseparate numerator from
denominator with a fractionslash, not an ordinarybackslash.Setthesuperscriptposition to about 28% oruntil it aligns with the capheight, and set the subscriptpositionto0(bottom).
Superscriptand
subscriptcharactersareregularnumeralssetsmaller(typically
60%),andasaresult,theyappearlighterthanthefull-size
versions.
Truefractionalnumeralshave
beefed-upstrokesandproportionssotheirweight,or“gray,”matchesthefull-sizenumerals.Squintand
you’llsee.
Forhomemade
fractions,ourpreferenceisthatthesuperscriptnumeratorandcapheightalign.
InUnivers57Condensed,that
means60%sizeand28%position,setinInDesign’sTextPreferencesdialog
(InDesign>Preferences>
AdvancedType).
Forbetter
readabilityatverysmalltextsizes,tryincreasingthe
superscriptsizeto80%andreducingthe
positionto14%.Eightypercentisalmostfullsize.Ifyourreadersarestillsquinting,better
increasethetypesizeoverall.
5. Straighten thatwigglyedge
Haveyou sometimesnoticedthat type aligned vertically(on its right or left edge)doesn’tlookthatway?That’sbecausewhileyourmarginis
straight, the alphabet isn’t,and its curves, crossbars andpunctuationmarkscancreatethe appearance ofmisalignment. InDesign’sOptical Margin Alignmentwillfixthat.
Beforeoptical
alignmentYourcomputersaysthe
margin’saligned,butyoureyestellyousomethingdifferent.
Lettersandpunctuationmarks
havefunnyshapesthatmaketheedgeappear
wiggly.
After optical alignmentWith the text cursor activeanywhere in a story, selectWindow > Type&Tables >Story (above), checkOpticalMargin Alignment, andwatch what happens—allthose idiosyncratic bits gethung over the edge. What’sinterestingis that themarginis now misaligned, yet itlooks straight. The numberyou specify in the dialoggoverns the amount of
adjustment; generally itshouldmatchthepointsize.6. Quotation marks,apostrophes, andprimes: thedifferences
Our modern computerkeyboard evolved directlyfrom the standard typewriterand brought with it some of
its idiosyncracies. Because atypewriter has fewer keysthan English has characters,shortcuts were taken in itsdesign. One of these was tomake double and singleupright marks do multipleduty as opening and closingquotation marks,apostrophes, and primes—analphabetic marks thatareactuallyquitedifferent.Earlycomputers,restrictedto
128 basic characters, carriedon the use of uprightmarks,which,thoughfunctional,aretypographically incorrect.Today, however, truetypographic quotation marksandapostrophesare standardin all fonts—but they’re notalwaysused.Primes are less well known.Primes are used to denotefeet (’) and inches (”),minutes (’) and seconds (”).
Primes are not part of thestandardcharacterset.You’llfind primes mainly in pifonts,includingSymbol.
Onthetypewriter,doubleandsingle
marksareallthesame
Typesetbutwithtypewritermarks;alwaysincorrect
Correctlytypeset
Ifyoucareabout
settingtypecorrectly
andwell,TheCompleteManualofTypographybyJamesFelicishouldbeonyourdesk—open.Encyclopedia,
dictionary,andlecturecourseallinone,Mr.Felici’sbookisclear,
wellillustrated,
authoritative,andthorough(“AligningCurrencySymbolsinTables,”“Usesfor
SmallCaps,”“TextonCurvedBaselines,”
“WidowsandOrphans,”onandon);ifthere’satypesettingissuethat’snotinthis
book,itprobablydoesn’texist.(AdobePress,publishedbyPeachpitPress.)
Characterparts
Typographic characters havemany aspects and attributes.It can be helpful to beacquainted with the manynames.It’sveryhelpfultobeaware that these many traitsandpartsexist in learning tospecify and identifytypefaces.
7. 48-point type inthreesizes
A character’s point size haslittle to do with the size ofthecharacteritself.Pointsizeis instead the height of theinvisible bounding boxcontainingit.A24-pointboxis said to hold a 24-pointcharacter, though thecharactercanbeanysizethatfitsinthebox.This is a holdover from the
days when type was moldedfromhotleadintoaphysicalpiece ofmetal called a slug.Typically, a small spacewasleft on the slug above theascenders and below thedescenders so they couldn’tbe lopped off during setting.Asaresult,thedistancefromascender to descender wassmallerthanthepointsize.Just how much smaller,though, has become an
artistic free-for-all. Atypestyle with shortdescenders will measuremuch smaller, as much asthirty percent. Script styleslikeRegencyoftenhave tinycursive bodies with long,swashytails,sotheymeasurebigbutappearsmall.Astylewith a tallx-height canmeasure small but appearbig,andsoon.
Inthephysicalworldtwoplustwoalwaysequalsfour.Butinthedesignworldsuchbothersomephysicallawsaresuspended—twoplustwocanequal,well,picka
number!Forexample,howbig,wouldyousay,arethethree
typefacesabove?Giveup?Allthreeare
exactlythesame:48points.Orsoyour
computerwilltellyou.Acharacter’spointsizerefersnottothe
sizeofthecharacteritselfbuttotheheight
oftheinvisibleboundingbox
containingit.Theactualcharactercanbeanysizethatfitsinthebox.Becausetypestylesaresodiverse—someare
stubbyandfatwhileothersaretallandthin—fontsizesthataretechnicallythesamecaninrealitybeverydifferent.Andtype
designersoftenignoreeventheseoddrules!Noteabovehowallthreetypefaces
disregardtheirboundaries.Inmoderndigitaltypesettingtheonlyconstantisthebaseline,whichsitsone-thirdthepointsizeupfromthebottom.Maybe.
Ideally, type would bemeasured differently. Herethe same three typefaceshavebeenrescaledaccordingto cap height—and what adifference! They’re muchmore uniform. Ascenders,descenders, and x-heights(theheightsof the lowercase
characters) will always varyaccordingtostyle,butwithaconstant cap height thevariationfromfacetofaceismuch less.Withoutaffectingtypographic artistry at all,this method makescomparison easier and givesusaconstanttomeasure.
Technique
Many from one: Bigphotos have smallphotos inside. Here’show to get severalimages out of oneoriginal.
Did you realize that bigphotos have small photoshidden in the details—a
collar, a button, a necklace?So take advantage—slice animage and use it in pieces!What’scoolisthatthesliceswill have a built-in unity ofcolor and texture, allowingthemtoworkeasilytogether.
Thisonephoto...
...madethisentire
layout.1.Story
Thekeyistopickgoodparts.Thinkstory. What’s fun isthat taking images out ofcontext gives themnewmeaning. Isolate differentsections, visualizing whateachmightnowconvey.Whenwefirstsawthebeachscene,we saw it as awhole,more or less unaware of thedetails. But by isolatingsections,weseethateachcan
tell a story that contributesitsownintrigue.
Prettydreamyscene.Isitclosetohomeorhalfaworldaway?
Outofcontext,wecan’ttell.
Oldthingsseemto
havemorecharacterthannewones.Takethistatteredoldboat.Itmakesyouwonderwhatithasseeninits
lifetime.Outofcontext,it’saloneandlonely.Doessomeoneuseit?Whatisitdoinghere?Those
footprintsinthesand,whosearethey?
Howlongisthe
coastline?Thissmallpiecemightseeminsignificant,but
becauseitshowslandandwater,itunifies
theothertwoimages.Awaveimplies
movement,erosion,thewind.
2.Scale
Viewers generally perceivebig images as important. Bymaking a small image bigand vice-versa, we can
change its emphasis andbring out different parts ofthestory.
Thebowoftheboatoccupiesasmall
percentageoftheoriginalimage—lessthanatenth—butin
ourlayout,it’shalf.Itsnewsizehaschangeditfromaninterestingobjecttothemain
storypoint.
Big,medium,small
Notethegreatdifferencesinsizeamongthethreeimages.These
differencesareusefulforcreatingvisual
hierarchy;thereader’seyemovesthroughthelayoutfrombigto
small.
3. Same technique,differentlook
All the pictures on theWeb
page below are from oneimage. Five slices of thephoto—plus coloredrectangles—have turned asinglechairintoahandsome,multi-imagedisplay!
4.Lookatthedetails
Up close, an ordinary objectis a surprising potpourri of
lines, shapes, colors, curves,corners, and edges. Look forcontrasts (light-dark, square-round)andvariety.
5.Layout
Top and bottom halves ofthis layout draw the eyes indifferent ways. The top halfisempty,airy,andquiet; thebottom half is full and busybutwellorganized.It’s amazing how from oneimagewecangetapagefullof contrast in scale, mass,shape,texture,anddirection.
QuiettophalfThe
empty,whitespaceallowsalleyestosettleonthechair.
BusybottomhalfInterlockingimagessuggestactivityand
abundance.Thereisnofocalpointbecausetheimagesareall
withintheboundaryoftherectangularshape.6. Similar colorsharmonize
Replacing a few sections
with flat color lightens thedesign and creates siteheadings, too. The key to anattractive page is to nowcoordinate the flat colors totheimage.Use the eyedropper tool tosample a range of colors inthechair,thenlocatethemonthecolorwheel. In thiscase,they’re all warm. To retainthe warmth, select a colorjust a spoke or two away as
shown below. Suchneighboring colors areanalogous, meaning theysharecolors—inthiscaseredand yellow—and so alwaysworkwelltogether.
7. Opposite colors
contrast
Here, we’ll cool our chair’swarmpaletteby selectinganopposite color. For contrastand energy, use an oppositecolor, orcomplement.Opposites are usually themostexcitingcombinations.
Becauseoppositesdemandequal
attention(left),theytendtocanceleachother.Solvethisbylighteningoneofthecolors—inthiscase,blue—whichmakesitrecede,allowingthewarmchairtocome
forward.
Morefromless
Here’s another example ofhow to turn one photo intomany. You can tell thearrangement below is onlyone photo, but the threeoverlapping frames add alevel of visual interest thatconveysthesenseofmore.
Oneimage...
...into“many”
(1)InInDesign,makesome“frames”outofoverlaidrectangles.
(2)Positionyour
photoasshown,then
Cut.
(3)Oneatatime,
selecteachframe,andEdit>PasteInto.
Cropping basics:How to crop photosfor function andmeaning.
Cropping isn’t simply atechniqueformakingaphotofitintoaspecificholeonthepage. It’s actually a verycreativetoolthatcanmakeagoodphotobetterandalousy
or uninspirational photomarkedlybetter.Lookat everyphotoyouusewiththesequestionsinmind:“How can I make this shotfunction more effectively?”and “What can I do tomakethis photo moremeaningful?” Then usecropping to discover theanswers.Zoom Crop to tell a
story
Differentdistancestelldifferentstories
Aboveleftisabaseballinthedirt,
completelypedestrian;atarm’slengthyou’dpickitupandthrowit.Butzoomin(right),andthestoryis
different.Thisisan
intimatedistance.Youseetheleather,thedirt,theseam,the
weathering.They“fillthescreen,”activateyoursenses.Youcanfeeltheballinyourhand.Youhearthecrackofthebat,theroarofthecrowd;you
cantouchthehistoryofthegame.
Goodphotosrevealworldswithinworlds.Zoominandseewhatyoufind.You’llbe
surprised.
UnifyCropmugs thesamesize
BeforeStraightfrom
thecameraarefourwell-posedshotswithsmoothbackgrounds
andconsistentlighting,butthe
viewingdistancesareunequal.Notehowthecloseup(bottomright)seemsmostimportant.
AfterMugshotsinaroworgroupshould
bepresenteduniformly.Startwiththemostcloselycroppedoriginal(above,left),then
scaleandcroptheotherstomatch.Positiontheresultsalongtheeye-level
line.You’llneedyoureyeforthis,becauseheadsarefunny.Male
andfemaleadultheadsaresurprisinglysimilarinsize,but
headshape,hairstyle,angle,andtiltallhave
abigeffectonperceivedsize,whichcanmeanmakingsmallscalingand
croppingadjustmentssotheyalllookalike.Position Crop
closeupsateyelevel
EyetoeyeAportrait
closeenoughtoconveyeye-to-eyecontactshouldbe
croppedateyelevel,
whichisabouttwo-fifthsofthewaydownthepage.Notethatthecloseryouzoom,themoreintensethe
connectionbecomes.
UpandawayBecausedistantobjectsappearhigherinavisual
field,asyouzoomout,movehereyeleveltowardthetop.
Simplify Crop outthedeadstuff
Whoarethose
strangers?Photostakeninreallife
almostalwayscontain
stuffyoudon’twant,likethebacksof
distantstrangersinavacantairterminal.Thefirstruleofphotocroppingistogetridofeverythingthat
doesn’tcontributetothecomposition.
Tight,focused,
compellingWellandsimplycropped,everysquareinchtellsa
storyoffriendshipandintensity.
Angle Level thosehorizons
Don’temptythebay!(Above)It’seasytooverlookaslightlytiltedhorizon,especiallywhenanotherangle(thebridge)isthrownin.Buthorizonsshouldbelevel,andwatermustbelevel.Whena
photohaswater,thinkofasoupbowl,anddon’tspillit.Levelinganimagewillrequirecroppingallfour
sides.
Bebold!Whileacameratilt(above) is weak, ambiguous,
and undesirable, a bold,artistic tilt can energize acomposition! It’s especiallyeffectiveonimagesthathavestrong, straight lines likethoseatright,above.Extreme Crop to fitaspace
Aphotographicbannerisasimple
waytobeautifyaWebsiteorblog.Buthowdoyoufitsuchanextremelyshallowspace?Bycuttingan
extremeslice!You’llbesurprisedbyhowmuchaslicecan
show.Lookforonethathassomeof
everything—inthiscase,needleand
thread,buttons,tapemeasure.Here,highcolorcontrasts(red,
yellow,white,black)areabonus;they
boldlydistinguisheachelement.
Position Crop tochangeameaning
Theoriginalphoto
haslotsofroomonthesides,soit’sgoodforcropping.Theproblem
isthathergazeisuninvolvedwithourmessage,likemaybesheseesabirdontheroof.Butdon’tthrowthisimageaway.Thereisawaytomakeitwork.
Cropboldly!Zoominandpushherradicallytotheright,offthepage,whichadds
mystery.Justlikethat,oursenseisnolongerthatshe’slookingatabirdbutthinkingabouttheschool.You’llfindsimilarlyalterable
meaningsinmanyimages.
Backgroundselection
You’re making a photogallery and need a suitablebackground. What color touse?Neutralsarebest.Whiteis clean, black is dramatic,andgrayhas themostdepth.Likethis:
Whiteisclean,fresh,inexpensive,andalwayseasy.Makesureit’spurewhite,notsomethingoff,whichmerelylooks
ordinaryandnotdesigned.Whitephotoedges(A)blendin.Blackisboldandsophisticatedand
onscreenwillbrightenyourphotos!Blackedges(B)blendin.
Grayismostversatile,accommodatinglight
anddarkedges.Againstgray(right)
youcanaddashadow,border,orboth.
Focal points:Complex orambiguous photo?Eight simple ways toput the reader’s eyewhereyouwantit.
Lookhere!Shortofusingredarrowsorcircles,howdoyouguarantee that readers will
look where you want themto?Photosarealmostnevershotinsuchawaythatcompletelyfocusesall attentiononwhatyouwant to point out.Whatfollows are eight elegantlysubtle solutions forwhispering—not shouting—lookhere.1.Drawanoutline
Before
OurrooftopcarrierisdwarfedbythebigJeep.Thisishowitlooksinreallife,but
it’snotidealforanad.
AfterCarefullytracedoutlinessolvetheproblembeautifully(above,right).TheJeep’sstillthereforscaleandfit,butourcarrieristhecenterofattention.Atrightare
twosimple
alternatives.2. Blur thebackground
Before
She’sclearlyinfront,buthercolleaguesinthefluorescentsafetyjacketsaredistracting.
After
Blur,andtheyfadeaway,leavinghercenterstage.Bonus:
Theshortdepthoffieldmimicshowwe
actuallysee.Photoshop
(1)Selectyourobject.
(2)Featherslightly.
Inverse.
(3)Blurtheselection.3.Addaspotlight
Before
Threeattractivemodelscompetefor
ourattention.
After
Gradientspotlight
focusesonher,addingdrama,intensity,
interest.Photoshop
(1)Onanewlayer,makeacircular
selectionoveryourobject,thenFeather(Select>Modify>
Feather).
(2)Inversethe
selection(Select>Inverse).
(3)SettheForegroundcolortoblack,thenfill(Edit>Fill).Deselect.
(4)SetthefilllayertoMultiplymode,thenreduceitsopacitytoabout75%(right).
4.Bringherforward
Before
Sixsame-sizestudentsareseenasa
group.
After
Oneisnowthefocalpoint.Asyoubring
herforward,keepinmindthatforegroundobjectsappearlowerinyourvisualfield;moveherfeetdownalotandherheadupa
little.Photoshop
(1)Extendthecanvas
size.
(2)Selectyourobject.
(3)Scaleitup.
5.Matchacolor
Before
Fivechildren,eachwearingadifferentshirtcolor,areinthisphoto.Howcanwe
identifyeachwithoutresortingto“atright,”“secondfromright,”
andsoon?
After
Shirt-colorfieldintuitivelydrawsattentiontoMissChan.Formorecontrast,maketheothersblack&white
(left).
Five-colorseries
highlightseachchildinturn.
6.Fadeasection
Before
Coolcar,butwhatifwe’reinterestedonly
inthefront?
After
Fadetherearintooutlines,thenaddcaptions.It’s
intriguing,andthe
reader’sattentionisnowwherewewantit.
(1)InIllustrator,tracetheobject.GiveitawhitebackgroundandimportintoPhotoshop.
(2) In Photoshop, place thetracing on top of the photolayer. Make sure they bothlineup.
(3)Withthetracinglayerselected,clicktheAddlayermask
icon(farleft).SettheForegroundcolortoblack.Selectasoftbrush,andstartmaskingawaytorevealthephoto.
7.Cropandcolor
Before
Left,thoseeyesareintense,butsoarethegreenbackground,glossylips,anddark
hair.Let’stightenthefocus.
After
Photoshop
(1)OpentheimageinRGBmode.Crop.
(2)Eyedropperherhaircolortofillthebackground.Onthelayerspalette,clickon
theAdjustmentLayericonandselectBlack&White.ClickOK.SettheForeground
colortoblack.Usingasoftbrush,paintoverhereyestorestorethe
color.
(3)Finishbycoloringthetypetomatchher
eyes.8.Guidewithlines
Before
Beautifulface.Wheredowelook?
After
Curvinglinessayhere.Notethat
VibrantPinkwordsare
differentiatedbytypeweightonly.
Twopointsmakeaperfectcurve.WiththePentool,click(1)anddrag(2).Release.Clickasecondpoint(3)anddrag(4).
Adjusttosuit.Aperfectlysmooth
curvewithnobumps!
Cool covers: Tensimple ideas forgreat-lookingcovers
Designing a captivatingcover that encourages thereadertolookinsideisnotasscary or difficult as youmightthink.Thekeyistousewhatyoualreadyhaveinnewways.
1. Build a cover ofsquares
This cover uses its own gridasavisualelement.Divideasquare page into foursquares, put a point ofinterest in one corner, thetitle in the opposite corner,then make the two squaresvisible.
DrawagridDivideasquarepageintofoursquares.Positionthephoto—onewithplentyofcropping
room—sothatapointofinterestisinoneofthesquares.Framethatsquareinwhite
(here,allarewhiteforclarity).Whatever’sintheframewillgetthereader’sattention,
quietly.
Filltheoppositesquarewithcolorsampledfromthe
photo,andreduceitsopacitytoallowsome
see-through.Below,Putasquarish
typefaceinthecornertosustainthesquare
motif.2. Many photos?Display them in agrid!
Neaterthanascrapbook-stylecollageyetjustasversatile,agrid is a beautifully simpleway to display a group ofphotos.Agridaccommodateslargeandsmallphotos,side-by-side and overlapped, yetfunctionsasasingle,easy-to-designunit.
Griddividesthepageneatlyintothree
sections;typealignsto
agridline.
Gridofsquares
Sometimesyoucan’tfindthatoneperfectphoto.Usemany!Setupauniformgrid,
thencropyourphotostofitasquareorsomemultipleofsquares.A16-unitgrid(farright)cancontainbetweenoneand16images.
3. Narrow page
makes a “revealing”cover
Giveyournextreportcoverabitofintrigue.Anarrowpagegreets the reader with acolorful photo (the“establishing shot”) and apeek at the page beneath.Behind the cover is theintroductorytext.It’saseguethat’s easy to make and
alwaysengaging.
Thisisbasicallyatwo-pagecover,sobothpagesshouldbeonheavy,coverweightstock.Noteinthe
layoutabovethatthetextalignswiththe
horizon.
ReversethesequenceHeadlineonthecover
withphotoinsideshiftstheemphasis.
Colored,textured
stockisaninexpensive
alternativeexcellentforaseries.
4. Condense yourdesign
Designing a whole page canseem daunting—there’s somuch space to fill! It’stempting to scale everythingup, up, up and fill it all in.
But that’snotdesign.Here’sa better way to get goodresults easily. Thinksmalla n dfocused. Reduce yourwork area to the middle ofthe page and design that (atright). It’s much easier, andyou’ll get a built-in focalpoint,too.
Beforefillingspace
(Atleft)It’sbigandbrightbutnotpresented—the
designerjustscaledeverythingupuntilthespacewasfull.It’sorderly—centered
layoutmakesiteasytoread—butithasno
visualvoice.
Afterdesigned
(1)Shrinkthework
area,andthesurroundingwhite
spacebringsallattentiontothecenter.Nowthejobwillbeeasier.(2)AddthecopyAfatlizardsuggestsusingafattypeface(BlockHeavy),whose
irregularedgesmimichisscalyhideand
addsdensitytothepage.(3)Placethe
imageThisiswhereitgetsfun.Pullthelizardoutofthe
originalphoto,andsetitonthepageoverlappingthe
rectangle.Itsorganiccurvesand
photographicdimensioncontrastsharplywiththeflat,straight-edgedfield.
5. Less makes formoreimpact
Negative space gets norespect, but without it,positive images have little
impact. This spiral-boundcoverillustrateshow.
Lotsofmoney,noimpactWall-to-wallpileofcoinshasno
negativespaceandleavestheeyenowheretolook.
Lessmoney,moreimpactEditingthecoinscreatesshape
anddifference,makes
breathingroom,andleadstheeyetothe
headline.
6. Create a naturalbackdrop fromrecycledparts
Do you sometimes get aphoto that doesn’t have anaturalplacefortext?Orit’sflat and needs some depth?Or it doesn’t fill the space?Trythis.Copyapart,scaleitup, andcarefullyblend it in,creatinganaturalstage.
Lengthenapage
(Above)InPhotoshop,
copyandpastethewingtip,scaleitup,andmoveittothe
bottom.(1)Useasoftbrushtoblenditin.(2)Sampleitscolor,thenwithasoftbrushextendthecolor
further.
Makeaplacefortext(Left)Coveringgreenleaveswithapink
petalcreatesausefulforeground.Simpleedgesandsimilarbackgroundsare
easiesttoworkwith.
7. Design a bold,sleeve-stylecover
Need a bold, easy-to-makecoverforasimpledocument?This technique simulates awraparound sleeve. Draw asolid, horizontal band, thenplaceyourwordsatopit,likethis:
AligntheelementsDividethepageintocolumns,alignyourtype,andaddthe
horizontalband.Color
tosuitthetopic—notetheheadlinehasthemostcontrast—and
addashadowifyou’dlike.
Asymmetrical
Centered
An asymmetrical layout isactive; a centered layout ismoreplacid.Can’tprinttotheedge?Dothis:
Setamarginandtrim
thebandevenlytofitit.
Addalightfieldinthebackground,therebyredefiningthespace.8.Setabeautifultitleinoneline
Yourtitleisimportant,butsois your photo—so how doyou put them together? Try
this.Set thetitle inone, thinline. Widely spaced,uppercase type conveysstateliness and power; smallsize has quiet authority.Keyis the translucent stripe,which brings photo andwordstogether.
One-linetitle
interruptsthephotowithoutdisturbingit
andtakesadvantageofthenaturalpowerofthecenter.Drawathin,whiterectangle(1),loweritsopacity(here,to70%),addafaintshadow(2),and
setthetitleinuppercase(3)withverywidetracking
(200%).
9. Make a picture-framecover
Been to the art store lately?
Pictureframeswithmultiple-image mats are hot! Theclean, gridlike presentationlooksasgoodonyourwallasit does on your page.Designers have been usinggridsforever,solet’sborrowback the idea for our nextcover.
Multiple-imagematshaveneatlyreplacedthosecockeyed
arrangementshanging
onourwalls,andtheyworkequallywellonourpages.Note,at
left,thedepthcreatedbydarkandlight
accentsontheneutral-valuefield.
(1)Makeyourphotosthesamesize,thenarrangeinrows,
columns,orgroupssymmetricallytowardthecenter(stable,
placid)orasymmetricallytooneside(tense,exciting).(2)Keepthetype
small,alignedwithanedge,orcentered.
10.Domorewithless
What do you do when you
have three photos available?Youuse themall, right?Notnecessarily.Onecanbemoreeffective. Here, the campustower alone conveys theessence of the school betterthan three photos could; theheadline in a single, school-colored bar quietly providesthedata.
Before
Hehadthreegoodphotos,buttofitallthreeintohislayout,thedesignerhadto
shrink,crop,andpusheachtotheperimeter,
wheretheynowlookalike(similarmassesandtextures)andaredifficultto“read.”Hethenaddedaflat(andmeaningless)bluefield,blocktypeinthreesizes,andamotifofhorizontalstripes.Themorehe
“designed,”theweakerthecovergot;theschoolandits
socialscienceprogramwerelostinthe
artificialstuff.Toaddinsulttoinjury,itwas
toomuchwork!Solution:Letone
imagedothetalking.
After
LessismoreCampustoweranchorsthemakeover.Simplycenteritandletitdothe“talking,”thenaddyourwords.Note,above,thatthebarisshortenoughtoletthe
pictureflowby.Below,colorsviolet
andtanplusthegreenofthetreesmakeanappealing,splitcomplementary
palette.
How to design asecond page: You’vedesigned a beautifuloutside. How do youfollow it up inside?Simply.
Outsides have insides. Onceyou’ve designed a beautifulcover, you want the
following pages to bebeautifully similar. Butinside is a different spacewith different words and adifferent purpose, sohowdoyouretain the look?Thekeyissimplicity;thesecondpageshould be alesser andsimpler version of the first.Herearefourtechniques.Outside
Abeautiful,jewel-box
coverhasbeencarefullycropped
fromalargerimage.Keytothisdesignisplacement;note
(aboveright)thattheseashell’spositiondefinesthemarginscontainingthetype.
1. Repeat the centerofinterest
Whenyourcoverhasastrongfocal point like this one,mask its background andbring it inside. Alone on awhite canvas, it will standoutinstrikingrelief.By repeating the outsideimageinside,yougetbuilt-incontinuity of shape, color,and texture while making afresh, bold statement. It hasitsowndistinctivepresence.
Inside
HierarchyMaketypeandothergraphics
secondarytothefocalpoint.Todothis,
centerthelayout—whichmovestheeyedownthepageinastraightline(farleft)—andmakethetyperecede:Setitsmall(smallerthanyou’dthink),andcoloritgray(left)oralight
tintoftheimageitself.
Theresultisahandsome,minimalist
look.2.Liftoutonepiece
Tellastory.Here,abuild-it-yourself cover of doorsprepares the viewer for the“key”inside—asinglesquareliftedoutandenlarged.
Atfirstglance,what
youseeisacollageofdoors.Thefunisthatyoucanhideyour
messageonthecoverandthenrevealit
inside.It’s the only image with akey, appropriately tying it tothe message, “Unlock yourimagination.”
A grid of dissimilar imagesis naturally complex andshouldbesimplified.Aneasyorganizationaltechniqueistocreate one row of similarcolors.
(A)Thetitlerowis
madeofimageswithsimilarcolorswithafewsquaresleftemptyforthewords;ona
busyfield,suchemptyspacereallystandsout.(B)Thetype
colormustbesimilar,too;wordsincoolblue
woulddisruptthe
continuity.(C)Togetthis,justsamplethewarmneighboring
colors.
3. Make your ownobject
Draw an object—simpler isbetter—atop your image,then repeat it inside. Thistechniqueisespeciallyhandyif your cover image has noavailablefollow-up.
Sameshapes,fonts,sizes,andcolorsbutoppositebackgrounds
Front
Back
This look is cool and low-key.Note thatsimilaritiesofshape, size, and color worktogether easily besideopposites of light and dark.
Note especially the verysmall type; it takes realrestraint to set your ownname in 14-pt type, but theresultscouldn’tbeclassier.Position the shape in thesame place on both sides,then align the type blocksneatlytoit.Beconsistentandsimple;notebelowtheclean,straightlinesofsight.
Notethepositive-
negativeuseofcolor.4. Find something inthescene
Iftheoutsideisbig,maketheinside small. Bringsomething from the forest tothe inside—a pine cone, aneagle, a rock—and you’llcreateabeautiful contrastoffarandnear.
Forcontinuity,repeatthecovertypefacesinside.Notethatthegreenbackgroundisa
neutralvalueagainstwhichdarkandlighttypearedistinctively
separate.
Aforestisvast,panoramic,and
distant.Asmallobjectbringsitclose,putsitathumanscale,makesittouchable.Below,
simplealignmenthelpsbringtheoutsidein.
Bringtheoutsidein
These same techniquesworkon more complex projects,too. As in the previousexamples, carry over thetypestyles, colors, imagestyle, and general layout.Proportion counts. A lot ofgreen looks different from alittle. Pictures look differentbigthansmall.
Whitedominatesthelayout.Imagesarethesamestyleandsize.Typestyleisconstant.Colorsrepeat.Green
andgraysampledfromthecoverimage,
pluswhite(thebackground),yieldalight,healthypalette.
OrganicshapesKeytothisdesignaretheorganicoutlinesoftheextra-largeimages;theyyieldafluid,
indistinctedgethatconveysasenseofairinessandhealth.Notethateachimagealsohasastraightedgewhereitbleedsoffthepage.Textsetalignedleftorrightwillmimicthis
exactly.Below,super-
lighttypeismostlyairandfreshasabreeze,justlikethelayout.
Simply borderless:How to design pagesfor desktop printersthat can’t print totheedge.
Modern desktop printers aresmall technicalwonders thatcan put brilliant, high-resolution images on fine
paper for pennies. But for$99theycan’tdoeverything,including print to the edgesof the sheet (a full bleed).Most leave a white border,which is often irregular anddiffers from printer toprinter.This border can be a bigdistraction. Its real problem,however,isthattheborderisundesigned andundesignable.
So what to do? Instead offighting it, join it. Amplifythewhite space, andmake itpartofyourdesigns.
(Left)Howmany
timeshaveyoubeenstuckwithapagelike
this?Youdesignanicepagethat’s
perfectasafullbleed(above),onlytohaveitscaletofitthe
printermargins,whicharerarelyuniformononeprinter,letalonefromprintertoprinter.
Theresultisan
undesignedwhiteborderthatdistractsfromyourgoodwork.1.Makemorewhite
The surest way to eliminatethe white border is tomakemore white. Reducing yourlive matter visuallydisconnects it from the edge
ofthepage.
Thecloseproximityofimagetoedgecreatesavisualconnection,so
theeyeperceivesaborder.
Reducetheimagefar
enoughtodisconnectitfromtheedge,andthebordereffectdisappears.
Note that to maintain equalmargins on all sides, theimagehasbeencropped(it’sskinnier). The result ismoredramatic and more focusedonthedescriptivecoastline.
Theimageisnowlike
agallerypiecehangingaloneonawhitewall.This
smallersizehasabigbenefit:Youcancropandmovetheimagearoundandactuallydesignthepage.
2.Getmoving
Moving the image to eyelevel creates three differentmargin widths, so a framenever forms.Segmenting theimage in columns createsactivity within it and movestheeyedownthepage.
Bordersarestatic,sowhatyouneedis
movement.Theimageateyelevelyields
morenaturalviewingplusthreedifferentmarginwidths—
narrow(top),medium(sides),andwide(bottom)—which
eliminatesthebordereffect.
Shownhereisoneimagedivided
vertically.Youcanalsocreateacollageoftwoorthreeimages(below).Mixand
matchcolors,shapes,andtexturesuntilyou
haveastrongcomposition.
Fromoneimageyoucanpulloutthreeormorecolumn-orrow-shapedareas.Thisisanexcellenttechniqueforusingimagesthat
havemorethanoneareaofinterest,
becauseyoucanpickthemostdescriptivepartsandeliminatethe
rest.3. Coordinate thetype
Typestyles and sizes thatcorrespond to elements onthe page will unify thedesign. Similarities conveyharmony; contrasts conveyenergy.
Alignmentsustainstheverticalmovement.
Straight-roundAstraight,uppercase
typefacecontrastsbeautifullywiththeroundlogo.Butsincethepageandimagearealsorectangular,addingthisheavyblockwould
overwhelmthelightlogo.
AllroundAround,lowercasetypeface(sameheight,similarweight)mirrorsthe
roundlogo.Nowseenasagroupoffourcircles,theline
contrastsbeautifullywiththerectangularimageandgivesthepagetwostrong
shapes.4.Makealandscape
A horizontal image can bequite large. Ithas theenergyo fcontrasting direction and
still appears borderlessbecause of its varyingmargins and side-to-sidemovement.
Sameproportions
Unifyimageandpageeasilybyusingthesameproportionsforboth;justrotate90°andreducetoabout
60%.
VaryingmarginsEye-levelplacement
resultsinthreedifferentmargin
widths,whichaddsvisualactivityandkeepsmarginsfrom“connecting”andformingaframe.
EyelevelAletter-sizepageisaboutthesame
sizeasthehumanhead.Result:Eye
levelisthestrongestandmostcomfortableplaceforafocalpoint.
5. Create a focalcenter
Asinglelineoftypesustainsthehorizontalmovementandis a powerful andsophisticatedfocalpoint.Thesmall logo completelycontrols the open spacearoundit.
Smallisdefinitely
powerful.Here,thegalleryeffect—oneimagealoneonawall—isworkingtothemax.Thepagehastwozones,darkandlight.Centeredineachzoneisafocalpoint—theheadlineinoneateyelevel,thelogoin
theother.Eachcontrolsitsspace.ThissubtletreatmentisclassierandmoreeffectivethanSHOUTINGfor
attention.
Keytotheheadlineis
quietness.Onetypefaceinonelineatonesizebutdifferentweightsyieldsa
beautifullylow-keysetting.
6.Energizethepage
Cousin to the landscape
format is the banner, anextremely panoramic shapewhose total contrast to thevertical page creates realenergy.You’ll almost always besurprised by how little ittakes to convey the heart ofanimage.Here,onethinsliceshows coastline, inlet,estuaries, and wet and dryland masses. That’s thewholestory!
DullspaceThebeauty
ofthepanoramicshapeisthatit’ssodifferentfromthepage.Itworksfor
manyimages,butinthiscasewe’reseeing
alittlemoreuninterestingspacethanwe’dlike(top),sowe’llcropittohalf
apage(bottom).
Extremecontrasts
Tall-wide,fat-thin,up-down,andside-to-sidecontrastsallcreate
energy.7.Alignright
With image and text alignedto the right and at eye level,the white space—normallythought of as empty—iscontrollingthepage.Thisisaveryactivedesign.
Border?What
border?Thereisverylittleonthepagebut
it’sreallydesigned;ithasastrongfocalpointandalotof
movement.Bothtextandlogoarecoloredgraytorecede,leaving
theimagecenterstage.Theirregularleftedge(above)
keepsunwantedlines
fromforming.
Whatsizeshouldthetypebe,andwheredoesitgo?Workwithwhat’sinfrontofyouandnearby.Inthiscase,thepeninsulasandinletsbecomeour
rulersandgoverntypesize,linespacing,andlogosize.Thiscreatesvisiblerelationshipsthatunifythedesign.
Similarly,theextendedtypeface
echoesthehorizontalshapeoftheimage.
Voice-over captions:A caption can bemuch more than alabel. Here’s how toget it onto yourpictureandintoyourstory.
As long as there have beenmotionpictures,we’veheard
an unseen narrator whose“voice-over” accompaniesthe action. The voiceexplainswhatwe’reseeingortellsuswhatwecan’tsee.The voicecompletes thepicture—turn off the sound,and the meaning oftenvanishes. Voice-overnarration is a key part offilmmaking.Voice-over’s printcounterpart is the text-over,
but unlike film’s invisiblenarration,the“voice”inprintcanbeseenandsophysicallyalters the image—and that’swhat interests us here.Whatthe voice says is up to thewriter, buthow it says it—volume and intonation andpresence—is the designer’sjob.1. Detached yetvisuallyrelated
One way to tie caption toimage is to borrow fromnearbyshapes.
Heretheleftcaptionedgeisconvextofitthesailor’sconcave
silhouette,andtherightisflatliketheadjacentframeedge.Itsplacementavoidsinterruptinghis
farawaygaze,whichisthisphoto’skey
storyteller.2.Justwhisper
Mirrorthenaturalflowoftheimage,andyour“voice”willbe soft. The photo speaksfully, and the captionwhispers gently along. Typeshould be light, airy, andnon-intrusive.
Gowiththeflow
Sustainthefeelingofalight,expansiveimagebysettinga
light,airycaption.Letthephotoguideyou.Thecaptionontheprairiesceneabove
conformstothelineofthecloudsandsweeps
alongonthebreeze.Theinsetseaside
imageisdifferent;itsexpansivenesscomesnotfromashapebutthefeelofanendlessoceanjustoff-camera.Tomaintainthis,thecaptionissetonextremelywide
leading,whichallowstheeyetosimplypassthroughlikethewater
itself(left).
Farleft,thesweepingshapeofthecaption“speaks”inthesamevoiceastheimage.Arectangularcaption
(left)wouldbeforeigntotheimage.
3.Punctuate
Our eyes follow lines.Whereveralinegoes,wego.Ashortcaptionthatinteractswith a line is colored by thecharacter of that line.Alongthe line is motion andvitality, across the line ischallenge and tension, andthe end of the line is itsnaturalfocalpoint,thepowerposition.Alongaline
GOWhereverthere’saline,there’s
movement,andinthispictureit’sfast.
Groundlineandsnowbermsarephysicallinesthatrunedgetoedge;red/bluelineofthesnowmobileandblurredtreesaddto
thespeed.Asingle,horizontallineoftype(initalics)reinforcesthemotionandevencreatesphantomlinesthatacceleratethe
action.Acrossaline
PAUSEWhatyouseeisaleaf,butitsedgeisaspace-splittingline
thattheeyesubconciouslytraces;crossingthelineinterruptsitand
createsastrongfocalpoint.Here,thethin,one-linetitleislikethe
thinedge,complementingithandsomely.
Theendofaline
STOPTheendofalineisafullstop,thenaturalfocalpoint.Acaptionherehasgreat
power,andunderstated(small)typewillmakeit
greater.Inthiscaseyoufirstseethe
yellowline,thenthe
mistyscene,thenyoureadthecaption,thenyouseethepictureagain,differently.
4.Immerse
A dramatic curtain of typeoverlays the image andconfronts the audience withthestory.Wordsandportrait
are seen and literally “read”together, adding tremendousforce to an otherwisecommonphoto.
SimpleisbestAbove,boldtonalareas,lowcontrasts,andaneasy-
to-recognizeimageyieldexcellentresults.Atright,however,iswhattoavoid.Smallphotographicdetaillikethejockey’shelmetisaboutthesamesizeasthetype(inset),whichmakestheimagedifficultto
seeandthecaptionhardtoread.
5. Balance creates aserenestatement
The idea here is not to fillspacebut tocomplement theshapes. In fact, the effectwouldbelesssuccessfulwithbiggertypeormoreofit.
ShapeaslineThemodel’sslimtorso
createsaclearverticallineandhersimpledressablankcanvas.
Thebluecaptiontitlecapturestheline;
whitetextcounterbalancesherheadandneck.Theeffectissimple,serene,andappropriatelysophisticated.
6. Step in: Thecaption takes centerstage.
A caption can also play thestarring role. There’s simplynoway for the reader not tobecome immediatelyimmersed in the photo’sstory.
LineofsightThereareamillionphysicallinesinthisphoto
includingawholepailfull,butthemostimportantlineis
invisible:It’sthelineofsightbetweenthefishermanandhiswork.Interruptthislineandyou’llsteprightintothestory.
Helpinginthiscaseis
thatthecaptionisalsocenterpage;it’sbeentransformedfromanordinarysidenoteinto
akeypartoftheaction.
7.Takeover
All you can say about some
images isblah—no focalpoint, bad composition, toobusy. Turn your lemons intolemonade—use your captionexpertly to make somethinghappen.
Bysuperimposingthecaptioninragged,
typewriter-styleTrixie(above),weconvey
someofthehauntinggrittinessofthecabbie’slifein
nighttimeNewYorkCity.Thetypeisbadlysetonpurpose,poorlyspaced,andcrooked,whichconveysasenseofdarkness,rawness,andimmediacy.Now
thereaderissetupforastory,andourboringcabhasbecomeavaluableprop.
Above,typeface
Trixiemimicsaworn-
outoldtypewriterwithsmudgyribbon,soitneedsacomparablysmudgysetting.Thelineleading(spacing)
remainsfairlyconstant;enlarging
somewordsforcesthecollisions.Halfwaydownisasecondtext
blockrotatedslightly.Settingtypelikethiscreatesrealtension;ifyouhaven’tdoneitbefore,you’llnoticeyourtendencytokeepsmoothingthingsout.
Resist.
Multi-caption phototellsmanystories
Nomatterwhatyourpicture,every person, object, andelement in it has a story.Instead of one caption togeneralize everything, writefive, seven, ten, that unpackthe detail. It’s fun to do,quick to readandperfect for
our modern, big-screen,sound-bite world. Thecaptions can be atop thephoto,offtotheside,orboth,asweshowhere.
Anddidyouknow...
1. Activities CenterCuriously populardespitehavingnoWi-FiorevenadecentTV
screen. 2.MissJavaThat’sher
third coffee, and it’sonly eight in themorning. She’ll haveher fourth cup beforehersecondclass.
3.TextbookStrictly forshow. Hasn’t read awordinweeks.
4. Shoes Wearing hisfriend Brad’s shoes,
whichhepickedup atlast night’s kegger bymistake.
8. Focus: Connectthephototothestory
The snapshot of the littlepitcher wasmeant to begood; it just didn’t turn outthat way. Unlike the taxiimage, there’sstuffgoingon
here,butwhat?Theactionisdisconnected;themanypartsare not working in harmonytomakeagoodcomposition.In such a case, you can useyourcaptiontotiethepiecestogether. A big caption willby itself create a point ofinterest; overlapping thefocal point will pull thepitcherintothestory.
It’samess,visuallyspeaking!Strong
fenceandpolelinespullyoureye
everywhereexcepttowardthecenterof
interest.
Thelargemassofpeopleinthe
backgroundstaringofftonowhere
overwhelmanddetractfromthepitcher.Thewomaninthecenternaturallydrawsyoureye(becauseshe’sinthecenter),butshe’slookingelsewhere.
Theoversizedcaptionbecomesapointofinterest.Thisisanimprovement,butitsplacementcreatesahardedgethatboxesthepitcher;she’snowthrowingtowardaphantombarrier.
Extendingtheleadfarleftropesherlikealasso,breaksthebox,
andcreatesaconnectionbetween
pitcherandstory.Thecaptionisdoingwhatthephotodidn’t;it’sputtingthereader’seyeonthecenterof
interest.
Multiple captions inhighstyle
Here’s the perfect treatmentfor a photo that has a lot tosay. Instead of shrinking thephototomakeroomfortype,blocks of type are placedrightontop.Welikeitforitsbig-picture, soundbite value,andespeciallybecauseevery
image hassomanystories totell.Here’s a high-style takeonit.
Lessons from abeautiful site: TheUniversity of MiamiCollege of Arts &Sciences shows thatbeautyreallyisinthedetails.
The best design is simpledesign: an idea, an image, a
few words, open space. It’sclear,attractive,memorable.But real life is not oftensimple; it’s full ofstuff.People, programs, andcommerce all need attentionand screen space, and thiscan make for a busy,complexsite.What we like about theUniversityofMiamiCollegeof Arts & Sciences site isthat it handles complexity
beautifully. It does this intwo ways: It reduces eachelement to its essence (thesimple thing), then itbeautifully crafts the details.A dozen visual techniquesallow its many parts tocoexist effortlessly. Let’slookatafew.
HomepageTwodozenelementsand
linkseasilycoexistonthisinviting,visually
coherentpage.1.Structure
The site is convenientlyscreen size, not too long, somostofitisalwaysvisible.Itis organized in threehorizontal sections; each
holds a different kind ofinformation—permanentstuff at top and bottom,activestuffinthemiddle.
ColordifferentiatesthesectionsAwhite“centerstage”isflankedbyadark
headerandlightfooter.Thesecontainthefoundational
elements—logo,links,search,andsoon.Thewhitecenterisactive,withtransitorystories,newsbriefs,stufflikethat.Ascreen-size
spacelikethisconveys
atight,organizedimpressionandis
easiertoreadthanascrollingpage.Tight
editingiskey.
Homepage
Interiorpage
2.Header
Two dark bands—one green,one tan—form a simple,substantial header that leadsthe site; logo and links arereversed in white. To softenthe look, a faint gradientyieldsanunderstatedillusionofradiantlight.
Beautifultypography
isthesignatureelementofthesite.
ScholarlyCaslontypeinclassic,old-style
capsandsmallcaps(bigcircle,below)conveysliteracyandtradition;compactlinespacing(smallcircle)
keepsminorinformationfromfloatingaway.The
twolinesofsmalltypearethesamesizebut
spaceddifferently;themore-importantwordsareinpanorama.
Fourpermanentlinksonthefarrightare
tintedtoappearbarelythere,yetremaineasilyaccessible.
3.Mainlinks
Thehighest-levellinksareinthe tan header band.Typography, color, andshadow are identical to thelogo, which reinforces theirconnectionandpermanence.
Tanbandandgreenfieldaredifferentcolorsbuthavevirtuallythesamegrayvalue(dark-
light),whichkeepsthetwoconnectedwhilebeingdifferent.
Wideletterspacingis
relaxedandlessdemandingthan
normalspacingandsoconveysasenseofdeliberationand
stateliness.Onscreen,it’seasiertoread,too.
Threeshadesoftandefinethelinkstatesnormal,active,andhover;thisquietlybutveryclearlytellsthe
readerwhereheis.Shadesare
progressivelydarkerversionsofonecolor—amonochromaticpalette,right—thatchangethemessagewithoutchangingthe
subject.
4.Sublinks
As the reader moves deeperinto the site, subtle changesof typecaseandcolorareallittakestosignalthedifferentlevels.Styleand size remainconstant.
ReversethecolorsThebeautifully
uniformlookofthesiteresultsfromas
fewtypographicdifferencesas
possible.Left,thesublinksretainthetypesizeandstyleofthemainlinksbutjustchangecaseandreversecolor.
5.Mainstage
Betweenheaderandfooter,awhite “main stage” is thefocal point of the site. Oneach page, one short, book-like article is set in widelyspaced lines of serif type,which conveys an airy,literary look that’s verypleasanttoread.
Agradientaslightas
chiffonTheleftcolumnisdefinedbyanincrediblysubtle
gradientthatfadesfromlessthantwo
percentcolortowhite.What’sinterestingishowslighttheedgehastobe,notmerelytobevisiblebutclearlypresent.
Beautiful.
ComfortablereadingwidthBook-widthcolumnsoftype—45to65charactersorso
—areidealforcomfortablereading;thewideleading(spacing)isvisual
silencebetweenlinesthatrelaxesthe
message.Thelongeryourlines,themorespaceyoushouldput
betweenthem.
6.Footer
A correctly designed footerconveys real authority; itshould be thought of not asthe tail but the foundationthatsupportseverythingelse.The footer holds permanentinformation—key links,contactinformation,logo.
HierarchyisimportantAheaderandfooterofequal
weight(farleft)resultinan“Oreocookie”thatdividesthe
reader’sattentionandweakensthe
presentation.Instead,three-stagehierarchy
(nearleft)giveseachsectionappropriateweight.Keepinmindthatthereader’seyewillalwaysgravitatetowardthecenter.
Saveitforyourmostimportantmaterial,andputsupportingmaterialaroundit.
7.Type
TheHTMLtextof theentiresiteissetinGeorgia,thebestonscreen serif typefaceuniversally available.Georgiahasthelookofbooktypography plus themediumphysical traits that make itespecially readable at lowresolution.
Word spacing and letterspacing are as important asletter shapes, and hereGeorgia also excels. At textsizes it issmooth, repetitive,andrhythmic.Compared to Times, theuniversaldefault...Georgia is bigger Theperceived size of a typefaceisnotitspointsizebutitsx-height, that is, thesizeof its
lowercase characters.Georgia’sare68%ofthecapheight, quite average. Timesis too small for onscreenclarity.
WidercountersTheopenshapesinsidethe
characters,calledcounters,areasimportantasthe
outside.Georgiahasbig,roundcountersthatremainopenat
lowres.Bolder serifs Georgia’sserifs are bold and easy tosee,anditscurvesaresimple
andopen.Times’thin,pointyserifs are handsome in printbut weak onscreen, wheretoo-few pixels are availabletorenderthemclearly.
Georgiahastext
figuresGeorgia’sold-stylenumerals,ortext
figures,have
ascendersanddescenderslikelowercaseletters.Thesearemoredistinctiveand
thereforeeasiertoreadthanordinary,“all-caps”numerals.
Beautiful,too.
Georgia
Times
GeorgiareadsbetteronlineUnlike Times, which is aprinttypefaceadaptedforthescreen,Georgiawasdesignedspecificallyforonscreenuse.
Asaresult, its letterspacingand word spacing at lowresolution are smooth,repetitive, and rhythmic,while Times’ are oftenchoppy and fitful, an effectnot visible in print. Even inprint, however, Times’thinnerstemsandserifsyieldanedgier,lesscoherentlook.
A welcoming homepage: Greet all ofyouronlineviewers.
Syd Lieberman is aprofessional storyteller,teacher, and author—and aguy who literallyis hisbusiness! To picture that onhisWeb site, he “greets youatthedoor”likeanoldfriend
with stories to tell. Here’show he crafted an appealingfirstimpression.
www.sydlieberman.com1. The basicingredients
SoftcolorThree
horizontalbandsareusedforthetitle,navigation,andtheshortintro.Theseare
softenedbywarm,earthycolorswithjustahintofagradient
andshadow.Mid-pagenavigationisunusual
andeffective.
Aphotographic
interrupterOrganic-shapephotointerruptsthehorizontallinesandstopstheeye.Faintshadowaddsdepth.Notehowtheopenspacearoundeachelement—Syd,title,andopeningtext
—letseachbeclearlyseen.
Desaturated
wardrobeABIGimagewillbe
shockingifit’salsobright,buthisnearlycolorlessclothesblend
easilywiththedesaturated
backgroundtoconveyawarm,approachable
image.2. Repeat the look
inside—butsmaller
Insideiswherethatmid-pagenavigation bar goes towork.The home-page design iscondensed into a header thatruns atop every page andallows each topic to openbeneathit.
Literaryheadline
Handsome,book-styletypeisakeydesignelement.Notethat
Syd’snameisfixedontheleft,whilewordsontherightchange.Simpleandeffective.
Lightgradients
differentiateinteriorpagesfromthehomepageandalsoallowbettercontrastwithimages,text,and
buttons.
Continuityisas
importantindesignasitisinstorytelling.
Inside,thehome-page
elements—brownfield,title,navigation,Syd,andtheirspatialrelationships(above)—arecondensedatthetopandserveasa
touchstonethroughthesite.
Simple, bold, bright:Minimalism worksonanyscale.
Our visual world is socluttered that the key tocatching a viewer’s eye isgood, old-fashionedminimalism—use less stuff,not more. This is especiallytruewithposters.Tobeseen
fromalongwayaway,makeyour imagery simple, boldand bright. Note, on thefollowing page, howminimalism works equallywellonasmalldesign.
Familiarshapes,likethehands,andvivid
colorsconnectquickly.Thehandsarewarmanalogous(sidebyside)colorsatopa
cold,splitcomplementary
(nearlyopposite)field,anenergetic
combination.Withsuchclearimagery,
youdon’thavetoshoutforattention;notehowthesinglelineofwhitetypestandsoutclearly.
Organizethatcard
Our friend Richard financeshis love of flying byoperating a one-jet air-charter service here on theWestCoast.And it’seasy tosee where his heart is—hepilots a state-of-the-art jetbut prints his business cardson his desktop. Let’s see ifwe can get those cards
looking as fast andprofessionalashisairplane.
Before
SlowThefactorysuppliedagoodphoto,
butthedesignermadeacommonmistake—hefilleditsopenspaceswithwords.These“trap”the
airplaneand,lackinghierarchy,senda
fragmentedmessage.Hisnameinaviationbluewasagoodidea
butistoobrightforthedesaturatedphoto.AndTimesRomantype,whileexcellentfortext,istoofussyforthesleeksubjectmatter.Shadowsmuddyitfurther.
After
FastThewordshavebeenpulledoffthephotoandintoline,
whichishowweread.
Lightitalicstypefacelooksfast.Cornerflaganchorsthecard.
Blackanddesaturatedtaupecolorsare
neutral,businesslike,andcomplementthephoto.Theplane,backinopenspace,isfree
tofly.Sharp,
hierarchical,clear.
Boxy&slow
Angled&fast
The power of thepostcard: Big imageandsmalltype,orbigtype and smallimage: Either workswell.
Forget high tech. Anordinary, 6″× 4″ postcard isa perfectly efficient way to
get your message to a localaudience. It’s an easy spacetodesign,andyoucanprintiton your desktop. Key toeffectiveness is to besimpleandbold—one image, a fewwords, strong colors, bigcontrasts.Hereare twogreatapproaches.1. Big image, smalltype
Divideyourspaceintothirds,and fill two thirds with asimple, bold image, whichcreates a huge focal point.Fill the remaining thirdwitha short paragraph ofdescriptive text. The twofields work togetherbeautifully because theirsizeandtexture are so different.Itworkswithphotosandlineart,too(belowright).
Two-thirdsimage,one-thirdtext
2. Big type, smallimage
Asophisticatedalternativeisto reverse the sequence:UseBIG type as the focal pointand a small, photographicobject as visual support.
Juxtaposing words andimages can have veryinteresting results; you’llenjoy experimenting. Carrycolor and typestyles to thedescriptivebackside.
Front
Back
Bigtype,tight
letterspacingLetterspacingthat’scorrectatsmallsizes,whereyoudon’t
noticeit,istooairyatlargesizes,whereyou
do.Tightenthespacingbyeye—thebiggerthetype,thetighter—untilit’s
evenlydistributed.
Put a photo in yourname: Words andpictures can bestronger than wordsalone.
Sometimes a name and aproduct go together well. Ifthat’s the case for you, apicture reallycanbewortha
thousandwords:Theproductcan be pictured with thenameoraspartof thename.Here we share techniquesthat elevate simplewordmarks into trulymemorabledesigns.
Useitasan
interrupterTheBonsaitreeisa
visuallydescriptive,
easy-to-”read”photothatinterruptsthe
IKKOname.Below,treatthephotoasyouwouldaletter,andspaceitevenly.
UseitasacharacterIt’srarethatyourproductnotonlyfitsyournamebutistheshapeofaletterlikethehshownhere!
Below,ballsandotherroundobjectsare
morecommon.Also,tryreplacingpartofaletterlikeacrossbar.
Another photoapproach
Here’s another approach:Neitherfancytypographynora painstakingly craftedgraphicwouldbeaseffectiveas justshowing the servicethat Jennifer provides. Asilhouette is easy tomake—just trace and fill—and can
be assembled from severalimages,ifnecessary.
Onegreatthingaboutusingsilhouettesisthatitgetsridof
detail,whichisone
characteristicofawell-designedlogo.
Evenatthumbnailsize(below),thesilhouette
isstillclear.
TransformAnother
usefulcharacteristicisthatasilhouettecanbeflippedorotherwisetransformed.Inthiscase,theoriginal
actionmovedrighttoleft(farleft),whichonthecardwould
haveunnaturallyleadbackintothepage.
Functionalbeauty
Here’s a brilliant bit ofmarketing design—abusiness card that’s anenvelope of grass seeds!What we especially like arethat the colors, textures, andgraphicsweren’tdreamedup,but rather taken from “theworld of” landscaping,letterpressed by hand and
printed on earthy, recycledpaper. It’s a memorable andfunpresentation.www.struckcreative.com
LandscapingcolorsLeafgreenandearth
brownsetanorganictone.Thetypographyissimpleandunusual—everything’sin
uppercaseexceptthename.Old-fashioned,letterpressprintingaddstextureby
literallypressingthetypeintothepaper.
Projects
Make a theme: Asimple graphic canprovideafocalpoint,color,andcontinuity.
Mentalillnessisnotthetopicthat springsbrightly tomindwhen we think of children.Giggles,love,andhappyplayare more like what weimagine. The goal ofmental
health care is tomake thosepositive images a reality,evenforasickchild.With that in mind, SanAntonio’s Southwest MentalHeathCenter (SMHC) had alow-budget wish—lift thedepressing grayness from itsbrochure, and give itsdifficult subject a sense oflightnessandhopealongwithreal clarity. Key to themakeover was a little
butterfly that could providethe focal point, color, andcontinuitythedesignneeded.
Before
NotquitedesignedThree-panelbrochure
istheofficeworkhorse,butthe
problemwithpanelsisthatwetendto
“design”simplybyfillingthemup(right).1. Problem: It all
looksalike
The “before” is a letterfoldbrochure that was designedby filling panels with text.Although every panel tells adifferent pieceof theSMHCstory, to the reader it alllooksalike.
Headlinesanddropcapsstandatopthe
panelsliketombstones,clinically
identifyingeachsectionbutofferingneithercheernor
welcome.Becarefulwhenusingmorethanonedropcap;readersareextremelygoodpatternseekersandwill“connect”the
capsinstantly—which
meansthey’llwanttoknowwhattheyspell!2. Problem: It’s allrectangles
Thecolorcover isapointofinterest, but the boy is theonly child in the brochure,and the hard-edged,rectangular layout tends to
isolatehimfurther.
Outside
It’sarectangularworldGenerallyspeaking,whena
subjectneedssoftening,youwanttoavoidrectangularelements.(A)
Althoughhe’sinameadow,the
rectangularframeactsasacorral,isolatingandconfiningtheboyinappropriately.(B)
Notethephoto,textblocks,bluebar,headlines,andlogoareallrectangles.
3.There’sthestory!
Same information, samespace, but the makeoverbrings thebrochurenewlife.It now has a community of
children, and stories thatwere invisible are clear andinviting.
After
Whatachange!Ahierarchyofelementsfrombigtosmall
sharespace
comfortablyinthismulti-facetedlayout.Differentcolumnwidthstellthe
Southweststorywithpaceandinflection,tyingtheelements
togetherwhilekeepingthemapart.Butterflyprovidesapointof
focusaswellascolorandshape,whichsoftensthenatural
rectanglesofthepage.Orangesandyellowsarewarm,happycolors,andgreenisthecolorofhopeandnewlife.Onthecover(above,left),our
youngpatientisnotalonebutgettingthecaresheneeds.
4.Coverimageiskeywhile panels handleseparatejobs
The cover image is the keymessage-maker; it sets thetone and establishes the
reader’s frame of reference.Image and headline are seentogether and must work asone.The three outside panels areseenindependently,andeachhasadifferentjob.Thecoverpaneldrawsthereaderin;thebackpanelprovideskeydataataglance.
Outside
Followthepanels,butdifferentiateTovisuallydifferentiatetheoutsidepanels,
eachhasbeengivenauniquevalue:medium,white,dark.Becausebulletpointsandchoppyparagraphs(centerpanel)canbemessy,theyshouldbecushionedbywide,emptymargins.
Commontypography
(notetheheadlinestyle)isapointofunityamongthedifferences.
Before
After
SimpleimagesaremorepowerfulTheself-absorbedboyin
themeadowisnotonlyalone—aproblemofmentalillness—butthephotoiscomplex,withmanycompetinglinesandsurfaces,and
thepointofthemessageislost.Incontrastistheclarityoftheafter.Thegirlis
atpeaceinthenearnessofa
caregiver,akeyconceptinthe
brochure.Notethesimplicityofthe
image;despiteradicalcropping,afewstronglinestelluseverythingweneedtoknow—
andprovideasmoothbackdropforthe
headline.5. A multi-facetedpresentation
Varyingcolumnwidths, typesizes, values, and colorsexpress levels ofconversation and give the
readermany points of entry.Note that the folds aredisregarded.
Inside
Thelayoutstartsatthe
headline...
...andeverythingrelatesbacktoit.
ApageanchoredbyhopeThemost
importantstatementinthebrochureanchorsthedesign.Setinallcapsonextremelytightleading(54/39)andcarefullywrappedaroundthreephotos,theheadlineisan
umbrellatowhicheverythingelsewillrelateandleavesnodoubtwhatthe
hospitalstandsfor.6. Bi-leveltypography
Careful typography creates
stories within stories. Pullout key thoughts in acontrasting typeface anddarker value; the reader canthen browse lightly or readdeeper.
AcomplexstoryhasmanyfacetsThedesignercanmakereadingeasierand
moreinterestingbybreakingastoryintovisualparts.Withnoeditorialinputatall,a“browserlevel”wascreatedforthereadersimplybyhighlighting
keywordsinanordinarygalleyof
type.
Notethenumberof
keythoughtsthathavebeenhighlightedonthepage;eachlabels
andclarifiesadifferentfacetofits
story.7. Butterfly makes atheme
Fluttering across the heavytopic is a hopeful littlebutterfly.Thiswaskeytothemakeover. The butterfly
provided the color paletteand visual continuity fromsectiontosection.
Color,continuity—andtouchabilityAthemeisacolororshapeorimagethat
tiestheelementsofthebrochuretogetherbygivingthemaconsistent—or
repetitive—lookandfeel.Inthiscase,the
butterflywasduplicatedandplaced
intermittentlythroughoutthe
brochure,anditssimplecolorpalettewaspickedupintheheadlines.Justas
importantasitsvisualpropertiesareitsmessage-making
qualities;thebutterflyislight,non-
threatening,and
touchable,anditspresencerepresentshopetothoseinthedungeonsofmental
illness.8. On a page ofrectangles, a curvycounterpoint
Finally, graphics carve Sshapes atop the rectangularpage, gracefully connectingtop to bottom. Similar sizesmake all seven objectsworkinunison.
Mechanicaland
organicThevarietyofcolumnwidthsandtypesizeskeepthe
pageengagingandtheeyemoving.Atleft,thepageisfirst
dividedtoptobottom,theneachsectionisdividedagain;noteespeciallythe
unusuallynarrowcolumnsatthebottom.Above,overlayingthe
rectangularformatarethreebutterfliesfromlargetosmallandthechildren’sphotos,whichfollow
sweepingScurvesandprovideasofteningcounterpointtothe
layout.
Design a story-stylebrochure: Fold—andunfold—a singlesheet into anappealing, narrative-likepresentation.
Thebestbooks,plays,songs,and speeches are in astorybookformat—theyhave
a beginning, a middle, anend, each building to thenext, and all the parts tiecoherentlytogether.It’seasyto put this engaging style towork in a small brochure.Foldanddesignyoursheetsothe reader sees yourpresentation in sequence.Each space tells a differentpart of the story, and allshare a common style. It’sinexpensive, it feelsbig, andit’sfuntomake.Here’show.
Frontcover
Onesheet,bigimpactUnfoldingalegal-sizesheetrevealsyourstoryinanatural,
step-at-a-timesequence.Semi-
abstractcoverbeckonsthereaderin.Openoncetoabeautifulyard,whereanarrativepanelintroducesthe
business.Opentwice,andphotos,captions,
andtextappearthatexplainindetail.
1. Start with thecover
The cover has two jobs: itmustintroduce (Hi,we’re...)andinvite (Comein!).Todothisvisually,makethephotodosomeofthework.Here,it
hintsatmoretocome.
It’sthefrontdoorTochooseanimageforyourcover,thinkofaportaloragateway.Aboveright,thecloselycropped
fountainsuggestsanarchthatputsthe
readerina“doorway,”andits
soft-focusbackgroundhintsatthebeauty
beyond.Thisisideal.Thenplacethenamedirectlyinthereader’s
lineofsight.
Thecompanynameisconfidentlysmallbuthasplentyofpresence.Three
reasons:It’s1)inthemiddleofthepage,2)aloneinthegreenfield,and3)framedbythefountain.
Thetextblockisstraightontheright,raggedontheleft.The
straightside“connects”ittothepageedge,andthe
raggedside
“connects”ittothefountain,whosecurvesitfollows(above,left).Similarly,the
typestyles(above,right)includean
irregular,serifnameandacrisp,sans-serif
description.
2.Openonce...
...and the reader “walksthrough the door” into abeautiful welcome. Typesetan introduction on the flap,which, unlike a static page,actively suggests more tocome.
Imageandtext
togethercanbemorethantheindividualparts.Tomakethe
mostoftheirstrengths,letthephotospeakforitself,whileyou,innarrative,speak
directlytothereader.Dual-functionflapworks asan introduction and the next“door.” The narrow textblockisalignedbothleftandright, orjustified, whichemphasizes its height and
complements the flap. Verywide line spacing slows thereader to aconversationalspeed.
Original
MakeitbigBy
completelyfillingthepage,thebeautifulbackyardpresentsagrand,invitingimage.Thewall-to-wallcroppingconveysasenseofoutdoorspaciousnessby
avoidingtheconfiningeffectofaframe.The
imagestopsattheflapbutappearstogo
further;thepromiseofmorebeckonsthereadertoopenthe
flap.
Cropped
3.Opentwice
Inside iswhat the readerhascome to see. With the
brochureopenflat,fourmoreimages and captions plus acomplete narrative describetheproductfully.
Groupthenew
photosAhugedifferenceinscale—oneveryBIGphotoandfoursmallones—allowsfivesimilarimagestosharethe
spacepeacefully.Notethatthesmallphotosareallonesizeand
tightlysetinacolumn,
whichamplifiestheirpresenceandkeepsthelayoutbeautifully
organized.
Whiteasacolor
Whiteisoftenthoughtofasapassive
backdrop,butthislayoutclearlyshowsthatwhitewillworklikeanyothercolor;thewhitecolumn
lookslikeacolumn,nottheunprinted
paperthatitactually
is.
OureyesfollowsequenceAbove,wide,medium,and
narrowcolumnsmakethedesigndynamicby
movingtheeyelefttoright;same-widthcolumnswouldbestatic.Oureyesalsorecognizevisual
rhythm,seenhereinthealternatingdark-light-darkcolumns.
4.Beautifully, simply
designed
The three-column design ispleasing to see and easy toread.Andit’sassimpleasitlooks; columns run top tobottom with no zigs, zags,overlaps, borders, or othergizmos.
Impressum(left)isafaintlyquirkyseriftypefacewhose
irregularthicksandthinsandhalting
rhythmresembletheorganicshapesofnatureyetreadcomfortably.The
blacktextfollowstherule,“colorattracts,blackexplains,”andmakesitclearit’sintendedtoberead.Thetwocaptionsare
anexception;whiletheirtypespecsmatch,
colordifference(black/white)is
neededforcontrast.5.Wrapitup
End on the back with a callfor action. In this case, anappealing face conveys a
change of voice. Sustaincontinuity by carryingtypefaces, styles, and colorsallthewaythrough.
Inside
OrganiccounterpointStackable,movablerectanglesorganizeanyspaceeasily;ontheback,theirregular
silhouetteprovideseye-pleasing
difference;hergreenoutfitsustainscontinuity.
Back
AchangeofvoiceInsidewe’veseenherwork;onthebackwemeetthedesigner.Herdirect,“Giveusacall”statementand
phonenumbermakeiteasytoact.Bothareaccessiblyatthetop
nearherface,notburiedinthetext.
Typestyles,sizes,andcolorscontinuefrom
theinside.
Template: Story-stylebrochure
Legal-sizepage14″×8½″Finalsize5½″×
8½″
MailseasilyFitsa6″×9″envelope,orcanbedesignedasaself-mailerthatmailsat
USPSletterrate.
Design a pocket-sizebrochure: Eightsmallpages tell abigstory.
This single-sheetbrochure isasmallbeautythatgetseightpagesofworkoutofjustone.From its palm-size, 2¾″ ×4¼″cover,astoryunfoldsina natural, easy-to-read
sequence.It’seasytodesign,too. The key is tothinksmall—one photo, bite-sizetext,andabriefheadlineperspread look quite big. Andit’s inexpensive. Perfect forbusy readers, it slips easilyinto pocket or purse and isidealfortellingyourstoryinbrief,narrativeformat.
...open into a letter-sizesheet A tiny cover and twobrief but complete spreadslead the reader to centerpage, where (in this case)eight health tips give dentalpatients a useful takeaway
and a reminder of theirdentists’ care andcompetence.
1. Cover and firstspread
Thebrochure folds openone
spreadatatime.Todesignit,t h i n kstory—give it abeginning, a middle, and anend.Setavisualtheme(hereit’s people), anddesign eachspreadasacompletethought.
CoverAnattractivesmileandtheofficenamesetthevisualtheme.Suchsmall-spacedesignrequiresbold,simpleelements.Thisdesignusesfour
—photo,bluebackground,bite-sizetext,andabriefhead.
Eachelementshoulddoonlyonething.
Avoiddetail—notethephotoisclosely
croppedandhasnobackgroundorotherdistractions.Inside(below),thetextisplain;thetinyspaceneedsnosubheads,
indents,orotherflags.
Cropclosely
Breakout
Firstspreadisthe
introduction.“Breakout”photosthatoverlaptheblueadddepthandperceived
sizetothelayouts.Lightcolorsyieldthebiggestlook.Textcanbesolidblack,butinthetinyspace75%gray(orso)willbeeasierontheeyes.Here,freshapplegreenanddental-
officebluewillsustain
thethemethroughout.
2.Secondspread
The second spread openshorizontally,butits layoutisidentical to the first—headand text on the left, photoand blue background on theright.
Thinedge,thintypeQuick!What’sthe
thinnestpossibleline?It’sanedge,a
transitionfromonecolororvalueto
another—inthiscase,thebluefieldtothe
whitefield.Edges,notruledlines,yieldthe
sharpest,cleanest,mostminimallook.Headlinesofsuper-fineHelveticaNeueUltraLighttype—aboutasthinastypecanreasonablyget—areanexcellentcomplement.
Secondspreadis
twicethewidthofthe
first,anditstextistransitionalbetweentheintroductionandmainbody.Aboveright,typesizesandpositionsareidenticaltothefirstspread,butdidyounoticeitsleftmarginisslightly
wider?Probablynot,
becauseitlooksthesame;thewider
marginhasthevisualproportionsofthe
widerpage.3.Mainspread
The fully opened sheet hasroom toelaborate. Here,health tips flank a center
narrative.
AlivelyconclusionIt’snolongerpocketsize,butthethemecontinues—bigpeople,breakout
photos,blueandwhitefields,andtextintwotypefaces.Asbefore,thebluefieldfitsthefolds(farleft)and
“pulls”equallywiththewhite.Notethesymmetry;every
elementisillustratedandcentered.
Template: Pocket-sizebrochure
Letter-sizepage11″×8½″Foldedsize2¾″
×4¼″
Foldthepageintoeightequalparts.
A small newsletterthat reads big: Half-size page is easy todesign and creates astrongimpression.
For hard-working editorswho want their news to betaken seriously, here’s anexcellent small format. Turn
a letter-size sheet sideways,andlayoutitscontentslikeasmall book in two distinctfields repeated every spread.The result is a newsletterwith the lookof permanenceand credibility. Here’s howtodoit.
Insidespread
HandsomelyfocusedEachspreadislimited
toafewneatlypresentedelementsandhasthelookofa
smallbookormagazine.
Cover
Back
InexpensivetomailTwentypages(fivesheets)canbetabbed
andmailedfirstclass.Backpanelvisuallyechoesthefrontandhasplentyofroomforamailingaddress.
1. Divide the spreadintotwofields
Each spread is made of two
fields—a bold inner and alight outer—each with itsown information. The mainnarrative occupies the inner;supporting articles gooutside.
2. A field within afield
What makes this newsletterlook big is that the centerfieldbleedstotheinside(the
gutter),andelementsatopthefieldcan“bleed”toitsedgesjustlikearealmagazine.
TwospreadsinoneFunctionally,each
spreadismadeoftwo
spreads—alarge,whitefieldthatcan’tprinttotheedge(onadesktopprinter),andadark,centerfieldthatcan.Makethemostofthis!Designeachcentersothatitsimagestouchits
edges.
3. Similaritiesconnectthefields
Althoughthetwofieldscarrydifferent kinds ofinformation, you want themto work as one. Do this bycreatingsimilaritiesofcolor,shape, alignment, and so on.Consider the elements youhaveandhow theycanwork
together.For example,what keeps thesmall photo on the far rightactiveinthedesign?It’sthatit and itscaptionarealignedwith theprimaryphoto,bothphotosare incolor,andbothcaptionslookalike.Oureyesconnectsuchsimilarities.
4. Crossoversconnectthefields
Where there are few or nonatural alignments, you canuse graphics to makephysical connections. Yourgoal is to keep the fieldsvisuallytogether.
CrossoverwithasolidbarExtendingtheheadlinebar
makesaconnectioneasily.Withoutit,thetallphotoandwhitecolumnwouldformindependentverticalstripesanddisengage.
Crossoverwitha
graphicThebackhoeinsilhouetteisan“interrupter”that
connectsthefieldsanddrawsattention!
Nearbyitisanexcellentplacetoput
akeybitofinformation.
5.Designsimply
The three spreads carrydifferentmaterialyet clearlybelongtogether.Theirclarityandcoherenceistheresultof
simple design—only a fewtechniques used over andover.
(A) Super-clean,edge-to-edgephotosmovethe eye straightacross or straight
down the page. Notethey never stopmid-column,nordoestextwrap.
(B)Straight-linelayoutmoves the eyecleanly withoutbumps or jogs that astaggered layoutwouldcreate.
(C) Every spread has aclearfocalpoint thatsays“starthere.”
(D) The photos havehigh scale contrast(big-small). Highcontrasts are alwaysunambiguousandfullofenergy.
(E) Thedesign isrepetitive—only twolayout zones (innerandouter),threetypesizes (head, text,caption), limitedcolor palette (black,
gold, gray), twoimage sizes (big andsmall; “interrupter”is an attention-gettingexception).
(F) The inner zone canbe one continuousarticle or severalshortones.
Works beautifully as aPDFbooklet.
Design a “photo”graph
Chartsareusefulforshowingtrends and relationships, butordinary rows, columns, andlines are so... forgettable.Make your next chartengaging and memorable,too,byaddingaphotographicillustrationbehind,beside,or
interactingwiththedata.
Interactwiththe
chartPull!Push!Lift!Enlivenplaindatabyshowingpeopleorobjectsinteracting
withit;inthiscase,theschoolkids
illustratewhatthechartissaying.
LaythechartatopanimageStrawberry
basketillustrateswhatthechartisabout—mucheasierthan
visualizing!Reddotssustainthetheme.
Design a card theeasy way: A photoandoneblockoftypeisallittakestomakeabeautifulcard.
When photographer JayneKettner asked for helpmaking a logo for herbusiness card, we had to
wonderwhy she’dwant one.Her photos were rich, well-composed, and pleasing, justwhatshe’dwanttheworldtosee. A logo is an artificialdevice used to represent aproduct, service, or group ofpeople. It would add only abarrier; when you have thereal thing—that is, Jayne’sphotos—why do you need arepresentative?
Whatdoyoureallyneed?Jaynewantedtoportrayaprofessionalimage;giveadramatic
presentation;andmaybeincludealogoorwordmark.Oneofherearlyeffortsisshownatright.Butwhynotletherstellerworkspeakforitself
(below)?
1. Start with thewords
Setyourwords inablockofordinary type—not fancy
type—and place it in theupper-left corner. Thissimple “block in the corner”has a minimal, intentionallydesignedlookthat leavesthewhite space as the dominantelement. You’ll be temptedtofillthespace,butdon’t.
(1)Setsolid,theinformationisabit
dense.(2)Splittingthebusinessnameoffintroducessome
breathingspace,butputtingthecontactinfoinalightertone(3)reallyputsthefocusonthecruxoftheinformation.
2.Addthephoto
Placeandcropyourphotoall
the way to the edges. Colorthe type white, and you’redone.That’sallthereistoit.No artificial graphics, nodistracting layouts. Itquietlyplaces your work, literally,into the client’s hand,simply,clearly,beautifully.
PlaceandcropMostbusinesscardsarehorizontal.Selecta
photowithopenspaceintheupper-leftcorner,place,and
crop.Don’tbeafraidtocropradically,whichcanyieldunexpectedand
powerfulresults.Touchalltheedges
(fullbleed).
Colorthewords
Bringthewordstothe
front.Onadarkimagelikethisone,finishbycoloringthebusinessnamewhiteandthebodylightgray.
Extendthephototocreateableedarea,whichisanextra1/16incharoundyourcard.Thispreventsany
whitelinesalongtheedgesofthecard
whenit’strimmedtofinalsize.
3.Usebothsides
Ifyourfavoritephotohasnoroomforwords,usetheback.Artist’s canvas Without
words, winter trees fill thecard like a painting oncanvas, quietly speakingvolumesaboutyourwork.Onthe back, use a minimal,gallery-stylelayout.
Front
Back
4. Add somebackground
Photo doesn’t fill the space?Addanartificialbackground.
It’sabeautifulmagnolia,butit
doesn’tfillthespace.
Whenyouhaveasolidbackgroundlikethis,(1)eyedropperthe
colornearesttheedgeandfillthecard
behindtheimage.(2)Inthiscase,wetheneyedroppersomepinkfromtheflowerandaddittothebusiness
name,creatingabeautifullysoftconnection.
5.Fadetoblack
A too-narrow image with amulticolor background
requiresfading.
AchangeoftypeHere’sanexample
fromanotherphotographer.Bob
Schnellisapeoplephotographer.SmallchangeoftypefacefromBentonSanstoDidot—ononlythebusinessname—softensthenamesuitablywhile
retainingthelook.
BobSchnellPhotography
FadeyourphotoinInDesign.(1)Fillthecardblack(inthiscase,tocomplementhissuit),then(2)placeandcropthephoto;notethe
resultinghardedge.(3)Clicktoselectthephoto.Selectthe
GradientFeatherTool(left),dragfromrighttoleft,stoppingjustshortoftheedge,andyou’redone(4).Notquiteright?Drag
again.
6.Getvertical
Vertical-formatcardsarelesscommonbutcanbedramatic.It’s tempting to move thewordsaround,butdon’tdoit.The upper-left corner makesaclear,designedstatement—especially if it’s consistenton all pieces. If an imagewon’t work with that
position, use a differentimage.
Herasymmetrical
positionactivatesthepage.
Youdon’twanttoloseagreatshotbecauseitdoesn’tfitthespace.Ifyoucrop,we
recommendmakingtheimagesquare,
whichlooksintentional,notambiguous.
7.Findcolor
Eyedroppercolorsrightfromthe image for a perfectcomplementeverytime.
Herlips...
Herhair...
Herdress...
Thebackground...
8.Useanobject
An alternative to a portfoliophoto is to picture an objectfrom your business. Justknockoutitsbackgroundandplace it on the page. Includeitsshadow.
SmallisbigWhitespaceisthe
controllingelementonthesecards—notehowyoureyeimmediatelyregisterstheimages,despitetheirsmallsizes.Smallis
important;ifyoumakethembig,theobjects
becomethestory,notyou.Note,too,thatalthoughthey’re
predominantlyblack,theobjectsarein
color,justlikeyou’dseetheminreallife.
Whitespaceisnotemptybuthasrealforce.Notehowit
pushesyoureyetotheleftandcreatesa
strongsenseofdepthbehindthestudio
umbrella.9.Createagallery
Insteadofonephoto,createatiny gallery. Make amatching Web gallery, andyou’llhaveadirect, card-to-Web connection, useful forbranding.
Makeagrid...
...addyourphotos.
Squareimagesare
hardertocropbutlookdesigned,andtheycorrespondtoWeb
thumbnailsandavatars,too.
Backgroundcanbewhiteorblack.
Design a dual-purpose letterhead:Legal-size sheet canserve as yourletterhead andprovideabonus,too.
The economy of direct mailis especially valuable fornon-profits. But amidst all
the junk mail, a letter mustwork quickly to stand apart.It must establish itsreputability, attract with itsmessage, and generate areply.The Saint Philomene Shelterexists on contributions forwhich it periodically makesan appeal. We’ve designedfor it a dual-purposeletterhead that conveys animage of dignity and
authority, and has aperforated panel as a leave-behind.Here’showitworks.
Leave-behindvalueforthereaderLegal-
sizesheetwithaperforatedpanelhas
bothformandfunction.Thequietlookofthestationerybespeaksdignity—thewhoandwhatthey
are.Thetear-offpanelcanbeusedinmanyways:asareply,
promotionaltakeaway,voucher,coupon,map,calendar,or,asshownhere,araffleticket.
1. Create a visualimageofyourworld
Design the letterhead first toshow your readerswho youare. Here, a simple tabletoppendantframedinopenspaceconveys dignity, stateliness,andtradition.
Startwithpre-perforated,legal-sizepaperOursheetispre-perfedat3½″,aquarterfold.To
visuallyseparateletterfromtear-off,applyabackgroundtintas
shown.Leaveawhitemargintoserveasa
frame,andinsetathinwhitelinetoadd
formality.Centertheimageatthetopinopenspace;it
becomesthefocalpoint,quietly
conveyingauthorityandsupplyingthevisualcredentials.
Derivethe
backgroundcolorfromtheimageFor
easycolorcoordination,
eyedropperacolorfromtheimageandtintitlightly,which
ensuresgoodreadabilityand,inthis
case,addsawarm,parchment-likepatinaandasenseofageand
stateliness.
2.Selectandsettypethat conveys historyandstature
Toconveyhistory,formality,and stature, use serif type,which has existed sinceRoman times and isbeautiful, too.Note itsmanysmalldetailsalsocorrespondtodetailsintheimage.
Bigshapes,smallshapesSerifsaretotheletterswhatfiligreeistothe
image,pointsofdetailthataddcomplexity,
visualinterest—andsimilarity.Noteinbothimageandtypethecontrastofbroad,openareastothe
curvesandhollowsofthesmallshapes.Suchdetailconveysage;oldartismoredetailed
thannewart.
SAINTPHILOMENE
SHELTEROFSEATTLE,
WASHINGTONTypeallcapsAnall-
capssettingisthecorrectwaytopresent
atitle.Typethewords,headononelineandsubheadonthenext.Noteatthispointthatthewords
formheavyblocksthatasyethavenoartistryorinteractionwiththe
image.
Createartistic
contrastsWithoutchangingtheleading(linespacing),reduce
thesubheadto70%ofitsoriginalsize,
lightenit70%,thenspreadoutthe
letterspacing400%.Theresultisvisualhierarchy—headis
visiblymoreimportantthansubhead—andwithallthatair,the
lettersalmostevaporate,allowingtheeyetomovefreelyandnotinterferingwiththeimage.
3. Maintain the lookdownthepage
Stateliness is quiet, steady,
and strong. Visually, thismeans it doesn’tmove orshout, nor does it interactwith other elements. Thesequalitiescanbeexpressed intypesetting.
DesigntheaddonThetear-offpanelmustbedesignedtocomplementthe
letterheadandalsofunctiononitsown.
Theeasiestwayistoduplicatethe
letterhead;here,it’sbeenreducedinsize,combinedwithits
addresslines,andthewidemarginsretained.Fill-informsneedplentyofroomto
write;allowatleast18
pointsbetweenlines.Setlinelabels(name,address,andsoon)exactlyliketheothertypebutsmallerstill.
How to set a text-only logotype: Thekey is to work withthe natural patternofyourletters.
Welcome to Nagano UrbanGrill, a popular midtownhangout. Our project is todesignitslogotype.Alogois
acompany’ssignature; it’sadistinctivewayofwritingitsname. Some logos includegraphicsandsomedonot.Agood logo isbold, clear, andattractive, and it conveys anappropriate sense of thecompany.Thesequalitiescanbedifficulttocombineinoneword.Theplacetostartonatext-onlylogo—orwordmark—is with the natural patternofitsletters.
Everywordhasanaturalpattern
Beforesettingtype,takeavisual
inventory.Even
handwritten,wecanseeadescendingg
loopandrepeatinga’s,whichformatrioofroundishshapesmoreorlessinthemiddle.Naganostartswithanangle(N)andendswithacircle(o),bothofwhichhaveopen
endsthatleadtheeyeoutward.Ithassixletters.Visually,
Naganoisanaverageword.It’seasytosay(NOG-uh-no),andithasstrongJapaneseassociations.Thesequalitieswillformthefoundationofour
designs.1. A logotype startswiththealphabet
Letters have distinct shapes.Get familiar with theseshapes.Eachhasitsownkindof expressiveness. Theshapes will also determinewhat you can do with yourdesign.
The typefaceAvant Garde(shownhere),whichconsistsmainly of simple straightsand generous circles, isespecially good at revealinglettershapes.
2.Forexample...
A word’s pattern can beexpressed rhythmically.Rhythm is an unseen factorthat affects howweperceivea word. The namej.jillconsists solely of straightletters that do not conveysoftnesslikeroundlettersdo.Conversely, roundpod isnotnaturallysharpandedgy.
3.Findyourpattern
Startbysettingyournameinuppercaseandlowercase,andnoticethepatternthatforms,even if it’s subtle. Payspecialattentiontorepetitive
linesandshapes.Nagano in uppercaseFuturaBook has two groups ofmirrored angles (NA-AN)alternating with two roundletters,a rhythmicbutsubtlepattern. LowercaseAvantGarde forms a line of all-round letters, a strong andinterestingpattern.
4.Patternbreakers
Yournameinsometypefaceswill not form a pattern.Letters that look alike inAvantGardelookdifferentinAdobe Garamond, and thepatterndisappears.Thegthatbeforewas a circle is now asnaking, twisting line. As arule, the more detailed thetypeface—details include
serifs, terminals, filets,varyingstrokewidths,andsoon—the less visible thepatternwillbe.
TexturePatternsarebig.Whenrepetitive
elementsaresmall(commonindetailedtypefaceslikeAdobeGaramond),they
maketexture.Above,youcanseefour
circularcountersandotherrepetitiveshapesinthemiddleofthe
word.
Shape Related to pattern isshape, which refers to theoverallformoftheword.5.Patternmakers
Your name can be given apattern by the typeface.Pattern-making is the mainfunction of most decorativetype.
CalligraphicSloop has astrong, graceful pattern—itslettersarcandflowsmoothlyfrom thick to thin and havecommon angles and loops.Extra swashes—notice theN—create similarity withother letters where noneexists naturally. Any wordset in Sloop willautomatically have a patternandbebeautiful.
6.Shapemakers
Similarly, your name can beforcedtotakeshape.Thetwoeasiest techniques areexpansion—spread yourname out—andcompression—squeeze ittogether.
ExpansionSpreadingyournamewayoutdisconnectsitslettersfromeachother.Thisbreakswhatever
patternmaybepresentandcreatesanewone—aneatrowofdots.Thepanoramicresult
conveysasenseofgrandeurbothunderstatedandelegant.It’sverypopularinmovie
titles.Thetechniqueworkswithalmostanytypeface;setallcapsforthecleanestline.
Compression
Conversely,settingyournameinahighlycondensedtypeface,thenpackingittightlytogether,yieldsa
dense,powerfulblock.
Thistechniqueisalsopopularinthemovies,becauseitcanconvey
amassive,overwhelming
presence,especiallyinallcaps.Atsmallsizesitsdenseshapecarvesadistinctivesilhouettethat’seasytowork
with.7.Designacard
So far, we’ve seen that theletters in a name can formapattern. The typeface canmake or break the pattern.The typeface can impose apattern of its own. In everycase, the typeface alsoaddsmeaning. The key to a great
logotypeistofindatypefacethat makes the name lookg o o dand conveys theappropriatemeaning.To see this at work, we’llnext set the name on abusiness card in ninedifferent typefaces.The cardwill give us the added toolsof color and layout.Wewilluse only type, with nographics of any kind. Payspecial attention to this, and
you’ll see how clearly—andbeautifully—type alone cancommunicate.Note: A standard U.S.business card is 3½″ × 2.″For this demonstration we’llputthenameonthefrontandignore the contact info,which in real life would beputontheback.AvantGarde
brings out Nagano’s naturalpattern. Simple shapes areboldandyouthful,especiallyin lowercase. Colors areinterchangeable. This wouldbeafun,trendyplace.
Brightchainofhoopsandcirclesrunsedgetoedgeandcanbeseenfromacrosstheroom!Urbangrillsubtitleisalsoin
AvantGarde.Greenandyellowarefresh,secondarycolorsthatcaneasilybeswapped
(right)withequallyboldresults.Single-linedesignconveys
restraint,acounterpointtotheexuberantcircles.Notethelettersareveryclosebutnot
touching.Asymmetrical
divisionsofspace—wide,medium,narrow(above)—keepthedesignactive.
Sloop
has airy, sweeping lines thatconvey grace, elegance, andtaste appropriate for a visitfrom the Queen (really).
Centered layout and light,metallic colors addformality.
Realpoweralwaysappearsnaturaland
unforced,asifitsimplyrequiredno
effort.(Ifitlookslikeyou’retrying,itdoesn’twork!)To
projectthis,youwantacenteredlayout,
whichhasnomotion;itiscalmandatrest.Silverandgoldcolors
suggestwealth,butherethey’relight,quiet,discreet.
Superlightsubtitle(HelveticaNeueUltraLight)isbarelythere;
itstinysizeandcontrastingRoman
stylesupportswithoutcompeting.What’s
interestingisthatforallthisformality,
NaganoisaboisterousmidtownGRILL,ajuxtapositionofnameandimagethatwouldprobablyworkjust
fine.
Centerthelayoutinbothdirections.
AdobeGaramond
is a text face in whichNagano has no pattern but asmall amount of texture. Gowith what it has, and addmore texture! Cockeyedsetting is correspondinglyrough.
Distressedserif
typefacelooksrough,weathered,andcrate-stamped,oppositethe
hard-edged
minimalismofitsurbanenvironment.Earthycolorsaddwarmth.Thewordscanbeputjustaboutanywhereexcept
straightandaligned;youwantittolookalittlethrowntogether.Thistechniquelooks
especiallyauthenticinastenciledtypeface(inset),whichhintsof
cargo,military,nautical,safari,andso
on.
CopperplateGothic32BC
has tiny, straight serifs thatgive it old, industrial-eraovertones suitable for anurbanenvironment. Its clear,wide body makes it a goodchoice for panorama.Copperplate’stinyserifshelpthe eye span the gapsbetween the widely spacedletters.
Eveninverysmallsizes,apanoramicsettingprojectsawide-screenimageandconveysfeelings
associatedwithspaciousnessandgrandeur.It’squiet,too;thecentered
settingismotionless
andstately.Anycolor—likehotmagenta!—worksinpanoramabecausethere’ssolittleofit.Darkbackgroundadds
class;forapartylook,makeitbright.
Bureau Grotesque ExtraCompressedBlack
forceswordsintoblocksthatcan be fit together likemasonry. Brick-wall colorsand artistic composition areright for an artsy, jazzy,bluesy,midtownhangout.
IfyoulikeLegos,you’lllikedesigning
withBureauGrotesque,whose
denseblocksyoucanstackandrepositionendlesslyandusuallygetexpressiveresults.Payattentiontothenegativespacesthat
form(whiteblocks,aboveleft),whichareasimportantasthepositive.Light
“Urban”and“Grill”colorsrecede,sothenamestandsout;notethatbotharetintsofthebackgroundcolor(above,center).
Aboveright,artisticallysparedesignyieldsa
powerfulfocalpoint;notethecolor
emphasison“urban.”
LettrésEclatées
isamangybutoddlycheerfultypeface full of repetitiveelements that have both
patternandtexture.Thetwo-color setting adds class.Sublimelyfunky.
Thescragglytypefacehasthestreetlookyou
want,buthowdoyoukeepitfrommakingascragglycard?By
centeringitinasinglelineonrichblack.Theresultisartisticandtextured,framedlikeartinagallery;slightcolordifferenceisjustenoughtosetNagano
apartyetkeepthelineintact.
(Above)Notastraight
lineanywhere,anglesandovalsgiveLettrésEclatéesitstextureandournamesomethingofa
pattern,whichmaybeeasiertoseeifit’s
reversed.PlanetKosmos
is an alphabet of nearlyidenticalcharactersthathintsof Japanese animation. Itlooks fast (the italics), edgy(its angles), youthful(cartoons),andclean(simplelines).
RadAngledsettingisedgy,vibrant;itsays
therestaurantisfullofyoungenergybutisprobablynotaplaceyou’dgotorelax.Usetheangleoftheitalics(aboveright)ratherthanarandomangle.
FasterFormaximumspeedthename
touchesbothends;theeyemovesstraightalongthenameand
offthepage.
SlowerSmallernamecreatesanenclosingframethattheeye
unconsciouslytraces,whichslowsitdown
slightly.HTFDidot
is thelookofNewYorkcity—a l lglamour, a beautifulchoice for a chic,cosmopolitan restaurant.With its fashion-modelovertones, this would be aplacetobeseen.
HTFDidotinlipstickredonwhitewillstoptraffic,andinthiscase,becauseofthename,italsohas
Japaneseovertones.Didot’ssuperfinelinesmakethepresentationunusuallystriking.AnidealcomplementisHelveticaUltraLight,whoselineweight
matchesDidot’sserifs(inset).Didot’spatternisseeninitsrepetitive
verticals.Curvya’sandg—notethe
beautifullyundulatingthicksandthins—
sweetenthemiddleofthename.
Red,gray,black,andwhitearealwayspowerfultogether.
HelveticaNeue
imparts a look of Swissminimalism wherever it
appears.Graceful,geometric,and ice cold, it is oneof theworld’s most famoustypefaces. Expect stainlesssteelandglass.
Helveticaisthelook
ofthemodern,mechanizedworld—beautiful,controlled,andaloof.Youcanuseitforanything,aslongasit’stightly
aligned,usuallytothetopandleft.Helveticalooksbesttightlyset
andinasinglesize;differentiatewordsonlywithweightandcolor.It’sacold
typeface;you’llneedfire-on-the-grillcolors
towarmitup.
Design a flier thatcomes back to you:On a budget?Designaflierthatdoublesasits own returnenvelope!
To raisemoney fromprivatedonors to pay for its new,city-center plaza, the Lodi
Veterans Plaza Foundationneeds an attractive butinexpensive appeal.Here’s agreat solution—a flier thattells the storyand collectsthe money! It’s a letter-sizesheet suitable for desktopprintingthatfoldstobecomeits own return envelope,neatly securing the donor’scheck.
Front
Back
Foldedformailing
1. Catch the eye ofthepasserby
Whether displayed on
bulletin board or countertop,the first goal is simplyto beseen.Forthat,theflierneedsa powerful front-side imagethat’sbig.
ThedignityofageAfresh,newAmerican
flagisalwaysappealing,butit’salsocommon;weseethemallthetime.Becausetheplazahonorsveterans,anolder,
weatheredflag(right)—onethat’sseen
service—maycarrymoreweightandemotion.Visuallyricherandless
common,it’scertainlymorearresting.Thefull-pagepresentationhasrealimpactplusamarginsuitableforbudget-friendly
desktopprinting.
Front
Makeaplaceforthe
wordsCenterarectangle,andreduceitsopacitytolettheflagshowthrough.Notethatit’sslightlyoffsettowardthetop.
2. Select amonumentaltypeface
The most powerfultypography is literally set instone. Serif-style, uppercaseinscriptions convey strength,high authority, andpermanence and are correctforthisproject.
ThemajestyofstoneModernWesterntypographybegan
literallychiseledinthe
stoneofTrajan’scolumninRome20centuriesago,and
serif-style,uppercaseletteringhasconveyed
strength,highauthority,and
permanenceeversince.Toauthentically
conveythe
monumentalcharacteroftheplaza
typographically,classicGaramond(below)isanideal
choice.UnitedStatesSupremeCourtbuilding
FrontCenter,thencolorIntherectangle,centerthetypelinebyline.Note,though,thatalthoughthebigger
lineismoreimportant,sizealoneisnot
enoughtosetthetwolinesapart(above).
Nextstep,then,istosamplethetwomostdominantcolorsontheimage(left),andapplythemoredominant—inthiscaseit’sred—tothemaintitle.Theresultisthatthecolordifferentiatesonelinefromtheotherandat
thesametimeconnectsbothtothe
flag.
3. Change typestyleswhen the message
changes
Because it has no motion,centered typography conveyspermanence, but a softeningof the message requires asmall change in typestyle toless-commandingitalic.
StepuniformlydownthepageBelowthe
uppercasetitle,themessagechangestodescriptive,sentence-stylestatements,whichshouldbe
expressedbyasmallchangeoftypestyle,herefromRomantoitalic.Theemphasisisonsmall;staywithin
thetypefamilytokeepthesettingunified.Notethe
descendingtypesizestoptobottomandthatthetitleremainsalone
inred.
Sustainthetheme
Dashedbordermimicsflagstitchingandaddsahintofenclosure.Tomakeit,simplyassignroundcapsandendstoadashedline,thenapplyatinyshadow.
Agraphicalstarseparatessections.
Theruleindesignistoworkwith what’s on the pagealready (in this case, thedetails of the flag); don’tarbitrarily add differenteffects.4. Work around theenvelope
The back side is tricky. Forcontinuity, first bring all thefront-side elements—flag,colors, and typography—around, then divide yourdesignintopanelscreatedbytheflaps.
Back
Usetheflagagain
Thefull-pageflaghasmadeapowerful
impression,soonthebackittakesonlya
slivertoreestablishitspresence.Picktheslivercarefully;thisonehasstripes,stars,andthebluefieldin
pleasingproportions.
AddafocalpointUsetheirregularshapeofthePurpleHearttosoftenthestraight
edges.Itsrealismandslightoverlapaddan
eye-catchingcounterpointtotheflatpageandmarkthestartofthestory.
5. Voice modulationiskey
With a little space to tell alot of story, text handling iskey.Helpthereaderread bysetting markers—boldsubheads and italics todifferentiatethisfromthat.
Back
(1) Headline Borrowtheheadlinefromthefront—same style,same color,uppercase. Note itscap height governs
thespacebelowit. (2) Subheads Use
space-savingrun-insubheads, which youwant to blend inwhile standing out.To blend in, set attext size; to standout, use extremeweight contrast—black with regular isbetter than merelyboldwithregular.
(3) Sidebarinformation Sidepanels, which have ab u i l t - i nwidthcontrast,areidealforsidebar information.Give the sidebar adifferent texture bysetting it in italics,making it smaller,increasing theleading (linespacing), putting a
different backgroundbehind it—in thiscaseadarkerversionof the main panel—or some combinationofallthat.
Template: Flier thatcomesback
Letter-sizepage11″×8½″ (A)Returnaddressfill-
in:0.25ptlines,17.5ptapart
(B) Organizationaddress: AdobeGaramond Bold,
12.5/17pt (C) Stamp reminder:
Adobe GaramondRegular, 9.5/11.5 ptStamp box: 0.65″ ×0.75,″0.25ptline
Note:Scotchtapeworksfineasaseal,butifyouhavethebudget, have the sheetcommercially gummed.Similarly,usingpostage-paidreply mail will increaseresponse.
Small site, greatformat: This simplebeauty is ideal forprofessionals andsmallenterprises.
“But I need only a smallsite!”Howmany times haveyouthought that?Ifyou’reasoloprofessionalorpartofa
small group, the site shownhere is made for you. Itsfresh,openspaceis idealforshorttextaswellasportfolioor product images. It’sdesigned to bebeautifullysmall; it’s not a half-emptybig site. It’s easy to make,easy to maintain, andcompelling to read. Here’showtodoit.
Handsome
typographictitleinafieldofwhiteconveys
quietnessand
confidence.Itsminimalsettingsetsthetoneforthepages
tofollow.
AuniformgridIt
looksliketwosections
—onelight,onedark—butit’sreallyfour.Thetwoareasontop,logo,andnavigation
areasbeneath.1. Make thefoundation
The site is a two-column
design on a fixed-size page.Youcanuseour templateonthelastpageofthisarticle.Ifyou’ll want a different size(fairly likely), here’s how tosetitup.
Everything’sin
thirdsSetafixed-sizepagewithadepthtwo-thirdsitswidth(for
example:900×600px).Dividethespaceintothirdsbothways.You’llfillthebottomthirdwithafairlydarkcolor,thenlightentheLinksareajustenoughtobedifferent(oursis90%)andstilllooklikeonebar,not
separatesections(below).
Definethe
margins(1)Dividethethirdsintothirds.Usingthethirdasa
guide,drawyourmargins(dashedline)asshownatleft.Notethattopandbottomcomeoutnarrower
thanleftandright.(2)Widentheright
marginby150%(that3:2ratioagain).By
theway,noneofthese
measurementsmustbeexacttothepixel,justcloseenoughtore-createthelookofthe
proportions.
AlignelementsfromthebottomupThinkupsidedown.You’llaligntextandgraphics
withthegridintersection
highlightedatleft.Alltextandgraphicsmusttouchthispoint.Textintheleftcolumn
alignstotheright;textintherightalignstotheleft(below).Logo
andlinksarestationaryinthedark
bottomband.2. Place text andgraphics
Each page can carry a smallamount of text, a fewgraphics, or some of both.Themainelementsgoontheright, support elements ontheleft.
PlacethemaintextSetthetextinonesizeandtypefacebutwithboldheadlinescolored
tomatchthebottombar.Usespaces,notindents,between
paragraphsforaflushedge.Placeyour
primaryarticlesintherightcolumntouchingthebottom.Stayinsidethemargins.Don’tfudge.Ifyouhave
moretext,addpages,andplacelinkswhere
shown(below).
PlacegraphicsPlacesmallgraphicsinthenarrowleftcolumntouchingthebottom.
Noteinthiscasethatneithergraphicnor
textfillthespace.Thisisadesigntechnique.
Theresultisabeautifularcofopenspacesurroundingthematerialthatmakesreadingeasy(below).
3.Makeagallery
Its open space makes thisformat excellent fordisplaying single andmultipleimagesforcatalogs,portfolios, and so on. Placeimagesontheright,captionsontheleft.
Smallobject,big
impactLetthewhitespaceworkforyou.Asmallimageplacedin
alargespacehasmoreimpact(andmoreclarity)thanalargeimage;thespace
capturesyoureyeanddrawsittowardtheimage.Thesamecanbesaidofthelogo.Thegreenspacepushestheeye
upward,amplifyingitspresence.
MultipleimagesThe
designcanaccommodatetwo,three,four,ormoreimagesperpage.
Arrangetheimagesinarectangle.Repetitivedivisions—allonesizeorshape—lookbest.Ifyouwantdifferent
sizes,makethemvery
different(left).Stayinsidethemargins.Don’tfudge.
4.Thedetails
Except for the logo, whosestyleisuniquetoyou,setallthe type on the site—text,captions, links, everything—in one style, size, and line
spacing.
Avoidtextwraps
Workinstraightlines—up-down,left-right.Usethecolumns;putimagesononeside,textontheother.
Verdanaisa
universallyavailable,sans-seriffontwhoseminimallinesareidealforthisminimalistsite.
Size11px,linespacing16px,color50%(orso)gray.Setheadsinbold;forcontrasttheycanbeblackorcoloredtomatchthebar.
Template: Smallformatwebsite
Pagesize720×480pxMeasurementsareinpixels(px)
Design a beautifulWeb header: Createan effective headerthe easy way. Justthinkinsections.
The header of a simpleWebpage is its most importantvisual element. On manyblogs, it’s theonly visual
element.Soithasabigjobtodo! It must identify the siteand set its visual tone. Itmustconveyataglancewhatkindofsiteitisandwhatitsattitude is. The header mustalsoprovideeasynavigation.All of this is easy to do bybuilding three sections, onefor each function, andunifying them with visualsimilarities. Here’s how toputthattogether.
1. Start by divvyingupthespace
AWebheaderspansthepage
and is extremely shallow.Divide it into three sections:name, image, and navigationlinks. Work on each oneseparately.
Notideal:Halves
Better:Asymmetrical
Howbig?Asarule,thenamegoesintheupperleftandthenavigationatthebottom.Don’tlosesleepoverexact
divisions;thesizesofthesectionswill
dependonyourname(shortorlong)andimage.However,
avoidsplittingthetopspaceexactlyinhalf,whichtendstodrawattentiontothe
sectionsratherthanto
thecontent;asymmetricaldivisions
arebetter.2.Findanexpressivephoto
Abeautifulphotoiskeytoabeautifulheader.Lookforanimage that conveys itsinformation in just a sliver.
Thesurpriseishoweasythiscanbetofind.
Captureasmuchinformationasyou
canThepastoralscenehastrees,grass,
mountains,andsunlight—andlook,allofitisinonesliver!That’swhatyouwant,alittleofeverything.What’sinterestingishowlittleittakestoconveymeaning—a
branch,abladeofgrass,abitofsky.Lookespeciallyfordepth,whichisoftenexpressedwithdark-lightvalues(farright);inthisimageyoucan
seeforeground,midground,andbackground.
3.Colorthesections
Sample a range of colorsfrom the photo, sort fromdark to light, then apply acolor to each section. Payattentiontocontrasts.
HighcontrastishighenergyAcommoncolorpaletteunifiesthethreesections.
Becauseallthecolorsexistinthephoto,the
sectionswillworktogether(usually)
regardlessofhowyoumixandmatch.Thehigherthecontrastbetweensections,thehighertheenergy;lowcontrastsaremorepeaceful(butusuallylessmemorable).
4. Set the name andnavigation
Ifyouhaveachoice,setyourtype in a face thatcomplements your photo:busyphoto/quiettype;classyphoto/classy type; plainphoto/showytype.
Alternatingcolors—greentypeongoldandgoldtypeongreen—
helpunifythesections.
Keepthesetting
simple(1)Averylong
namemustbesetintwoormorelines.
Withnoascendersordescenderstocollide,uppercasetypeisidealforthis.Inthiscase,aquiet,eleganttypefaceisagoodcomplementforthebeautiful,
painterlyimage.(2)
Avoidentertainingbutscene-stealing
typefacesand(3)typefaceswithgoodbutincompatible
styles.5. Use the oppositecolor
Here, a semi-abstract photoconveys D&T’s style ofarchitecture,butitsblue/graycolorsaretoosubduedforthelogo. The solution is to usetheoppositecolor.
Bluefromthephotolookscorrectbutdoesn’tconveytherightcharacter.
High-energy
oppositesThephotoisfullofcold,corporate
bluesthatdon’tconveytheenergeticcharacteroftheyoung
designfirm.Thesolution:Retainblue’sinfluencebyusingits
opposite,orcomplement,forthe
logo.Locateblueonthecolorwheel,thenmovestraightacross(left).Complementary
colorshavenoundertonesincommon(unlike,forexample,greenandorange,whichshareyellow)andthereforehave
veryhighcontrastandenergy.Violetandyellowhavethe
highestvalue(dark-light)contrastonthe
colorwheel.6. Design to the logoorothergraphic
Fairweather Downs has usedits logo more or lessunchanged for five decades.That’s a classic! The bestthing to do in this case isdesignnottothephotobuttothelogo.Fairweather and DOWNScontrastalot—script/Roman,small/large,lowercase/uppercase, yettheir line weights andexcellent craftsmanship are
similar.
Greenandbeigearesecondarycolors,one
cool,onewarm.Borrow the logo’scharacteristics(Below)Double-line borders andscallopedcornersofthelogoare easy to transfer to theother sections and make aclassic look. Because thelogo determines the look,photoscancomeandgo.
FancybordersinInDesign(1)Drawarectangleandapplyastrokethetotalwidththatyouwantthe
doublelinetobe;hereit’stwopoints.(2)IntheStroke>Typepulldown(right),
selectThin–Thin(in
thiscase),whichconvertsthesinglelinetodouble.
(3)IntheObject>
CornerEffectsdialog,selectInverse
Rounded,specifyasize(here0p9),and
clickOK.
Design simplepresentations: Visualbrevity will help agreattalk.
Do you have a speech togive? Slide-making softwarelike PowerPoint or Keynotemakes it easy to add visualinformation to accompanyyour verbal presentation.
Your slides can include thecompany logo and colors,headlines, bullet points,photos, video clips, charts,andmore.Transitionscanbemade with cinematicdissolves, wipes, and othereffects.Allofthisishelpful.Butthemost important thing toremember is thatyou, notyourslides,aretheshow.Thepurpose of having slides is
not to make a documentarybut tosupplementyourstorywith easy-to-rememberpoints.Herearefivebasics.
Aslideisawayfortheaudiencetolearn—andremember—apointthatyou’ve
made.Memoryiskey,sokeepeachslide
verysimple.1. Use a plainbackground
A plain background willshow your information best.Soft, neutral colors areeasiest on the eyes. Avoidbright, busy, complicatedbackgrounds.
Useaplain
backgroundTheylookgoodonapage
oftemplates,butaddyourwords,andthegratuitousgraphics
impairreadabilityandsendgoofymessages(left).Asarule,useplaindarkorsoft
neutralbackgrounds,andavoidpurewhite(above),whichona
slideisblinding.
Useadarkbackground
Useaneutralbackground
Useasoftgradient
Useafaintlytextured
background2. Use a clear
typeface
Use a simple typeface thatcan be read easily fromacross the room. It shouldhave clear, basic shapes andlittle or no detail. Thinkplain. Avoid allembellishments.Whattolookfor
Whattoavoid
EmbellishmentsOutlines,shadows,andotherdetailsreducereadabilitywhileaddingalotof
visualnoise.
CondensedandboldfacesClarityrequiresdifference;condensedlettersaretoomuch
alike.Boldlettershaveopeningsthataretoosmallforgood
legibility.
ExtremeweightvariationsLarge
differencesinstroke
weightdazzletheeye.Superthinlinescan
disappear.3. Make one pointperslide
Remember,youaretheshow,and your slides are memoryprompts.Highlightonepointthat sums up each part of
your outline, put it on theslide, and speak everythingelse.
Before
ToomuchinformationLookatthisslidefor30
seconds,thencoveritandseewhatyouremember.It’stoomuch,isn’tit?Youraudiencewon’t
rememberiteither,andtheyespecially
won’trememberadozenofthese.Divideyourinformationinto
briefmemory“hooks.”
After
JustenoughPutonlythememory“hook”on
theslide,andspeakeverythingelse.Thiskeepstheaudienceattentivetoyouandtheslideshow
moving.Chooseyourhookscarefully,butuseasmanyasyouneed.Lotsofsimpleslidesarepreferableto
afewcomplicatedones.
4. Add points one...at...a...time
Alternatively,whenyouhavemanypointstomakeunderacommon heading, keep youraudienceon trackbycyclingin successivepointsone at a
timeonasingleslide.
Onasingleslide,successivepoints
appearasyougettotheminyourspeech.Thestandinghead
(“KeyMarketFacts”)helpsyouraudience
rememberwhatyourpointsrelateto.Thisshouldbeunnecessaryforashortlist,butit’shelpfulforalonglist.Notethataseachnewpointcyclesin,thepreviouspointfadesback.Allarebrief.
5.Unifywithlayout
Content—especiallygraphical content—can varya lot. Hold it together withrepetitive color, typestyle,and layout. Divide the slideinto zones, and stay withinthosezones.
Alignthephototothetopleftgridcorner
(yellow),andextendittothebottomifyoucan.Notetheleft
marginalignswiththeheaderaboveit.
Alignthechartinthesameway.
Rectangularobjectssuchaschartsandphotosarebestatholdingtogetherarectangularspace.
AlignthetypeUnlikerectangles,funnyshapedobjectswith
indefiniteedgesneedyourgoodeye.Inthiscase,thecenter-
weightedlogolookscorrectonlyinthe
centeroftheslide;thehead(“Ournew
look”)remainsalignedtotheleft.Onepointperslide,evenifithas
graphics.
Picture yourpresentation:Photographs giveyour audience anemotional connectiontoyourwords.
We lovedata!Fifty-twobasehits, 23 abandoned children,Class 3 hurricane. We track
data,weanalyzeit,wegraphit—andwecheerfullypresentit to snoozing audienceseverywhere.What’s funny isthatdata alonehasnovalue.Only in the context of reallife does it have meaning.Andreallifeisconveyedbestnotwithdatabutwithstory.So put away your text andgraphs. To tell a story, youneed the help of photos.Photos communicate on
many channels. Theywordlesslydrawtheaudienceinto your world, makeemotional connections, andprepare your listeners forwhat you have to say. Let’sseehow.
It’seasytofindgenericallyhappy
images,buttheunseensadnessthateveryone
bearswillrattleyouraudience’ssoul.Whenpitchingaprogramliketheproposedshelterabove,thinkfirstnotintermsofdollarsor“socialunits”orother
statisticaldatabutaboutwhoyou’re
helpingandwhy,thenfindanimageto
expressit.1.Youaretheshow
The first thing to understandisthatyouaretheshow;youraudience has come to hearyou, not read slides. Use aslide to fill your listeners’
minds with an image, thenfillinthedetailsorally.
Before
ToomuchstuffThis
slideisbasicallyyournotesandvisually
useless.Theinformationisfine,butitshouldcomefromyou(below),whereitcanbeaccompaniedbyyourpersonality,bodylanguage,andnuance.Thecorrect
useofaslideistomakeavisual
statementthatwordsalonecan’t.
After
UseametaphoricalimageManytopics—federalinsuranceregulations,say—don’thaveliteralimagerythatcanbe
photographed.Inthesecases,youmighttry
usingvisualmetaphors.Thinkof
yourtalkashavingchapters,anduseanimagetointroduceeachone.Theimageprovidesavisual“hook”forthe
audience,whowillrelateeverythingyousaybacktoit.Avoidcornyimages.Keep
texttoabareminimum,andusenaturalsentences.
2. One thought at atime
As stated in the previousarticle, make one point perslide,even ifyouhave roomfor more. This gives the
viewer room to think and“own” what you’re saying,keytogoodcommunication.
Before
Planes,trains,buses,taxis,589,000;
377,800;320,900;218,600—quick!Gotallthat?It’susefulinformation,butwhowillbemovedbyit,muchlessrememberit?Putthedataonfourslides,onetopicper
slide,eachaccompaniedbya
descriptive,full-screenphoto(below).Thisgivesyourviewer
roomtothinkandownwhatyou’resaying.
After
3.Usesurprise
Our minds naturallycategorize experiences into
manageable, “been-there,seen-that” compartments,afterwhichwevirtuallystopseeing. (“Oh, that’s anapple.”) Surprise gets pastthose categories and re-engagestheviewer.
Before
NotengagingThecompaniesmaybe
different,butthisslide
isonlyafancylistofnotes.Visualeffectscannotsubstitutefor
creativity;themulticolorrectanglesandshadowedtypeaddonlybusy-ness,notcommunicationvalue.Timetostartthinkingaboutthat
nap.
After
EngagingOrange
insidetheappleissurprisingandfamiliaratthesametime.Thesimplequestion—notastatement—getstheaudiencethinkingandreadyforwhatyou’llsaynext.Familiarityisimportant;merely
weirdoroffthewall
doesn’twork.Surpriseisingivingthe
familiaranunexpectedtwist.
4.Befunny
Everyonelikestolaugh.Fewtechniquesaremoreeffective—or more enjoyable—thangoodhumor,whichcanmake
your point faster than amountainofdata.
Before
AgoodslideAlthoughithasnophoto,thisisagoodslidebecause
thechartissimpleandclearlyshowsatrend.Butoyvey!It’sbeenaterribleyear!Itstartedbadandgotworse,and,well,it’snowsobadthattheonlything
todoislaugh...
After
Madebetter...whichiswhatacarefullyselectedimagewill
haveyouraudiencedoing.They’ll
rememberthispicturelongafterthey’ve
forgottenyourcharts,andbecauseit’sfunny,you’llhavetheirsympathyifnottheirhelpinsolvingyourproblems.
5.Findbeauty
Beauty can convey ourdeepest aspirations.All byitself, a beautiful image canlift the audience out of thedaily humdrum and intoworlds rich with wonder,inspiration,possibilities. Nomatterwhat your topic, lookforwaystousebeauty.
Before
TryingtoohardIt’sanartisticimageonanasymmetric,two-tone
background,butitwouldmakeabetterpagelayoutthana
slide.Beforedoingallthiswork,remember:story,notdata.Ratherthantalkaboutyourtopic,findawayto
showit.
After
BeautifulThephotoaloneconveysaworld
ofsensory
information,andit’seasiertodesign,too!Thelushimageimmersesyouraudienceinthe
presenceandfeeloftheforest(“Sothisisbamboo!”).Asinglelineofbeautifultype
labelssimply.
6.Dramatize
Drama istheater. It’s animage intended to create aneffect—exciting,unexpected,impressive. To dramatize ist oproject—make themotions grander, thecontrasts sharper, thedifferencesgreater.
Before
GratuitousgraphicsTheproblemwithastocktemplateshould
beobvioushere.Theglobeandskygradientmaylooknice—bythemselves—butonyourslidethey’relike
stagehandswhowanderedinfrontofthecameras;theydistracteveryone’sattention.Lostinthe
graphics,yourpointisbarelyvisible.
After
DramatizePutthe“know-your-goal”pointcenterstage.Impossiblewitha
templatebuteasywithaphotograph,notewhat’shere:highvantagepoint,darkdarks,lightlights,
everylinepullingthe
samedirection—cameraangle,shadow,
lighting.Thisistheater—alittlebigger
thanlife,slightlyunrealistic,effective.
Tryit!7.Showfaces
Morecanbereadinahumanface than in a thousandbooks.Itisthemostfamiliarof all images and central toallpowerfulstories.There issimply no substitute. Lookforfacesthatconveyemotion—joy, sorrow, tension,suspenseandsoon.
Before
Justthefacts.It’sacutecartoon,andthedata’sthere,butthe
graphicsaddnothingtothestatement;you’dbebetterjusttellingyouraudiencehowmanydogswere
adopted.Conflictinggraphicalstyles—dark,sophisticatedgradientvs.bright,goofycartoon—
weakenitfurther.
After
Facestellastory.
There’slessactualdatahere—SPCAisnotmentioned—butmuchmorestory;everyoneinthe
audiencewillrelatetothisimage!Insteadofmerelyduplicatingyourwords,thisslidestrengthensyourtalk
withitsemotionalcontent;theaudiencewillnowfeelwhatyou’resaying.
Design a panoramicbooklet: A crossbetween book andmagazine, thislandscape format isunusually easy to layout.
The problem with ordinary,letter-size pages is that
they’rebig, and designingonecanfeellikefurnishingacastle—stuff sprawls,disconnects, doesn’t work.This landscape-formatbooklet solves that. On itshalf-sizepages,storiesneatlyr u npicture-text-picture-text,one after the other, all theway through.This simplifiesdesign. Even better, it’s anatural way to presentmaterial; the reader followsthestoryanddoesn’twander.
Here’showtomakeit.Open...
Wide,linearformat
isexcellentfornarrative-style
presentations,histories,
documentaries,catalogs,andsoon.Andwithamodern,tabloid-sizeprinter,itcanbefinishedonadesktop.Itsmonitor-shapedpagesarealso
idealforonline
viewing....intoapanoramicspread
1.Formatbasics
The format is simple.Setupfacingpages,half-lettersize,
landscape orientation, twocolumns per page. Twospreadsexactlyfit,oneabovethe other, on a 17″ × 11″sheet. See the end of thisarticle for the exact set-upspecs.
Facingpages,
landscapeorientation,twocolumnsperpage.
Placeaphoto...
...andflowcopy.Repeatthroughout.
2. Layoutconfigurations
The key to a handsomedesign is uniformity andrepetition. Headlines,deckheads, and text stay thesame throughout, and photosare always one to threecolumnswide.Thebookletiseasytolayoutand read because everythingmoves horizontally. Thereare a few rules:A columnmay contain a photo or text
but never both. The photoscan touch the edges (asshown) or not, but stick towhichever style you use.Copy fills the columns in asequence—headline, thendeckhead, then text. Staywith your style; if you usedeckheads, use themeverywhere. If you captionone photo, caption them all.Captionsgoatthebottom.
3.Typesoftype
For a narrative, you’ll wantseveral levels of type forheads, text, captions, and soon. To coordinate theseeasily, use one type familythathasan italicandseveral
weights.Our booklet is set in ITCCheltenham, a square-proportioned type family ofRoman and condensed stylesinweightsfromlighttoultrabold,allwithitalics.
Headline (A) is set inthe biggest, boldesttype. A headline thatspans two columnsshould be only one linedeep. Its color, if youchoose to use color,should be the samethroughout.
Deckhead (B)elaborates on theheadline. It’s sizedbetween the headline
andtextinacontrastingitalic.
Subhead(C)istextsizebut set in attention-getting bold. Generallyused to flag thebeginning of a newthought or section,subheads can double asaway to break up long,uninviting expanses oftext. Note that one fullline space is left empty
aboveit.Don’tindent. Body copy (D)
Generally set in 9- or10-pt size, body copycan be aligned left as itishereorjustifiedlikeabook. Whichever youchoose, be consistentthroughout.Don’tindentfirstparagraphs.
Caption(E)isgenerallyset one or two pointssmaller than the body
copy and usually initalics or bold,depending on thecontrast you want.Captions are important;theywillusuallybereadbefore the text. Notethat two full lines areemptyaboveit.
4. Single-storyspreads
Single-storyspreadshavethespace all to themselves. Astorycanstartandendononespread, or it can easilycontinuetothenextspread.Generally speaking, a storylooks best when its leadphoto is on the left. Thisgives you three possibleconfigurations, as shownhere. Three or moreconsecutive columns of text
should be broken up with asubhead(firstexample).
One-columnlead
photo
Two-columnlead
photo
Three-columnlead
photo5.Two-storyspreads
Two-story spreads containthe end of one story and thebeginning of another. Thephotos can belong to eitherstory but as a rule look bestplacedinbetweenasabuffer.
One-columnend,two-columnlead
photo
Two-columnend,one-columnlead
photo
One-columnend,one-columnlead
photo
One-andtwo-column
headlinesHeadlinesinasmallbookletmustbebrief—twolinesmaxforone-columnleads(firstandsecondexamples)oronelineforatwo-columnlead(thirdexample).Writeshort.Putimportant,
descriptive
embellishmentsinthedeckhead.Thisgivesyoutwo“voices”
insteadofone,whichwillengagethereader
more.6.Spacefillers
A story that’s only a few
lines shortor longshouldbeedited to fit exactly; don’tcompensate by fudging theformat, and don’t leave onlya few lines dangling atop acolumn.Even with careful planningand editing, though, you’llusually have some leftoverspaces to fill. Pull quotes—useful passages pulled fromthe story—make easy,flexiblefillers.
For bigger spaces, pullquotesmakeexcellent fillersandcanevenbeusedinsteadof photos. Because theycreate valuable breaks, pullquotes can also be plannedin, especially in longerstories.A reader will perusephotos (and other visualstuff)firstandgenerallyreadthe headlines, captions, andpull quotes before readinganytext.Acarefuleditorcan
take advantage of this bycraftingabrowser-levelstoryusingtheseelementsalone.
Template:Panoramicbooklet
Flat size 17″ × 5½″ Finalsize8½″×5½″
Columnguidesare
fortext,andrulerguidesareforphotosTextcolumnshave1p6(quarterinch)between;textand
photosshouldhaveahalf-inchspace
between.Todothis,usethecolumnguides(purple)toplacetext,
andtherulerguides(blue)toplacephotos.
InDesignIntheNewDocumentdialog,
specifythefollowing:
CheckFacingPages
PageSize:Letter-Half Orientation:Landscape Width:8½″(51p0) Height:5½″(33p0) Columns:2 Gutter:1p6 Margins: Top:4p6 Bottom:3p0
Inside:3p0 Outside:3p0 ClickOK
Design below theline: Simpletechnique creates areport that looksopenandinviting.
Reports arrive on thedesigner’s desk piecemealfrommultiple sources, oftenwithtoomanywordsandtoo
few photos. It’s your job toconvert that stackof randomclutter into a cohesive,smoothlyflowingpublicationthat feels open and inviting.Howdoyoudoit?Take a visual tip frommuseum displays. Start withone long, horizontal line—ahangline—and suspendeverythingbelowit.Thiswillgive the page its flow. Theopen space above the line
gives the page its airy,invitingfeel.Havealook.
Whatisahangline?
Thinkclothesline;it’sawaytosuspend
everythingmid-air.Ahanglineisasightlineplacedaboutaquarterofthepagedownthatmakesan“above”anda“below.”Thewidetopmargin—the
“above”—isreserved
forheadlinesonly.1.Makethelines
The hangline is the masterhorizontal line. Columnsprovide the verticalguidelines to work a varietyof elements into a smooth,page-to-pageflow.
Placethehanglineaboutaquarterway
down.
Setupaseven-column
grid.Placetheheadline.
Startattheline,and
hangthepageelements.
Fillinfromleftto
right.2. Design below theline
Vary column widths toconvey differing pace oremphasis. Keep the textflowing from top to bottom.Don’t leave gaps in themiddle or jump overelements. How wide shouldcolumns be? Look foroptionsbelow.Forside-by-sidestoriesuseabackgroundcolortounifytheparts of each story while
keeping the two layoutsseparate.Besuretocolortheentirepage,notjustpartofit,to maintain the consistencyandtheopenfeel.
How wide should the textcolumnsbe?Rulesofthumb:
Two-column is newsy. Bestforlegendsandsidebars.
Three-column is the easiesttoread.Acomfortablewidth.
Four-column is book-like.One-column is reserved forcaptions.
Five-column is elegant butslower to read. Use widerleading.
3.Hangthepictures
Like text, photos hang fromthehangline.Forthecleanestlook, enlarge photos enoughto run top to bottom or sidetoside.Don’t“float”aphoto
mid-pageorwraptextaroundit.
Toptobottom...
Sidetoside...
4.Wheretohangthenextstory
Start all stories at the top,none at mid-page. The opentopspacegivesall thepagesa sense of continuity andconnectedness, even whenthe information or topicschange.
Distributelineendingsacross
multiplepagesRunalongstorypagetopageuntilitends.Inmostcases,itwillstopshortofthebottom,leavinganemptygap.
Ifthegapislarge(above,left),avoidstartinganewstory
here.Instead,maintainalooseclothesline
effectandredistributethecopy,leavingallthebottomedges
slightlyragged(aboveright).Startthenext
storyatthetopofthefollowingcolumn.
5. Hangline connectscovertoinside
Cover and first spread set asceneofopen,flowingspace;hangline maintainscontinuity. Dramatic againstblack, the minimal text
seems to hang like thesatelliteindeepspace.Cover
Thecoverandfirstinsidespreadwill
neverbeseentogetherastheyarehere.Butnotehowasimplehanglinevisuallyconnectstheseseparateobjects.
Thintailoverlappingthehanglinedoesn’tinterruptthevisualflow,becausethe
massoftheimageis
belowthehangline.Firstspread
Blackplaystworoles1)Likethehangline,theblackbackground
connectsthefrontcovertothefirst
spread.2)Inaddition,blackworksjustlikewhiteandcreatesaninvitingsenseofspaciousnessandvisualflow.
Index
A
AachenBoldtypeface,51Addlayermask,73AdjustmentLayer,74Adobe Garamond typeface,174,177
Alignment effectsof,101,142 optical,48Analogous colors,25–26,30,31,60,124Analphabeticmarks,49Anchors, establishing visual,15Apostrophes,49Arms,50Ascenders,50,51
Avant Garde typeface,173,174,176B
Backgrounds blurring,69 colorfor,67 forslides,200Banners, photographic,66,100Bars,50
BauerBodonitypeface,39Beauty,powerof,209Bleedarea,162Blur,69Bookmantypeface,46Borders,94–101Bowls,50Brochures columnwidth in,135,
140,144 common rectangular
approachto,132–34 continuitywithin,146 cover image for,136,
142,149 creating theme for,
132–40 pocket-size,148–52 roleofpanelsin,136 story-style,141–47Bureau Grotesque typeface,178Businesscards
colorsfor,165 envelopeas,130 logotypeson,176–80 objectson,166 photos on,125, 160,
162–67 relationship of Web
siteto,167 silhouette logo on,
129 two-sided,163
typeon,125,161,164 vertical-format,165C
Cameratilt,65Captions balanceand,106 oncenterstage,107 colorof,145 at the end of a line,
105 improving photos
with,108,110–11 movementand,104 multiple, on one
photo,109,112 overlaying photos,
105,108 oversized,111 in raw, ragged style,
108 shapeof,102,103
whispering,103 with wide leading,
103Century Expanded typeface,46Charts,159Chicago Manual of Style,The,45Colorpalettes creating,30–31 editing and applying,
32–34
ofphotos,28–30 typesof,25–26Co l o r s .See also Colorpalettes;Colorwheel analogous,25–26, 30,
31,60,124 for business cards,
165 choosing,6–7 incommon,23 complementary,25–
26,31,61,197 coolvs.warm,7,29 importanceof,27 matching, for
identification,72 organizing,7 for photo gallery
backgrounds,67 primary,23,26 relationshipsbetween,
25–26 secondary,23,26
split complementary,25–26,31,85,124
tertiary,23 typeand,43,145 on Web pages,114,
116,117,123,196–98Colorwheel basichueson,23 definitionof,22 shades and tints on,
24
Columns segmenting images
into,96 width of,46, 118,
135,140,144Complements,25–26,31,61,197Complete Manual ofTypography,The,49Contrast,creating,42–45Copperplatetypeface,178Counters,50,120
Covers for brochures,136,
142,149 condensingdesignof,
79 with grid of photos,
77 narrow,78 with negative space,
80 withone-linetitle,83,
99
picture-frame,84 with recycled photo
backdropfortext,81 relationship of inside
pagesto,86–93 withsinglephoto,85 sleeve-style,82 ofsquares,76Cropping,63–66Curves,75,140D
Descenders,50,51Desktop printers, limitationsof,94Directmail,168Dramatization,210Dropcaps,133E
Ears,50
Edges,aslines,150Empty space, power of,101,166,190,191Energy,creating,97,100Envelopes asbusinesscard,130 flierswith,181–87F
Faces
cropping,64 powerof,211Fillets,50Fliers imagesfor,182 with return envelope,
181–87 typefor,183,184Focalpoints creating,68–75 endofalineas,105
ateyelevel,19,98 phantom,3 primary,3 secondary,3 single lineof typeas,
99,104Folding,18Fractions,47Fullbleeds,94FuturaBooktypeface,174
G
Galliardtypeface,11Garamondtypeface,46,183Gargoyletypeface,40Georgiatypeface,120–21Glyphatypeface,9Goldenrectangle,17GradientFeatherTool,164Graphs,photo,159
Grids natural,5 photosin,77,88–89H
Hairlines,50Headlines incolor,139,190 placementof,13 recycling,186
typefacesfor,9,10Helvetica Neue typeface,42,43,150,177,180Hierarchy,visual,170Horizons,leveling,65HTFDidottypeface,180Hues,23Humor,208I
Images.SeealsoPhotos artistictiltfor,65 for brochure covers,
136 creating themes with,
139 evaluating,36 forfliers,182 focalpointsof,3 giving new meaning
to,55,63,66 horizontal,98
leveling,65 making connections
with,157 multiple, from a
singlephoto,54–62 multiple, on cover,
84,85 with overlapping
frames,62 onpostcards,126–27 scaleof,56
segmenting, incolumns,96
selectingatypefacetocomplement,35–41
simple,136Impressumtypeface,145Inventory,takingvisual,3–6L
Landscapeview,19,98Layout,stepsin,12–15
Leading tight,137 wide,103,118,143Letterhead,168–71Letterspacing panoramic,115 tight,46,127 wide,116,170Lettrés Eclatées typeface,179Ligatures,46
Lines curving,75,140 edgesas,150 endof,asfocalpoint,
105 ofsight,107Links main,116 sub,117,192 intypography,50Logos
on business cards,176–80
controllingspace,99 functionof,160,172 photosin,128 silhouette,129 text-only,172–80 typecoordinatedwith,
97,116 on Web pages,114,
115,116,119,198
Loops,50M
Margins printer,94 varying,98 widthof,20–21Minimalism,87,124,192Monochromatic palettes,25–26,30,116
Mosaicfilter,6–7Movement, creating visual,6,96,97,104,125,179Mugshots,cropping,64MyriadProtypeface,10N
Negativespace,80,178Newsletters,153–58O
Optical Margin Alignment,48Outlines,68Overshoots,50P
Pages folding,18 orientationof,19 perceptionof,17
proportionsof,17 sizeof,17–18 with unprintable
borders,94 visualcenterof,19Paper aligningto,15,142 rectangular nature of,
14 textureof,130ParkAvenuetypeface,51
Photos.SeealsoImages background color for,
67 blurring background
in,69 “breakout,”149 on business cards,
160,162–67 captions overlaying,
105 connections between,
156
oncovers,84–85 cropping,63–66 fadingpartof,73,164 focalpointsof,68–75 graphswith,159 inagrid,77,88–89 improving, with
captions,108,110–11 leveling horizons in,
65 inlogos,128
with multiplecaptions,109,112
natural color paletteof,28–30
powerof,204 recycling part of, for
textbackdrop,81 replacingpartof,with
outline,68 spotlightsin,70 taking multiple
imagesfrom,54–62
on Web pages,191,195
Picture-framecovers,84PlanetKosmostypeface,179Pointsize,51Portraits,cropping,64Portraitview,19Postcards,126–27Posters,124Presentations.SeealsoSlides beautyand,209
dramatizationin,210 humorin,208 role of slides in,199,
205 surprisein,207 typefacesfor,201Primarycolors,23,26Primes,49Printermargins,94Punctuation alignmentand,48
apostrophes,49 properstylefor,45 quotationmarks,49Q
Quotationmarks,49R
Rectangles
avoiding,134 golden,17Returnenvelopes,181–87Rivers,46Rulers,designingwithout,2–15S
Secondarycolors,23,26Secondpages,designing,86–
92Serifs,50,120,170Shades,24Shapes ofletters,173 observing,6 organic,93Shoulders,50Sidebars,186Silhouettelogos,129Slides.SeealsoPresentations
backgroundsfor,200 highlightingonepoint
in,202,206 with metaphorical
images,205 multiple points in,
202,203 photosin,204–11 roleof,199,205 typefacesfor,201 unifying,203
Slooptypeface,175,177Spines,50Split complements,25–26,31,85,124Spotlights,70Spreads,designing,21Spurs,50Stems,50Storybookformat,141,149Stress,intypography,50Strokes,50
Subheads,run-in,186Surprise,207Swashes,50T
Tails,50Tear-offpanels,168,171Terminals,50Tertiarycolors,23Texture
observing,6 ofpaper,130 of typefaces,11, 14,
174Themes,creating,132–40Times Roman typeface,38,51,125Timestypeface,120–21Tints,24Titles in all caps,83, 170,
184 one-line,83,104Trajantypeface,38Trixietypeface,108Type.SeealsoTypefaces aligning,48,101,142 badly set,
intentionally,108 blackvs.white,44 colorand,43,145 contrastin,42–45
coordinated withlogos,97,116
highlighting ideaswith,138,186
justified,46,143 leading for,103, 108,
118 ligatures,46 onpostcards,126–27 setting correctly,45,
49 sizeof,51,101
spacing,46 stacked,44 weightof,43Typefaces(general) to complement a
graphic,35–41,97 conveying energy
with,97 identifying,50 forletterheads,170 meaningand,176
“seeing,” by turningupsidedown,10
selecting,8–11 forslides,201 stenciled,177 textureof,11,14,174 viewingdistancesfor,
9 for Web pages,115,
120–21,196Typefaces(specific)
AachenBold,51 Adobe Garamond,
174,177 Avant Garde,173,
174,176 BauerBodoni,39 Bookman,46 Bureau Grotesque,
178 CenturyExpanded,46 Copperplate,178 FuturaBook,174
Galliard,11 Garamond,46,183 Gargoyle,40 Georgia,120–21 Glypha,9 Helvetica Neue,42,
43,150,177,180 HTFDidot,180 Impressum,145 LettrésEclatées,179 MyriadPro,10
ParkAvenue,51 PlanetKosmos,179 Sloop,175,177 Times,120–21 TimesRoman,38,51,
125 Trajan,38 Trixie,108 Verdana,192U
United States GovernmentPrintingOfficeStyleManual,45V
Verdanatypeface,192W
Webpages
d e s i g n i n g ,113–23,188–93
footerson,119 headers for,115,119,
123,194–98 hierarchyin,119 logos on,114, 115,
116,119,198 mainlinkson,116 mainstageof,118 open space in,190,
191
photoson,191,195 relationship of
businesscardsto,167 sizeof,114 for small sites,188–
93 structureof,114,188,
189 sublinkson,117,192 typefaces for,115,
120–21,196 use of color in,114,
116,117,123,196–98welcoming,122–23White space, power of,101,166,190,191Wordmarks,172WordsintoType,45X
X-height,50,51,120
[*]Onesquaremeterinarea[*] Because the wheel isdeliberately basic, you willrarelymake an exactmatch.It’sonlyaguide.[*] How old is old? Trajan,one of today’s most popularserif typestyes, is based onthe engraved text at the footofTrajan’sColumninRomeinscribed nearly 1,900 yearsago! Many other everyday
serif typestyles are 100 to300 years old. Talk aboutstandingthetestoftime!