24.aplicacion del sistema modular
TRANSCRIPT
Before&After ®
Continued
XiBAmagazine.com U
Build a picture path 0625
A single row of photos carries your reader from here to there.
Build a picture path Continued
2 of 7
Before&After ® XiBAmagazine.com U
Build a picture path 0625
BELLTRAN SNOWBOARDING BOOTS & BOARDS
1545 East Sutterville Road Placerville, CA 95667
Store hours: Sat. 8–9, Sun. 10–6 www.belltransnowboarding.com
BOOT SALE
Model 462
Build a picture path It’s out of the ordinary, attractive and easy, too—a single row of photos carries your reader from here to there.
Here’s an easy way to make your message stronger. Turn your page sideways, and line up a half-dozen (or so) identically sized photos starting at the left edge. Put your copy on the right, and the reader’s eye will follow the path directly to it. Like this:
Here ThereOur eyes naturally drift left to right. Starting on the left, the picture path picks up this natu-ral motion, accelerates it and stops it right at your message—logo, title, sale prices, whatever you put at this end.
Thomas Wright
Paint catalog 2006
Swatches, palettes, ideas, advice
www.twpaints.com
Before&After ® Build a picture path 3 of 7 XiBAmagazine.com U
3 of 7 Build a picture path 0625
It’s as easy as 1 – 2 – 3
3 Set the focal point Add a focal point—typically your logo or a photo—at the end of the path. Silhou-ette the image for eye-catching contrast (freeform vs. straight); a slight overlap links the two naturally.
1 Use a panoramic page To get the reader moving, page and path must run the same direction. A 2:1 ratio (above) is excellent online, for small spaces (ads) and as a single printed sheet (postcard, flier, poster).
2 Make a path Arrange your photos in a single row starting at the left edge and stopping short of the right. (The short gap will hold the reader on the page.) No space between photos; you need an unbroken sweep.
4 Add the words Place your copy near the path’s end along a vertical axis. Don’t upstage the images; use a conservative typeface, and let the path do the work of leading the reader to your story.
Thomas Wright
Paint catalog 2006
Swatches, palettes, ideas, advice
www.twpaints.com
Before&After ® Build a picture path 4 of 7 XiBAmagazine.com U
4 of 7 Build a picture path 0625
More is better Fewer photos slow the path’s move-ment; their large size demands attention (a fine asset but not here), forcing the eye to scan each individu-ally and not the path as a whole.
Things to watch for . . .
Eye level is the most natural place for the path. Avoid uni-form spacing (right), which cre-ates distracting stripes.
Use a white gap about this big (above) to stop the reader’s movement. Too small and the eye keeps right on going (right)!
Small
Medium
Large
No bumps Most effec-tive are images identical in size and shape; irregu-larities will slow and even stop the reader.
Same
Same
Same
Before&After ® Build a picture path 5 of 7 XiBAmagazine.com U
5 of 7 Build a picture path 0625
Before Seven snowboarders—some are close up, some are far away, each is positioned differently in the frame, and some frames have different proportions. To get the images more alike, first enlarge or reduce until everyone’s the same size, then crop into a similar position—in this case, everyone’s centered in the square.
The tightest natural cropping makes this your control image; crop all others to match it.
Scale, crop, alignA picture path is most effective when its images are similar enough that the eye just glides along. Size, cropping and alignment are key . . .
After The eye still sees seven different images, but now they’re similar enough to “read” in a continual sweep. That’s what you want. This is not the place for images that stand out and arrest your attention.
Before&After ® Build a picture path 6 of 7 XiBAmagazine.com U
6 of 7 Build a picture path 0625
BELLTRAN SNOWBOARDING BOOTS & BOARDS
1545 East Sutterville Road Placerville, CA 95667
Store hours: Sat. 8–9, Sun. 10–6 www.belltransnowboarding.com
BOOT SALE
Model 462
4a
Typefaces
1 (a–b) Goudy Old Style | a) 26 pt, b) 10/12 pt
2 Myriad Pro Semibold | 10 pt
3 (a–c) Clarendon Light | a) 50 pt, b) 20/26 pt, c) 10 pt
4 (a–b) Clarendon Bold | a) 36/24 pt, b) 18/24 pt
Images
6 (a–m) iStockphotos.com | a b c
d e f g h i j k l m
7 Photos.com
Article resources
Colors
C0 M0 Y0 K65
C0 M0 Y0 K45
C0 M0 Y0 K30
C15 M100 Y100 K0
7
8
9
10
1aThomas Wright
Paint catalog 2006
Swatches, palettes, ideas, advice
www.twpaints.com
2 1b 5f
3a
3c
6
Image row 5a–e (left to right)
Image row 5g–m (left to right)
4b 3b
8
9
10
7
Before&After
7 of 7 | Printing formats
® XiBAmagazine.com U
Build a picture path 0625
Build a picture path 7 of 7
Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understand-able, useful and even fun for everyone.
John McWade Publisher and creative directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer
Design advisor Gwen Amos Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com
Copyright ©2005 Before & After magazine, ISSN 1049-0035. All rights reserved
You may pass this article around, but you may not alter it, and you may not charge for it. You may quote brief sections for review. If you do this, please credit Before & After magazine, and let us know. To feature free Before & After articles on your Web site, please contact us. For permission to include all or part of this article in another work, please contact us.
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Before&After ®
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Be
fore
&A
fter | w
ww
.bamagazine.com
1 of 4
Bu
ild a
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ath
06250625
Bu
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ath
BE
LL
TR
AN
S
NO
WB
OA
RD
ING
BO
OT
S &
BO
AR
DS
15
45
East S
utterv
ille Road
P
lacerv
ille, CA
95667
Store h
ours: S
at. 8–9
, Su
n. 10
–6
ww
w.b
elltran
snow
board
ing.com
BO
OT
SA
LEM
odel 4
62
A sin
gle row of p
hotos carries you
r read
er from h
ere to there .
Build a picture path
Here’s an
easy way to
make yo
ur m
essage stro
nger. Tu
rn yo
ur p
age sidew
ays, and
line
up
a half-d
ozen (o
r so) id
entically sized
p
ho
tos startin
g at the left ed
ge. Pu
t you
r co
py o
n th
e right, an
d th
e reader’s eye w
ill fo
llow th
e path
directly to
it. Like th
is:
He
reTh
ere
Our eyes naturally drift left to
right. Starting on the left, the picture path picks up this natu-ral m
otion, accelerates it and stops it right at your m
essage—logo, title, sale prices, w
hatever you put at this end.
Thom
as Wright
Paint catalog 2006Sw
atches, palettes, ideas, advice
ww
w.tw
paints.com
Be
fore
&A
fter | w
ww
.bamagazine.com
2 of 4
Bu
ild a
pictu
re p
ath
06250625
Bu
ild a
pictu
re p
ath
It’s as easy as 1 – 2 – 3
3 Se
t the
foca
l po
int A
dd a focal point—typically
your logo or a photo—at the end of the path. Silhou-
ette the image for eye-catching contrast (freeform
vs. straight); a slight overlap links the tw
o naturally.
1 Use
a p
an
ora
mic p
ag
e To get the reader m
oving, page and path m
ust run the same direction. A
2:1 ratio (above) is excellent online, for sm
all spaces (ads) and as a single printed sheet (postcard, flier, poster).
2 Ma
ke
a p
ath
Arrange your photos in a single row
starting at the left edge and stopping short of the right. (The short gap w
ill hold the reader on the page.) No
space between photos; you need an unbroken sw
eep.
4 Ad
d th
e w
ord
s Place your copy near the path’s
end along a vertical axis. Don’t upstage the im
ages; use a conservative typeface, and let the path do the w
ork of leading the reader to your story.
Thom
as Wright
Paint catalog 2006Sw
atches, palettes, ideas, advice
ww
w.tw
paints.com
Mo
re is b
ette
r Fewer photos slow
the path’s move-
ment; their large size dem
ands attention (a fine asset but not here), forcing the eye to scan each individu-ally and not the path as a w
hole.
Thin
gs to
watch
for . . .
Eye
leve
l is the most natural
place for the path. Avoid uni-
form spacing (right), w
hich cre-ates distracting stripes.
Use a w
hite
ga
p about this
big (above) to stop the reader’s m
ovement. Too sm
all and the eye keeps right on going (right)!
Small
Medium
Large
No
bu
mp
s Most effec-
tive are images identical
in size and shape; irregu-larities w
ill slow and even stop the reader.
Same
Same
Same
Be
fore
&A
fter | w
ww
.bamagazine.com
3 of 4
Bu
ild a
pictu
re p
ath
06250625
Bu
ild a
pictu
re p
ath
Be
fore
Seven snowboarders—
some are close up, som
e are far away, each is positioned differently in the fram
e, and som
e frames have different proportions. To get the im
ages more alike, first enlarge or reduce until everyone’s the sam
e size, then crop into a sim
ilar position—in this case, everyone’s centered in the square.
The tightest natural cropping makes this your
control image; crop all others to m
atch it.
Scale, cro
p, alig
nA
pictu
re path
is mo
st effective wh
en its im
ages are similar en
ou
gh th
at the eye
just glid
es alon
g. Size, crop
pin
g and
alignm
ent are key . . .
Afte
r The eye still sees seven different images, but now
they’re similar enough to “read” in a continual sw
eep. That’s what
you want. This is not the place for im
ages that stand out and arrest your attention.
BE
LL
TR
AN
S
NO
WB
OA
RD
ING
BO
OT
S &
BO
AR
DS
15
45
East S
utterv
ille Road
P
lacerv
ille, CA
95667
Store h
ours: S
at. 8–9
, Su
n. 10
–6
ww
w.b
elltran
snow
board
ing.com
BO
OT
SA
LEM
odel 4
62
4a
Type
face
s
1 (a–b
) Goudy O
ld Style | a) 26 pt, b) 10/12 pt
2 Myriad P
ro Semibold | 10 pt
3 (a–c) C
larendon Light | a) 50 pt, b) 20/26 pt, c) 10 pt
4 (a–b
) Clarendon B
old | a) 36/24 pt, b) 18/24 pt
Ima
ge
s
6 (a–m
) iStockphotos.com |
a b
c
d e
f g
h i
j k
l m
7 Photos.com
Article
reso
urce
s
Co
lors
C0
M0
Y0
K65
C0
M0
Y0
K45
C0
M0
Y0
K30
C15
M100
Y100
K0
78910
1aT
homas W
right
Paint catalog 2006Sw
atches, palettes, ideas, advice
ww
w.tw
paints.com
21b
5f
3a3c
6
Ima
ge
row
5a–e
(left to right)
Ima
ge
row
5g–m
(left to right)
4b3b
8
910 7
Be
fore
&A
fter | w
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.bamagazine.com
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ild a
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re p
ath
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ild a
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re p
ath
Be
fore
& A
fter m
ag
azin
e
Befo
re & A
fter has b
een sh
aring its p
ractical app
roach
to
graph
ic design
since 1990. B
ecause o
ur m
od
ern w
orld
h
as mad
e design
ers of u
s all (ready o
r no
t), Befo
re &
After is d
edicated
to m
aking grap
hic d
esign u
nd
erstand
-ab
le, usefu
l and
even fu
n fo
r everyon
e.
Joh
n M
cWa
de
Pu
blish
er and
creative directo
rG
ay
e M
cWa
de
Asso
ciate pu
blish
erV
ince
nt P
ascu
al Staff d
esigner
De
xte
r Ma
rk A
be
llera
Staff design
er
Design
adviso
r Gw
en
Am
os
Be
fore
& A
fter m
ag
azin
e323 Lin
coln
Street, Ro
seville, CA
95678 Te
lep
ho
ne
916-784-3880 Fax 916-784-3995E
-mail m
ailbo
x@b
amagazin
e.com
w
ww
http
://ww
w.b
amagazin
e.com
Co
py
righ
t ©2005 B
efo
re &
Afte
r ma
ga
zine, IS
SN
1049-0035. A
ll righ
ts rese
rve
d
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may p
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u m
ay no
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u m
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r it. You
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