before & after magazine | 0699 | design ideas...
TRANSCRIPT
Design Ideas 0699
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DesignIdeas 21Natural Lines Space After
Double Duty Big Type
Type Blend
Changing the face
of Sacramento
Continued
Design Ideas 0699
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2 of 8
Cover Work those lines!
Chico’s 2010 summer catalogs caught our eye last year because of how they boldly use their photos’ natural lines to dictate type placement. Have a look:
Square Three-part model (face-blouse-jeans, above left) standing upright against a brick wall makes a photo full of blocks. Headlines are set conventionally and stacked, making complementary blocks.
Vertical Long-tail blouse, plunging V-neck, and a sweeping, fluid pose yield a beautifully sleek, top-to-bottom line, which is amplified by the daring, vertical nameplate. Bleeds carry your eye right off the cover.
Jeans
Blouse
Face
Design Ideas 2 of 8
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3 of 8
The typewriter was an anomaly (A) Spacing twice after sentences began in the 19th century with the invention of the typewriter and its monospaced fonts. Characters in a monospaced font, like Courier above, have identical widths — an “M”, for example, takes the same space as an “i” or a period. (B) Back then, eyes accustomed to standard, propor-tional type felt that adding a space to differentiate sentences (called English spacing) would
make monospaced text more readable. This became the convention for typewritten text and was taught by generations of 20th-century instructors, which is why the practice lingers after the need is gone.
Typesetting One space or two spaces?
When typesetting, the rule is to use one space after a sentence. Here’s the short story why.
True typesetting For 600 years of publishing, typeset fonts, like Garamond, above, (or even natural handwriting) have been proportional. Each letter occupies the width it needs, so letters and spaces flow fluidly from one to the next, without spottiness, and read beautifully. Single spaces after sentences (called French spacing) sustain the word-to-word flow and are part of the design.
ab ijM12!;$?
But in a larger sense, we cannot dedicate, we cannot
consecrate, we cannot hallow this ground. The
brave men, living and dead, who struggled here have
consecrated it far above our poor power to add or
detract. The world will little note nor long remember
A
B
Letter widths are the same. Double space is the only differentiator.
First sentence. Second sentence.
Typewriting: Monospaced widths
abijM12!;$?
But in a larger sense, we cannot dedicate, we cannot consecrate, we cannot hallow this ground. The brave men, living and dead, who struggled here have consecrated it far above our poor power to add or detract. The world will little note nor long remember
Letter widths are proportional. Reading is fluid and rhythmic.
First sentence. Second sentence.
Typesetting: Proportional widths
Design Ideas 3 of 8
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4 of 8
Design Ideas 4 of 8
Type Design skim-friendly headlines
Readers have more data to process than ever, so help your busy audience skim — cleverly. Create a secondary headline by emphasizing a few words.
Double duty (Above) Emphasizing two words creates a shorter, similar, headline —
“Changing Sacramento”— in contrasting white. This technique is useful for headlines seen at a distance (left). Emphasized words can also stand on their own. (Right) On Happy Cog’s site, four words from the mission statement are used as main navigation links; color and all caps ensure they stand out. Quick to skim, easy to understand.
Changing the face
of Sacramento
Changing the face
of SacramentoPlanning has been in progress for the past 20 months before it was finally unveiled last Friday to the Board of Directors. Texture and flasp net exating end the mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast thin. Silk, shast, lape and behast the thin leam.
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5 of 8
Type Need a splashy graphic? Try a letter!
Oversize letters are good for drop caps, but gigantic letters can stand alone as eye-stopping billboards. They’re fun to design, too. The basic technique:
Big, bold letter You’ll need a super-bold or in some way dramatic typeface (try a giant script), upon which to place your words. A small graphic will add visual interest and provide the reader with some context. Place it atop the letter or off to one side (right). Note here that the letters are dark, type is light.
Big, bold number A zero is a great sales draw and makes a graphical bulls-eye, too! Centered lay-out draws your eye straight to the infor-mation. Overlapping the car adds size, depth, and a sense of expansiveness.
Design Ideas 5 of 8
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50 issues in PDF on DVD
Type Blend those capital letters in
You know to use italics, not caps, for emphasis, but how do you handle pesky, uppercase acronyms? — caps are TOO BIG, but small caps are too small. Here’s what we do:
50 issues in PDF on DVDThe Before & After Master Collection DVD
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NOW THROUGH MARCH 28
The manta ray (Manta birostris) is the largest species of the rays. It ranges throughout tropical waters of the world, typically around coral reefs. Mantas display curiosity around humans and swim among divers. Mantas breach the surface and launch into the air. Mantas feed on plankton, fish larvae and the like, filtered from the water passing through their gills as they swim. | Wikipedia
Manta rays frequent cleaning stations where small fish such as wrasse, remora (above), and angelfish swim in the manta’s gills and over its skin to feed, in the process cleaning it of parasites and dead tissue.
The Largest Rays
50 issues in PDF
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ann livingstoneat point west
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DAD
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(A) Full caps “PDF” and DVD” are too big next to lowercase letters. (B) Small caps True small caps* are the size of lowercase letters, which
in text blend beautifully but in headlines are too small. (C) Customize Our solution is to reduce full caps by about 15%.
June JUNE
50 issues in PDF on DVD
50 issues in PDF on DVD
50 issues in pdf on dvd
A
B
C
Correct weight Too thin
*Small caps are fine typesetting and are included in many high-end faces. True small caps (above, left) have the same height and weight as lowercase characters. False small caps (above, right) are the kind you make yourself by reducing full-size caps. This results in too-thin, mismatched letters. Our smaller-but-not-too-small method splits the difference.
Design Ideas 6 of 8
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Typefaces
1 Giza Five Seven
2 Adobe Caslon Pro Regular
3 Typewriter Light
4 Adobe Garamond Regular
5 Frutiger Roman
6 Frutiger Black
7 Texas Hero
8 Giza Seven Seven
9 Giza Five Five
10 Franklin Gothic Book Compressed
11 Vectora LH 55 Roman
12 Utopia Regular
Images
13 (www.chicos.com)
Images: iStockphoto
14 (10031783)
15 (3790056)
16 (16310267)
17 (9916661)
18 (16016955)
Article resources
Colors
19 C0 M0 Y0 K60
20 C0 M100 Y85 K0
21 C65 M95 Y10 K25
22 C10 M5 Y75 K0
23 C0 M0 Y0 K100
abijMabijM
4 3 5
23
20
19
20
21 22
50 issues in PDF on DVDThe Before & After Master Collection DVD
Master Collection
NOW THROUGH MARCH 28
The manta ray (Manta birostris) is the largest species of the rays. It ranges throughout tropical waters of the world, typically around coral reefs. Mantas display curiosity around humans and swim among divers. Mantas breach the surface and launch into the air. Mantas feed on plankton, fish larvae and the like, filtered from the water passing through their gills as they swim. | Wikipedia
Manta rays frequent cleaning stations where small fish such as wrasse, remora (above), and angelfish swim in the manta’s gills and over its skin to feed, in the process cleaning it of parasites and dead tissue.
The Largest Rays
50 issues in PDF
®
Master Collection
ann livingstoneat point west
10
12
DAD
6
1
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3
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7 817 9 10
Changing the face
of SacramentoPlanning has been in progress for the past 20 months before it was finally unveiled last Friday to the Board of Directors. Texture and flasp net exating end the mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast thin. Silk, shast, lape and behast the thin leam.
15
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0692
Design Ideas 7 of 8
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8 of 8 | Printing formats
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 publisherDexter Mark Abellera Senior designer 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 ©2011 Before & After magazine ISSN 1049-0035. All rights reserved
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DesignIdeas 21N
atural Lin
es Space A
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Dou
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uty B
ig Type
Type B
lend
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Cover W
ork those lin
es!
Ch
ico’s 2010 sum
mer catalo
gs caugh
t ou
r eye last year becau
se of h
ow th
ey bo
ldly
use th
eir ph
oto
s’ natu
ral lines to
dictate typ
e placem
ent. H
ave a loo
k:
Sq
ua
re Three-part m
odel (face-blouse-jeans, above left) standing upright against a brick w
all makes a photo full of blocks. H
eadlines are set conventionally and stacked, m
aking complem
entary blocks.
Ve
rtical Long-tail blouse, plunging V-neck, and a sw
eeping, fl uid pose yield a beautifully sleek, top-to-bottom
line, which is am
plifi ed by the daring, vertical nam
eplate. Bleeds carry your eye right off the cover.
Jeans
Blouse
Face
Design
Ideas
2 of 8
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fore
&A
fter | w
ww
.bamagazine.com
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sign
Ide
as 21 0699
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Design
Ideas
4 of 8
Type Design
skim-frien
dly h
eadlin
es
Read
ers have m
ore d
ata to p
rocess th
an ever, so
help
you
r bu
sy aud
ience skim
—
cleverly. Create a seco
nd
ary head
line b
y emp
hasizin
g a few w
ord
s.
Do
ub
le d
uty (A
bove) Emphasizing tw
o w
ords creates a shorter, similar, headline —
“C
hanging Sacramento”—
in contrasting white.
This technique is useful for headlines seen at a distance (left). Em
phasized words can also
stand on their own. (R
ight) On H
appy Cog’s
site, four words from
the mission statem
ent are used as m
ain navigation links; color and all caps ensure they stand out. Q
uick to skim,
easy to understand.
Ch
an
gin
g th
e fa
ce
of S
ac
ram
en
to
Ch
an
gin
g th
e fa
ce
of S
ac
ram
en
toPlanning has been in progress for the past 20 m
onths before it was fi nally unveiled last Friday to the Board of D
irectors. Texture and flasp net exating end the m
ist of it snooling. Spaff forl isn’t cubular but quastic, leam restart
that can’t prebast thin. Silk, shast, lape and behast the thin leam.
De
sign
Ide
as 0699
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re&A
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3 of 8 �
The
type
write
r wa
s an
an
om
aly (A
) Spacing twice after sentences began in the
19th century with the invention of the typew
riter and its monospaced fonts. C
haracters in a m
onospaced font, like Courier above, have identical w
idths — an “M
”, for example, takes
the same space as an “i” or a period. (B
) Back then, eyes accustom
ed to standard, propor-tional type felt that adding a space to differentiate sentences (called English spacing) w
ould m
ake monospaced text m
ore readable. This became the convention for typew
ritten text and was taught
by generations of 20th-century instructors, which is w
hy the practice lingers after the need is gone.
Typesetting On
e space or tw
o spaces?
Wh
en typ
esetting, th
e rule is to
use o
ne sp
ace after a senten
ce. Here’s th
e sho
rt story w
hy.
True
type
settin
g For 600 years of publishing, typeset
fonts, like Garam
ond, above, (or even natural handwriting)
have been proportional. Each letter occupies the width
it needs, so letters and spaces fl ow fl uidly from
one to the next, w
ithout spottiness, and read beautifully. Single spaces after sentences (called French spacing) sustain the w
ord-to-word fl ow
and are part of the design.
ab ijM12!;$?
But in a larger sense, we cannot dedicate, we cannot
consecrate, we cannot hallow this ground. The
brave men, living and dead, who struggled here have
consecrated it far above our poor power to add or
detract. The world will little note nor long remember
AB
Letter widths are the sam
e. Double space is the only differentiator.
First sentence. Second sentence.
Type
writin
g: M
on
osp
ace
d w
idth
s
abijM!;$?
But in a larger sense, we cannot dedicate, w
e cannot consecrate, w
e cannot hallow this ground. T
he brave men, living and dead,
who struggled here have consecrated it far above our poor pow
er to add or detract. � e w
orld will little note nor long rem
ember
Letter widths are proportional. R
eading is fl uid and rhythmic.
First sentence. Second sentence.
Type
settin
g: P
rop
ortio
na
l wid
ths
Design
Ideas
3 of 8
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fore
&A
fter | w
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.bamagazine.com
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sign
Ide
as 21 0699
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5 of 8 �
Type Need
a splash
y graph
ic? Try a letter!
Oversize letters are go
od
for d
rop
caps, b
ut gigan
tic letters can stan
d alo
ne as
eye-stop
pin
g billb
oard
s. Th
ey’re fun
to d
esign, to
o. Th
e basic tech
niq
ue:
Big
, bo
ld le
tter
You’ll need a super-bold or in som
e way dram
atic typeface (try a giant script), upon w
hich to place your w
ords. A sm
all graphic will
add visual interest and provide the reader w
ith some context. P
lace it atop the letter or off to one side (right). N
ote here that the letters are dark, type is light.
Big
, bo
ld n
um
be
rA
zero is a great sales draw
and makes a
graphical bulls-eye, too! C
entered lay-out draw
s your eye straight to the infor-m
ation. Overlapping
the car adds size, depth, and a sense of expansiveness.
Design
Ideas
5 of 8
De
sign
Ide
as 0699
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6 of 8 �
50 issues in
PDF on
DV
D
Type Blen
d th
ose capital letters in
You
know
to u
se italics, no
t caps, fo
r emp
hasis, b
ut h
ow d
o yo
u h
and
le pesky, u
pp
ercase acro
nym
s? — cap
s are TO
O B
IG, b
ut sm
all caps are to
o sm
all. Here’s w
hat w
e do
:
50 issues in
PDF on
DV
DThe B
efore & A
fter Master C
ollection DV
D
Master C
ollection
NO
W TH
RO
UG
H M
ARCH 2
8
The m
anta ray (M
anta b
irostris)
is the larg
est species o
f the
rays. It rang
es thro
ug
ho
ut
trop
ical waters o
f the w
orld,
typically aro
un
d co
ral reefs. M
antas d
isplay cu
riosity
arou
nd
hu
man
s and
swim
am
on
g d
ivers. Man
tas breach
th
e surface an
d lau
nch
in
to th
e air. Man
tas feed o
n
plan
kton
, fish larvae an
d th
e like, filtered
from
the w
ater p
assing
thro
ug
h th
eir gills as
they sw
im. | W
ikiped
ia
Man
ta rays frequ
ent clean
ing
station
s wh
ere sm
all fish su
ch as w
rasse, remo
ra (above),
and
ang
elfish sw
im in
the m
anta’s g
ills and
over its skin
to feed, in
the p
rocess clean
ing
it o
f parasites an
d d
ead tissu
e.
The L
arg
est R
ays
50 issues in PDF®
Master C
ollection
an
n livin
gsto
ne
at
po
int
we
st
10
12
DAD
6
1
2
3
4
57
8
9
11
(A) F
ull ca
ps
“PD
F” and DV
D” are too big next to low
ercase letters. (B
) Sm
all ca
ps True sm
all caps* are the size of lowercase letters, w
hich in text blend beautifully but in headlines are too sm
all. (C
) Cu
stom
ize O
ur solution is to reduce full caps by about 15%.
JuneJU
NE
50 issues in
PDF on
DV
D
50 issues in
PDF on
DV
D
50 issues in
pdf on
dvd
ABC
Correct w
eightToo thin
*Small caps are fi ne typesetting and are included
in many high-end faces.
True
small cap
s (above, left) have the sam
e height and w
eight as lowercase
characters. Fa
lse sm
all
cap
s (above, right) are the kind you m
ake yourself by reducing full-size caps. This results in too-thin, m
ismatched letters. O
ur smaller-but-not-
too-small m
ethod splits the difference.
Share the love!
Design
Ideas
6 of 8
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fore
&A
fter | w
ww
.bamagazine.com
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De
sign
Ide
as 21 0699
0699 D
esig
n Id
ea
s 21
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sign
Ide
as 0699
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re&A
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Am
agazin
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7 of 8 �
Type
face
s
1 Giza Five Seven
2 Adobe C
aslon Pro R
egular
3 Typewriter Light
4 Adobe G
aramond R
egular
5 Frutiger Rom
an
6 Frutiger Black
7 Texas Hero
8 Giza Seven Seven
9 Giza Five Five
10 Franklin Gothic B
ook Com
pressed
11 Vectora LH 55 R
oman
12 Utopia R
egular
Ima
ge
s
13 (ww
w.chicos.com
)
Images: iStockphoto
14 (10031783)
15 (3790056)
16 (16310267)
17 (9916661)
18 (16016955)
Article
reso
urce
s
Co
lors
19 C
0 M
0 Y
0 K60
20 C
0 M
100 Y
85 K0
21 C
65 M
95 Y
10 K25
22 C
10 M
5 Y
75 K0
23 C
0 M
0 Y
0 K100
abijMabijM
43
5
2320
1920
2122
50 issues in
PDF on
DV
DThe B
efore & A
fter Master C
ollection DV
D
Master C
ollection
NO
W TH
RO
UG
H M
ARCH 2
8
The m
anta ray (M
anta b
irostris)
is the larg
est species o
f the
rays. It rang
es thro
ug
ho
ut
trop
ical waters o
f the w
orld,
typically aro
un
d co
ral reefs. M
antas d
isplay cu
riosity
arou
nd
hu
man
s and
swim
am
on
g d
ivers. Man
tas breach
th
e surface an
d lau
nch
in
to th
e air. Man
tas feed o
n
plan
kton
, fish larvae an
d th
e like, filtered
from
the w
ater p
assing
thro
ug
h th
eir gills as
they sw
im. | W
ikiped
ia
Manta rays freq
uent cleanin
g station
s wh
ere sm
all fish such
as wrasse, rem
ora (above),
and
ang
elfish sw
im in
the m
anta’s gills an
d
over its skin to feed, in
the p
rocess cleanin
g
it of parasites an
d d
ead tissue.
The L
arg
est R
ays
50 issues in PDF®
Master C
ollection
an
n livin
gsto
ne
at
po
int
we
st
10
12
DAD
6
1
2
3
4
57
8
9
11
13
6611112 18 16
78
179
10
Ch
an
gin
g th
e fa
ce
of S
ac
ram
en
toPlanning has been in progress for the past 20 m
onths before it was fi nally unveiled last Friday to the Board of D
irectors. Texture and flasp net exating end the m
ist of it snooling. Spaff forl isn’t cubular but quastic, leam restart
that can’t prebast thin. Silk, shast, lape and behast the thin leam.
15
Re
late
d a
rticles
0619 | 0620 | 0623 | 0629 | 0634 | 0638
0643 | 0647 | 0650 | 0655 | 0656 | 0659
0662 | 0670 | 0673 | 0675 | 0684 | 0686
0610 | 0615 | 0603 | 0611 | 0612 | 0690
0692
Design
Ideas
7 of 8
1
142
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Ide
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8 of 8 | P
rintin
g formats �
Be
fore
& A
fter m
ag
azin
e
Befo
re & A
fter has b
een sh
aring its p
ractical app
roach
to grap
hic d
esign sin
ce 1990. Becau
se ou
r mo
dern
wo
rld h
as mad
e design
ers of u
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