Upload
mario-rafael
View
182
Download
0
Tags:
Embed Size (px)
Citation preview
Before&After ®
Continued Many from one 0603
XiBAmagazine.com U
Many from oneBig photos have small photos inside. Here’s how to get several images out of one original.
Continued
Before&After ®
2 of 11 Many from one 0603
XiBAmagazine.com U
Many from oneHere’s a way to stretch your photo dollar and coordinate your layout, too, by getting several images out of one original
Did you realize that big photos have small photos hidden in the details—a collar, a button, a necklace? So take advantage— slice an image and use it in pieces! What’s cool is that the slices will have a built-in unity of color and texture, allowing them to work easily together.
. . . made this entire layout
This one photo . . .
Before&After ®
3 of 11 Many from one 0603
Many from one 3 of 11 XiBAmagazine.com U
StoryThe key is to pick good parts. Think story. What’s fun is that taking images out of context gives them new meaning. Isolate different sections, visualizing what each might now convey.
When we first saw the beach scene, we saw it as a whole, more or less unaware of the details. But by isolating sections, we see that each can tell a story that contributes its own intrigue and interest.
Old things seem to have more character than new ones. Take this tattered old boat. It makes you wonder what it has seen in its lifetime. Out of context, it’s alone and lonely. Does someone use it? What is it doing here? Those footprints in the sand, whose are they?
How long is the coastline? This small piece might seem insignificant, but because it shows land and water, it unifies the other two images. A wave implies movement, erosion, the wind.
Pretty dreamy scene. Is it close to home or half a world away? Out of context, we can’t tell.
Before&After ®
4 of 11 Many from one 0603
Many from one 4 of 11 XiBAmagazine.com U
ScaleViewers generally perceive big images as important. By making a small image big and vice-versa, we can change its emphasis and bring out different parts of the story.
Oortis ese facilit nullum exeraessim num velit ut landigna commod et, velisl dolorperat.Loreetum do dunt lutatum andre dolorer alit
laore tat nos estie el eros niam vullut vel et niametum dip eugiam, verostrud magnissequis nim zzrillaore faccum erat wis et, sit nostrud te ming euissi.Lorperaessi. Lor amconsecte dolor sum incing essed dolenis iduisi. Duis dunt verostrud magnisl ulputet nonse diam ent aut acin hent ad dolobortis nullamcoreet wis nisim dolor-perit ilisl ex estin volobortie delit autatue ostis augiam in hendre dunt ilisse min henibh ercilit loreet ad tem ea con enisl doluptat lobor illum quipit, conse dolenis nos num ing et auguera stinit, sum iriure ver sequam qui tisi bla conumsan vel utpat. Ut augiamet alissed eu feuismo uptatue consecte commodiat. Ut wissit at, sendit numsan venit wismoluptat lore dolore dit il incil delis nullam alit ver sent lorem adio etue ea facil il utpat. Duisciliqui tin ulluptat la feugait am do er incipsustie magna faci eu feu feu feuisl dolobore dolortisit at pratem irillan veril iliquisim zril inci bla faci blaorer in hendrer ustio conulla faciliquamet wismodiam, commy num ex ea alit, quat. Ut aci eu facillum irit aliquatet, volore dolut praesto dolore tis adigna feuguerci blandre min vendign smodolore feu facipit alit praestie commodit praessisLor illa feuguer ate modo do con vulla commy nos nosting enim incidunt dolesecte dolobortie tem dolorperci tat. Duis dunt verostrud magnisl ulputet nonse diam ent aut acin hent ad dolobortis nullamcoreet wis nisim dolor-perit ilisl ex estin volobortie delit autatue ostis augiam in hendre dunt ilisse min henibh ercilit loreet ad tem ea con enisl doluptat lobor illum quipit, conse dolenis nos num ing et auguera stinit, sum iriure ver sequam qui tisi bla conumsan vel utpat. Ut augiamet alissed eu feuismo uptatue consecte commodiat. Ut wissit at, sendit numsan
ParadiseLore magna augiam, vel ip eliqui tet amcon hendreet vulputatis nim vulla auguer ad inisciduisit in hendigna faccum.BY TERRANCE MATTHEWS
Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast a
thin chack. “It has larch to say—and fan.” Why? Elesara
and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam but restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum
Toes in the sand
Texture and flasp net exating end mist of it snooling. Spaff forl isn’t
cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant
chasible. Silk, shast, lape and behast the thin chack. “It has larch to say
fan.” Why? Elesara and order is fay of alm. A card whint not oogum or
bont. Pretty simple, glead and tarm.
Three days in
Oortis ese facilit nullum exeraessim num velit ut landigna commod et, velisl dolorperat.Loreetum do dunt lutatum andre dolorer
alit laore tat nos estie el eros niam vullut vel et nia-metum dip eugiam, verostrud magnissequis nim zzrillaore faccum erat wis et, sit nostrud te ming euissi.Lorperaessi. Lor amconsecte dolor sum incing essed dolenis iduisi. Duis dunt verostrud magnisl ulputet nonse diam ent aut acin hent ad dolobortis nullamcoreet wis nisim dolorperit ilisl ex estin volobortie delit autatue ostis augiam in hendre dunt ilisse min henibh ercilit loreet ad tem ea con enisl doluptat lobor illum quipit, conse dolenis nos num ing et auguera stinit, sum iriure ver sequam qui tisi bla conumsan vel utpat. Ut augiamet alissed eu feuismo uptatue consecte commodiat. Ut wissit at, sendit numsan venit wismoluptat lore dolore dit il incil delis nullam alit ver sent lorem adio etue ea facil il utpat. Duisciliqui tin ulluptat la feugait am do er incipsus-tie magna faci eu feu feu feuisl dolobore dolortisit at pratem irillan veril iliquisim zzril inci bla faci blaorer in hendrer ustio conulla faciliquamet wismodiam, commy num ex ea alit, quat. Ut aci eu facillum irit ali-quatet, volore dolut praesto dolore tis adigna feuguerci blandre min vendign smodolore feu facipit alit praes-tie commodit praessisLor illa feuguer ate modo do con vulla commy nos nosting enim incidunt dolesecte dolobortie tem dolorperci tat. Ut dunt ipis eriure min utatet in utpate modio dunt.
ParadiseLore magna augiam, vel ip eliqui tet amcon hendreet vulputatis nim vulla auguer ad inisciduisit in hendigna faccum.
BY TERRANCE MATTHEWS
Three days in
The bow of the boat occupies a small percentage of the original image—less than a tenth—but in our layout, it’s half. Its new size has changed it from an interesting object to the main story point.
Big, medium, small Note the great differences in size among the three images. These differences are useful for creating visual hierarchy; the reader’s eye moves through the layout from big to small (left).
Before&After ®
5 of 11 Many from one 0603
Many from one 5 of 11 XiBAmagazine.com U
Same technique, different lookAll the pictures on the Web page below are from one image. Five slices of the photo—plus colored rectangles—have turned a single chair into a handsome, multi-image display!
STATIONARY
CHAISE
SWIVEL
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
Every image on the page is a slice of this chair.
Before&After ®
6 of 11 Many from one 0603
Many from one 6 of 11 XiBAmagazine.com U
Look at the detailsUp close, an ordinary object is a surprising potpourri of lines, shapes, colors, curves, corners and edges. Look for contrasts (light-dark, square-round) and variety.
Corner
Vertical line
Solid color
Diagonal line
Curve
Complex shapes
Horizontal lines
Before&After ®
7 of 11 Many from one 0603
Many from one 7 of 11 XiBAmagazine.com U
Quiet top half The empty, white space allows all eyes to settle on the chair.
Busy bottom halfInterlocking images suggests activity and abundance. There is no focal point because the images are all within the boundary of the rectangular shape.
STATIONARY
SWIVEL
CHAISE
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
SWIVEL
CHAISE
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
LayoutTop and bottom halves of this layout draw the eyes in different ways. The top half is empty, airy and quiet; the bottom half is full and busy but well organized.
It’s amazing how from one image we can get a page full of contrast in scale, mass, shape, texture and direction.
Before&After ®
8 of 11 Many from one 0603
Many from one 8 of 11 XiBAmagazine.com U
STATIONARY
CHAISE
SWIVEL
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
Use the eyedropper tool to sample a range of colors in the chair, then locate them on the color wheel. In this case they’re all warm. To retain the warmth, select a color just a spoke or two away as shown below. Such neighboring colors are analogous, meaning they share colors—in this case red and yellow—and so always work well together.
Similar colors harmonizeReplacing a few sections with flat color lightens the design and creates site headings, too. The key to an attractive page is to now coordinate the flat colors to the image.
Before&After ®
9 of 11 Many from one 0603
Many from one 9 of 11 XiBAmagazine.com U
For contrast and energy, use an opposite color, or complement. Opposites are usually the most exciting combinations.
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
CHAISE
SWIVEL
Opposite colors contrastHere, we’ll cool our chair’s warm palette by selecting an opposite color.
Because opposites demand equal attention (above), they tend to cancel each other. Solve this by lightening one of the colors—in this case blue—which makes it recede, allowing the warm chair to come forward.
Before&After ®
10 of 11 Many from one 0603
XiBAmagazine.com UMany from one 10 of 11
STATIONARY
CHAISE
SWIVEL
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
Oortis ese facilit nullum exeraessim num velit ut landigna commod et, velisl dolorperat.Loreetum do dunt lutatum andre dolorer alit
laore tat nos estie el eros niam vullut vel et niametum dip eugiam, verostrud magnissequis nim zzrillaore faccum erat wis et, sit nostrud te ming euissi.Lorperaessi. Lor amconsecte dolor sum incing essed dolenis iduisi. Duis dunt verostrud magnisl ulputet nonse diam ent aut acin hent ad dolobortis nullamcoreet wis nisim dolor-perit ilisl ex estin volobortie delit autatue ostis augiam in hendre dunt ilisse min henibh ercilit loreet ad tem ea con enisl doluptat lobor illum quipit, conse dolenis nos num ing et auguera stinit, sum iriure ver sequam qui tisi bla conumsan vel utpat. Ut augiamet alissed eu feuismo uptatue consecte commodiat. Ut wissit at, sendit numsan venit wismoluptat lore dolore dit il incil delis nullam alit ver sent lorem adio etue ea facil il utpat. Duisciliqui tin ulluptat la feugait am do er incipsustie magna faci eu feu feu feuisl dolobore dolortisit at pratem irillan veril iliquisim zril inci bla faci blaorer in hendrer ustio conulla faciliquamet wismodiam, commy num ex ea alit, quat. Ut aci eu facillum irit aliquatet, volore dolut praesto dolore tis adigna feuguerci blandre min vendign smodolore feu facipit alit praestie commodit praessisLor illa feuguer ate modo do con vulla commy nos nosting enim incidunt dolesecte dolobortie tem dolorperci tat. Duis dunt verostrud magnisl ulputet nonse diam ent aut acin hent ad dolobortis nullamcoreet wis nisim dolor-perit ilisl ex estin volobortie delit autatue ostis augiam in hendre dunt ilisse min henibh ercilit loreet ad tem ea con enisl doluptat lobor illum quipit, conse dolenis nos num ing et auguera stinit, sum iriure ver sequam qui tisi bla conumsan vel utpat. Ut augiamet alissed eu feuismo uptatue consecte commodiat. Ut wissit at, sendit numsan
ParadiseLore magna augiam, vel ip eliqui tet amcon hendreet vulputatis nim vulla auguer ad inisciduisit in hendigna faccum.BY TERRANCE MATTHEWS
Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast a
thin chack. “It has larch to say—and fan.” Why? Elesara
and order is fay of alm. A card whint not oogum or bont. Pretty simple, glead and tarm. Texture and flasp net exating end mist of it snooling. Spaff forl isn’t cubular but quastic, leam but restart that can’t prebast. It’s tope, this fluant chasible. Silk, shast, lape and behast the thin chack. “It has larch to say fan.” Why? Elesara and order is fay of alm. A card whint not oogum
Toes in the sand
Texture and flasp net exating end mist of it snooling. Spaff forl isn’t
cubular but quastic, leam restart that can’t prebast. It’s tope, this fluant
chasible. Silk, shast, lape and behast the thin chack. “It has larch to say
fan.” Why? Elesara and order is fay of alm. A card whint not oogum or
bont. Pretty simple, glead and tarm.
Three days in
Article resources
Colors
C0 M35 Y70 K20
C85 M15 Y10 K25
C30 M40 Y85 K10
C35 M90 Y80 K55
C0 M0 Y75 K45
C36 M22 Y8 K0
8
9
Typefaces
1 Vectora LH Bold | 7 pt
2 (a–b) Vectora LH Light | a) 77 pt,b) 13/15 pt
3 Utopia Regular | 8.2/10.5 pt
4 Vectora LH Black | 6.5/8.5 pt
5 Avenir Heavy | 6.5 pt
6 Trajan Regular | 16 pt
Images
7 (a–b) Photos.com | a b
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
CHAISE
SWIVEL
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
CHAISE
SWIVEL
12a2b
3
4
5
5
7b
6
41
9
8
10
13
7a
12
11
10
11
13
13
Before&After
11 of 11 | Printing formats
®
Label-style title 0600
XiBAmagazine.com UMany from one 11 of 11
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
Editorial board Gwen Amos, Carl Winther
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.
Subscribe to Before & After
Did you enjoy this article? Subscribe, and
become a more capable, confident designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this article
To pass along a free copy of this article to
others, click here.
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
http://www.bamagazine.com/email
Before&After ®
Back | Paper-saver format
XiBAmagazine.com U
For paper-saver format Print: (Specify pages 13–18)
For presentation format Print: (Specify pages 1–11)
Before & After is made to fit your binder
Before & After articles are intended for permanent reference. All are titled and numbered.
For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
suitable for one- or two-sided printing, is provided on the following pages.
Print Format: Landscape
Page Size: Fit to Page
SavePresentation format or
Paper-saver format
Be
fore
&A
fter | w
ww
.bamagazine.com
1 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
Many from
oneB
ig ph
otos have sm
all ph
otos in
side. H
ere’s how
to get several im
ages out of on
e original.
Did
you
realize that b
ig ph
oto
s have sm
all ph
oto
s hid
den
in th
e details—
a collar,
a bu
tton
, a necklace? So
take advan
tage—
slice an im
age and
use it in
pieces!
Wh
at’s coo
l is that th
e slices will h
ave a bu
ilt-in u
nity o
f colo
r and
texture, allow
ing
them
to w
ork easily to
gether.
. . . ma
de
this e
ntire
layou
t
This o
ne
ph
oto
. . .
Be
fore
&A
fter | w
ww
.bamagazine.com
2 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
Sto
ryT
he key is to
pick go
od
parts. T
hin
k story. Wh
at’s fun
is that takin
g images o
ut o
f con
text gives th
em n
ew m
eanin
g. Isolate d
ifferent sectio
ns, visu
alizing w
hat each
migh
t now
con
vey.
Wh
en
we
first sa
w th
e
be
ach
scen
e, we
saw
it a
s a w
ho
le, mo
re o
r less
un
aw
are
of th
e d
eta
ils. Bu
t b
y isola
ting
sectio
ns, w
e
see
tha
t ea
ch ca
n te
ll a
story th
at co
ntrib
ute
s its o
wn
intrig
ue
an
d in
tere
st.
Old things seem
to have more character than new
ones. Take this tattered old boat. It m
akes you wonder w
hat it has seen in its lifetim
e. Out of context, it’s alone and
lonely. Does som
eone use it? What is it doing here? Those
footprints in the sand, whose are they?
How
long is the coastline? This sm
all piece might seem
insignificant, but because it show
s land and water, it
unifies the other two im
ages. A
wave im
plies movem
ent, erosion, the w
ind.
Pretty dream
y scene. Is it close to hom
e or half a world aw
ay? Out of
context, we can’t tell.
Scale
View
ers generally p
erceive big im
ages as imp
ortan
t. By m
aking a sm
all image b
ig and
vice-versa, w
e can ch
ange its em
ph
asis and
brin
g ou
t differen
t parts o
f the sto
ry.
Oo
rtis ese facilit nu
llum
exeraessim n
um
velit ut
land
igna co
mm
od
et, velisl do
lorp
erat.Lo
reetum
do
du
nt lu
tatum
and
re do
lorer alit
laore tat n
os estie el ero
s niam
vullu
t vel et niam
etum
dip
eu
giam, vero
strud
magn
issequ
is nim
zzrillaore faccu
m
erat wis et, sit n
ostru
d te m
ing eu
issi.Lorp
eraessi. Lor
amco
nsecte d
olo
r sum
incin
g essed d
olen
is idu
isi.
Du
is du
nt vero
strud
magn
isl ulp
utet n
on
se diam
ent
aut acin
hen
t ad d
olo
bo
rtis nu
llamco
reet wis n
isim d
olo
r-p
erit ilisl ex estin vo
lob
ortie d
elit autatu
e ostis au
giam
in h
end
re du
nt ilisse m
in h
enib
h ercilit lo
reet ad tem
ea co
n en
isl do
lup
tat lob
or illu
m q
uip
it, con
se do
lenis n
os
nu
m in
g et augu
era stinit, su
m iriu
re ver sequ
am q
ui tisi
bla co
nu
msan
vel utp
at. Ut au
giamet alissed
eu feu
ismo
u
ptatu
e con
secte com
mo
diat. U
t wissit at, sen
dit n
um
san
venit w
ismo
lup
tat lore d
olo
re dit il in
cil delis n
ullam
alit ver sen
t lorem
adio
etue ea facil il u
tpat.
D
uisciliq
ui tin
ullu
ptat la feu
gait am d
o er in
cipsu
stie m
agna faci eu
feu feu
feuisl d
olo
bo
re do
lortisit at p
ratem
irillan veril iliq
uisim
zril inci b
la faci blao
rer in h
end
rer u
stio co
nu
lla faciliqu
amet w
ismo
diam
, com
my n
um
ex ea alit, q
uat. U
t aci eu facillu
m irit aliq
uatet, vo
lore d
olu
t p
raesto d
olo
re tis adign
a feugu
erci blan
dre m
in ven
dign
sm
od
olo
re feu facip
it alit praestie co
mm
od
it praessisLo
r illa feu
guer ate m
od
o d
o co
n vu
lla com
my n
os n
ostin
g en
im in
cidu
nt d
olesecte d
olo
bo
rtie tem d
olo
rperci tat.
Du
is du
nt vero
strud
magn
isl ulp
utet n
on
se diam
ent au
t acin
hen
t ad d
olo
bo
rtis nu
llamco
reet wis n
isim d
olo
r-p
erit ilisl ex estin vo
lob
ortie d
elit autatu
e ostis au
giam
in h
end
re du
nt ilisse m
in h
enib
h ercilit lo
reet ad tem
ea co
n en
isl do
lup
tat lob
or illu
m q
uip
it, con
se do
lenis n
os
nu
m in
g et augu
era stinit, su
m iriu
re ver sequ
am q
ui tisi
bla co
nu
msan
vel utp
at. Ut au
giamet alissed
eu feu
ismo
u
ptatu
e con
secte com
mo
diat. U
t wissit at, sen
dit n
um
san
ParadiseLore m
agna augiam, vel ip eliqui tet am
con hendreet vulputatis nim
vulla auguer ad inisciduisit in hendigna faccum
.B
Y TE
RR
AN
CE
MA
TTHE
WS
Tex
ture
an
d fl
asp
ne
t ex
atin
g
en
d m
ist of it sn
oo
ling
. Sp
aff
forl isn
’t cub
ula
r bu
t qu
astic,
lea
m re
start th
at ca
n’t p
reb
ast.
It’s top
e, th
is flu
an
t cha
sible
. S
ilk, sh
ast, la
pe
an
d b
eh
ast a
thin
cha
ck. “It h
as
larch
to say
—a
nd
fa
n.” W
hy
? Ele
sara
an
d o
rde
r is fay of a
lm. A
card
w
hin
t no
t oo
gu
m o
r bo
nt. P
retty
simp
le, g
lea
d a
nd
tarm
. Tex
ture
a
nd
fla
sp n
et e
xa
ting
en
d m
ist o
f it sno
olin
g. S
pa
ff forl isn
’t cu
bu
lar b
ut q
ua
stic, lea
m b
ut
resta
rt tha
t can
’t pre
ba
st. It’s to
pe
, this fl
ua
nt ch
asib
le. S
ilk,
sha
st, lap
e a
nd
be
ha
st the
thin
ch
ack
. “It ha
s larch
to say fa
n.”
Wh
y? E
lesa
ra an
d o
rde
r is fay o
f alm
. A ca
rd w
hin
t no
t oo
gu
m
Toe
s in th
e sand
Tex
ture
an
d fl
asp
ne
t ex
atin
g e
nd
m
ist of it sn
oo
ling
. Sp
aff fo
rl isn’t
cub
ula
r bu
t qu
astic, le
am
resta
rt tha
t ca
n’t p
reb
ast. It’s to
pe
, this fl
ua
nt
cha
sible
. Silk
, sha
st, lap
e a
nd
be
ha
st th
e th
in ch
ack
. “It ha
s larch
to say
fan
.” Wh
y? E
lesa
ra an
d o
rde
r is fay o
f alm
. A ca
rd w
hin
t no
t oo
gu
m o
r b
on
t. Pre
tty simp
le, g
lea
d a
nd
tarm
.
Thre
e days in
Oo
rtis ese facilit nu
llum
exeraessim n
um
velit ut
land
igna co
mm
od
et, velisl do
lorp
erat.Lo
reetum
do
du
nt lu
tatum
and
re do
lorer
alit laore tat n
os estie el ero
s niam
vullu
t vel et nia-
metu
m d
ip eu
giam, vero
strud
magn
issequ
is nim
zzrillao
re faccum
erat wis et, sit n
ostru
d te m
ing
euissi.Lo
rperaessi. Lo
r amco
nsecte d
olo
r sum
incin
g essed
do
lenis id
uisi.
D
uis d
un
t verostru
d m
agnisl u
lpu
tet no
nse d
iam
ent au
t acin h
ent ad
do
lob
ortis n
ullam
coreet w
is nisim
d
olo
rperit ilisl ex estin
volo
bo
rtie delit au
tatue o
stis au
giam in
hen
dre d
un
t ilisse min
hen
ibh
ercilit loreet
ad tem
ea con
enisl d
olu
ptat lo
bo
r illum
qu
ipit, co
nse
do
lenis n
os n
um
ing et au
guera stin
it, sum
iriure ver
sequ
am q
ui tisi b
la con
um
san vel u
tpat. U
t augiam
et alissed
eu feu
ismo
up
tatue co
nsecte co
mm
od
iat. Ut
wissit at, sen
dit n
um
san ven
it wism
olu
ptat lo
re do
lore
dit il in
cil delis n
ullam
alit ver sent lo
rem ad
io etu
e ea facil il u
tpat.
D
uisciliq
ui tin
ullu
ptat la feu
gait am d
o er in
cipsu
s-tie m
agna faci eu
feu feu
feuisl d
olo
bo
re do
lortisit at
pratem
irillan veril iliq
uisim
zzril inci b
la faci blao
rer in
hen
drer u
stio co
nu
lla faciliqu
amet w
ismo
diam
, co
mm
y nu
m ex ea alit, q
uat. U
t aci eu facillu
m irit ali-
qu
atet, volo
re do
lut p
raesto d
olo
re tis adign
a feugu
erci b
land
re min
vend
ign sm
od
olo
re feu facip
it alit praes-
tie com
mo
dit p
raessisLor illa feu
guer ate m
od
o d
o
con
vulla co
mm
y no
s no
sting en
im in
cidu
nt d
olesecte
do
lob
ortie tem
do
lorp
erci tat. Ut d
un
t ipis eriu
re min
u
tatet in u
tpate m
od
io d
un
t.
ParadiseLore m
agna augiam, vel ip eliqui tet am
con hendreet vulputatis nim
vulla auguer ad inisciduisit in hendigna faccum
.
BY
TER
RA
NC
E M
ATTH
EW
S
Thre
e days in
The
bo
w o
f the
bo
at o
ccup
ies a
sm
all p
erce
nta
ge
of th
e o
rigin
al
ima
ge
—le
ss tha
n a
ten
th—
bu
t in
ou
r layo
ut, it’s h
alf. Its n
ew
size
ha
s cha
ng
ed
it from
an
inte
restin
g
ob
ject to
the
ma
in sto
ry po
int.
Big
, me
diu
m, sm
all N
ote the great differences in size among the three
images. These differences are useful for creating visual hierarchy; the reader’s
eye moves through the layout from
big to small (left).
Be
fore
&A
fter | w
ww
.bamagazine.com
3 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
Sam
e te
chn
iqu
e, diffe
ren
t loo
kA
ll the p
ictures o
n th
e Web
page b
elow are fro
m o
ne im
age. Five slices o
f the p
ho
to—
plu
s colo
red rectan
gles—h
ave turn
ed a sin
gle chair in
to a h
and
som
e, mu
lti-image d
isplay!
STA
TION
AR
Y
CH
AISE
SW
IVE
L
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
Eve
ry ima
ge
on
the
pa
ge
is a
slice o
f this ch
air.
Loo
k at th
e d
etails
Up
close, an
ord
inary o
bject is a su
rprisin
g po
tpo
urri o
f lines, sh
apes, co
lors, cu
rves, co
rners an
d ed
ges. Loo
k for co
ntrasts (ligh
t-dark, sq
uare-ro
un
d) an
d variety.
Co
rne
r
Ve
rtical lin
e
So
lid co
lor
Dia
go
na
l line
Cu
rve
Co
mp
lex
sha
pe
s
Ho
rizon
tal lin
es
Be
fore
&A
fter | w
ww
.bamagazine.com
4 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
Qu
iet to
p h
alf
The empty, w
hite space allows all eyes to settle on the chair.
Bu
sy bo
ttom
ha
lfInterlocking im
ages suggests activity and abundance. There is no focal point because the im
ages are all within the boundary of the
rectangular shape.
STA
TION
AR
Y
SW
IVE
L
CH
AISE
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
STA
TION
AR
Y
SW
IVE
L
CH
AISE
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
Layou
tTo
p an
d b
otto
m h
alves of th
is layou
t draw
the eyes in
differen
t ways. T
he to
p h
alf is emp
ty, airy an
d q
uiet; th
e bo
ttom
half is fu
ll and
bu
sy bu
t well o
rganized
.
It’s amazin
g h
ow
from
on
e im
age
we
can g
et a p
age
full o
f co
ntrast in
scale, mass, sh
ape, te
xtu
re an
d d
irectio
n.
STA
TION
AR
Y
CH
AISE
SW
IVE
L
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
Use
the
eye
dro
pp
er to
ol to
sa
mp
le a
ran
ge
of co
lors in
th
e ch
air, th
en
loca
te th
em
on
th
e co
lor w
he
el. In
this ca
se
the
y’re a
ll wa
rm. To
reta
in th
e
wa
rmth
, sele
ct a co
lor ju
st a
spo
ke
or tw
o a
wa
y as sh
ow
n
be
low
. Su
ch n
eig
hb
orin
g co
lors
are
an
alo
go
us, m
ea
nin
g th
ey
sha
re co
lors—
in th
is case
red
a
nd
yello
w—
an
d so
alw
ays w
ork
Sim
ilar colo
rs harm
on
izeR
eplacin
g a few sectio
ns w
ith fl
at colo
r lighten
s the d
esign an
d creates site h
eadin
gs, to
o. Th
e key to an
attractive page is to
now
coo
rdin
ate the fl
at colo
rs to th
e image.
Be
fore
&A
fter | w
ww
.bamagazine.com
5 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
Fo
r con
trast a
nd
en
erg
y, use
an
o
pp
osite
colo
r, or co
mp
lem
en
t. O
pp
osite
s are
usu
ally th
e m
ost
ex
citing
com
bin
atio
ns.
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
STA
TION
AR
Y
CH
AISE
SW
IVE
L
Op
po
site co
lors co
ntrast
Here, w
e’ll coo
l ou
r chair’s w
arm p
alette by selectin
g an o
pp
osite co
lor.
Be
cau
se o
pp
osite
s de
ma
nd
e
qu
al a
tten
tion
(ab
ove
), the
y te
nd
to ca
nce
l ea
ch o
the
r. So
lve
this b
y ligh
ten
ing
on
e o
f the
co
lors—
in th
is case
blu
e—
wh
ich
ma
ke
s it rece
de, a
llow
ing
the
w
arm
cha
ir to co
me
forw
ard
.
STA
TION
AR
Y
CH
AISE
SW
IVE
L
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
Oo
rtis ese facilit nu
llum
exeraessim n
um
velit ut
land
igna co
mm
od
et, velisl do
lorp
erat.Lo
reetum
do
du
nt lu
tatum
and
re do
lorer alit
laore tat n
os estie el ero
s niam
vullu
t vel et niam
etum
dip
eu
giam, vero
strud
magn
issequ
is nim
zzrillaore faccu
m
erat wis et, sit n
ostru
d te m
ing eu
issi.Lo
rperaessi. Lo
r am
con
secte do
lor su
m in
cing essed
do
lenis id
uisi.
D
uis d
un
t verostru
d m
agnisl u
lpu
tet no
nse d
iam en
t au
t acin h
ent ad
do
lob
ortis n
ullam
coreet w
is nisim
do
lor-
perit ilisl ex estin
volo
bo
rtie delit au
tatue o
stis augiam
in
hen
dre d
un
t ilisse min
hen
ibh
ercilit loreet ad
tem ea
con
enisl d
olu
ptat lo
bo
r illum
qu
ipit, co
nse d
olen
is no
s n
um
ing et au
guera stin
it, sum
iriure ver seq
uam
qu
i tisi b
la con
um
san vel u
tpat. U
t augiam
et alissed eu
feuism
o
up
tatue co
nsecte co
mm
od
iat. Ut w
issit at, send
it nu
msan
ven
it wism
olu
ptat lo
re do
lore d
it il incil d
elis nu
llam alit
ver sent lo
rem ad
io etu
e ea facil il utp
at.
Du
isciliqu
i tin u
llup
tat la feugait am
do
er incip
sustie
magn
a faci eu feu
feu feu
isl do
lob
ore d
olo
rtisit at pratem
irillan
veril iliqu
isim zril in
ci bla faci b
laorer in
hen
drer
ustio
con
ulla faciliq
uam
et wism
od
iam, co
mm
y nu
m ex
ea alit, qu
at. Ut aci eu
facillum
irit aliqu
atet, volo
re do
lut
praesto
do
lore tis ad
igna feu
guerci b
land
re min
vend
ign
smo
do
lore feu
facipit alit p
raestie com
mo
dit p
raessisLor
illa feugu
er ate mo
do
do
con
vulla co
mm
y no
s no
sting
enim
incid
un
t do
lesecte do
lob
ortie tem
do
lorp
erci tat. D
uis d
un
t verostru
d m
agnisl u
lpu
tet no
nse d
iam en
t aut
acin h
ent ad
do
lob
ortis n
ullam
coreet w
is nisim
do
lor-
perit ilisl ex estin
volo
bo
rtie delit au
tatue o
stis augiam
in
hen
dre d
un
t ilisse min
hen
ibh
ercilit loreet ad
tem ea
con
enisl d
olu
ptat lo
bo
r illum
qu
ipit, co
nse d
olen
is no
s n
um
ing et au
guera stin
it, sum
iriure ver seq
uam
qu
i tisi b
la con
um
san vel u
tpat. U
t augiam
et alissed eu
feuism
o
up
tatue co
nsecte co
mm
od
iat. Ut w
issit at, send
it nu
msan
ParadiseLore m
agna augiam, vel ip eliqui tet am
con hendreet vulputatis nim
vulla auguer ad inisciduisit in hendigna faccum
.B
Y TE
RR
AN
CE
MA
TTHE
WS
Tex
ture
an
d fl
asp
ne
t ex
atin
g
en
d m
ist of it sn
oo
ling
. Sp
aff
forl isn
’t cub
ula
r bu
t qu
astic,
lea
m re
start th
at ca
n’t p
reb
ast.
It’s top
e, th
is flu
an
t cha
sible
. S
ilk, sh
ast, la
pe
an
d b
eh
ast a
thin
cha
ck. “It h
as
larch
to say
—a
nd
fa
n.” W
hy
? Ele
sara
an
d o
rde
r is fay of a
lm. A
card
w
hin
t no
t oo
gu
m o
r bo
nt. P
retty
simp
le, g
lea
d a
nd
tarm
. Tex
ture
a
nd
fla
sp n
et e
xa
ting
en
d m
ist o
f it sno
olin
g. S
pa
ff forl isn
’t cu
bu
lar b
ut q
ua
stic, lea
m b
ut
resta
rt tha
t can
’t pre
ba
st. It’s to
pe
, this fl
ua
nt ch
asib
le. S
ilk,
sha
st, lap
e a
nd
be
ha
st the
thin
ch
ack
. “It ha
s larch
to say fa
n.”
Wh
y? E
lesa
ra an
d o
rde
r is fay o
f alm
. A ca
rd w
hin
t no
t oo
gu
m
Toe
s in th
e sand
Tex
ture
an
d fl
asp
ne
t ex
atin
g e
nd
m
ist of it sn
oo
ling
. Sp
aff fo
rl isn’t
cub
ula
r bu
t qu
astic, le
am
resta
rt tha
t ca
n’t p
reb
ast. It’s to
pe
, this fl
ua
nt
cha
sible
. Silk
, sha
st, lap
e a
nd
be
ha
st th
e th
in ch
ack
. “It ha
s larch
to say
fan
.” Wh
y? E
lesa
ra an
d o
rde
r is fay o
f alm
. A ca
rd w
hin
t no
t oo
gu
m o
r b
on
t. Pre
tty simp
le, g
lea
d a
nd
tarm
.
Thre
e days in
Article
reso
urce
s
Co
lors
C0
M35
Y70
K20
C85
M15
Y10
K25
C30
M40
Y85
K10
C35
M90
Y80
K55
C0
M0
Y75
K45
C36
M22
Y8
K0
89
Type
face
s
1 Vectora LH B
old | 7 pt
2 (a–b
) Vectora LH Light | a) 77 pt,
b) 13/15 pt
3 Univers R
egular | 8.2/10.5 pt
4 Vectora LH B
lack | 6.5/8.5 pt
5 Avenir H
eavy | 6.5 pt
6 Trajan Regular | 16 pt
Ima
ge
s
7 (a–b
) Photos.com
| a b
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
STA
TION
AR
Y
CH
AISE
SW
IVE
L
HO
ME
| SHO
P O
NLIN
E | C
ATA
LOG
| CO
NTA
CT
CLA
SSICS
STA
TION
AR
Y
CH
AISE
SW
IVE
L
12a2b345 5
7b
6 4 1 9 81013 7a
12 11
101113 13
Be
fore
&A
fter | w
ww
.bamagazine.com
6 of 6
Ma
ny fro
m o
ne
06030603
Ma
ny fro
m o
ne
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
Edito
rial bo
ard G
we
n A
mo
s, Ca
rl Win
the
r
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
You
may p
ass this article aro
un
d, b
ut yo
u m
ay no
t alter it, an
d yo
u m
ay no
t charge fo
r it. You
may q
uo
te brief
section
s for review
. If you
do
this, p
lease credit B
efore
& A
fter magazin
e, and
let us kn
ow
. To featu
re free B
efore &
After articles o
n yo
ur W
eb site, p
lease con
tact u
s. For p
ermissio
n to
inclu
de all o
r part o
f this article in
an
oth
er wo
rk, please co
ntact u
s.
Su
bscrib
e to
Be
fore
& A
fter
Did
you
enjoy th
is article? Sub
scribe, an
d
beco
me a m
ore cap
able, co
nfi
den
t design
er
for p
enn
ies per article. To
learn m
ore, go
to
http
://ww
w.b
amagazin
e.com
/Sub
scribe
E-m
ail this article
To p
ass alon
g a free cop
y of th
is article to
oth
ers, click here.
Join
ou
r e-list
To b
e no
tified
by e-m
ail of n
ew articles as
they b
ecom
e available, go
to
http
://ww
w.b
amagazin
e.com