Before and After 0607

Before&After
Continued
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How to design a second page 0607
second page
Youve designed a beautiful
outside. How do you follow it
up inside? Simply. Continued
How to design a
Hawaiian Collection
S
eashells
Before&After
2 of 10
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How to design a second page
Youve designed a beautiful outside. How do you follow it up inside? Simply.
Outsides have insides. Once youve
designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
different words and a different purpose,
so how do you retain the look? The key
is simplicity; the second page should be
a lesser and simpler version of the frst.
Four techniques:
A beautiful, jewel-box cover has been carefully cropped from a larger
image. Key to this design is placement; note (above right) that the
seashells position defnes the margins containing the type.
Seashells
Hawaiian Collection
Hawaiian Collection
Seashells
Outside
Before&After How to design a second page 3 of 10
3 of 10
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Repeat the center of interest
When your cover has a strong focal point like this one, mask its background and bring
it inside. Alone on a white canvas, it will stand out in striking relief.
Hawaiian Collection
Seashells
Hawaiian Collection
Precisely catalogued and carefully
identifed for the viewers
pleasure and learning
T
h
is
c
o
lle
c
t
io
n
is
lic
e
n
s
e
d
o
n
th
e
b
a
sis th
a
t the user m
ay use the images in whole or in part except for re
sa
le
o
r in
d
is
trib
u
tio
n
o
f th
e
c
o
lle
c
t
io
n
it
s
e
lf
Hawaiian Collection
Hierarchy Make type and other graphics secondary to
the focal point. To do this, center the layoutwhich moves
the eye down the page in a straight line (above left)and
make the type recede: Set it small (smaller than youd
think), and color it gray (above right) or a light tint of the
image itself. The result is a handsome, minimalist look.
By repeating the outside image inside, you get built-in
continuity of shape, color and texture while making a
fresh, bold statement. The inside is clearly a subset of the
outside, yet has its own distinctive presence.
Inside
4 of 10
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AM!CAN \ANS
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
A
ll R
ig
h
ts R
eserved. Unauthorized duplication is a violation of app
licab
le
la
w
s.
A forest is vast, panoramic and dis-
tant. A small object brings it close,
puts it at human scale, makes it
touchable. Below, simple alignment
helps bring the outside in.
Find something in the scene
If the outside is big, make the inside small. Bring something from the forest to the inside
a pine cone, an eagle, a rockand youll create a beautiful contrast of far and near.
All Rights Reserved. Unauthorized duplication is a violation of applicable laws.
AM!CAN \ANS
of California
AM!CAN \ANS
of California
American Wildlands Conservation Program
!ATONA IO!ST
IG 1!S
For continuity, repeat the cover typefaces
inside. Note that the green background is a
neutral value against which dark and light
type are distinctively separate.
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Lift out one piece
Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the key insidea single square lifted out and enlarged.
Unlock your imagination
The Art College of Washington Spokane www.acws.artcollege.edu
Its the only image with a key,
appropriately tying it to the mes-
sage, Unlock your imagination.
At frst glance, what you see is a collage of doors. The
fun is that you can hide your message on the cover and
then reveal it inside.
Tint the type color to
blend with the image.
.artcollege.edu
50%
A door of opportunity awaits you
The Art College
of Washington
Spokane
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Color
A grid of dissimilar images is naturally complex and should be simplifed. An easy
organizational technique is to create one row of similar colors.
The Art College
of Washington
Spokane
The Art College
of Washington
Spokane
A) The title row is made of images with similar
colors with a few squares left empty for the words;
on a busy feld, such empty space really stands out.
B) The type color must be similar, too; words in cool
blue would disrupt the continuity. C) To get this,
just sample the warm neighboring colors.
A
B
C
The Art College
of Washington
Spokane
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Make your own object
Draw an objectsimpler is betteratop your image, then repeat it inside. This technique
is especially handy if your cover image has no available follow-up.
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
dneil@dawnneildesign.com
Dawn Neil Interior Designer
Front
Back
This look is cool and low-key. Note that similarities of shape, size
and color work together easily beside opposites of light and dark.
Note especially the very small type; it takes real restraint to set your
own name in 14-pt type, but the results couldnt be classier.
Same shapes, fonts, sizes and colors but opposite backgrounds
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Layout
Position the shape in the same place on both sides, then align the type blocks neatly
to it. Be consistent and simple; note below the clean, straight lines of sight.
Note the positive-
negative use of color.
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Typefaces
1 (ab) Kon Tiki Enchanted | a) 34 pt,
b) 12 pt
2 (ac) Avenir Light | a) 11 pt, b) 7 pt,
c) 9/10.8 pt
3 (ab) Trajan Regular | a) 20/19 pt,
b) 20 pt
4 (ac) Avenir Light | a) 9/14 pt,
b) 8/9.6 pt, c) 7 pt
5 Adobe Garamond Bold | 18/16.5 pt,
6 Helvetica Neue Roman | 6.25 pt
7 (ac) Adobe Garamond Semi Bd. It.
a) 14 pt, b) 10 pt, c) 10 pt
8 (ab) Helvetica Neue Md. | a) 10 pt,
b) 10 pt
9 (ab) Helvetica Neue Light | a) 10 pt,
b) 10 pt
10 Adobe Garamond Semi Bd. | 7.5/9 pt
Images
11 (ag) Photos.com |
a b c d e f g
12 All images are from Photos.com
Article resources
Colors
C35 M80 Y80 K40
C10 M25 Y60 K0
C0 M0 Y0 K70
C36 M30 Y30 K0
C30 M80 Y90 K50
C24 M19 Y49 K40
C24 M19 Y49 K0
C25 M90 Y100 K20
C19 M64 Y100 K5
C13 M29 Y58 K0
C70 M50 Y35 K10
C30 M30 Y50 K0
C25 M20 Y20 K0
C50 M40 Y100 K20
13
14
15
16
17
18
19
20
21
22
23
24
25
Hawaiian Collection
Seashells American Wildlands Conservation Program
ATONA IO!ST
IG 1!S
17
18
19
3a
4a
11b
AM!CAN \ANS
of California
3b
4b
4c
11c
The Art College
of Washington
Spokane
21
22
20
7a
7b
5
12
Unlock your imagination
The Art College of Washington Spokane www.acws.artcollege.edu
6
7c
24
23
25
8a
9a
11f
8b
9b
10
11g
11d 11e
26
26
Hawaiian Collection
This collection is licensed on the basis that the user may use the images in whole or in part except for resale or in distribution of the collection itself
13
14
15
16
1a
2a
1b
11a
2b
2c
Before&After
10 of 10 | Printing formats
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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 director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail mailbox@bamagazine.com
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
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For paper-saver format
Print: (Specify pages 1216)
For presentation format
Print: (Specify pages 110)
Before & After is made to ft 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,
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hole or in part except for resale or in distribution of the collection itself
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