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Before&After

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Unleash the
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Heres how to restart the action.
A still photo is real life on pause.
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Unleash the action!
If life is a lm reel, a still photo is a moment on pause. Heres how
to use type, color and layout to restart the action.
Before
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MUD
6

The information is clearly


presentedname on top,
offer prominently at the
bottom, image at center
stage. Its a great image,
too, unexpected and
coming at you with lots
of energy. But its energy
is diminished by its small
size and the typographic
activity around it. The
designer was thinking
layout, but what we need
to think is action.
Hooboy, Al liked that day!he and his fellow
extreme-off-road enthusiasts spent it roaring,
bounding and schlepping their way through
muck and mire. He got some great pictures,
too, and one of them is perfect for his stores
next promotional coupon. Problem is, the
design he made doesnt feel like the energetic
day. The data is there, but that sweaty, bone-
jarring vitalitythe fun stuffis missing.
A still photo is a moment from real life
on pause. Whats cool about design is that
the designer can restart the action. The key
is to think image rst, not layout. Describe
its lines, shapes, directions and so on, then
repeat or complement them with type, color
and layout. Heres how.
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Make the image BIG
Engine roars, ground shakes, mud hits your facethe closer you are to the action,
the more real it feels. To get the reader close, too, make the image as big as the card!
Pull the image out of the white eld
(Above, left) The vehicles horizontal motion
is slowed by the vertical format, and its
small size sets it in the distance where the
reader cant feel it. (Above, right) As big as
the card, the image has in-your-face impact
and gets the readers undivided attention.
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Make more mud!
Next, nd a typeface that looks like the subjectin this case, bold and blobby
with splatters and irregular edges.
Its about texture. For this job, nothing clean will do. With its cracks,
bumps, splatters and irregularities, display type Sabotage (top) has mud
written all over it. Its condensed form gives it a lot of weight and ener-
gy that perfectly mimic the image.
Type that oozes between your toes!
ALL ABOUT MUD
Utility font Small type requires a face thats readable
at small sizes and that complements the display type.
Look for simple letterforms with wide counters (below,
left). Typefaces like Sabotage (below, right) with narrow
counters tend to close up when set small.
DIRT BIKES
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Wider counters Narrow counters
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Make a eld for words
With the image now occupying the whole card, the words must go right on top.
Separate foreground from background with an articial horizon.
Keep the mud To convey every speck of action
(literally), keep the mud splatters.
Fill the background Sample a color from the
image, and ll the space. What color? Think con-
trast (edge). The higher the contrast (hard edge),
the greater the separation between foreground
and background.
Hard edge Soft edge
Determine the line (Above) To create a at eld
while sustaining the coming-over-the-horizon
action, divide the page horizontally, and delete the
top part. Where you delete affects the story. Note
(right) that you
can jump an
object out of
or into a scene.
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Bring the words into the action
Heres where it gets fun. The bigger and more compact the words are, the more rumble
they will convey; words behind the image push the action toward the reader!
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How big should the
words be?
To convey power and
excitement, set the type
as big as possible without
straining credibility or read-
ability. (Left, top) Set small,
type seems separate from
the image and distant. Huge
type (left, middle) has lots
of depth but sacrices read-
ability. In between, in this
case, is perfect.
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Add the logo
The upper left corner of a landscape format is its pre-eminent position, a good place
for the business name. But dont get formal; sustain the exuberant angles!
Details matter
(Below) Angled logo mimics everything else
on the page, which is full of unpredictability
and tension. Note the slight overlap.
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Finish with color
Color completes the connection between type and image. Select one or two key elements
to stand out. The nished card beautifully conveys Als happy, high-energy day!
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Maintain an earthy palette
(Above) Using the brown eld as the
base color, nd its approximate loca-
tion on the color wheel. Then establish
contrast (hard edge) between type and
background with a neighboring
yellow-orange. Red on the opposite
side would harmonize with the brown,
but it would have too-little contrast
and compete with the logo.
Hard edge
A tint of the background color makes small type recede.
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Typefaces
1 (ab) Sabotage | a) 111 pt, b) 82 pt
2 (ac) Trade Gothic Bold Cond. No. 20
a) 10/10.5 pt, b) 14 pt, c) 9 pt
3 Trade Gothic Cond. No. 18 | 6.6 pt
Images
4 (ac) iStockphoto.com | a b c
5 (ab) Photos.com | a b
Article resources
Colors
C50 M45 Y70 K65
C50 M70 Y100 K30
C0 M40 Y100 K0
C20 M25 Y55 K0
6
7
8
9
6
7
8
1a 1b
2b
2c
3
4a
9
5b 4c 5a 4b
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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
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Telephone 916-784-3880
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Copyright 2005 Before & After magazine, ISSN
1049-0035. All rights reserved
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Before&After
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