Print Issue 05

Splash!
How to draw gleaming

surface reections
Variable scale will improve
every map you make
How to re-create perfect U.S.
postal bar codes in minutes
Dazzle in two colors
without black!
One dozen initial capitals that
make an impression
S
ial capit
ession
as
min
ne doz
make a
ke
How to design cool stuff es gn
as S
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ession
min
How to de
ne do
make a
ke
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minutes
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TM
Vol. 1 No. 5 1990
Water droplet illustration by Phil Bates ARTBEATS
How
surf
Var
eve
How
How
surf
Var
eve
How
TM 2
BEFORE & AFTER, HOW TO DESIGN COOL STUFF (ISSN 1049-0035), Vol. 1, No. 5, Oct. 1990. Before & After is a magazine of design and page layout for desktop publishers. It is published bimonthly by PageLab,
Inc., 331 J Street, Suite 150, Sacramento, CA 95814-9671. Telephone 916-443-4890. Copyright 1990, PageLab, Inc. All rights reserved. Application to mail at second-class postage rates is pending at
Sacramento, CA. POSTMASTER: Send address change to: Before & After, How to design cool stuff, 331 J Street, Suite 150, Sacramento, CA 95814-9671. Subscription rate: $36 per year (6 issues). Canadian
subscribers please add $4 and remit in U.S. funds; overseas subscribers please add $18. Back issues: $10 each. Bulk subscriptions: 510, $33 each; 1120, $30 each; 2135, $27 each; 36 or more, $24
each. Bulk subscriptions will be entered under one name and mailed to a single address. Terms Before & After, How to design cool stuf f, Xamplex, and Type: the visible voice have trademarks pending.
THE LADY IN PINK
Im responsible for all the design in a
fairly large company and my bosss wife
is driving me nuts; shell show up on a
Saturday and inform me, as she did
recently, that the brochure cover for the
new product should be in pink! Her other
suggestions are equally off the wall. My
boss hired me as the professional but he
usually sides with his wife. Any ideas?
Bob Reinhardt
Milwaukee, WI
Sounds like you should join their team;
use those skills of yours to make a pink
brochure look right. Do this a few times
and youll gain the credibility you seek.
THE MILLIONAIRE
Ive just made a midlife career jump to
desktop publishing. Is it possible, at this
late age, to get good enough to make a
million dollars?
George W. Henry
Muskegon, MI
Yes.
FONTS FONTS FONTS
I am dumbfounded that there are so
many typefaces! Why do they keep mak-
ing new ones?
Tony Shapiro
Columbus, OH
Its fun! Type is speech made visible;
every time its put on paper it takes on a
voice. The designer controls that voice.
FRETTING OVER A CAREER
I have a 20-year career in pasteup and
graphic arts production that I see going
out the window and Im really worried.
Im not a designer; Im a very mechani-
cal person. Yet with the shift in empha-
sis to design, I fear Ill be left behind.
Can you help?
Gloria Rent
Austin, TX
cated than your old stat camera, and
many otherwise skilled art directors
came to it late or simply are all thumbs
with machines. Advertising hype to the
contrary, the dichotomy in the market-
place between conceptual (design) and
computer skills is so extreme that in
many parts of the country today design
studios are paying skilled computer oper-
ators virtually anything they ask (nd
out what your doctor makes and you
wont be far off). Two, the computer has
made graphic design more democratic;
that is, no longer are professional studios
getting jobs by default because they own
special equipment; companies now han-
dle much of their work at home. The ad-
vantages for you are twenty employment
opportunities where once there was one.
At the same time, these companies are
nding that most printed matter is regu-
lar stuff, and a workmanlike knowledge
of type and layoutwhich you haveis
exactly whats needed. It makes you a
production artist. The key to success at
all this is learning the computer very
well. With 20 years experience in pro-
duction, you wont have a bit of trouble.
THE MAILBOX
If youre willing to transfer your mechan-
ical skills to the computer, youll have a
great future. There are many reasons
why. For one, the computer is a mechan-
ical instrument thats much more compli-
FREEHAND EXERCISE
Surface reections
bring objects to life
The key to drawing them is
seeing them in the rst place.
When I phoned our daughter Tonni in
Dallas and asked her to draw an M, her
rst response was how? The best way, I
said, was to buy a bag of M&Ms, put one
on the table next to your computer, and
look at its light. Heres what she saw:
The M is dened by the light which reects from it,
and by moving it around a room youll nd that
reections and shadows change size, shape, position
and intensity. This change in light is what makes a
at object appear 3-dimensional. The effect of dif-
fused light (a gradation from one shade and shape to
another) is created in FreeHand with blends.
REFLECTIONS Bright, direct light often creates
glarepure white lightwhich obliterates all
detail. Blend from white to the sur face color.
SHADING Shade is the surface color minus some
of its light. Blend from the surface color to the
surface color plus some black (here, 30%).
SHADOW A diffused shadow, typical under indoor
light, blends from gray to white.
TM 3
BACKGROUNDS UNIFY DIVERSE ART
My newsletter has a number of section
headings which I illustrate with clip art
because its inexpensive. The pictures
are nice but the newsletter looks haphaz-
ard; the art on one page is so different
from the art on the next. What can I do?
Joan Byerson
Orange, CA
Select the same point on
each object and . . .
Blend. Ive used 60 steps;
larger objects need more.
Draw a circle and Fill with
30% black. Atop it, draw
the loose outline of a
reection and Fill with the
same color.
Clone the outline; reduce.
To make glare, Fill with
white (shown). For a softer
reection, Fill with a light
tint of the surface color.
The solution is to give
your pictures some-
thing in common; the
more theyre alike,
the better. To illus-
trate, our designer
found three unrelated
pictures, then crafted
her own backgrounds
and type. Result? A
look that will unify the
newsletter. Marlas
solution is particularly
good, too: Her icons
are contained. Youll
enjoy this technique
and its easier than
drawing from scratch.
D
E
S
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R
A
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D I N I N G O U T
D
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I
G
N

A
N
D

I
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U
S
T
R
A
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I
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S

B
Y

M
A
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A

M
E
R
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D
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T
H
D
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S
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D I N I N G O U T
T
R
A
V
E
L
CHILDREN OUT
FOR CHRISTMAS
VACATION
Lorem ipsum dolor sit
amet, consectetuer
adipiscing elit, sed diam
nonummy nibh euismod
tincidunt ut laoreet
dolore magna aliquam
erat volutpat. Ut wisi
enim ad minim veniam,
quis nostrud exerci tation
ullamcorper.
Suscipit lobortis nisl ut
aliquip ex ea commodo
consequat. Duis autem
vel eum iriure dolor in
hendrerit in vulputate
velit esse molestiecon-
sequat, vel illum dolore
eu feugiat facilisis at.
Vero eros et accumsan
et iusto odio dignissim qui
blandit praesent luptatum
zzril delenit augue duis
dolore te feugait nulla
facilisi. Lorem ipsum
dolor sit amet, consecte-
tuer adipiscing elit, sed
diam nonummy nibh
euismod tincidunt ut
laoreet dolore magna
aliquam erat volutpat.
Ut wisi enim ad minim
veniam, quis nostrud
exerci tation ullamcorper
suscipit lobortis.
Duis autem vel eum
iriure dolor in hendrerit
in vulputate velit esse
molestie consequat, vel
REPORT CARDS
ISSUED NOV. 12
Veniam, quis nostrud
suscipit lobortis nisl ut
velit esse consequat.
Vel illum dolore eu
feugiat nulla facilisis at
vero eros et accumsan et
iusto odio dignissim qui
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illum dolore eu feugiat
nulla facilisis at vero eros
et accumsan et iusto odio
dignissim qui blandit
praesent luptatum zzril
delenit augue duis dolore
te feugait nulla facilisi.
amet, consectetuer
velit esse molestie
consequat, vel illum
dolore eu feugiat nulla
facilisis at vero eros et
accumsan et iusto odio.
Dignissim qui blandit
amet, consectetuer
Nonummy nibh euismod
tincidunt ut laoreet do
lore magna aliquam erat
volutpat minim.
Liber tempor cum
soluta nobis eleifend
option congue nihil
imperdiet doming id quod
mazim placerat facer
possim assum. Lorem
ipsum dolor sit amet,
consectetuer elit.
Sed diam nonummy
nibh euismod tincidunt ut
aliquam erat volutpat. Ut
wisi enim ad minim
S A N J U A N S C H O O L S
PTA
The Time To Support
Your PTA Is Now!
The Time To Support
Your PTA Is Now!
One look, many applications

CHECKING
ACCOUNTS
AT 5% INTEREST
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option congue nihil
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HOME LOANS
OFFERED SOON
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F I R S T N A T I O N A L
BANK NEWS
Have you ever noticed
the design of, say, a
banks newsletter and
thought, Thats hand-
some but its not for me;
I run a fabric store?
Maybe it is for you.
One of the most useful
skills a designer can nur-
ture is an ability to look
at one publication and
visualize another.
This is often difcult
for the beginner. Why?
The words get in the way.
Were accustomed to
reading, but a designer
must be interested in
nonverbal style: columns,
fonts, colors and so
for th. The secret? Ignore
the words. (Turn these
samples upside down
and youll get the idea.)
While a bank and a fabric
store are indeed quite
different businesses, to
a designer they can be
closely related.
Professional designers
are skilled at applying to
the job at hand what
theyve seen elsewhere.
ALL PATTERNS
50% OFF THE
MONTH OF DEC.
amet, consectetuer
ullamcorper.
diam nonummy nibh
suscipit lobortis.
Duis autem vel eum
Liber tempor cum
option congue nihil
possim assum. Lorem
consectetuer elit.
Sed diam nonummy
wisi enim ad minim
velit esse molestie
amet, consectetuer
volutpat minim.
CLASSES ON
TAILORING
Vel illum dolore eu
diam nonummy nibh
Duis autem vel eum
amet, consectetuer
D O R A S F A B R I C L A N D
SEWNSAVE
ADDING
ACCESSORIES
TO YOUR BIKE
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ullamcorper.
diam nonummy nibh
suscipit lobortis.
Duis autem vel eum
Liber tempor cum
option congue nihil
possim assum. Lorem
consectetuer elit.
Sed diam nonummy
wisi enim ad minim
velit esse molestie
amet, consectetuer
volutpat minim.
GETTING ON THE
RIGHT TRACK
Veniam, quis nostrud
Vel illum dolore eu
diam nonummy nibh
Duis autem vel eum
amet, consectetuer
E A S T S I D E
MOTORCYCLES
A fading shadow is made
by blending two circles, the
front about 60% black, the
back white. Offset them
same angle as the shade.
1 2 1 2 3 1
4 6 4 3 5
2
REFLECTIONS (outlines are for clarity only) SHADING (outlines are for clarity only) SHADOW (outlines for clarity)
Shade is made by blending
two crescents. To make the
crescents, rst make four
clones of the circle and
hide three on a new layer
for use later. Move the
remaining clone as shown
(1); make note of the angle
you use. Position and Lock
ruler guides where the
Make a second, thinner
crescent; Fill 60% black.
each crescent and . . .
Blend. Ive used 60 steps;
larger objects need more.
each; Blend in 60 steps.
circles overlap, then use
the knife tool to cut both
circles (2). Join the ends
(3). Retrieve two of the
circles you hid earlier.
TM 4
Bring the world to your door
of an areas geography and includes
political boundaries, rivers and so forth.
A topographic map shows everything; on
a point map, all that matters is the des-
tination. The designer, therefore, is not
restricted to geography; he can move
mountains, reroute interstates, even
erase whole cities for the sake of clear
communication. This can be a great deal
of fun because, once the transportation
problem has been solved, the designer
has vast freedom with the maps appear-
ance. Here on a point map is how to nd
Before & Afters ofce in Sacramento:
The most valu-
able business map is the point map; that
is, the map which guides the reader to a
specic destinationa mall, your ofce,
the annual convention site. A point map
differs from a topographic map like the
one below, which is an accurate depiction
DESIGN A MAP THAT WILL . . .
The perfect point map will guide a reader to any destination
in one smooth stepwithout a word of text.
M
A
P
S
!
Find the needle in the haystack
Welcome to the Sacramento metropolitan area! One hundred thousand homes, the state Capitol (and
attendant sprawl), our professional spor ts complex, two Air Force bases and the worlds nest railroad
museum are among the objects hidden in the scan above. Our ofce is here, too, tiny as a pinpoint. Im
going to bring you to it; it is a challenge virtually identical to the ones you face.
When designing a point map, take plenty of time to think the problem throughthe more work you
do, the less the reader must do; this is especially important if you are, say, a retailer trying to attract
shoppers to your store. I cant emphasize this enough: The serious work is the brainwork.
Think rst: What is the most direct way here?
TM 5
Simplify
Next, straight lines replace wiggly ones. This is
done to simplify the information, to clue the user
that this is a schematic, and help him visualize in
forms that he can better remember than the twists
and turns of geographic reality. For ease of drawing,
the map has been rotated level and centered on our
target; doing so made it evident that downtown is
boxlike, a feature we can build upon. Watch for
similar characteristics to emerge on other maps.
Dene the target
Freeways cover the big distances in a few
strokes; the last few miles require detail. In
this case, I added a downtown grid. It does not need to be street-for-street
accurate and will change as the map evolves. (Note the downtown streets
are white on a neutral background. If you have the luxury of high-resolution
output, make all movement corridors lighter than the background and all
impenetrable objects [buildings] darker than the background; the eye can
thereby separate them instantly.) The map has now been stripped to its
three key pieces: the long distances, the short distances and the target.
Cut through the clutter
Our ofce is the red dot downtown. I started by pitching everything but the
freewaysrivers, parks, points of interest, landmarks, all of it. This is a
common rst step; everyone has access to a freeway, and in our case all
freeways lead downtown.
This initial editing is critical and can be a bearlook again at the original
scan; it is easy (and normal) to be distracted by the sheer volume of
graphical information in front of you. It may help to close your eyes and
imagine giving oral instructions to a lost motorist: Straight three blocks,
right at the light, third door on the left, and let the rest of the world vanish.
45 angles clarify
Horizontal, ver tical and 45 strokes (merely hold
the Shift key as you click) reduce the map to its
essence: a pure schematic diagram that will put the
user at ease. (Its cool looking too; thats because its so
orderly.) With such severe constraints, it is surprisingly easy to mimic
reality. The overlay (right) compares this map to the original; I could have
come closer but this version has more attractive proportions. Doubling the
width of the main freeways distinguishes them from the smaller entrance
highways, but theyre so bold theyd overpower if not shaded 75% black.
0
17.2
Rotate from
this point FIND THE
ANGLE
This rotation step is tempo-
rary (its easier to draw
things upright) so we need
to know the angle to un-
rotate it later. Heres how:
Hold the Shift key while
you draw a horizontal line
across your map. Rotate
the line by eye until it
aligns with an angled map
edge. Immediately call the
Rotate dialog box and read
the angle. Id write it down.
TM 6
Its neat, but how to show detail?
It is at this point a map is likeliest to fail; the
main map covers the same 250 square miles
as the original, which means the destination is still too small to be seen.
The solution? Enlarging a section into a second map (inset) is common but
works only if the section is an isolated one (showing, say, Kuwait City within
a larger map of Kuwait). In this case it is not; downtown must link with its
freeways at nine points, and the details of those links are crucial. Design-
ing such detail in two sizes and expecting the reader to compare them (Ive
seen it done) is abysmal; it may look good but its infuriating to decipher.
Use the principle of variable scale
It is here that I owe a debt to Joel Katz, the brilliant map designer who
taught me variable scale over the telephone. This technique is amazing:
So far, the map has been pictured at a scale of about 6:1; that is, one
inch equals six miles. Here, I enlarged only the downtown 300 percent (an
arbitrary amount that looked right); one inch now equals only two down-
town milesbut still six miles everywhere else. To do so required squeez-
ing the immediate freeways outward (the maps been redrawn again), yet
the outermost points have barely moved. The solution is fabulous; the map
still covers 250 square miles, yet the target is now in view and navigable.
Rounded corners look like freeways
Once variable scale had been applied, the sharp-angled freeways took on
the appearance of ordinar y streets. Since freeways arc and sweep rather
than jut and jab, rounded bends restored a sense of distance and expanse
the way we perceive them from our cars. The rounded intersections are
you-can-turn-this-way clues that leave a driver no doubt the freeways link.
Downtown has many more streets than the grid shows, but we dont
care; our only interest is in the important streets which lead to our ofce
(not to be mistaken for the biggest streets); all others get the ax. Critical
freeway exits are made by splicing on quarter-circles (note the two radii).
An easy way to add rounded intersections:
Freeway intersections
begin as plain, criss-
crossing lines; here,
the black line shows
the path, the gray line
shows the stroke.
Hold the option + shift
keys to draw a circle
from the center out.
Ungroup and split into
quadrants (its quick-
est with the knife tool).
Move each
piece kitty-
corner and rejoin. Fill
the new shape to
match the freeways
and just set it in place.
How to round off the 45 bends:
Draw a circle. To measure and cut a 45 piece: Rule a vertical centerline;
option-click to rotate the line from the center 45 and cut the curve at that
spot (use the knife). Copy the piece (for later), then place it atop a freeway
elbow. Position ruler guides, cut the freeway and join the new ends.
45
TM 7
5
J
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3
5
TM
331 J Street
Suite 150
Sacramento
CA 95814-9671
Freeway exits
(Best ones: J St. and 12th St.)
One-way trafc ow
Us
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BUSINESS
80
50 99
For help with the preparation of this ar ticle,
I wish to acknowledge the invaluableand,
I must add, entertainingassistance of
Joel Katz. Mr. Katz is a partner of Katz
Wheeler Design in Philadelphia, an ofce
with special expertise in the visualization of
complex cartographic data. Along with his
many degrees and achievements, Mr. Katz
has taught at Yale, Rhode Island School of
Design, and the Philadelphia College of Art.
Keep your thinking cap on
Were not done yet. All roads must converge on the destination. Here, the
only streets still on the map are connected to our ofce or to a freeway exit
and the untraveled parts colored to recede. Note how evenly the streets
are spaced. Thats variable scale again; the distance, for example, from
3rd to 5th streets, then 5th to 10th streets, is the same!
Standard U.S. highway signs are clear
and universally recognized. Why didnt I
use them? Because the map is so stylized
they would have looked out of place, nerd-
like in a sea of cool. Allowing form to
overrule function like this is risky; the only
way to pull it off is to restore the function. Mr. Katz favors using the
following designators: I-00 for interstates, US 00 for federal highways, and
CA 00 (in this case) for state highways; this makes an implicit connection
between the labels and the funny sign shapes that are actually on the road.
The yellow dots, however, are a one-of-a-kind solution; if your street is the
Langendorf Plaza Parkway youll have to think of something else.
Ive used color but these techniques are superb in black and white
especially at high resolution. Below, the irregular green background is a
cosmetic addition, a stylized version of our city limits.
To review:
1. Make the destination the center of the universe
2. Remove every unnecessary object
3. Use variable scale for detail
4. Work with restricted angles for clarity
TM 8
Postage will be paid by addressee
Xamplex Corporation
Attention: Accounts Payable
Post Ofce Box 1000
Anycity, ST 12345-6789
BUSINESS REPLY MAIL
FIRST CLASS MAIL PERMIT NO. 000 ANYCITY, ST
NO POSTAGE
NECESSARY IF
MAILED IN THE
UNITED STATES
FREEHAND STEP-BY-STEP
How to draw machine-readable
U.S. postal bar codes
How it works: With the measurement sys-
tem set to Decimal inches, each inch is
divided into tenths, which show on the rul-
ers as tick marks. With a Grid size of .025,
each tenth is further divided into (invisible)
quarters, to which objects can snap. Mea-
suring is easy: Just count ticks and snaps.
Open FreeHand. In the Document setup
dialog, select Decimal inches and a Grid
size of .025. Paper size, colors and other
choices are yours. Click OK.
This rst step is the key. The Postal
Ser vice issues its measurements in tenths,
and FreeHand will now follow them with
absolute accuracy.
Once on the page, turn on Snap to grid
(under the View menu). FreeHand will snap
lines and other objects to these fortieth-of-
an-inch increments in any view.
In the Basic dialog under the Line menu,
create and name two black lines, one with
a width of .031, the other .02.
Business reply
legend box
Postage paid line
Address format
POSTNET bar code
Facing identication
mark (FIM)
Postage
endorsement
Horizontal bars
(Surprise! Machines
dont read these.)
Preparing Business Reply Mail? Superaccurate bar codes have always been
the hard part. No more; your computer can make them perfectly.
colors (black on opaque white is favored), what sizes
the fonts must be and where each element must be
placed. Id show you every detail but there are too
many minute variables.
Basically, Business Reply Mail is designed to be
read and handled by both people and machines along
its route. The yellow parts above are the critical parts
the machines read; theyre what were going to make.
Look familiar? Thats because the Postal Service
strictly regulates the dimensions and appearance of
business reply mail; the details will be mailed to you in
USPS Publication 25 and the Domestic Mail Manual;
phone your local post ofce for copies (theyre free).
You must read some of it (sorry), specically the parts
on how big (or small) your piece may be, what shape
(rectangle), what paper weight (fairly heavy), what
U.S. Business Reply Mail
First:
Set Decimal inches and a
Grid size of .025"
.10
1
Invisible .025
quarters
FIM
.031
POSTNET bar code
.02
Postal Service bar code machines can toler-
ate line widths that vary somewhat; in the
case of the POSTNET bar code, the published
range is from .015 to .025. Our widths are
exactly in the middle; the camera-ready bar
codes provided by the Postal Ser vice are the
thinnest their own regulations allow.
TM 9
.0475
.02
.
0
5
.
1
2
5
0
0 1 2 3 4
The FIM
The FIM, or Facing Identication Mark, tells the electric eye what class of card it is and that
this edge faces up. There are four kinds of FIM. Size and position of the FIM relative to the
upper right corner of the mail piece is critical. Below, the white area must be kept clear of all
marks including anything that may show through from the back side.
Xamplex Corporation
Post Ofce Box 1000
BUSINESS REPLY MAIL
NO POSTAGE
NECESSARY IF
MAILED IN THE
UNITED STATES
STEP 1: Draw the FIM. Exactly.
A FIM consists of nine evenly spaced vertical bars, some of which are
missing. The Postal Service has four kinds of FIM (right); one will be
assigned to you. Using that .031 line on your menu, rule a .625 ver ti-
cal bar (zoom in; its six tick marks and a snap). Clone. Move the bar
horizontally .0625 (use the Move dialog). Duplicate until you have nine
bars. Delete the ones you dont need. Select and Group the remainder.
.0625
.031
.
6
2
5

Xamplex Corporation
Post Ofce Box 1000
BUSINESS REPLY MAIL
NO POSTAGE
NECESSARY IF
MAILED IN THE
UNITED STATES
The POSTNET bar code
The POSTNET bar code is your nine-digit ZIP code written in computer talk. This 52-bar code
is sufcient to direct the piece all the way to your mail carriers route bag. Once there, he reads
the English address himself and drops the card in your mailbox.
Your bar code is issued by the Postal Service. It must be contained fully within the yellow
area below and the Postal Service prefers it exactly where shown. The white rectangular area
must be kept clear of all marks including anything that may show through from the back side.
FIM A FIM B FIM C FIM D
STEP 3: Place the bar code here.
Reset the zero point to the lower right corner (rule corner marks if you wish).
From there, position the leftmost baseline of the bar code up two ticks plus
two snaps, and left four inches minus two snaps. Youre done!
STEP 2:
Make the short bars
Hold the Shift key as you select the top point of each
bar that is to become short. In the Move dialog, enter
a Vertical value of .075. Zowie! Group the result.
Before After
STEP 1:
Make the tall bars
A POSTNET bar code
is 52 evenly spaced
tall and shor t bars.
Use the .02 line on
your menu and rule
one .125 vertical
bar (one tick plus
one snap). Ungroup
the bar. Clone. Move
the clone horizontally
.0475 (use Move
dialog). Duplicate to
repeat the clone-and-
move procedure until
you have 52 tall bars.
0 1 2 3
0
1
STEP 2:
Dene a corner.
Pick a spot for your cards
upper right corner and zero
the ruler guides on it. If
youll be Expor ting the draw-
ing to PageMaker, rule cor-
ner marks (for alignment) as
shown; if not, dont bother.
STEP 3:
Place the FIM here. Exactly.
2.5 inches straight left from zero.
It will snap into place.
10
A COLOR PRIMER
Beautiful, cheap and unprecedented, computer-generated tints have
expanded the horizons of ordinary jobs vastly. Here, ideas on how to combine
inks and stretch your printing dollar.
Get the most from tints and shades
Type: K100; Page: White
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Type: K100; Page: K20
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Type: White; Page: K50
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Type: K50 and white; Page: K100
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Type: K70 and white; Page: K45 Type: K50; Page: White
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Black, the most
powerful color
Black and white have the highest
contrastmeaning the greatest
difference between themof all
colors. The eye is drawn most
strongly to contrasts; for exam-
ple, it will immediately spot the
white ball in a eld of 1,000
identical black ones. Because of
this, black text on a white page
is easy to read, and a black-and-
white poster can be seen from a
long distance. These hard-edged
qualities, however, are not often
needed, and a softer, gentler
voice requires less contrast. This
is done with tints and shades.
humblest, cheapest job. This adds noth-
ing to the cost; once your page is n-
ished, a service bureau will output high-
quality, negative lm (average price: $17
per page), ready to hand to your printer.
ook at what can be done with black
enough to upgrade to a version which
handles color, even if you dont work in
color. Im serious; tints and shades can
transform the character of your work.
Black, one-color jobs have had a rep-
utation as, well, less. But that was then,
when tints were costly to make. Today,
via the Dene colors dialog, objects can
ink! The ability of PageMaker to
generate tints and shades is reason
Tint magic works via a
process called halfton-
ing, which fools the eye.
A tint is created when
solid ink (in this case,
black) is scattered into a
uniform pattern of dots;
the smaller the dots, the
lighter the tint appears
to be. Although the
eye sees gray, each
dot is solid black.
L
be tinted in steps from 1 to 99 percent;
as few as three such objects can be com-
bined in literally a million ways, yielding
a rich lode of tone and contrast which
add variety, depth and real beauty to the
Square: K65
Circle: K25
Square: K100
Circle: White
11
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Type: White; Page: C50, K60; Photo: C30, K80
Type: White; Page: Y15, K50; Photo: K100
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Tinted type: M25, K75; Page: K50; Photo: M10, K80
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Type: M10, K30; Page: M30, K60; Photo: M10, K70
Tinted type: K30; Page: C30, K70; Photo: C10, K70
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Black plus one
process color
Colors which go together most
readily are those which have
something in common; black, for
example, is best with another
color that also contains some
black. Note that solid black plus
solid cyan (top) are bright enough
and stark enough to arouse the
dead, yet when each is diluted by
a tint of the other (right), the two
colors mellow and blend.
Black plus magenta combine
to make reddish grays and bur-
gundies; with yellow, black makes
rich grays. I nd my tastes lean
towards muted combinations;
that is, a light tint of each color,
or lots of black plus a light tint of
process color; lots of process ink
is bright, bright, bright.
Black harmonizes with any
color and is mixed with process
colors in the Dene colors dialog.
One suggestion: Mix up a long
list in advance: for example,
M10+K10, M10+K20, M10+K30
and so on. (For a two-color job
that includes black, remember to
restrict yourself to one process
ink.) Back on the page, this deep
palette makes experimenting
quick and easy. The list also
serves as a library; once your job
is done, PageMaker can copy the
palette to other publications.
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Type: Y10, K30; Page: K70; Photo: Y10, K80
Combining black tints with a second ink
colorwhich can be tinted, tooyields
10,000 combinations, each of which is cre-
ated at the press of a button and can be
printed for the same price as solid colors.
Process inkscyan (C), magenta (M),
yellow (Y) and black (K)are the ones
that mix; theyre purposely formulated to
yield a rainbow of colors when combined.
Advantage: millions of colors for the cost
of four. Spot colors (the best-known name
is Pantone) are premixed like paint and
printed as is. Advantages: smoother ink
coverage (no dots) and complex colors
unobtainable with just two process inks.
Square: K100
Circle: C100
Square: C30, K70
Circle: C50, K30
Square: K100
Circle: M20, K50
Square: C10, K50
Circle: K70
For helping with the preparation of this article, Id
like to acknowledge the contribution of one of my
favorite colleagues, Susan Hull of Hull & Honey-
cutt in Sacramento, whose color eye and design
sense Ive admired for many years. The picture is
by photographer Kurt Fishback, who snapped this
little girl while she watched her cooperative father
ail about wildly in the snow outside the window.
Black & white photograph was scanned with an Agfa Focus II at
300 dpi, 64 gray levels. All colors were applied with PageMaker.
Square: Y10, K50
Circle: K100
12
Tinted type: Pantone 3292; Page: 5305; Photo: 3292
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Type: Pantone 5545; Page: White; Photo: 249
Two Pantone
colors, no black
While black is used most often to shade other colors,
or for printing type and halftones, there is no need to
use black at all! In fact, when your job calls for one
color, you must use something other than black to set
yourself apart. My favorites are the darker (but not
darkest) 500-series Pantone colorstheyre dark
enough for your type to be readable yet they still
make attractive halftones. When you already have one
of your colors and its too light for type, the second
color can be any medium to dark color that comple-
ments it (see next page). For example, if peach is your
rst color, dark greens or teals are good-looking sec-
ond colors; bluish violets also work.Susan Hull
Note: Process colors (shown) and your computer monitor can only
simulate Pantone
colors. Numbers below refer to check-standard

Pantone colors. Refer to a Pantone swatch book for the real thing.
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Type: White; Page: Pantone 486; Photo: 5545
Designing with two Pantone
colors is
cool: You select colors from PageMakers
Pantone Color dialog menu, the monitor
displays them and your printer prints
them. Since monitors are neither accu-
rate nor consistent, however, this really
works only if you make your choices from
Pantones swatch book (your printer will
have one) rather than from the screen.
Converting Pantone colors to process
is another kettle of sh. PageMaker tries,
but there is no standard and the results
are unpredictable. It is the worst possi-
ble state; there is no solution but trial and
error. I recommend avoiding it entirely.
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PAGE NOTES
This page and the two before it derive their neat appearance from an underlying three-
column grid, the lower three-fourths of which has been divided (using PageMakers
ruler guides) into squares. Text and graphics have been composed to t these
squares and rearranged freely. This handsome grid is easy to make look good; it has
many applications and is especially popular among the designers of annual reports.
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13
Yellow
O
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R
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V i o l e t
B
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Complementary colors are opposites and nearly
always harmonize. To nd its complement,
select any color, then move straight across.
Adjacent colors, because they are so similar,
live together easily and well. Select any color,
then slide around the wheel just a little way.
Shades are made by adding black to a color; to
make this wheel I added 30 percent. The
darker the colors become, the more readily
they will harmonize. Good examples of this
are deep Scotch plaidsif their colors were
bright theyd look like a riot; it is the black
which allows them to blend so handsomely.
Tints are made by adding white to a color; this
example has about 30 percent. As with
shades, colors harmonize more readily as they
get whiter; in very light tints, virtually any
color will look good with any other. Similarly,
by selecting a very light tint and a very dark
shade, your choices will always harmonize.
O
r
a
n
g
e
R
e
d
V i o l e t
B
l
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G
r
e
e
n
Yellow
O
r
a
n
g
e
R
e
d
V i o l e t
B
l
u
e
Yellow
G
r
e
e
n
Yellow
O
r
a
n
g
e
R
e
d
V i o l e t
B
l
u
e
G
r
e
e
n
Yellow
O
r
a
n
g
e
R
e
d
V i o l e t
B
l u
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G
r
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n
The secondary colors
Orange, green and violet
are made by mixing two
primaries.
What two colors
go together?
There are theories to explain
why almost any two colors
can be made to go together.
All the colors on page 14
are what are known, in a
broad sense, as secondary
colors. When making two-
color harmonies, if you
choose your rst color from
one of the secondary colors,
your other color can be one
of the two other secondary
colors. Or, as I usually prefer
to do, you can increase the
contrast and interest be-
tween the colors by choos-
ing a color that is closer to
what would be the comple-
mentary color. So, if you
start with peach, which is an
orange, then violet and
green are the other second-
ary colors and blue is the
complementary
color. Therefore, a
bluish violet or a
bluish green (teal)
would make an in-
teresting contrast
for a second color.
If you want to use a muddy
green like Pantone 5545 as
one of your colors,
a reddish violet or
a reddish orange
would be attrac-
tive. Try Pantone
249 or Pantone
486. Susan Hull
Yellow
O
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g
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The primary colors
Red, yellow and blue are
the colors from which all
others are made.
14
ome for countless immigrants since
the 1700s, seat of Jewish New York
near the turn of the century, the Lower
East Side bears a largely black and Hispanic
cast today A re escape serves double duty
as escape hatch from crowded tenement
rooms. Ticket to a bit of sky and air, combina-
East Side bears a largely black and Hispanic
cast todayA re escape serves double duty
ome for countless immigrants since th
1700s, seat of Jewish New York near
the turn of the century, the Lower H
Side bears a largely black and Hispanic cast
todayA re escape serves double duty
the 1700s, seat of Jewish New York ne
the turn of the century, the Lower Ea
Initial capitals: Artwork for everyone
Those oversize letters that adorn text have been popular since the days
of the scribes. Here, a designers dozen of good ideas. By Lawrence Miller
The classic 3-line drop cap, with variations
bears a largely black and H
A re escape serves doub
OME FOR COUNTLESS immigrants since
H
Note rst line
tight to cap
Aligned with
cap height
The most popular of all initial cap sizes, the bold, three-line drop
cap draws the eye to the text without much voice of its own; a
lighter typestyle could be bigger. Here, the cap H stands taller
than the cap height of the body text. This is an aesthetic matter.
You may choose to have it align with the cap height, but be
careful: It may look lower even if precisely aligned, requiring you
to increase its size by a few points. Font: Franklin Gothic Heavy.
H
Align cap with left margin
and baseline of text for
neatest appearance
First word or words in all caps. Very popular.
tage setting for Manhat-
tans biggest productions,
Fifth Avenue lls to the
walls for Pope John Paul
IIs visit to St. Patricks Ca-
thedral, right, on his trip to the U.S. in
1979. Divider of East Side from West,
coveted address of publishers, famous
stores, and landmarks such as Rock-
Plans included a revived Times
Square with a new 292-million-
dollar hotel, a great pedestrian
plaza, even a trolley line linking the Hudson with
the United Nations on the East River. There were
andsome box cap

is indispensable if
youre on a dead-
line. Why? Because re-
gardless of the type-
face or size, the box
can always be made to
t neatly, and its espe-
cially easy to wrap text
around its rectangular
sides. Note both dark
and light boxes work
equally well. Fonts: left,
Stencil; above, Helvet-
ica Ultra Compressed.
H
l
Zapf Dingbats or other symbol. When working
in black and white, making the dingbat in a
shade of gray will add depth and visual interest.
Ideas are available all around you!
Instead of an initial letter, make
space for a star or an arrow from
The initial dingbat (!) The box cap
or one festival, I had learned,
people used to come into the park
the night before, dig holes, roast
pigs. On the day of the festival it-
self, things became so frenetic that
by 3 p.m. police concentrated only
f
Isn't this fun! If you have space to the left of your body copy, consider an
oversize initial that hangs in the margin. Combine the elegance of an
italic initial with outrageous size, boldness, and position, and you create a
rich statement. First line is tabbed to fit. Font: Bauer Bodoni bold italic.
The hanging
initial
A cigar-smoking cabbie and two
Wall Streeters using reectors to ensure even
tans add fragments to a mosaic composed of the
private lives of one and a half million residents,
The oversize lead
Try making the rst word, or the rst two or three words, in a larger size of
the text style. (In PageMaker, be sure that Proportional spacingin the
Spacing dialogis checked so the baselines will remain aligned.) This
treatment accomplishes the goal of the drop cap: to draw the eye to the
text. Its more subtle, but whereas a drop cap may merely decorate the
page, this approach excels at getting the reader actually started reading.
In PageMaker, check Proportional
spacing to keep baselines aligned
TYPE: THE VISIBLE VOICE
TYPE: THE VISIBLE VOICE
ome for countless i
1700s, seat of Jewis
turn of the century H
S
15
ernstein was returning to the New
York Philharmonic Orchestra as
guest conductor. The concert
ended with a profoundly moving
rendering of the Mahler symphony.
The audience rose to its feet. A
woman in my row shouted: Atta way, Lenny,
sock it to em! Sock it to whom, I wondered.
c
ty as
e the
ar
near
East
al were clear. A block of old buildings, once part of a
tenderloin district, had been converted into small
off-Broadway theaters and a restaurant. A second
block was being similarly revitalized. The city, the
state, the federal government, banks, and nonprofit
ut the signs of renew
said matter-of-factly, nothing is what
Leonard
?
Another trick: Note the hanging
punctuationhere, opening quota-
tion marksat the beginning of the
paragraph. This is considered very
ne typography; see how the left
margin looks per fectly aligned? In
PageMaker, the best way to do this
is to make the rst line a separate,
and wider, text block.
me, but Ill never b
get another site lik
Im a young guy, D
Oversize punctuation
Donalds company was restoring the exterior of
Grand Central Terminal; stripping the old Com-
Elegant. Sometimes, less is more, as was said about 70 years ago by the
great 20th-century architect Mies van der Rohe. A subtle accent can have a
more profound effect than an obvious dramatic touch. Here, we used a
bold cap in a contrasting typeface. This is almost essential; because the
cap is so small, anything lighter would vanish. Being so black, it looked too
small, so we increased its size by 1.5 points. Font: Frutiger Ultra Black.
Here we are
playing a small
trick: The O
hangs to the
left of the mar-
gin and curves
below the text
baseline. Do this
with all round
letters so theyll
appear aligned.
Font: Futura
Extra Bold.
The wraparound cap
The line-height cap
ne day, talking with a Broadway
mogul, I mentioned that the
theater now seemed to lack an
ONeill, an Odets. Look, he
it was; not me, not you. They wrote in
a certain time about certain problems
and are remembered for their contri-
O
me, but Ill never be able to
get another site like this, the
best in all the world. Right
next to Tiffanys. Thelower
floors would be de-
voted to shops and
ofces; the upper
oors to apartments.
Base price: $500,000.
Im a young guy, Donald told
Who would live there
Now this is different! Instead of a large initial to start the text, consider
large punctuation to end it. A question mark is perfect, as is an exclama-
tion point, brackets or parentheses. But dont try this if youre in a hurry;
this paragraph took over an hour to get the line breaks and question mark
size and position just right. Best with larger text. Font: ITC Century Ultra.
d Hispanic cast today
uble duty as escape
nce
Mr. Miller, a former director of the New York Art
Directors Club, has won more than 100 national
design awards. He is principal of Plato Picasso
Midas Miller in Atlanta.
Quotations from National Geographic magazine, September
1981, Volume 160, Number 3. Text by John J. Putman, National
Geographic Senior Writer. Reprinted by permission. All fonts are
from Adobe. The text font for all examples is ITC Century Light.
Text follows the curve of the letter
lans included a revived
Times Square with a new
292-million-dollar hotel, a
great pedestrian plaza, even a
trolley line linking the Hudson with
the United Nations on the East
River. There were other signs: On the
small side streets old buildings and
B
The standing cap
Illusion! If the B was on
the baseline, it would look
like it was above it!
In PageMaker, the best way to curve text around a type char-
acter (as opposed to a graphic) is to create separate text
blocks. First, set the vertical ruler measure to match the line
leadinghere, 14.3 ptsin the Preferences dialog, then turn
on Snap to rulers. Line up rulers and text, then drag one-line
text blocks; theyll snap into place perfectly and allow for any
adjustment. Below, serifs overhang left margin. Font: Souvenir.
s immigrants since the
wish New York near the
ry, the Lower East Side
A standing cap, also called a stickup initial, need not be at the left edge;
here, the stickup B is centered on the rst line of type. Careful manual work
may be necessary to center the rst line when the rest of the text block is
not; it may help to set the cap as a separate text block. Font: Cooper
Black.
Below, in the music notation font Sonata I discovered a beautiful symbol (a
natural) that looks like a B. The result is one of a kind. Note the rst word of
the paragraph; sometimes, there is just no substitute for a bit of daring.
10
5
P
TM 16
B
JOHN McWADE
Linotronic by moonlight
PRODUCTION NOTES
Before & After is totally desktop-published with Aldus Page-
Maker 4.0 and Aldus FreeHand 2.02. Its pages and everything
on them can be built using your own standard equipment,
whether Macintosh or PC. The machinery I use must handle
the 40 megabytes of color les I generate for each issue. My
list: 1987 Apple Macintosh II with 8mb RAM; 13 Apple RGB
monitor with an Apple 8-24 GC video card (16 million colors,
accelerated), which is new and doesnt work right yet; 1987
Rodime 100mb hard disk (completely reliable, very slow);
45mb MicroNet hard disk with removable cartridges (external,
for backup). Laser printer: Agfa P3400PS. Scanner: Agfa Fo-
cus II (800 dpi). Color proong is from a QMS ColorScript 100.
Plate-ready lm is from a Linotronic 300 (RIP 4), 2540 dpi,
150-line screen. Before & After is printed by W. W. Hobbs.
Publisher and creative director: John McWade
Associate publisher and editor: Gaye McWade
Subscriber services: Robbin Jellison
ABOUT THE PUBLISHER
Before & After is written, designed and pro-
duced by John McWade. Mr. McWade has
been an award-winning publication designer
for 20 years. He founded PageLab, the worlds
rst desktop publishing studio, early in March
1985; its clients include Apple, Adobe and Aldus, for whom
he created two Portfolio template packages, Designs for
Newsletters and Designs for Business Communications. Mr.
McWade has written articles for industry periodicals including
Publish and Aldus; he has lectured on desktop publishing
across the United States, and his designs have appeared in
magazines and newspapers worldwide. This is off the sub-
ject, but note how this paragraph squares to the end; its a
typographic renement desktop publishing has made easier.
TM
How to design cool stuff
Editorial and subscription ofces
331 J Street, Suite 150, Sacramento, CA 958149671
Telephone 916-443-4890 Fax 916-443-7431
THE BEAUTIFUL ITALIC FONT IS MONOTYPES CLASSIC BEMBO
FROM ADOBE. THE BACKGROUND OF THE TRIANGLE COMES FROM
ADOBES COLLECTORS EDITION OF PATTERNS AND TEXTURES.
The typographical error is a slippery
thing and sly;
You can hunt till you are dizzy, but it
somehow will get by.
Till the forms are on the press, it is
strange how still it keeps.
It shrinks down in a corner, and it
never stirs or peeps
That typographical error, too small for
human eyes
Till the ink is on the paper, when it
grows to mountain size.
The boss, he stares with horror, then
he grabs his hair and groans;
The copyreader drops his head upon
his hands and moans.
The remainder of the issue may be
clean as clean can be,
But the typographical error is the only
thing you see.
Anonymous
Ode to the typographical error
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . .
to write, draw, assign colors and so on,
then send a disk of complete pages to a
service bureau for output. There, Aldus
PrePrint handles color separations and
printing, and click!out from the Lino-
tronic comes lm, nished and lovely.
Thats how it works. Its fantastic.
Are there complications?
Always.
The average desktop publishing job ties
up the Linotronic for ten minutes. The
lm for this issue of Before & After took
three service bureaus 40 hours to print.
40 hours.
The cover, a FreeHand le, was run
twice. At our customary 150-line screen,
the water dropletswhich blend in 256
stepsbanded; that is, they didnt grad-
ate smoothly but in visible steps. They
shouldnt have. We puzzled for hours
over options, then ran it again at 133
lines. It helped but its not awless. The
runs were eight hours each, made over
two nights. Thats just machine time.
The scanned map on page 4 (TIFF
format) lls ve megabytes. While print-
ing, it expanded inexplicably to 36 mega-
bytes and overwhelmed the disk. We ran
test after test after test; the problem
was not found. It was midnight.
The photograph on pages 10, 11 and
12 (another TIFF) is 1.6 megabytes big;
it appears 19 times. The six on page 10
printed in one hour. Problem? The light
contrast was perfect. It peaked too soon;
in lm, a photo should be slightly at. I
guessed an amount and reran the page.
The seven photos on page 12 are
colorized in four inks. Think of it: With
seven photos times four colors, the soft-
ware had to process that 1.6 mb le 28
times for that page alone; it printed in
two hours: a miracle.
Page 3 contains 19 EPS les; its four
seps printed in less than 30 minutes, but
the Linotronic couldnt nd a font wed
forgotten and didnt bother to tell us; it
picked a font for us and printed the page
anyway, which had to be rerun.
And so it went, page after page, like
a train wreck at rush hour. Printing at
night, it took ve days.
Daunting? Yes, and rewarding. The
fact that color pages can be processed by
a machine at all is reason enough to put
up with the strain; ve years ago this
stuff didnt even exist.
Speaking of which. Pages 14 and 15
contain 18 fonts; in 1986, Apples Laser-
Writer, working on 90,000 spots per
square inch, would chokegaspon
three fonts, and die. Today, the Lino-
tronic can calculate 18 fonts at 6.25 mil-
lion spots per square inch in four colors
and deliver the results in minutes.
Progress. Next year my 40 hours
will be 20, then 5, then 1, and soon, click!
one minute.
Perfect.
Itll happen.
other desktop publishing job: I
use PageMaker and FreeHand
efore & After is done like any
16 TM

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