Before&After ®

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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

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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 ®

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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.

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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.

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 hier archy; the reader’s eye moves through the layout from big to small (left).

Before&After ®

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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!

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Every image on the page is a slice of this chair.

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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

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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

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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.

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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.

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For contrast and energy, use an opposite color, or complement. Opposites are usually the most exciting combinations.

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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.

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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

Article revised on 07/15/10

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

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12a2b

3

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5

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Before&After

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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 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 mailbox@bamagazine.com www http://www.bamagazine.com

Copyright ©2005 Before & After magazine, ISSN 1049-0035. All rights reserved

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Be

fore

&A

fter | w

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.bamagazine.com

1 of 6

Ma

ny fro

m o

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06030603

Ma

ny fro

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Many from

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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

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r and

texture, allow

ing

them

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ork easily to

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This o

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Be

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2 of 6

Ma

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06030603

Ma

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m o

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Sto

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he key is to

pick go

od

parts. T

hin

k story. Wh

at’s fun

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text gives th

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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

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t. By m

aking a sm

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ig and

vice-versa, w

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lm. A

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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

O ParadiseLore m

agna augiam, vel ip eliqui tet am

con hendreet vulputatis nim

vulla auguer ad inisciduisit in hendigna faccum

.

Thre

e days in

The

bo

w o

f the

bo

at o

ccup

ies a

sma

ll pe

rcen

tag

e o

f the

orig

ina

l im

ag

e—

less th

an

a te

nth

—b

ut in

o

ur la

you

t, it’s ha

lf. Its ne

w size

h

as ch

an

ge

d it fro

m a

n in

tere

sting

o

bje

ct to th

e m

ain

story p

oin

t.

Big

, me

diu

m, sm

all N

ote the great differences in size among the three

images. These differences are useful for creating visual hier archy; 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 of th

e ph

oto

—

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!

STATIO

NA

RY

CH

AISE

SWIV

EL

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

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.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.

STATIO

NA

RY

SWIV

EL

CH

AISE

HO

ME

| SHO

P O

NLIN

E | C

ATA

LOG

| CO

NTA

CT

CLA

SSICS

STATIO

NA

RY

SWIV

EL

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.

STATIO

NA

RY

CH

AISE

SWIV

EL

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 sp

ok

e o

r two

aw

ay a

s sho

wn

b

elo

w. S

uch

ne

igh

bo

ring

colo

rs a

re a

na

log

ou

s, me

an

ing

the

y sh

are

colo

rs—in

this ca

se re

d

an

d ye

llow

—a

nd

so a

lwa

ys wo

rk

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

STATIO

NA

RY

CH

AISE

SWIV

EL

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

.

STATIO

NA

RY

CH

AISE

SWIV

EL

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.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

.

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

HO

ME

| SHO

P O

NLIN

E | C

ATA

LOG

| CO

NTA

CT

CLA

SSICS

STATIO

NA

RY

CH

AISE

SWIV

EL

HO

ME

| SHO

P O

NLIN

E | C

ATA

LOG

| CO

NTA

CT

CLA

SSICS

STATIO

NA

RY

CH

AISE

SWIV

EL

12a2b345 5

7b

6 4 1 9 81013 7a

12 11

1011

13 13

Article revised on 07/15/10

Type

face

s

1 Vectora LH B

old | 7 pt

2 (a–b

) Vectora LH Light | a) 77 pt,

b) 13/15 pt

3 Utopia 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

Re

late

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fter | w

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Ma

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ne

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Ma

ny fro

m o

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Be

fore

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Befo

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fter has b

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roach

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esign sin

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dern

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Joh

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Pu

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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

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rial bo

ard G

we

n A

mo

s, Ca

rl Win

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