Print Issue 02

7/27/2019 Print Issue 02

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BRIGHT, SIMPLE CHARTSThe best charts are the easy ones. Youll see.

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PAGE MAKEOVER: A VERSATILE, ASYMMETRICAL LAYOUT LEADS THE EYHOW TO SET A PERFECT PARAGRAPH OF TYPEFOLDING BROCHURE WITCLEVER, PEEKABOO PANELSA FALSE EMBOSS ADDS SUBTLE GLAMOUStory titles above are set in Franklin Gothic Extra Condensed. Note they are separated by color only, an effect thats also very nice in shades of gray. Did you notice the three lines fit perfectly, as does this cap

Vol. 1 No. 21

How to design cool stuff


2/16

2

Dear Mr. McWade:In Type: The Visible Voice, you mixed

serif fonts [Times and Century Oldstyle],which they say youre not supposed to do,but which I thought looked OK, like you said.Ive also heard that sans-serif text is hard toread, yet it looks all right to me and Id liketo use it. Whats your advice?

Peter EllisonFort Worth,TX

Do it. You said something great: It looksall right to you. You must trust your owneyes; youll never design anything inter-esting if you do only what they say.

Greeking

The babble on the right is greekingor dummycopy, a galley of very useful nonsense. Greekingsimulates English. A designer uses it to mockup, or lay out pages before the real words areready. Greeking appears to most people to beLatin. It is not. Letraset calls it body typeandsells it in the form of cut-out-and-press-on filmfor those who use caveman tools. I just type it.

Lorem ipsum dolor sit amet, consectetur adips-cing elit, diam nonnumy eiusmod tempor inciduntut labore et dolore magna aliquam erat volupat.

Ut enim ad minimim veniami quis nostrud exer-citation ullamcorper suscipit laboris nisl ut aliq-uip ex ea commodo consequat. Duis autem veleum irure dolor in reprehenderit in voluptatevelit esse molestaie son consequat, vel illum dol-ore eu fugiat nulla pariatur. At vero eos et accu-sam et justo odio dignissim qui blandit praesentlupatum delenit aigue duos dolor et molestaisex-ceptur sint occaecat cupidat non provident, similtempor sunt in culpa qui officia deserunt mollitanim id est laborum et dolor fugai. Et harumddereud facilis est er expedit distinct. Nam liber atempor cum soluta nobis eligend optio comque

nihil quod a impedit anim id quod maxim placeatfacer possim omnis es voluptas assumenda est,omnis dolor repellend. Temporem eutem quinsud

et aur office debit aut tum rerum necessit atibsaepe eveniet ut er repudiand sint et molestianon este recusand. Itaque earud rerum hic ten-tury sapiente delectus au aut prefer endis doloribasperiore repellat. Hanc ego cum tene sentniam,quid est cur verear ne ad eam non possing accom-modare nost ros quos tu paulo ante cum mem-orite it tum etia ergat. Nos amice et nebevol,olestias access potest fier ad augendas cum con-scient to factor tum toen legum odioque civiuda.Et tamen in busdad ne que pecun modut estneque nonor imper ned libiding gen epular relig-uard on cupiditat, quas nulla praid im umdnat.

Sans-serif text reads very well. InSweden, where sans-serif text is usedfor everything including schoolbooks, ittestsfasterthan serif text.

The American reader is accustomed

to serifs and to text set between 9 and11 points, which is what most books,magazines and newspapers use.

Proceed with this knowledge.Butalso know that beautiful type makes astatement of its own; it adds eleganceand an attitude to your words, qualitieswhich are more certain than a question-able edge in timed reading speed.

Dear Mr. McWade:While you use PageMaker and FreeHand

(I assume on a Mac), Im limited to Page-Maker on a PC and Micrografx Designer. Infuture issues, could you subtitle varioussteps for other illustration programs?

Richard LowellNorfolk,VA

Id love to . . . but. There are so manyexcellent programs in use that if Isubtitled steps for each of them the in-structions would be cumbersome andinefficient. Since Before & Afteris pri-marily about design and page layout,not software, I elected to use one set ofsoftware from a single vendorAldus.

Dear Mr. McWade:I have had no formal training in art or

advertising and need help with the basics.Patsy Moyer

Fresno, CA

If you want to design cool stuff, my bestadvice is look around and look closely.

I learned my design skills on thestreet. It is an excellent school. Thebest-read, best-looking, most efficientlyproduced publications come from edi-tors, designers and businesspeople inreal companies whose skills and successare graded in the marketplace ratherthan the classroom. This means that themagazines on your supermarket news-

ZAT?!

E ESerif Sans (without) seri f

stand are the winners, not the pretend-ers. Study them. I find inspiration fordesigns of all kinds in womens maga-zines such as Family Circle, LadiesHome Journal and Redbook. Each isfull of visual variety, each accomplishesa great deal in small spaces, and withtheir mastery of contrast and pacingtheyre models of how to draw and holda readers interest. Observe the details:an initial capital letter, a subhead, a by-line, a box, a bit of empty space. Insteadofreading, pay attention to whats hap-pening typographically. Examine how aphoto fits its space, its size, how itscropped, what its aligned with. Notethe size of that headline, its font, how itcontrasts with the text, the width of acolumn, and so on. Youll be pleased athow much you can pick up by osmosis.

Dear Mr. McWade:Sixteen pages make a skinny magazine.

Do you plan on more?Susan Donahue

Dallas,TX

Your perception was a risk I took inmaking Before & Afterlook like a maga-zine. In fact, it is a professional news-letter: It delivers a tightly focused prod-uct of commercial value to a professionalreader, it carries no advertising and it isavailable by subscription onlyits solesource of revenue. Even at 16 pages it is

THE MAILBOX


3/16

Xam

False emboss adds subtleglamour inexpensively

Embossing is the process of pressingan image in relief into a sheet ofpaper. The relief may be printed orleft blind, meaning unprinted.Em-bossing is an complicated operationordinarily reserved for those nose-in-the-air jobs on ice-slick paper.

This clever alternative is easy aspie to do with any software that willshade type or graphic objects(Free-

1. TYPEOpen PageMaker orFreeHand and type aword. Tint 30% black.

Xam2. CREATE SHADOW SIDECopy. Paste; tint 60%black. Copy again (forlater). Position just . . .

3. POSITION. . . slightlyleft and downfrom the original. Sendto back.

4. PASTE LIGHT SIDEPaste again. Move newword into positionslightly up and to the . . .

5. POSITION. . . right (the image isstill dark so you can seewhere youre putting it).

6. REVERSEReverse type (it willdisap-pear). Send to back (youmay have to grope for it).

7. DRAW BACKGROUND BOX AND . . .Fill to match middle tone (30%). Send to back andyoure done. Now experiment. Move the light source.Color the central word (a printedemboss). And trythis: Reposition and/or retint the same objectstomake the light appear to come from behind, as if theimage were on glass! Send me your results.

Questions? Contributions? Address letters toJohn McWade, Before & After, 1830 SierraGardens Drive, Suite 30, Roseville, CA 95661.

exceptionally difficult to do. Neverthe-less, the response has been sensational;as we are able to add pages, we will.

Dear Mr. McWade:I have only a laser printer and no color.

Are there special design rules for that?Dennis R. ODell

Buffalo, NY

Always work to the strengths of theequipment at hand. A laser printer setsa sharp, black image but marginalshades that look dirty if reproduced. Itdoesnt handle photographs well. Largetype is very strong, but small type isragged. Its best features are drawn ob-

jects, lines and reasonably large text.Two pointers: One, dont decorate.

For example, dont use a line unless it isto separate information that would beunclear otherwise. Two, keep it simple.A crisp, confident typewritten page (theold kind) could hardly be simpler yet itmakes an absolutely businesslike state-ment; it is a classic model.

Test yourself with this: Create adocument with one typeface; say, TimesRomanno italics, no bold, just Times.Observe the font. What is it like set verylarge, or with extra space between let-ters? Set a word in uppercase lettersbut smaller than normal. Add spacebetween those. Try writing two-wordheadlines. Youll enjoy learning.

Hand 2.02 or PageMaker with ColorExtension). Although a real embossis normally raised, with software youcan create the illusion of a depres-sion,as well. As you work, bear inmind that the eye perceives light ascoming from above, which is why thesample graphic appears to sit inade-pression. Turn it upside down, coverthe words and it will appear raised.

Do you realizethat in the past two weeks

a billion dollarsin advertisinghas passed your eyes and ears and

you havent even noticed?Yetyoure now reading the tiny text onthis white ball. Do you know why?

Hmm, since youre here,I have this bridge . . .

1999AnnualReport

XamplexIndustriesXamplexIndustriesXamplexIndustries

Xam XamXam

XamXamXam XamXamXam XamXam

XamXamXam

Xam


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44

C. J. Weigand wanted an asymmetrical look for his newslet-ter, a departure from the stock, three-column, desktop-published page. Hed use most of his page for text, and theempty column, set to the inside, would be reserved forpic-tures, captions, callouts, and miscellaneous information.

His idea was good; the results were disappointingyetthe makeover, he said, was the look hed had in mind.

But had he come close? Well, see for yourself:

PAGE 1 BEFORE

PAGE 1 AFTER

A cacophony of type styles, sizes,positions and other variationsbewilder the eye, which searchesfor a focal point and finds none.

Here, type has been toned down,the page organized into four visualareas: banner, headline, text andcontents; eye now flows smoothly.

Typefont faux pas

Unlike other graphics, a typefont speaks English, so itsshape, size and position on the page exert covert andinescapable influence on the mind of the reader.

The reader will respond to a word set in dense boldtype differently than to the same word set in a light face,or, say, a condensed face. Each variation makes a uniquestatement. Here, The Weigand Report nameplate shouldsend a unified message, yet it has been set in two fonts,four sizes, on four baselines in at least seven variations.So while the reader understands the English, theunspo-ken messages clash, contradict and weaken the page.

TheWEIGANDReport1

IssueNumber 4

sizestoragemedium), becomes

popular.Beforelong, futuristicstoragedevices still ontodaysdrawingboardscouldmaketo-daysharddisksresemblepre-

historicartifacts.Over the next few years

youll alsoseeartificial intelli-gence(AI) toolsfinallymaketheir wayinto popular page-

makeupprograms. Groupwareapplications, especially, willbenefit asAI toolshelpto stan-dardizefinal document output,

regardlessof howcomplextheproductioncycleor howmany

individualsareinvolvedinthe

editingprocess.Bytheendofthedecade,almost everypub-

lishingprogram of notewill in-corporatesome degreeof AIassistance.

Thisisbut atinypreviewofwhatsyet tocome. Asnewstandards emerge, many oldoneswill continuetoholdsway,

especiallywhereusershaveasubstantial investment in the

current technology.As awork-ingdesktoppublisher, youll befacedwithan ever-increasing

arrayof difficult andoftencon-flicting choices from vendorswhomay not fullyappreciateyour production needs.Fortu-

nately,though,the buyingdeci-sionsyoumakewill determine

whichstandardssurvive,andwhich get discarded. Choosewisely,andwell all benefit.CJW

minetheove rall outcomeof the

standardsbattle becauseof theenormousbuying power of le-gionsof loyal PCusersundertheir dominion.

Aswe roll intothe 1990s,various competing platforms

arebeginningtolookalike.Forexample, entrenched IBM ad-vocatessoon will beupgrading

toWindows3.0,arevisionthatbringstoPCsmanyof themostenviedgraphical-interfaceni-ceties of the Macintosh (the

much heralded OS-2, on theother hand,failing togain wide

acceptance,soon maydie an

unsung death). Gaining mo-mentum quietly in the back-

groundis DisplayPostScript,adark horse that, because ofNeXT,still hasashot at thetitle.

If this apparent convergencetowarda commongraphical in-terfacecontinues, your buyingchoicessoonmaybe basedon

the availability and perform-ance of task-specificsoftware

instead of the hardware onwhichit must run.

Thenewdecade alsowill see

continuedunheaval inthe fast-changing peripherals market.CD-ROM vendorsare silentlyprayingCD-ROM salespickup

beforepricesof read-writeopti-cal disksdeclinetomoreinvit-

inglevels.Both kindsof drives,however,maybecomeobsoletequicklyif analternate technol-

ogy,likethelaser card(ahigh-density, compact credit-card-

The new decade promisesexciting advances in desktop

computing,with thepossibilityof several breakthrough

productssettingnew standards.Companies that successfullydevelop and implement new

standardsstandto reaphugefinancial rewards,so theracefor technological leadershipisintense. Competition among

thegiantsrages fiercelyat times(sometimesat the expenseoftheconsumer),and thegame

oftenisp layedunder no-holds-barredrules.

In the font arena, for ex-

ample,Applerecentlyseveredtieswithlong-timeallyAdobe

andannouncedRoyal,a newoutline-font schemethey hopewill replaceAdobesPostScriptstandard.Apple, in fact,may

produceaworthwhile andcom-petitiveproduct,but theyrun

therisk of alienatinga largesegment of their installedcus-tomer base, thosewhom they

encouragedearlier toinvest ex-tensively in expensive Post-Script technology.

Adobe,for their part,is bat-

tling back with innovativeproducts like ATM (AdobeTypeManager),andapromise

tounveil their proprietaryfont-hintingroutinesto third-party

vendors.Microsoft hasjoinedwithApple,but BigBluehasyet to make a final com-mittment.IBMschoiceof a

font technology could deter-

January1990

Pair KerningWhats

ItAll About?..............15

News and Views...........2

Using Adobe

Streamline...................7

Hints,Tips,&

Techniques..................8

Cropping Illustrations

For Impact.................10

IN THIS ISSUE:

Preparing TextFiles

For Service Bureaus.....5

Refilling Empty Toner

Cartridges....................3

Outlook for the 1990sThe Race for New Standards!

Edition number anddate are set onoppo-

site margins, newspa-per-style. Result:atten-tion is drawn to almostinsignificant data.

Headline is setinital-ics, which are normallyused to show motion oremphasis.Unnecessaryheck, its alreadyaheadline! Similarly, biginitial Ois unnecessary.

Who is this man? Thearticle is aboutthefre-netic pace of computerdevelopment in the90s, but the designer

probably saw the wordRaceand used clip artto picture it. It was amistake. A usefulillus-tration would havesup-ported the article withadditional information;for example, a timelinewhich showedtheover-whelming paceofinno-vation in the 80s.

Clean, asymmetrical layoutleads the eye

A picture used as aspace filler may get bythe boss, but its valueto the reader is zero.

Columns of justifiedtext define their ownspace; column rulesare unnecessary.

BEFORE & AFTER PAGE MAKEOVER

TheWEIGAND Report 1

Issue Number 4

sizestoragemedium),becomespopular.Beforelong,futuristic

storagedevicesstill ontodaysdrawingboardscouldmake to-dayshard disksresemblepre-historicartifacts.

Over the next few yearsyoull alsosee artificial intelli-gence (AI) toolsfinally maketheir way into popular page-

makeupprograms.Groupwareapplications, especially, willbenefit asAI toolshelpto stan-dardizefinal document output,

regardlessof howcomplextheproductioncycleor howmanyindividualsareinvolved intheeditingprocess.By theendof

thedecade, almost everypub-lishingprogram of notewill in-corporatesome degree of AIassistance.

Thisisbut atinypreviewofwhats yet to come. As newstandards emerge, many oldoneswill continuetoholdsway,especiallywhereusershave a

substantial investment in thecurrent technology.Asa work-ingdesktoppublisher,youll befaced with an ever-increasing

arrayof difficult andoftencon-flictingchoices from vendorswho may not fullyappreciateyour productionneeds. Fortu-

nately,though,thebuyingdeci-sionsyou makewill determinewhichstandardssurvive, andwhich get discarded. Choose

wisely,andwell all benefit. CJW

minetheoverall outcomeof thestandardsbattlebecauseof the

enormousbuyingpower of le-gionsof loyal PC usersundertheir dominion.

Aswe roll intothe 1990s,

various competing platformsarebeginningtolook alike.Forexample,entrenchedIBM ad-vocatessoonwill beupgrading

toWindows3.0, arevisionthatbringstoPCs manyof themostenvied graphical-interface ni-ceties of the Macintosh (the

much heralded OS-2, on theother hand,failingtogain wideacceptance,soon maydie anunsung death). Gaining mo-

mentum quietly in the back-groundisDisplay PostScript,adark horse that, because ofNeXT,still hasashot at the title.

If this apparent convergencetowardacommongraphical in-terfacecontinues,your buyingchoicessoonmaybebasedonthe availability and perform-

anceof task-specificsoftwareinstead of the hardware onwhichit must run.

Thenewdecadealsowill see

continuedunheaval inthefast-changing peripherals market.CD-ROM vendorsare silentlyprayingCD-ROM salespickup

beforepricesof read-writeopti-cal disksdeclineto moreinvit-inglevels.Bothkindsof drives,however,maybecomeobsolete

quicklyif analternatetechnol-ogy,likethe laser card(a high-density, compact credit-card-

The new decade promisesexciting advances in desktop

computing,withthepossibilityof several breakthroughproductssettingnewstandards.Companies that successfully

develop and implement newstandards stand to reaphugefinancial rewards,so the racefor technological leadershipisintense. Competition among

thegiantsragesfiercelyat times(sometimes at theexpenseoftheconsumer),and thegameoftenisplayedunder no-holds-

barredrules.In the font arena, for ex-

ample,Apple recentlyseveredtieswith long-timeallyAdobe

andannounced Royal, a newoutline-font schemethey hopewill replaceAdobesPostScriptstandard. Apple, infact, may

produceaworthwhileandcom-petitiveproduct, but they runtherisk of alienatinga largesegment of their installedcus-tomer base, those whom they

encouragedearlier toinvest ex-tensively in expensive Post-Script technology.

Adobe,for their part,is bat-

tling back with innovativeproducts like ATM (AdobeTypeManager),and apromisetounveil their proprietaryfont-

hintingroutines to third-partyvendors.Microsoft hasjoinedwithApple, but BigBluehasyet to make a final com-

mittment. IBMs choice of afont technology could deter-

January 1990

Pair KerningWhats

It All About?..............15

News and Views........... 2

Using Adobe

Streamline.. ................. 7

Hints, Tips, &

Techniques..................8

Cropping Illustrations

For Impact................. 10

IN THIS ISSUE:

Preparing Text Files

For Service Bureaus .....5

Refilling Empty Toner

Cartridges.................... 3

Outlook for the 1990sThe Race for New Standards!

T

TheWeigandReportTHEWORKINGNEWSLETTERFOR

DESKTOPPUBLISHERS

IBMadvocates soon will be upgrading to Windows3.0, a revision that brings to PCs many of the mostenvied graphical-interface niceties of the Macin-tosh (the much heralded OS-2, on the other hand,failing to gain wide acceptance, may die an unsungdeath). Gaining momentum in the background isDisplay PostScript, a dark horse that, because ofNeXT, still has a shot at the title. If this conver-gencetowardacommongraphicalinterfacecontin-ues, your buying choices soon may be based on theavailability and performance of task-specific soft-ware instead of the hardware on which it must run.

The new decade also will see upheaval in thefast-changing peripherals market. CD-ROM ven-dors are praying CD-ROM sales pick up beforeprices of read-write optical disks decline to moreinviting levels. Both kinds of drives, however, maybecome obsolete quickly if an alternate technol-ogy, like the laser card (a high-density, compact

credit-card-size storage medium), becomes popu-lar. Before long, futuristic storage devices still ontodays drawing boards could make todays harddisks resemble prehistoric artifacts.

Over the next few years youll also see artificialintelligence (AI) tools finally make their way intopage-makeup programs. Groupware applications,especially, will benefit as AI tools help to standard-ize final document output, regardless of how com-plex the production cycle or how many individualsare involved in the editing process. By the end ofthe decade, almost every publishing program ofnote will incorporate some degree of AI assistance.

As new standards emerge, many old ones willcontinue to hold sway, especially where users havea substantial investment in the current technology.As a desktop publisher, youll be faced with anincreasing array of difficult and often conflictingchoices from vendors who may not fully appreciateyour needs. Fortunately, the buying decisions youmake will determine which standards survive, andwhich get discarded.CJW

standards.Companiesthatsuccessfullydevelopandimplement new standards stand to reap huge finan-cial rewards, so the race for leadership is intense.Competitionamongthegiantsragesfiercely(some-times at the expense of the consumer), and thegame often is played under no-holds-barred rules.

In the font arena, Apple recently severed tieswith long-time ally Adobe and announced Royal, anew outline-font scheme they hope will replaceAdobes PostScript standard. Apple may produce aworthwhile and competitive product, but they riskalienating a large part of their installed customerbase, those whom they encouraged earlier to investextensively in expensive PostScript technology.

Adobe, for their part, is battling with innovativeproducts like Adobe Type Manager and a promiseto unveil their font-hinting routines to third-partyvendors. Microsoft has joined Apple, but Big Bluehas yet to make a committment.IBMs choice of afont technology could determine the outcome ofthe standards battle because of the huge buyingpower of loyal PC users under their dominion.

As we roll into the 1990s, various competingplatforms are beginning to look alike. For example,

News and Views...............................................................................2Refilling Empty Toner Cartridges..................................................3Preparing Text Files for Service Bureaus........................................5Using Adobe Streamline ..................................................................7Hints, Tips & Techniques...............................................................8Cropping Illustrations for Impact..................................................10Pair Kerning: Whats it All About? ...............................................15

Outlook for the 1990s:The Race for New Standards

ISSUE NUMBER 4 / JANUARY 1990

The Weigand Report

HE NEWDECADE promises exciting advancesin desktop computing, with the possibilityofseveralbreakthroughproductssettingnew

T

THE WORKING NEWSLETTER FORDESKTOP PUBLISHERS

IBM advocates soon will be upgrading to Windows3.0, a revision that brings to PCs many of the mostenvied graphical-interface niceties of the Macin-tosh (the much heralded OS-2, on the other hand,failing to gain wide acceptance, may die an unsungdeath). Gaining momentum in the background isDisplay PostScript, a dark horse that, because of

NeXT, still has a shot at the title. If this conver-gence toward a common graphical interface contin-ues, your buying choices soon may be based on theavailability and performance of task-specific soft-ware instead of the hardware on which it must run.

The new decade also will see upheaval in thefast-changing peripherals market. CD-ROM ven-dors are praying CD-ROM sales pick up beforeprices of read-write optical disks decline to moreinviting levels. Both kinds of drives, however, maybecome obsolete quickly if an alternate technol-ogy, like the laser card (a high-density, compactcredit-card-size storage medium), becomes popu-lar. Before long, futuristic storage devices still ontodays drawing boards could make todays harddisks resemble prehistoric artifacts.



standards. Companies that successfully develop andimplement new standards stand to reap huge finan-

cial rewards, so the race for leadership is intense.Competition among the giants rages fiercely (some-times at the expense of the consumer), and thegame often is played under no-holds-barred rules.


Adobe, for their part, is battling with innovativeproducts like Adobe Type Manager and a promiseto unveil their font-hinting routines to third-partyvendors. Microsoft has joined Apple, but Big Bluehas yet to make a committment. IBMs choice of afont technology could determine the outcome ofthe standards battle because of the huge buyingpower of loyal PC users under their dominion.


News and Views ................................................................................2Refilling Empty Toner Cartridges................................................... 3Preparing Text Files for Service Bureaus......................................... 5Using Adobe Streamline................................................................... 7Hints, Tips & Techniques............................................... .................8Cropping Illustrations for Impact ..................................................10Pair Kerning: Whats it All About? ................................................15



The WeigandReport

HE NEW DECADE promises exciting advancesin desktop computing, with the possibilityof several breakthrough products setting new


5/16

PAGE 2 AFTER

PAGE 2 BEFORE

The Working Newsletter for Desktop Publishers

2 TheWEIGAND Report

January 1990Issue Number 4

News & ViewsIn News& Viewswe analyzewhatshappening within theindustryto bring you pertinent, up-to-datenewsand

incisivecommentary. Weidentifytrendsthat mayimpact yourbusiness, and recommend specificcoursesof action

foryou to staycompetitive. Wealso test and evaluatesoftwareand hardwareand deliverconciseproduct reviews

to help you makeeffectivebuying decisions. Wecall thingsaswe seethem, and wealwaystryto seethem from

yourpoint of view, that of theworking desktop publisher.

Continued on page4

Computer VirusesThreat for a New DecadeNothing ismore devastating

than to get hit with amaliciousviral attack. Virusesare insidiouslittlerascalsthat enjoy awell-deserved reputation for beingableto bring production work to asudden and total halt. If you dontset up someform of impenetrabledefensewell in advance, you canexpect someday to get ransacked.No oneis immune.

The computer viral threatloomslargeon the horizon for the1990s. Aswe enter thenewde-cade, perpetrators are activelywaging newassaultson innocentand unsuspecting computer us-ers. And thenumber of virusesincirculation isesca lating. Whileno oneyet fully understandswhatgoeson in themindsof individu-alswho set out to do thiskind ofcriminal mischief, onething is

certainthere areenough jerksout therethat itsgoing to getworsebeforeit getsbetter.

Viruses arebits of computercode that covertly attach them-selves to programs. Unpredict-

ableresultsfrequently occur onceavirusis unleased. Applicationsmay function unreliably or sim-ply freeze altogether; routinetasksmay takelonger to execute;computers may crash unexpect-edly and often; startup disksmayfail to boot properly; files mayexplode in size, and eventuallybecomecompletely inaccessible;documents may not print prop-erlyin short, your entiresystemmay behave erratically or be-cometotally unusable.

Methodsof viral transmissionvary, but sharing or downloadingpublic domain or pirated soft-wareis still thesurest way to getinfected. If you download acon-taminated file from a BBS oracrossa network, you can just aseasily infect your hard disk. Avirusalso can remain hidden in a

stuffed file(StuffIt is a popularfilecompression utility). Thevi-rusremainscompletely undetect-able(and impotent) until thefileis unstuffed. After thevirus isreleased, however, it becomesin-fectious.

Someviruses liedormant for aextended period (determined inadvance by the programmer)only to activatedays, weeks, oreven monthsaf ter initial expo-sure. Keep in mind that thegoalof every virusis go completelyunnoticed whilereplicating untilthe maximum amount of spreadhasoccurred.

Makeno mistakeabo ut it. Itsall-out war, and yourethe target.Even well-intentioned viruses,likethe famousWorld Peacemessageof acouple yearsago,can do extensivedamage. Afterall, its tough enough to writelegitimatecode without also try-ing to makevirus esbug free.

So what can you do?In brief,dont trust any external contactwith your computer system. Testeverything beforeu sing it. Andthat includes commercial soft-

ware, which may arrive in itsshrink-wrapped box already in-fected (its happened on morethan oneoccasion). Usea goodviral-prevention softwareto un-mask invadersand prevent infec-tion.

After you initially verify thatyour system isclean, install aviral-prevention software andkeep it activeat all times. Makemultiple backups of new pro-grams, and continually backupall your work files. Alwayskeepthe write-protect tabs on masterdisks locked. And, most impor-tantly, onceyou establish an ef-fectivesystem of safeguards, ab-solutely never bypassit. Theonetimeyou ignore your defensescould betheonetimeyou end upgetting clobbered.

Combating VirusesDestructive computer virusescontinueto appear at an alarmingrate. Thelatest scourgeisa totallynewkind of virusthat attackstheinvisible Desktop file on yourSystem disk and installsaWDEFresource. Infection may be ac-companied by aseriesof frequentand unpredictable systemcrashes. Unfortunately, most ex-isting programs that claim toautomatically detect new viralstrainswereunableto recognizethisnew WDEF viruswhen itfirst appeared (thesingle excep-tion wasAnti-VirusKit from 1stAid Software). Consequently,the WDEF virus spread quicklythroughout theMacintosh com-munity. This reinforces argu-mentsfor subscribing to acom-mercial service that providesrapid and effectiveantiviral soft-wareupdates.

Once such company, amongthebest in our opinion, isHJCSoftware. Within a fewdaysofdiscovery of the WDEF virus,HJCannounced shipment of ver-

by C. J. Weigand

Weve had a few reportsof stateside newslettersbeing damaged duringshipment. We finallytraced the problem to themachines the Post Officesometimes uses to applycancellation postmarks.As a precaution, we nowmake sure all copies ofTheWEIGAND Reportgethand-canceled before theyleave the pickup point.That way they dont gothrough the machines.Your copies should arrivein good condition. If at anytime you receive a dam-aged issue, please let usknow immediately so wecan take prompt action toreplace it. We apologizefor any inconvenience.

Proper use of antiviral

software can completely

eliminate the risk of

casual infection

New two-column page

has seven columns

Above: The bulk of itscontents in threecol-

umns, the page isheavily unbalanced to

the left and down,which draws subliminal

attention to the pageitself and disrupts the

editorial message.

Four columns ofmate-rial is too much for threecolumns; the text mustbe unnecessarily smalland the columns verynarrow. And there is noroom to maneuver! InWeigands newsletter,page 2 holds notablematerialthe editor-ialyet its title, News& Views, mustbeshoe-horned into a space sotight it appearsinsig-

nificant. The makeoveruses the extra space tolet the title and head-line flourish.

A surprising, seven-column gridun-derlies the makeover. The right sixcolumns hold the text in two; the left

column is used for everything else.Anything placed in the empty columnshould flirt with its adjacent text;the interaction which results givesthe page its balance and visualinter-est. Try it but be patient; refer to themodel (next page) to stay simple.

Right: Although theheadline would fit onone line, it looks betterin two; concentrated,the eye remainsfo-cused above the articleit is about to read.

I handled the editorsname and page titlelike a book cover:iden-tical type, same size,equal billing. Reversingthe sequence wouldshift the emphasisever so subtly.

New page foliomatches text, impartsits modest informationquietly. Unimportantdata like this shouldnot stand out.

2 The Weigand Report / January 1990

NEWS &VIEWSC.J.WEIGAND

ware is the surest way to get infected. If you down-load a contaminated file from a BBS or across anetwork, you can easily infect your hard disk. Avirus also can remain hidden in a compressed file(Stuffitis a popular file compression utility) unde-tectable (and impotent) until the file is unstuffed.After the virus is released, it becomes infectious.

Some viruses lie dormant for a long time (deter-mined in advance by the programmer), only toactivate days, weeks, or even months after initialexposure. Keep in mind that the goal of e very virusis go unnoticed while replicating until the maxi-mum amount of spread has occurred.

Make no mistake about it. Its all-out war, andyoure the target. Even well-intentioned v iruses,like the famous World Peace message of a coupleyears ago, can do extensive damage. After all, itstough enough to write legitimate code without alsotrying to make viruses bug free.

What can you do? Dont trust any external con-tact with your computer system. Test everythingbefore using it. And that includes commercial soft-ware, which may arrive in its shrink-wrapped boxalready infected (its happened on more than oneoccasion). Use a good viral-prevention software tounmask invaders and prevent infection.

After you initially verify that your system is

clean, install a viral-prevention software and keepit active at all times. Make multiple backups of newprograms, and continually backup all your workfiles. Always keep the write-protect tabs on masterdisks locked. And, most importantly, once you es-tablish an effective system of safeguards, absolutelynever bypass it. The one time you ignore yourdefenses could be the one time you get clobbered.

Combating Viruses

Destructive computer viruses continue to ap-pear at an alarming rate. The latest scourge is atotally new kind of virus that attacks the invisible

for bringing production work to a sudden and totalhalt. If you dont set up an impenetrable defensewell in advance, you can expect someday to getransacked. No one is immune.

The computer viral threat looms large on thehorizon for the 1990s. As we enter the new decade,perpetrators are actively waging new assaults oninnocent and unsuspecting computer users. Andthe number of viruses in circulation is escalating.While no one yet fully understands what goes on inthe minds of individuals who set out to do this kindof criminal mischief, one thing is certainthereare enough jerks out there that its going to getworse before it gets better.

Viruses are computer codes that covertly attach

to programs. Unpredictable results occur once avirus is unleashed. Applications may function un-

reliably or simply freeze; routinetasks may take longer to execute;computers may crash often;startup disks may fail to boot ;files may explode in size and be-come inaccessible; documentsmay not print properly; in short,your entire system may becomeerratic or unusable.

Methods of viral transmissionvary, but sharing or download-ing public domain or pirated soft-

Computer Viruses:

Threat for a New DecadeNews & Views ana lyzes whats happening in the industry to bring youpertinent, up-to-date news and commentary. We identify trends that m ayimpact your business and recommend actions for you to stay competitive. Wealso test and review software and hardware products to help you makeeffective buying decisions. We call things as we see them, and we try to seethem from your point of view, that of the working desktop publisher.

continued on page 4

OTHING IS MORE DEVASTATING

than to be hit with a malicious viralattack. Viruses are insidious little ras-cals with a well-deserved reputationN

2 The Weigand Report / January 1990

NEWS &VIEWSC.J.WEIGAND

ware is the surest way to get infected. If you down-load a contaminated file from a BBS or across anetwork, you can easily infect your hard disk. Avirus also can remain hidden in a compressed file(Stuffitis a popular file compression utility) unde-tectable (and impotent) until the file is unstuffed.After the virus is released, it becomes infectious.

Some viruses lie dormant for a long time (deter-mined in advance by the programmer), only toactivate days, weeks, or even months after initialexposure. Keep in mind that the goal of every virusis go unnoticed while replicating until the maxi-mum amount of spread has occurred.

Make no mistake about it. Its all-out war, andyoure the target. Even well-intentioned viruses,like the famous World Peace message of a coupleyears ago, can do extensive damage. After all, itstough enough to write legitimate code without alsotrying to make viruses bug free.

What can you do? Dont trust any external con-tact with your computer system. Test everythingbefore using it. And that includes commercial soft-ware, which may arrive in its shrink-wrapped boxalready infected (its happened on more than oneoccasion). Use a good viral-prevention software tounmask invaders and prevent infection.

After you initially verify that your system isclean, install a viral-prevention software and keepit active at all times. Make multiple backups of newprograms, and continually backup all your workfiles. Always keep the write-protect tabs on masterdisks locked. And, most importantly, once you es-tablish an effective system of safeguards, absolutelynever bypass it. The one time you ignore yourdefenses could be the one time you get clobbered.

Combating Viruses

Destructive computer viruses continue to ap-pear at an alarming rate. The latest scourge is atotally new kind of virus that attacks the invisible

for bringing production work to a sudden and totalhalt. If you dont set up an impenetrable defensewell in advance, you can expect someday to getransacked. No one is immune.

The computer v iral threat looms large on thehorizon for the 1990s. As we enter the new decade,perpetrators are actively waging new assaults oninnocent and unsuspecting computer users. Andthe number of viruses in circulation is escalating.While no one yet fully understands what goes on inthe minds of individuals who set out to do this kindof criminal mischief, one thing is certainthereare enough jerks out there that its going to getworse before it gets better.

Viruses are computer codes that covertly attachto programs. Unpredictable results occur once avirus is unleashed. Applications may function un -

reliably or simply freeze; routinetasks may take longer to execute;computers may crash often;startup disks may fail to boot ;files may explode in size and be-come inaccessible; documentsmay not print properly; in short,your entire system may becomeerratic or unusable.

Methods of viral transmissionvary, but sharing or download-ingpublicdomainor piratedsoft-

Computer Viruses:Threat for a New Decade

News & Views analyzes whats happening in the industry to bring youpertinent, up-to-date news and commentary. We identify trends that mayimpact your business and recommend actions for you to stay competitive. Wealso test and review software and hardware products to help you makeeffective buying decisions. We call things as we see them, and we try to seethem from your point of view, that of the working desktop publisher.

continued on page 4

OTHING IS MORE DEVASTATING

than to be hit with a malicious viralattack. Viruses are insidious little ras-cals with a well-deserved reputationN

T


IBM advocates soon will be upgrading to Windows3.0, a revision that brings to PCs many of the mostenvied graphical-interface niceties of the Macin-tosh (the much heralded OS-2, on the other hand,failing to gain wide acceptance, may die an unsungdeath). Gaining momentum in the background isDisplay PostScript, a dark horse that, because ofNeXT, still has a shot at the title. If this conver-

gence toward a common graphical interface contin-ues, your buying choices soon may be based on theavailability and performance of task-specific soft-ware instead of the hardware on which it must run.




standards. Companies that successfully develop andimplement new standards stand to reap huge finan-cial rewards, so the race for leadership is intense.

Competition among the giants rages fiercely (some-times at the expense of the consumer), and thegame often is played under no-holds-barred rules.




News and Views..... ........................... .......................... ...................... 2Refilling Empty Toner Cartridges........ .......................... ................. 3Preparing Text Files for Service Bureaus.........................................5Using Adobe Streamline...... ........................... .......................... ........7Hints, Tips & Techniques............ .......................... .......................... 8Cropping Illustrations for Impact................. ........................... ......10Pair Kerning: Whats it All About?....... .......................... ...............15


TheWeigand Report

HENEWDECADEpromises exciting advancesin desktop computing, with the possibilityof several breakthrough products setting new



6/16

6

THE NEW DECADE promises exciting advances indesktop computing, with the possibility of severalbreakthrough products setting new standards. Com-panies that successfully develop and implement new

Windowshadesnaps to ruler

6

MAKE THE MAKEOVER

PageMaker setup:New publication,Letter size, Tall orien-tation. Any numberofpages. Select Double-sided, Facing pages.

Margins: Inside, 4p6;Top, 5 picas; Outside,4 picas; Bottom, 5picas. Note: Marginsmay be any width;specifications are forthis model only.Click OK.

Turn to master pages.Select Column guides;enter 7 columns, 1pica between, leftpage only.

Zoom to 200% sizeand drag vertical rulerguides into positions

exactly on top of thecolumn guides.

Reselect Columnguides; enter 3 col-umns, 1 pica between.Reposition the newcolumn guides (theymove in pairs) exactlyon top of the rulerguides in the columnsshown. Discard theruler guides for thosecolumns, which are nolonger needed.

Repeat for right page,which is identical.

Save.

The seven-column format isenergetic, extremely flexibleand a lot of fun to work withit forms a foundationsuit-able for literally thousands of

layouts in nearly any type-font. This makeover uses two:Helvetica Inserat (a boldsans-serif very similartoHel-vetica Black condensed), and

Janson Roman, a wonderfullyreadable text font similar toold-style Garamond.

Text: Janson Roman 10/12Subheads: Helvetica Inserat 9/12Headlines: Helvetica Inserat 30/30Large cap: Janson Roman 78/78

For breezy, easy positioning of textblocks, select Top of capsin the

Spacingdialog, which keepstextin-side its windowshade. Note it is thewindowshade, not the text itself,which snaps to ruler.

Text, set on 12-ptleading, aligns with

1-pica ruler incre-ments, or multiples ordivisibles of 1 pica.

Although your newsletters name is notThe Weigand Report, the stencil effecton Weigands nameplate is a cinch to dowith PageMaker and can be applied toan endless variety of fonts. Heres how:

Text blocks each

cross threecol-umns, an excellentreading width.

Head andunder-

line extend to leftmargin,easilybal-ancing the page.

Element at lower

left extends to leftmargin.Couldex-tend further right.

Section head or

graphic aligns withcolumn five at top,maintains balance.

Secondaryhead-

ing crosses fourcolumns; textextends to top.

Large picture or

sidebar crossesall columns;cap-tion is above it.

Small picture or

callout flirts withtext, maintainsbal-ance and interest.

Oops. Avoidinter-

rupting full columnin middle of page;makes reader jump!

Try these arrangements of text and graphics . . .

Stencil a nameplate . . .1. SET A WORD

In any font; bold isusually best. Shown:Helvetica Inserat.

2. KERN TIGHTLY

Most large typelooks moreauthori-tative tightly set.

3. RULE LINES

Experiment withplace-ment (dark lines areeasier to position).Print often to proof.

4. COLOR LINES

To match background;here its just white.

T


IBM advocates soon will be upgrading to Windows3.0, a revision that brings to PCs many of the mostenvied graphical-interface niceties of the Macin-tosh (the much heralded OS-2, on the other hand,failing to gain wide acceptance, may die an unsungdeath). Gaining momentum in the background isDisplay PostScript, a dark horse that, because ofNeXT, still has a shot at the title. If this conver-gence toward a common graphical interface contin-ues, your buying choices soon may be based on theavailability and performance of task-specific soft-ware instead of the hardware on which it must run.




standards. Companies that successfully develop andimplement new standards stand to reap huge finan-cial rewards, so the race for leadership is intense.Competition among the giants rages fiercely (some-times at the expense of the consumer), and thegame often is played under no-holds-barred rules.




News and Views ................................................................................2Refilling Empty Toner Cartridges...................................................3Preparing Text Files for Service Bureaus.........................................5Using Adobe Streamline...................................................................7Hints, Tips & Techniques................................................................8Cropping Illustrations for Impact ..................................................10Pair Kerning: Whats it All About?................................................15


The Weigand Report

HE NEW DECADE promises exciting advancesin desktop computing, with the possibilityof several breakthrough products setting new


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7/16

1985 $82

1986 $126

1987 $159

1988 $180

Data of any kind is easier to understandonce we see it. The chart below picturesthe growth of junk bonds for the years19851988. The six variations areprac-tically identical: same bars, same data,same sizeeven the proportions are thesame. Each was created using only the

line and box tools in PageMaker, and yetthe results are decidedly different.

In narrative form, the data lookslike this: Bonds outstanding, in billions:1985, $82; 1986, $126; 1987, $159; 1988,$180. The numbers are easy enough tounderstand; youd chart this data for

only one reason: to aid comprehensionof the trend. Once the designer under-stands this, he can create a simple chartthats easier to read than the text. Butthe sheer number of graphic tools infront of you conspire to draw your eyefrom the task at hand. Watch:

4.THIS CHART WILL PULL THE EYE

Reversingthe image creates a bold, clean graph-ic that will draw the eye amidst any amount ofclutter. It is flawed because the graphic nowoverpowers the font, which suddenly looks meek(it is unchanged); even so, it conveys its infor-mation rapidly. Not only is it better, but it iseasier to make than the one above it; the barlengths do not have to be precise since theyin-clude their own data; just get reasonably close.

5. CONTRASTS IN TYPE AND SHADES CLARIFY

The best-looking chart on the page is also thebest chart. Every element aids comprehension.Set in two fonts, Helvetica Black and Light,vari-ations in size, weight and color make each kindof data similar (which provides visual continu-ity)yet unique (which provides clarity). Thedol-lar amounts are huge and bold, yet in white ongray they recede proportionately. Comprehen-sion is instantaneous. This is a perfect chart.

6.AN EXCELLENT CHART SHIFTS THE EMPHASIS

Recoloring the previous chart throws the bal-ance to the data bars and makes the bannerre-cede. Note the vertical gray background stripes;these suggest dataall thats needed here;on another chart they could be real numberlines. Note also how the banner is pristine (afunction of its uppercase letters) while theHelvetica Black and Light fonts contrast andelegantly rank its information by importance.

1985 $82

1986 $126

1987 $159

1988 $180

$82

$126

$159

$180

1985

1986

1987

1988

BONDS OUTSTANDING IN BILLIONSBONDS OUTSTANDING IN BILLIONSBONDS OUTSTANDING, IN BILLIONS

Bonds outstanding, in billions Bonds outstanding, in billionsBonds outstanding, in billionsonds outstanding, in billions1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5 6

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5 6

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5 6

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5 6

1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 1 2 3 4 5 6

60 80 100 120 140 160 180

1 2

1 2

1 2

1 2

1 2

1 2 3

1 2 3

1 2 3

1 2 3

1 2 3

1 2 3

85

86

87

88

85

86

87

88

82 126 159 180

1. MENU SHOCK

This chart will stop the most avid reader. Ratherthan accelerate comprehensionin this case,of a simple trendit seriously interferes. Forexample, the dollar scale forces the reader tostop, follow a line to the bottomand estimate

an amount. And why make the reader comparelegend patterns for no reason but to learn the

year each bar represents?The outlined head-line muddies rather than clarifies, and the boldpatterns are as brash as polka dots and plaid.

2. FOUR STEPS IN THE RIGHT DIRECTION

At least you dont need sunglasses to view thisversion. Every box and outline was superfluous;the bars are sufficient to define themselves,and the smooth, gray tones allow the reader toabsorb the data, not the graphics. Years placed

adjacent to their bars (rather than in a legend)speed comprehension a lot. Four vertical linesdrop to their exact dollar amounts and com-municate directly. Note that each bar is atopthe lines that do not pertain to it, adding clarity.

3.TWO PROBLEMS SOLVED

This chart is less attractive than the previousone but it communicates as fast because thedollar amounts are right in the bars. The readernow has a straight reading path from year todollar while the length of the bars tells the story

visually; that is, that the dollar amounts rosesteadily. Note there is no need to color the barsdifferently since each conveys the same kindofinformation. Copiers dont reproduce tints well;simple lines like these work better in such case.

CHARTMAKING

A good chart communicatesquickly.Heres how to make one.

$82

$126

$159

$180

1985

1986

1987

1988


8/16

8

BEFORE: OFFICE TYPING

6.BOLD, ITALICS AND UNDERLINES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

In office typing, it is customary to use anunderlineto emphasize a word or denotea name or the title of a book or paper.Many typewriters and modern printersalso permit the use of boldface type.When typeset, however, neither onelooks very good and either one makes a

word stand out, which you dontwant.Typesetters, therefore, always useitalics, which were designed for thispurpose and which in many fonts arevery beautiful.

Italics trivia: Aldus Manutius, the15th16th century printer for whomAldus was named, is credited withdeveloping italics. Do you know thedifferencebetween italicand oblique?An italic is a different letterform than theRoman; an oblique is the Romanletterform slanted.

w w w wCentury Expanded italic Franklin Gothic oblique

5.ELLIPSIS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

An ellipsis is a three-dot pausethat,prop-erly set, maintains the pace of the text.But the ellipsis that the computer makesis compressed, and reading over onefeels liketrippingover ones feet. Iprefer a space-dot-space-dot-space-dot-space; the extra distance ensures a morenatural rhythm.

1.PARAGRAPH INDENTS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Set the indent in the Paragraphdialograther than with the space bar or tabkey. How far? Usually, whatever thepoint size is: 12-pt type = 12-pt indent.Party quiz: Why indent the firstparagraph?

2.SINGLE-SPACE AFTERALL PUNCTUATION

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

In office typing, two spaces are usedafter periods and colons. Whentypeset-ting, however, only one space is used.There are no exceptions to this rule.

3.UPPERCASE LETTERS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Acronyms, initials and other capitalizedwords in textIBM, RAM, CD-ROM, SCSI,

and so forthshould be set smallerthan text size or theyll STAND OUT anddraw unwanted attention. Strictlyspeak-ing, youd use small capsfor thispur-pose, which the computer can setauto-matically. But I think small caps are toosmallthey draw attention because oftheir smallness. My preference,there-fore, is to manually reduce textsizecap-ital letters (strings of three or more) apoint or two, from, say, 10 pt to 9 pt or18 pt to 16 pt, depending on the font.Check your work by turning thepageup-side down; the caps should blend in. Ifthey dont, make them smaller.

The paragraph on the left was set bytyping exactly as one would on anoffice typewriter; on the right is howthe paragraph would be set byapro-fessional typographer. Compare thesamples frequently as you read. It is

very satisfying to set type beautifully,and it is not difficult. Master theserules and your work will withstandthe most rigorous scrutiny:

4.WIDOW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

One word orhorrorspartof a wordthat takes up an entire line at the end ofa paragraph, leaving an unsightly whitegap. A widow is acceptable butundesir-able typography and is most effectivelyeliminated by editing the text. Worse isan orphan, the last word of the previous

paragraph alone at the top of a column.

TYPE:

Its ironic that the better your type is, the lbut beautiful type is high art and

How to set a perf

SAMPLES SET IN 14-PT NEW CENTURY SCHOOLBOOK, 16-PT LEADING.

WE ARE TEN KILOMETERS off Monterey,pitching and rolling over the canyon inMBARI's research boat, Point Lobos. Minutes

ago technicians lowered the black-and-whiteROV into the water. "I'd love to have Ed Rick-etts out here with us," says Robie, an excitablefireball of a biologist and a pioneer inexploring the fauna of Monterey Canyon withsubmersibles. "Lots of people look--Ed Rickettssaw."

Robie and I are about to see a few thingsourselves, things seldom observedand never

studiedbefore the ROV. We are stalking


9/16

AFTER: TYPESETTING

7.HYPHENS AND DASHES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

In office typing, two hyphens - - like these- - are used to make a dash. Whentype-setting, a long dashcalled an emdashis used instead. How long is an em?Whatever the point size is: 12-pt type =12-pt-long em, more or less. Anotherdash, called an en, is half the length of

an em but longer than a hyphen. It isproperly used in dates, times, etc., toindicate a range, such as 4:005:00,or April 26May 9, instead of a hyphen.

If youre fussy, youll not interchangean en dash and a hyphen. Either dash ismade using a combination keystroke:

EM dash EN dash

LE VOICE

noticed (because everyones busyreading!),rth settingright. Here are the rules.

8.F-LIGATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

A ligatureis an elegant combination oftwo or more characters in a singlechar-acter. Most desktop publishing typefontpackages contain four: fi, fl, , . Ofthese, fiand flappear in many commonwordsoffice, file, flight, and so onandshould be used in everyday typesetting.

The others are extremely rare and latelyare used mostly by snobs.

The use of ligatures is consideredvery fine typography. Ligatures areespe-cially attractive in serif type andparticu-larly in italics. A ligature is made using acombination keystroke:

fi fl

paragraph of type

9.UNIFORMITY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Well-set type is even and rhythmic. Noteyour word and letter spacing and strivefor a smooooth, gray tone to the text.Eliminate whatever disrupts itlarge orirregular gaps (usually the problem),up-percase or bold characters, and so forth.

10.QUOTATION MARKS AND

APOSTROPHES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Quotation marks that you make on theoffice typewriter with your right pinkycreate these marks when typeset:

WE ARE TEN KILOMETERS off Monterey, pitch-ing and rolling over the canyon in MBARIsresearch boat,Point Lobos. Minutes ago tech-

nicians lowered the black-and-white ROVintothe water. Id love to have Ed Ricketts out herewith us, says Robie, an excitable fireball of abiologist and a pioneer in exploring the fauna ofMonterey Canyon with submersibles. Lots ofpeople lookEd Ricketts saw.

Robie and I are about to see a few thingsour-selves, things seldom observed . . . and neverstudied . . . before the ROV. We are stalking

giant, deep-water larvaceans.

QUOTATION FROM BETWEEN MONTEREY TIDESBY RICK GORE, COPYRIGHT NATIONAL GEOGRAPHIC MAGAZINE, FEBRUARY 1990. USED BY PERMISSION.

which are not the same as true curlyquotation marks and apostrophes,

which look like this:

" '

Used properly, those typewriterquota-tionmarks shouldbeitalicizedandwillnowindicate feetand inches. Notethe differences:

Mothers new office, Jane toldDick and Sally, is 40'6"square!

When placing text from a wordprocessor,PageMaker will convert typewriter-stylequotes to true quotes for you (no, I dontknow how it knows). When typing in Page-Maker, however, you must make themyourself with a combination keystroke:

Mac:Opt Shift- (hyphen)Windows: Ctrl Shift= Mac:Opt- (hyphen)Windows:Ctrl= Mac:Opt Shift5Windows: Shiftw (only inAdobe expert collections)

Mac:Opt Shift6Windows: Shiftx (only inAdobe expert collections)

Mac:Opt]Windows:Ctrl[

Mac:Opt[Windows:Ctrl Shift[

Mac:Opt Shift[Windows:Ctrl Shift]

Mac:Opt Shift]Windows:Ctrl]


10/160

Build a brochure with peekaboo panels

thanks to its eye-catching peekaboopanels. Add the fact that its easy toset up and inexpensive to print (onlyone sheet of paper), and youll find itis well suited for many projects.

Begin on page 11 with the Page-Maker setup. Select from two sheetsizes: the legal size is more conven-ient; the larger size, in the world ofbusiness marketing, is more common.Because of its offset folds, the panelwidths vary slightly. Although theamounts will not be noticed by yourreaders, youll notice them if you

attempt to copy, say, a box from onepanel to the next; it wont fit exactly!

This is a job for a commercialprinter, who should be consultedbe-fore starting. Because the folds mustbe accurate, look for a printer withexcellent folding equipment.

Peekaboo panels . . .. . . make this brochure zesty and setit apart from the crowd. Panelhead-ings lead the reader to the contentsinside. Even without the headings,the printed panels are inviting,beck-oning the reader to open the bro-chure. They look very good in shadesof gray, too.

You dont need to print thepeek-aboo panels at all; in that case usethe instructions for Version B.

From one sheet with slightly offset folds . . . . . . fold over . . . . . . then over again. Cool.

BEFORE & AFTER ASSEMBLY PROJECT

This format, built entirely from a single, cleverly folded sheet, is one of my favorites.

Heres how to set it up, fold it and lay it out for a consistent look from page to page.

T

his brochure format is like a babygirlit gets plenty of attention

no matter what its doing

SALES

STAFF

WESTERNREGION

HO

WTOORDER

Xamplex

SalesandCatalogServices


11/16

PAGEMAKER SETUP (2 OPTIONS)

Standard #10 business envelope: 9 12"x418" Standard #10 business envelope: 9 12"x418"

FRONT (Cover side)FRONT (Cover side)

Folded size: 812"x378"

Handy to lay out and print, this size iswell suited to quick, simple projects.Because it leaves empty space inside a#10 envelope, its not quite as impres-sive to receive by mail. Folded perfectly,it will fit a #9 envelope, a size smaller.

1413"x914"

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0

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18

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BACK0 6 12 18 24 30 36 42 48 54 60 66 72 78 84

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Folded size: 914"x4"

This larger size fills a #10 businessenve-lope completely, which contributes to asubstantial, businesslike impression whenreceived by mail. Printing requires a pressthat can handle a larger sheet, standardequipment in all but the smallest shops.

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PageMaker setup: New publication,Custom size: 86 picas by 55p6, Wideorientation,2 pages. Margins: Left, Top, Bottom, 1p6; Right (version A), 3p9 or (version B) 2p9.Page 1 (Cover side): Drag vertical ruler guides to: 11p6, 12, 12p6, 24, 33p6, 34,34p6, 44, 53p6, 54, 54p6, 64 and (version A) 71p4.5, 71p10.5, 72p4.5 or (versionB) 71p10.5, 72p4.5, 72p10.5. Select Column guides, enter 4 columns, 3 picasbetween. Column guides move in pairs; reposition left guide of each pair to: 22p6,42p6, 62p6. Page 2 (Back): Drag vertical ruler guides to: 10p6, 11, 11p6, 22,31p6, 32, 32p6, 42, 51p6, 52, 52p6, 62 and (version A) 72p4.5, 72p10.5, 73p4.5or (version B) 72p10.5, 73p4.5, 73p10.5. Select Column guides, enter 4 columns,3 picas between. Reposition left guide of each pair to: 20p6, 40p6, 60p6.

PageMaker setup: New publication, Legal size, Wide orientation, 2 pages. Margins:Left, Top, Bottom, 1p6; Right (version A), 3p9 or (version B) 2p9. Page 1 (Coverside): Drag vertical ruler guides to: 11p3, 11p9, 12p3, 23p6, 32p9, 33p3, 33p9,43, 52p3, 52p9, 53p3, 62p6 and (version A) 71p7.5, 72p1.5, 72p7.5 or (version B)72p1.5, 72p7.5, 73p1.5. Select Column guides, enter 4 columns, 3 picas between.Column guides move in pairs; reposition left guide of each pair to: 22, 41p6, 61.Page 2 (Back): Drag vertical ruler guides to: 10p3, 10p9, 11p3, 21p6, 30p9, 31p3,31p9, 41, 50p3, 50p9, 51p3, 60p6 and (version A) 70p7.5, 71p1.5, 71p7.5 or(version B) 71p1.5, 71p7.5, 72p1.5. Select Column guides, enter 4 columns, 3picas between. Reposition left guide of each pair to: 20, 39p6, 59.

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66 72 78 8466 72 78 8466 72 78 84

0p9

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0p9

21

0p9

2Use A measurements if panels are printed. Use B measurements if panels are left blank.

Version A Version B

Left: Printed panels are234 picas wide; 2-picawidth shows; 34-picaoverlap allows for slightmisfolding.

72

Note: The centerline measurements of all the right-hand panels fall between ruler points even inPage-Makers 400% view. Just enlarge the view and position them by eye; theyll be accurate within a fraction ofa pointclose enough. The most important measurementsthe foldssnap to the rulers perfectly.

14"x 812"(legal size sheet)


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12

Research & DevelopmentXamplexCorporation

NEWCOMMU

NICATIONPRODUCTS

RESEARCH&

DEVELOPMENT

At Xamplex, discovery knows no bounds . . .

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sed diam nonummy nibh euismod incidunt ut dolore magnaaliquam erat volutpat. Ut wisi enim ad minim veniam, quisnostrud exerci tation ullamcorper suscipit laboris nisl utaliquip ex ea commodo consequat.

Duis autem vel eum iriure dolor in hendrerit in vulputatevelit esse molestie consequat, vel illum dolore eu feugiatnulla facilisis at vero eros et accumsan et iusto odiodignissim qui blandit praesent luptatum zzril delenit augueduis dolore te feugait nulla facilisi. Lorem ipsum dolor sitamet, consectetuer adipiscing elit, sed diam nonummy nibheuismod incidunt ut dolore magna aliquam erat volutpat.

Ut wisi enim ad minim veniam, quis nostrud exerci tation

ullamcorper suscipit laboris nisl ut aliquip ex eaconsequat. Duis autem vel eum iriure dolor in hendrerit invulputate velit esse molestie consequat, vel illum doloreeu feugiat nulla facilisis at vero eros et accumsan et iustoodio dignissim qui blandit praesent luptatum zzril delenitaugue duis dolore te feugait nulla facilisi. Nam libertempor cum soluta nobis eleifend option congue nihilimperdiet doming id quod mazim placerat facer possimassum. Lorem ipsum dolor sit amet, consectetueradipiscing elit, sed diam nonummy nibh euismodincidunt ut dolore magna aliquam erat volutpat. Ut wisienim ad minim veniam, quis nostrud exerci tation

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T

Xamplex

NewCommunicationsProducts

Xamplex

Sales andCatalogServices

paper, upon which text and graphics are

placed. On a single brochure, the guidesremain in constant position from panel

to panel. When designing a seriesofbro-chures (above), the guides remain inconstant position throughout the series,ensuring a consistent, predictable look.

The vertical guides of a brochurenormally correspond to the foldedpanels. In the example above Ive alsodivided each panel in half vertically.

Study the illustrations carefully. Ihave deliberately laid out diverse and

difficult materialintroductions,head-

lines, pictures, captions, productlist-ings,personnel biographies, and so forth

to convey layoutprinciples instead ofspecific solutions; youll provide thoseyourself. Follow along:

A horizontal guide called a hangline(1) may be positioned anywhere buttypically is one-quarter to one-third ofthe way down the page. Text andgraph-ics hang from a hangline like clotheson a line. A hangline creates an openstage above it and a constant starting

for which there are at least somecon-ventions for headline and text place-ment, a brochure is a virtually blankcanvasno two have ever been alikeand it is often only the grid which willkeep you in possession of your sanity byimposing order on your work.

A grid, simply, is a set of horizontaland vertical guides, similar to graph

here are umpteen million ways to

Make a grid to help create a look . . .

design a brochure, but it is on agrid that good layout begins.Unlike a newsletter or newspaper,

FRONT PANEL

Horizontal ruler guidesmay be placed any-where you wish; Iveplaced them at 112,314, 12, 13, 18 and4912 picas. Begin withthese, but you mustexperiment to suit theneeds of your project.

Typefonts shown:Helvetica CondensedBlack and Lightoblique.

At Xamplex, discovery knows no bounds . . .

6

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1

Horizontal rulesare hanglines.

Text and graphicshang from them,

like clothes ona line.


13/16

XamplexCorporation Loremipsumdolor sitametConsecteteur adipiscingelitDamnonummynibheuismod

New Communications Products

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NEWCOMMUNICATIONPRODUCTS

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No matter what size your company . . . Xamplex has a product thats right!

esearch & Developmentx Corporation

NEWCOMMUNICATIONPRODUCTS

RESEARCH&DEVELOPMENT

mplex, discovery knows no bounds . . .

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assum. Loremipsum dolor sit amet, consectetuer adipis-cing elit, sed diamnonummy nibh euismod incidunt utdoloremagna aliquamera t volutpat. Ut wisi enimadminimveniam, quis nostrud exerci tation ullamcorper

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Xamplex CorporationCorporate Headquarters

555 American Plaza

Chicago, IL 55555

Xamplex development ensures yourequipment will never be outdated

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s ReddingChrista Rannells

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s San JoseJeffrey Hogue

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s SacramentoMatthew Thomas

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s StocktonJennifer May

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s Santa BarbaraKimberley Wong

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