Print Issue 09

7/27/2019 Print Issue 09

1/16

Eye-stopping FreeHand techniques:See-through photos! Shadowy blends! A curled corner so

lifelike youll touch it! Uncanny paper clips!And much more!

How to design cool stuff

Vol. 2 No. 3 1

HOW TOTYPESET ANINTERVIEW


2/16

TM2

Q

I work very hard on my designs andam pleased with my progress. Butthen I encounter a gallery of profes-sional graphics and just feel over-whelmedthe talent seems totallybeyond my reach. I want to excel,but sometimes I fear Im an amateurliving in a fools paradise. Am I?

Dinah NelsonLa Jolla, CA

If you are, then I am, too; actu-ally, I dont know a professionaldesigner who isnt sometimes

intimidated by a concentration of Olym-pic-class workthe kind you find inawards annuals, design books and so on.

Inspiring or frightening as they maybe, bear in mind that many factors haveconverged to produce a truly excellentpiece: the client, the budget, the natureof the project, chemistry, inspiration andusually some luck. And unlike the Olym-pics, which demand on-the-spot perfor-mance, a designer can enter a years sin-gle best try, a rule which in the Olympicswould raise everyones score.

Press on; you have a great attitude.Key is that you play to your strengths;by this I meanget better at what youre

good atit is more fruitful to turn goodinto great than poor into average. Youllfind you have a visual voice of your own,and once you discover it, youll probablyfind your work in an awards annual, too.

After reading that the cool logo of our citysprofessional hockey team [the San JoseSharks] has created a publicity sensationand a major windfallmy company wants anew logo, too. With my desktop publishingskills, I took up the challenge. But after tryingevery graphic technique I can think of,including several I learned in Before & After,Im coming up empty. Any ideas?

Don StenSan Jose, CA

What youre lookingfor is vision, which is

not something youllfind in your drawing

program. In the Sharkscase, management spent a

whole yearcourting public participationin naming the team and designing its logo.

The stick-chomping shark that resulted,rather than cause the sensation, was theenergetic sum of the San Jose fans own

Which no is right?Readers Peter Thompsonand John C. Hight both wroteto say that my no symbolhas been backwards, towhich I responded, How doyou know? Mr. Thompsonpointed out that the correctsymbol resembles the letterN, which sounds sensibleand even likely, but is there

a published standard on thissubject? Anyone?

rock-em-sock-em image of themselves.Nothing is stronger.

Management understood that imageis not tacked on or bought, but must benurtured. This wisdom is rare; the payofffor those who possess it is stupendous.

Youre working in a vacuum, with thewrong tools. Stop now. Take a year (Imnot kidding). Talk to your key people. In-volve others. Define your customers andprinciples and beliefs. Youre an artist;youll see a picture forming.

In the end, your company will knowitself better, and I think your new logowill have practically drawn itself.

Mthe

ailbox

A

TM

2

1. Drag ruler guides to themeasurements shown.

2. Draw and Ungroupthreecircles. Note alignment.

3. Select the points shownand Split elements.

4. Delete the halves youdont need. Now add thestraights: With the pointer,

5. select any endpoint (1);with the pen, click (2) tocontinue the line. Join(3).

6. Select the paper clipand change its line weightto 1.5 points.

12

1

3

7. Optional: If youll want to clip something later, knapart the point shown (later, youll send it to the bacNote: This will double the number of subsequent ste

Nothing but fun.

8. Color the line 60% black. Clone. Color the clonwhite and change its line weight to 0.

10. Marquee any two end points

ADD THE HIGHLIGHT

9. Push theentire cloneoff center ata 45 angle:

11. Blend. 12 steps are plenty.

TECHNIQUE BY PAUL THICK

1112

30 pts

18

36 pts 24

FREEHAND STEP BY STEP

Howtodrawapaperclip


3/16

TM

I love your magazine but Im a FreeHand be-ginner and many of your step-by-steps as-sume knowledge I dont have of the software.Could you include more of the basic menuitems and commands?

Shannon AndersonPueblo, CO

FreeHand has a very good manual thatwill teach you how to draw and manipu-late objects. What Before & After givesyou are cool reasons to do so. But wemust assume a basic facility on your part;otherwise wed just be remaking Alduseffort. With our directions (Clone, Join,Blend) and the manuals index, you canfind what you need quickly.

I cant believe someone with your skill is stillusing PageMaker. Quark XPress is superior inevery way and its only a matter of time until

you make the switch.Dave Pieretti

Cupertino, CA

Quark XPress is a nice page layout pro-

gram with many excellent features and avocal following. If you like it, I think youshould use it. Watch for cooties.

BEFORE & AFTER, HOW TO DESIGN COOL STUFF (ISSN 1049-0035), Vol. 2, No. 3, Feb. 1992. Before & After is a magazine of design and pagelayout for desktop publishers. It is published bimonthly by PageLab, Inc., 1830 Sierra Gardens Drive, Suite 30, Roseville, CA 95661-2912.Telephone 916-784-3880. Copyright 1992, PageLab, Inc. All rights reserved. Subscription rate: $36 per year (6 issues). Canadiansubscribers please add $4 and remit in U.S. funds; overseas subscribers please add $18. Back issues: $10 each. Second-class postagepaid at Roseville, CA and additional mailing offices. POSTMASTER: Send address change to: Before & After, How to design cool stuff,1830 Sierra Gardens Drive, Suite 30, Roseville, CA 95661-2912. The terms Before & After, How to design cool stuff, Xamplex andType, the visible voice have trademarks pending.

Type baffles me. Im new to it and I love itIll spend hours relishing a new type catalogbut when I must pick a font for a job, mymind goes blank. How does one decide?

Cathy RigoloTopeka, KS

When starting out, one decides by firstfinding out what the professionals areusing. How? Just look around; youll seeright away that text faces are quite simi-lar, and most text-heavy material usesthe same dozen or two. Compare thosetype catalogs to your favorite magazinesor paperbacks. Youll see laser standardsTimes and Century are common; otherpopular choices include Garamond andCaslon. For contrast, sans-serif Franklin,Futura and Helvetica are everywhere.These families have been so popular forso long you can be assured theyll work.

(Some type families have many vari-ants; Garamond, for example, comes inGaramond 3, Stempel Garamond, Simon-cini Garamond and ITC Garamond, toname a few. Any will get you started.)

For a headline or decorative typeface,

be conservative; begin simply by makingyour text face larger. On the previouspage is an example: The oversize Q is thetext style youre now reading (CenturyExpanded) enlarged to 140 points; theboxedA is merely the bold type (Frank-lin Gothic) set at 42 points.

A beginner who loves type will tendto err on the side of flamboyance. Read-ers are busyreading, not admiring yourtype; your likeliest mistake will be todraw too much attention to it.

The Mailbox includes letters, faxes and phoneconversations. Please write The Mailboxon yourcorrespondence. (I get lots of mail, all of which isquite interesting and most is entertaining, too.It includes technical questions and requests formakeovers. For publication, I look for letters andpages whose challenges are common to every-one and about which we can illustrate broad andrepeatable principles. Small jobs are best.)

Use space-savinghighlights instead ofredundantcallouts.

IDEA!

Callouts, those big,pulled-from-the-textquotations you seeeverywhere, catch

your eye but thenlet you down:

Theyrepoxnothing more than

what youve alreadyread. Art directorBill Jensen ofMPCWorldmagazine has concocted a space-saving alternative: Draw dark boxesbehind reversed type so it looks like yourcomputer screen . . .

. . . that tweak a childs (and adults)

imaginationunlike the numbingNintendo video games.

For the serious bargain hunter,

there are some real steals out there,especially in package deals thatbundle a CD-ROM drive with a power

game, an encyclopedia, or any num-

ber of other titles.

This simple treatment works best with jus-tified type; just be sure its in place to stayreflowing after boxes are drawn makesa mess. It is ideal for newsletters and bul-letins in which a lot of information mustbe packed into a small space.

Variations include . . .

Black on light gray or light colors

White on black, dark gray, dark colors

Bright yellow (100%) under any color

12. The shadow is cool; its the sameblend, just in different colors. Followclosely: Clonethe clip and set it aside(hide it on an invisible Newlayer above

the first). Now backtrack: Ungrouptheoriginal paper clip and delete the blend.

A

B

C

D

A Fatten the gray line to 2 points.B Color the fat line the exact colorof its background (here, its 40%yellow [mines darker so you cansee it]). C Mix a Newcolor madeof the background color plus 50%black; apply it to the skinny line.DBlendas before. Offset the blend apoint or two (left and down), then fetch thepaper clip you hid earlier. Youre done!

ADD A LIFELIKE SHADOW


4/164

Dear Before & After:Enclosed is a half-page flyer thats typi-

cal of the kind I do for our guest speak-ers. This is my most

exciting (!) versioncan you help? Any ad-

vice you give us willbe put to heavy use

immediately.

PS: Heres the ex-citing photo I had to

work with.

Advertising a speaker? Heres how:

Reader Eric Dunkerley writes: The best thing about a promotional for aspeaker is that its made of simple parts.It has one picture, one message (whossaying what, when and where), and onepurpose: to attract an audience.

The real fun of attending a liveevent is to be on the scene, to toucha celebrity, to experience in personwhat a speaker has to say. For thedesigner, the way to draw a crowd toyour program is to capture that you-are-there feeling on paper.

How? Its easy: Just put the readerface to face with the speaker.

Put your speakernot the speech,

not the occasion, not anything elsecen-ter stage. Your speaker is the attraction;present this person in person, as lifelikeand touchable as you can. Do this even ifyour speaker is not well known.

(If you dont have a photograph, pullall the stops to get one [ask the speakerfirst]. I cant emphasize this too much.)

If youre new to this, bear in mind asyou examine an original photo that itscontext, mood and framing are immate-rial (unlike a home snapshot). Look pastthem. Visualize! Youre going to rescueyour speaker from that little rectangularworld and place her in a new setting:

The Womens Ministry of Briarwood South presents

Martha Hoke

Bloom WhereYoure Planted

REGISTRATION FORM

Name

Home phone

Address

Number of children to be placed in nursery

Mail or phone registration to: Lee Woolnough, 3653 Tall Timber Drive, Birming-

ham 35242. Phone 995-9668. Please make checks payable to Briarwood South.

How to be content indifficult circumstances

Saturday, February 1, 19929:30 a.m. to 2:30 p.m.in the Briarwood Chapelat 2200 Briarwood Way.

Cost is $5.Lunch will be provided.

Whats a bloom?No matter how compel-

ling the topic, it takesa real person to delivera speech, and its areal person we go tohear. There are simplyno exceptions to this,which makes it easywonders!to designan ad: Just put every-thing in orbit aroundthe speaker. Before:Eric worried that hisphoto wasnt excitingso reduced it to post-age-stamp size andfavored a title instead.Mrs. Hoke wont likelybe mistaken for Christy

Brinkley, but diminish-ing the speaker in favorof her speech put thecaboose before the en-gine and left us with aconfusing, unappealingmessage. (Can you tellits a speech?) After:The words are no dif-ferent but by elevatingour speaker, the mes-sage they send hasbecome crystal clear.

BEFORE AFTER

minute makeoverBEFORE&AFTERthe

The Womens Ministry of Briarwood South presents:

BloomWhereYoure Planted

Registration FormName ___________________________________________________

Home phone_____________________________________________Address __________________________________________________

_________________________________________________________Number of children to be placed in Nursery _______________

Mail or phone registration to: Lee Woolnough 995- 96683653 Tall Timber Dr. Birmingham 35242

Make checks payable to Briarwood South.

Martha Hoke

Saturday, February 1, 1992 9:30am2:30pm

in the Briarwood Chapelat 2200 Briarwood Way.


How to Be Content in DifficultCircumstances


5/16

How big? Think distancerather than size

2. Add your words

Write right on her head,but watch the details


Martha Hoke

Bloom Where

Youre PlantedHow to be content indifficult circumstances



WORDS AND PICTURES CAN SHARESPACE It will seem funny at first, butits totally acceptableeven desirableto put your words right on the pic-ture. Below is typical of how they do iton Madison Avenue. This technique is

used with huge success on book jack-ets, magazine covers and in advertis-ing of all kinds. What youll find inter-

esting is that itworks not merelyfor celebrities butfor regular people(really)an unfa-miliar, ever ydayface in extremecloseup can bequite compelling.Try it; youll see.

YOU WANT YOUR SPEAKER TO SEEM LIFE-SIZE On a512"x 812"page, how big is that? Heres a visualiza-tion technique: Think distancerather than size. Inyour minds eye, picture yourself in a mirror, or envi-sion a friend in a doorway (right). These are familiarframes, or points of reference. Then resize your sub-

ject until she seems three or four feet away. Thecloser you bring the reader, the closer the implied

relationship. Generally speaking, closer is better.

PAGEMAKER SETUP The example is on half a letter-size sheet, which slips neatly intonewsletters, bulletins and such. Outside margins are 1p6 (a quarter inch), but if office laseroutput will be your final product, you may need more (better check). To fit two on a letter-sizesheet, set Orientation(in Page setup) toWide, then set Column guides(under Options) to 2and the Space between columnsto twice your margin width.

Left: Even if you prefera more distant look,avoid leaving a croppedphoto just floatingitspoils the illusion.

Your picture will be big, so youll need every available dotof detail. Scanner resolution should be at least double thehalftone screen of your final output. Above, for 150 lines

per inch halftones, we scanned at 300 dots per inch.

Details make a difference Notethe headline looks good atopthe photo but does not fit; ithas stranded a widow, or one-word line. A headline shouldnot be left like this.

The solution is simple.


Martha Hoke

Bloom Where Youre

Planted


Martha Hoke

Bloom Where

Youre PlantedHow to be content in difficult circumstances

Uh-oh. The deckhead, adescriptive subtitle, fitsin one line, all right, butlooks like a second setof eyebrows. Youll findevery situation unique;watch for similar pitfalls.

A GREETING AT THE DOORPlace your photo right here like ahostess standing at the door. Youcan adjust the illusion somewhatby cropping from side to side.

One design goal: Conceal thephotos cropped edges.

How to be content in difficult circumstances

Saturday, February 1, 1992, 9:30 a.m. to 2:30p.m.inthe Briarwood Chapelat2200 Briarwood Way.

Costis $5. Lunchwillbeprovided.

TheWomensMinistryofBriarwoodSouthpresents

MARTHA HOKEBloom Where Youre Planted

REGISTRATION FORM

Name

Homephone

Address

Numberof childrentobeplaced innursery

Mailor phoneregistrationto: LeeWoolnough, 3653 TallTimber Drive, Birmingham35242. Phone995-9668. Pleasemakechecks payableto Briarwood South.

1. Place and scale your picture

THE WORDS ARE EASYSince your speaker will carry thead, theres no need for fancy type.

Select one family (here, Palatino)and create hierarchy by alteringsize, style, shading and position.


6/16

the 20-minute makeover

BIG TYPE IS DIFFERENT FROM SMALL TYPE The typefaces thatcome with your laser printer are spaced to look best at text sizeslike 8, 9 and 10 points (except Avant Garde, whose defaultspacing doesnt look right at any size). At these small sizes, thereaders eye can absorb acres of words at once, because eachsmall word blends with a gray ocean of other small words.

As type gets bigger and its spacing proportionally wider, thesweep of the eye is interrupted by now-evident lines, curves andgaps. To restore smooth reading, the letters should be kerned,or tightened; the larger the type, the tighter it should fit.

Left:Palatinos default spacing, which looks right at text sizes, istoo airy at headline size (top); the fix is to kern, or compress, thespacing (bottom). Like other laser printer standards, Palatino alsohas little natural contrast between its roman and bold weights.An excellent way to heighten this contrast is to set the speakersname in light italics and also color it a lighter shade (via Page-Makers Define colors dialog); here, its 60 percent black.

Martha HokeBloom WhereYoure Planted

Martha HokeBloom WhereYoure Planted

Palatino, size30, leading 30,default wordspacing 100,default letterspacing 0.

Palatino, size30, leading 28,desired wordspacing 70, de-sired letter spac-ing 15.

Type seem blah? Set better headlineswith tight kerning, shaded letters

3. To add a sign-up form . . .


Martha Hoke

Bloom Where

Youre Planted

REGISTRATION FORM

Name

Homephone

Address

Numberof childrentobe placed innursery

Mailor phoneregistrationto: Lee Woolnough, 3653 TallTimberDrive, Birming-ham 35242. Phone995-9668. Pleasemakechecks payableto Briarwood South.




Cool, translucent coupon adds a sense ofspaciousness. Heres how to make it:


Martha Hoke

Bloom Where

Youre Planted

REGISTRATION FORM

Name

Homephone

Address

Numberof childrentobe placed innursery

Mailor phoneregistrationto: LeeWoolnough, 3653 TallTimberDrive, Birming-ham 35242. Phone995-9668. Pleasemakechecks payableto Briarwood South.





Martha Hoke


REGISTRATIONFORM

Name

Home phone

Address


Mail or phone registration to: Lee Woolnough, 3653 Tall Timber Drive, Birming-ham 35242. Phone 995-9668. Please make checks payable to Briarwood South.





Martha Hoke


REGISTRATIONFORM

Name

Home phone

Address


Mail or phone registration to: Lee Woolnough, 3653 Tall Timber Drive, Birming-ham 35242. Phone 995-9668. Please make checks payable to Briarwood South.


Saturday, February 1, 19929:30 a.m. to 2:30 p.m.in the Briarwood Chapelat 2200 B riarwood Way.



Martha HokeBloom WhereYoure PlantedHow to be content indifficult circumstances

Saturday, February 1, 19929:30 a.m. to 2:30 p.m.inthe Briarwood Chapelat 2200 Briarwood Way.

Costis $5.Lunchwill beprovided.

REGISTRATION FORM

Name

Homephone

Address

Numberof childrentobeplaced innursery

Mail or phone registration to: Lee Woolnough, 3653 Tall Timber Drive, Birmingham35242. Phone 995-9668. Please make checks payable to Briarwood South.

ITS NOT REALLY TRANSLUCENT Its just a second, cropped photoatop the first! PageMaker makes this one of the worlds easiesttricks: (Directly above) Copythe photo. CommandoptionV willpower-paste it exactly atop the original. Color the duplicate about30% black (in the Define colorsdialog), crop it to fit (above right)and finish by bringing the text to the front. Youll love experiment-inga darker copy (use Image control) resembles smoked glass.

FLOAT THE FORM The bottom of the pageis a logical place for a form, but watch out:If you fill the space edge to edge (left), you

will box in the picture and lose thatyou aretherepresence. The solution? Make thecard smaller so it floats in the foreground(above left). Even better: Recrop the photobeyond the border (above right) and make

the form translucent.

6


7/16

2. BREAK THE BORDER Float the coupon as before, butnote that in this case it breaks the border, whichsmoothly conceals the third photo edge. (It also fore-stalls an artificial, boxed-in look.)

4. . . . then delete the box and rule single lines instead,stopping at her head. Hairlines work best.

1. CONCEAL THE CROPPED EDGES Turn your pagesideways and rule a hairline border about 2 picas in,then place your photo against this border. This elimi-nates two of its three visible edges.

3. DRAW A LINE INSTEAD OF A BOX We dont want thatline through her head; rather, we want our speakerto come forward as much as possible. To do this,first place ruler guides atop the box . . .

REGISTRATION

Name

Homephone

Address

Numberofchildrento beplacedin nursery

Mailorphoneregistrationto: LeeWoolnough,3653TallTimberDrive,Birmingham35242.Phone995-9668.Pleasemakecheckspayable toBriarwoodSouth.


Martha HokeBloom Where Youre Planted

How to be content in difficult circumstances

Saturday, February 1, 19929:30 a.m. to 2:30 p.m. in the Briarwood Chapel at 2200 Briarwood Way.

Cost is $5. Lunch will be provided.

5. Now add your words. Note the sense of depth thatthe various levels create.

What to do if your photographis already cropped

We had a good picture to work with;in fact, Mrs. Hokes original photo ispractically ideal: Its dignified, in

focus, low-contrast and uncroppedto the waist, a real advantage.

Life isnt always so kind; often asnot youll be handed a picture (butnot before the last minute) thats already cropped. Now

what?it is a dilemma from which even the best photo

retouching software cannot extract you.Your design goal doesnt change, however; you still

want your speaker on stage, lifelike, touchable, nearby.Try this:


8/16

A masterpiece of curves andblends, this eye-catching classicis pure optical illusion!

How to curla corner

FREEHAND

STEP-BY-STEP

Cool

Stuff

1. Create and name two new layers and addthem to the palette in this order:

Foreground

Back paper

Front paper

Guides

Background

2.Turn off Multilayer (its easier with it off).

3. Make a palette of the following processcolors. (If youre working in black and white,

youll need only the grays):

M100Y85

Red

C60M100

Purple

C100Y100

Green

M100Y85K60

Dark Red

C60M100

K60

Dark Purple

C100Y100K40

Dark Green

Base colors

Shadow colors(Base colors +black)

K10 K20 K30

K40 K50 K60

K70 K80 K90

A curled corner is all artthe kindthat tickles a readerwordlessly.Its a stunner to draw, too; when

blends transform its flat lines into 3-D, youwont believe your eyes!

Get FreeHand ready:

Restore Preview.

Delete all diagonals.Send the two outer-most curve segmentsto the Back paperlayer and Hidethelayer for now.

Add two straights

With the pointer, high-light 1. Hold the shiftkey and with the pentool click 2 to con-tinue the line. Repeatfor second segment.

Join the corner

With the pointer,marquee both lineends and Join.

Drag ruler guides toform a 1-inch square.On the Foregroundlayer, draw andUngroupa 1-inch circleand rule a vertical linethrough the center.

Rotate only the line45 around its cen(use the Rotate dia

Step one: Draw the corner

The corner is made ofthree pieces: 1. thecurl, 2. the frontpaper and 3. the backpaper. The round tipsare critical; heres theeasiest way I know toget them right:

3

1

2

1

2 1

Draw the front paperOn the Front paper layer,draw a sheet of paper,any size, like so. Youvenow got what you need:three pieces on threelayers. Savethis drawing;youll use it lots.

Step two: Shade the pipeline

Fill the piecesAdd your base colors:the curl (1), white; thefront paper (2), purple;the back paper (3), K20.Delete all lines (Ive leftthem visible for clarity).

Shade the pipelinePosition a 45-angle boas shown. Clonethe boand hide the clone fornow on the Backgroundlayer. Fill, graduated,fromPurple toDark purple, angle 45, linear.

outlines for clarity only

1

3

2

8

01

0

1

2


9/16

Reposition ruler guidesto the inner tangent ofeach circle.

Delete three-quartersof each circle. Cut theremaining quarters inhalf at the diagonals.

Now the back paper

Hidethe Foregroundlayer and expose theBack paper layer. Weregoing to repeat theprocedure:

Add two straights

With the pointer, high-light 1. Hold the shiftkey and with the pentool click 2 to con-tinue the line. Repeatfor second segment.

Join the corner

With the pointer,marquee both lineends and Join.

Reveal the

Foreground layer

th

e active,ement infocheckeHand willonal be-

open ends.

1

12

Turn offPreviewmode.(1) Slide the circlestraight left until its edge abutts the diagonal(you want it exact; zoom all the way in). Clonethecircle. Scalethe clone 50% and (2) align it thesame way in the opposite corner.

ove two ruler guides outward toorm a 2-inch square. Rule a diag-nal hairline as shown and send ito the Back paper layer.

dengled blend,e front paper andside. Cool, what?a principle here:hade from a basere, purple) to theor plus black.

Add a red top barDraw a long rectangleasshown and fill it with red.Clone. Hide the clone onthe Background layer asbefore.

Shade the red with redSince the shadow mustfall across this red bar,too, retrieve the angledbox from where you hid itand Fill, graduated, fromRed toDark red, angle45, linear.

Paste insideCutthe angled blend,select the top bar, andPaste Inside.

Please turn the page

outlines for clarity onlyoutlines for clarity only

A shadow always adds its black to theobjects it falls across. If a shadow thats30% black falls across white paper, itappears 30% black. If the same shadowfalls across an object thats,

say, 40% black, the two com-bine to make 70% black.It works like this:

30% black on white paper.

40% black (K40) 70% black

10% black 40% black

But black cant be blacker:

100% black 100% black

M100 Y85 M100 Y85 K30

How shades combine to look real

Close the path

With the line active,open the Element infodialog and checkClosed. FreeHand willdraw a diagonal be-tween the open ends.

1

2

01


10/161010

Step three: Shade the back paper

Add the blendExtend a 45-angle box tothe back papers leftmostcorner (highlight). Fill,graduated, fromK60 toK20. Clone. Hide clone onthe background layer.

Paste insideCutthe angled blend,select the back paperand Paste inside.

Add a green top barRetrieve those hiddenclones from the Back-ground layer. Fill the (red)top bar with green. Fill theangled blend fromDarkgreen togreen.

Paste one inside the otherCutthe angled blend,select the green top barand Paste inside.

Paste inside againCutthe green top bar,select the back paper,and Paste insideagain.

Draw a round-corner boxA shadow is somewhatindistinct. For this effect,position a round-cornerbox approximately hereand fill with paper color.

Step five: Shadow the curl

Abutt opposing blends . . .Position two 45-anglerectangles atop the curlas shown (Snap to pointwill abutt them perfectly).Fillthe larger, graduated,fromK20 towhite . . .

Step four: Shade the curl

. . . to make a highlightangle45, linear. Fill thesmaller likewise exceptfromwhite toK20. Cutboth, select the curl andPaste inside.

Clone, scaleUngroupand Clonethebox. Scale the clone asshown and place it com-pletely behind the curl,about like so. Fill . . .

Blendthe clone with Dark pur-ple. Select the two pointsshown and Blendin 100steps. See how it fades inall directions?

Paste insideCutthe blend, selectthe front paper andPaste inside.

outlines for clarity only outlines for clarity only outlines for clarity only

outlines for clarity only outlines for clarity only outlines and x-ray view for clarity only outlines for clarity only

One drawing, many effects! How many ways can you shade the paper?

By changing the sizes, shapesor colors of the fills and blends,you can achieve many effectswith your basic, 3-piece draw-ing. Can you do the following?

q Make the curl wavy (left)

q Turn up the light

q Have the front paper white

q Draw glossy paper

q Make the curl translucent

q Cast shadows on black paperq (Extra credit for this one)


11/16

A two-fisted Times interview with the badboys of American political opinion

TIMESPOLANSKISMITH

Anatomyof an

interview

To bring an oral conversation to lifetakes every style in your type arsenal.

Of all the ways to presenteditorial opinion, an inter-view is the most lifelike.

Unburnished by an editors pen, an inter-view gives the reader unrestricted ac-

cess to a subjects inflections, emotionsand even blunders, and allows him to in-terpret these as he wishes. This intimacyflatters the reader, and because of this,the interview format is unique and espe-cially engaging.

An interview serves other useful pur-poses, too. For one, it is easy on a harriededitor who perhaps does not fathom alabyrinthine subject (anything involvingmicroscopes), or who hasnt the time toweave a windy monologue into a story.

An interview can also be contrived,or made up; this would be done, for exam-

ple, to present in a direct and personalway the vision of the company presidentto employees or stockholders. (This canbackfire if it seems obvious.)

Whatever its use, most readers areunaware that the casual transparency ofa live conversation must be painstakinglystaged for print; while television guests

just talk, words on paper have physicalpresence (big, little, light, bold, etc.) thataffects how theyre perceived.

How did who say what? An interviewlayout consists of two basic parts: theheadline (often with a subhead) and the

interview body. The headline has heavyduty: It must engage the reader, intro-duce the participants, clarify the topicand instill a sense of anticipation, a feel-ing that this is important.

The interview body carries the con-versation; its typestyles pause, punctu-ate and emphasize, and silently separatewhat is said from who is saying it.

To read like a live conversation, yourtypography must guide, but be invisibleto, the reader.

How to typesetan interview

INTRODUCTION

SPACE AFTER

RESPONSE BODYSet the conversa-

tion as textand thenames as labels;ifthe names look like

text, its not right.

NAME LABELHere, color and style

tie to the headline

INTERVIEW TEXT

SPACE AFTER

ITALICSsUse for emphasis.

EXCLAMATION!sUse for emphasis.

ELLIPSISsUse when some-

thing is omitted, orwhen a statement isinterrupted . . . and

continues.

EM DASHsUse for a pause, orwhen an interruptedstatement does not

continue.

ITALICSUse for forcefulness.

Lorem ipsum dolor sit amet, consectetur adipiscing

elit, diam nonnumy eiusmod labore et dolore magnaaliquam erat. Ut enim ad minimim veniami quis

nostrud exercitation ullamcorper suscipit labor is

nisl. Aliquip ex ea duis autem vel eum consequat.

TIMES: Were amidst a deep recession, the worstsince 1982. Weve seen the rich grow richerand the middle class grow poorer. Mr. Smithproposes heavier taxation of the wealthy,which Mr. Polanski is against. Gentlemen,

why the opposition?POLANSKI: Financial strength and stability are

the hope of every citizen, but its foolish tothink we will restore our people to economichealth by penalizing achievement.

SMITH: Our working class is fullof achieversunderwriting tax breaks for the rich.

POLANSKI: Political fiction! Most of the wealthyare working-class people and the taxes theypay would smash a cat. But thats not . . .

TIMES: Gentlemen, I must interrupt here.POLANSKI: . . . my pointone moment, please;

some opinions cant be withheld just becausetheyre politically inexpedient

SMITH: Id like to comment TIMES: Gentlemen, excuse me. Lets stay focused.

Mr. Smith, how do you address this issue?

SMITH: Let me first say this about Mr. Polanskisstatement regarding yak, yak, blah, blah . . .

Type, the visible voice

SHOE, BY JEFF McNELLY 1992 TRIBUNE MEDIA SERVICES. REPRINTED BY PERMISSION.


12/1612

Fment of your type will flavor the words,often dramaticallynote below how astatement can change like a chameleon.

or the headline, youll need both adesigner hat and an editor hat. Thisis because the style and arrange-

Is your interview to inform? provoke? entertain? A headlines job is to give a clue:

THROW DOWN A GAUNTLET Futura Extra Boldstares you down, Terminator-like, arrogantlyassuming you know who these guys are. Thissetting disarms the reader;use it when you want thelast word. Right: Lowercaseis not as strong; ascendersleave too much air space.

A conversation withBernard SmithChief engineer, Acme Microproducts

TIMES

POLANSKISMITH

The longawaited

conversationwith two

distinguishedpolitical

journalists

REFINED, LITERARY A total transformation, beautiful Bembo is the same three-name statement after charm school. This is how PBS would do it. Other classicfacesGaramond, Goudywill have a similar effect. Note very tight leading.

FOR AN INSIDERS VIEW Low-voltage setting puts type (Caslon) atop picture. Thistreatment is convincingit makes the person seem valuable. Try it in-house.

SHADES ARE DRESSYNice because its

easy, shading addsrichness and depth,makes plain wordsfeel done. Note key

words have thehighest contrast.

(Times New Roman)

THE MARQUEELike the trumpeteerbefore the throne, amarquee generates

excitement, anticipa-tion. Who knows

who Polanski andSmith are? Who

cares?this setting(Bookman) urges

the reader to dive in.

AVANT GARDESAYS PLAYFUL

Equally theatricalbut more pop,

gangly Avant Gardemust fit (very) tightto look good. Thissetting blurts outthe interview in a

way that suggestsexuberance and

friendliness; use itwhen funis on your

list of priorities.

LOWERCASE TYPEIS ALL THEATER

A carefully askewarrangement (Bauer

Bodoni) imparts asense of airiness

and theater, a light,sophisticated moodwhich prepares thereader for a conver-sation thats articu-late and engaging.

POLANSKI& SMITHSPOUT OFFON MONEY,CARS ANDPOLITICIANS

words. But if you get stumped, dont fallback on decorationlines, borders andso forth; just stop and come back later.Words are powerful; youll get your bestresults if you let the type do all the talk-ing. Watch:

TIMESPOLANSKI

SMITH

TimesPolanskiSmith

An election yearbombshell!

THE TIMES INTERVIEW:

IVAN POLANSKI &BERNARD SMITH

Where to start? Write the words andarrange the headline at the same time.Be patient; youll find one time that justnames will do, while a different headlineneeds a descriptive subhead. Try manysettings before deciding to change the

ATimes interviewwithIvan PolanskiandBernard Smith

Type, the visible voice

COPYRIGHT 1989, UNIPHOTO, INC.


13/16

POLANSKI: Financial strength and sta-bility are the hope of every citizen, butits foolish to think we will restore ourpeople to economic health by penalizinSMITH: Our working class is full of achievers underwriting tax breaksrich.POLANSKI: Political fiction! Most ofthe wealthy are working-class people andthe taxes they pay would smash a cat.But thats not . . .

There is a growing, if not well-established,perception here that Japanese efforts to

crack the U.S. graphics market are way

ahead of our success there.

Absolutelyit is a matter ofdocumented fact, not perception.

What are we doing wrong?

We have mistakenly focused in the past fewyears on differences in philosophy and busi-ness practices, in our attempts to answerthis question. What is now clear is that it is

So much has been written about child rearing.How can parents decide what advice to takeand what to ignore?

Parents have always had to sort and choose,whether the information they were gettingcame from Grandma or a book. Today weallparents, doctors, everyoneknow much

more about child development than we did

What things does a dad bring to the childthat a mom doesnt?

ONE-ON-ONE NEEDS NO NAMESIn a one-on-one interview, why setnames at all?just differentiatequestioner and interviewee with con-trasting type. If your questions arelong, however, choose a font withlight contrast or youll tire the reader.Note hanging indent, space after.

PICTURES DRAW READERS ALONGPhoto treatment is especially effec-tive with several pictures of eachspeaker (the kind youd take at theintervieweye motions, hand ges-tures, things like that); scatteredthrough the text they pull the eyealong like a video. Keep them small.

BOXES ARE WILD!A bouncy, energetic format, boxesmake the contrast while white typematches the text style for easy read-ing. Indent margins a half pica toclear boxes, maintain vertical align-ment. Works best with short ques-tions. Try boxes in rainbow colors.

EDIT OUT THE QUESTIONSWhat a readable space-saver! Cut tothe chase by trading questions forexcerptshere, the reader knowswhat was asked but neednt wadethrough unnecessary dialog. Try itin-house; best if your subject is wellknown (like the company president).

BOLD NAMES ARE EASY TO SEE

Sans-serif font adds appealing tex-ture but is best used in short inter-views; over several pages it can becloying. Note the bold names standout even at two point sizes smaller.

DO WHAT DICTIONARIES DO

. . . so restore visibility with a hang-ing indent. (In the Paragraph dialog,set margins: Left: 0p9, First: 0p9.)Clarify even more by adding 3 pointsor so ofSpace aftereach paragraph.

. . . AND NOT WITH BIG CAPS

Text-size capital letters are HUGE. Ifyoure in a hurry, theyll do becausetheyre visible, but the effect is likeshouting. Yet caps have the labelquality we seek; the alternative . . .

BUT SMALL CAPS ARE FINE

. . . is to use smallcaps. Most fontsdont have small caps built in, somake your own by reducing your textsize two points or so. Problem now:The names are invisible again . . .

: Financial strength and sta-bility are the hope of every citizen, butits foolish to think we will restore ourpeople to economic health by pe: Our working class is full of achiev-ers underwriting tax breaks for the rich.: Political fiction! Most of the

wealthy are working-class people andthe taxes they pay would smash a cat.thats not . . .

: Financial strength and sta-bility are the hope of every citizen,but its foolish to think we will re-store our people to economic healthby penalizing achievement.

: Our working class is full of achiev-ers underwriting tar therich.

: Political fiction! Most of thewealthy are working-class people and

POLANSKI:Financial strength anity are the hope of every citiits foolish to think we will repeople to economic health bying achievement.

SMITH:Our working class is full ofers underwriting tax breaks for

POLANSKI:Political fiction! Mowealthy are working-class pe

LABEL YOUR SPEAKERS . . .The reader must always know whostalking; a common technique is tolabel each speaker. The labels, how-ever, must not interfere or be con-fused with the conversation; here,text-style labels are almost invisible.

. . . BUT NOT WITH ITALICS . . .A different typestyle signals a differ-ent kind of information. But sinceitalics will be used in the text foremphasis, italicized labels will slowyour readersnote above how thename and the text run together.

Polanski: Financial strength and stabilityare the hope of every citizen, but its

foolish to think we will restore our peopleto economic health by penalizinSmith: Our working class is full of achiev-ers underwriting tax breaks forthe rich.Polanski: Political fiction! Most of the

wealthy are working-class people and thetaxes they pay would smash a cat. Butthats not . . .

Polanski: Financial strength andare the hope of every citizen

foolish to think we will restore oto economic health by penalizinSmith: Our working class is full ofunderwriting tax breaks for the riPolanski: Political fiction! Mo

wealthy are working-class peopltaxes they pay would smash athats not . . .

On Margaret Thatcher: She was avery remarkable prime minister andhistory, I believe, will treat herkindly. She changed the face of Britain. Buttimes change and we must build

On the elections meaning:This is a choiceThis is a choice between conservatism and so-

cialism. All around the world socialism is beingditchedacross the whole of Eastern Europee

On Europe versus the United States: It is ItIt is not necessary to choose between Europe

Were amidst a deep

sion, the worst sinc

Weve seen the richricher and the middle class g

Your opponent proposes heav

tion of the wealthy, which yoagainst. Why?

Financial strength

and stability are thehope of every citizen, but itfoolish to think we will restoreour people to economic health

Your most important task

is to separate speakers, questions,

and answers in ways that make

things crystal clear.

Finebut how

do I do that?

Smooth-reading interview

text is a study in detail. This

page offers several solutions

. . . including the one youre

looking at.

8-pt name 10 pt text

8 1097

4 653

21


14/1614

he best graphic design is often thesimplest graphic design. It shouldmake a point, and communicate

device that can contain the words whileshaping them into a form which is at oncereadable and makes an additional graphicpoint: Look at me!

There are several easy ways to use the ex-clamation point shape. One is to use thewords themselves as the building blocks,as shown above. This is a good way to addpunch to a list of words. Making them allthe same color helps tie the words togeth-er so that we see them as a single whole:

the exclamation point. Another way is touse simple graphic shapesrectanglesand circlesto contain the words. This isa good way to separate several different

groups of words, like the quotes on thenewsletter cover on the opposite page.Using different colors helps each exclama-tion point shape stand out from itsneighbor, and makes a colorful, attention-getting cover design.

What design trick could be simpler,fasteror more to thepoint?

UNIFY WITH COLORKeeping all three ele-ments that make up

the exclamation pointthe same color

blackhelps unifythem into a singlevisual entity.

UNIFY WITH WEIGHTFramingthe list of

words with two ele-ments of similar

weight also helps unifythe separate elementsinto one whole. Seehow the word THINKand the dot below areapproximately thesame visual weight.

ILLUSTRATION

BYMAXSEABAUGH

WHITE SPACEThis may not look likemuch, but its very im-portant. Its whathelps the exclamationpoint elementsall

those separate wordsand shapeshang

together as one uni-fiedshape. The whitespace framestheexclamation point.

that point clearly and quickly. But some-times a point needs to be made with lots ofwords, like the list, above, or the quotes,opposite. How do you make lots of wordsread simplywithpunch?

One of the most effective ways is to letthe design itselfshape the words, to com-bine them into one overall simple, readableform. The exclamation point is a graphic

T

Make an exclamation! pointType and simple graphic shapes can really help you make your point!Here are a few easy tricks anyone can do. By Laura Lamar

organize

define

identify

compare

analyze

criticize

refine


15/16

First type in yourwords, then

adjust the line

lengths by

manually

breakingthe

lines so that they

alternate

between long and

short lines,

something like

shown here.

DESIGNLINEDesign Centers San Francisco sWinter 1992 sVolume 6 Number 3

How you

think about

people is

how youll

design your

spaces...

Be the

customer.

Linda

Ellerbee

There is

nothing

wrong with

sophisticated

design, but

.. . we must

reach for

something

greater.

Orlando

Diaz-Azcuy

1. FIRST CREATE YOURSHAPES

Start by creating an ex-clamation point out of

simple rectangle andcircle shapes. Dont worryabout the proportions yet.

2. THEN ADD THE TYPECenter the type inside therectangle, leaving plentyof space on either side(the equivalent of 2 or 3characters of type isprobably enough). Leaveat least double or triple

that amount above andbelow the words to frame

them vertically.

3. ADJUST THE RAGCentered type is easiest

to read when the linelengths alternate fromlong to shortit gives theeye something to grabonto when its looking

for the start of each newline. You wont be able tostrictlyalternate. Remem-ber to pay attention to thesenseof the words when

you break each line. Iftheres space, break linesthe way you speak them.

How does

architecture

that I think

is bad affect

society?

Society gets

the

architecture

it deserves!

Ada Louise

Huxtable

It takesextra careful

craftsmanshipto center type

in a circle

xclamation points arent the only

E

You can quote me on that!

FILL THE CIRCLEYou might put a pho-tograph of the per-son quoted inside

the dot of the excla-mation point. Or, if

there are few enoughwords, and you canmake them fitjustso, you might tryputting the words

themselves insidethe dot.

Details

Some alternateideas you mightwant to try:

The past is

something

to be

informed

about, tolook to for

understand-

ing where

one is

today.

Bernardo

Fort-Brescia

words inside itin which the quotemarks have a nice shape. Make thequote marks several times larger andbolder than the text that they enclose:Here weve used 14-point body typewith 30-point quote marks. Hang thequote marksjust above the cap heightof your line of type. Finally, even whensmall, type used like this is essentiallya typographic illustrationdetails liketracking, or tightening the letterspac-ing, help make it feel morefinished.

Try using other punctuation marks: forexample, quote marks, like these, can be

expressive graphic shapes that youcan use to contain or shape words.

exaggerated to attract attention to thewords inside them. Select a fontitdoesnt have to be the same one as the


16/16

BTM

Editorial and subscription offices

1830 Sierra Gardens Drive, Suite 30, Roseville, CA

95661 Telephone 916-784-3880 Fax 916-784-3995

For postal, copyright, subscription and back issue

information, please see the bottom of page 3.

How to design cool stuff

John McWade Publisher and creative director

Gaye McWade Associate publisher and editorAndy Markley Design editor

Peter Griggs Research editor

Myrna Zoeller Editorial assistant

Robbin Jellison Subscriber services

Don Jellison Circulation

Rick Sterner Technical consultant

PRODUCTION NOTESBefore & After is totally desktop-published inAldus PageMaker 4.2 and FreeHand 3.1; itspages and everything on them can be builtusing the most basic equipment upon whichthe software will run. For the sake of speedand storage, however, we use some prettyheavyweight stuff: Apple Macintosh Quadra,FX and CI computers with 32 mb RAM running

under System 7.0; RasterOps 19"color moni-tors and 8 24XLi video cards; MicroNet 1.2gb hard disks with NuPort cards (extremelyfast access); MicroNet 45mb hard disks withremovable Syquest cartridges (to send to ourservice bureau). Laser printers: Apple Laser-Writer IIg. B&W scanner: Apple OneScannerwith Ofoto software. Color scanner: Hewlett-Packard ScanJet IIc. Color proofs are from aQMS ColorScript 100. Plate-ready film is froman Agfa SelectSet 7000, 2400 dpi, 150-linescreen. Typefonts are from Adobe. Our ser-vice bureau is Lithographics. Before & Afteris printed in Sacramento by W. W. Hobbs ona manually adjusted Harris four-color press.Colors are all kiss-fit (no traps).

unwanted peeks, although I understandit can be breached if youre serious.

At the phone board, we plugged in a9600-baud Shiva NetModem/E, a singleunit that serves everybody. This is aslick item; open the Chooser of any com-puter andblink!there it is. It beatsbuying eight modems, and with its speedplus Ethernet, CompuServes stuff scrollspast my screen faster than I can read it.

In our mailroom, we attached a verymodern digital audio tape backup device(MicroNet) to a very old Macintosh SE.On a $20 tape the size of a Post-it note,this device can compress an astounding

five thousand megabytes of information.At midnight, Retrospect Remote soft-ware (Dantz Development) trolls the net-work and backs up selected folders onevery computer, then shuts the comput-ers down. During the day, the SE is freefor other things.

After years of desktop publishing, Iam exhausted by the speed at which

change comes: cheaper hardware, fastersoftware, cooler this, better that. Thereis no way to keep up with everything.

So how does one decide what to buy?I offer five bromides:

Watch patiently; the best stuff willrise to the top and stay there.

There is no right time to buy. To-morrows equipment will always bebetter and faster. It doesnt matter.

Buy for value. A 16-inch color moni-tor and card cost $2,500; the 19-inchmodel costs $6,000. The $3,500 dif-ference paid for our network.

Dont sweat small differences. It

probably doesnt matter if it takesone click or two.

When in doubt, dont.

files via disk, first on our agenda was theinstallation of a modern network to linkour seven desktop publishing computers.

To a roomful of artists, a computernetwork has all the glamour of a tub ofstale pudding. The best network, there-fore, is one thats fast and invisible. Thefirst law of invisibility, of course, is that asystem must work perfectly. This meansbuying the right gear and installing itthe right way.

Youll like our results: Our networkhas no visible parts at all; each computerhas transparent access to the others,automatic backup and full use of a high-speed modem. And everything worksfaster than before.

Heres what we did:While our walls were under construc-

tion, we threaded both Ethernet and Ap-pleTalk lines through the telephone con-

duit to 14 wall outlets. Each outlet has anordinary, plastic face with one jack eachfor voice, data, Ethernet and AppleTalk.The network is arranged in a star,which means every line runs from a walloutlet straight to the phone board at theback of the building. (A serial arrange-ment runs from computer to computer.)One advantage of a star is that any com-puter can be plugged or unplugged atany time without disrupting the others.Its also flexible: Our stars hub (Asant)is like an old telephone switchboard,where any line can be routed to anyother without rewiring the whole place.

To bridge the two networks, we add-ed Liaison software from Farallon, whichruns invisibly on one of our computers.In this way, an older laser on AppleTalkcan print pages from a new Macintosh onEthernet. The user never sees this; justpoint and click like youd expect.

Our network has no file server; for agroup this size, the sharing software ofApples System 7 works great. It can bemastered in 20 minutes, its versatile andits security is sufficient to prevent

company moved to a new office.After seven years of transferring

etween this issue and the last our

How to design a perfect network

IABOUT THE PUBLISHERJohn McWade is the founder and voice ofBefore & After and its chief designer andwriter. Mr. McWade has been an award-winning publication designer for 23 years.He founded PageLab, the worlds first desktop publishingstudio, in March 1985 and has since written and lec-tured exhaustively on this new industry. Former clientsinclude Apple, Adobe and Aldus, for whom he createdtwo template packages, Designs for Newsletters andDesigns for Business Communications. When hes notworking on B&A, youll find him on a red BMW motorcycle,helmet to boots in black leather, scaring civilized people.

cannot let another issue go by with-out acknowledging my deep grati-tude to the hundreds and hundreds

of you who have sent me samples of yourhard work, and such compliments. I soakup every word of every letter and look atevery page andwish I could respondyou are just the best. Thank you.

John McWade

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