BA0607 - How To Design A Second Page PDF

Before&After
BAmagazine.com i U X
How to design a
second page
Seashells
Hawaiian Co
llection
Youve designed a beautiful
outside. How do you follow it
up inside? Simply. Continued
Continued How to design a second page 0607

Before&After
How to design a second page

Youve designed a beautiful outside. How do you follow it up inside? Simply.
Outside
Outsides have insides. Once youve

designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
Seashells
Hawaiian Collection
different words and a different purpose,

so how do you retain the look? The key
is simplicity; the second page should be
a lesser and simpler version of the first.
Four techniques:
Seashells
Hawaiian Collection
A beautiful, jewel-box cover has been carefully cropped from a larger

image. Key to this design is placement; note (above right) that the
seashells position defines the margins containing the type.
2 of 10 How to design a second page 0607

Before&After
How to design a second page 3 of 10 BAmagazine.com i U X
Repeat the center of interest

When your cover has a strong focal point like this one, mask its background and bring
it inside. Alone on a white canvas, it will stand out in striking relief.
Inside
Seashells
Hawaiian Collection
Hawaiian Collection Hawaiian Collection

Precisely catalogued and carefully
identified for the viewers
pleasure and learning
Hierarchy Make type and other graphics secondary to

the focal point. To do this, center the layoutwhich moves
the eye down the page in a straight line (above left)and
This
elf
n its
make the type recede: Set it small (smaller than youd
coll
ctio
ect
lle
io
co
think), and color it gray (above right) or a light tint of the
ni
s li
the
ce
image itself. The result is a handsome, minimalist look.

of
ns

ed
io
ut
on
he
rib
identified for the viewers st

t
ba di
s is pleasure and learning i n
th or
a t th ale
eu res
ser for
may pt
use t rt exce
he images in whole o r in pa
By repeating the outside image inside, you get built-in

continuity of shape, color and texture while making a
fresh, bold statement. The inside is clearly a subset of the
outside, yet has its own distinctive presence.

Before&After How to design a second page 4 of 10 BAmagazine.com i U X
Find something in the scene

If the outside is big, make the inside small. Bring something from the forest to the inside
a pine cone, an eagle, a rockand youll create a beautiful contrast of far and near.
B T
N F American Wildlands
American Wildlands Conservation Program Our interest is to preserve and

maintain wildlands and wildlife
throughout the great state
of California
Al s.
lR
igh law
ts ble American Wildlands
ca
pli
American Wildlands
R ese p
rve
d. of a
Unau tion Our interest is to preserve and
thorized viola
duplication is a maintain wildlands and wildlife
Our interest is to preserve and of California

of California
Al s.
lR
igh law
ts ble
ca
R ese p pli
rve
d. of a
Unau tion
thorized viola
duplication is a
A forest is vast, panoramic and dis-

tant. A small object brings it close,
Al
lR
igh law
s.
puts it at human scale, makes it
ts ble
ca
R ese
rve
d. Unau tion
of a
p pli
touchable. Below, simple alignment
thorized viola
duplication is a
helps bring the outside in.
For continuity, repeat the cover typefaces

inside. Note that the green background is a
neutral value against which dark and light
type are distinctively separate.

Before&After
Lift out one piece

Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the key insidea single square lifted out and enlarged.
The Art College

of Washington Unlock your imagination
Spokane A door of opportunity awaits you
The Art College of Washington Spokane www.acws.artcollege.edu .artcollege.edu
50%
At first glance, what you see is a collage of doors. The Its the only image with a key,
fun is that you can hide your message on the cover and appropriately tying it to the mes- Tint the type color to
then reveal it inside. sage, Unlock your imagination. blend with the image.

Before&After
Color
A grid of dissimilar images is naturally complex and should be simplified. An easy
organizational technique is to create one row of similar colors.
A) The title row is made of images with similar

colors with a few squares left empty for the words;
on a busy field, such empty space really stands out.
B) The type color must be similar, too; words in cool
blue would disrupt the continuity. C) To get this,
just sample the warm neighboring colors.
The Art College

of Washington A
The Art College

B of Washington
The Art College

C of Washington

Make your own object

Draw an objectsimpler is betteratop your image, then repeat it inside. This technique
is especially handy if your cover image has no available follow-up.
Front
Dawn Neil Interior Designer
Dawn Neil Interior Designer Dawn Neil Interior Designer
Back
2230 East Woodrow Street

Modesto, California, 95240 Dawn Neil Interior Designer
www.dawnneildesign.com
dneil@dawnneildesign.com

Modesto, California, 95240
Same shapes, fonts, sizes and colors but opposite backgrounds This look is cool and low-key. Note that similarities of shape, size
and color work together easily beside opposites of light and dark.
Note especially the very small type; it takes real restraint to set your
own name in 14-pt type, but the results couldnt be classier.

Layout
Position the shape in the same place on both sides, then align the type blocks neatly
to it. Be consistent and simple; note below the clean, straight lines of sight.


Note the positive-

negative use of color.

Article resources
Typefaces Colors
11a B T 3a 1 (ab) Kon Tiki Enchanted | a) 34 pt,
1a Seashells N F 13 C35 M80 Y80 K40
Hawaiian Collection
American Wildlands Conservation Program
4a b) 12 pt
2a
11b 14 C10 M25 Y60 K0
2 (ac) Avenir Light | a) 11 pt, b) 7 pt,
13
17 c) 9/10.8 pt
14 15 C0 M0 Y0 K70
18 3 (ab) Trajan Regular | a) 20/19 pt,
1b Hawaiian Collection
b) 20 pt
19 16 C36 M30 Y30 K0
15 4 (ac) Avenir Light | a) 9/14 pt,
American Wildlands
3b 17 C30 M80 Y90 K50
Our interest is to preserve and
4b b) 8/9.6 pt, c) 7 pt
16 throughout the great state
of California
5 Adobe Garamond Bold | 18/16.5 pt, 18 C24 M19 Y49 K40

This
elf
11c
n its
2b
coll
ctio
ect
lle
io
co
ni
6 Helvetica Neue Roman | 6.25 pt

s li
the
2c
ce
of
ns

ed
io
ut
on
4c
he
19 C24 M19 Y49 K0

rib
identified for the viewers st s.

t
ba di Al
s is pleasure and learning i n lR
igh law
th or ble
7 (ac) Adobe Garamond Semi Bd. It.

a le ts ca
t th sa R ese pli
eu r re rve of a
p
ser t fo d. Unau tion
may ce p thorized viola
use t t ex duplication is a
he images in whole or i n par
11d 11e a) 14 pt, b) 10 pt, c) 10 pt

20 C25 M90 Y100 K20
12 8 (ab) Helvetica Neue Md. | a) 10 pt,
b) 10 pt 21 C19 M64 Y100 K5
8a 9 (ab) Helvetica Neue Light | a) 10 pt,
5 The Art College Dawn Neil Interior Designer
9a 22 C13 M29 Y58 K0
of Washington b) 10 pt
7a Spokane A door of opportunity awaits you
11f
7b 10 Adobe Garamond Semi Bd. | 7.5/9 pt 23 C70 M50 Y35 K10
8b
7c 9b 24 C30 M30 Y50 K0
10 Images
20
Unlock your imagination
25 C25 M20 Y20 K0

23 11 (ag) Photos.com |
21
24 a b c d e f g 26 C50 M40 Y100 K20
22 11g
12 All images are from Photos.com
6 The Art College of Washington Spokane www.acws.artcollege.edu

25
26

Before&After
Subscribe to Before & After Before & After magazine

Before & After has been sharing its practical approach
Did you enjoy this article? Subscribe, and to graphic design since 1990. Because our modern world
become a more capable, confident designer has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
for pennies per article. To learn more, go to
able, useful and even fun for everyone.
http://www.bamagazine.com/Subscribe
John McWade Publisher and creative director
Gaye McWade Associate publisher
E-mail this article Vincent Pascual Staff designer
To pass along a free copy of this article to Dexter Mark Abellera Staff designer
others, click here. Editorial board Gwen Amos, Carl Winther
Before & After magazine

Join our e-list 323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
To be notified by e-mail of new articles as
Fax 916-784-3995
they become available, go to E-mail mailbox@bamagazine.com
http://www.bamagazine.com/email www http://www.bamagazine.com
Copyright 2005 Before & After magazine, ISSN

1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know. To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
10 of 10 | Printing formats How to design a second page 0607

Before&After

Before & After is made to fit your binder

Before & After articles are intended for permanent reference. All are titled and numbered.
For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
suitable for one- or two-sided printing, is provided on the following pages.
For presentation format For paper-saver format

Print: (Specify pages 110) Print: (Specify pages 1216)
Print
Format: Landscape
Page Size: Fit to Page
Save
Presentation format or
Paper-saver format
Back | Paper-saver format

How to design a
second page Seashells
Hawaiian Col
lection
Youve designed a beautiful
outside. How do you follow it
up inside? Simply. Continued
Outside
Outsides have insides. Once youve
designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
Seashells
Hawaiian Collection
different words and a different purpose,
so how do you retain the look? The key
is simplicity; the second page should be
a lesser and simpler version of the first.
Four techniques:
Seashells
Hawaiian Collection
A beautiful, jewel-box cover has been carefully cropped from a larger
image. Key to this design is placement; note (above right) that the
seashells position defines the margins containing the type.
0607 How to design a second page Before&After | www.bamagazine.com How to design a second page 0607
1 of 5

Repeat the center of interest

When your cover has a strong focal point like this one, mask its background and bring
it inside. Alone on a white canvas, it will stand out in striking relief.
Inside
Seashells
Hawaiian Collection
Hawaiian Collection Hawaiian Collection
identified for the viewers
pleasure and learning
Hierarchy Make type and other graphics secondary to
the focal point. To do this, center the layoutwhich moves
the eye down the page in a straight line (above left)and
This
elf
n its
make the type recede: Set it small (smaller than youd

coll
ctio
ect
lle
io
think), and color it gray (above right) or a light tint of the

co
ni
s li
the
ce
image itself. The result is a handsome, minimalist look.

of
ns

ed
io
ut
on
he
rib
identified for the viewers st

t
ba di
sis pleasure and learning i n
th or
at le
the sa
use r re
rm t fo
ay u ce p
se th rt ex
e images in whole or in pa
By repeating the outside image inside, you get built-in
continuity of shape, color and texture while making a
fresh, bold statement. The inside is clearly a subset of the
outside, yet has its own distinctive presence.
Find something in the scene
If the outside is big, make the inside small. Bring something from the forest to the inside
a pine cone, an eagle, a rockand youll create a beautiful contrast of far and near.
B T
N F American Wildlands
American Wildlands Conservation Program Our interest is to preserve and
of California
Al s.
lR
igh law
ts ble American Wildlands
ca
pli
American Wildlands
R ese p
rve
d. of a
Unau tion Our interest is to preserve and
thorized viola
duplication is a maintain wildlands and wildlife
Our interest is to preserve and of California
of California
Al s.
lR
igh law
ts ble
ca
R ese p pli
rve
d. of a
Unau tion
thorized viola
duplication is a
A forest is vast, panoramic and dis-
tant. A small object brings it close,
Al
l Rig law
s.
puts it at human scale, makes it
hts ble
ca
Re
ser
ved
. Unau tion
of a
p pli
touchable. Below, simple alignment
thorized viola
duplication is a
helps bring the outside in.
For continuity, repeat the cover typefaces
inside. Note that the green background is a
neutral value against which dark and light
type are distinctively separate.
2 of 5

Lift out one piece

Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the key insidea single square lifted out and enlarged.
The Art College
of Washington Unlock your imagination
The Art College of Washington Spokane www.acws.artcollege.edu .artcollege.edu
50%
At first glance, what you see is a collage of doors. The Its the only image with a key,
fun is that you can hide your message on the cover and appropriately tying it to the mes- Tint the type color to
then reveal it inside. sage, Unlock your imagination. blend with the image.
Color
A grid of dissimilar images is naturally complex and should be simplified. An easy
organizational technique is to create one row of similar colors.
A) The title row is made of images with similar
colors with a few squares left empty for the words;
on a busy field, such empty space really stands out.
B) The type color must be similar, too; words in cool
blue would disrupt the continuity. C) To get this,
just sample the warm neighboring colors.
The Art College
of Washington A
The Art College
B of Washington
The Art College
C of Washington
3 of 5

Make your own object

Draw an objectsimpler is betteratop your image, then repeat it inside. This technique
is especially handy if your cover image has no available follow-up.
Front
Back
Same shapes, fonts, sizes and colors but opposite backgrounds This look is cool and low-key. Note that similarities of shape, size
and color work together easily beside opposites of light and dark.
Note especially the very small type; it takes real restraint to set your
own name in 14-pt type, but the results couldnt be classier.
Layout
Position the shape in the same place on both sides, then align the type blocks neatly
to it. Be consistent and simple; note below the clean, straight lines of sight.
Note the positive-
negative use of color.
4 of 5
Article resources

Typefaces Colors
11a B T 3a 1 (ab) Kon Tiki Enchanted | a) 34 pt,
1a Seashells N F
4a
13 C35 M80 Y80 K40
Hawaiian Collection
American Wildlands Conservation Program
b) 12 pt
2a
11b 14 C10 M25 Y60 K0
2 (ac) Avenir Light | a) 11 pt, b) 7 pt,
13
17 c) 9/10.8 pt
14 15 C0 M0 Y0 K70
18 3 (ab) Trajan Regular | a) 20/19 pt,
1b Hawaiian Collection
b) 20 pt
19 16 C36 M30 Y30 K0
15 4 (ac) Avenir Light | a) 9/14 pt,
American Wildlands
3b 17 C30 M80 Y90 K50
Our interest is to preserve and
4b b) 8/9.6 pt, c) 7 pt
16 throughout the great state
of California
5 Adobe Garamond Bold | 18/16.5 pt, 18 C24 M19 Y49 K40
This
elf
11c
n its
2b
coll
ctio
ect
lle
io
co
ni
6 Helvetica Neue Roman | 6.25 pt

s li
the
2c
ce
of
ns

ed
io
ut
4c
on
he
19 C24 M19 Y49 K0
rib
identified for the viewers st s.

t
ba di Al
s is pleasure and learning i n lR
igh law
th or ble
7 (ac) Adobe Garamond Semi Bd. It.
a le ts ca
t th sa R ese p pli
eu r re rve of a
ser t fo d. Unau tion
may ce p thorized viola
use t rt ex duplication is a
he images in whole or in pa
11d 11e a) 14 pt, b) 10 pt, c) 10 pt
20 C25 M90 Y100 K20
12 8 (ab) Helvetica Neue Md. | a) 10 pt,
b) 10 pt 21 C19 M64 Y100 K5
8a 9 (ab) Helvetica Neue Light | a) 10 pt,
5 The Art College Dawn Neil Interior Designer
9a 22 C13 M29 Y58 K0
of Washington b) 10 pt
7a Spokane A door of opportunity awaits you
11f
7b 10 Adobe Garamond Semi Bd. | 7.5/9 pt 23 C70 M50 Y35 K10
8b
7c 9b 24 C30 M30 Y50 K0
20
Unlock your imagination 10 Images
25 C25 M20 Y20 K0
23 11 (ag) Photos.com |
21
24 a b c d e f g 26 C50 M40 Y100 K20
22 11g
12 All images are from Photos.com
6 The Art College of Washington Spokane www.acws.artcollege.edu
25
26
Subscribe to Before & After Before & After magazine
Before & After has been sharing its practical approach
Did you enjoy this article? Subscribe, and to graphic design since 1990. Because our modern world
become a more capable, confident designer has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
for pennies per article. To learn more, go to
able, useful and even fun for everyone.
http://www.bamagazine.com/Subscribe
John McWade Publisher and creative director
Gaye McWade Associate publisher
E-mail this article Vincent Pascual Staff designer
To pass along a free copy of this article to Dexter Mark Abellera Staff designer
others, click here. Editorial board Gwen Amos, Carl Winther
Before & After magazine
Join our e-list 323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
To be notified by e-mail of new articles as
Fax 916-784-3995
they become available, go to E-mail mailbox@bamagazine.com
http://www.bamagazine.com/email www http://www.bamagazine.com
Copyright 2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know. To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
5 of 5

BA0607 - How To Design A Second Page PDF

Caricato da

Informazioni sul documento

Titolo originale

Copyright

Formati disponibili

Condividi questo documento

Condividi o incorpora il documento

Opzioni di condivisione

Hai trovato utile questo documento?

Questo contenuto è inappropriato?

Copyright:

Formati disponibili

BA0607 - How To Design A Second Page PDF

Caricato da

Copyright:

Formati disponibili

Before&After

Continued How to design a second page 0607

How to design a second page

Outsides have insides. Once youve

different words and a different purpose,

A beautiful, jewel-box cover has been carefully cropped from a larger

2 of 10 How to design a second page 0607

Repeat the center of interest

Hawaiian Collection Hawaiian Collection

Hierarchy Make type and other graphics secondary to

image itself. The result is a handsome, minimalist look.

Precisely catalogued and carefully

identified for the viewers st

By repeating the outside image inside, you get built-in

3 of 10 How to design a second page 0607

Find something in the scene

American Wildlands Conservation Program Our interest is to preserve and

maintain wildlands and wildlife

A forest is vast, panoramic and dis-

For continuity, repeat the cover typefaces

4 of 10 How to design a second page 0607

Lift out one piece

The Art College

The Art College of Washington Spokane www.acws.artcollege.edu .artcollege.edu

5 of 10 How to design a second page 0607

A) The title row is made of images with similar

The Art College

The Art College

The Art College

6 of 10 How to design a second page 0607

Make your own object

Dawn Neil Interior Designer

Dawn Neil Interior Designer Dawn Neil Interior Designer

2230 East Woodrow Street

2230 East Woodrow Street

7 of 10 How to design a second page 0607

Dawn Neil Interior Designer

Dawn Neil Interior Designer Dawn Neil Interior Designer

2230 East Woodrow Street

2230 East Woodrow Street

Note the positive-

8 of 10 How to design a second page 0607

5 Adobe Garamond Bold | 18/16.5 pt, 18 C24 M19 Y49 K40

6 Helvetica Neue Roman | 6.25 pt

Precisely catalogued and carefully

19 C24 M19 Y49 K0

identified for the viewers st s.

7 (ac) Adobe Garamond Semi Bd. It.

11d 11e a) 14 pt, b) 10 pt, c) 10 pt

25 C25 M20 Y20 K0

6 The Art College of Washington Spokane www.acws.artcollege.edu

9 of 10 How to design a second page 0607

Subscribe to Before & After Before & After magazine

others, click here. Editorial board Gwen Amos, Carl Winther

Before & After magazine

Copyright 2005 Before & After magazine, ISSN

10 of 10 | Printing formats How to design a second page 0607

Before & After is made to fit your binder

For presentation format For paper-saver format

Back | Paper-saver format

Repeat the center of interest

make the type recede: Set it small (smaller than youd

think), and color it gray (above right) or a light tint of the