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How to design pages for desktop printersthat cant print to the edge.borderlessContinued
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2of11 Simply borderless 0609
(Left) How many times haveyou been stuck with a page like
this? You design a nice page
thats perfect as
a full bleed (inset),
only to have it
scale to t the
printer margins,
which are rarely
uniform on one
printer, let alone from printer
to printer. The result is anundesignedwhite border that
distracts from your good work.
Simply borderlessHow to design pages for desktop printers that cant print to the edge
Modern desktop printers are small
technical wonders that can put brilliant,
high-resolution images on ne paperfor pennies. But for $99 they cant do
everything, including print to the edges
of the sheet (a full bleed). Most leave a
white border, which is often irregular
and differs from printer to printer.
This border can be a big distraction.
Its real problem, however, is that the
border is undesigned and undesignable.
So what to do? Instead of ghting
it, join it. Amplify the white space, and
make it part of your designs.
Before
EPA2005 Californiaestuaries report
EPA2005 California
estuaries report
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Make more white
The surest way to eliminate the white border is to make more white. Reducing yourlive matter visually disconnects it from the edge of the page.
(Above, left) The close proximity of image to edge creates
a visual connection, so the eye perceives a border. (Mid-
dle) Reduce the image far enough to disconnect itfrom
the edge, and the border effect disappears. The image is
now like a gallery piece hanging alone on a white wall
(right). This smaller size has big benet: You can crop and
move the image around and actually design the page.
(Above, middle) Note that to maintain equal margins on all sides,
the image has been cropped (its skinnier), and the result is more
focused on the descriptive coastline and more dramatic.
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Get moving
Moving the image to eye level creates three different margin widths, so a framenever forms. Segmenting the image vertically moves the eye down the page.
Borders are static, so what you need is movement.
(Above, left) The image at eye level yields more natu-
ral viewing plus three different margin widthsnar-
row (top), medium (sides) and wide (bottom)which
eliminates the border effect. Segmenting the image
in columns creates activity within it and moves the
eye down the page.
Above is one image divided vertically. You can also create a
collage of two or three images (right). Mix and match colors,
shapes and textures until you have a strong composition.
From one image you
can pull out three
or more column- or
row-shaped areas.
This is an excellent
technique for using
images that have
more than one area
of interest, because
you can pick the
most descriptive
parts and eliminate
the rest.
narrow
wide
med med
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Straight-round
A straight, uppercase
typeface contrasts
beautifully with the
round logo. But since
the page and imageare also rectangular,
adding this heavy block would
overwhelm the light logo (inset).
Coordinate the type
Typestyles and sizes that correspond to elements on the page will unify the design.Similarities convey harmony; contrasts convey energy.
All round
A round, lowercase type-
face (same height, simi-
lar weight) mirrors the
round logo. Now seen
as a group of four circles,the line contrasts beauti-
fully with the rectangular image and
gives the page two strong shapes.
Alignment sustains the vertical movement.
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Varying marginsEye-level placement
results in three different
margin widths, which adds
visual activity and keeps
margins from connecting
and forming a frame.
Eye levelA letter-size page is
about the same size as
the human head. Result:
Eye level is the strongest
and most comfortable
place for a focal point.
Make a landscape
A horizontal image can be quite large. It has the energy ofcontrasting directionand stillappears borderless because of its varying margins and side-to-side movement.
Same proportionsUnify image and page
easily by using the same
proportions for both; just
rotate 90 and reduce
to about 60%.
medium
wide
narrow narrow
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Create a focal center
A single line of type sustains the horizontal movement and is a powerful and sophisticatedfocal point. The small logo completely controls the open space around it.
Small is denitely powerful. Here, the gallery effectone image alone on a wallis working to the max.
The page has two zones, dark and light. Centered in
each zone is a focal pointthe headline in one at eye
level, the logo in the other. Each controls its space.
This subtle treatment is classier and more effective
than SHOUTINGyoohoo!for attention.
EPA | 2005 California Estuaries ReportKey to the headline is quietness. One type-
face in one line at one size but different
weights yields a beautifully low-key setting.
EPA | 2005 Cal
Heavy Light
Light on
dark
Dark on
light
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Energize the page
Cousin to the landscape format is the banner, an extremely panoramic shapewhose total contrast to the vertical page creates real energy.
Extreme contrasts Tall-wide,
fat-thin, up-down, side-to-side
Youll almost always be surprised
by how little it takes to convey the
heart of an image. Here, one thin
slice shows coastline, inlet, estuar-ies and wet and dry land masses.
Thats the whole story!
Dull space The beauty of the panoramic shape
is that its so differentfrom the page. It works
for many images, but in this case were seeinga little more uninteresting space than wed like
(above), so well crop it to half a page (below).
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California Estuaries Report 2005
ENVIRONMENTAL
(Left) Border? What border? There is very little
on the page but its really designed; it has a
strong focal point and a lot of movement. Both
text and logo are colored gray to recede, leaving
the image center stage. The irregular left edge
(right) keeps unwanted lines from forming.
Align right
With image and text aligned to the right and at eye level, the white spacenormallythought of as emptyis controlling the page. This is a veryactivedesign.
What size should the type be, and where does it go?
Work with whats in front of you and nearby. In this case, the penisulas and
inlets (above) become our rulers and govern type size, line spacing and
logo size. This creates visible relationships that unify the design. Similarly,
the extended typeface echoes the horizontal shape of the image.
ENVIRONMENTAL PROTECTION AGENCY
California Estuaries Report 2005
ENVIRONMENTAL PROTECTION AGENCY
California Estuaries Report 2005
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Typefaces
1 Trajan Bold | 164 pt
2 Trajan Regular | 46/47 pt
3 Futura Book | 160 pt
4 Helvetica Condensed Light | 21 pt
5 Helvetica Neue Heavy Ext | 16 pt
6 Helvetica Neue Light Ext | 16 pt
Images
7 (a-b) Photos.com
Article resources
Colors
C50 M15 Y55 K208
3
ENVIRONMENTAL PROTECTION AGENCY
California Estuaries Report 2005
4
8
6
7b
7aEPA| 2005 California Estuaries Report
6
5
7a
EPA2005 California
estuaries report
1
7a
2
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11of11 | Printing formats
XiBAmagazine.com USimply borderless 11of11
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Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail [email protected]
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.
Subscribe to Before & After
Did you enjoy this article? Subscribe, and
become a more capable, condent designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this articleTo pass along a free copy of this article to
others, click here.
Join our e-list
To be notied by e-mail of new articles as
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Before&After
Back | Paper-saver format
XiBAmagazine.com U
For paper-saver formatPrint: (Specify pages 1318)
For presentation formatPrint: (Specify pages 111)
Before & After is made to t 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.
Format: Landscape
Page Size: Fit to Page
Save
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1of6
Simplybor
derless0609
0609Simplyborderless
Simply
Howtodesign
pagesfordesktopprinters
thatcantprinttotheedge.
borderless
(Left)How
manytimesha
ve
youbeenstuckwithapa
gelike
this?Youdesignanicepage
thatsperfectas
afullbleed
(inset),
onlytohave
it
scaletotthe
printermargins,
whicharerarely
uniform
onone
printer,letalonefrom
printer
toprinter.Theresultisan
undesigned
whiteborder
that
distractsfrom
yourgood
work.
Mode
rndesktopprintersaresmall
techn
icalwondersthatcan
putbrilliant,
high-resolutionimagesonn
epaper
for
pe
nnies.Butfor$99theycantdo
everythin
g,includin
gprintto
theedges
ofthe
sheet(afullbleed).Mostleavea
white
border,whichisoftenirregular
andd
iffersfromprintertoprinter.
Th
isbordercanbeabigdistraction.
Itsrea
lproblem,however,ist
hatthe
borde
risundesignedandundesignable.
So
whattodo?Insteadof
ghting
it,joinit.Am
plifythewhitesp
ace,and
make
itpartof
yourdesigns.
Before
EPA
2005California
estu
ariesreport
EPA
2005California
estuariesreport
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magazine.com
2of6
Simplyborderless0609
0609Simplyborderless
Makemorewhite
Thesurestwaytoe
liminatethewhiteborderistomakemorewhite
.Reducingyour
livemattervisually
disconnectsitfromthe
edgeofthepage.
(Above,left)Thecloseproximityofimagetoedgecrea
tes
avisualconnection,sotheeyeperceivesaborder.(Mid-
dle)Reducetheimagefa
renoughtodisconnectitfrom
theedge,andthebordereffectdisappears.Theimage
is
now
likeagallerypiece
hangingaloneonawhitewall
(right).Thissmallersize
hasbigbenet:Youcancropand
movetheimagearound
andactuallydesign
the
page.
(Above,middle)Notethatto
maintainequalmarginsonallside
s,
theimagehasbeencropped
(itsskinnier),andtheresultismo
re
focusedonthedescriptivec
oastlineandmoredramatic.
Getmoving
Movingtheimaget
oeyelevelcreatesthree
differentmarginwidths,soaframe
neverforms.Segmentingtheimagevertica
llymovestheeyedownthepage.
Bordersarestatic,sowh
atyouneedismovement.
(Above,left)Theimagea
teyelevelyieldsmorenatu-
ralviewingplusthreedi
fferentmarginwidthsnar-
row
(top),medium
(sides)andwide(bottom)which
eliminatesthebordereffect.Segmentingtheimage
incolumnscreatesactiv
itywithinitandmovesthe
eyedownthepage.
Aboveisoneimagedividedvertically.Youcanalsocreatea
collageoftwoorthreeimages(right).Mixandmatchcolors,
shapesandtexturesuntilyo
uhaveastrongcomposition.
Fromoneimageyou
canpullou
tthree
ormoreco
lumn-or
row-shape
dareas.
Thisisane
xcellent
technique
forusing
imagestha
thave
morethan
onearea
ofinterest,because
youcanpickthe
mostdesc
riptive
partsandeliminate
therest.
narrow
wide
med
med
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3of6
Simplyborderless0609
0609Simplyborderless
Strai
ght-round
Astraight,uppercase
typefacecontrasts
beautifullywiththe
roundlogo.Butsince
thepageandimage
arealsorectangular,
addingthisheavyblockwould
overw
helmthelightlogo(inset).
Coordinatethetype
Typestylesandsizesthatcorrespondtoelementsonthepagewillu
nifythedesign.
Similaritiesconvey
harmony;contrastscon
veyenergy.
Allround
Around,lowercase
type-
face(sameheight,simi-
larweight)mirrorsthe
roundlogo.Nowseenas
agroupoffourcircles,
thelinecontrastsbeauti-
fullywiththerectangularimage
and
givesthepagetwostrongshapes.
Alignmentsustainstheverticalmovement.Va
ryingmargins
Eye-levelplacement
resultsinthreedifferent
marginwidths,wh
ichadds
visualactivityand
keeps
marginsfromcon
necting
andformingafram
e.
Eyelevel
Aletter-sizep
ageis
aboutthesam
esizeas
thehumanhe
ad.Result:
Eyelevelisth
estrongest
andmostcom
fortable
placeforafocalpoint.
Makealandscape
Ahorizontalimage
canbequitelarge.Ithastheenergyofcontrastin
gdirection
andstill
appearsborderless
becauseofitsvaryingm
arginsandside-to-side
movement.
Sameproportions
Unifyima
geandpage
easilyby
usingthesame
proportio
nsforboth;just
rotate90
andreduce
toabout60%.
medium
wide
narrow
narrow
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Simplyborderless0609
0609Simplyborderless
Createafocalcen
ter
Asinglelineoftype
sustainsthehorizontalmovementandisapow
erfulandsophisticated
focal
point.Thesm
alllogocom
pletelycontrolstheopenspacearoundit.
Smallisdenitelypowerful.Here,thegalleryeffect
oneimagealoneon
awallisworkingtothema
x.
Thepagehastwoz
ones,darkandlight.Centered
ineachzoneisafo
calpointtheheadlineinone
ateyelevel,thelog
ointheother.Eachcontrolsits
space.Thissubtlet
reatmentisclassierandmore
effectivethanSHOUTINGyoohoo!forattention.
EPA
|2005
CaliforniaEstuariesReport
Keytotheheadlineisquietness.Onetype
-
faceinonelineatonesizebutdifferent
weights
yieldsabeautifullylow-keysetting.
E
PA
|2005
Cal
Heavy
Light
Lighton
dark
Darkon
light
Energizethepage
Cousintothelandscapeformatisthebann
er,anextremely
panora
micshape
whosetotalcontrasttothevertical
pagecreatesrealenerg
y.
ExtremecontrastsTall-wide,
fat-thin,up-down,side-to-side
Youl
lalmostalwaysbesurprised
byhowlittleittakestoconveythe
heartofanimage.Here,onethin
slice
showscoastline,inlet,estuar
-
iesa
ndwetanddrylandmasses.
Thatsthewholestory!
Dull
spaceThebeautyofthepanoram
icshape
istha
titssodifferentfromthepage.It
works
form
anyimages,butinthiscasewere
seeing
alittlemoreuninterestingspacethanw
edlike
(abov
e),sowellcropittohalfapage(b
elow).
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Simplyborderless0609
0609Simplyborderless
CaliforniaEstuariesReport2
005
ENV
IRONMENTAL
(Left)Border?Whatborder?There
isverylittle
onth
epagebutitsreallydesigned
;ithasa
stron
gfocalpointandalotofmov
ement.Both
text
andlogoarecoloredgraytorecede,leaving
theimagecenterstage.Theirregularleftedge
(right)keepsunwantedlinesfrom
forming.
Alignright
Withimageandtex
talignedtotherightandateyelevel,thewhitespacenormally
thoughtofasemptyiscontrollingthepage.Thisisaveryactive
d
esign.
Whatsizeshouldthetypebe,and
wheredoesitgo?
Work
withwhatsinfrontofyouandne
arby.Inthiscase,thepenisulasan
d
inlets
(above)becomeourrulersandgo
verntypesize,linespacingand
logos
ize.Thiscreatesvisiblerelationshipsthatunifythedesign.Similarly,
theextendedtypefaceechoesthehoriz
ontalshapeoftheimage.
ENVIRONMENTALPROTECTIONAGENCY
CaliforniaEstuariesReport2005
ENVIRONMENTALPROTECTIONAGENCY
CaliforniaE
stuariesR
eport2
005
Typ
efaces
1Tr
ajanBold|164pt
2TrajanRegular|46/47pt
3FuturaBook|160pt
4HelveticaCondensedLight|21pt
5HelveticaNeueHeavyExt|16pt
6HelveticaNeueLightExt|16pt
Images
7(a-b)Photos.com
Articleresources
Colors
C50M15Y55K20
8
3
ENV
IRONMENTALPROTECTIONAGENCY
CaliforniaEstuariesReport2005
486 7b
7a
EP
A|2005CaliforniaEstuariesReport
6 57a
EPA
200
5California
estuariesreport
17a2
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magazine.com
6of6
Simplyborderless0609
0609Simplyborderless
Before&Aftermag
azine
Before&Afterhasbee
nsharingitspracticalapproach
tographicdesignsince1990.Becauseourmodernworld
hasmadedesignersofusall(readyornot),Before&
Afterisdedicatedtom
akinggraphicdesignunderstand
-
able,usefulandevenfunforeveryone.
JohnMcWadePublis
herandcreativedirector
GayeMcWadeAssoc
iatepublisher
VincentPascualSta
ffdesigner
DexterMarkAbelle
raStaffdesigner
EditorialboardGwen
Amos,CarlWinther
Before&Aftermag
azine
323LincolnStreet,Roseville,CA95678
Telephone916-784-3880
Fax916-784-3995
E-mailmailbox@bama
gazine.com
wwwhttp://www.bam
agazine.com
Copyright2005Be
fore&Aftermagazine,ISSN
1049-0035.Allrights
reserved
Youmaypassthisarticlearound,butyoumaynotalter
it,andyoumaynotch
argeforit.Youmayquotebrief
sectionsforreview.Ifyoudothis,pleasecreditBefore
&Aftermagazine,and
letusknow.Tofeaturefree
Before&Afterarticles
onyourWebsite,pleasecontact
us.Forpermissiontoi
ncludeallorpartofthisarticlein
anotherwork,pleasecontactus.
SubscribetoBefore
&After
Did
youen
joythisartic
le?Subscribe,and
becomeamorecapable,condentdesigner
for
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Tolearnmore,goto
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e.com/Subscribe
E-mailthisarticle
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