Before And After Magazine 0607 Design A Second Page.pdf

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Before&After
®
BAmagazine.com
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U
X
second page
Seashells
Hawaiian Co
llection
How to design a
You’ve designed a beautiful
outside. How do you follow it
up inside? Simply.
Continued
Continued
How to design a second page
0607
Before&After
®
BAmagazine.com
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How to design a second page
You’ve designed a beautiful outside. How do you follow it up inside? Simply.
Outside
Outsides have insides. Once you’ve
designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
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
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
seashell’s position defines the margins containing the type.
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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 viewer’s
pleasure and learning
he
ba
s
is
th
a
t
th
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
e
u
ser
may
use
t
he
images
in
whole
or
i
al
res
for
pt
ce
t
ex
n
par
r
i
e
o
n
st
di
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.
rib
ut
Hierarchy
Make type and other graphics secondary to
the focal point. To do this, center the layout—which moves
the eye down the page in a straight line (above left)—and
make the type recede: Set it small (smaller than you’d
think), and color it gray (above right) or a light tint of the
image itself. The result is a handsome,
minimalist
look.
io
n
of
t
the
co
lle
io
ect
coll
This
ctio
n
its
elf
ed
on
ns
ce
s
li
n
i
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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 rock—and you’ll create a beautiful contrast of far and near.
B T
N F
American Wildlands Conservation Program
American Wildlands
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Al
l
R
American Wildlands
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
igh
ts
R
ese
rve
d.
Unau
thorized
duplication
is
a
p
of
a
tion
viola
ble
ca
pli
s.
law
American Wildlands
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Al
l
R
igh
ts
R
ese
rve
d.
Unau
thorized
duplication
f
ap
n
o
latio
i
s
a
vi
o
ble
ca
pli
s.
law
Al
l
R
igh
ts
R
ese
rve
d.
Unau
tion
thorized
viola
duplication
is
a
of
ble
lica
a
pp
s.
law
A forest is vast, panoramic and dis-
tant. A small object brings it close,
puts it at human scale, makes it
touchable. Below, simple alignment
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.
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Lift out one piece
Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the “key” inside—a single square lifted out and enlarged.
The Art College
of Washington
Spokane
A door of opportunity awaits you
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
fun is that you can hide your message on the cover and
then reveal it inside.
It’s the only image with a key,
appropriately tying it to the mes-
sage, “Unlock your imagination.”
Tint the type color to
blend with the image.
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