Before and After 0617

Before&After
Continued
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How to look real 0617
Set the stage with authentic visual cues.
Continued
How to
look real
2 of 11
Before&After
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The Kentucky Mine Summer Concert Series
in the Sierra Nevada mountains is low-budget
entertainment under the stars. From a small
stage beneath 150-foot pines, the rousing
sounds of bluegrass, balladeers
and folk singers mingle with the
sweet fragrance of summer in
the forest. Its a great time.
Problem is, the Web banner
promoting all this conveys
none of it. Its well-crafted and tidy (right), but
thats whats wrong. Its neat lines and smooth
surfaces project no energy, no musicality and
no sense of place. Thats because the designer
was thinking layout and missed the event.
Heres how to get all of that good stuff in.
How to look real
Before designing, check out the party! Heres how to transform a dull layout
into an energetic expression of the real event.
Before
Wheres the party?
The black hat hints at the country-western theme of the summer
concerts, but nothings happening; the lines are too straight, the
type is too static and the space is too empty to convey the rollick-
ing, banjo-twanging, foot-stomping energy of the real thing.
SUMMER
CONCERT
SERIES
Foot stompin fun!
Every Friday, 8 p.m. July 1 thru August 5
KENTUCKY MINE AMPHITHEATER
Before&After How to look real 3 of 11 X i
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3 of 11 How to look real 0617
Sleek and smooth country?
The before is crafted well enough.
It has a focal point, harmonious colors,
consistent use of type, and things are
neatly aligned. But the result is lifeless.
Thats because it doesnt express the
subject. Smooth surfaces and straight
lines, for example, are elements of urban
boardrooms (left), not the mountain out-
doors (above). The banner mixes other visual signals:
Color felds are fat and smooth.
Top bar is mechanical, and its type is reversed.
Color palette is made up, not based on the real scene.
The real outdoors has rocks, trees, wooden buildings,
wagon wheels and dirt, all gritty, weathered and rough.
Old-West printing had no fancy reverses.
Old paper has color and texture.
It was designed by the book
The designer of this ad was unfamiliar with the event and so made a common mistake
he designed from his imagination. Such results will almost always look artifcial.
Inauthentic elements
Positive-negative color felds
Straight edges and sharp corners
Contemporary color palette
SUM-
KENTUCKY MINE AMPHI-
Before
Reversed type is inauthentic. Old printing was always dark on light.
SUMMER
CONCERT
SERIES
Foot stompin fun!
BAmagazine.com
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SUMMER
Half serifs Cupped
feet
Smooth
edges
Full serifs
Dips
The type is static, and the space is too passive
Usherwood Black has designed-in quirks, but the effect looks polished and synthetic.
The black hat has no owner, and music is nowhere in sight.
(Above) Quirky ITC Usherwood Black is an appeal-
ing type choice for several reasons, one of which
are the unique half serifs on its Ms and Ns.
Although its characters are full of the irregularities
one might see in old, wooden type, the edges are
sharp and its overall line strong and uniform. The
result: Usherwood looks designed and not authen-
tically old.
Before
Wheres the music? The hat is the
focal point, and the read breezeour
natural left-to-right drift across a page
reinforces its position (the eye moves
towards it), but its a passive image that
conveys neither forest nor music nor
party. The result is a disconnect between
image and message.
SUMMER
CONCERT
SERIES
Foot stompin fun!
BAmagazine.com
U
Its time to start over
To convey the real event, we need authentic visual cues real objects, real colors, real
textures. And because its a party, we need something surprisingless space.
Before
After
Space, texture, object
A small room jammed with people makes a party; a big,
empty room does not. So the frst step is to get rid of the
excess space. Shrink the banner size, in this case to 65%.
Lose the smooth. A backdrop of weathered parchment
adds texture, dimension and ambiance.
Lose the hat. A banjo (right) instantly conveys not only
music but a particular favor of music.
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The perfect rustic types
The correct typefaces will look real, not designed, like theyve been around since the
gold rush. And to really crowd the room, the headline typeface must be massive.
SUMMER CONCERT
Poplar Standard Black
Poplar is a recent design based on an 1830s original. Its
massive and powerful because it has almost no interior
white space, and its quirky like old wooden type would
beuneven, unrefned, irregular. Its only drawback: at
small sizes (left), its density makes it hard to read.
Irregular
Fat body, stubby arm
Slit-like counters
Tiny negative spaces
Rosewood Fill (above) makes an
excellent companion typeface for
use in small sizes. Like Poplar, it has
quirky letters of unpredictable width,
odd serifs, stubby arms (E and F) and
irregular stroke weights. The differ-
ence: It has lots of open space, which
is why its readable when small.
every friday
Authentic colors come
from the real world. Left,
earth tones complement
the paper and express
the event perfectly.
KENTUCKY
What goes with brown?
Analogous (adjacent)
colors always harmonize;
here, brick red adds heat.
Stubby, bulbous foot Funky, slab-like aperture Massive positive forms
Use the eyedropper.
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U
High-energy composition
With background and image in handthe event is beginning to look realits time to
arrange the space for party energy. To do this, think mass, silhouette and angle.
After
Angles convey energy Angles are inherently
unstable, which makes them ideal for conveying
tension and excitement. Also, the nearer some-
thing is, the more presence it exerts. So what we
want to do here is place the banjo at an angle and
as close to the viewer (big) as possible, leaving
just enough room to squeeze in the words.
To quickly fnd the right size, think in extremes.
Here, the tiny banjo fts the space without
cropping, but its indistinct and lacks energy.
Giant size is daring and has in-your-face pres-
ence, but in this case its too bigit would put
the focus on the banjo, not the event.
A fuller silhouette at the angle its played is just
right. Tension is amplifed by its midair position
facing back against the fow of the ad.
Tiny Giant Just right
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Add the words
Make the type as big as possible, leaving only enough room for the modulation and
pauses of real speech. You want the words to make some noise!
After
Type should never just be placed, no matter how
neatly. Type is living speech made visible. As you
add the words, use differences in typeface, size,
color and position to mimic natural speech, which
modulates from high to low, loud to soft, and
includes pauses. But crowd it by removing excess
space from between words and lines.
Massive presence Set in one size and style,
the words are impossible to miss but unnatural.
Without differences in size and style, there is no
voice modulation or hierarchy of information.
Clear hierarchy Simple size difference sepa-
rates two thoughts. Because of its importance,
the smaller line has the higher position. Long
lines, though, are skinny and lose impact.
Squeeze in the rest Wrapped line regains
its weight. Dates and times are stacked tightly
in a more readable typeface and shoved into
the open space, resulting in a massive block.
SUMMER CONCERT SERIES
EVERY FRIDAY, 8 P.M. JULY 1
THRU AUGUST 5
SUMMER CONCERT
SERIES
everyfriday, 8p.m.
July1thruAugust 5
SUMMER CONCERT SERIES
SUMMER CONCERT
SERIES
every friday, 8 p.m.
July 1 thru August 5
BAmagazine.com
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SUMMER CONCERT
SERIES
Finish and repeat
Foot stompin fun! a character linecompletes the energetic setting. The fnal task
is to repeat the process in smaller ads of different proportions.
After
Foot stompin fun! is a character line set to match
the dates and times; the two similar blocks now
bookend the main copy. Colored black, the small
Kentucky Mine Amphitheater gains strength
against the larger words in brown. The T tucked
just beneath the banjo amplifes the depth.
FOOT STOMPIN FUN!
Design a campaign Different venues require different
formats. Key to repeating the ad in other sizes and shapes
is to dance with the gal what brung yathis is not the
place for a new design or different graphics. Repeat the
parchment, banjo, typefaces, colors and the crowded
room layout. Retain the colors and hierarchies. Focus on
look and feel instead of slavishly repeating measurements.
For example, you want the banjo big and at an angle, the
type massive, the space full. Note that to ft the space,
the banjo has had to move around. Here you can see that
playing position (top) conveys more energy than the
upright, resting position (left).
576 x 190 px
190 x 95 px
144 x 235 px
SUMMER
CONCERT
SERIES
KENTUCKY MINE
AMPHITHEATER
EveryFriday,8p.m.
July1 thru
August 5
footstompin fun!
SUMMER CONCERT
SERIES
Every Fridayat 8p.m.
July1August 5
Foot stompin fun!
Before&After
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How to look real 10 of 11
SUMMER
CONCERT
SERIES
SUMMER CONCERT
SERIES
Foot stompin fun!
Typefaces
1 (ab) Poplar Std Black | a) 25/48.5 pt,
b) 65.25/48.5 pt
2 (ab) Rosewood Std Fill | a) 18/48.5 pt,
b) 25/21 pt
3 ITC Usherwood Black
Images
4 (ag) iStockphoto.com | a b c
d e f g
5 David John and the Comstock
Cowboys
www.comstockcowboys.com
Article resources
Colors
C0 M65 Y100 K75
C20 M90 Y100 K10
C25 M15 Y60 K30
6
7
6 7
1a
1b
2a
2b
4b 4c
4d 4e 4f
4a
5
3
8
8
4g
Before&After
11 of 11 | Printing formats
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How to look real 11 of 11 How to look real 11 of 11
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
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Telephone 916-784-3880
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