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i U X

DesignTalk15

FourDesignIdeas
Label Envelope

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

No-Bleed Design

Tall Image, Wide Page


Guitar

Warp Tool

An Illustrated Guide to Getting the Best


Sound and Feel From Your Guitar

MARTIN BOWMAN

Continued

Design talk 0673

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2 of 11

i U X

Envelope Make a wraparound label


This intriguing variation of a standard mailing label wraps around to the back.

Front

The Parkers
719 Almond Lane
Elk Grove, CA
95624

Back

The Parkers
719 Almond Lane
Elk Grove, CA
95624

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

What a fun idea! This clever, wraparound label arrived in our mailbox affixed
to an invitation, and we were immediately smitten. Mailing and return addresses
are both on a single, artistic strip thats fun to design and efficient to print. Its
inexpensive, too, and ideal for use on colored envelopes.
Because its non-standard, the post office will not love you, so its probably best
for small-batch use like invitations in place of handwritten envelopesno massive,
corporate mailings, please. Our label was 6 3 4 x 112; size yours proportionately.
For artwork, try patterns, textures and even photos.

2 of 11

Make sure that the


backside tab and
return address are
very small to avoid
being mistaken for
the mailing address.

Design talk 0673

Before&After

Design talk

i U X

BAmagazine.com

3 of 11

Layout Designing without bleeds


Im working on a tight budget that wont allow bleeds, let alone color. I try to avoid
this, but should I just make a white border around the image? | Elijah Park
Before

After

Guitar
An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

Guitar
An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

Print area

Scale image to edge

Guitar
An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

MARTIN BOWMAN

MARTIN BOWMAN

MARTIN BOWMAN

Set guides

Place content inside

Create a smaller page If a narrow, unprinted margin doesnt suit your design
style, try this. Create a smaller, artificial page inside the real one, then extend your
photographic object beyond it. The wide margin no longer feels like a border (its
width disconnects it from the page), and the breakout object adds depth. For more
on designing without bleeds, see article 0609 (left).

3 of 11

Design talk 0673

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Design talk

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4 of 11

i U X

Image Tall image on a wide page | Page 1 of 2


Horizontal images fit horizontal slides perfectly. But what if I have a tall image and
want to go full screen? Can this be done without losing part of it? | Karen Vogel

Before

After

Cropping doesnt always work (Left) A vertical image can


often, but not always, be cropped horizontally. In this case, cropping not only loses the energy of the high-flying dancer, we
cant even tell what hes doing! Now what?

Soften the edge Fill the background with a color eye


droppered from the image, then feather the edges of the photo.
Its still a vertical image, but it now looks spotlighted, not just
pasted on. Note how much wider the slide looks.

4 of 11

Design talk 0673

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Design talk

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5 of 11

i U X

Page 2 of 2
Variation 1 | Sky-color gradient

Variation 2 | Blurred image

Different techniques
work with different
p
hotos. The thing
to remember is to
tie photo and background in some way,
usually with a common color.

Sample a color.

Apply a gradient.

Two-tone photo? Try


both colors.

Blur.

Scale to fit.

Paste original on top.

5 of 11

Design talk 0673

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Design talk

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6 of 11

i U X

Photoshop From flat to dimensional | Page 1 of 4


I have come across something which is of great interest to me. On the
first page of article 0652, you show a 3-D image of the booklet cover
and an open spread. How did you achieve the effect? | Georgi Kalchev

From flat . . .

. . . to dimensional

Article 0652 is about designing a panoramic booklet. For the article cover, we wanted to show
the physical booklet. Rather than show an actual printed piece, we chose to create an illusion
using Photoshop CS3s Warp tool. The cover above is slightly different from the one featured in
the article, but the steps are the same. Heres how we did it . . .

6 of 11

Design talk 0673

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7 of 11

Design talk

i U X

Page 2 of 4

Cover

A
C
B

(1) Make a template (A) In


your layout program, open a blank
page the size of your booklet
cover. Draw a grid of nine equal
parts, then print the page. (B) Place the print
on a flat surface (here, we used a large piece of
cardboard), and tape the binding side. (C) Trace it.
(D) Have someone lift the page to your desired
curl, so you can take a picture (inset).

(2) Open in Photoshop Open the picture in


Photoshop. Double-click the Background layer
to unlock it, name it Template, and click OK.
Next, bring in your cover image, and name its
layer Cover. Next, lower the covers opacity in
order to see the template grid below.

(3) Warp the cover image With


the cover layer selected, go to
Edit>Transform>Warp. Youll notice
that Photoshop has divided your
image into nine equal
parts (above). Position the covers grid
over the template by
clicking-dragging inside
a box, its corners, edges
and handles (right). Click
Enter to apply the warp.

7 of 11

Design talk 0673

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8 of 11

i U X

Page 3 of 4
Note the shadows
and staple

(4) Add the underlying page, and distort


Add a Temporary Background layer above the
Template layer, and fill with a gray background.
Paste the underlying page below the Cover layer.
Go to Edit>Transform>Distort. (Below) Using the
tracing from Step 1 as a guide, drag each corner.
Note: Youll have to eyeball the top-right corner.

(5) Add more pages To create the illusion of


additional pages, youll need to add thickness to
the booklet. Add a More Pages layer below the
Underlying Page layer. Using the Pencil tool (below),
draw multi-colored lines, and position as shown.

Draw multi-colored lines

Position underneath

(6) Add a shadow between the two pages


Create a new layer above the Underlying Page
layer. With black as the foreground color, select
a large soft brush, and draw an angled shadow
as shown below. Next, Option-Click (PC: ControlClick) to mask the shadow.

Option-Click between
the two layers

8 of 11

Design talk 0673

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9 of 11

Design talk

i U X

Page 4 of 4
Spread

Move down
and over.

(1) Open your spread in Photoshop Double-click the Background


layer to unlock it, name it Master Spread, and click OK. Go to Image>
Canvas Size, and increase the height and width as shown above. Using
the Rectangular Marquee Tool (above), click-drag to make a selection . . .

. . . . over the right page. Duplicate this page (Layer>New>Layer), and


name it Right Page. (2) Distort the page Add a Temporary Background layer (above). Next, go to Edit>Transform>Distort. Grab the
two right corners, and move down and over as shown above.

A
35%

45%

D
35%
A
B
C
D
A

5%

(3) Add shadows On separate layers,


youll need to create shadows A, B, C
and D as shown above. (Left) Note that
the spine shadow (A) is duplicated
one goes above the Right Page layer,
and one goes below.

(4) Mask the shadows One by one,


where all four arrows are pointing (left),
Option-Click (PC: Control-Click) to mask
the shadows. Reduce the shadows
opacity to the percentages shown above.

9 of 11

Design talk 0673

Before&After

Design talk

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10 of 11

i U X

Article resources

Typefaces
9

Guitar

An Illustrated Guide to Getting the Best


Sound and Feel From Your Guitar

10

1 Luxury Royale JF | 170 pt


2 (ab) Futura Medium | a) 17.5/25 pt
b) 17.5 pt

C30 M30 Y30 K100

10 C0 M0 Y0 K55

3 ITC Franklin Gothic Book Condensed


9.8/14.5 pt

2a

Colors

4 Utopia Regular | 12/16.5 pt

5
Images
Images: iStockphoto.com
7

MARTIN BOWMAN

2b

5 (255532)
6 (4417809)
7 (3542258)
8 (5479457)

3
The Parkers
719 Almond Lane
Elk Grove, CA
95624

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

4
8

10 of 11

Design talk 0673

Before&After

Design talk

11 of 11

Subscribe to Before & After


Subscribe to Before & After, and become a
more capable, confident designer for pennies
per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this article
To pass along a free copy of this article to
others, click here.
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
http://www.bamagazine.com/email

BAmagazine.com

i U X

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 understandable, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Dexter Mark Abellera Staff designer
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail mailbox@bamagazine.com
www http://www.bamagazine.com
Copyright 2008 Before & After magazine
ISSN 1049-0035. All rights reserved
You may pass along a free copy of this article to others
by clicking here. You may not alter this article, and you
may not charge for it. You may quote brief sections
for review; please credit Before & After magazine, and
let us know. To link Before & After magazine to your
Web site, use this URL: http://www.bamagazine.com.
For all other permissions, please contact us.

11 of 11| Printing formats

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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


Print: (Specify pages 111)

For paper-saver format


Print: (Specify pages 1318)

Print
Format: Landscape
Page Size: Fit to Page

Save
Presentation format or
Paper-saver format

Back| Paper-saver format

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DesignTalk15

2 of 11

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

Warp Tool

BAmagazine.com

Continued

BAmagazine.com

Tall Image, Wide Page


An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

Guitar
MARTIN BOWMAN

Back

i U X

Design talk

0673

Design Talk 15: Four Design Ideas 0673


0673
Design talk
2 of 11

Make sure that the


backside tab and
return address are
very small to avoid
being mistaken for
the mailing address.

The Parkers
719 Almond Lane
Elk Grove, CA
95624

i U X

FourDesignIdeas
Label Envelope

Front

1 of 6

Before&After | www.bamagazine.com

What a fun idea! This clever, wraparound label arrived in our mailbox afxed
to an invitation, and we were immediately smitten. Mailing and return addresses
are both on a single, artistic strip thats fun to design and efcient to print. Its
inexpensive, too, and ideal for use on colored envelopes.
Because its non-standard, the post ofce will not love you, so its probably best
for small-batch use like invitations in place of handwritten envelopesno massive,
corporate mailings, please. Our label was 6 3 4 x 112; size yours proportionately.
For artwork, try patterns, textures and even photos.

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

This intriguing variation of a standard mailing label wraps around to the back.

Envelope Make a wraparound label

Design talk

No-Bleed Design

Before&After

The Parkers
719 Almond Lane
Elk Grove, CA
95624

0673 Design Talk 15: Four Design Ideas

Before&After

Before

Before&After

Design talk

3 of 11

Layout Designing without bleeds

After

Guitar
An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

MARTIN BOWMAN

BAmagazine.com

3 of 11

i U X

Scale image to edge

An Illustrated Guide to Getting the Best


Sound and Feel From Your Guitar

Guitar
MARTIN BOWMAN

Design talk

i U X

Place content inside

BAmagazine.com

Set guides

Print area

Im working on a tight budget that wont allow bleeds, let alone color. I try to avoid
this, but should I just make a white border around the image? | Elijah Park

Guitar
An Illustrated Guide to Getting the Best
Sound and Feel From Your Guitar

MARTIN BOWMAN

4 of 11

Create a smaller page If a narrow, unprinted margin doesnt suit your design
style, try this. Create a smaller, articial page inside the real one, then extend your
photographic object beyond it. The wide margin no longer feels like a border (its
width disconnects it from the page), and the breakout object adds depth. For more
on designing without bleeds, see article 0609 (left).

Design talk

Image Tall image on a wide page | Page 1 of 2

After

Horizontal images t horizontal slides perfectly. But what if I have a tall image and
want to go full screen? Can this be done without losing part of it? | Karen Vogel

Before

0673

Design Talk 15: Four Design Ideas 0673


0673
Design talk
4 of 11

Soften the edge Fill the background with a color eyedroppered from the image, then feather the edges of the photo.
Its still a vertical image, but it now looks spotlighted, not just
pasted on. Note how much wider the slide looks.

2 of 6

Before&After | www.bamagazine.com

Cropping doesnt always work (Left) A vertical image can


often, but not always, be cropped horizontally. In this case, cropping not only loses the energy of the high-ying dancer, we
cant even tell what hes doing! Now what?

0673 Design Talk 15: Four Design Ideas

Before&After

Different techniques
work with different
photos. The thing
to remember is to
tie photo and background in some way,
usually with a common color.

Design talk

Page 2 of 2

5 of 11

Variation 1 | Sky-color gradient

6 of 11

Apply a gradient.

Design talk

Sample a color.

Before&After

Two-tone photo? Try


both colors.

Scale to t.

i U X

Design talk

i U X

Paste original on top.

BAmagazine.com

5 of 11

BAmagazine.com

Variation 2 | Blurred image

Blur.

Photoshop From at to dimensional | Page 1 of 4

3 of 6

Before&After | www.bamagazine.com

0673

Design Talk 15: Four Design Ideas 0673


0673
Design talk
6 of 11

Article 0652 is about designing a panoramic booklet. For the article cover, we wanted to show
the physical booklet. Rather than show an actual printed piece, we chose to create an illusion
using Photoshop CS3s Warp tool. The cover above is slightly different from the one featured in
the article, but the steps are the same. Heres how we did it . . .

. . . to dimensional

I have come across something which is of great interest to me. On the


rst page of article 0652, you show a 3-D image of the booklet cover
and an open spread. How did you achieve the effect? | Georgi Kalchev

From at . . .

0673 Design Talk 15: Four Design Ideas

Before&After

Cover

Design talk

Page 2 of 4

Design talk

7 of 11

8 of 11

(1) Make a template (A) In


your layout program, open a blank
page the size of your booklet
cover. Draw a grid of nine equal
parts, then print the page. (B) Place the print
on a at surface (here, we used a large piece of
cardboard), and tape the binding side. (C) Trace it.
(D) Have someone lift the page to your desired
curl, so you can take a picture (inset).

Before&After

Page 3 of 4

(4) Add the underlying page, and distort


Add a Temporary Background layer above the
Template layer, and ll with a gray background.
Paste the underlying page below the Cover layer.
Go to Edit>Transform>Distort. (Below) Using the
tracing from Step 1 as a guide, drag each corner.
Note: Youll have to eyeball the top-right corner.

0673 Design Talk 15: Four Design Ideas

(2) Open in Photoshop Open the picture in


Photoshop. Double-click the Background layer
to unlock it, name it Template, and click OK.
Next, bring in your cover image, and name its
layer Cover. Next, lower the covers opacity in
order to see the template grid below.

Position underneath

(5) Add more pages To create the illusion of


additional pages, youll need to add thickness to
the booklet. Add a More Pages layer below the
Underlying Page layer. Using the Pencil tool (below),
draw multi-colored lines, and position as shown.

Draw multi-colored lines

4 of 6

Before&After | www.bamagazine.com

BAmagazine.com

i U X

Design talk

i U X

(3) Warp the cover image With


the cover layer selected, go to
Edit>Transform>Warp. Youll notice
that Photoshop has divided your
image into nine equal
parts (above). Position the covers grid
over the template by
clicking-dragging inside
a box, its corners, edges
and handles (right). Click
Enter to apply the warp.

7 of 11

BAmagazine.com

Note the shadows


and staple

(6) Add a shadow between the two pages


Create a new layer above the Underlying Page
layer. With black as the foreground color, select
a large soft brush, and draw an angled shadow
as shown below. Next, Option-Click (PC: ControlClick) to mask the shadow.

Option-Click between
the two layers

0673

Design Talk 15: Four Design Ideas 0673


0673
Design talk
8 of 11

Design talk

Page 4 of 4

Design talk

9 of 11

10 of 11

(3) Add shadows On separate layers,


youll need to create shadows A, B, C
and D as shown above. (Left) Note that
the spine shadow (A) is duplicated
one goes above the Right Page layer,
and one goes below.

(1) Open your spread in Photoshop Double-click the Background


layer to unlock it, name it Master Spread, and click OK. Go to Image>
Canvas Size, and increase the height and width as shown above. Using
the Rectangular Marquee Tool (above), click-drag to make a selection . . .

Spread

Before&After

A
B
C
D
A

Before&After

9
10
1
2a
5

2b

3
4
8

35%

BAmagazine.com

35%

9 of 11

Colors
9

i U X

0673

Move down
and over.

45%

Design talk

i U X

Design Talk
0673
Design talk
10 of 11 15: Four Design Ideas0673

10 C0 M0 Y0 K55

C30 M30 Y30 K100

BAmagazine.com

(4) Mask the shadows One by one,


where all four arrows are pointing (left),
Option-Click (PC: Control-Click) to mask
the shadows. Reduce the shadows
opacity to the percentages shown above.

5%

. . . . over the right page. Duplicate this page (Layer>New>Layer), and


name it Right Page. (2) Distort the page Add a Temporary Background layer (above). Next, go to Edit>Transform>Distort. Grab the
two right corners, and move down and over as shown above.

Typefaces
1 Luxury Royale JF | 170 pt
2 (ab) Futura Medium | a) 17.5/25 pt
b) 17.5 pt
3 ITC Franklin Gothic Book Condensed
9.8/14.5 pt
4 Utopia Regular | 12/16.5 pt

Images
Images: iStockphoto.com
5 (255532)
6 (4417809)
8 (5479457)

7 (3542258)

5 of 6

Before&After | www.bamagazine.com

Guitar

Mike & Judy Smith


74925 Chatterly Road
Columbus, OH 43215

MARTIN BOWMAN

An Illustrated Guide to Getting the Best


Sound and Feel From Your Guitar

Article resources

The Parkers
719 Almond Lane
Elk Grove, CA
95624

0673 Design Talk 15: Four Design Ideas

Before&After
Design talk

11 of 11

Subscribe to Before & After


Subscribe to Before & After, and become a
more capable, condent designer for pennies
per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this article
To 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
they become available, go to

6 of 6

BAmagazine.com

i U X

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 understandable, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Dexter Mark Abellera Staff designer
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail mailbox@bamagazine.com
www http://www.bamagazine.com
Copyright 2008 Before & After magazine
ISSN 1049-0035. All rights reserved

11 of 11

Design talk

0673

Design Talk 15: Four Design Ideas 0673

Printing formats

You may pass along a free copy of this article to others


by clicking here. You may not alter this article, and you
may not charge for it. You may quote brief sections
for review; please credit Before & After magazine, and
let us know. To link Before & After magazine to your
Web site, use this URL: http://www.bamagazine.com.
For all other permissions, please contact us.

Before&After | www.bamagazine.com

http://www.bamagazine.com/email

0673 Design Talk 15: Four Design Ideas