Print Issue 02

Vol. 1 No.
2 1990
TM
How to design cool stuff
BRIGHT, SIMPLE CHARTS

The best charts are the easy ones. Youll see.
1
2
3
4
5
PAGE MAKEOVER: A VERSATILE, ASYMMETRICAL LAYOUT LEADS THE EYE
HOW TO SET A PERFECT PARAGRAPH OF TYPE FOLDING BROCHURE WITH
CLEVER, PEEKABOO PANELS A FALSE EMBOSS ADDS SUBTLE GLAMOUR
Story titles above are set in Franklin Gothic Extra Condensed. Note they are separated by color only, an effect thats also very nice in shades of gray. Did you notice the three lines t perfectly, as does this caption?
THE MAILBOX
Dear Mr. McWade:

In Type: The Visible Voice, you mixed
serif fonts [Times and Century Oldstyle],
which they say youre not supposed to do,
but which I thought looked OK, like you said.
Ive also heard that sans-serif text is hard to
read, yet it looks all right to me and Id like
to use it. Whats your advice?
Peter Ellison
Fort Worth, TX
Do it. You said something great: It looks
all right to you. You must trust your own
eyes; youll never design anything interesting if you do only what they say.
E E
Serif
Sans (without) serif
Sans-serif text reads very well. In

Sweden, where sans-serif text is used
for everything including schoolbooks, it
tests faster than serif text.
The American reader is accustomed
to serifs and to text set between 9 and
11 points, which is what most books,
magazines and newspapers use.
Proceed with this knowledge. But
also know that beautiful type makes a
statement of its own; it adds elegance
and an attitude to your words, qualities
which are more certain than a questionable edge in timed reading speed.
ZAT?!
Greeking
The babble on the right is greeking or dummy
copy, a galley of very useful nonsense. Greeking
simulates English. A designer uses it to mock
up, or lay out pages before the real words are
ready. Greeking appears to most people to be
Latin. It is not. Letraset calls it body type and
sells it in the form of cut-out-and-press-on lm
for those who use caveman tools. I just type it.
Dear Mr. McWade:

While you use PageMaker and FreeHand
(I assume on a Mac), Im limited to PageMaker on a PC and Micrografx Designer. In
future issues, could you subtitle various
steps for other illustration programs?
Richard Lowell
Norfolk, VA
Id love to . . . but. There are so many
excellent programs in use that if I
subtitled steps for each of them the instructions would be cumbersome and
inefcient. Since Before & After is primarily about design and page layout,
not software, I elected to use one set of
software from a single vendorAldus.
Dear Mr. McWade:
I have had no formal training in art or
advertising and need help with the basics.
Patsy Moyer
Fresno, CA
If you want to design cool stuff, my best
advice is look around and look closely.
I learned my design skills on the
street. It is an excellent school. The
best-read, best-looking, most efciently
produced publications come from editors, designers and businesspeople in
real companies whose skills and success
are graded in the marketplace rather
than the classroom. This means that the
magazines on your supermarket news-
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stand are the winners, not the pretenders. Study them. I nd inspiration for
designs of all kinds in womens magazines such as Family Circle, Ladies
Home Journal and Redbook. Each is
full of visual variety, each accomplishes
a great deal in small spaces, and with
their mastery of contrast and pacing
theyre models of how to draw and hold
a readers interest. Observe the details:
an initial capital letter, a subhead, a byline, a box, a bit of empty space. Instead
of reading, pay attention to whats happening typographically. Examine how a
photo ts its space, its size, how its
cropped, what its aligned with. Note
the size of that headline, its font, how it
contrasts with the text, the width of a
column, and so on. Youll be pleased at
how much you can pick up by osmosis.
Dear Mr. McWade:
Sixteen pages make a skinny magazine.
Do you plan on more?
Susan Donahue
Dallas, TX
Your perception was a risk I took in
making Before & After look like a magazine. In fact, it is a professional newsletter: It delivers a tightly focused product of commercial value to a professional
reader, it carries no advertising and it is
available by subscription onlyits sole
source of revenue. Even at 16 pages it is
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False emboss adds subtle

glamour inexpensively
exceptionally difcult to do. Nevertheless, the response has been sensational;

as we are able to add pages, we will.
Dear Mr. McWade:
I have only a laser printer and no color.
Are there special design rules for that?
Dennis R. ODell
Buffalo, NY
Always work to the strengths of the
equipment at hand. A laser printer sets
a sharp, black image but marginal
shades that look dirty if reproduced. It
doesnt handle photographs well. Large
type is very strong, but small type is
ragged. Its best features are drawn objects, lines and reasonably large text.
Two pointers: One, dont decorate.
For example, dont use a line unless it is
to separate information that would be
unclear otherwise. Two, keep it simple.
A crisp, condent typewritten page (the
old kind) could hardly be simpler yet it
makes an absolutely businesslike statement; it is a classic model.
Test yourself with this: Create a
document with one typeface; say, Times
Romanno italics, no bold, just Times.
Observe the font. What is it like set very
large, or with extra space between letters? Set a word in uppercase letters
but smaller than normal. Add space
between those. Try writing two-word
headlines. Youll enjoy learning.
Questions? Contributions? Address letters to

John McWade, Before & After, 1830 Sierra
Gardens Drive, Suite 30, Roseville, CA 95661.
Do you realize
that in the past two weeks
a billion dollars in advertising
has passed your eyes and ears and
you havent even noticed? Yet
youre now reading the tiny text on
this white ball. Do you know why?
Hmm, since youre here,
I have this bridge . . .
Xamplex
Industries
1999
Annual
Report
Embossing is the process of pressing
an image in relief into a sheet of
paper. The relief may be printed or
left blind, meaning unprinted. Embossing is an complicated operation
ordinarily reserved for those nosein-the-air jobs on ice-slick paper.
This clever alternative is easy as
pie to do with any software that will
shade type or graphic objects (Free-
Hand 2.02 or PageMaker with Color

Extension). Although a real emboss
is normally raised, with software you
can create the illusion of a depression, as well. As you work, bear in
mind that the eye perceives light as
coming from above, which is why the
sample graphic appears to sit in a depression. Turn it upside down, cover
the words and it will appear raised.
Xam
Xam Xam Xam
1. TYPE
Open PageMaker or
FreeHand and type a
word. Tint 30% black.
2. CREATE SHADOW SIDE

Copy. Paste; tint 60%
black. Copy again (for
later). Position just . . .
3. POSITION
. . . slightly left and down
from the original. Send
to back.
Xam
Xm
a
Xam Xam Xam
4. PASTE LIGHT SIDE
Paste again. Move new
word into position
slightly up and to the . . .
Xam
5. POSITION
. . . right (the image is
still dark so you can see
where youre putting it).
6. REVERSE
Reverse type (it will disappear). Send to back (you
may have to grope for it).
7. DRAW BACKGROUND BOX AND . . .

Fill to match middle tone (30%). Send to back and
youre done. Now experiment. Move the light source.
Color the central word (a printed emboss). And try
this: Reposition and/or retint the same objects to
make the light appear to come from behind, as if the
image were on glass! Send me your results.
BEFORE & AFTER PAGE MAKEOVER
Clean, asymmetrical layout

leads the eye
PAGE 1 AFTER
C. J. Weigand wanted an asymmetrical look for his newsletter, a departure from the stock, three-column, desktoppublished page. Hed use most of his page for text, and the
empty column, set to the inside, would be reserved for pictures, captions, callouts, and miscellaneous information.
His idea was good; the results were disappointingyet
the makeover, he said, was the look hed had in mind.
But had he come close? Well, see for yourself:
THE WORKING NEWSLETTER FOR

DESKTOP PUBLISHERS
Outlook for the 1990s:

The Race for New Standards
PAGE 1 BEFORE
Issue Number 4
Who is this man? The

article is about the frenetic pace of computer
development in the
90s, but the designer
probably saw the word
Race and used clip art
to picture it. It was a
mistake. A useful illustration would have supported the article with
additional information;
for example, a timeline
which showed the overwhelming pace of innovation in the 80s.
January 1990
Outlook for the 1990sThe Race for New Standards!
IN THIS ISSUE:
News and Views ........... 2
Refilling Empty Toner
Cartridges .................... 3
Preparing Text Files
For Service Bureaus ..... 5
Using Adobe
Streamline ................... 7
Hints, Tips, &
Techniques .................. 8
Cropping Illustrations
For Impact ................. 10
Pair KerningWhats
It All About? .............. 15
The new decade promises

exciting advances in desktop
computing, with the possibility
of several breakthrough
products setting new standards.
Companies that successfully
develop and implement new
standards stand to reap huge
financial rewards, so the race
for technological leadership is
intense. Competition among
the giants rages fiercely at times
(sometimes at the expense of
the consumer), and the game
often is played under no-holdsbarred rules.
In the font arena, for example, Apple recently severed
ties with long-time ally Adobe
and announced Royal, a new
outline-font scheme they hope
will replace Adobes PostScript
standard. Apple, in fact, may
produce a worthwhile and competitive product, but they run
the risk of alienating a large
segment of their installed customer base, those whom they
encouraged earlier to invest extensively in expensive PostScript technology.
Adobe, for their part, is battling back with innovative
products like ATM (Adobe
Type Manager), and a promise
to unveil their proprietary fonthinting routines to third-party
vendors. Microsoft has joined
with Apple, but Big Blue has
yet to make a final committment. IBMs choice of a
font technology could deter-
mine the overall outcome of the

standards battle because of the
enormous buying power of legions of loyal PC users under
their dominion.
As we roll into the 1990s,
various competing platforms
are beginning to look alike. For
example, entrenched IBM advocates soon will be upgrading
to Windows 3.0, a revision that
brings to PCs many of the most
envied graphical-interface niceties of the Macintosh (the
much heralded OS-2, on the
other hand, failing to gain wide
acceptance, soon may die an
unsung death). Gaining momentum quietly in the background is Display PostScript, a
dark horse that, because of
NeXT, still has a shot at the title.
If this apparent convergence
toward a common graphical interface continues, your buying
choices soon may be based on
the availability and performance of task-specific software
instead of the hardware on
which it must run.
The new decade also will see
continued unheaval in the fastchanging peripherals market.
CD-ROM vendors are silently
praying CD-ROM sales pick up
before prices of read-write optical disks decline to more inviting levels. Both kinds of drives,
however, may become obsolete
quickly if an alternate technology, like the laser card (a highdensity, compact credit-card-
size storage medium), becomes

popular. Before long, futuristic
storage devices still on todays
drawing boards could make todays hard disks resemble prehistoric artifacts.
Over the next few years
youll also see artificial intelligence (AI) tools finally make
their way into popular pagemakeup programs. Groupware
applications, especially, will
benefit as AI tools help to standardize final document output,
regardless of how complex the
production cycle or how many
individuals are involved in the
editing process. By the end of
the decade, almost every publishing program of note will incorporate some degree of AI
assistance.
This is but a tiny preview of
whats yet to come. As new
standards emerge, many old
ones will continue to hold sway,
especially where users have a
substantial investment in the
current technology. As a working desktop publisher, youll be
faced with an ever-increasing
array of difficult and often conflicting choices from vendors
who may not fully appreciate
your production needs. Fortunately, though, the buying decisions you make will determine
which standards survive, and
which get discarded. Choose
wisely, and well all benefit.
The Weigand Report
ISSUE NUMBER 4 / JANUARY 1990

News and Views ................................................................................ 2
Relling Empty Toner Cartridges ................................................... 3
Preparing Text Files for Service Bureaus ......................................... 5
Using Adobe Streamline ................................................................... 7
Hints, Tips & Techniques ................................................................ 8
Cropping Illustrations for Impact .................................................. 10
Pair Kerning: Whats it All About? ................................................ 15
CJW
The WEIGAND Report 1
A picture used as a
space ller may get by
the boss, but its value
to the reader is zero.
Columns of justied
text dene their own
space; column rules
are unnecessary.
TheWeigand Report
DESKTOP PUBLISHERS
Issue Number 4
January 1990
Outlook for the 1990sThe Race for New Standards!
Typefont faux pas

Unlike other graphics, a typefont speaks English, so its
shape, size and position on the page exert covert and
inescapable inuence on the mind of the reader.
The reader will respond to a word set in dense bold
type differently than to the same word set in a light face,
or, say, a condensed face. Each variation makes a unique
statement. Here, The Weigand Report nameplate should
send a unied message, yet it has been set in two fonts,
four sizes, on four baselines in at least seven variations.
So while the reader understands the English, the unspoken messages clash, contradict and weaken the page.
envied graphical-interface niceties of the Macintosh (the much heralded OS-2, on the other hand,
failing to gain wide acceptance, may die an unsung
death). Gaining momentum in the background is
Display PostScript, a dark horse that, because of
NeXT, still has a shot at the title. If this convergence toward a common graphical interface continues, your buying choices soon may be based on the
availability and performance of task-specic software instead of the hardware on which it must run.
The new decade also will see upheaval in the
fast-changing peripherals market. CD-ROM vendors are praying CD-ROM sales pick up before
prices of read-write optical disks decline to more
inviting levels. Both kinds of drives, however, may
become obsolete quickly if an alternate technology, like the laser card (a high-density, compact
credit-card-size storage medium), becomes popular. Before long, futuristic storage devices still on
todays drawing boards could make todays hard
disks resemble prehistoric artifacts.
Over the next few years youll also see articial
intelligence (AI) tools nally make their way into
page-makeup programs. Groupware applications,
especially, will benet as AI tools help to standardize nal document output, regardless of how complex the production cycle or how many individuals
are involved in the editing process. By the end of
the decade, almost every publishing program of
note will incorporate some degree of AI assistance.
As new standards emerge, many old ones will
continue to hold sway, especially where users have
a substantial investment in the current technology.
As a desktop publisher, youll be faced with an
increasing array of difcult and often conicting
choices from vendors who may not fully appreciate
your needs. Fortunately, the buying decisions you
make will determine which standards survive, and
which get discarded.CJW
in desktop computing, with the possibility

of several breakthrough products setting new
standards. Companies that successfully develop and
implement new standards stand to reap huge nancial rewards, so the race for leadership is intense.
Competition among the giants rages ercely (sometimes at the expense of the consumer), and the
game often is played under no-holds-barred rules.
In the font arena, Apple recently severed ties
with long-time ally Adobe and announced Royal, a
new outline-font scheme they hope will replace
Adobes PostScript standard. Apple may produce a
worthwhile and competitive product, but they risk
alienating a large part of their installed customer
base, those whom they encouraged earlier to invest
extensively in expensive PostScript technology.
Adobe, for their part, is battling with innovative
products like Adobe Type Manager and a promise
to unveil their font-hinting routines to third-party
vendors. Microsoft has joined Apple, but Big Blue
has yet to make a committment. IBMs choice of a
font technology could determine the outcome of
the standards battle because of the huge buying
power of loyal PC users under their dominion.
As we roll into the 1990s, various competing
platforms are beginning to look alike. For example,
Edition number and

date are set on opposite margins, newspaper-style. Result: attention is drawn to almost
insignicant data.
Headline is set in italics, which are normally
used to show motion or
emphasis. Unnecessary
heck, its already a
headline! Similarly, big
initial O is unnecessary.
IBM advocates soon will be upgrading to Windows

3.0, a revision that brings to PCs many of the most
HE NEW DECADE promises exciting advances
IN THIS ISSUE:
News and Views ........... 2
Refilling Empty Toner
Cartridges .................... 3
Preparing Text Files
For Service Bureaus ..... 5
Using Adobe
Streamline ................... 7
Hints, Tips, &
Techniques .................. 8
Cropping Illustrations
For Impact ................. 10
Pair KerningWhats
It All About? .............. 15
The new decade promises

exciting advances in desktop
computing, with the possibility
of several breakthrough
products setting new standards.
Companies that successfully
develop and implement new
standards stand to reap huge
financial rewards, so the race
for technological leadership is
intense. Competition among
the giants rages fiercely at times
(sometimes at the expense of
the consumer), and the game
often is played under no-holdsbarred rules.
In the font arena, for example, Apple recently severed
ties with long-time ally Adobe
and announced Royal, a new
outline-font scheme they hope
will replace Adobes PostScript
standard. Apple, in fact, may
produce a worthwhile and competitive product, but they run
the risk of alienating a large
segment of their installed customer base, those whom they
encouraged earlier to invest extensively in expensive PostScript technology.
Adobe, for their part, is battling back with innovative
products like ATM (Adobe
Type Manager), and a promise
to unveil their proprietary fonthinting routines to third-party
vendors. Microsoft has joined
with Apple, but Big Blue has
yet to make a final committment. IBMs choice of a
font technology could deter-
mine the overall outcome of the

standards battle because of the
enormous buying power of legions of loyal PC users under
their dominion.
As we roll into the 1990s,
various competing platforms
are beginning to look alike. For
example, entrenched IBM advocates soon will be upgrading
to Windows 3.0, a revision that
brings to PCs many of the most
envied graphical-interface niceties of the Macintosh (the
much heralded OS-2, on the
other hand, failing to gain wide
acceptance, soon may die an
unsung death). Gaining momentum quietly in the background is Display PostScript, a
dark horse that, because of
NeXT, still has a shot at the title.
If this apparent convergence
toward a common graphical interface continues, your buying
choices soon may be based on
the availability and performance of task-specific software
instead of the hardware on
which it must run.
The new decade also will see
continued unheaval in the fastchanging peripherals market.
CD-ROM vendors are silently
praying CD-ROM sales pick up
before prices of read-write optical disks decline to more inviting levels. Both kinds of drives,
however, may become obsolete
quickly if an alternate technology, like the laser card (a highdensity, compact credit-card-
size storage medium), becomes

popular. Before long, futuristic
storage devices still on todays
drawing boards could make todays hard disks resemble prehistoric artifacts.
Over the next few years
youll also see artificial intelligence (AI) tools finally make
their way into popular pagemakeup programs. Groupware
applications, especially, will
benefit as AI tools help to standardize final document output,
regardless of how complex the
production cycle or how many
individuals are involved in the
editing process. By the end of
the decade, almost every publishing program of note will incorporate some degree of AI
assistance.
This is but a tiny preview of
whats yet to come. As new
standards emerge, many old
ones will continue to hold sway,
especially where users have a
substantial investment in the
current technology. As a working desktop publisher, youll be
faced with an ever-increasing
array of difficult and often conflicting choices from vendors
who may not fully appreciate
your production needs. Fortunately, though, the buying decisions you make will determine
which standards survive, and
which get discarded. Choose
wisely, and well all benefit.
CJW


The Weigand Report

News and Views ............................................................................... 2
Relling Empty Toner Cartridges .................................................. 3
Preparing Text Files for Service Bureaus ........................................ 5
Using Adobe Streamline .................................................................. 7
Hints, Tips & Techniques ............................................................... 8
Pair Kerning: Whats it All About? ............................................... 15

The WEIGAND Report 1
A cacophony of type styles, sizes,

positions and other variations
bewilder the eye, which searches
for a focal point and nds none.
Here, type has been toned down,

the page organized into four visual
areas: banner, headline, text and
contents; eye now ows smoothly.
PAGE 2 AFTER
Right: Although the
headline would t on
one line, it looks better
in two; concentrated,
the eye remains focused above the article
it is about to read.
I handled the editors

name and page title
like a book cover: identical type, same size,
equal billing. Reversing
the sequence would
shift the emphasis
ever so subtly.
NEWS&VIEWS
C.J.WEIGAND
Computer Viruses:
Threat for a New Decade
News & Views analyzes whats happening in the industry to bring you
pertinent, up-to-date news and commentary. We identify trends that may
impact your business and recommend actions for you to stay competitive. We
also test and review software and hardware products to help you make
effective buying decisions. We call things as we see them, and we try to see
them from your point of view, that of the working desktop publisher.
PAGE 2 BEFORE
Four columns of material is too much for three
columns; the text must
be unnecessarily small
and the columns very
narrow. And there is no
room to maneuver! In
Weigands newsletter,
page 2 holds notable
materialthe editorialyet its title, News
& Views, must be shoehorned into a space so
tight it appears insignificant. The makeover
uses the extra space to
let the title and headline ourish.
Issue Number 4
News & Views
January 1990
OTHING IS MORE DEVASTATING
than to be hit with a malicious viral

attack. Viruses are insidious little rascals with a well-deserved reputation
for bringing production work to a sudden and total
halt. If you dont set up an impenetrable defense
well in advance, you can expect someday to get
ransacked. No one is immune.
The computer viral threat looms large on the
horizon for the 1990s. As we enter the new decade,
perpetrators are actively waging new assaults on
innocent and unsuspecting computer users. And
the number of viruses in circulation is escalating.
While no one yet fully understands what goes on in
the minds of individuals who set out to do this kind
of criminal mischief, one thing is certainthere
are enough jerks out there that its going to get
worse before it gets better.
Viruses are computer codes that covertly attach
to programs. Unpredictable results occur once a
virus is unleashed. Applications may function unreliably or simply freeze; routine
tasks may take longer to execute;
computers may crash often;
startup disks may fail to boot ;
les may explode in size and become inaccessible; documents
may not print properly; in short,
your entire system may become
erratic or unusable.
Methods of viral transmission
vary, but sharing or downloading public domain or pirated soft-
by C. J. Weigand
In News & Views we analyze whats happening within the industry to bring you pertinent, up-to-date news and
incisive commentary. We identify trends that may impact your business, and recommend specific courses of action
for you to stay competitive. We also test and evaluate software and hardware and deliver concise product reviews
to help you make effective buying decisions. We call things as we see them, and we always try to see them from
your point of view, that of the working desktop publisher.
Computer VirusesThreat for a New Decade

Nothing is more devastating
than to get hit with a malicious
viral attack. Viruses are insidious
little rascals that enjoy a welldeserved reputation for being
able to bring production work to a
sudden and total halt. If you dont
set up some form of impenetrable
defense well in advance, you can
expect someday to get ransacked.
No one is immune.
The computer viral threat
looms large on the horizon for the
1990s. As we enter the new decade, perpetrators are actively
waging new assaults on innocent
and unsuspecting computer users. And the number of viruses in
circulation is escalating. While
no one yet fully understands what
goes on in the minds of individuals who set out to do this kind of
criminal mischief, one thing is
certainthere are enough jerks
out there that its going to get
Viruses are bits of computer
code that covertly attach themselves to programs. UnpredictWeve had a few reports
of stateside newsletters
being damaged during
shipment. We finally
traced the problem to the
machines the Post Office
sometimes uses to apply
cancellation postmarks.
As a precaution, we now
make sure all copies of
The WEIGAND Report get
hand-canceled before they
leave the pickup point.
That way they dont go
through the machines.
Your copies should arrive
in good condition. If at any
time you receive a damaged issue, please let us
know immediately so we
can take prompt action to
replace it. We apologize
for any inconvenience.
Above: The bulk of its

contents in three columns, the page is
heavily unbalanced to
the left and down,
which draws subliminal
attention to the page
itself and disrupts the
editorial message.
The Working Newsletter for Desktop Publishers
able results frequently occur once

a virus is unleased. Applications
may function unreliably or simply freeze altogether; routine
computers may crash unexpectedly and often; startup disks may
fail to boot properly; files may
explode in size, and eventually
become completely inaccessible;
documents may not print properlyin short, your entire system
may behave erratically or become totally unusable.
vary, but sharing or downloading
public domain or pirated software is still the surest way to get
infected. If you download a contaminated file from a BBS or
across a network, you can just as
easily infect your hard disk. A
virus also can remain hidden in a
stuffed file (StuffIt is a popular
file compression utility). The virus remains completely undetectable (and impotent) until the file
is unstuffed. After the virus is
released, however, it becomes infectious.
Some viruses lie dormant for a
extended period (determined in
advance by the programmer)
only to activate days, weeks, or
even months after initial exposure. Keep in mind that the goal
of every virus is go completely
unnoticed while replicating until
the maximum amount of spread
has occurred.
Make no mistake about it. Its
all-out war, and youre the target.
Even well-intentioned viruses,
like the famous World Peace
message of a couple years ago,
can do extensive damage. After
all, its tough enough to write
legitimate code without also trying to make viruses bug free.
So what can you do? In brief,
dont trust any external contact
with your computer system. Test
everything before using it. And
that includes commercial soft-
ware, which may arrive in its

shrink-wrapped box already infected (its happened on more
than one occasion). Use a good
viral-prevention software to unmask invaders and prevent infection.
After you initially verify that
your system is clean, install a
viral-prevention software and
keep it active at all times. Make
multiple backups of new programs, and continually backup
all your work files. Always keep
the write-protect tabs on master
disks locked. And, most importantly, once you establish an effective system of safeguards, absolutely never bypass it. The one
time you ignore your defenses
could be the one time you end up
getting clobbered.
Proper use of antiviral

software can completely
eliminate the risk of
casual infection
Combating Viruses
Destructive computer viruses
continue to appear at an alarming
rate. The latest scourge is a totally
new kind of virus that attacks the
invisible Desktop file on your
System disk and installs a WDEF
resource. Infection may be accompanied by a series of frequent
and unpredictable system
crashes. Unfortunately, most existing programs that claim to
automatically detect new viral
strains were unable to recognize
this new WDEF virus when it
first appeared (the single exception was Anti-Virus Kit from 1st
Aid Software). Consequently,
the WDEF virus spread quickly
throughout the Macintosh community. This reinforces arguments for subscribing to a commercial service that provides
rapid and effective antiviral software updates.
Once such company, among
the best in our opinion, is HJC
Software. Within a few days of
discovery of the WDEF virus,
HJC announced shipment of ver-
ware is the surest way to get infected. If you download a contaminated le from a BBS or across a
network, you can easily infect your hard disk. A
virus also can remain hidden in a compressed le
(Stuft is a popular le compression utility) undetectable (and impotent) until the le is unstuffed.
After the virus is released, it becomes infectious.
Some viruses lie dormant for a long time (determined in advance by the programmer), only to
activate days, weeks, or even months after initial
exposure. Keep in mind that the goal of every virus
is go unnoticed while replicating until the maximum amount of spread has occurred.
Make no mistake about it. Its all-out war, and
youre the target. Even well-intentioned viruses,
like the famous World Peace message of a couple
years ago, can do extensive damage. After all, its
tough enough to write legitimate code without also
trying to make viruses bug free.
What can you do? Dont trust any external contact with your computer system. Test everything
before using it. And that includes commercial software, which may arrive in its shrink-wrapped box
already infected (its happened on more than one
occasion). Use a good viral-prevention software to
unmask invaders and prevent infection.
After you initially verify that your system is
clean, install a viral-prevention software and keep
it active at all times. Make multiple backups of new
programs, and continually backup all your work
les. Always keep the write-protect tabs on master
disks locked. And, most importantly, once you establish an effective system of safeguards, absolutely
never bypass it. The one time you ignore your
defenses could be the one time you get clobbered.
Combating Viruses
Destructive computer viruses continue to appear at an alarming rate. The latest scourge is a
totally new kind of virus that attacks the invisible
Continued on page 4
continued on page 4
The Weigand Report / January 1990
The WEIGAND Report
New two-column page

has seven columns
A surprising, seven-column grid underlies the makeover. The right six
columns hold the text in two; the left
column is used for everything else.

Anything placed in the empty column
should irt with its adjacent text;
the interaction which results gives
the page its balance and visual interest. Try it but be patient; refer to the
model (next page) to stay simple.
New page folio

matches text, imparts
its modest information
quietly. Unimportant
data like this should
not stand out.
NEWS&VIEWS
C.J.WEIGAND

DESKTOP PUBLISHERS


The Weigand Report

News and Views ................................................................................ 2
Computer Viruses:
Threat for a New Decade
News & Views analyzes whats happening in the industry to bring you
pertinent, up-to-date news and commentary. We identify trends that may
impact your business and recommend actions for you to stay competitive. We
also test and review software and hardware products to help you make
effective buying decisions. We call things as we see them, and we try to see
them from your point of view, that of the working desktop publisher.
OTHING IS MORE DEVASTATING
than to be hit with a malicious viral

attack. Viruses are insidious little rascals with a well-deserved reputation
for bringing production work to a sudden and total
halt. If you dont set up an impenetrable defense
well in advance, you can expect someday to get
ransacked. No one is immune.
The computer viral threat looms large on the
horizon for the 1990s. As we enter the new decade,
perpetrators are actively waging new assaults on
innocent and unsuspecting computer users. And
the number of viruses in circulation is escalating.
While no one yet fully understands what goes on in
the minds of individuals who set out to do this kind
of criminal mischief, one thing is certainthere
are enough jerks out there that its going to get
Viruses are computer codes that covertly attach
to programs. Unpredictable results occur once a
virus is unleashed. Applications may function unreliably or simply freeze; routine
computers may crash often;
startup disks may fail to boot ;
les may explode in size and become inaccessible; documents
may not print properly; in short,
your entire system may become
erratic or unusable.
vary, but sharing or downloading public domain or pirated soft-
ware is the surest way to get infected. If you download a contaminated le from a BBS or across a
network, you can easily infect your hard disk. A
virus also can remain hidden in a compressed le
(Stuft is a popular le compression utility) undetectable (and impotent) until the le is unstuffed.
After the virus is released, it becomes infectious.
Some viruses lie dormant for a long time (determined in advance by the programmer), only to
activate days, weeks, or even months after initial
exposure. Keep in mind that the goal of every virus
is go unnoticed while replicating until the maximum amount of spread has occurred.
Make no mistake about it. Its all-out war, and
youre the target. Even well-intentioned viruses,
like the famous World Peace message of a couple
years ago, can do extensive damage. After all, its
tough enough to write legitimate code without also
trying to make viruses bug free.
What can you do? Dont trust any external contact with your computer system. Test everything
before using it. And that includes commercial software, which may arrive in its shrink-wrapped box
already infected (its happened on more than one
occasion). Use a good viral-prevention software to
unmask invaders and prevent infection.
After you initially verify that your system is
clean, install a viral-prevention software and keep
it active at all times. Make multiple backups of new
programs, and continually backup all your work
les. Always keep the write-protect tabs on master
disks locked. And, most importantly, once you establish an effective system of safeguards, absolutely
never bypass it. The one time you ignore your
defenses could be the one time you get clobbered.
Combating Viruses
Destructive computer viruses continue to appear at an alarming rate. The latest scourge is a
totally new kind of virus that attacks the invisible
continued on page 4
The Weigand Report / January 1990
MAKE THE MAKEOVER
The seven-column format is

energetic, extremely exible
and a lot of fun to work with
it forms a foundation suitable for literally thousands of
layouts in nearly any typefont. This makeover uses two:
Helvetica Inserat (a bold
sans-serif very similar to Helvetica Black condensed), and
Janson Roman, a wonderfully
readable text font similar to
old-style Garamond.
12
18
24
For breezy, easy positioning of text

blocks, select Top of caps in the
Spacing dialog, which keeps text inside its windowshade. Note it is the
windowshade, not the text itself,
which snaps to ruler.
42
48

DESKTOP PUBLISHERS
12
18


24
30
36
42
Windowshade snaps to ruler
THE NEW DECADE promises exciting advances in

48
desktop computing, with the possibility of several
The Weigand Report
breakthrough products setting new standards. Com- 1990
ISSUE NUMBER 4 / JANUARY
54
panies that successfully develop and News and Views ................................................................................ 2
implement new
Text, set on 12-pt

leading, aligns with
1-pica ruler increments, or multiples or
divisibles of 1 pica.
36
Text: Janson Roman 10/12

Subheads: Helvetica Inserat 9/12
Headlines: Helvetica Inserat 30/30
Large cap: Janson Roman 78/78
30
60


PageMaker setup:
New publication,
Letter size, Tall orientation. Any number of
pages. Select Doublesided, Facing pages.
Margins: Inside, 4p6;
Top, 5 picas; Outside,
4 picas; Bottom, 5
picas. Note: Margins
may be any width;
specications are for
this model only.
Click OK.
Turn to master pages.
Select Column guides;
enter 7 columns, 1
pica between, left
page only.
Zoom to 200% size
and drag vertical ruler
guides into positions
exactly on top of the
column guides.
Reselect Column
guides; enter 3 columns, 1 pica between.
Reposition the new
column guides (they
move in pairs) exactly
on top of the ruler
guides in the columns
shown. Discard the
ruler guides for those
columns, which are no
longer needed.
Repeat for right page,
which is identical.
Save.
66
Try these arrangements of text and graphics . . .
Text blocks each

cross three columns, an excellent
reading width.
Head and underline extend to left

margin, easily balancing the page.
Element at lower
left extends to left
margin. Could extend further right.
Stencil a nameplate . . .
Although your newsletters name is not
The Weigand Report, the stencil effect
on Weigands nameplate is a cinch to do
with PageMaker and can be applied to
an endless variety of fonts. Heres how:
Section head or
graphic aligns with
column ve at top,
maintains balance.
Secondary heading crosses four

columns; text
extends to top.
Large picture or
sidebar crosses
all columns; caption is above it.
1. SET A WORD
In any font; bold is
usually best. Shown:
Helvetica Inserat.
2. KERN TIGHTLY
Most large type
looks more authoritative tightly set.
Small picture or
callout irts with
text, maintains balance and interest.
Oops. Avoid interrupting full column

in middle of page;
makes reader jump!
3. RULE LINES
Experiment with placement (dark lines are
easier to position).
Print often to proof.
4. COLOR LINES
To match background;
here its just white.
CHARTMAKING
A good chart communicates quickly.

Heres how to make one.
Data of any kind is easier to understand
once we see it. The chart below pictures
the growth of junk bonds for the years
19851988. The six variations are practically identical: same bars, same data,
same sizeeven the proportions are the
same. Each was created using only the
Bonds outstanding, in billions
21
987654321
987654321
987654321
321
21
21
211
2
321
321
321
321
321
85
86
87
88
9876543210987654321
9876543210987654321
9876543210987654321
9876543210987654321
5432121098765432109876543210987654321
5432121098765432109876543210987654321
5432121098765432109876543210987654321
5432121098765432109876543210987654321
5432121098765432109876543210987654321
5432121098765432109876543210987654321
65432121098765432109876543210987654321
65432121098765432109876543210987654321
6543212109876543210987654321098765432
65432121098765432109876543210987654321
1
65432121098765432109876543210987654321
60
80
BONDS OUTSTANDING, IN BILLIONS
1986
1987
1988
$82
86
1986
87
1987
88
1988
82
4. THIS CHART WILL PULL THE EYE

Reversing the image creates a bold, clean graphic that will draw the eye amidst any amount of
clutter. It is awed because the graphic now
overpowers the font, which suddenly looks meek
(it is unchanged); even so, it conveys its information rapidly. Not only is it better, but it is
easier to make than the one above it; the bar
lengths do not have to be precise since they include their own data; just get reasonably close.
1988
$82
$126
$159
$180
159 180
BONDS OUTSTANDING IN BILLIONS
1987
$180
126
2. FOUR STEPS IN THE RIGHT DIRECTION

At least you dont need sunglasses to view this
version. Every box and outline was superuous;
the bars are sufcient to dene themselves,
and the smooth, gray tones allow the reader to
absorb the data, not the graphics. Years placed
adjacent to their bars (rather than in a legend)
speed comprehension a lot. Four vertical lines
drop to their exact dollar amounts and communicate directly. Note that each bar is atop
the lines that do not pertain to it, adding clarity.
1986
$159

1985
1985
$126
only one reason: to aid comprehension

of the trend. Once the designer understands this, he can create a simple chart
thats easier to read than the text. But
the sheer number of graphic tools in
front of you conspire to draw your eye
from the task at hand. Watch:
85
100 120 140 160 180
1. MENU SHOCK
This chart will stop the most avid reader. Rather
than accelerate comprehensionin this case,
of a simple trendit seriously interferes. For
example, the dollar scale forces the reader to
stop, follow a line to the bottom and estimate
an amount. And why make the reader compare
legend patterns for no reason but to learn the
year each bar represents? The outlined headline muddies rather than clarifies, and the bold
patterns are as brash as polka dots and plaid.
1985
line and box tools in PageMaker, and yet

the results are decidedly different.
In narrative form, the data looks
like this: Bonds outstanding, in billions:
1985, $82; 1986, $126; 1987, $159; 1988,
$180. The numbers are easy enough to
understand; youd chart this data for
$82
$126
$159
$180
5. CONTRASTS IN TYPE AND SHADES CLARIFY

The best-looking chart on the page is also the
best chart. Every element aids comprehension.
Set in two fonts, Helvetica Black and Light, variations in size, weight and color make each kind
of data similar (which provides visual continuity) yet unique (which provides clarity). The dollar amounts are huge and bold, yet in white on
gray they recede proportionately. Comprehension is instantaneous. This is a perfect chart.
3. TWO PROBLEMS SOLVED

This chart is less attractive than the previous
one but it communicates as fast because the
dollar amounts are right in the bars. The reader
now has a straight reading path from year to
dollar while the length of the bars tells the story
visually; that is, that the dollar amounts rose
steadily. Note there is no need to color the bars
differently since each conveys the same kind of
information. Copiers dont reproduce tints well;
simple lines like these work better in such case.
BONDS OUTSTANDING IN BILLIONS
1985
1986
1987
1988
$82
$126
$159
$180
6. AN EXCELLENT CHART SHIFTS THE EMPHASIS

Recoloring the previous chart throws the balance to the data bars and makes the banner recede. Note the vertical gray background stripes;
these suggest dataall thats needed here;
on another chart they could be real number
lines. Note also how the banner is pristine (a
function of its uppercase letters) while the
Helvetica Black and Light fonts contrast and
elegantly rank its information by importance.
TYPE: THE VIS
How to set a perfect

Its ironic that the better your type is, the less it
but beautiful type is high art and its w
BEFORE: OFFICE TYPING

The paragraph on the left was set by
typing exactly as one would on an
ofce typewriter; on the right is how
the paragraph would be set by a professional typographer. Compare the
samples frequently as you read. It is
very satisfying to set type beautifully,
and it is not difcult. Master these
rules and your work will withstand
the most rigorous scrutiny:
1. PARAGRAPH INDENTS
...............................
Set the indent in the Paragraph dialog
rather than with the space bar or tab
key. How far? Usually, whatever the
point size is: 12-pt type = 12-pt indent.
Party quiz: Why indent the rst
paragraph?
WE ARE TEN KILOMETERS off Monterey,

pitching and rolling over the canyon in
MBARI's research boat, Point Lobos. Minutes
ago technicians lowered the black-and-white
ROV into the water. "I'd love to have Ed Ricketts out here with us," says Robie, an excitable
fireball of a biologist and a pioneer in
exploring the fauna of Monterey Canyon with
submersibles. "Lots of people look--Ed Ricketts
saw."
Robie and I are about to see a few things
ourselves, things seldom observedand never
studiedbefore the ROV. We are stalking
2. SINGLE-SPACE AFTER
ALL PUNCTUATION
SAMPLES SET IN 14-PT NEW CENTURY SCHOOLBOOK, 16-PT LEADING.
...............................
In ofce typing, two spaces are used
after periods and colons. When typesetting, however, only one space is used.
There are no exceptions to this rule.
...............................
Acronyms, initials and other capitalized
words in textIBM, RAM, CD-ROM, SCSI,
and so forthshould be set smaller
than text size or theyll STAND OUT and
draw unwanted attention. Strictly speaking, youd use small caps for this purpose, which the computer can set automatically. But I think small caps are too
smallthey draw attention because of
their smallness. My preference, therefore, is to manually reduce text size capital letters (strings of three or more) a
point or two, from, say, 10 pt to 9 pt or
18 pt to 16 pt, depending on the font.
Check your work by turning the page upside down; the caps should blend in. If
they dont, make them smaller.
6. BOLD, ITALICS AND UNDERLINES
...............................
3. UPPERCASE LETTERS
4. WIDOW
...............................
One word orhorrorspart of a word

that takes up an entire line at the end of
a paragraph, leaving an unsightly white
gap. A widow is acceptable but undesirable typography and is most effectively
eliminated by editing the text. Worse is
an orphan, the last word of the previous
paragraph alone at the top of a column.
In ofce typing, it is customary to use an

underline to emphasize a word or denote
a name or the title of a book or paper.
Many typewriters and modern printers
also permit the use of boldface type.
When typeset, however, neither one
looks very good and either one makes a
word stand out, which you dont
want. Typesetters, therefore, always use
italics, which were designed for this
purpose and which in many fonts are
very beautiful.
Italics trivia: Aldus Manutius, the
15th16th century printer for whom
Aldus was named, is credited with
developing italics. Do you know the
difference between italic and oblique?
An italic is a different letterform than the
Roman; an oblique is the Roman
letterform slanted.
5. ELLIPSIS
...............................
An ellipsis is a three-dot pause that, properly set, maintains the pace of the text.
But the ellipsis that the computer makes
is compressed, and reading over one
feels liketrippingover ones feet. I
prefer a space-dot-space-dot-space-dotspace; the extra distance ensures a more
natural rhythm.
ww ww
Century Expanded italic
Franklin Gothic oblique
VISIBLE VOICE
ct paragraph of type

its noticed (because everyones busy reading!),

worth setting right. Here are the rules.
AFTER: TYPESETTING
WE ARE TEN KILOMETERS off Monterey, pitching and rolling over the canyon in MBARIs
research boat, Point Lobos. Minutes ago technicians lowered the black-and-white ROV into
the water. Id love to have Ed Ricketts out here
with us, says Robie, an excitable reball of a
biologist and a pioneer in exploring the fauna of
Monterey Canyon with submersibles. Lots of
people lookEd Ricketts saw.
Robie and I are about to see a few things ourselves, things seldom observed . . . and never
studied . . . before the ROV. We are stalking
giant, deep-water larvaceans.
QUOTATION FROM BETWEEN MONTEREY TIDES BY RICK GORE, COPYRIGHT NATIONAL GEOGRAPHIC MAGAZINE, FEBRUARY 1990. USED BY PERMISSION.
7. HYPHENS AND DASHES
8. F-LIGATURES
...............................
...............................
In ofce typing, two hyphens - - like these

- - are used to make a dash. When typesetting, a long dashcalled an em dash
is used instead. How long is an em?
Whatever the point size is: 12-pt type =
12-pt-long em, more or less. Another
dash, called an en, is half the length of
an em but longer than a hyphen. It is
properly used in dates, times, etc., to
indicate a range, such as 4:005:00,
or April 26May 9, instead of a hyphen.
If youre fussy, youll not interchange
an en dash and a hyphen. Either dash is
made using a combination keystroke:
A ligature is an elegant combination of

two or more characters in a single character. Most desktop publishing typefont
packages contain four: , , , . Of
these, and appear in many common
wordsofce, le, ight, and so onand
should be used in everyday typesetting.
The others are extremely rare and lately
are used mostly by snobs.
The use of ligatures is considered
very ne typography. Ligatures are especially attractive in serif type and particularly in italics. A ligature is made using a
combination keystroke:
EM dash
Mac: Opt Shift - (hyphen)

Windows: Ctrl Shift =
Mac: Opt - (hyphen)

Windows: Ctrl =
EN dash
Mac: Opt Shift 5

Windows: Shift w (only in
Adobe expert collections)
Mac: Opt Shift 6

Windows: Shift x (only in
Adobe expert collections)
9. UNIFORMITY
...............................
Well-set type is even and rhythmic. Note
your word and letter spacing and strive
for a smooooth, gray tone to the text.
Eliminate whatever disrupts itlarge or
irregular gaps (usually the problem), uppercase or bold characters, and so forth.
10. QUOTATION MARKS AND

APOSTROPHES
...............................
Quotation marks that you make on the
ofce typewriter with your right pinky
create these marks when typeset:
" '

which are not the same as true curly

quotation marks and apostrophes,
which look like this:
Used properly, those typewriter quotation marks should be italicized and

will now indicate feet and inches. Note
the differences:
Mothers new ofce, Jane told

Dick and Sally, is 40' 6" square!
When placing text from a word processor,
PageMaker will convert typewriter-style
quotes to true quotes for you (no, I dont
know how it knows). When typing in PageMaker, however, you must make them
yourself with a combination keystroke:
Mac: Opt [
Windows: Ctrl Shift [
Mac: Opt ]
Windows: Ctrl [
Mac: Opt Shift [

Windows: Ctrl Shift ]
Mac: Opt Shift ]

Windows: Ctrl ]
Build a brochure with peekaboo panels

BEFORE & AFTER ASSEMBLY PROJECT
This format, built entirely from a single, cleverly folded sheet, is one of my favorites.
Heres how to set it up, fold it and lay it out for a consistent look from page to page.
Xamplex
Sales and
Catalog
Services
From one sheet with slightly offset folds . . .
10
SALES STAFF WESTERN REGION

HOW TO ORDER
his brochure format is like a baby

girlit gets plenty of attention
no matter what its doing
thanks to its eye-catching peekaboo
panels. Add the fact that its easy to
set up and inexpensive to print (only
one sheet of paper), and youll nd it
is well suited for many projects.
Begin on page 11 with the PageMaker setup. Select from two sheet
sizes: the legal size is more convenient; the larger size, in the world of
business marketing, is more common.
Because of its offset folds, the panel
widths vary slightly. Although the
amounts will not be noticed by your
readers, youll notice them if you
attempt to copy, say, a box from one
panel to the next; it wont t exactly!
This is a job for a commercial
printer, who should be consulted before starting. Because the folds must
be accurate, look for a printer with
excellent folding equipment.
. . . fold over . . .
Peekaboo panels . . .
. . . make this brochure zesty and set
it apart from the crowd. Panel headings lead the reader to the contents
inside. Even without the headings,
the printed panels are inviting, beckoning the reader to open the brochure. They look very good in shades
of gray, too.
You dont need to print the peekaboo panels at all; in that case use
the instructions for Version B.
. . . then over again.
Cool.
PAGEMAKER SETUP (2 OPTIONS)
14"x 812" (legal size sheet)
Standard #10 business envelope: 9 1 2"x41 8"
1413" x 914"
Folded size: 812" x37 8"

Handy to lay out and print, this size is
well suited to quick, simple projects.
Because it leaves empty space inside a
#10 envelope, its not quite as impressive to receive by mail. Folded perfectly,
it will t a #9 envelope, a size smaller.
Folded size: 914"x4"

This larger size lls a #10 business envelope completely, which contributes to a
substantial, businesslike impression when
received by mail. Printing requires a press
that can handle a larger sheet, standard
equipment in all but the smallest shops.
Standard #10 business envelope: 9 1 2"x41 8"
FRONT (Cover side)

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12
FRONT (Cover side)
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24
30
36
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B
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54
Note: The centerline measurements of all the right-hand panels fall between ruler points even in PageMakers 400% view. Just enlarge the view and position them by eye; theyll be accurate within a fraction of
a pointclose enough. The most important measurementsthe foldssnap to the rulers perfectly.
BACK
0
72
BACK
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12
18
24
30
36
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48
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60
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78
84
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PageMaker setup: New publication, Legal size, Wide orientation, 2 pages. Margins:
Left, Top, Bottom, 1p6; Right (version A), 3p9 or (version B) 2p9. Page 1 (Cover
side): Drag vertical ruler guides to: 11p3, 11p9, 12p3, 23p6, 32p9, 33p3, 33p9,
43, 52p3, 52p9, 53p3, 62p6 and (version A) 71p7.5, 72p1.5, 72p7.5 or (version B)
72p1.5, 72p7.5, 73p1.5. Select Column guides, enter 4 columns, 3 picas between.
Column guides move in pairs; reposition left guide of each pair to: 22, 41p6, 61.
Page 2 (Back): Drag vertical ruler guides to: 10p3, 10p9, 11p3, 21p6, 30p9, 31p3,
31p9, 41, 50p3, 50p9, 51p3, 60p6 and (version A) 70p7.5, 71p1.5, 71p7.5 or
(version B) 71p1.5, 71p7.5, 72p1.5. Select Column guides, enter 4 columns, 3
picas between. Reposition left guide of each pair to: 20, 39p6, 59.
PageMaker setup: New publication, Custom size: 86 picas by 55p6, Wide orientation,
2 pages. Margins: Left, Top, Bottom, 1p6; Right (version A), 3p9 or (version B) 2p9.
Page 1 (Cover side): Drag vertical ruler guides to: 11p6, 12, 12p6, 24, 33p6, 34,
34p6, 44, 53p6, 54, 54p6, 64 and (version A) 71p4.5, 71p10.5, 72p4.5 or (version
B) 71p10.5, 72p4.5, 72p10.5. Select Column guides, enter 4 columns, 3 picas
between. Column guides move in pairs; reposition left guide of each pair to: 22p6,
42p6, 62p6. Page 2 (Back): Drag vertical ruler guides to: 10p6, 11, 11p6, 22,
31p6, 32, 32p6, 42, 51p6, 52, 52p6, 62 and (version A) 72p4.5, 72p10.5, 73p4.5
or (version B) 72p10.5, 73p4.5, 73p10.5. Select Column guides, enter 4 columns,
3 picas between. Reposition left guide of each pair to: 20p6, 40p6, 60p6.
Version A
66
72
78
84
0p9
2
Left: Printed panels are

234 picas wide; 2-pica
width shows; 34-pica
overlap allows for slight
misfolding.
66
72
Version B
78
Use A measurements if panels are printed.
Lorem ipsum dolor sit amet, consecte

tuer adipiscing elit, sed diam nonummy
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ex ea commodo consequat. Duis autem
vel eum iriure dolor in hendrerit in
84
0p9
2
1
66
72
78
84
0p9
Use B measurements if panels are left blank.
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adipiscing elit, sed diam nonummy nibh
euismod incidunt ut dolore magna aliquam
erat volutpat. Ut wisi enim ad minim veni
am, quis nostrud exerci tation ullamcorper
suscipit laboris nisl ut aliquip ex ea commo
do consequat. Duis autem vel eum iriure
dolor in hendrerit in vulputate velit esse
11
1
Horizontal rules
are hanglines.
Text and graphics
hang from them,
like clothes on
a line.
Make a grid to help create a look . . .
FRONT PANEL
Research & Development
18
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sed diam nonummy nibh euismod incidunt ut dolore magna
aliquam erat volutpat. Ut wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper suscipit laboris nisl ut
aliquip ex ea commodo consequat.
24
30
Duis autem vel eum iriure dolor in hendrerit in vulputate

velit esse molestie consequat, vel illum dolore eu feugiat
nulla facilisis at vero eros et accumsan et iusto odio
dignissim qui blandit praesent luptatum zzril delenit augue
duis dolore te feugait nulla facilisi. Lorem ipsum dolor sit
amet, consectetuer adipiscing elit, sed diam nonummy nibh
euismod incidunt ut dolore magna aliquam erat volutpat.
Ut wisi enim ad minim veniam, quis nostrud exerci tation

ullamcorper suscipit laboris nisl ut aliquip ex ea
consequat. Duis autem vel eum iriure dolor in hendrerit in
vulputate velit esse molestie consequat, vel illum dolore
eu feugiat nulla facilisis at vero eros et accumsan et iusto
odio dignissim qui blandit praesent luptatum zzril delenit
augue duis dolore te feugait nulla facilisi. Nam liber
tempor cum soluta nobis eleifend option congue nihil
imperdiet doming id quod mazim placerat facer possim
assum. Lorem ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy nibh euismod
incidunt ut dolore magna aliquam erat volutpat. Ut wisi
enim ad minim veniam, quis nostrud exerci tation
48
here are umpteen million ways to

design a brochure, but it is on a
grid that good layout begins.
Unlike a newsletter or newspaper,
for which there are at least some conventions for headline and text placement, a brochure is a virtually blank
canvasno two have ever been alike
and it is often only the grid which will
keep you in possession of your sanity by
imposing order on your work.
A grid, simply, is a set of horizontal
and vertical guides, similar to graph
12
Xamplex
Sales and
Catalog
Services
36
42
NEW COMMUNICATION PRODUCTS
At Xamplex, discovery knows no bounds . . . .

Xamplex, discovery knows no bounds .
Duis autem vel eum iriure dolor

in hendrerit in vulputate velit esse
molestie consequat, vel illum
dolore eu feugiat nulla facilisis at
vero eros et accumsan et iusto
odio dignissim qui blandit
praesent luptatum zzril delenit
augue duis dolore te feugait nulla
facilisi. Nam liber tempor cum
soluta nobis eleifend option
congue nihil imperdiet doming id
quod mazim placerat facer
paper, upon which text and graphics are

placed. On a single brochure, the guides
remain in constant position from panel
to panel. When designing a series of brochures (above), the guides remain in
constant position throughout the series,
ensuring a consistent, predictable look.
The vertical guides of a brochure
normally correspond to the folded
panels. In the example above Ive also
divided each panel in half vertically.
Study the illustrations carefully. I
have deliberately laid out diverse and
SALES STAFF CALIFORNIA
12
HOW TO ORDER
New
Communications
Products
RESEARCH & DEVELOPMENT
Typefonts shown:
Helvetica Condensed
Black and Light
oblique.
Xamplex
Xamplex Corporation
Horizontal ruler guides

may be placed anywhere you wish; Ive
placed them at 112,
314, 12, 13, 18 and
4912 picas. Begin with
these, but you must
experiment to suit the
needs of your project.
difcult materialintroductions, headlines, pictures, captions, product listings, personnel biographies, and so forth
to convey layout principles instead of
specic solutions; youll provide those
yourself. Follow along:
A horizontal guide called a hangline
(1) may be positioned anywhere but
typically is one-quarter to one-third of
the way down the page. Text and graphics hang from a hangline like clothes
on a line. A hangline creates an open
stage above it and a constant starting
. . . then build in a family resemblance

FIRST INSIDE PANELS
Panel folds
are practically
invisible and may
be ignored. Here,
type ows freely
across them.
INSIDE PANELS
Xamplex Corporation
Xamplex Corporation
Research & Development
New Communications Products

in hendrerit in vulputate velit esse
molestie consequat, vel illum
vero eros et accumsan et iusto
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duis dolore te feugait nulla facilisi. Nam liber tempor cum soluta
nobis eleifend option congue
nihil imperdiet doming id quod
mazim placerat facer possim.
Xamplex Corporation
How to order by phone

in hendrerit in vulputate velit
esse molestie consequat, vel
illum dolore eu feugiat nulla
facilisis at vero eros et accumsan et iusto odio dignissim qui
blandit pra sent luptatum zzril
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nulla facilisi. Lorem ipsum do
lor sit amet, consectetuer adipiscing elit, sed diam nonummy
nibh euismod incidunt ut do
lore magna aliquam erat volutpat. Ut wisi enim ad minim ven
iam, quis nostrud exerci tation
ullamcorper suscipit laboris
nisl ut aliquip ex ea consequat.
in hendrerit in vulputate velit
esse molestie consequat, vel
illum dolore eu feugiat nulla
LOREM IPSUM DOLOR SIT AMET

Consectetuer adipiscing elit, sed diam nonummy nibh
commodo consequat.
HENDRERIT IN VULPUTATE VELIT
Esse molestie consequat, vel illum dolore eu feugiat nulla
facilisis at vero eros et accumsan et iusto odio dignissim
qui blandit praesent luptatum zzril delenit augue duis do
lore te feugait nulla facilisi. Lorem ipsum dolor sit amet,
consectetuer adipiscing elit, sed diam nonummy nibh

Consectetuer adipiscing elit, sed diam nonummy nibh euismod incidunt ut
dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud
exerci tation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie
consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et
iusto odio dignissim qui blandit praesent luptatum delenit augue duis dolore te.

Consectetuer adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore
magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci
tation ullamcorper suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis
autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat,
vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto odio
dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait.






2
Objects are
placed at intersections. If an object
doesnt look quite
right at one,
Xamplex Corporation
move it to the
Sales Staff California
next.
s San Francisco
Darrin Jensen
s San Jose
Jeffrey Hogue
s Sacramento
Matthew Thomas
s Stockton
Jennifer May
s Santa Barbara
Kimberley Wong
s Los Angeles
Jessica Vasquez
s San Diego
Catherine Davis
Lorem ipsum dolor sit amet,

consectetuer adipiscing elit, sed
diam nonummy nibh euismod
incidunt ut dolore magna aliquam
erat volutpat. Ut wisi enim ad
minim veniam, quis nostrud exerci
tation ullamcorper suscipit laboris
nisl ut aliquip commodo conse
quat. Duis autem vel eum iriure
dolor in hendrerit in vulputate velit
esse molestie consequat, vel illum
vero eros et accumsan et iusto odio
dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Lorem
ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy
nibh euismod incidunt ut dolore
magna aliquam erat volutpat. Ut
wisi enim ad minim veniam, quis
nostrud exerci.

dignissim qui blandit praesent
luptatum zzril delenit augue duis
dolore te feugait nulla facilisi.
diam nonummy nibh euismod.

incidunt ut dolore magna ali
quam erat volutpat. Ut wisi enim
ad minim veniam, quis nostrud
exerci tation ullamcorper suscipit
laboris nisl ut aliquip commodo
consequat. Duis autem vel eum
iriure dolor in hendrerit in vulpu
tate velit esse molestie conse
quat, vel illum dolore eu feugiat
nulla facilisis at vero eros et
accumsan et iusto odio dignis
sim qui blandit praesent luptatum
zzril delenit augue duis dolore te
feugait nulla facilisi. Lorem ip
sum dolor sit amet, consectetuer
adipiscing elit, sed diam nonum
my nibh euismod incidunt ut
dolore magna ali quam erat volut
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dolore magna ali quam erat volut.

pat. Lorem ipsum dolor sit amet.

pat. Lorem ipsum dolor sit amet,

consectetuer adipiscing elit.

4
Ragged columns look nice
and dont require
the space to be t
exactly. Tops
must align
point for the material beneath;

it is a great organizer.
Text and graphics are normally
placed at grid intersections. If something doesnt t or doesnt look right at
one intersection, move it to the next (2)
rather than somewhere in between.
The grid can be such a strong governor that empty space rather than headlines or font changes can be used to set
apart different kinds of information (3).
Once a thoughtsay, an introduction
is complete, try skipping an entire col-
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam
nonummy nibh euismod incidunt ut dolore magna aliquam erat volutpat.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper
suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel
eum iriure dolor in hendrerit in vulputate velit esse molestie consequat,
vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto
odio dignissim qui blandit praesent luptatum zzril delenit augue duis
dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore
magna aliquam erat. volutpat. Ut wisi enim ad minim veniam.
Back panels
are alikea signXamplex Corporation Corporate Headquarters
off head (think of it
555 American Plaza
Chicago, IL 55555
as an epilogue),
closing paragraph
and address.
Lorem ipsum dolor sit amet

Consecteteur adipiscing elit
Dam nonummy nibh euismod
s Redding
Christa Rannells
Call toll-free 1-800-555-5555
Xamplex development ensures your

equipment will never be outdated

umn before beginning the next.

Ragged column endings (4) are
a useful visual effect; they look sharp
yet do not require the same amount of
copy for every listing. Be reasonable,
however; the layout immediately above
would be severely compromised if the
listing for one salesman ran into its
adjacent column. This is a no-nonsense
point: It is nearly impossible to achieve
polished visual results if the writing
style is undisciplined. It is an area in
which desktop publishers have an edge;
UT WISI ENIM AD MINIM

Veniam, quis nostrud exerci tation ullamcorper suscipit
laboris nisl ut aliquip ex ea consequat. Duis autem vel eum
iriure dolor in hendrerit in vulputate velit esse molestie
consequat, vel illum dolore eu feugiat nulla facilisis at vero
eros et accumsan et iusto odio dignissim qui blandit
praesent luptatum zzril delenit augue duis dolore te feugait
nulla facilisi. Nam liber tempor cum soluta nobis eleifend
option congue nihil imperdiet doming id quod mazim
placerat facer possim assum. Lorem ipsum dolor sit amet,
consectetuer adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore magna aliquam erat volutpat.
QUIS NOSTRUD EXERCI

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augue duis dolore. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod
incidunt ut dolore magna aliquam erat volutpat.
DUIS AUTEM VEL EUM IRIURE

Dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at vero eros et
accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi.
aliquam erat volutpat.

consectetuer adipiscing elit,
aliquam erat volutpat. Ut wisi
enim ad minim veniam, quis
aliquip ex ea consequat.
3
Empty space
creates breaks in
the visual ow
there is no need to
clutter the page
with another
head.
HOW TO ORDER
LOREM IPSUM
Dolor sit amet, consectetuer adipiscing elit, sed diam
nonummy nibh euismod incidunt ut dolore magna aliquam
erat volutpat. Ut wisi enim ad minim veniam, quis nostrud
exerci tation ullamcorper suscipit laboris nisl ut aliquip ex
ea commodo consequat.
No matter what size your company . . . Xamplex has a product that right!
s
Duis autem vel eum iriure dolor in hendrerit in vulputate

velit esse molestie consequat, vel illum dolore eu feugiat
nulla facilisis at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit augue duis
dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet,
consectetuer adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore magna aliquam erat volutpat.

consequat. Duis autem vel eum iriure dolor in hendrerit in
augue duis dolore te feugait nulla facilisi. Nam liber
tempor cum soluta nobis eleifend option congue nihil
imperdiet doming id quod mazim placerat facer possim
assum. Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod incidunt ut
dolore magna aliquam erat volutpat. Ut wisi enim ad
minim veniam, quis nostrud exerci tation ullamcorper

At Xamplex, discovery knows no bounds . . .
BACK PANEL

At Xamplex, were committed to

service after the sale
nonummy nibh euismod incidunt ut dolore magna aliquam erat volutpat.
Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper
suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel
eum iriure dolor in hendrerit in vulputate velit esse molestie consequat,
vel illum dolore eu feugiat nulla facilisis at vero eros et accumsan et iusto
odio dignissim qui blandit praesent luptatum zzril delenit augue duis
dolore te feugait nulla facilisi. Lorem ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore
magna aliquam erat. volutpat. Ut wisi enim ad minim veniam.
Xamplex Corporation Corporate Headquarters

555 American Plaza
Chicago, IL 55555
often the writer, editor and designer are

the same person, so words and layouts
can interact nearly unrestricted.
Note the printed text on the peekaboo panels. Uppercase letters, since
they have no ascenders and descenders,
are easier to t neatly to the narrow
space. The examples were set in FreeHand, imported to PageMaker, and also
hang from the common hangline.
The grid is rigid but by no means
staticits akin to building with Legos.
For layout variations, turn the page.
13
ON THE GRID: VARIATIONS
Xamplex Corporation
Xamplex Corporation

s San Jose
Jeffrey Hogue
s Sacramento
Matthew Thomas
s Stockton
Jennifer May
s Santa Barbara
Kimberley Wong
s Los Angeles
Jessica Vasquez
s San Diego
Catherine Davis

dignissim qui blandit praesent luptatum zzril delenit augue duis dolore te feugait nulla facilisi. Lorem
ipsum dolor sit amet, consectetuer
adipiscing elit, sed diam nonummy
nibh euismod incidunt ut dolore
magna aliquam erat volutpat. Ut
nostrud exerci.

dignissim qui blandit praesent
luptatum zzril delenit augue duis
dolore te feugait nulla facilisi.





Sacramento
916-555-5555
Stockton
209-555-5555

San Jose
408-555-5555
Santa Barbara
805-555-5555
Los Angeles
213-555-5555
San Diego
619-555-5555
Duis autem vel eum iriure dolor in hendrerit in

vulputate velit esse molestie consequat, vel
illum dolore eu feugiat nulla facilisis at vero
eros et accumsan et iusto odio dignissim qui
blandit praesent luptatum zzril delenit augue
duis dolore te feugait nulla facilisi.
s Sacramento
Matthew Thomas
Lorem ipsum dolor sit amet, consectetuer

adipiscing elit, sed diam nonummy nibh euismod incidunt ut dolore magna aliquam erat
volutpat. Ut wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper suscipit
laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu feugiat nulla facilisis
at vero eros et accumsan et iusto odio dignissim qui blandit praesent luptatum zzril delenit
augue duis dolore te feugait nulla facilisi.
s Stockton
Jennifer May
s Santa Barbara
Kimberley Wong
s Los Angeles
Jessica Vasquez
s San Diego
Catherine Davis






2. EIGHT SALESMEN ARE FINE, BUT WHAT IF YOU HAVE ONLY FIVE?
Innovate, but dont leave the grid. Here, an introduction has been written
and placed across the two leftmost columns. The larger, bold type, initial
L and double width notify the reader the information is different. The
blank column is an efcient divider; there is no need for decoration.
s San Jose
Jeffrey Hogue
s Sacramento
Matthew Thomas
s Stockton
Jennifer May
s Santa Barbara
Kimberley Wong
s Los Angeles
Jessica Vasquez
s San Diego
Catherine Davis






5. HOW ABOUT SIX NAMES AND A LOGO?

Borrowing from the technique above, the logo was placed into a box which
lls the leftmost column and extends to the edges of the page. The logo is
aligned with the tops of the pictures. Note the logo is small but the black
box and empty column put it on stage and make it appear very important.
Xamplex Corporation
Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed

diam nonummy nibh euismod incidunt ut dolore magna
aliquip commodo conse quat. Duis autem vel eum iriure dolor
in hendrerit in vulputate velit esse molestie consequat, vel
illum dolore eu feugiat nulla facilisis at vero eros et accumsan
et iusto odio dignissim qui blandit praesent luptatum zzril
delenit augue duis dolore te feugait nulla facilisi. Lorem
ipsum dolor sit amet, consectetuer adipiscing elit, sed diam
nonummy nibh euismod.

diam nonummy nibh euismod incidunt ut dolore magna ali
quam erat volutpat. Ut wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper suscipit laboris nisl ut aliquip
commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulpu tate velit esse molestie conse quat, vel illum
dolore eu feugiat nulla facilisis at vero eros et accumsan et
iusto odio dignis sim qui blandit praesent luptatum zzril delenit
augue duis dolore te feugait nulla facilisi. Lorem ip sum dolor
sit amet, consectetuer adipiscing elit, sed diam nonum my nibh
euismod incidunt ut dolore magna ali quam erat volut
pat.Lorem ipsum dolor sit amet, consectetuer adipiscing elit,
sed diam nonummy nibh euismod.

sed diam nonummy nibh euismod incidunt ut dolore
magna ali quam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit laboris
nisl ut aliquip commodo consequat. Duis autem vel eum
iriure dolor in hendrerit in vulpu tate velit esse molestie
conse quat, vel illum dolore eu feugiat nulla facilisis at vero
eros et accumsan et iusto odio dignis sim qui blandit
praesent luptatum zzril delenit augue duis dolore te feugait
nulla facilisi. Lorem ip sum dolor sit amet, consectetuer
adipiscing elit, sed diam nonum my nibh euismod incidunt
ut dolore magna ali quam erat volut pat. Lorem ipsum
dolor sit amet. consectetuer adipiscing elit, sed diam
nonummy nibh euismod.
X amplex C orporation
3. WHAT CAN HAPPEN IF YOU STRAY

Here, the grid has been abandoned and the page is out of control; it
required nearly as much work but there is no substance to it whatsoever.
Ironically, the name Xamplex Corporation is four times its original size, yet
its undisciplined graphic treatment seriously undermines its authority.
14
s San Jose
Jeffrey Hogue
s Stockton
Jennifer May

diam nonummy nibh euismod incidunt ut dolore magna ali
quam erat volutpat. Ut wisi enim ad minim veniam, quis
nostrud exerci tation ullamcorper suscipit laboris nisl ut aliquip
commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulpu tate velit esse molestie conse quat, vel illum
dolore eu feugiat nulla facilisis at vero eros et accumsan et
iusto odio dignis sim qui blandit praesent luptatum zzril delenit
augue duis dolore te feugait nulla facilisi. Lorem ip sum dolor
sit amet, consectetuer adipiscing elit, sed diam nonum my nibh
euismod incidunt ut dolore magna ali quam erat volut.
pat.Lorem ipsum dolor sit amet, consectetuer adipiscing elit,
sed diam nonummy nibh euismod.
s San Francisco
Darrin Jensen

Sales Representation Pacic Rim
s Sacramento
Matthew Thomas
orem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy
nibh euismod incidunt ut dolore magna
aliquam erat volutpat. Ut wisi enim
ad minim veniam, quis nostrud exerci
tation ullamcorper suscipit laboris nisl ut
s Los Angeles
Jessica Vasquez
4. WHAT DO YOU DO WITH THREE NAMES IN EIGHT COLUMNS?

Add a graphic, possibly. The California map is an odd shapeas are many
graphicsso the clean, orderly look of the brochure is maintained by
aligning a black box with the grid and placing the map within it. The box
pulled the page to the left until it was repositioned one column to the right.
s Santa Barbara
Kimberley Wong
Xamplex Corporation

s Stockton
Jennifer May
San Francisco
415-555-5555
1. THE GRID DEMANDS PLANNING AND DISCIPLINE

A grid provides a foundation upon which many similar pages can be built.
In this case, the empty top quarter page creates a stage that allows the
readers eye to settle on the heading. This stage remains constant
throughout the series. Other data begins below the hangline at 12 picas.
Xamplex Corporation
Regional Ofces
Redding
916-555-5555
s San Francisco
Darrin Jensen
s Redding
Christa Rannells

An advanced ber-optic network means your orders are processed within one hour!
nonummy nibh euismod incidunt ut dolore magna aliquam erat
volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation
ullamcorper suscipit laboris nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit
esse molestie consequat, vel illum dolore eu feugiat nulla facilisis at
vero eros et accumsan et iusto odio dignissim qui blandit praesent
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Pacic Rim representatives:
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et accumsan et iusto odio dignissim qui blandit luptatum delenit
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consectetuer adipiscing elit, sed diam
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s San Francisco
Jennifer May
s Los Angeles
Kimberley Wong
s Los Angeles
Jessica Vasquez



6. AN ILLUSTRATED NARRATIVE PLUS A HEADLINE PLUS THREE NAMES . . .

. . . feels like everything but the kitchen sink! Dont panic. A second hangline (where the narrative begins) gives the headline breathing room. Double width narrative is distinct from the salesmens columns; empty column
separates them. Caption is ush right; empty space above sets it off.
TINT MAGIC!
FIGURE 1 SAMPLE MIXES, BLACK AND PROCESS CYAN ONLY K=Black C=Cyan Number = % color
When selecting colors for

your brochure, you are
Black
Cyan
never limited to simple spot
color. It has become so easy to create a
tint or shade (printers refer to it as a
screen) that a breathtaking range of
color options have opened up. A single
ink color can be scattered into a hundred
shades (more, actually) to provide
dimension, contrast and visual interest.
If these shades are then blended with
the shades of a second color, 10,000 tint
combinations are possible. Add to those
a single tinted word or graphic (Figure
3) and the combinations reach an astonishing one hundred millionall from
two inks! There is real economy here
and you should explore the possibilities;
since the computer creates the tints for
you, this incredible range is available for
the same price as two plain colors.
The illustrations here show only a
few mixes of three primary printing colors: Black, Process Cyan and Process
Magenta. Open your printers 500-color
ink book and the skys the limit!
Xamplex Xamplex Xamplex Xamplex Xamplex Xamplex Xamplex

K100
K90
K80
K70
K60
K50
K40
K30
K20
K10

C100
C90
C80
C70
C60
C50
C40
C30
C20
C10

K100 C100
K90 C90
K80 C80
K70 C70
K60 C60
K50 C50
K40 C40
K30 C30
K20 C20
K10 C10

C100 K10
C90 K20
C80 K30
C70 K40
C60 K50
C50 K60
C40 K70
C30 K80
C20 K90
C10 K100
FIGURE 2 25 BASIC TINTS FROM TWO INKS
TOP; CYAN TO MAGENTA, 25-STEP BLEND. BELOW; MAGENTA TO BLACK, 25-STEP BLEND
FIGURE 3 SAMPLES, 2 SOLID INKS; MIXES
Xamplex
Xamplex
Xamplex
Xamplex
Xamplex
Xamplex
Why limit yourself to solid colors? Black, one of the four primary printers, can
be shaded as well as any other to soften the contrasts and add dimension.
Background tint top: K30, bottom K60. Text tints, top to bottom: White, K20,
K70, K100. One word and two backgrounds can be tinted one million ways.
Xamplex
Xamplex
Xamplex
Xamplex
Xamplex
Xamplex
Xamplex
Above left: Process Cyan and Process Magenta, straight from the ink cans.
Right, same two inks mixed. Background top: C20M90, bottom C40M40.
Text tints, top to bottom: M10, C100M100, C30M30, C100. The six
objects can be tinted and combined over a quintillion ways. That oughta do.
FIGURE 4 SAMPLE COVERS, BLACK AND PROCESS CYAN ONLY
Xamplex
Sales and
Catalog
Services

HOW TO ORDER
Sales and
Catalog
Services
Xamplex
HOW TO ORDER
Sales and
Catalog
Services
Xamplex
HOW TO ORDER
Sales and
Catalog
Services
Xamplex
HOW TO ORDER

HOW TO ORDER
Sales and
Catalog
Services
Xamplex
15
JOHN McWADE
The invisible man
s readers, we often have no idea

how heavily we are inuenced by
design, which is why I love this
art. Mrs. Mathews, a subscriber, having
scoured the rst issue one, two, three
times, told me, Your name isnt printed
in it anywhere! Strictly speaking, she
was right; my name wasnt printedit
appeared white on a yellow eld exactly
as it appears at the top of this page.
My name was there, however, and
prominent, which brings up Important
Design Lesson #410; that is, we see what
we expect to see.
Mrs. Mathews had been looking for
something to read; that is, words. My
name wasnt among the words; it appeared as a graphic, hidden in plain
sight. On a storefront, she would have
seen it instantly. Why? Because its
what shed have been expecting.
You can get tangled up quickly this
way. Ive seen ne designers tear out
their hair after a (blind, dumb) client
rejected a brilliant piece. But a client
and this includes you and mewill
reject even the best design if the information isnt presented in the way he
expects to see it. One reader, having
nished my letter, called with congratulations, looking for our address. Yet he
had just read it in the text of the letter.
Nevertheless, he hadnt recognized the
address because it wasnt ofcial looking, or formal, as in the masthead on the
ROUND OUT YOUR DESIGN

LIBRARY. BACK ISSUES: $10
VOL. 1, NO. 1
Crop photos dramatically to pull your readers in Stage presence
with type Versatile,
supereasy newsletter
on half a page Make
plastic business cards
16
right. Such is the inuence of design on

even the most innocuous objects.
The challenge to the designer is to
meet the readers expectations beautifully, not contradict those expectations.
To do this, new designers often look
for rules to follow, but there are none. I
mean it. For example, how big should a
headline be? 72 points, as in the newspaper? Or 12 points, as on this page?* And
what characteristics make a masthead
ofcial lookingsize? typestyle? position? I cant tell you, exactly, but none of
it is a secret; just look around: Ofcial
thingsintimidating thingsare usually in small print. The smaller they are,
the badder they seem. We have developed an expectation; there is something
authoritative about small type.
Design is no more mysterious than
this, this business of looking around.
The designers I know have no special
powers. Theyre lookers. They enjoy
pretty things and they take the time to
learn what makes them so. By and by,
theyve developed a headful of sights
and a handful of skills and are the envy
of their friends who call it talent.
Im sure I said Before & After would be
issued monthly. Its what you heard, is it
not? Yet here is issue two where number three should be. My wife Gaye, who
has managed professional designers for
much of her career, refers to this lag as
designer time. They wear watches with
no hands, is how she puts it.
The production of Before & After is
an incredible drill; Ill tell you about it
sometime. But it is clear Im going to
run behind for a while. Please bear with
me; youll surely get all 12 issues, and
Im doing my utmost to make sure that
every one of them is terric.
*No rulebook would endorse a 12-point headline,
which is barely above text size, yet here it works
ne. Why? There are other factors. It oats in a
eld of white, which functions like a stage. The yellow above it has already caught your eye. Even the
white gutter between columns tends to guide your
eye up toward the headline. Rules miss all this.
BEFORE & AFTER, HOW TO DESIGN COOL STUFF

(ISSN 1049-0035) is a newsletter of design
and page layout for desktop publishers. It is
published 12 times each year by PageLab, Inc.,
1830 Sierra Gardens Drive, Suite 30, Roseville, CA 95661. Telephone 916-784-3880.
Copyright 1990 PageLab, Inc. All rights
reserved. Second-class postage pending at
Sacramento, CA. POSTMASTER: Send
address change to: Before & After, 1830
Sierra Gardens Drive, Suite 30, Roseville, CA
95661. Subscription rate: $60 per year (12
issues). Canadian subscribers please add $6
and remit in U.S. funds; overseas subscribers please add $12. Subscriptions may begin
with Vol. 1, No. 1, if you wish. Bulk subscriptions: 510, $54 each; 1120, $48 each;
2135, $42 each; 36 or more, $36 each.
Bulk subscriptions will be entered under one
name and mailed to a single address. Individual back issues are $10 each plus postage.
Terms Before & After, How to design cool
stuff, Xamplex and Type: The Visible
Voice have trademarks pending. Publisher
and creative director John M. McWade.
PRODUCTION NOTES Before & After is totally
desktop published with Aldus PageMaker
3.02 (with Color Extension) and Aldus FreeHand 2.02. Its pages and everything on them
can be built using your own standard equipment; I want to emphasize that. Nevertheless, I have been asked what hardware I use.
My list: Apple Macintosh II with 5mb RAM, a
standard 13" color monitor and 8-bit video
board (256 colors on-screen). 100mb Rodime internal hard disk. Laser printers for
plain-paper proong are: QMS 800II (300 dpi)
and Agfa P3400PS (400 dpi). Scanner: Agfa
Focus II (800 lines per inch). For color proofing: QMS ColorScript 100. Negative, plateready lm is from a Linotronic 300 (RIP 3),
2540 dpi, 150-line screen. This equipment
doesnt all belong to me; the QMS color printer and Linotronic belong to Lithographics, my
service bureau; the Agfa scanner and printer
are living at PageLab on loan for testing and
demonstration purposes.
ABOUT THE PUBLISHER

Before & After is written, edited, designed
and produced by John McWade. Mr.
McWade has been an award-winning publication designer for 20 years. He founded PageLab, the worlds rst desktop publishing studio,
in March 1985 and has since written and lectured exhaustively on this new industry. His work and comments
have appeared in publications worldwide, and his clients
include Apple, Adobe and Aldus, for whom he created
two Portfolio template packages, Designs for Newsletters and Designs for Business Communications. His
friends will tell you hes a nice guy but they never see
him anymore, and his wife Gaye will tell you hes brilliant
but lately hes been talking to himself more than usual.

Print Issue 02

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Vol. 1 No.

How to design cool stuff

BRIGHT, SIMPLE CHARTS

Dear Mr. McWade:

Sans (without) serif

Sans-serif text reads very well. In

Dear Mr. McWade:

nihil quod a impedit anim id quod maxim placeat

False emboss adds subtle

exceptionally difcult to do. Nevertheless, the response has been sensational;

Questions? Contributions? Address letters to

Hand 2.02 or PageMaker with Color

2. CREATE SHADOW SIDE

7. DRAW BACKGROUND BOX AND . . .

BEFORE & AFTER PAGE MAKEOVER

Clean, asymmetrical layout

THE WORKING NEWSLETTER FOR

Outlook for the 1990s:

Who is this man? The

Outlook for the 1990sThe Race for New Standards!

The new decade promises

mine the overall outcome of the

size storage medium), becomes

The Weigand Report

ISSUE NUMBER 4 / JANUARY 1990

The WEIGAND Report 1

Outlook for the 1990sThe Race for New Standards!

Typefont faux pas

in desktop computing, with the possibility

Edition number and

IBM advocates soon will be upgrading to Windows

HE NEW DECADE promises exciting advances

The new decade promises

mine the overall outcome of the

size storage medium), becomes

Outlook for the 1990s:

HE NEW DECADE promises exciting advances

The Weigand Report

ISSUE NUMBER 4 / JANUARY 1990

IBM advocates soon will be upgrading to Windows

The WEIGAND Report 1

A cacophony of type styles, sizes,

Here, type has been toned down,

I handled the editors

News & Views

OTHING IS MORE DEVASTATING

than to be hit with a malicious viral

Computer VirusesThreat for a New Decade

Above: The bulk of its

The Working Newsletter for Desktop Publishers

able results frequently occur once

ware, which may arrive in its

Proper use of antiviral

The WEIGAND Report

New two-column page

column is used for everything else.

New page folio

THE WORKING NEWSLETTER FOR

Outlook for the 1990s:

HE NEW DECADE promises exciting advances

in desktop computing, with the possibility

The Weigand Report

ISSUE NUMBER 4 / JANUARY 1990

OTHING IS MORE DEVASTATING