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Design without rulers 0664
Put away your ruler. Heres how
to design the way you see.
Continued
Before&After
2 of 21
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Design without rulers
To the reader, its a man watering the world. To you, its lines, textures and
funny shapes. Put away your ruler; heres how to design the way you see!
Ever watch a street artist at work?
What fun! A splash here, a dash there,
and from a blank canvas a picture just
. . . appears. He uses no mechanical
tools at all, no columns, rulers or
guides, yet the result is a beautiful
whole. Its so uid.
The best design is like that.
To see how it works, lets design
a page, but instead of a grid, well
use this picturewhat we seeas
our visual guide. Its lines, shapes,
proportions and their relationships
will govern our choice of type, sizes,
colors, layout and everything else:
What can you see?
Measuring only by eye (closely,
not exactly), can you answer the
following?
Is the man as tall as the globe?
Is the man as wide as the pot?
How many pots wide is the
tree?
What else in the picture is the
size of the pot?
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3 of 21 Design without rulers 0664
Take a visual inventory
Every image has lines, shapes, textures, colors and so on that can guide a design.
First step is to take a visual inventory. Start with the big elements . . .
Sizes
It has a hierarchy of small, medium and
large elements.
Basic shapes
The image is made of three basic
shapes . . .
Layout
The composition is fairly balanced.
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Focal point
A good image has a focal point. This image has twoone physical and one phantom.
Phantom
The three forms create a compositional
triangle, the center of whichjust what
youd want is on the money. The center
is the strongest point of any visual feld.
Physical
The primary focal point is usually the
biggest, clearest or most vivid object
in the imagein this case, the globe.
Secondary
The phantom is reinforced by the focal
center of the white triangle. Had you
noticed it?
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Objects and spaces
The objects and spaces in this image are unusually repetitive . . .
. . . and the size of the space beside it. The pot is the same size as the
space above it . . .
Its the same size as North America!
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Close enough . . .
Artistic relationships are perceptual, not mechanical. If it looks close enough,
it really is close enough, so inventory by eye, not with your ruler . . .
A one-pot space encircles the globe. The image is four pots tall. The man fts a pot space. This space
is so repetitive . . .
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. . . that it creates a whole grid! This is unusual.
Smaller elements
While youre looking at the large elements, make note of the smaller elements, too.
Pay attention to edges and contrasts. Clear edges are like the mans head and legs.
South America stands out because of its color contrast. The shadow areas have
obvious weight. And so on. Take the time to consciously observe these things. What
youre doing is training your eye. It will soon become intuitive.
A natural grid
This image has a natural grid that is unusually uniform.
Watering can (same
as South America)
Head (same as pot rim)
Pot and rim
Pot space
Pot space
North America
(same as pot)
Pot
width
Shadow
Shadow
South America (color contrast)
Leg (same as pot rim)
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Shape and texture
Be aware of what the lines are doing. Note if theyre straight or curvy, where
theyre close or far apart, where they change direction, and so on.
Look at all the triangles! These create
visual movement.
Triangles are evident at every distance
from farthest to nearest.
Far (phantom lines)
Near
The edges create a repetitive texture;
note the pointiness throughout.
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A bazillion pixels!
Color plays a major role in
design. The easiest and best
place to get a perfectly coor-
dinated palette is the image
itself. First, reduce its thou-
sands of pixel-size colors (right,
inset) to a workable few by
applying Photo shops or Illus-
trators built-in Mosaic flter
(far right). Rarely will you want
more than 64 colors, and usu-
ally 32 or even 16 are better.
For fewer colors, increase the
Cell size; for more, decrease it.
Choose colors
The next step is to create a color palette from the image . . .
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Design without rulers 10 of 21
Organize
Sample color swatches with the eyedropper tool, then arrange the swatches
by color and value . . .
You can see in Mosaic mode
that the image has several major
colorsthe blues and greens of
the globe, terracottas of the pot
and grays of the man. Sample dark,
medium and light pixels from each
(right). Neatly arrange your choices
by color, then by value (dark to
light). Take the time to actually do
this; youll be surprised by how
much it helps you visualize. Sample
a few minor colorsin this case
yellows and violetsthat can be
used for complements and coun-
terpoints. Discard lookalikes.
Arrange by color
By value
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Try each one on
Try the image atop a swatch of each color. What youll see is that every color you
picked automatically coordinates, because its already in there! Cool.
Warm colors
Warm colors are soft,
earthy, welcoming, suit-
able for environmental
messages. Note how
the blue globe stands
out against its opposite
colors, the terracottas.
Cool colors
Cool colors are more
direct and somewhat
businesslike and aloof.
The blue globe now
blends into the back-
ground, and those oppo-
site oranges stand out.
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Type is graphical
There are many ways to
choose a typeface. You
may have a house style,
so no choice is required.
You may have a look
already in mindsay,
formal or businesslike
or collegiate. You may
have a new favorite to try
out, which is always fun.
Whatever the case, the thing to keep in
mind is that type is graphical, just like an
image. Its lines will sweep or jog or dive.
It will have tooth and grain. When you
add type to a design, its visual character-
istics interact with those already on the
page, for better or for worse.
For this article, the image is driving our
choices; our goal is to match the visual
Select type
Next, we need a typeface that feels like the image.
properties of image and type. Our
type choice must also be functional
beautiful, readable, reproducible.
So whats here? Weve seen that
the image is full of texture; it
has a rich, detailed surface and
a lot of leafy-ness. The leaves
are pointy, evenly spaced and
actually look a lot like serif type.
Lets look at typefaces in three common
categories to see what we can see.
Glypha
Myriad Pro
Galliard
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There has never been a greater opportunity for
private enterprise to do good for everyone on
earth by creating new business growth in the
green sector. Join us for a day as we explore
how to deploy capital resources in industry,
technology, research and communications lo-
cally and across international boundaries for
both private and public benet. To reserve a
seat, log onto www.greenenergyseminar.org.
There has never been a greater opportunity for private en-
terprise to do good for everyone on earth by creating new
business growth in the green sector. Join us for a day as we
explore how to deploy capital resources in industry, technol-
ogy, research and communications locally and across inter-
Three viewing distances
Compare the type to the texture at three distancesnear, middle and far; it will
look different at each. Many typefaces are better at one distance than another.
Glypha is outdoorsy
A beautiful slab serif with perfect letter t, Glypha
is boxy and clean, with hard edges and repetitive
shapes. Its excellent in both headlines and text
an uncommon assetand its bold, slab sides make
it a natural for rough, outdoorsy topics like our
environmental project. Glypha is also very easy to
read. Problem? It looks nothing like the image.
Near Far
Middle
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There has never been a greater opportunity for
private enterprise to do good for everyone on
earth by creating new business growth in the
green sector. Join us for a day as we explore
how to deploy capital resources in industry,
technology, research and communications lo-
cally and across international boundaries for
both private and public benet. To reserve a
seat, log onto www.greenenergyseminar.org.
There has never been a greater opportunity for private enter-
prise to do good for everyone on earth by creating new busi-
ness growth in the green sector. Join us for a day as we ex-
plore how to deploy capital resources in industry, technology,
research and communications locally and across international
Turn it upside down
A reliable way to see a typeface is to turn it upside down, which reveals its ridges,
hollows and funny knicknacks that are always felt but normally unnoticed.
Near Far
Middle
Myriad is crystal clear
For outright visual clarity, there is probably no
typeface better than Myriad. Extremely good in
headlines and short passages of text, Myriads
large, open counters and minimal forms retain
their clarity at even the lowest resolutions. Myriad
projects a light, fresh, clean look thats a natural
for green topics, but it doesnt look like our image.
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There has never been a greater opportunity
for private enterprise to do good for ev-
eryone on earth by creating new business
growth in the green sector. Join us for a day
as we explore how to deploy capital resourc-
es in industry, technology, research and com-
munications locally and across international
boundaries for both private and public bene-
t. To reserve a seat, log onto www.greenen-
There has never been a greater opportunity for private
enterprise to do good for everyone on earth by creat-
ing new business growth in the green sector. Join us
for a day as we explore how to deploy capital resources
in industry, technology, research and communications
Near Far
Middle
Galliard Roman is textured
Galliard is a Roman typeface with chiseled features
and sharp, exaggerated serifs. Its thick-to-thin
strokes help make Galliard easy to read, although
its angles would be tiresome in large amounts. It
comes in several weights, its well proportioned,
it has the easy familiarity of serif type, and it looks
like the leaves! Galliard will be our choice.
Watch the surface
While youre comparing lines and edges, pay attention to surface texture, too.
Note the leaves are irregular and grainy, with a mottled blend of colors.
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Legal-sized brochure, 14 x 8
1
2
For this design, weve hidden the
non-printing fold lines (left); we care
only about what the eye can see.
Layout
Layout is where those lines, shapes, spaces, colors and textures nally get put to
work. Well illustrate how by designing a legal-size brochure page.
Work to the image
First step is to place the image on the page.
Where, and how big? Key is to have visible relation-
ships. Because the globe and its pot have a strong
central line (right), center page will be its strongest
position, where each will reinforce the other.
(Remember, its center- ish; none of this is ruler
exact.) Similarly, the pot space we saw encircle the
globe will be visible as a top margin (above).
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Our World Needs Your Help
Set the headline
A rule of design is to work with whats in front of you; dont arbitrarily make stuff
up. Here, the headline picks up the visual characteristics of the globe.
Type based on size, color and texture
(Top) Placing a headline across the top is normal, but
dont do it; the straight, horizontal line is a foreign object
thats different from whats in front of us. Instead, a block
of overlapping lines in Galliard Ultra mimics the size, mass,
color and texture of the globe, a visible relationship. Its
position beside the globe (above) strengthens the connec-
tion. Note how the interaction of translucent serifs (white
inset, above) mimics the size and texture of the leaves.
Margins are unaligned in any way.
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Toothy texture (Left) Set in Galliard Ultra and colored like
the globe, the speakers names stand out from the surround-
ing text, while the whole paragraph has the texture of the
illustration, an easy blend of form and function.
Add photos and text
As you add things to the page its complexity increases, and it becomes increasingly
difcult to sustain visual coherency. Pay attention to whats happening around your
materialin the margins, at the edges, between things.
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Align to the paper
The paper is also an active element that can be used as needed. Here, the lead
paragraph and key details are aligned right to an edge, establishing a visual anchor.
Parallel lines have an automatic relationship.
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Typefaces
1 (ad) ITC Galliard Ultra | a) 78 pt
b) 9 pt, c) 16 pt, d) 12 pt
2 (ad) ITC Galliard Roman | a) 9/11 pt
b) 16/19 pt, c) 12/14 pt, d) 10/12 pt
3 ITC Galliard Italic | 12 pt
Images
4 (ad) iStockphoto.com | a b c d
Article resources
Colors
C7 M32 Y90 K40
C31 M67 Y80 K45
C25 M23 Y100 K10
C50 M27 Y100 K38
C70 M35 Y80 K50
C0 M0 Y0 K75
C15 M80 Y100 K5
C0 M100 Y85 K40
C0 M0 Y0 K100
5
6
7
8
9
10
11
12
13
12 8 10 6 11 7 9 5 13
1c
2b
4d
1d
2d
3
2c
1a 2a 1b 4b 4a 4c
Before&After
21 of 21 | Printing formats
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Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
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 2007 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
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Subscribe to Before & After
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suitable for one- or two-sided printing, is provided on the following pages.
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