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Tiny budget,

evocatıve card

Turn a one-color business card into a visual statement.

Continued

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It’s just one ink color on matte-finish paperDesigned and printed on a tiny budget, this card fea-tures a lot of sophisticated techniques. Key is that one ink on white paper yields three levels of tonal depth—dark, medium and light. This allowed the designer to get extreme with scale; the illustration is huge without overpowering the card. Thin type is modern and understated in size, yet holds its own in white. The rough brush stroke conveys the evocative lines of the instrument without appear-ing feminine. Similarly, the matte paper texture is mas-culine and earthy.

Jim Cole is busy. Between his chamber quartet, jazz band and six students, he’s a musician on the move. He makes his music on the cello and the double bass, instruments as versatile as they are beautiful. What’s cool about his business card is its visual economy—not just

that’s it’s printed inexpensively in one color, but that it gets a lot of visual atmosphere out of just a few elements. Set in faint tonal contrasts, the illustration dominates the space but does not overpower the card. It conveys the air of classical musicianship without being stuffy; it’s simple and masculine. To achieve all this, the designer had many decisions to make. Let’s see what we can learn:

Tiny budget, evocative cardHere’s how to turn a one-color business card into a visual statement.




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XiBAmagazine.com UTiny budget, evocative card 3 of 11


Start with key words The place to start is to determine what you want your design to “say.” This is especially important on a small job where every nuance counts. Begin by creating key words.

Key words Open a dictionary or thesaurus and find words that fit Mr. Cole’s character and work. For example, to convey a sense of classical music as well as a fine instru-ment: formal, artistic, handmade, professional, masculine, crafts-manship. To express jazz and that Mr. Cole is personable, mobile and easy to work with: friendly, informal, upbeat, light. You can see in these lists some opposites: formal/informal, classical/upbeat. This is what you want; opposites create tension that almost always yields better designs.

Because cost is a limiting factor, we won’t be using a photograph. Instead, we’ll develop a style concept based on the traditional-ness of line. We’ll look next at how properties of line, together with size, color and value, work together to express the design goal.

Which line looks more masculine?

Design: Every nuance conveys meaning

Which size looks more upbeat?

Which colors look more classical?

Which values look more formal?




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Drawn linesFlat-nib pen line (A) flows like a ribbon, which conveys a sense of motion, water, air. Its associations are emo-tional, casual, feminine. A curving, single-width line (B) is gender neutral. By itself, the line has little character, but as a drawing it is light, casual, approachable.

Violins, violas, cellos and basses have some of the world’s most beautiful lines. Look carefully, and write down what you see.

(Above) Converging lines create motion; spiral is the focal point. Intricate detailing reveals hand craftsmanship; suggests skill, care, love, attentive-ness to detail.

Curvy lines duck and weave. Spritely, playful, joyous.

Sweeping line suggests airiness,

grandeur, majesty.

What kind of line?Lines are very expressive. Look carefully at your image. What do its lines say?

Straight lineUpright centerline suggests power, formality, dignity, stateliness.

The edge can be seen as a sweep or a series of detailed curves.

(Above) Graceful lines appear when the instrument is viewed from an angle. Smooth, sensuous, feminine.

BA




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Unlike the graceful, feminine lines of the instrument, a charcoal line is rough, bold and guy-like. Adobe Illustra-tor will create a rough stroke with a single click. It’s easy:

(1 ) Open Illustrator, Place your photo for reference (low resolu-tion is all you need), then with the Pen or Pencil tool trace its lines. There is no need for precision. Hide or delete the photo.

Draw itOur card needs a masculine line, one that follows the familiar, feminine silhouette but in a way that’s bold, gritty, less flowing. To get it, we’ll trade our pen for a brush.

1 2 3

(2) Adjust the line widths. (You may find this easier to do once the charcoal is applied.)

(3) Select the lines, then in the Brushes palette click Rough Charcoal. Edit your lines to suit.




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How big, where does it go, and which way?Size, position and orientation are key factors in how an image is perceived. As you create your layout, strive first to achieve clarity of message, then beauty.

(D) Get vertical Rotating the card upright matches format to instrument and gets all the lines working together. Now the image is big and still fits the card. Note, however, that the tall neck leaves an unappealing hollow near the top and the weight near the bottom. (E) Zooming closer bisects the space, distributes the weight evenly and shows off the rough, artistic line.

A

B

C

(A) Small Reduce the image to fit the space, and have a look. It fits, but what message does it send? It looks insignificant, doesn’t it? A double bass is BIG, and it BOOMS; this instrument looks delicate, distant, incidental. Pay attention here; such impressions are real. Size, position and orientation really communicate.

(B) Big Super size can have dramatic effect. In this case, however, the hori-zontal format crops too closely, and the key line of the instrument’s body is lost. The result is spotty and unclear.

(C) Sideways Turn the image hori-zontally. It now flows with the space but again sends the wrong message; it looks like a guitar.

E

Hollow

Heavy

Bisected space

Evenly distributed weight

D




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What color?Color is key to this job. We need not a palette full but a single color that can convey our mood and message in dark, medium and light values. Key to this is saturation.

The color wheel shows color relation-ships. In this case, it also reveals that saturated colors—really red reds and blue blues—are too bright for classical music or even jazz. What we need are desaturated colors, muted and sophisticated.

Desaturated color has some of its color drained out and replaced by gray. As colors are desaturated, their values (dark/light) become more alike. To desaturate color in Photoshop, select any color, then in the Hue/Saturation dialog (left) move the Satu-ration slider a negative distance; here it’s

–60. Because for this job our color must be dark, move the Lightness slider to, in this case, –40.

Saturated colors—the colors of kindergarten—are too bright for classical music.

The same colors, desaturated and darkened, are soft and rich and con-vey age, tradition, professionalism.




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5815 50%

What values?Because desaturated colors are mostly gray, they can be fully lightened or darkened without changing their essential color. This allows us to use all the values of our one color!

Even darker(Above) Because one color will do all the work, it must begin very dark, so we’ll darken our desatu-rated colors further, all the way to –60. Note that heavily darkened, desaturated colors look almost alike. As a result, all will function pretty much the same; the gray does the real work, and the hint of color provides the flavor.

Convert to Pantone So far, the color wheel has been a helpful reference to get us into the color ballpark. But now we must convert from its process colors, which are used for four-color printing, to a single spot color. For that we’ll use the Pantone Matching System. Pantone is accessible in the color libraries* of Photoshop, InDesign and Illustrator. Just select your choice from the list, and add it to the color palette.

Our card uses Pantone 5815 at full strength and tinted 50%. On white paper that yields our three values—dark, medium and light. Note above the different expressive character of four combinations.

*Pantone is also available in printed swatch books (above). The Pantone colors shown here are simulations.




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RattyGraceful

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What type?Type has a dual role to play as image maker and message maker. What face to use? Because line is dominant, base your selection on the line of the typeface.

Matches Things of one kind usually go well together, and Lettres Eclatees has a lot in common with the brush stroke; it’s bold, erratic and rough. But that’s only its edge. Problem is that while the instrument’s lines are long and snaky, the letters are short and spotty; overlaid, these differences will clash. Also, the typeface looks like graffiti, which is not one of Mr. Cole’s key words. If that weren’t enough, the card’s brush stroke is so assertive that a matching typeface would simply be too much of a good thing.

Clashes You’d think that Palatino would be a good choice; it’s a Roman typeface from the visual era of the instrument. It conveys the “air” of its subject—dignified, formal, classical. And it’s a masculine face, boxy and chiseled. So why doesn’t it work? Because its details are the same size as the brush but a com-pletely different kind. Its graceful, thick-thin strokes and finely craft-ed serifs clash with the splats, jags, crannies and backtracks of the brush. Such similar (size) but differ-ent (style) properties rarely coexist well in close proximity.

Complements Ultra-sleek Helvetica Neue Thin Extended has nothing in common with the brush stroke. Its lines are minimal, pure, unadorned. Where the brush is wide and rough, the type is thin and smooth. This allows the brush stroke to dominate the card, while the type sends a crystal clear verbal mes-sage, beautifully understated. Name and descriptor are set in uppercase in the strong center of the card (right), everything else is in lowercase, each text block aligned left.

Our finished cardSimple, clear, handsome, cheap.




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Typefaces

1 (a–c) Helvetica Neue 33 Thin Ext a) 12 pt, b) 7 pt, +40 letterspacing, c) 8/11 pt, +20 letterspacing

Images

2 (a–e) iStockphoto.com a b c d e

3 pantone.com | Pantone formula guide

Program

adobe.com | Adobe Illustrator

Article resources

Colors

PMS 5815

PMS 5815/50%

4

5

2c

2a

1c

2e

1a

2b

3

2d

1b




http://store.adobe.com/type/browser/F/HELL/F_HELL-10033000.html

http://www.istockphoto.com/file_closeup.php?id=1123536





http://www.pantone.com/products/products.asp?idSubArea=0&idArea=1&idProduct=314&idArticleType_Products=0

http://www.adobe.com/products/illustrator/

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Tiny budget, evocative card 11 of 11

Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understand-able, useful and even fun for everyone.

John McWade Publisher and creative directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-mail [email protected] www http://www.bamagazine.com

Copyright ©2006 Before & After magazine ISSN 1049-0035. All rights reserved

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It’s just o

ne

ink

colo

r o

n m

atte

-fin

ish p

ap

er

Designed and printed on a

tiny budget, this card fea-tures a lot of sophisticated techniques. Key is that one ink on w

hite paper yields three levels of tonal depth—dark, m

edium and light.

This allowed the designer

to get extreme w

ith scale; the illustration is huge w

ithout overpowering the

card. Thin type is modern

and understated in size, yet holds its ow

n in white. The

rough brush stroke conveys the evocative lines of the instrum

ent without appear-

ing feminine. Sim

ilarly, the m

atte paper texture is mas-

culine and earthy.

Jim C

ole is b

usy. B

etween

his ch

amb

er q

uartet, jazz b

and

and

six stud

ents, h

e’s a m

usician

on

the m

ove. He m

akes his

mu

sic on

the cello

and

the d

ou

ble b

ass, in

strum

ents as versatile as th

ey are b

eautifu

l. Wh

at’s coo

l abo

ut h

is bu

siness

card is its visu

al econ

om

y—n

ot ju

st th

at’s it’s prin

ted in

expen

sively in o

ne co

lor, b

ut th

at it gets a lo

t of visu

al atmo

sph

ere ou

t of ju

st a few

elemen

ts. Set in fain

t ton

al con

trasts, the

illustratio

n d

om

inates th

e space b

ut d

oes

no

t overpow

er the card

. It con

veys the air o

f classical m

usician

ship

with

ou

t bein

g stuffy;

it’s simp

le and

mascu

line. To

achieve all

this, th

e design

er had

man

y decisio

ns to

m

ake. Let’s see wh

at we can

learn:

Tiny budget,

evocatıve card

Tu

rn a on

e-color bu

siness card

in

to a visual statem

ent.

Be

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ud

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Start w

ith k

ey w

ord

s T

he p

lace to start is to

determ

ine w

hat yo

u w

ant yo

ur d

esign to

“say.” Th

is is especially

imp

ortan

t on

a small jo

b w

here every n

uan

ce cou

nts. B

egin b

y creating key w

ords.

Ke

y wo

rds

Open a dictionary or thesaurus and find

words that fit M

r. Cole’s character and

work. For exam

ple, to convey a sense of cla

ssical m

usic as w

ell as a fine instru-m

ent: form

al, a

rtistic, ha

nd

ma

de,

pro

fessio

na

l, ma

sculin

e, crafts-

ma

nsh

ip. To express ja

zz and that Mr.

Cole is personable, m

obile and easy to w

ork with: frie

nd

ly, info

rma

l, up

be

at,

ligh

t. You can see in these lists some

opposites: formal/inform

al, classical/upbeat. This is w

hat you want; opposites

create tension that almost alw

ays yields better designs.

Because cost is a lim

iting factor, we

won’t be using a photograph. Instead,

we’ll develop a style

con

cep

t based on the traditional-ness of lin

e. We’ll look

next at how properties of lin

e, together w

ith size, colo

r and valu

e, work

together to express the design goal.

Which lin

e looks m

ore m

asculine?

De

sign

: Eve

ry nu

an

ce co

nve

ys me

an

ing

Which size

looks m

ore upbeat?

Which co

lors look

more classical?

Which va

lue

s look m

ore formal?

Draw

n lin

es

Flat-nib pen line (A) flow

s like a ribbon, w

hich conveys a sense of m

otion, water, air.

Its associations are emo-

tional, casual, feminine. A

curving, single-w

idth line (B)

is gender neutral. By itself,

the line has little character, but as a draw

ing it is light, casual, approachable.

Vio

lins, vio

las, ce

llos a

nd

b

asse

s ha

ve so

me

of th

e

wo

rld’s m

ost b

ea

utifu

l line

s. Lo

ok

care

fully, a

nd

write

d

ow

n w

ha

t you

see.

(Above)

Co

nve

rgin

g lin

es

create motion; spiral is

the focal point. Intricate detailing reveals hand craftsm

anship; suggests skill, care, love, attentive-ness to detail.

Cu

rvy line

s duck and w

eave. Spritely, playful, joyous.

Sw

ee

pin

g lin

e

suggests airiness, grandeur, m

ajesty.

Wh

at kin

d o

f line

?L

ines are very exp

ressive. Lo

ok carefu

lly at you

r image. W

hat d

o its lin

es say?

Stra

igh

t line

Upright centerline suggests pow

er, form

ality, dignity, stateliness.

The edge can be seen as a sweep

or a series of detailed curves.

(Above)

Gra

cefu

l line

s appear when the

instrument is view

ed from an angle.

Smoo th, sensuous, fem

inine.

BA

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ud

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Un

like

the

gra

cefu

l, fem

inin

e

line

s of th

e in

strum

en

t, a

cha

rcoa

l line

is rou

gh

, bo

ld

an

d g

uy-lik

e. Ad

ob

e Illu

stra-

tor w

ill crea

te a

rou

gh

strok

e

with

a sin

gle

click. It’s e

asy:

(1) O

pen Illustrator, Place your

photo for reference (low resolu-

tion is all you need), then w

ith the P

en or Pencil tool trace its lines.

There is no need for precision. H

ide or delete the photo.

Draw

itO

ur card

need

s a mascu

line lin

e, on

e that fo

llows th

e familiar, fem

inin

e silho

uette b

ut

in a w

ay that’s b

old

, gritty, less flow

ing. To

get it, we’ll trad

e ou

r pen

for a b

rush

.

12

3

(2) A

djust the line widths. (You

may find this easier to do once

the charcoal is applied.)

(3) Select the lines, then in the

Brushes palette click R

ough Charcoal.

Edit your lines to suit.

Ho

w b

ig, w

he

re d

oe

s it go, an

d w

hich

way?

Size, po

sition

and

orien

tation

are key factors in

how

an im

age is perceived

. As yo

u

create you

r layou

t, strive first to

achieve clarity o

f message, th

en b

eauty.

(D) G

et ve

rtical R

otating the card upright matches

format to instrum

ent and gets all the lines working

together. Now

the image is big and still fits the card.

Note, how

ever, that the tall neck leaves an unappealing hollow

near the top and the weight near the bottom

. (E

) Zooming closer bisects the space, distributes the

weight evenly and show

s off the rough, artistic line.

ABC

(A) S

ma

ll Reduce the im

age to fit the space, and have a look. It fits, but w

hat message does it send? It looks

insignificant, doesn’t it? A double bass

is BIG

, and it BO

OM

S; this instrument

looks delicate, distant, incidental. Pay attention here; such im

pressions are real. Size, position and orientation really com

municate.

(B) B

ig Super size can have dram

atic effect. In this case, how

ever, the hori-zontal form

at crops too closely, and the key line of the instrum

ent’s body is lost. The result is spotty and unclear.

(C) S

ide

wa

ys Turn the image hori-

zontally. It now flow

s with the space

but again sends the wrong m

essage; it looks like a guitar.

E

Hollow

Heavy

Bisected spaceEvenly

distributed w

eight

D

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Wh

at colo

r?C

olo

r is key to th

is job. W

e need

no

t a palette fu

ll bu

t a single co

lor th

at can co

nvey o

ur

mo

od

and

message in

dark, m

ediu

m an

d ligh

t values. K

ey to th

is is saturation

.

The

colo

r wh

ee

l shows color relation-

ships. In this case, it also reveals that saturated colors—

really red reds and blue blues—

are too bright for classical music or

even jazz. What w

e need are desaturated colors, m

uted and sophisticated.

De

saturate

d co

lor has som

e of its color drained out and replaced by gray. A

s colors are desaturated, their values (dark/light) becom

e more alike. To desaturate color in

Photoshop, select any color, then in the H

ue/Saturation dialog (left) move the Satu-

ration slider a negative distance; here it’s –60. B

ecause for this job our color must be

dark, move the Lightness slider to, in this

case, –40.

Saturated colors—the colors of

kindergarten—are too bright for

classical music.

The same colors, desaturated and

darkened, are soft and rich and con-vey age, tradition, professionalism

.

581550%

Wh

at value

s?B

ecause d

esaturated

colo

rs are mo

stly gray, they can

be fu

lly lighten

ed o

r darken

ed w

itho

ut

chan

ging th

eir essential co

lor. T

his allow

s us to

use all th

e values o

f ou

r on

e colo

r!

Eve

n d

ark

er

(Above) B

ecause one color will

do all the work, it m

ust begin very dark, so w

e’ll darken our desatu-rated colors further, all the w

ay to –60. N

ote that heavily darkened, desaturated colors look alm

ost alike. A

s a result, all will function

pretty much the sam

e; the gray does the real w

ork, and the hint of color provides the flavor.

Co

nve

rt to P

an

ton

e So far, the color w

heel has been a helpful reference to get us into the color ballpark. B

ut now w

e must convert from

its process colors, which are used for four-color printing, to a single spot color.

For that we’ll use the Pantone M

atching System. Pantone is accessible in the color libraries* of P

hotoshop, InD

esign and Illustrator. Just select your choice from the list, and add it to the color palette.

Our card uses Pantone 5815 at full strength and tinted 50%

. On w

hite paper that yields our three values—dark, m

edium and light. N

ote above the different expressive character of four combinations.

*Pantone is also available in printed swatch books (above). The Pantone colors show

n here are simulations.

Be

fore

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Wh

at type

?Typ

e has a d

ual ro

le to p

lay as image m

aker and

message m

aker. Wh

at face to u

se? B

ecause lin

e is do

min

ant, b

ase you

r selection

on

the lin

e of th

e typeface.

Ma

tche

s Things of one kind usually go w

ell together, and Lettres Eclatees has a lot in com

mon w

ith the brush stroke; it’s bold, erratic and rough. B

ut that’s only its edge. Problem

is that w

hile the instrument’s lines

are long and snaky, the letters are short and spotty; overlaid, these differences w

ill clash. Also, the

typeface looks like graffiti, which

is not one of Mr. C

ole’s key words.

If that weren’t enough, the card’s

brush stroke is so assertive that a m

atching typeface would sim

ply be too m

uch of a good thing.

Cla

she

s You’d think that Palatino w

ould be a good choice; it’s a R

oman

typeface from the visual era of the

instrument. It conveys the “air”

of its subject—dignified, form

al, classical. A

nd it’s a masculine face,

boxy and chiseled. So why doesn’t

it work? B

ecause its details are the sam

e size as the brush but a com-

pletely different kind. Its graceful, thick-thin strokes and finely craft-ed serifs clash w

ith the splats, jags, crannies and backtracks of the brush. Such sim

ilar (size) but differ-ent (style) properties rarely coexist w

ell in close proximity.

Co

mp

lem

en

ts U

ltra-sleek Helvetica N

eue Thin Extended has nothing in com

mon

with the brush stroke. Its lines are

minim

al, pure, unadorned. Where

the brush is wide and rough,

the type is thin and smooth.

This allows the brush stroke to

dominate the card, w

hile the type sends a crystal clear verbal m

es-sage, beautifully understated. N

ame and descriptor are set in

uppercase in the strong center of the card (right), everything else is in low

ercase, each text block aligned left.

Ou

r fin

ishe

d ca

rdSim

ple, clear, handsome, cheap.

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Type

face

s

1 (a–c) H

elvetica Neue 33 Thin Ext

a) 12 pt, b) 7 pt, +40 letterspacing,

c) 8/11 pt, +20 letterspacing

Ima

ge

s

2 (a–e

) iStockphoto.com

a b c d e

3 pantone.com | Pantone form

ula guide

Pro

gra

m

adobe.com | A

dobe Illustrator

Article

reso

urce

s

Co

lors

PM

S 5815

PM

S 5815/50%

45

2c

2a

1c2e

1a

2b3

2d

1b

Be

fore

&A

fter | w

ww

.bamagazine.com

6 of 6

Tiny b

ud

ge

t, evo

cative

card

06440644

Tiny b

ud

ge

t, evo

cative

card

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