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What

makesa goodlogo?

Also in this issue:

How to design what you writeFirst in a series for newsletter editors

Fun-to-draw spotlight beams

How to lay out stationery

How to make a smooth blend

How to draw spiral binding

Lots of stuff!

Logo by David E. Carter

Vol. 2 No. 2 ⁄ 1

How to design cool stuff



What we did

Coaster’s edgeis in the shade.

Mug’s shadowwould notadd moreshade.

THE MAILBOX

2

HOW TO MAKE A SMOOOOTH BLEND

I really enjoy your magazine but many of your cool effects require the use of blendsor graduated fills. I’ve tried various for-mulas but often as not my blends returnfrom the imagesetter banded rather thansmooth. One job was especially awful; nomatter how many blend steps I used—Igot desperate and tried 500—I still gotbanding. What’s wrong?

Cindy LewisTeaneck, NJ

What a confusing topic this is! Your prob-lem isn’t too few steps, it’s too few graylevels; that is, your halftone screen is toofine for your imagesetter’s resolution.

Do this: Multiply your halftone screen(say, 120 lines per inch) by 16; specify theresult (1,920 dpi) or higher for your out-put resolution. If your imagesetter won’tgo that high, work backwards: Divide thebest it will do by 16 and specify thatnumber or lower for your halftones.

Then blend in 256 steps.For faster printing, you may use

fewer than 256 steps if (but only if):1) Your blend is short. How

short? Count dots: A one-inch blendat 90 lines per inch needs no more

THAT WAYWARD SHADOW

After reading our article about fad-ing shadows, several readers wroteto point out that an object under ashadow does not cast a shadow, abasic observation (!) that escapedus completely:

The right way

Mug’s shadow andcoaster’s edge arethe same color.Tabletop shad-ow jogs left;coaster getsshadow, too.

Right: 50% black, 90lpi. Experiment; othershades and halftonesyield different results.

For business, images that are under-stated look best. Why? Because theymimic our perception of real life: Thepresident of the firm is down the hallin the big room behind the oak desk,not in our face at the front door.

This dignified impression is easyto convey in print. Here’s how:

Objects in groupssharpen a layout

Simple technique organizesspace, eases reading.

AFTER (left and below)

Photos and text are separated into threeneat groups, centered on an expansivestage. Understatement elevates reader’ssense of the officers’ importance. Whitespace is doubly suitable for a hospital.

Above, horizontal format reunites photosand captions but this time the eye flowsunimpeded to the right. Note photosbleed to the top; this classy treatmenteliminates any white frame effect.

“After” page (left) courtesy of the NorthBay Hospital Group.

BEFORE (above)

Captions tangle withbrassy, in-your-face pix;the eye must trip overone to read the other.

than 90 steps because that’s all the dots ithas. Once you reach 256 steps, stop.

2) Your blend covers a narrow tonerange, like 10% to 50%. In this case, mul-tiply 256 by the tone change (.40)—for amulticolor blend, use the color thatchanges most—and use that many steps.

3) If both 1 and 2 apply, use the small-er number.*

TEXTURED LINES

How do you make those thin, finely tex-tured lines you use?

Dennis L. ChoatNew York, NY

Easy! In PageMak-er, I rule a hairlineand color it about50 percent black.

*A FreeHand Graduated fill has 256 steps; forfewer steps, you must use a Blend, which printsfaster anyway unless it’s pasted inside something.

(We use this formula with excellent results, butPostScript [Level 1] does not get along with half-tones; every so often it prints, oh, 30 steps where60 are called for. It does this to make you late.)

U H - O H D E P T.



On the middle layer,draw and Ungroup asheet of paper. Thendraw and space a row

of circles. Typically,notebook holes are 7points in diameterand 6 points apart(you might measure).

Group the clones andSend to back . Selectthe original row of circles and Ungroup .

Hold the shift key while you also selectthe paper—and Join .

Zowie!Holes!

7 66

On the top layer, drawa tall, thin, round cor-ner box centered overa hole as shown. Setcorner radius for half the box width (exam-ple: 3-pt box width;1.5-pt radius corner)to make ends round.

R oun d

Since in FreeHandthere is no automat-ic way to rotate twoboxes toward a com-mon center, selectthe rotation tool anda box, center the cur-sor in the hole and

just rotate by eye.

Color same as the

paper plus 10% black.Working in black andwhite? If paper’s 20%black, color line 30%.

Duplicate the curve

and align a copy witheach hole in the row.Finally, Cut the wholerow of curves . . .

select the paper and

Paste inside . Whew! Print. And whileyou’re waiting, you’llhave time for lunch.

Before you start: This drawing is fun but takes a long time to print. Set flatness of each rounded object to 5 or so.

Our spiral binding ismade of five basicparts: 1 the wire, 2the cast shadow, 3

the hole, 4 the hole’sshadow, 5 the paper.It’s easier (but notnecessary) to firstmake three layers—

2

1

53

4

Clone the circles.While the clones areactive, give them a1-pt outline—color

about 60% black—and no fill. SelectMove and offsetthem about a half point left and down.

White outline for reference only

Add a graduated fillfor light and dimen-sion. (I’ve used 70%black to white, angle0°, linear.) Clone .Move the clone to anadjacent hole. Centera vertical ruler guidebetween the holes.

Duplicate and posi-tion the two boxesuntil you have awhole row. Send oneset to the bottomlayer. The boxes oneach end shouldremain upright likereal spiral binding.

To add the cast shad-

ows: On top layer,draw a 3-pt line likethis. The easy way:Quarter an ellipse.

BEFORE & AFTER, HOW TO DESIGN COOL STUFF (ISSN 1049-0035), Vol. 2, No. 2, Nov. 1991. Before & After is a magazine of design and page layout for desktop publishers. It is published bimonthly by PageLab,Inc., 331 J Street, Suite 150, Sacramento, CA 95814-9671. Telephone 916-443-4890. Copyright 1991, PageLab, Inc. All rights reserved. Second-class postage paid at Sacramento, CA.

POSTMASTER: Send address change to: Before & After, How to design cool stuff, 331 J Street, Suite 150, Sacramento, CA 95814-9671. Subscription rate: $36 per year (6 issues). Canadian subscribersplease add $4 and remit in U.S. funds; overseas subscribers please add $18.Back issues: $10 each. Bulk subscriptions: 5–10: $33 each; 11–20, $30 each; 21–35, $27 each; 36 or more, $24 each. Bulksubscriptions will be entered under one name and mailed to a single address. The terms “Before & After,” “How to design cool stuff,” “Xamplex” and “Type: The visible voice” have trademarks pending.

TM

THE COMPUTER OPERATOR BLUES

After receiving a BA in fine art and em-ploying my skills as an illustrator, design-er and art director, I find that, because of my skills with the computer, I’m reducedto being a “computer operator” by theart directors for whom I freelance.

Can you help?Cher ThreinenSan Diego, CA

Remember being a freshman?Remember those creepy seniors?Remember being a senior?Remember those creepy freshmen?What happened?

SLOW, AS USUAL

Desktop publishing is said to save lots of time, and my boss, who bought my equip-ment with this in mind, now wants toknow why her work isn’t finished in theblink of an eye. Anything I say soundslike an excuse. Any advice?

Deborah Vacca

Toledo, OH

How would you explain it if you were theboss? Is your job creative—which is slowas ever—or is it mechanical, which usesthe computer’s speed? Is quality improv-ing? Are costs dropping?

Would you believe you? Are yousure? If so, then she will too.

THE MAILBOX includes letters, faxes and telephone conversa-tions. Address John McWade, Before & After, 331 J Street, Suite150, Sacramento, CA 95814-9671. Fax: 916-443-7431.

THE LURE OF THE FAMILIARDid you find yourself attracted by the notepad?It’s very likely; most of us are drawn to simple

objects which we recognize. There’s a point here:A lifelike object—a pencil, a button—makes acompelling graphic device; it can soften a dis-

agreeable presentation or relieve a ponderous re-port. It’s appropriate, too, no matter how sophis-ticated your audience—just make it well crafted.

FREEHAND 3.0 STEP-BY-STEP

How to draw spiral binding



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Ihow to design them. OK, how many of those newsletters, I asked, did you actu-

asked a desktop publisher recentlyhow many newsletters he’d seenwhose look he liked. Quite a number,was his reply, and he’d like to learn

ally read—you know, front to back, be-cause they were so appealing? He couldthink of only one. And therein lies a story.

There is a difference between a news-letter that looks good and one that actu-ally says something to the reader. Writ-

ers, being readers, have known this for along time but typically have not under-stood the process; to many writers designis like perfume applied to make the words“attractive” or even “compelling.” Acrossthe ledger are designers who too often

How to design what you writeDesktop publishing has turned many writers into newsletter designers.

Here’s how to make the jump from journalist to screenwriter.

WHY THE BIG BOX?A newsletter is brief;this box is big enoughfor the New York Times .Put away your newspa-per thinking.

WHY THE BORDER?A border is normally used to isolate dataand draw the eye. Noneed here; the pictureis already clear.

PAGE 1 BEFORE

When you’re brand-new to page making,it’s a moral victory to get this far: a name-plate with shadows, a photograph with a

wide caption and columns of real type, allon a page (in two colors, too!) that youmade by yourself.

Your cool eye, however, is not persuaded that the layout is sufficient to set the world

alight. Actually, now that you look at it, it’snothing at all like what you had in mind.

Now what? As a writer-designer, it may help to vis-

ualize your task as writing for a stage on which actors, sets and music—the graph-ics—take over many of your communica-

tion chores. Together, they send a mes-sage greater than the sum of their parts.

This requires a cultural leap from your oldpattern of writing in isolation.

Devara, a journalist, approached News-

line like a tiny newspaper; she first wroteher stories, then arranged them in blocks:a nameplate block, text blocks, contentsblock and so forth. The photo was added

mainly to “break up” the gray. The result? Although her front-page topic is dark withhuman trauma and frailty and begs thereader’s compassion, you have no senseof that, do you?

That’s because she was concentrating onwords. By pouring them into a generic mold,she stripped them of their influence. To add in-sult to injury, her material didn’t fit the space.

WHAT’S A SHATTERED SECRET?Without further defini-tion, this headline is amystery; it forces thereader to dig into thestory just to learn what he’s about to read.This can be quite tire-some, and a busy read-er won’t bother.

Unlike you, the read-er does not know the story. If you forget that,you’ll write heads likethis—and there’s not atypeface in the worldthat can fix them.

Also, picture place-ment disrupts read-ing—for quick compre-hension, text shouldflow from the headline.

NAMEPLATE FAUX PASTrue, it doesn’t lookgood, but what else iswrong? It’s that News- line is a generic name,by itself basically mean-ingless. A word like thiscan’t stand alone. Thesubhead and sub-sub-head are an attempt todefine it, but they’vebeen tacked on as af-terthoughts. Muddy.

B&A

NEWSLETTER

CLINIC



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see words as blocks to be assembled likeLegos and whose value is mainly in theirshapes. Fact is, communication demands

both, and desktop publishing has createdthe unprecedented opportunity for writ-ers to design their own pages to say visu-ally exactly what they say verbally.

Like writing, design is a fluid, organicprocess; that is, nothing is rigid—there isno right or wrong way to express an idea.In this, the writer–designer has an openadvantage over the traditional two-per-son crew: He can mold his story to fit hislayout; he can also orchestrate his layoutto capture written nuance and detail that

would escape many designers unseen.The value of this becomes plain with

practice. As a page is taking shape, the

writer will find that the layout is alteringhis story. For example, in his typewriterit had a beginning-to-end flow; once onthe page, however, the eye is pulled here

by a headline and there by a picture andover there by an unrelated thingamajig—the reader, therefore, will often read it inpieces, out of sequence, or with unintend-ed emphasis. A designer without a writ-er’s feel for the story won’t appreciatethis; he’ll go with what “looks good.” Thewriter–designer can change the design.

The subject of our clinic is the workof Devara Berger, newsletter writer forthe California Office of Criminal Justice

Planning. Her situation is typical: She in-herited a designed-by-bureaucracy news-letter of graceless form at the same timeshe was learning PageMaker, and force-fed her copy into an existing layout.

In the process, she saw that designaffects more than the reader; it can alsosway the writer. The newspaper-styleformat prompted stereotypical thinking(banners! borders! boxes!) unsuited forthe stories she wanted to tell, and led hernewsletter right off the road. Let’s look:

PAGE 1 AFTER

Now the reader can see a story! You willcommunicate most clearly if you tailor your

writing to reflect what the reader can actu-ally see. How? Best way to start is to reverse

the old sequence: First place the picture,then write the story.

Look at the example: The picture speaks volumes: It is grave, intimate, disturbing—itsinfluence over the reader is so strong it willcolor everything he reads. To your benefit, it

will also influence what you write; by placing it first you can draw on its power without hav-ing to write it into the text.

Note also that the layout is simple—thenameplate, head, text and photo appear insequence and flow, without choppiness or interruption, from one to the next. The for-mat is quite similar, actually, to a typewrittenpage (with a picture added), a familiar model

to which readers are accustomed.

SIMPLE NAMEPLATEHAS DIGNITY The addition of OCJP clarifies the genericNewsline; gray-and-black contrast distin-guishes the two with-out downplaying ei-ther. Note the name-plate is set off by white space alone.This is an especially effective technique—where a border or line

would draw the eye,empty space leaves asilent pause; the eyeproceeds undisturbeddirectly to the words.

New table of con-tents is accessible butimparts its informa-tion modestly, in pro-portion to its value.

DECK HEAD, “SPOT-LIGHT” BOX, CAPTIONCLARIFY Deck head adds im-measurable value tothe headline; notehow three pieces of

text: head, spotlightbox and caption—plusthe photo—practically tell the story; the read-er can grasp almost immediately the grav-ity of the subject.

A picture in silhouette is especially strong, oneof the most potent graphic devices you can use.I think this is because it’s totally focused on thesubject—it eliminates distractions and removesthe sense that we’re peering through a window.

credible because incest is such a

touchy subject,” said Alcalay. “Thepaper provided not only pre-play

publicity, it also ran two pages on in-

cest and the play.”

The play

packed in

audiences

for its two

performan-

ces. Stated

Alcalay, “Shat-

tered Secrets

Summer 1990

2 Forum

2 Milestones

3 News Briefs

4 RFPs

5 GCOPs

6 Grants

9 Guest Column

10 Calendar

Shedding light on atouchy subject

Shattered Secrets cast membersLibbe HaLevy and Scott Gardner

Center and The Davis Enterprise ,

the town newspaper.

HaLevy’s play about an incest sur-

vivors’ group has been running

every Monday night at The Power-

house in Santa Monica for almost

two years. HaLevy, an incest survivor,

wrote the play in response to public-

ity surrounding the McMartin Pre-

school case.

Allison Alcalay, executive director

of Yolo’s Domestic Violence Center,

spearheaded the effort to bring the

play to Northern California after see-

ing it at the Office of Criminal Jus-

tice Planning’s sixth annual Gover-

nor’s Training Conference on Crime

YOLO COUNTY

SEXUAL ASSAULT AND

DOMESTIC VIOLENCE

CENTER

S P O T L I G H T

Victims in Burlingame last year.

“Driving back from the conference,our shelter coordinator Sharon

Aranga and I became

convinced that Shat-

tered Secrets would be

a wonderful tool to edu-

cate the community

about incest,” she said.

Alcalay and her entire staff

worked with the play’s di-

rector Jerry Craig to

bring the play to Davis.

“Getting the backing

of The Davis Enter-

prise was in-

Libbe HaLevy’s powerful play packs a Davis theater;inspires incest survivor groups

Shattered Secrets: Therapy through theater

Last October, Libbe HaLevy’s power-

ful one-act play, Shattered Secrets,made its Northern California debut

at The Palms in the city

of Davis. HaLevy owes

this debut to the Yolo

County Sexual Assault

and Domestic Violence

Office of Criminal Justice Planning Quarterly Newsletter



BulkRate

U.S.Postage

PAID

PermitNo.1766

Sacramento,CA

OfficeofCriminalJusticePlanning1130KStreet,Suite300Sacramento,California 95814

More Milestones . . .frompage2

WoodlandPDhonored

TheWoodlandPoliceDepartmentre-

ceivedanawardfromtheYoloCounty

JuvenileJusticeCommitteeforitsOCJP-

fundedYouthServicesProgram.This

programhasmadesignificantcutsin the

department’sworkload.

OCJPbidsfarewellto AnnieHouston

AnnieHouston,MeetingPlannerfor

OCJP,retiredafter26 yearsofstateser-

vice.AnniewaswithOCJPfor14years.

Foralmost10years,sheworkedasan

executivesecretarybeforegoingtoSup-

portServicestohelpplan OCJPconfer-

ences.AnniewillbegreatlymissedbyOCJPandthemanyfriendsshemadein

stategovernment.

Theplaypackedinaudiencesforits

twoperformances. StatedAlcalay,

“ShatteredSecretswasmorethana

wonderfulmediumtoeducatepeople;it

hadterrific repercussions.For example,

westartedourownincestsurvivor’s

groupwhichfilledupimmediately,and

itinspiredourcentertosponsorone

specialprojectayear.”

Thecenter’srecentspecialproject

wasaself-defenseclassthatitprovided

inneighboringWoodland.Feeswere

subsidizedbythe YoloCountySheriff’sAssociation;advertising wasprovided

by TheWoodland Democrat.

AlcalaycreditsOCJPforits“out-

standingidea”toincludeShattered

Secrets asaneducationaltoolatitscon-

ference.(Theplay wasalsopresented

attherecentGovernor’sVictimServices

andPublicSafetyConferenceinAna-

heim.)Alcalaybelievestheplaypro-

videdtheimpetusforher center’sown

creativeefforts.

FormoreinformationaboutShat-

teredSecrets asa communityeduca-

tionaltool,contactAllisonAlcalayat

(916)661-6336.Forinformationabouttheplayorbookings,contactJerry

Craigat(213)383-4614.

From the cover . . .

Shattered Secrets: Incest survivors’ play “was a wonderful educational medium . . .it had terrific repercussions.”

B&A NEWSLETTER CLINIC

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PAGE 2 BEFORE PAGE 2 AFTER

BIGGER IS NOT BETTERPage 2 belongs to the boss. Here, he wanted his pic-

ture “big”—and Devara complied with the letter of the law. But what happened? Set into the text this way, his picture looks like part of the story. Worse,however, is that because the vague headline gives thereader no clue of what he’s about to say, he’ll be dis-missed—unread—with a turn of the page.

The masthead is out of proportion; important as

the governor may be, his name in lights does nothing here to enrich the reader.

STORYTELLING MODE SOLVES EVERY PROBLEMLike page 1, makeover is acombination of fresh head-lines and reorganized layoutnote how it brings the story

to life. This is what I meanby approachable; because

the reader can see the story,he can—and will—respond

to the page quickly.Note at the top that title,

photo and headline work asa unit to set the stage. Al-

though his picture is small-er, Mr. Howenstein now has

a visible voice, which giveshim the credibility (and the“bigness”) he lacked earlier

The callout (that big quote)also lends at-a-glance claritybut with a different voice

than the headline (it’s morepersonal); each comple-ments the other. The pageis now arranged much like

you’d tell the story in per-son. This is the surest way

to engage your reader.

Note the new masthead:Interesting, isn’t it, that bysetting it apart from thetransitory, issue-to-issue

articles, we endow it withgreater authority, eventhough it’s a mere one-third its original size.

BACK PAGE AFTERBACK PAGE BEFORE

God is in the details! See how the type ap-

pears to be in tatters,extremely ragged (espe-cially column 2), some-times floating midair?

Even the most modest

designer can improvehis work by exercisinggood craftsmanship.

Make sure columns andborders are aligned and

evenly spaced.

KEEP THE INFORMATIONFLOWINGIf your story must jump toanother page, an additionalheading (not the same as aheadline) keeps the brows-er engaged; this is the ideal

spot for a second picture.

Quick! Which page doesa mail recipient see first?The back page! This is aterrible place to jump arti-cles—you’ve worked toohard on the front to usheryour guests in throughthe alley. Heck, with noth-ing but story tails, eventhe makeover is plain. It’sbetter to jump to insidepages and put somethingcool on the back.

OCJP nameplate hasbecome a logo, providingcontinuity. Quick and easy.

2 OCJP Newsline

The Office of Criminal Justice Planning.Pete Wilson, Governor; G. Albert Howenstein, Jr., Executive Director; Patrick Ashby, Deputy Director, Programs;

Kenneth Kobrin,Deputy Director, Administration; Tony Russell, Public Information Officer; Devara Berger, Writer/Editor.

OCJP Newsline, Summer 1990, Vol. 5, No. 2. Newsline is published quarterly by the Offic e of Criminal Justice Planning, 1130 K Street,Suite 300, Sacramento, CA 95814. Send information or articles for publication to the editor at OCJP. Include contact’s name for furtherinformation. All articles are subject to editorial review. Please write to the OCJP Data Processing Branch to be placed on the mailing list.

Except for reprints from other newsletters or periodicals, the material in Newsline may be reproduced without further permission.

On Anna Drive, residents and police collaborated to drive out

crime and gangs. Other communities are getting the message.

Executive Forum G. Albert Howenstein, Jr.

How neighbors and police havetaken back this Anaheim street

selling drugs and holding loud, vio-

lent parties in their neighborhood.

With the help of their local church and

the Anaheim police, Anna Drive made

efforts to reclaim its neighborhood.

Residents knew the job wouldn’t

be easy. Still, they persevered. By es-

tablishing a partnership with the po-

lice, Anna Drive residents were able to

drive out crime and gangs.

What Anna Drive and other com-

munities are learning is that neigh-

borhood-oriented policing works.

Projects such as the Vietnamese

Community of Orange County, Inc.

and the Community Youth Gang Ser-

vices, Inc. (CYGS) know the value of

this approach. Both use it to fight

gang members.

These projects and many more like

them in California understand that law

enforcement alone cannot solve pub-

lic safety problems. Nor can citizens

sit on the sidelines and wait for some-

one else to stop crime. We must fight

crime the old-fashioned way—as a

community working in tandem with

the police.

When communities take pro-active

efforts and collaborate with the po-

lice, wonderful things happen. Long

Beaches’ Working Together To Share

project saw felony crimes decrease by

more than 7 percent in less than a

year.

OCJP encourages neighborhood-

oriented policing because it brings

neighbors together to identify and re-

solve their problems in cooperation

with public safety agencies.

The residents of Anna Drive under-

stood the value of neighborhood-ori-

ented policing. There is a renewed

sense of safety, pride, and a genuine

sense of community among them-

selves and with the police. I’m sure

the same holds true for OCJP-funded

projects using this strategy.

Governor Pete Wilson has made it

clear that if California wants to defeat

crime, it needs increased collabora-

tion among government, criminal jus-

tice and victim service agencies, busi-

nesses, and citizens. The partnership

between the community and its police

is the linchpin of success.

Neighborhood-oriented policing

can provide that collaboration. We

know it works and so do our commu-

nities throughout California.

“Citizens cannot sit on the

sidelines and wait for

someone else to stop

crime. We must fight the

old-fashioned way: as a

community working in

tandem with the police.”

heim, California had finally

had enough of young toughsResidents of Anna Drive in Ana-



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FORMAT EASES WRITING, READINGThe new Newsline is comfortable to readand easy to prepare; note the almost-twinsimilarities between these two issues.

While this format is useful everywhere,it is the silhouette photograph that givesNewsline its signature style. Good results

are surprisingly easy to achieve, even withan ordinary photo.While the theaterpicture was providedby the troupe and isexcellent, the boxers(left) were snapped

by an amateur—photo retouching software(my favorite: Adobe Photoshop) scrubbedaway the murky, shadowy background. Todo this, I spent three hours and $20 forproofs. The results are worth the time.

PageMaker blueprint (in picas and points):Letter size. In Page setup dialog, check Double-sided, Facing pages.

Margins: Inside, 7; Outside, 4p6, Top, 4p6, Bottom, 4. On Options menu, Number of columns: 6, Space between columns: 1.

Typefaces (shown): For nameplate, contents, deck heads and callouts:Bauer Bodoni (serif); for headlines and text: Avenir Book (sans-serif).

Sizes: Front page headline: 24/26; deck head: 14/18;text: 9/15; captions: 9/11

ENROUTE TO A NAMEPLATENew nameplate discards the notion of a graphic in favor of eleganttypography; Bauer Bodoni is extremely handsome in applications likethis. Note how we keyed on the initials; we could do so only becauseNewsline ’s recipients are familiar with the name; it would be unwiseelsewhere. In FreeHand 3, letters OCJP were converted to drawingpaths so the stem of the J could be lengthened:

Office of Criminal Justice Planning QuarterlyProviding support to criminal justice agencies, victim service organizations and crime prevention programs

I don’t favor overlayingwords unless back-

ground type is very light;they tend to muddy onpress. This is a good

logo that almost works.


credible because incest is such a

touchy subject,” said Alcalay. “The

paper provided not only pre-play

publicity, it also ran two pages on in-

cest and the play.”

The play

packed in

audiences

for its two

performan-

ces. Stated

Alcalay, “Shat-

tered Secrets

Summer1990

2 Forum2 Milestones3 NewsBriefs4 RFPs5 GCOPs6 Grants9 GuestColumn

10 Calendar

Shedding light on atouchy subject

ShatteredSecrets cast membersLibbe HaLevy and Scott Gardner

Center and The Davis Enterprise ,

the town newspaper.

HaLevy’s play about an incest sur-

vivors’ group has been running

every Monday night at The Power-

house in Santa Monica for almost

two years. HaLevy, an incest survivor,

wrote the play in response to public-

ity surrounding the McMartin Pre-

school case.

Allison Alcalay, executive director

of Yolo’s Domestic Violence Center,

spearheaded the effort to bring the

play to Northern California after see-

ing it at the Office of Criminal Jus-

tice Planning’s sixth annual Gover-

nor’s Training Conference on Crime

YOLOCOUNTY SEXUALASSAULTANDDOMESTICVIOLENCE

CENTER

S P O T L I G H T

Victims in Burlingame last year.

“Driving back from the conference,

our shelter coordinator Sharon

Aranga and I became

convinced that Shat-

tered Secrets would be

a wonderful tool to edu-

cate the community

about incest,” she said.

Alcalay and her entire staff

worked with the play’s di-

rector Jerry Craig to

bring the play to Davis.

“Getting the backing

of The Davis Enter-

prisewas in-

Libbe HaLevy’s powerful play packs a Davis theater;

inspires incest survivor groups

Shattered Secrets: Therapy through theater

Last October, Libbe HaLevy’s power-

ful one-act play, Shattered Secrets,

made its Northern California debut

at The Palms in the city

of Davis. HaLevy owes

this debut to the Yolo

County Sexual Assault

and Domestic Violence


Winter1991

2 Forum3 NewsBriefs4 RFPs5 CADPE6 Grants8 Calendar

11 LegislativeReport14 Milestones

around, Chino will have gone eight

calendar years without a gang-re-

lated homicide,” said Ray Mendoza,

one of the coaches and

a youth counselor for

the city’s Recreation and

Community Service

Department. “Meanwhile,” he add-

ed, “neighboring communities like

Ontario and Pomona have seen

their numbers grow.”

The club was started in 1978 by

Bobby Cedillo, a former

professional boxer

and Chino na-

Begun as an alternative to gang membership, the club servesas a rite of passage for most of its young members

The remarkable Chino Youth Boxing Club

tive. Five years later, Mendoza add-

ed counseling and incentives to the

program and thereby expanded its

outreach. “The boxing club is not set

up for competition,” he explained.

“The idea is to get the boys into our

program. Most don’t compete; they

work out their aggression and they

come to condi tion themselves

for other

sports.”

Mendoza

will tell

you his

The Chino Youth Boxing Club, a

component of Chino’s gang diver-

sion program, has proven to be a

knockout. Its punch re-

cently drew the attention

of a national gang task

force. “The Chino pro-

gram is admired by gang interven-

tion coordinators in other cities be-

cause of its success in decreasing

gang affiliation and violence,” said

Ron Chance, a researcher for the

task force. The admiration

is well-founded. “When

December 31 rolls

CHINOGANG

DIVERSIONPROGRAM

S P O T L I G H T

Chino boxers Lucia

Trevino(left)andGuzalo Bravo.


0

6

12

18

24

30

36

42

48

54

60

66

Month 1992

2 Lorem ipsu

2 Dolor sit amet

3 Consectetur

4 Adipiscing

5 Nonnumy

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10 Incidunt


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LOREM IPSUM DO

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julla inura autend unanc sunt isti.

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my eiusmod tempor incidunt ut la-

bore et dolore magna aliquam erat

volupat. Ut enim ad minimim veni-

ami quis nostrud exercitation ullam-

corper suscipit laboris nisl ut aliquip

ex ea commodo consequat. Duis

autem vel eum irure dolor in repre-

henderit in voluptate velit esse son

consequat, vel illum dolore eu fugiat

nulla pariatur. At vero eos et et justo

odio dignissim qui blandit praesent

lupatum delenit aigue duos dolor et

molestais exceptur sint occaecat

cupidat non provident, simil tempor

sunt in culpa qui officia deserunt

mollit anim id est laborum et dolor

fugai. Et harumd dereud facilis est er

expedit distinct. Nam liber a tempor

cum soluta nobis eligend optio

comque nihil quod a impedit anim

quod maxim placeat facer possim

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omnis dolor repellend.

nisl ut aliquip ex ea consequat. Duis

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sunt in culpa qui officia deserunt

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fugai. Et harumd dereud facilis est er

expedit distinct. nam liber a tempor

cum soluta nobis eligend optio com

que nihil quod a impedit anim quod

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er repudiand sint et

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cum tene sentniam, quid est cur

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modare nost ros quos tu paulo an te

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amice et nebevol, olestias access

potest fier ad augendas conscient to

factor tum toen legum odioque civi-

uda. Et tamen in busdad ne que

pecun modut est neque nonor ned

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iditat, quas nulla praid im umdnat.

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tur, invitat igtur vera ratio bene san-

tos ad iustitiami aequitated fidem.

Neque hominy infant aut inuiste fact

est cond que neg facile efficerd pos-

sit duo conteud notiner si effecerit,

et opes vel forunag veling en libar-

alitat magis em conveniunt, dabut

tutungbene volent sib conciliant et,

Lorem ipsum dolor sit amet, consec-

tetur adipscing elit, diam nonnumy

eiusmod tempor incidunt ut labore

et dolore magna quam

erat volupat. Ut enim ad

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corper suscipit laboris

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Neque hominy infant aut inuiste fact

alitat magis em tutungbene facer.

0 6 12 18 24 30 36 42 48

Office of Criminal Justice Planning Autumn 1991

Newsline



O N T H E S U B J E C T LIGHT

FREEHAND

STEP-BY-STEP

O W S O M E

IGT H E

-STEP

T H R O W

By Andy Markley—When a beam of light passes through air inthe dark, particles of dust, smoke or water vapor in the airscatter some of its light back to your eyes. That’s why you cansee the spotlight beam in a concert hall or a smoky night club.

The beam appears lighter than its background, and objectsbehind the beam, partly obscured by its hazy light, appeardarker than they really are. The clearer the air, the less visiblethe beam is. In a vacuum, you’d see only the objects actuallycaught in the spot—youwouldn’t see the beam at all.

Use this trick of light tofocus the reader’s attentionwhere you want it to go. Oneidea: For a recent magazineillustration, I used it to high-light the heading of a com-plex chart.

Here’s the basic recipe:

1. Make a color paletteYou’ll need white, black andfour shades of gray: 20%gray, 40% gray, 60% gray and80% gray. FreeHand userswill find these shades in thedefault palette of any newdocument. Note: these grays

are really just tints of black.

white20% gray

40% gray

60% gray

3. Put a word in the roomFill the word with 60% gray.

LIGHT

2. Draw a dark roomFill the room with solid black.

LIGHT

4. Draw the spotFill the spot with 40% gray.That’s the color of the wall.

7. Clone the word(You may need to turn off Pre- view ) The clone will pop to thefront. Lighten it to 40% gray.

LIGHT

LIGHT

6. Bring the spot to the front

LIGHT

5. Draw the beamThe beam lightens the back-ground by 20%. Since black(100%) – 20% = 80%, fill thebeam with 80% gray.

9. Clone the word againColor the clone white. That’sthe actual color of the typeon the wall.

LIGHTGHLIG

10. Cut the clone, select the spotand Paste inside. Edison!

LIGHTGHLIG

The word “light” only looks likeit’s under a beam; actually, it’s

three versions of the same object,in three shades of gray, atop or inside three backgrounds:

LIGHTGH

8. Cut the clone, select thebeam, and Paste inside.

LIGHT

8

80% gray



1. Turn on Snap to grid . Drawan ellipse 1 pica wide by 4picas tall. Clone the ellipse.Shift-drag the clone an inch orso to the right. You’ll use theclone in step five.

2. Clone ellipse again; dragclone 1 pica right. Ungroup both ellipses. Cut each withknife tool where shown anddelete the right sides, leavingtwo identical arcs.

3. Select the top point on theright arc. With the Pen tool,click the top of the left arc—this continues the right arc’spath. Repeat for the bottom.

7. Turn off Snap to grid . Shift-select the points shown and

the clone’s ellipse. Drag tothe right half an inch or so.Group all elements.

Select. . . . . .drag

8. Draw the mounting bracket.Clone , Reflect , and Send to back . Add a filled circle for theadjustment clamp.

9. Add a cord and a clip. Youcan rotate the grouped fixturewith the Rotate tool, but don’trotate the mounting bracket,cord or clip.

Clone andscale . . .

then Move

5. Select the clone you madein step one and drag it intoposition it as shown. Fill with60% gray; delete the outline.

The spotlight effect worksfine if the ray just shoots off the page, but you might wantto create a light fixture. Asimple cylinder will do, or youmight try something moreambitious, like this Fresnelspot. First, set FreeHand’sUnit of measure to Picas andin Snap to grid enter 0p6.

Draw a spotlight

4. Marquee this shape toselect it, then Join elements ;this makes a closed path. Fill with a graduated fill from 60%gray to black, angle 270°.Remove the outline.

2. Click! tocontinue path.Deselect .

Cornerpoint

Connectorpoint

Cornerpoint

FreeHand’sknife tool

Click!

Click!

Click!

Click!

3. Click! to select

1. Click!

to select

1. 2. 3.

4. Click! tocontinue path.

6. Clone . Scale the clone 75%(from Center of selection ).Move the clone horizontally 0p10 (use the Move dialog).

4picas

1 pica

You need three palettes. First, draw your objects in their daylight colors.

Lights out! Add 60% black to every color in your drawing.

The ray is lighter. Use 20% less black (40%) on every object in the ray.

In the spot, objects again appear in their daylight colors.

Working in process color No matter what colors you use, the way to draw the beam is to mimic real life exactly: Start with daylight colors, thendarken them by adding 60% black to each one. (If adding 60% black results in a number greater than 100%, use100%.) Naturally, different shades yield different results—for a room that’s merely dim, you might add only 20% or 30% black—so experiment. How about candlelight in a dim café? A porch light on a clear night? The sunbeam in a

forest fire? Los Angeles at noon? (But I repeat myself.)Shadows are quite advanced but very realistic. Look carefully at the picture: I first created the standard spot

effect. I cloned the spot and moved the clone to the left, then cut the contents and filled those objects with the dark background color. I then cut them, selected the clone spot and chose Paste inside. Next, I sent the clone spot behindeverything but the background. That did it.

For flair, I finished by turning several of my flat colors into graduated fills to soften the image.

How it works:



B&ADESIGNWORKSHOP

How to lay out a stationery system

Designable space

Designable space

Designable space Off-limit postal zones

Letterhead 81 ⁄ 2" x 11"

#10 envelope 91 ⁄ 2"x 41 ⁄ 8"

Margins

Margins

Postal space is the acreage the post office wants;for Business Reply Mail and other uses it can bequite extensive (USPS Publication 25, available freeby phoning your local post office, provides exact regu-lations). I suggest you stick to the left one-third of theenvelope in any case; that way, you can accommo-date postal data in the future without a redesign.

Letter space is where the letterwill go; tradition has it that a topmargin of 2 inches or so and aleft margin of 11 ⁄ 2 to 2 inches arewhat readers like best. Set rightand bottom margins to 1 inch.

1"13 ⁄ 4"

Business card 31 ⁄ 2" x 2"

Margins

Half-inch margins not only guide your design but al-low for printing on even a very small press by provid-ing room for the “grippers”—the mechanical fingersthat grip the paper and pull it through the rollers. Seta half-inch margin around letterhead and envelopeand a quarter-inch around your business card. (Busi-ness cards are normally printed eight or more to asheet—with margin room to spare—and thereforeneed no gripper room.) Envelopes require gripperroom on any press unless the envelopes are to be“manufactured,” which means they’re first printed onflat paper and assembled afterward by machine, atechnique which allows for bleeds and embossing.

Create some axesand intersectionsby marking off spaces reserved for letter writing, post-al requirementsand margins— spaces which can-not vary much. It’sthese intersectionsin which we’re themost interested.

Make a master grid

First step toward award-winning stationery is to build a solidfoundation. Here’s how. Systems by Gregg Berryman

Good stationery is much more than justa logo, or trademark. In fact, very hand-some stationery may have no logo at all.Beneath the surface is a “system” bywhich each piece relates to the others inan orderly way—when seen together, theletterhead, envelope and business card

appear as family members; taken alone,each makes an intelligent statement.

A system approach will quickly bringorder and style to your designs. It hasother advantages, too: Its orderliness iseasy to live with for a long time, and asystem adapts readily to a wide range of

uses: The basic package may later beexpanded to include fax covers, invoices,and other common documents.

The chief goal of system design is to promote consistency. To realize this, weretain the same logo size, type size, typecomposition and margins throughout:

Logo designs by Marla Meredith



Skipjack’sFish Market

3467Ocean Beach

FortBraggCalifornia 95437

707-446-3565


3467Ocean BeachFortBraggCalifornia 95437

707-446-3565

CaptainBobTrevor Owner



type on 9-point leading (written 8/9). More lead-ing, however, can be effective—it makes thereader linger momentarily to absorb the informa-tion. Below, Franklin Gothic 8/12:

Skipjack’s Fish Market

3467 Ocean BeachFort Bragg

California 95437

What typestyles? For most business stationery,the best typestyles are the low-key classics, theones, ironically, that are least likely to stand outon a page of type specimens. The following tenare suitable anywhere:

Bodoni, Bookman, Caslon,Century,Garamond, Goudy, Helvetica, Palatino,

Times, Univers

Some type families have a great deal of contrastbetween their various weights; for example:

Bookman Light Helvetica LightBookman Bold Helvetica Black

These are ideal choices when contrast is impor-tant, as in this Bookman example:

Skipjack’s Fish Market3467 Ocean BeachFort BraggCalifornia 95437

But other type has almost no contrast in weight:

Palatino TimesPalatino Bold Times Bold

. . . and so is less suitable in the same setting:

A word about your type . . .

For best results, type shouldbe used with restraint. Pay attentionto these factors:


3467 Ocean BeachFort BraggCalifornia 95437

If you’re limited to fonts like this, you have two

good options: The first is to create a look with nocontrasts at all; for example (in Garamond):

Skipjack’s Fish Market3467 Ocean BeachFort Bragg California 95437

This may be scary because it’s, like, totally plain,but on the page it communicates a self-assuredsense of restraint (really). The second option isto add another, more decorative typeface as acontrasting typographic signal. Here is about asradical as we want to get:


3467 Ocean BeachFort Bragg

California 95437

Remember, use one typographic contrast only—do not vary both type style and type size:

Skipjack’s Fish Market 3467 Ocean Beach

Fort Bragg

California 95437

While it looks OK here, this treatment draws theeye to the type, which we don’t want; rather, ourgoal is to convey an overall image of a confident,well-run business. This is the function of the en-

tire stationery system; one piece of type won’t doit. Exception: if the type itself is the logo.

What size? Type will be the same size on allthree pieces, letterhead, envelope and businesscard; therefore, the type (and graphics) must be

proportioned to the business card because it’sthe smallest piece. For this, 7-, 8- or 9-point typeis ideal; 10-point is too big.

Make only one typographic contrast, which may mean size or style or color or weight or italics.For example:

Skipjack’s Fish Market3467 Ocean BeachFort BraggCalifornia 95437 . . .

. . . sends one typographic signal. And:


3467 Ocean BeachFort BraggCalifornia 95437 . . .

. . . sends two. Stop there; if you add more, you’llweaken the message, as in:


3467 Ocean BeachFort BraggCalifornia 95437

Each time you vary the type, you aler t the readerthat something has changed or is somehow differ-ent. Think of this as tugging on the reader’s shirt-tail; once draws his attention—twice is annoying.

What leading? Type is customarily set with oneor two points of extra leading, for example, 8-point

VERTICAL SPREAD TOLETTERHEAD FOLD• Type align left

Place your type in the up-per left corner and posi-

tion the logo vertically beneath it at either of the

two letterhead folds.

Note the logo isa marker for thestart of the let-ter. This is great:It’s handsome,convenient—and

the reader islured by his ownname to yourlogo. Sublime.

Neither logo nor textshould be placed ona fold; you don’t

want your company to have acrease in it. This is easy tooverlook because the foldsare invisible; don’t forget.

system

1

Skipjack’sFishMarket


707-446-3565

Mr.KenTorre

Norris,Beggs& Simpson2495NatomasParkDrive,Suite 180

Sacramento,CA95833

DearMr.Torre:

Loremipsumdolorsitamet, consecteturadipscingelit,diamnonnumyeiusmod

temporinciduntutlaboreet doloremagnaaliquameratvolupat.Utenimad

minimimveniamiquisnostrud exercitationullamcorpersuscipitlaborisnislutaliquipexea commodoconsequat.Duisautemveleumirure dolorinvoluptate

velitessemolestaiesonconsequat,vel illumdoloreeufugiatnullapariatur.Atveroeos etaccusamet justoodiodignissimquiblanditpraesentlupa-

tumdelenitaigueduosdolor etmolestaisexceptursintoccaecatcupidatnonprovident,similtemporsuntinculpaqui officiadeseruntmollitidestlaborum

etdolorfugai.Et harumddereudfacilisester expeditdistinct.Temporcumsolutanobiseligendoptiocomquenihilquod aimpeditanim

idmaximplaceatfacerpossimomnis esvoluptasassumendaest,omnis repel-lend.Temporemeutemquinsudetaur officedebitauttumrerum necessitatib

saepeevenietuter repudiandsintetmolestianoneste recusand.Itaqueearudrerumhictenturysapientedelectusau autpreferendisdoloribrepellat.Hanc

egocumtene sentniam,quidestcur verearnead eamnonpossingnost rosquostupauloantecum memoriteittumetiaergat.Nos amiceetnebevol,olestias

potestfierad augendascumconscienttofactor toenlegumodioqueciviuda.Ettameninbusdadne quepecunmodutest nequenonorimperned libidinggen

epularreliguardoncupiditat,quasnulla praidimumdnat.Improbpary minuitipotiusinflammadutcoercendmagistandet dodecendensevideantur,invitat

igturveraratioaequitatedfidem.

Sincerely,

JohnMcWade

Skipjack’sFishMarket


707-446-3565



B&A DESIGN WORKSHOP

IN-MARGIN VERTICAL SPREAD• Bleed logo• Type centered

Align logo with the left margin; bleed to the top edge.Position type vertically beneath logo at the bottommargin or at either of the

two letterhead folds.

Do not bleed todifferent edges.Remember, con-

sistency is best; pick anedge and stick to it.

Caution: It’s never advisable to print a bleedimage on a ready-made envelope. Instead?Print a flat sheet and assemble it later.

HORIZONTAL SPREADTO RIGHT MARGIN• Type align right

Place logo in upper left corner; movehorizontally and “hang” type on theright margin. On

the envelope, right

Although this logo is formed from the company name,the company name is nevertheless included in the textblock. Note how logo aligns with the left letter margin.

Above: Do not vary the size of thelogo from envelope to letterhead tobusiness card. Why? Because a read-

er does not “read” empty space; he absorbsonly your mark. Quietly impress upon him thesame clean image once, twice, three times,taking advantage of consistency and theproven power of repetition.

(I wanted to show you Marla’s fictional logo in more detail. You know,there’s just no substitute for artistic inspiration; this work is the kindthat makes an indelible impression on even the frostiest client.)

“margin” is an ar-bitrary point shortof the postal zone.

system

3

system

2



THETIDES R ESORT

3467 Ocean Avenue • Long Island • Maine 04050

207-555-8787

THETIDES R ESORT

3467Ocean Avenue• Long Island •Maine04050

207-555-8787

Barbara Jones,Manager

THETIDES R ESORT


PIN REGISTER• No variation in “signature”• Type centered

Center your logo on the top margin; center the type directly beneath it. Note theobjects are “regis-

tered”— that is, their relative positions do not change.

Here’s a case where artistic license is called for: Note that the long addressline forces the logo far to the right. Solution? Don’t reset the type—the read-er will notice (because he’s reading it); instead, slip left across the grid, amove that will be invisible because the grid is invisible. This works only withpin register; don’t do it if logo or type aligns with something else on the page.

Fun with borders

One of the more interesting functions of aborder is to rescale a visual field, whichmakes it appear to be a different size orshape than it is naturally. This treatment

can be quite pretty; it can also be used tofocus (or divert) a reader’s attention.

VERTICAL SPREAD TOBOTTOM MARGIN• Type align left

Place logo in the upper leftcorner. Position type verti-cally beneath logo at thebottom margin.

Do not vary the relationship of logo andtype; key to the pin register system is mili-tary uniformity. (The term “pin register” is

derived from a film alignment system whereby twoor more overlays are punched with identical holes

and pressed over stubby metalpegs, or “pins,” ensuring thattheir positions do not shift.)

system

4

system

5

More tips fromthe professor . . .

• Does someone in the office still use atypewriter? Design for that!—roll

your laser proof into the typewriterand type something on it. Is every-thing positioned suitably? If not,feel free to adjust the grid—it’s notcast in cement. (Just be consistent.)

• Don’t forget to include fax, networkand other numbers and codes new toour digital age.

• An envelope rarely carries a phonenumber; be sure to delete it.

• Make sure your paper and ink colorsphotocopy clearly; test both first.

THETIDES R ESORT

3467OceanAvenue

LongIs land•Maine04050

207-555-8787

BarbaraJones,Manager

THETIDES R ESORT

3467OceanAvenue•LongIsland•Maine04050

THETIDES R ESORT


207-555-8787

THETIDES R ESORT

3467Ocean Avenue•Long Island •Maine04050

207-555-8787

THETIDES R ESORT

3467OceanAvenue•LongIs land•Maine04050

207-555-8787

BarbaraJones,Manager

THE TIDES R ESORT

3467Ocean Avenue•Long Island •Maine04050

vvvvvvv

vvvvvvvvvvvvvvv

The WildThing!

JohnWild

456 Red Road

Albuquerque

NewMexico 87102

505-555-1234

vvvvvvv

vvvvvvvvvvvvvvv

The WildThing!

456 Red Road

Albuquerque

NewMexico 87102

505-555-1234

vvvvvvv

vvvvvvvvvvvvvvv

The WildThing!

456 Red Road

Albuquerque

NewMexico 87102



What makes a good logo?The most successful business logos share valuable characteristics.

Here are some of the most important. By David E. Carter

It works well in all sizes

This one’s often overlooked by designers who

make presentations on large format paper: Thelogo that looks great at billboard size must alsowork on a business card.

Typically, a logo designed at a large size has too much detail to be clear when reduced;note (left) how the lines crowd

together. A good solution is tobuild a second logo with less detail (right)

for use in smaller sizes.

ALCON

ALCON

It is simple

The “too busy” logois a roadblock tocommunication, sodon’t crowd it withstuff: green, flag, fair-way, golfer, peninsula, bor-ders, circles, curving type. It’s easy toget carried away, but you’ll create astronger image with fewer pieces.

It is appropriate for the business

This seems like common sense, but in the throes of artistic rapture common sense often goes out thewindow. Make sure the whimsical cropduster that

was so much fun to draw is suitable for the re-gional commuter

airline you’reworking for.

It is bold

Fine lines makelovely illustra-tions but poorlogos because 1)

they’re difficultto see, and 2) afine line will of-ten break up oreven disappearwhen reproduced.

Although the two logos are rather similar, visualize them on vehiclesmoving through city traffic: You’d—(blink)—miss the first one.

TOP: CASLON 540; BOTTOM: FUTURA CONDENSED EXTRA BOLD

TYPEFACE NAMES IN 4-POINT TYPE

VAG ROUNDED

WEISS

SkiSport

SKISPORT SkiSport S K I S P O R

T

R i v e r B e n d

G o l f C l u b

RIVER BENDG O L F C L U B



Circles are strong

design elements

A circle is a familiar focalpoint which the eye can inter-pret with little effort. Its softedges are more often pleas-ing than those of angularsquares and triangles. Cousinto the circle is the ellipse.

Avoid extremely tall or wide logos

Odd shapes are hard to fit into common spaces—business cards, advertisements and so forth—andas a rule they aren’t as pleasing, either; a goodproportion for a logo isroughly 3 units wide by2 units tall, about theratio of a TV screen(a 1-to-1 ratio alsoworks quite well).

Designed as a unit, logo and name can be powerful.

Above, note how horizontal white lines extend to tiein the name; left, matched colors do the job.

It is distinctiveDon’t settle for the ordinary (let other companies beordinary). Your company is unique—that is, it has a

distinctive culture and market presence; capture thisintelligently and thoughtfully.

Blah. Bravo!

Avoid trendy typefaces

Unless you’re in the fash-ion business, the type youchoose for your corporateidentity should still be suit-able years from now. Laser

printer standards—Times,Palatino, Helvetica—arealways appropriate; in gen-eral, low-key is best.

TRENDY TYPEFACE

ARQUITECTURA

David E. Carter has produced morebooks on corporate identity than any-one else in the world. He is the cre-ator of Logo SuperPower, a collectionof predrawn logo elements for Macin-tosh and PC computers, from whichmost of the logos in this article wereconstructed. (Decathlon Corporation,Cincinnati, 513-421-1938)

Mr. Carter’s work has been on theJohnny Carson Show 12 times, andhe has won three Emmys.

ABOVE: NEUE HELVETICA BLACK

Too wide

Just right

Too tall

Design logo and name as a unit

If the company name will be part of the design—especially popular onsignage—look for ways to integrate the two.

WEISS

TREX TREX

T R E X

TYPHOON



Tblend imitates nature’s ambient light; itmakes round objects look round—it setshorizons glowing and water shimmering.

But there’s a problem: Blends whichshould be smooth often aren’t; when out-put, they can jump from one shade to thenext in visible steps. This trait is calledbanding or shade-stepping and no otherproblem in desktop publishing has re-sisted so many efforts to solve it.

It’s a juicy issue, complicated, full of conflicting information, totally confusing.For instance, although Adobe fatheredPostScript, the language that governsblends, Adobe’s widely circulated formula—by which one calculates the ideal num-ber of blend steps—is wrong: You can doall the arithmetic and still get frequentbanding, although you won’t necessarily.

Agfa and Linotype, the two big gunsin imagesetting gear, amend Adobe’s for-

mula with charts which take blend lengthinto account. They’re wrong, too: Hi-res,fine-screen blends can be any length, not

just the few inches their charts show.I phoned a friend in a high place—

Russell Brown, Adobe’s cheery art direc-tor. “Russell . . . ” I started, “about yourblend formula . . .”

“Oh, that?!” he laughed. There wascharacteristic mischief in his voice. “Justthrow it away—it’s all wrong!”

This made me smile. “Question is,” Iasked, “how does one calculate a blend?”

(Bear in mind that this is Adobe:)“I don’t know,” he answered.“How then,” I wondered aloud, “do

your blends come out right?”“I don’t know,” he laughed. “They

just always work.”“Who there does know?” I asked.“No one who can explain it.”“Russell,” I sputtered, “Adobe wrote

PostScript; how did they write it if theycan’t explain it?”

“John, you know us—there are onlytwo kinds of people at Adobe: engineersand artists. To hear them talking is to

shade or color into another is one of its most exciting features. A smooth

he computer’s ability to blend one

JOHN McWADE

TM

Editorial and subscription offices

331 J Street, Suite 150, Sacramento, CA 95814–967

Telephone 916-443-4890 Fax 916-443-7431

For postal, copyright, subscription and back issue

information, please see the bottom of page 3.

Publisher and creative director: John McWade

Associate publisher and editor: Gaye McWade Subscriber services: Robbin Jellison

Circulation and marketing: Don Jellison

In the land of Oz

PRODUCTION NOTESBefore & After is totally desktop-published inAldus PageMaker 4.01 and FreeHand 3.0; itspages and everything on them can be built us-ing the most basic equipment upon which thesoftware will run. (Aldus FreeHand is not avail-able for the PC; we recommend CorelDRAW.)My hardware: Apple Macintosh IIfx computerwith 20mb RAM running under System 7.0,13" Apple RGB monitor with Apple’s 8-24 GCvideo card (16 million colors, accelerated.This card is extremely fast but its acceleratoris incompatible with System 7.0); MicroNet

644mb hard disk and NuPort card (very fastaccess); MicroNet 45mb hard disk with remov-able Syquest cartridges (for transfer and back-up). Laser printer: QMS PS800II. B&W scan-ner: Agfa Focus II. Color proofs are from aQMS ColorScript 100; plate-ready film is froma Linotronic 300 (RIP 4), 2540 dpi, 150-linescreen. Typefonts are from Adobe.

Our service bureau is Lithographics in Sac-ramento. Before & After is printed by W. W.Hobbs on a manually adjusted Harris four-color press. Colors are all kiss-fit (no traps).

ABOUT THE PUBLISHERJohn McWade is the founder and voice of Before & After and its chief designer andwriter. Mr. McWade has been an award-winning publication designer for 21 years.He founded PageLab, the world’s first desktop publishingstudio, in March 1985 and has since written and lec-tured exhaustively on this new industry. Clients includeApple, Adobe and Aldus, for whom he created two Portfo-

lio template packages. He often answers his own phonebecause he’d just as soon chat with readers as work.

hear Greeks lecturing Martians. No onecan explain blends.”

I phoned Aldus.“We’re about to release software that

does those calculations for you,” a techfriend chirped, “I’ll send a beta copy.”

“It doesn’t by any chance take blendlength into account, does it?” I asked.

“Yes it does,” asserted the voice.“We’ve thought of everything!”

Uh-oh.But it went like this, call after call.

Big names, industry leaders; one after an-other failed the question; it was amazing.

Russell had suggested a call to PeterFink in Massachusetts, who publishes anewsletter on such things. I phoned.

Mr. Fink had the answer.As he explained it, the problem is im-

agesetter resolution. If it’s too low foryour halftone, everything bands no mat-ter how many steps you use. If it’s right,nothing bands. It fakes everyone out.

Basically, the people printing at high-

res are getting smooth blends; they maybe following a formula or maybe not; itdoesn’t really matter. Those getting band-ing are running at low-res, where onecan follow every formula to no avail.

How to design cool stuff

There’s more to it, of course—as withall weird science the topic’s full of redherrings and seductive minutiae—and Ispent my summer on a wrenching volumeof work on the subject, thinking I’d pub-lish it. But it was too much, too technical;wrong for B&A—so I cut to the chaseand answered a reader’s plea on page 2.

Remember when Dorothy’s dog Totodrew back the curtain of the “great andpowerful” Wizard of Oz? Like Dorothy,I’ve had the fortune to know the friendlyfaces behind our incomprehensibly hightechnology. Like the wizard was, theyare just like you and me, people lured outof ordinary lives by the powerful draw of exploration, invention and possibilities.Neither they nor we have traveled thisway before; we’re making it up as we go.

Imagine!And join in. A name on the door does

not mean those inside have the answers.

print issue 08

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