Lable-Style Title

Transcription

Lable-Style Title

Before&After i U X
BAmagazine.com
®
Design a
label-style
title
Words in a shape convey a
pleasing blend of informality
and permanence.
Continued
Continued 
Label-style title 0600
Before&After i U X
BAmagazine.com
®
Design a label-style title
Words in a shape make a simple and attractive point of interest
DC
De
sig
nC
las
sic
s
TR
AN ADI
D TIO
FU N
RN AL
ISH INT
IN ER
GS IO
R
S
CRAZY
COLORS
2005
Calendar
The year
in color
thomas fabrics
2004 WINTER COLLECTION
SWATCH BOOK
Add a little fun to your next cover by giving it a label-style title. The simplicity, depth
and real-object feel of a label yields great results on a wide variety of backgrounds. A
label draws the reader’s eye immediately, it conveys a pleasing blend of informality
and permanence, and it’s especially useful when you have no other artwork. Attention
to placement and contrasts are the keys to producing good designs. 
 2 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
BAmagazine.com
3 of 10
i U X
Activate your design
A label-style title conveys a sense of deliberate design. It pulls the eye across empty space
like a painting on an empty wall and engages the reader with its shape and presence.
You have a blank page
and a title to put on it.
Where do you start?
CRAZY
COLORS
(A) One approach is to
fill up the space with
type. The result is readable and stands out on a
shelf, but it’s static and
has no artistry or grace.
(B) A label turns the
empty space into a visual
force that pushes the eye
rightward, energizing the
design. The label-style
treatment creates a focal
point and mimics reality,
too. That’s design.
CRAZY
COLORS
2005
Calendar
The year
in color
The year in color
2005 Calendar
A
Off center creates motion—but which side?
Because we read left to right, our eyes naturally
drift to the right—we refer to this as riding the “read
breeze”—which affects our design. (A) A label on
the right is a destination—our eyes move across
empty space toward the label. This is strong design.
(B) Conversely, a label on the left is read first, then
the eye drifts rightward into empty and unrewarding
space. Acceptable design but not as strong.
B
A
B
 3 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
BAmagazine.com
4 of 10
i U X
Color
For a fresh, inviting look, use adjacent (analogous) colors, which always work well
together. Use dark, medium and light values for a vibrant contrast.
Analogous colors make harmonious
palettes because they have a color
in common. Orange, red and violet,
for example, all contain red (below).
CRAZY
COLORS
2005
calendar
The year
in color
CRAZY
COLORS
2005
Calendar
The year
in color
Analogous
colors are easy
to use—pick
a color on the
wheel, and then
pick the color
next to it.
CRAZY
COLORS
2005
calendar
The year
in color
Dark
Blue
Red
Light
Medium
 4 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
BAmagazine.com
5 of 10
i U X
Type
The main visual interest on the small field is its typography. Here, a dense block
of simple, bold type complements the simple, bold rectangle.
Crazy
colors
2005
Calendar
The year
in color
A
Crazy
Colors
2005
Calendar
The year
in color
B
Default leading (spacing) that’s correct at text size is too airy at headline size. Squeeze the air out of your
headline with negative leading and
tight letterspacing. (A) 16.5/19.5 pt,
letterspacing 0, (B) 16.5/13.5 pt, letter
spacing –30. The result is a bold block
of type inside the bold rectangle.
CRAZY
COLORS
2005
Calendar
The year
in color
Title
Uppercase and bold
Support copy
Lowercase and light
Type is one size and color,
differentiated only by
contrasts of weight and
case. You’ll need a type
family that contains both
light and heavy weights to
ensure type harmony.
 5 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
6 of 10
BAmagazine.com
i U X
Title tab
Here’s the label as a 3-D tab. Fun and realistic, too, a tab shrinks your title field to
a manageable size, and it works great atop photos.
A tab does more
than provide
space for type.
It reduces your
field to a manageable size
and creates an
all-eyes-on-me
focal point that
you can’t miss
on an open field.
The best background photos have fairly uniform texture and value. What do you do if you
have a busy photo (above, left)? One solution
is to enlarge a detail (above, right) until it
smooths out.
thomas fabrics
Along with a drop shadow, bleeding the
tab off the edge fastens it to the page
and, in this case, mimics a true sewnon fabric tab. The depth of the shadow
should be similar to the material’s depth.
Our shadow settings: Opacity: 60%,
X-Offset: 0p0, Y-Offset: 0p2, Blur: 0p4,
Mode: Multiply
SWATCH BOOK
 6 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
7 of 10
BAmagazine.com
i U X
Banners and corners
Sometimes your photo is key; your readers really need to see it. In such a case, set
your label as a low-key accent that plays a supporting role.
DC
De
sig
nC
las
sic
s
TR
AN ADIT
D
FU IONA
RN L
ISH INT
IN ER
GS IO
RS
A label can be any shape. Top-heavy image?
Balance it by running a label across the bottom. Have an open corner or free space along
the side? Put your label there. Apply a slight
drop shadow to complete the look.
 7 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
BAmagazine.com
8 of 10
i U X
Contrast
Give your label a voice—the difference of light and dark determines the “voice” and visibility
of your label. High, medium and low contrasts are similar in voice to yell, speak, whisper.
DC
Using only colors from the photo, dark type
on a medium-value label (A) yields soft contrast; the type does not jump off the page,
but it’s seen and heard in a speaking voice.
Light type on dark (B) is a stronger difference
and makes a more forceful presentation.
A
DC
Design Classics
B
DC
Design Classics
De
sig
nC
las
sic
s
TR
AN ADIT
D
FU IONA
RN L
ISH INT
IN ER
GS IO
RS
Colors of label
and type will
say a lot in your
design. The
most harmonious place to find
colors is right in
the image; select
light, medium
and dark values
of each.
TRADITIONAL INTERIORS
AND FURNISHINGS
AND FURNISHINGS
Note: In high contrast, a
white line divides the information within the label.
 8 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
BAmagazine.com
9 of 10
i U X
Article resources
Typefaces
1
2
CRAZY
COLORS
2005
Calendar
The year
in color
13
14
CRAZY
COLORS
10
12
16
17
11
CRAZY
COLORS
15
Colors
1 Vectora Black | 16.5/13.5 pt
10 C0 M15 Y100 K0
2 Vectora Light | 16.5/13.5 pt
11 C40 M0 Y100 K15
3 Helvetica Neue Light Ext. | 20 pt
4 Helvetica Neue Heavy Cond. | 14/14 pt
5 Helvetica Neue Light Cond. | 14/14 pt
6 Didi Regular | 54 pt
15 C10 M40 Y90 K0
19
9b
3
4
5
6
7a
7b
9a
thomas fabrics
SWATCH BOOK
DC
De
sig
nC
las
sic
s
TR
AN ADIT
D
FU IONA
RN L
ISH INT
IN ER
GS IO
RS
16 C15 M100 Y100 K0
Images
17 C40 M90 Y10 K45
8 Phototone Backgrounds,
Paper & Textiles CD
18
18 C0 M100 Y85 K0
9 (a-b) Photos.com | a b
DC
DC
DC
13 C90 M5 Y40 K0
14 C90 M55 Y0 K45
7 (a-b) Avenir Light | a) 24/28 pt,
b) 10.8/12 pt
8
12 C25 M0 Y100 K0
19 C95 M60 Y45 K30
20
23
21
23
Related articles
20 C20 M25 Y35 K0
0671 | 0664 | 0674 | 0660 | 0662 | 0673
0606
21 C40 M30 Y60 K25
22 C25 M90 Y95 K45
23 C45 M60 Y65 K55
22
20
Article revised on 07/15/10
 9 of 10 
Before&After ®
CRAZY
COLORS
2005
Calendar
The year
in color
Label-style title
10 of 10
Subscribe to Before & After
Did you enjoy this article? Subscribe, and
become a more capable, confident designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
i U X
BAmagazine.com
Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understandable, useful and even fun for everyone.
To pass along a free copy of this article to
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
others, click here.
Editorial board Gwen Amos, Carl Winther
E-mail this article
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
http://www.bamagazine.com/email
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 ©2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
 10 of 10 | Printing formats 
Before&After BAmagazine.com
®
i U X
Before & After is made to fit your binder
Before & After articles are intended for permanent reference. All are titled and numbered.
For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
suitable for one- or two-sided printing, is provided on the following pages.
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 Back | Paper-saver format 
0600 Label-style title
Design a
label-style

title
DC
TR
AN ADIT
D
FU ION
RN AL
ISH INT
IN ER
GS IO
R
De
sig
n
Cla
ssi
cs
S
Words in a shape convey a
pleasing blend of informality
and permanence.
CRAZY
COLORS
2005
Calendar
The year
in color
thomas fabrics
SWATCH BOOK
Add a little fun to your next cover by giving it a label-style title. The simplicity, depth
and real-object feel of a label yields great results on a wide variety of backgrounds. A
label draws the reader’s eye immediately, it conveys a pleasing blend of informality
and permanence, and it’s especially useful when you have no other artwork. Attention
to placement and contrasts are the keys to producing good designs. 
1 of 5
Before&After | www.bamagazine.com

Activate your design
CRAZY
COLORS
2005
Calendar
The year
in color
B
Light
CRAZY
COLORS
2005
calendar
The year
in color
Medium
CRAZY
COLORS
2005
Calendar
The year
in color
CRAZY
COLORS
2005
calendar
The year
in color

CRAZY
COLORS
B
A
The year in color
2005 Calendar
Off center creates motion—but which side?
Because we read left to right, our eyes naturally
drift to the right—we refer to this as riding the “read
breeze”—which affects our design. (A) A label on
the right is a destination—our eyes move across
empty space toward the label. This is strong design.
(B) Conversely, a label on the left is read first, then
the eye drifts rightward into empty and unrewarding
space. Acceptable design but not as strong.
A
A label-style title conveys a sense of deliberate design. It pulls the eye across empty space
like a painting on an empty wall and engages the reader with its shape and presence.
You have a blank page
and a title to put on it.
Where do you start?
(A) One approach is to
fill up the space with
type. The result is readable and stands out on a
shelf, but it’s static and
has no artistry or grace.
Red
Analogous colors make harmonious
palettes because they have a color
in common. Orange, red and violet,
for example, all contain red (below).
Blue
2 of 5
Dark
For a fresh, inviting look, use adjacent (analogous) colors, which always work well
together. Use dark, medium and light values for a vibrant contrast.
Color
(B) A label turns the
empty space into a visual
force that pushes the eye
rightward, energizing the
design. The label-style
treatment creates a focal
point and mimics reality,
too. That’s design.
Analogous
colors are easy
to use—pick
a color on the
wheel, and
then pick the
color next to it.

A tab does more
than provide
space for type.
It reduces your
field to a manageable size
and creates an
all-eyes-on-me
focal point that
you can’t miss
on an open field.
Type
Crazy
Colors
2005
Calendar
The year
in color
B
CRAZY
COLORS
2005
Calendar
The year
in color
Type is one size and color,
differentiated only by
contrasts of weight and
case. You’ll need a type
family that contains both
light and heavy weights to
ensure type harmony.
Support copy
Lowercase and light
Title
Uppercase and bold
The main visual interest on the small field is its typography. Here, a dense block
of simple, bold type complements the simple, bold rectangle.
Crazy
colors
2005
Calendar
The year
in color
A
Default leading (spacing) that’s correct at text size is too airy at headline size. Squeeze the air out of your
headline with negative leading and
tight letterspacing. (A) 16.5/19.5 pt,
letterspacing 0, (B) 16.5/13.5 pt, letter
spacing –30. The result is a bold block
of type inside the bold rectangle.
Title tab
SWATCH BOOK
thomas fabrics
Here’s the label as a 3-D tab. Fun and realistic, too, a tab shrinks your title field to
a manageable size, and it works great atop photos.
The best background photos have fairly uniform texture and value. What do you do if you
have a busy photo (above, left)? One solution
is to enlarge a detail (above, right) until it
smooths out.
Along with a drop shadow, bleeding the
tab off the edge fastens it to the page
and, in this case, mimics a true sewnon fabric tab. The depth of the shadow
should be similar to the material’s depth.
Our shadow settings: Opacity: 60%,
X-Offset: 0p0, Y-Offset: 0p2, Blur: 0p4,
Mode: Multiply
3 of 5


Banners and corners
DC
De
sig
nC
l
a
ssic
s
TR
AN ADIT
D
F ION
U
RN AL
ISH INT
IN ER
GS IO
RS
A label can be any shape. Top-heavy image?
Balance it by running a label across the bottom. Have an open corner or free space along
the side? Put your label there. Apply a slight
drop shadow to complete the look.
Sometimes your photo is key; your readers really need to see it. In such a case, set
your label as a low-key accent that plays a supporting role.
Contrast
AND FURNISHINGS
Design Classics
AND FURNISHINGS
Design Classics
DC
De
sig
n
C
las
sic
s
RS
TR
AN ADIT
D
FU IONA
RN L
ISH INT
IN ER
GS IO
Colors of label
and type will
say a lot in your
design. The most
harmonious
place to find
colors is right in
the image; select
light, medium
and dark values
of each.
Give your label a voice—the difference of light and dark determines the “voice” and visibility
of your label. High, medium and low contrasts are similar in voice to yell, speak, whisper.
DC
DC
Note: In high contrast, a
white line divides the information within the label.
4 of 5

B
A
Using only colors from the photo, dark type
on a medium-value label (A) yields soft contrast; the type does not jump off the page,
but it’s seen and heard in a speaking voice.
Light type on dark (B) is a stronger difference
and makes a more forceful presentation.

14
17
18
CRAZY
COLORS
CRAZY
COLORS
13
12
16
15
9b
20
23
21
23
22
20
Typefaces
1 Vectora Black | 16.5/13.5 pt
2 Vectora Light | 16.5/13.5 pt
3 Helvetica Neue Light Ext. | 20 pt
4 Helvetica Neue Heavy Cond. | 14/14
pt
Colors
10 C0 M15 Y100 K0
11 C40 M0 Y100 K15
12 C25 M0 Y100 K0
14 C90 M55 Y0 K45
13 C90 M5 Y40 K0
6 Didi Regular | 54 pt
15 C10 M40 Y90 K0
5 Helvetica Neue Light Cond. | 14/14 pt
7 (a-b) Avenir Light | a) 24/28 pt,
b) 10.8/12 pt
Images
18 C0 M100 Y85 K0
17 C40 M90 Y10 K45
16 C15 M100 Y100 K0
8 Phototone Backgrounds,
Paper & Textiles CD
19 C95 M60 Y45 K30
22 C25 M90 Y95 K45
21 C40 M30 Y60 K25
20 C20 M25 Y35 K0
9 (a-b) Photos.com | a b
Related articles
0671 | 0664 | 0674 | 0660 | 0662 | 0673
0606
23 C45 M60 Y65 K55
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understandable, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther
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 ©2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know. To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.

DC
De
sig
nC
las
sic
s
RS
TR
AN ADIT
D
FU IONA
RN L
ISH INTE
IN
GS RIO
SWATCH BOOK
thomas fabrics
CRAZY
COLORS
2005
Calendar
The year
in color
Article resources
2
1
10
11
8
19
3
4
5
6
7a
7b
9a
DC
DC
DC
Subscribe to Before & After
Did you enjoy this article? Subscribe, and
become a more capable, confident designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this article
To pass along a free copy of this article to
others, click here.
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
http://www.bamagazine.com/email
5 of 5

Lable-Style Title

Transcription

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