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One-line design 0621
LineOne-
DesignMake expressive designs easily and quickly with just a line. Continued
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2 of 9 One-line design 0621
One-line designIt can look classy, it can look festive, and it’s always inexpensive. Here are nine easy ways to make good designs with just a line.
Simple, low key, effectiveA credit-card-size rectangle is all it takes to convey exactly what’s inside (if you miss it, the word card backs it up). Black card color extends to fill the cover powerfully.
THE BANANA REPUBLIC CARD
AUTHORIZED SIGNATURE - NOT VALID UNLESS SIGNEDBy using this card, the holder agrees to all terms and/or agreement under which it was issued or as may be amended from time to time. To protect your account, do not write your Personal Identification Number (PIN) on this card. This card belongs to the issuing institution and must be surrendered upon demand.
IThere you are, shopping again at Banana Republic, when beside the cash register this credit-card application catches your eye. How did it do it?—it’s basically just a black page. Its strength is in its simplicity—one powerful color, one line of text, one familiar shape. That’s all it takes; anything more—photos, graphics, borders and so on—would weaken it. What’s nice for the designer is that this technique is so easy. Have a look.
THE BANANA REPUBLIC CARD
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One-line design 0621
Use a dingbat Not handy with the pen tool? Dingbat fonts are full of interesting images; just convert to outlines, and adjust the line weight.
2
Value difference creates depth (Right) On a dark field, the lightest object will always come forward even when it’s smaller in size, (lower right).
Emphasize leaf or name (Above) On a middle-value background like the green, both white and black type show equally well; the leaf, with reduced opacity, recedes. (Right) Translucent name recedes; white leaf comes forward.
Start by tracing Many images can be traced with the pen tool; all you need is a clear outline, which you’ll find in stand-alone objects (above) or as part of larger images.
1
MAPLE WOODS NATURAL AREA
Diana’sHAIRST YLESGladstone Parks Department
P.O. Box 16819, 5510 N. Holmes, Gladstone, MO 64188, 816-123-4567
MAPLE WOODS NATURAL AREA
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One-line design 0621
Use letterforms as art Letters can do more than just make words—at large sizes, they can be used as artwork. Find a beautiful typeface, set it BIG, and convert to outlines.
WINE & ROSES
WINE & ROSES
Trace part of an image When working with a more detailed image, find its most descriptive edge; here, it’s the skyline. The line technique is a great way to get value from blurry or otherwise unusable photos.
4
Draw a single line (Above) A single line sends a clear message; trac-ing the other lines (right) adds complexity and turns design into a mere effect.
3
Eliminate conflict To keep overlapping lines from clashing (right, top), reduce the opacity of the less detailed one, in this case the outline (bottom).
WR
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One-line design 0621
Crop for clarity Because the one-line technique elim-inates details such as color and texture, concentrate on contours. In this simple example (right), it’s the curve that tells the reader this is an arch.
Crop an image It’s not necessary to show a whole image to convey what it is, especially if it’s an iconic shape like Gate-way Arch in St. Louis. Examine your image, determine its most descriptive line, and crop out the rest.
Create distance (A) Same-size and value objects have no depth. (B) Shrink one, and it appers to be further away. (C) Reduce its opacity, and it recedes even further.
65
❄
A B C
Christmas Party
You’re invited to a
Repeat an object Get more out of your image by repeating it several times. Create difference and depth by rotating, changing size, or applying a unique color to each.
GATEWAY ARCHRiverFRONT
SAINT LOUIS, MISSOURI
SIGHTSEEING | FINE RESTAURANTS | LIVELY NIGHT LIFE | FAMILY ACTIVITIES
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Lighting angle is key The key in determining the ideal shadow is when it becomes very descriptive. Note, right, how the light source from 45° above describes the H better than straight from the side.
Exaggerate the line Both silhouettes (right) say pepper. However, to con-vey the feeling of what it’s like to eat one of these, a more animated, jagged line is an appropriate choice.
Hot & excitedMild & calm
Draw only the shadow side Another way to convey dimension is to outline only an object’s shadow, which creates the illusion of light.
Embellish a line Every line, whether fat or thin, curved or jagged, communicates a feeling. Here, exaggerate the smooth line to convey hotness and excitement.
87
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Diana’sHAIRST YLES
Typefaces
1 Centaur MT | 12 pt
2 (a–b) Vectora Roman | a) 9 pt b) 8.5 pt
3 Baileywick Happy Grams | 82 pt
4 Avenir Medium | 6.5 pt
5 Bickham Script MM | 30 pt
6 Adobe Jenson Light | 202 pt
7 (a–b) Adobe Jenson Semi Bold a) 16 pt, b) 9.5 pt
8 Adobe Wood Type Ornaments 1 | 22 pt
9 Coronet Bold | 13 pt
10 Broadway D | 11 pt
Images
11 Photos.com
12 iStockphoto.com
Article resources
Colors
C30 M15 Y100 K60
C30 M15 Y100 K40
C30 M15 Y100 K5
C0 M0 Y0 K100
C0 M0 Y0 K22
C15 M80 Y0 K5
C30 M20 Y50 K0
C25 M90 Y95 K25
C0 M35 Y100 K7
13
14
15
16
17
19
20
21
Gladstone Parks Department
P.O. Box 16819, 5510 N. Holmes, Gladstone, MO 64188, 816-123-4567
MAPLE WOODS NATURAL AREA
13 14 15 1 16 4
20 21 9 12
2a 2b 5
10
18
SAN LUIS OBISPO’S MOST ROMANTIC LOCATION
WINE & ROSES
18 19 7a 8 7b 6
1711
3
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Typefaces
1 Futura Medium | 10.5 pt
2 Aldous Vertical | 48/18 pt
3 Verdana | 8.5 pt
4 Vectora Bold | 14 pt
5 Atlas | 26 pt
6 ITC Zapf Dingbats Medium (Set in various sizes and tints)
7 (a–b) Salsa | a) 28 pt, b) 16 pt
8 (a–b) ITC Franklin Gothic Heavy a) 9 pt, b) 11 pt
9 ITC Franklin Gothic Medium | 5.5/10 pt
10 Texas Hero | 148 pt
11 (a–c) Baskerville | a) 16 pt b) 17.5/9 pt, c) 17.5 pt
Images
12 (a–f) iStockphoto.com | a b c d e f
Article resources
Colors
C70 M38 Y5 K12
C3 M3 Y40 K0
C0 M0 Y0 K60
C0 M100 Y80 K15
C65 M40 Y0 K0
C50 M0 Y90 K20
C0 M100 Y100 K0
C0 M65 Y100 K0
C0 M30 Y90 K0
C25 M80 Y95 K45
C0 M20 Y30 K60
C40 M35 Y65 K25
C0 M20 Y32 K58
C1 M2 Y3 K0
13
14
15
16
17
19
20
21
22
23
24
25
16
17
18
45
26
19 20 21
12e
13
14
15
12f
18
The Complete Illustrated reference to the ingredients, equipment, terms, and techniques used in the kitchen
THE SIMPLE LIVING SERIES
KitchenBy Angela Payne
Milk please! A comprehensive guide to over 200 hot sauce reci-
pes around the world, with detailed profiles and heat levels, plus
funny stories about the makers.
HOT SAUCE RECIPES
BY MARIBELA GONZALES
7a 8a 8b 9 7b 10 11a 11b 11c
22
23
24
25
26
GATEWAY ARCHRiverFRONT
SAINT LOUIS, MISSOURI
SIGHTSEEING | FINE RESTAURANTS | LIVELY NIGHT LIFE | FAMILY ACTIVITIES
Christmas Party
You’re invited to a
12a
6
12b 12c 12d
21
3
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Before & After magazine Before & After has been sharing its practical approach to graphic design since 1990. Because our modern world has made designers of us all (ready or not), Before & After is dedicated to making graphic design understand-able, useful and even fun for everyone.
John McWade Publisher and creative directorGaye McWade Associate publisherVincent Pascual Staff designerDexter Mark Abellera Staff designer
Design advisor Gwen Amos Before & After magazine323 Lincoln Street, Roseville, CA 95678 Telephone 916-784-3880 Fax 916-784-3995E-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.
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On
e-lin
e d
esig
n 0621
0621 O
ne
-line
de
sign Line O
ne-
DesignM
ake expressive d
esigns easily an
d
qu
ickly with
just a lin
e.
Sim
ple, lo
w k
ey, e
ffective
A credit-card-size rectangle is all it
takes to convey exactly what’s inside
(if you miss it, the w
ord card backs it up). B
lack card color extends to fill the cover pow
erfully.
TH
E B
AN
AN
A R
EP
UB
LIC C
AR
D
AU
TH
OR
IZE
D S
IGN
AT
UR
E - N
OT
VAL
ID U
NL
ES
S S
IGN
ED
By using
this card, the ho
lder ag
rees to all term
s and/o
r agreem
ent und
er which it w
as issued o
r as may b
e amend
ed fro
m tim
e to tim
e. To
pro
tect your acco
unt, do
not w
rite your P
ersonal Id
entification
Num
ber (P
IN) o
n this card. T
his card b
elong
s to the issuing
institution
and m
ust be surrend
ered up
on d
emand
.
IT
here yo
u are, sh
op
pin
g again at
Ban
ana R
epu
blic, w
hen
besid
e th
e cash register th
is credit-card
ap
plicatio
n catch
es you
r eye. How
d
id it d
o it?—
it’s basically ju
st a b
lack page. Its stren
gth is in
its sim
plicity—
on
e pow
erful co
lor,
on
e line o
f text, on
e familiar sh
ape.
Th
at’s all it takes; anyth
ing m
ore—
ph
oto
s, graph
ics, bo
rders an
d
so o
n—
wo
uld
weaken
it. Wh
at’s n
ice for th
e design
er is that th
is tech
niq
ue is so
easy. Have a lo
ok.
TH
E B
AN
AN
A R
EP
UB
LIC C
AR
D
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fter | w
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On
e-lin
e d
esig
n 0621
0621 O
ne
-line
de
sign
Use
a d
ing
ba
t No
t ha
nd
y with
the
pe
n to
ol?
Din
gb
at fo
nts a
re fu
ll of in
tere
sting
ima
ge
s; just
con
vert to
ou
tline
s, an
d a
dju
st the
line
we
igh
t.
2
Va
lue
diffe
ren
ce cre
ate
s d
ep
th (R
ig ht) On a dark
field, the lightest object will
always com
e forward even
when it’s sm
aller in size, (low
er right).
Em
ph
asize
lea
f or n
am
e
(Above) O
n a middle-value
background like the green, both w
hite and black type show
equally well; the
leaf, with reduced opacity,
recedes. (Right) Transluce nt
name recedes; w
hite leaf com
es forward.
Sta
rt by tra
cing
Ma
ny im
ag
es ca
n b
e tra
ced
with
the
pe
n
too
l; all yo
u n
ee
d is a
clea
r ou
tline, w
hich
you
’ll fin
d in
sta
nd
-alo
ne
ob
jects (a
bo
ve) o
r as p
art o
f larg
er im
ag
es.
1
MA
PLE
WO
OD
S NAT
UR
AL
AR
EA
Diana’s
HA
IRS
TY
LE
SG
ladstone Parks Departm
ent
P.O. B
ox 16819, 5510 N. H
olmes, G
ladstone, MO
64188, 816-123-4567
MA
PLE
WO
OD
S NAT
UR
AL
AR
EA
Use
lette
rform
s as a
rt Lette
rs can
do
mo
re th
an
just m
ak
e
wo
rds—
at la
rge
sizes, th
ey ca
n b
e u
sed
as a
rtwo
rk. F
ind
a
be
au
tiful typ
efa
ce, set it B
IG, a
nd
con
vert to
ou
t line
s.
WIN
E &
RO
SES
WIN
E &
RO
SES
Trace
pa
rt of a
n im
ag
e W
he
n w
ork
ing
with
a m
ore
d
eta
iled
ima
ge, fi
nd
its mo
st de
scriptive
ed
ge
; he
re, it’s th
e sk
yline. Th
e lin
e te
chn
iqu
e is a
gre
at w
ay to
g
et va
lue
from
blu
rry or o
the
rwise
un
usa
ble
ph
oto
s.
4
Dra
w a
sing
le lin
e
(Above) A
single line sends a clear m
essage; trac-ing the other lines (righ t) adds com
plexi ty and turns design into a m
ere effect.
3
Elim
ina
te co
nfl
ict To keep overlapping lines from
clashing (right, top), reduce the opacity of the less detailed one, in this case the outline (bottom
).
WR
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fore
&A
fter | w
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On
e-lin
e d
esig
n 0621
0621 O
ne
-line
de
sign
Cro
p fo
r clarity
Because
the one-line technique elim-
inates details such as color and texture, concentrate on contours. In this sim
ple exam
ple (right), it’s the curve that tells the reader this is an arch.
Cro
p a
n im
ag
e It’s n
ot n
ece
ssary to
sho
w a
wh
ole
ima
ge
to
con
vey w
ha
t it is, esp
ecia
lly if it’s an
icon
ic sha
pe
like
Ga
te-
wa
y Arch
in S
t. Lou
is. Ex
am
ine
you
r ima
ge, d
ete
rmin
e its
mo
st de
scriptive
line, a
nd
crop
ou
t the
rest.
Cre
ate
dista
nce
(A) Sam
e-size and value objects have no depth. (B
) Shrink one, and it appers to be further away.
(C) R
educe its opacity, and it recedes even further.
65
❄
AB
C
Ch
ristmas
Par
ty
Yo
u’re in
vited to
a
Re
pe
at a
n o
bje
ct Ge
t mo
re o
ut o
f you
r ima
ge
by
rep
ea
ting
it seve
ral tim
es. C
rea
te d
iffere
nce
an
d
de
pth
by ro
tatin
g, ch
an
gin
g size, o
r ap
plyin
g a
u
niq
ue
colo
r to e
ach
.
GATEWAY ARCHRiverFRONT
SAIN
T LOU
IS, MISSO
URI
SIG
HTSEEIN
G | FIN
E R
ESTA
UR
AN
TS | LIV
ELY
NIG
HT LIFE
| FAM
ILY A
CTIV
ITIE
S
Ligh
ting
an
gle
is ke
y
The key in determining the ideal
shadow is w
hen it becomes very
descriptive. Note, right, how
the light source from
45° above describes the H
better than straight from
the side.
Ex
ag
ge
rate
the
line
B
oth silhouettes (right) say pepper. H
owever, to con-
vey the feeling of what it’s
like to eat one of these, a m
ore animated, jagged line
is an appropriate choice.H
ot &
ex
cited
Mild
& ca
lm
Dra
w o
nly th
e sh
ad
ow
side
An
oth
er w
ay to
con
vey
dim
en
sion
is to o
utlin
e o
nly a
n o
bje
ct’s sha
do
w, w
hich
cr e
ate
s the
illusio
n o
f ligh
t.
Em
be
llish a
line
Eve
ry line, w
he
the
r fat o
r thin
, curve
d
or ja
gg
ed
, com
mu
nica
tes a
fee
ling
. He
re, ex
ag
ge
rate
the
sm
oo
th lin
e to
con
vey h
otn
ess a
nd
ex
citem
en
t .
87
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fore
&A
fter | w
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On
e-lin
e d
esig
n 0621
0621 O
ne
-line
de
sign
Diana’s
HA
IRS
TY
LE
S
Type
face
s
1 Centaur M
T | 12 pt
2 (a–b
) Vectora Rom
an | a) 9 pt b) 8.5 pt
3 Baileyw
ick Happy G
rams | 82 pt
4 Avenir M
edium | 6.5 pt
5 Bickham
Script MM
| 30 pt
6 Adobe Jenson Light | 202 pt
7 (a–b
) Adobe Jenson Sem
i Bold
a) 16 pt, b) 9.5 pt
8 Adobe W
ood Type Ornam
ents 1 | 22 pt
9 Coronet B
old | 13 pt
10 Broadw
ay D | 11 pt
Ima
ge
s
11 Photos.com
12 iStockphoto.com
Article
reso
urce
s
Co
lors
C30
M15
Y100
K60
C30
M15
Y100
K40
C30
M15
Y100
K5
C0
M0
Y0
K100
C0
M0
Y0
K22
C15
M80
Y0
K5
C30
M20
Y50
K0
C25
M90
Y95
K25
C0
M35
Y100
K7
1314151617
192021
Gladstone Parks D
epartment
P.O. B
ox 16819, 5510 N. H
olmes, G
ladstone, MO
64188, 816-123-4567
MA
PLE
WO
OD
S NAT
UR
AL
AR
EA
1314
151
164
2021
912
2a2b
5
10
18
SA
N L
UIS
OB
ISP
O’S
MO
ST
RO
MA
NT
IC L
OC
AT
ION
WIN
E &
RO
SES
1819
7a8
7b6
1711
3
Type
face
s
1 Futura Medium
| 10.5 pt
2 Aldous Vertical | 48/18 pt
3 Verdana | 8.5 pt
4 Vectora Bold | 14 pt
5 Atlas | 26 pt
6 ITC Zapf D
ingbats Medium
(Set in various sizes and tints)
7 (a–b
) Salsa | a) 28 pt, b) 16 pt
8 (a–b
) ITC Franklin G
othic Heavy
a) 9 pt, b) 11 pt
9 ITC Franklin G
othic Medium
| 5.5/10 pt
10 Texas Hero | 148 pt
11 (a–c) B
askerville | a) 16 pt b) 17.5/9 pt, c) 17.5 pt
Ima
ge
s
12 (a–f) iStockphoto.com
| a b c d
e f
Article
reso
urce
s
Co
lors
C70
M38
Y5
K12
C3
M3
Y40
K0
C0
M0
Y0
K60
C0
M100
Y80
K15
C65
M40
Y0
K0
C50
M0
Y90
K20
C0
M100
Y100
K0
C0
M65
Y100
K0
C0
M30
Y90
K0
C25
M80
Y95
K45
C0
M20
Y30
K60
C40
M35
Y65
K25
C0
M20
Y32
K58
C1
M2
Y3
K0
1314151617
192021
22232425
1617
18 45
26
1920
21
12e
131415
12f
18
The C
omplete Illustrated reference to the ingredients,
equipment, term
s, and techniques used in the kitchen
TH
E SIM
PL
E L
IVIN
G SE
RIE
S
KitchenB
y Angela Payne
Milk please! A
comprehensive guide to over 2
00
hot sauce reci-
pes around the world, w
ith detailed profiles and heat levels, plus
funny stories about the makers.
HO
T SA
UC
E
RE
CIP
ES
BY
MA
RIB
ELA
GO
NZ
ALE
S
7a8a
8b9
7b10
11a11b
11c
2223242526
GATEWAY ARCHRiverFRONT
SAIN
T LOU
IS, MISSO
URI
SIG
HTSEEIN
G | FIN
E R
ESTA
UR
AN
TS | LIV
ELY
NIG
HT LIFE
| FAM
ILY A
CTIV
ITIE
S
Ch
ristmas
Par
ty
Yo
u’re in
vited to
a
12a
6
12b12c
12d
2 13
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On
e-lin
e d
esig
n 0621
0621 O
ne
-line
de
sign
Be
fore
& A
fter m
ag
azin
e
Befo
re & A
fter has b
een sh
aring its p
ractical app
roach
to
graph
ic design
since 1990. B
ecause o
ur m
od
ern w
orld
h
as mad
e design
ers of u
s all (ready o
r no
t), Befo
re &
After is d
edicated
to m
aking grap
hic d
esign u
nd
erstand
-ab
le, usefu
l and
even fu
n fo
r everyon
e.
Joh
n M
cWa
de
Pu
blish
er and
creative directo
rG
ay
e M
cWa
de
Asso
ciate pu
blish
erV
ince
nt P
ascu
al Staff d
esigner
De
xte
r Ma
rk A
be
llera
Staff design
er
Design
adviso
r Gw
en
Am
os
Be
fore
& A
fter m
ag
azin
e323 Lin
coln
Street, Ro
seville, CA
95678 Te
lep
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