Dinamic Graphics 3 PDF

Design ideas for the real world
MAKEOVERS
• LOGOS
• BROCHURES
• NEWSLETTERS
• WEBSITES
Retro Palettes
COLORS FOR THE AGES
Color Control
SET UP YOUR SYSTEM
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GRAPHICS
CO N T EN TS
DYNAMIC
J U N E /J U LY 2 004 - VO LU ME 9 N U M B E R 3
M AK EOVERS
30 Identity
Standard Beverage Corporation
Yarde Metals
Simply Karmen
Indigo Design
Visalia Chamber of Commerce
Around the Kitchen
Marine Quest
National Art Materials Trade Association
International Water Gardening Society
Community Financial Federal Credit Union
National Exchange Club
44 Newsletters
Troxler Transmissions
Splash!
Brick Computer Science Institute
Minnesota Electrical Association
Richland Bible Church
Michigan Mini-grant Messenger
International Center for Journalists
Cambridge Chamber of Commerce
60 Promotions
The International Center for Meridian Realty Group
Journalists gets spruced up for Virginia Beach Clean Community Commission
its 20th birthday (page 56). Catholic Marketing Network
Texas Elementary Principals & Supervisors Association
University of Wisconsin–La Crosse
72 Web
RedBooks of LexisNexis
Sweetwater Events Complex
Southern Kingfish Association
Make Scents Floral
Bethesda Custom Tailors
6 DynamicGraphics
6 DynamicGraphics
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GRAPHICS
CO N T E NTS
DYNAMIC
J U N E /J U LY 2 004 - VO LU ME 9 N U M B E R 3
COLUM NS/REG ULARS
10 From the Editor

16 Letters
18 Design Dynamics
20 Color Management - Part 2
24 Reader Insights
28 Color on Call
80 Classifieds/Connections
84 Workspace Savvy
86 Software Specific
88 Cover to Cover/Coming Up
Although the techniques and ideas outlined in Dynamic Graphics are offered with
the best possible intentions, the publication or its publisher will assume no liability
for their success or failure in any real-world business application.
Dynamic Graphics magazine (ISSN 1094-2548/USPS 016-929) is published

bimonthly by Dynamic Graphics Group, 6000 N. Forest Park Drive, Peoria, IL
61614-3592, for $36 per year in the U.S. Single copies are $7.95 each. Prices
vary outside the U.S. June/July 2004, Vol. 9, No. 3. Canadian GST Account No.
125145193. Canada Post Permit No. 2493675.
30 POSTMASTER: Send change of address forms to Dynamic Graphics magazine, P.O.

Box 9006, Maple Shade, NJ 08052-9006. Periodical postage rates paid at Peoria,
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© 2004 Dynamic Graphics, Inc. All rights reserved. Contents of this magazine may
not be reproduced in any manner without written consent from the publisher.
Mention of any product does not constitute endorsement by Dynamic Graphics
28 magazine. Dynamic Graphics magazine assumes no responsibility for return of
unsolicited manuscripts, photos, art, or cartoons, and reserves the right to reject
20 any editorial or advertising materials. Unsolicited materials should be accompanied
by a self-addressed, stamped envelope. Dynamic Graphics magazine is a regis-
tered trademark of Dynamic Graphics, Inc.
0 3> Production Notes:

This issue was produced using InDesign 2.0 on PowerMac G4s. Text imported from
0 74470 90182 2 Microsoft Word and set in Clarendon BT, Gotham, and Adobe Garamond. Unless
otherwise noted, all Pantone color references that appear in the magazine are
taken from the Pantone solid to process guide coated. All visuals placed in posi-
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& Sons Co. All rights reserved.
Printed in the U.S.A. using soy-based process color inks.
DynamicGraphics
8 DynamicGraphics
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All trademarks are the property of their respective owners.
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FRO M T HE ED ITO R
It’s a little strange, when you think about it, to be singling out makeovers as
the subject of an entire issue, but makeovers are at the heart of most design
work. Sometimes the goal is to get as far away from an existing concept
as possible, as in creating a completely new brand or identity. Sometimes
the task isn’t so drastic: The logo or colors are held over, bridging the gap
between old and new.
Regardless of how extreme the makeover, the opportunity to transform
something inspires the designer in all of us. It’s worth remembering that success-
ful makeovers are built on both creation and craft—a startlingly new way of look-
ing at a design problem, plus the technical skills to apply the solution.
We joke around here about our designers performing magic. Given the
deadline-laden world they work in, I wonder if it’s not true. Design isn’t magic,
of course, but there are aspects of it that are magical. But what would the magical
part be worth without the knowledge to apply it?
In this issue, we’ve tried to provide you with plenty of both creation and
craft. In 30 complete makeovers, our designers transform everything from non-
profit newsletters to commercial websites. They’re generous with insights into
their creative processes, and how they applied their skills to bring ideas to life.
When we were planning this issue, art director Kathie Alexander offered me
five keys to a successful redesign:
1. Look at examples you like and ask yourself what you like about them.
2. Know what the competition is doing.
3. When making choices about color and type, consider your audience.
4. Organize the information.
5. Cut copy.
Editor, edit thyself. I’m outta here.
Tom Biederbeck, editor
P.S. See reader responses to our new contest on page

24. Answer this issue’s question and you could win
a copy of Doyald Young’s limited-edition book, The
Art of the Letter, published by Smart Papers.
10 DynamicGraphics
GRAPHICS
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DYNAMIC
To change your address, visit www. dynamicgraphics.com/
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Remember, the post office will only forward mail for 60 days.
If you receive a bill after you’ve paid, our letters prob- Editor Tom Biederbeck
ably crossed in the mail. Please disregard any bill or renewal Art Director Kathie Alexander
notice you receive soon after mailing your payment or order. Assistant Editors Cristi Lewis
(If you continue to receive notices, let us know.) Marcy Slane
Production Artist Jesse Hoerr
If your issue is damaged or missing, call 888.698.8542. Editorial Contributors Sheree Clark, Cassie Hart,
We’ll replace the issue or extend your subscription, whichever Michael Jahn, Michelle Taute
you prefer. Dynamic Graphics is published six times a year. Design Contributors Krista Anderson (krista@
marsprime.com); Mandy
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Please allow six to eight weeks after renewing for the label Tammy Risinger; Chris Tobin
to reflect the new expiration date. (crtobin@sbcglobal.net)
Dynamic Graphics Designers Mary Brophy, Sueann
Hoppock, Deb Ledford,
publication Deb Reynolds, Cami Schaill,
ID# code
expiration Melissa Stauffer
Cover Consultant Celli Hott

Design Consultants Pentagram
Editorial Director Emily Potts
Creative Director Michael Ulrich
Director of Publications Ted Lane
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12 DynamicGraphics
Adapt or perish.
PANTONE® and other Pantone, Inc. trademarks are the property of Pantone, Inc. © Pantone, Inc., 2004. All rights reserved.
The colors in the PANTONE Guides have

changed. You need to change your guides.
If you are not using the most up-to-date color guide, you may
not get accurate results and your work will seem like yesterday’s
news. So catch up with the rest of the industry and everything
you produce will be museum quality.
Contact your authorized dealer. Learn more about the color updates at www.pantone.com/update 888-PANTONE
LETTERS
Creative Feedback
I was surprised to receive the April/May 2004

issue [Volume 9, Number 2] of DG with JARC Share your INSIGHTS,
as the featured makeover. Wow! I was out of
the office a few days, and when I returned and win stuff!
opened the brown envelope ... I needed that
spiritual lift. Kathie Alexander offered up a very
accurate critique of the current materials and gave us Never underestimate the power of collective
a more consistent and refined logo. The new colors wisdom … and who has more of it than DG
are crisp and, yes, have a more for-profit feel. I really readers? Here’s a way to share your design
like the newsletter layout and masthead. Thank you insights and be rewarded with cool stuff.
so much. I can’t seem to stop looking at pages 22-23
of this issue. This is the deal. Each issue in this space,
Kathleen Dowling
Real-world resumés we’ll pose a question relating to the art and
I’m in advertising and business of design, and invite you to respond.
Jane Addams Resource Corporation teach at a university. I
Chicago, Ill. We’ll choose the best responses and publish
loved the article about them here, and the reader who provides the
resumés in the last
top response will receive a free design book
issue. Do you have a
Seeking scratch-off (and we’ll throw in a surprise or two, too!).
student rate for DG?
DG had an article revealing how to create scratch- Your pub would be a
off cards for promotional and other purposes. It great read for them This is the prize. Renowned for his ground-
involved an X-Acto knife, glue, and film paper. Any on a regular basis! breaking typography and logo designs,
chance of someone tracking down the back issue? Thanks for the inspi- Doyald Young has teamed up with Smart
Constance Smith ration and visual pep Papers to produce an exclusive book, The Art
Dallas
talk you give me with of the Letter. This limited-edition volume is
each issue. packed with insights into the creative pro-
Anita Peterson cess, chronicling Young’s work for General
The piece you are looking for, “Scratch-Off Design,” Morgan
can be found in the November/December 1998 Electric, Prudential Financial, and others.
Fargo, N.D.
issue (Volume 3, Number 6). It was a piece in an
article titled “We’ve Got a Very Big Secret Just for Student subscrip-
There are only two ways you can get a copy
You,” regarding hidden messages and using them in tion rates are avail- of The Art of the Letter :
projects. If you are having trouble locating the issue, able for DG . Call 1. Attend one of the lectures Young will give
you can call our toll-free customer service number at Customer Service at in 2004 on his 25-city North American
888.698.8542, M–F, 9 a.m. to 5 p.m. (EST), or 888.698.8542, tour, sponsored by Smart Papers and the
e-mail dgm@starrcorp.com, to see if there is an issue
or e-mail dgm@ American Institute of Graphic Arts (contact
starrcorp.com. your local AIGA chapter or Smart Papers at
available for purchase. You can also order past issues
from our website (www.dynamicgraphics.com/dgm), 513.869.5288 for more information).
but these issues go back only as far as November 2002. 2. Answer this question and win!
Send your tips
This is the question.
We want your best
What is your proudest moment as a
No inserts, please design tips (including
software quickies and designer? Why?
Stop with the annoying cardboard pages in the
magazine, please! Or, in terms of the recent article low-budget solutions).
“Share Your Glory: Value Your Vendors,” you are E-mail tips or letters Send your response to:
not saving me time or money when my time is to slane@dgusa.com. Marcy Slane, Assistant Editor
wasted by your magazine preventing the turning
We reserve the right Dynamic Graphics magazine
to edit letters for clar- 6000 N. Forest Park Dr.
of pages. I want to be understanding knowing you ity or space.
depend on advertising, but have your principles lost Peoria, IL 61614-3592
out to greed? e-mail: slane@dgusa.com
Jerol Moore
16 DynamicGraphics
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D E S I G N DY N A M I C S | Sheree Clark
Ask the Experts
Pick Up the Pieces—With Poise

Five strategies transform damage
control into opportunity.
We just had a project blow up Recommended be delivered immediately? Your goal at this stage is
so bad that I don’t even know resources to understand the true nature of the problem, from
Q what happened or who is really

at fault. The client is mad; the
printer hates us … help! What can
I do so this never happens again?
The Eight Essential
Steps to Conflict
Resolution: Preserving
Relationships at
all angles.
3. Think creatively. Think about how you can

solve the problem with the least amount of pain. Do
Work, at Home, and
in the Community, by
you need to reprint an entire brochure, or can the
Raise your hand, dear reader, if you can identify Dudley Weeks, $14.95, cover be removed and reprinted to fi x that typo? If
with the question posed by our colleague. Haven’t Putnam Publishing the piece you designed doesn’t fit in the envelope
we all felt at some point the helplessness-that-bor- Group, www.penguin correctly, can you trim it or mail it in some other
ders-on-panic when a valued relationship is in peril putnam.com type of container?
because of some silly mess-up? The nature of the
problem doesn’t matter. The cause of the problem Difficult Conversa- 4. Ask for help. You probably aren’t at your best as
doesn’t matter. What does matter is what happens tions: How to Discuss a creative problem-solver with a deadline looming
next. Here are five cardinal rules for containing the What Matters Most, and people around you yelling, “Fix this mess!” Call
by Douglas Stone et
fallout and restoring the relationship. in some favors with people who are known to have
al, $14, Penguin USA,
good ideas (and level heads) and create an ad hoc
www.penguin
1. Put time on your side. In a conflict situation, putnam.com
problem-solving task force. The members of your
timing is everything. It’s important to act quickly crisis team don’t all have to be from the industry,
… but not hastily. Carefully think through how How to Win Friends although you’ll probably want to include at least one
you’ll respond. First step: Acknowledge the problem. and Influence People, person who knows production, especially if the issue
Express your willingness to address the issue. Don’t by Dale Carnegie, is complex.
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Sheree Clark (sheree
crises, when a decision or course of action can’t be the players who were involved. Be sure to state in
@saylesdesign.com)
implemented until the next morning anyway. The is managing partner
advance that this is not a blame-placing or gripe ses-
drive home (or your post-work relaxation ritual) of Sayles Graphic sion. Your purpose is solely to learn from the experi-
may provide enough pressure release for a solution Design in Des Moines, ence. Focus less on the past (“What happened?”)
to present itself either to you or to others involved in Iowa; an author and and more on the future (“What can we do better or
the calamity. speaker on organiza- different next time?”). Thank everyone for playing a
tional and business part in resolving the problem. Then move on.
2. Seek first to understand, then to be under- issues; and the
stood. Allow the other party the opportunity to owner of Art/Smart The primary goal of damage control is not only to
speak first. More than once in taking this approach Consulting, which minimize loss, but also to preserve the relationships
provides business
I have discovered that both of us had misinforma- of all parties involved. By applying these strategies,
strategies and self-
tion, and there really was no problem at all. Let the you will increase the likelihood of working again
promotion to crea-
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the initial analysis. What you hear may sound good not only for your reputation, but for your
unfair and feel like blame-placing. Be still. Then bottom line. g
patiently—not condescendingly—ask questions. Ask
about the deadline, remembering that there may be
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mail target, etc. Ask about quantities: Would a par-
tial delivery help, or is it critical that the entire job
18 DynamicGraphics
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CO LO R M A N AG E M E N T | Michael Jahn
6 Steps to Better Color
6 Steps to Better Color—Part 2

Set up your system for a
color-managed environment.
I speak at seminars and conferences and am Gamut: Any device

often asked, “How can I make my printer that can capture, dis-
match what I see on my monitor?” The honest play, or print color
answer is, “You can’t.” Your monitor is capable has a fixed maximum
range of color that it
of displaying many colors that most printing
can render. This range
processes can’t put on paper.
of color is called the
Vendors that market and sell color-management device’s gamut.
tools never seem to say this outright, but it is a fact.
There are hundreds of imaging devices available, and ICC profiles: Cross-
each device represents colors in very different ways. platform file for-
They each have different color gamuts (see sidebar). mats defined by the
This makes it very difficult for an image acquired or International Color
displayed on one device to be rendered exactly the Consortium. These are
same on another. files that contain data
While precise color matching on all devices is describing how to
transform colors from
not possible, the good news is that color manage-
one device (like your Apple OS X System Preferences control panel
ment can help you get an accurate preview on your monitor) to an inter-
monitor of how images will appear in print. In other mediate color space
words, setting up your system, application, and files so they can then be
for managed color can make what you see on your transformed to simu-
monitor simulate how the file will print. late a print condition.
How does it work? A monitor has a large color
range; color management allows it to simulate If you think of profiles
the behavior of your printer’s smaller color range. as the data used for
Beginning with your computer’s heart, let’s explore color management,
the CMM is the calcu-
how to start setting up your system so your monitor
lator. CMMs provide
can display color as it will appear in print.
the mathematical
engine to perform
Apple OS color management system profile-to-profile color
ColorSync, Apple’s color management engine, is transformations. There
actually integrated inside the Apple Macintosh are three different
computer operating system, so there’s really nothing classes of ICC profiles: Apple OS X CMM
difficult about setting it up. input profiles, display

ColorSync processes International Color profiles, and output
Consortium (ICC) profiles using Apple’s Color profiles. Input profiles
Management Module (CMM) and also offers the are usually associated
with a device such
user the opportunity to use third-party CMMs.
as a scanner. Display
These may be useful when you have a particular out- profiles are typically
put device that was engineered by a particular manu- associated with a
facturer—Kodak, for example. computer monitor.
The CMM is the code inside your computer’s Output profiles are
operating system that processes the profiles that con- commonly associated
trol how each device connected to your computer— with printers.
monitor, printer, etc.—displays color. Another way
20 DynamicGraphics
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of thinking about this is to imagine the version 3, and the interface is found (ICM) as its only operating system color
CMM as the calculator and each device’s under the Apple Menu > Control Panels management technology. ICM 2.0 is an
profile as a set of data that the calculator > ColorSync. Unless a device specifically integral part of Windows 98, Windows
is going to process. calls for changing the CMM, leave it set ME, Windows 2000, and Windows XP.
To check your CMM in Macintosh to Automatic. Under the Profiles tab you’ll Just as with Mac CMMs, the Windows
OS X, simply go under the Apple menu see typical devices listed with a profile ICM supports the ICC standard color
icon, select System Preferences, and click selected for each. This is where you would management approach. Unlike the Mac
on Displays. Next, click on the Colors change a profile for a device. The excep- environment, there is no system level tool
tab. There you would select either a tion is Display settings, which are changed to change or select a different CMM.
custom profile for a device or one that by selecting Control Panels and clicking The only way you can change it is at the
is built-in (more about this in the next on Monitors. application level.
article, “Managing Your Monitor”). It is entirely up to an application’s
Some of you will be using older Windows OS color management system developer to allow you to change the
Macs. OS 9, for example, uses ColorSync Microsoft uses Image Color Management CMM. To change a CMM in a Windows
application, the developer must offer an
interface, as Adobe applications do.
Next up: Step 3

You’re well on your way to setting up
your system for a color-managed work-
flow. In the next article, we’ll explore
how you can create and install custom
profiles for your monitor. g
Michael Jahn is a speaker, writer, and consul-

tant for digital workflow system vendors in the
publishing and prepress industry. His expertise
is in PDF, PDF processing, preflighting, and
color management.
Apple OS 9 ColorSync control panel: CMM
Apple OS 9 ColorSync control panel: Profiles
Michael Jahn (mikejahn@jahn.com)

is a speaker, writer, and consultant
for digital workflow system ven-
dors in the publishing and prepress
industry. His expertise is in PDF, PDF
processing, preflighting, and color
management.
22 DynamicGraphics
TEACHING TOOLS
FOR STUDENTS
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listen to what instructors and students alike are saying about Dynamic Graphics Group publications:
about STEP inside design magazine:

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ungodly amount of published material about design
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for sources of inspiration for my students. I feel SBS
Digital Design provides it. The articles are concise,
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contemporary techniques while providing a platform
for experimentation.”
Bill Finewood, Assistant Professor of Illustration,
R o c h e s t e r I n s t i t u t e o f Te c h n o l o g y, R o c h e s t e r, N e w Y o r k
F
BOREE
W NU
SU ITH EA S
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(AL R IPT
L3 ION
to subscribe call PU
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)
Mary Schmidt T 309.687.0123 F 309.688.6579 schmidt@dgusa.com

P.J. Bayler T 309.687.0276 f 309.688.6579 bayler@dgusa.com
READER INSIGHTS
Sharing Collective Wisdom
How do you reward or recognize

Q a valued supplier?
In our last issue, we asked DG readers to share Reward in good taste

their wisdom. Here are the best responses. I have a printer I use two or three times a month
for major press runs. They proofread my work even
Top response though I have a professional proofing service look at
One of our vendors was recognized by our organiza- it first. What do I do for them directly?
tion through an awards ceremony. The Luke Award 1. Each year I give the customer service people I
is given by St. Luke’s Health Foundation Children’s work with a gift certificate to a great restaurant.
Advisory Board to businesses that support the hospi- 2. I promptly pay my invoices—within five days of
tal. This vendor was available to pull me through a receiving them.
budget crunch, donate printing for a good cause, and 3. I buy the entire staff (of around 30 people) break-
Let’s do it again!
help me work a tight timeline. fast once a year. We take in pastries, etc., and
Inasmuch as DG
The awards ceremony was amazing. A child readers are an inex-
serve coffee.
recovering from leukemia presented the award to the haustible source of 4. Whenever someone (other than my three cus-
vendor’s general manager. Everyone was invited—the collective wisdom, tomer service people) catches something I messed
receptionist, the delivery driver, the pressman, every- it’s only fair to ask up on or goes beyond their job, I send them a
one. They were all beaming as the bronze sculpture that they share a personal thank you.
of two children playing was passed around the table. little more … and Jim Bellomo
The sculpture now stands proudly in their lobby. give themselves the Koobraey Productions
Sarah Tregay chance to win a very Redmond, Wash.
St. Luke’s Regional Medical Center cool book, The Art of
the Letter, by Doyald
Boise, Idaho
Young, published by
Money talks
Smart Papers. This
Sarah will receive the new book The Art of the Letter limited-edition volume
We have two options: For a straight-out referral,
by Doyald Young, published by Smart Papers. Enter is packed with insights we write a check; and if the vendor chooses, it may
our contest by responding to this issue’s question (at into the creative act as the contact point for the client for all things
right), and you could win your own copy. process and chron- related to the project, including input, proofing,
icles Young’s clas- and invoicing. In this capacity, the vendor essen-
sic work for General tially performs the duties of an agent, and as such
Better than chocolate Electric and other is entitled to a percentage of the project.
That is easy! If I am happy with a company, its major clients. Chris Lona
service, and its people, I send them referrals! It is CL Design
better than a box of chocolates at Christmas—less Bellevue, Wash.
fattening, and much more rewarding.
Susan Weber
Susan Weber Designs
Lake Havasu City, Ariz. Next Question:
What is your proudest moment

as a designer? Why?
Send your response to:

Marcy Slane, Assistant Editor
e-mail: slane@dgusa.com
24 DynamicGraphics
PHOTOSHOP
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CO LO R O N C A L L
Trouble-Free Palettes
Retro: nostalgic; classic;

reminiscent; vintage
Butterfly collars, polyester shirts with Reliving the past
intricate patterns, horn-rimmed glasses, Rocco Baviera created
bowling, chrome kitchen accessories ... this poster for a musi-
they’re all coming back. Have you cal theater group. “My
noticed the onslaught of vintage wear illustrations have had
a retro theme of late,”
and retro home accessories at your favorite store?
he says. “There is a
Those items you stored in the attic or gave to charity resurgence in things
are becoming increasingly popular. Time to lug that from the past—it
old stuff out if you still have it. If not, you’re lucky reflects a nostalgia for
enough to be living in the age of technology, where a simpler time. People
this look can be recreated at the click of a mouse. find comfort in that.”
Artist Rocco Baviera’s “Motown Revue” illustra- Baviera’s work is
tion (top right) fits the bill perfectly, showcasing our featured at www.
retro theme. Baviera always sketches his illustrations portfolios.com/
first, then scans them into Illustrator to use as a roccobaviera.
E-mail four.eyes@
template to trace his shapes. “After that, it’s basically
sympatico.ca.
paint by numbers,” he admits. He sometimes brings
the illustration into Photoshop to add an effect he
can’t achieve in Illustrator.
Photo palettes
“I get inspiration from things of the past, such
Old photographs are
as vintage posters and advertising,” Baviera remarks. perfect for captur-
“Growing up, I was inspired by the naiveté of The ing a vintage look.
Flintstones, Rocky & Bullwinkle, and the old Looney The faded, limited
Tunes of the ’40s and ’50s—they were larger than colors match a retro
life. There was such a simplicity and boldness in color palette. And of
posters, probably due to the method of printing— course, the bouffant
silkscreen—and the limited number of colors used. I hairdos, patterned
think restrictions sometimes force you to adapt and polyester shirts, and
distill something to its simplest form.” classic cars help
solidify the theme.
Baviera uses a limited color palette. “You can
Image BXP57788,
create a stronger mood with fewer colors,” he says.
www.creatas.com.
“I’m drawn to pure color. Doing things digitally
makes it easy. For a rich black [as in “Motown
Review”], I use C:30, M:30, Y:30, K:100.” g
PANTONE PANTONE PANTONE PANTONE PANTONE

499 435 608 713 338
C0 C13 C0 C0 C47
M58 M15 M0 M19 M0
Y100 Y15 Y32 Y41 Y32
K49 K0 K2 K0 K0
28 DynamicGraphics
Font•o•rama
Bolster a vintage look
with fonts: Jungle Juice
(jukebox) is reminiscent
of a classic TV show,
KinkOMite (bowling)
looks like an alley’s
sign, and Quigley Wig- R241 G216 B161 R40 G73 B90
gly (chrome) hints at HEX F1D8A1 HEX 28495A
a five and dime—get
these free fonts at
www.fontface.com.
Rocket Script (diner)
offers a classic, pre-
fast-food take on eat-
ing out—also free at
www.fontdiner.com.
R250 G246 B192 R223 G214 B208
Patterns HEX FAF6C0 HEX DFD6D0
Kidney shapes, wavy
lines, funky flowers,
and dots. Retro pat-
terns often appear
to be inspired by
organisms you’d see
under a microscope.
Find Bombshell and
other goodies at
R202 G91 B39 R92 G176 B219
www.pixeldecor.com.
HEX CA5B27 HEX 5CB0DB
Find your own palette
Watch old TV shows,
rifle through old pho-
tos, search Grandma’s
attic (or eBay) for
vintage items like old
radios, jukeboxes, TVs,
furnishings, home
accessories, and of R167 G163 B82 R230 G181 B194
course, clothing. HEX A7A352 HEX E6B5C2
Image 038C0903LL,
www.liquidlibrary.com.
Inspiring websites
Log on to:
havanastreet.com
retroadart.com
houseindustries.com
fontdiner.com R125 G81 B21 R165 G205 B189
cartoondaddy.com HEX 7D5115 HEX A5CDBD
PANTONE PANTONE PANTONE PANTONE PANTONE

179 312 210 5835 7477
C0 C83 C0 C0 C80
M79 M0 M39 M2 M0
Y100 Y10 Y6 Y67 Y10
K0 K0 K0 K40 K68
JUNE/JULY 2004 29
M A K E OV E R S | Identity
Standard Beverage Corporation 1
A distribution company finally

finds its voice.
Designer: Kathie Alexander
2
Standard Beverage
The Standard Beverage Corporation 1. Existing logo
corporation
has lacked a representational identity The image in the origi-
system for some time. “We need some- nal logo is supposed
thing to be proud of,” says Kim Ford, to be a box of liquor
bottles that form the 3
graphic designer for the company, “a design
letter S. It was hard
that better represents us, and one that is clearer and
to tell what the image
easier to interpret.”
was supposed to be—
The original design is hard to comprehend:
Although it’s meant to illustrate a box of bottles
too abstract. Standard Beverage
C O R P O R A T I O N
(think alcohol distribution) in the shape of an S, 2. New logo

“Most people don’t make that connection,” com- The new logo is sim-
plains Ford. “They think it is some sort of abstract ple and classic, and
art. Yikes!” makes for a strong
Ford has invited designers to create a new logo, identity when paired
but their results usually feature a wine or cocktail with bottle art.
glass—not fully representative of the company’s wide Standard Beverage
offerings in beer, wine, and spirits. “We are a distrib-
3. Early explorations corporation
“The bottles were
utor of many different brands,” explains Ford. my inspiration,” says
To express the spectrum of Standard Beverage’s art director Kathie
business, DG art director Kathie Alexander created Alexander. “At first I
a supple logo that can be used in combination with thought they would
various bottle graphics without settling for just one. be a part of the logo,
“This identity is very versatile,” says Alexander. “And but after deciding
it’s easy to make it work alone or with any pairing.” on a typeface, I real-
Alexander went with a vintage look in choosing ized that the bottles
the typeface, Euphorigenic. Bottle art featured in the worked well as more
redesigned system also has a classic feel. She consid- of a complement.” Standard Beverage
ered including the bottles in the logo proper, then C O R P O R A T I O N
4. New typeface
decided they’d be better as accents in stationery, Euphorigenic has a
business cards, coasters, and other promo materials. carefree, retro feel.
Because she had chosen the bottles before the font, Available free at 4
she selected a font that went well with the graphics. www.fontface.com.
“I think they make a great pair,” she notes.
Alexander’s retro color palette resonates with 5. New colors
this vintage theme, and makes the corporation look Alexander chose a
much less uptight. (See “Color on Call,” page 28, four-color palette in 5 C0 C30
retro, upbeat colors. M70 M0
for more ideas on a retro theme.) g Y100 Y5
K0 K0
C10 C80
M0 M0
Y40 Y30
K0 K50
30 DynamicGraphics
6
6. Stationery
The top page is
printed in four colors,
a distributor of quality spirits, wine, & beer and following pages
can be a matching
color from the palette
7
to save on printing
Standard Beverage costs. Another option

is to print just the bot-
tles at the bottom of
corporation subsequent sheets.
7. System versatility
date The new system can
be applied in any
name
company
number of ways. The
street address company can have
city, state zip
fun with bottles, col-
ors, and placement.
Salutation,
Lena ZibboroInterdum volgus videt, est ubi peccat. Si veteres ita miratur laudatque poetas, ut nihil anteferat, 8. Cards/coasters
nihil illis comparet, errat. Si quaedam nimis antique, si peraque dure dicere credit eos, ignave multa fatetur, These high-end
et sapit et mecum facit et Iova iudicat aequo.
business cards can
Non equidem insector delendave carmina Livi esse reor, memini quae plagosum mihi parvo Orbilium dictare;
sed emendata videri pulchraque et exactis minimum distantia miror. Inter quae verbum emicuit si forte
be printed on thick
decorum, et si versus paulo concinnior unus et alter, iniuste totum ducit venditque poema. stock and used for
Indignor quicquam reprehendi, non quia crasse compositum illepedeve putetur, sed quia nuper, nec veniam special events or
antiquis, sed honorem et praemia posci. Recte necne crocum floresque perambulet Attae fabula si dubitem,
clament periisse pudorem cuncti paene patres, ea cum reprehendere coner, quae gravis Aesopus, quae
important clients.
doctus Roscius egit; vel quia nil rectum, nisi quod placuit sibi, ducunt, vel quia turpe putant parere minoribus, Alexander suggests
et quae imberbesidicere senes.
printing on regular
phic Designer 316 business card stock
eret tereretque viritim. Gra /83
rd 8.7
for everyday use.
Fo 7 07
m
Ki
8
24
Sincerely,
16
Ea
Beverage
st 3
Standard 7th
Street North,
corporation
Wich
rd stdbev.com
m.Fo
ita,
Ka
ns
as
67
ard Beverage
20
3
Kim
.For
corporation
stdbev.com d@
Street
37th
9. Selling fun
ast
Standard Beverage
6E
We thought this sta-

1
24
tionery should be fun. corporation

7
70 Ki
After all, aren’t good 8.7 m
Fo 83
rd 16/
Graphic esigner 3
times just what the D
Standard Beverage
Corporation sells? A 9
four-color envelope
really stands out in a
pile of mail, enticing
recipients to open
Standard Beverage’s
letter first.
JUNE/JULY 2004 31
Yarde Metals
A forward-thinking metal company
gets an identity system to match.
Designer: Michael Ulrich
Even though it operates within a 1. Original concerns 1

business-to-business industry that About eight years old,
doesn’t leave a lot of room for creativity, the Yarde Metals logo
Yarde Metals is known as an innovator. was good at attracting
The family-owned company, founded attention, but often
difficult to balance
in 1976, supplies metal products and services to the
with text and photos
automotive, aerospace, and manufacturing indus-
in layouts.
tries. It’s also known for its progressive management
style and growth strategies. 2. Updated look
Yarde’s current logo attracts attention with a The new logo bal- 2
red, swooshing Y, but the color and strong horizontal ances two oppos-
format have proven difficult to work with in layouts. ing concepts—the
“The perfect design for our company would be more strength and durabil-
graphically functional,” says Timothy Regan, mar- ity of the company’s
keting and multimedia specialist. “It would clearly products, and the
fluid movement of
define our products and services while conveying our
its leadership and
unique corporate identity.”
management style.
For DG creative director Michael Ulrich, the To communicate the
real challenge was creating an identity solution that 3
latter, DG creative
combines two opposite visual approaches—solid, director Michael Ulrich
durable metal products, and a sense of movement to set a simplified Y on
portray Yarde Metal’s innovative management style. its side to suggest an
Ulrich’s solution is a strong, straightforward design arrow pointing to the
that turns the Y on its side to suggest an arrow. company name.
“When you start putting your company into
a logo, it’s really difficult to differentiate yourself,” 3. Runners-up
Ulrich dismissed these
says Ulrich. He went for a look that most people
options as too obvi-
wouldn’t immediately associate with this industry.
ous. “Metalworking
It’s a clean and classic identity system that positions can send you into a
Yarde Metals as an industry leader. The metallic color direction that is too
reinforces what the company does, but it also grabs standard and easy,” he
attention and lends an air of authority. In fact, this says. He opted for a
design could just as easily hold its weight against more distinctive look
slick consumer campaigns as it does against Yarde’s differentiating Yarde
B-to-B competitors. g from its competition.
4. Typography
Ulrich chose the
font Aeneas for its
4
beauty—especially
when used in small
caps—and because its
extended serifs look
strong and steadfast.
32 DynamicGraphics
5
5. Metallic color
Ulrich’s color choice
(Pantone 8201) helps
the stationery pop
and adds an air of
sophistication to
Yarde Metal’s rede-
signed system. It’s
also a natural choice
for a metal business.
6. Business card
To stand apart from
most business cards,
this one is a nonstan-
6
dard size—1 1⁄4 x 3
inches. Ulrich chose
to print on both front
and back, so the card
will send a message
no matter how it lands
on someone’s desk.
7. Envelope
A square-flap enve-
lope helps reinforce
the concept that
Yarde Metals is an
innovator. It also
gives the company an
opportunity to print a
message on the flap.
JUNE/JULY 2004 33
Simply Karmen
A designer’s identity system
profits from an outside view. 1
Designer: Chris Tobin
Like many hard-working designers, Karmen 1. Current logo

Marasovich knows how to pull out the stops Although relatively
when catering to clients of her studio, Simply new, the logo for 2
Karmen. But when it comes to design- Karmen Marasovich’s
ing her own business identity, she feels design firm isn’t a
source for inspiration.
the need for a little skillful outside perspective.
“The brand is myself, which is why I named the
2. New logo
company Simply Karmen. The most challenging part Designer Chris Tobin
is being your own client,” she says. “I’m too critical balanced a business-
of my own work.” Although her existing identity friendly orientation
system is relatively recent, she’s not satisfied, find- with creative insight
3
ing it “too playful, too bold.” Asked to envision her in his redesign.
ideal identity solution, she offers, “The new Simply
Karmen brand would be elegant, energetic, with a 3. Early explorations
flowing font solution and a brighter color palette.” Alternatives were
either too playful or
Finding a way to reconcile a suitably dignified
too bland. “I was try-
business persona with a “Hey, I’m fun to work with”
ing to strike a balance
spirit is a challenge with which most designers can between fun and busi-
sympathize. In his proposed solution, designer Chris nesslike characteris-
Tobin focused on this issue, while ensuring that the tics,” Tobin says.
new identity system would be flexible to accommo-
date the creativity that a working designer thrives on. 4. New faces
Tobin’s new logo is a case in point. It’s a combi- For the K in Karmen,
nation of two weights of Futura and an altered letter- Tobin chose Galliard
form from Galliard, and it features the word Simply and modified the let-
reversing out of a string of colored circles that resem- ter in Illustrator to
give it a rounded,
ble beads. Tobin’s recommendations include altering
flowing foot. The
the configuration of this string so it’s easy to place
rest of the logo is in
the logo in unpredictable settings. Appropriately, Futura Book (Simply
Marasovich’s imagination is her only limit. was given a 1/2-point
stroke to help it stand
out in reverse) and
Futura Light. Tobin 4
preferred Futura’s
slightly rounded forms
to those of other sans-
serif fonts.
5. Logo colors
Tobin describes the
new colors as “fun,
5 C60 C30 C0
urban, and chic, just
M90 M10 M40
like Karmen.” Y60 Y0 Y70
K30 K0 K0
34 DynamicGraphics
6. Tagline
Responding to
7 Karmen’s concern
that a new system
will need a tagline so
potential clients know
she’s in the design
date business, Tobin sug-
name gests a subtle pres-
6 company
street address
ence “where it counts”
city, state zip (e.g., on stationery)
for a stacked tagline,
“Effective, creative
design solutions.”
7. Variations
By altering the config-
uration of the colored
“beads” that spell out
simply, the logo can
be placed in a variety
of settings while still
remaining identifiable.
asovich Grap
Mar hic
en De 8. Circle card
rm s
Ka
gi
Nonstandard shapes
ren
8
for business cards
6 2 6 9.5 2 2.8 1
moc.
capture attention and
n e m ra k ylp m is
are more accepted
today than in times
8
.8 1
.w w
past, especially when
22
Karmen Marasovich
w
2
50
5.
8 8f m the bearer is a graphic

ax l. c o
si m ply k a r m e n @ a o designer. To lower the
cost of a custom die,
Tobin suggests asking
printers if standard
or pre-existing dies
are available.
C10
M0
Y35
K0
effective
creative
design ich
9. Stationery colors asov
solutions
The sytem allows for
selecting stationery
colors that harmonize
with and set off those
used in the logo.
JUNE/JULY 2004 35
Indigo Design 1
Continuity lends versatility
to a design firm’s logo.
Designer: Mandy Barrett
A designer needs to feel comfortable and 1. Current logo

confident in her company’s identity. McGill feels her pres-
2
That’s why Lorraine McGill, owner of ent logo is old-fash-
Indigo Design, wanted DG ’s help in ioned. DG designer
designing her new look. “My goal Mandy Barrett agrees
that updating is
is that when clients see an Indigo Design letterhead,
required, but feels
business card, or website, they will think, ‘Wow,’”
Indigo also needs a
she explains. “I need something that will make an stable identity.
impact and help them remember me.” As a busy
freelance designer, McGill could not find the time 2. New logo
to redesign her own logo. Barrett chose a more
“One continuing theme I’ve carried from my modern font and a
old designs to my new ones is the lowercase i,” unique look. “This
McGill notes. In her proposed solution, designer logo would also work 3
Mandy Barrett decided to stay with this motif to well in one color, and
makes a great stamp,”
maintain continuity.
she says.
McGill also wanted to express her versatility in
design approaches, from fun and funky to serious, 3. Early explorations
classy, and elegant. The redesigned logo is Barrett’s These designs feature
interpretation of this. “I think it shows a funky, fun the lowercase i McGill
personality,” Barrett explains, “but I gave it more of a wanted to retain in her
professional look.” company’s logo.
Although McGill has considered continually
changing Indigo Design’s branding with a new logo 4. New typeface
every so often, Barrett advises against it. “Identity is Barrett made a few
a huge part of design,” she says. “If you don’t have adjustments to Myriad
Bold. The Myriad base
a stable identity as a designer, why would your cli-
font can be used on
ents think you could create one for them?” A good
business materials for
designer alters her style for every client, a concept a unified look without
McGill definitely endorses. “But changing identities making everything
would be too much work when she can get all her look identical.
ideas across in one logo,” notes Barrett. It was essen-
tial to create a solid identity that will stand the test 5. New colors
of time. g “Indigo is a strong,
vibrant color,” Barrett
says of her color
choice, which is also 4
the firm’s name.
“Bright lime suggests
confidence and helps
the indigo stand out.”
5 C95 C30
M85 M0
Y0 Y100
K0 K0
36 DynamicGraphics
Visalia Chamber of Commerce
A business-centered nonprofit
1
reflects hometown spirit.
Designer: Tammy Risinger
The Visalia, Calif., Chamber of 1. Outdated logo

Commerce is a nonprofit organization The current logo 2
that represents business to government, needs to be rede-
brings tourism to the area, provides mar- signed, as it promotes
an event that hap-
keting and networking opportunities to
pened four years
businesses, and helps educate tomorrow’s leaders. ago—the chamber’s
Four years have passed since the chamber’s 100th 100th anniversary.
anniversary, providing a suitable moment to revamp
its image. Hoping to acquire a more professional 2. New logo
and modern identity, director of communications Designer Tammy
Kathleen Botta turned to DG. Risinger thought the 3
Botta’s goal is that her organization “not be leaf image repre-
viewed as a chamber that puts on parades and pan- sented the area well,
cake breakfasts, but one that fights for business so she carried it into
her redesign.
and builds for the future of our community,” she
explains. “We need to modernize our visual image.”
3. Early explorations
Designer Tammy Risinger experimented with Risinger experimented
the leaf image from the existing logo in several with integrating the
ways, finally deciding that the image itself is not the leaf into the name of
problem, although she did repeat it in four colors to the organization, but
provide visual appeal. Botta liked the oak leaf in the decided the group-
original design, but felt the blue color didn’t repre- ing of leaf images was
sent the organization. Risinger changed the colors to more compelling.
a fall palette. The new colors give a more distinctive
look to the logo and represent the natural setting of 4. New typeface
The original font is too
this small city in the shadow of the Sierras.
bold to support the
Risinger thought the original type looked too delicate leaf image. In
bold to harmonize with the naturalistic leaf images. her redesign, Risinger
Instead she chose Myriad Roman, a font that looks chose a simple font,
more simple and welcoming. Myriad Roman, giving
The redesigned logo unifies image, color, and the logo a more bal-
type, and provides a solid, professional look for the anced look. 4
Visalia Chamber. It also works well with various pro-
grams the chamber offers, such as Sequoia Regional 5. New colors
Leadership and Oktoberfest. One added benefit: The new logo is shown
Because the leaf image is continued in the redesign, in four-color process, 5 C40 C0 C20
but it can easily be M40 M20 M10
the Visalia Chamber of Commerce won’t need a big Y60 Y60 Y50
printed in one or
effort to roll out its new look. g two colors. If Botta K40 K20 K30
decides on two colors,

Risinger suggests a
dark brown for copy C0 C10
M40 M40
and a light tan for Y80 Y70
the four leaves. K20 K30
JUNE/JULY 2004 37
Around the Kitchen

A fresh taste is served
to a regional magazine.
Designer: Ashley Haffner
Not all logos are in need of a make- 1. Original logo

over. In fact, many already represent Haffner’s concern 1
their parent companies effectively. On was that the stove
the other hand, an update or evolu- burner image is tough
tionary change can be a good way to to identify. “It is too
abstract when set off
reconnect with current customers and attract new
by itself,” she notes.
2
prospects. Designer Tarrah Huggins of NuDesign
Creative understands the value of a fresh identity. 2. Updated logo
She explains why she’s searching for a different The final cut show-
look for her client’s magazine, Around the Kitchen: cases a rolling pin, 3
“I love the logo and the concept behind it,” Huggins which Haffner feels is
says. “There is definite potential to bring it from bet- ideal for representing
ter to best.” Southern cooking.
Designer Ashley Haffner decided to do a little
research before attempting to revise the magazine’s 3. Other options
Alternatives include
logo. Since Around the Kitchen’s readers are mostly
long, flat utensils. A
in the southern United States, she studied packaging
frying pan can change 4
labels common to the region (okra, boiled peanuts, up the redesign, as
green pepper jelly, etc.) and read up on regional cui- can a smaller, more
sine. After experimenting with retro typefaces associ- defined burner.
ated with cooking (e.g., Koffee, Murray Hill Bold,
Streamline), Haffner revised her strategy. 4. Early explorations
Because Around the Kitchen appeals to young These logos were
professionals as well as middle-aged individuals with left out of the recipe
an interest in cooking, the restaurant industry, or for Haffner’s rede-
fine dining, Haffner decided to “keep some retro signed logo, but they
employ similar images.
flavor but streamline it so it is cleaner and tighter
than most of the old product brands.” This approach
5. New typeface
helps merge a contemporary approach with a tradi- Base Nine Small
tional style, which will undoubtedly appeal to the Caps is both retro
wide variety of Around the Kitchen readers. g and modern. Haffner
eliminated the words
below the name for a
cleaner look.
Colors
Haffner decided to
stay with the original
colors because “they
worked,” she admits. 5
Pantone 185 Red com-
plements the bold,
black text.
38 DynamicGraphics
Marine Quest 1
An event logo revamp emphasizes
marine life over typography.
Designer: Jesse Hoerr
Once a year the Florida Marine 1. Outdated logo

Research Institute opens it doors to The current logo looks
host more than 5,000 visitors from dated, according to
the general public over three days. the institute’s Jessica
Marine Quest is an important open Smith. The width and
shape make it difficult
house that gives people the opportunity to tour the
to fit on invitations
institute and talk with researchers face-to-face. The
and posters.
center operates under the Florida Fish and Wildlife
Conservation Commission and is known around the 2. New logo
world for its efforts to improve knowledge about the The redesign’s shape
state’s marine resources. is a rectangle that’s
Unfortunately, the current open house logo is easy to work with in
dated and its width makes it difficult to work with layouts. Water and sea
in promotional materials. “The perfect design should life are more promi-
convey that this is an event where the entire family, nent, and there’s a
more kid-friendly feel
infants to elderly, can learn about the marine envi-
ronment,” says Jessica Smith, environmental spe-
to attract families to 3
the open house.
cialist at the institute. “We want people to know
what we are doing to protect and conserve Florida’s 3. Other explorations
resources, and what they can do to help.” “These options had
Designer Jesse Hoerr knew from the start that little contrast between
he wanted to incorporate underwater images in graphics and text,”
the new logo. He considered coral, fish, and sand says DG designer
before landing on the simple dolphin shape from the Jesse Hoerr. They also
original logo. “I wanted to make the water and sea made the dolphin rep-
life more prominent than the large Q in the original resenting marine life
secondary to the text.
design,” he says. Hoerr also wanted to introduce a
sense of movement to help the logo stand out.
4. Typography
The new design has a more sophisticated look The new typeface is
that’s appropriate for a research institute, yet still
remains family-friendly with its prominent swim-
elegant and easier to
read. The serifs lend
4 Adobe Garamond Regular
ming dolphin. Emphasis has shifted from the typog- a touch of author-
raphy to the event’s real focus—marine life—and the ity—appropriate for a Adobe Garamond Bold
new color palette adds contrast, interest, and motion. research institute.
It’s a cleaner logo that’s easier to read and versatile
enough to work on all types of print materials. g 5. Color palette 5 C80 C70
These four shades M20 M30
represent the ocean Y10 Y0
K0 K0
and its diversity. The
contrast of color cre-
ates visual interest
and a sense of motion. C100 C65
M15 M0
Y30 Y25
K0 K0
JUNE/JULY 2004 39
NAMTA
A trade association’s connection
with art takes on new life. 1
Designer: Sueann Hoppock
Logos send subtle messages about an organiza- 1. Outdated logo

tion’s personality. An outdated logo—like the This mid-1980s design
one currently used by the National Art Mate- doesn’t represent
rials Trade Association (NAMTA)—may NAMTA’s appeal. “It’s
cause a group to appear out-of-touch. horribly dull,” Sim-
mons says. “The art
But NAMTA’s director of publications, Jennifer
materials industry is
Simmons, knows that this not-for-profit is anything
interesting and fun— 2
but behind the times. In fact, she explains that our identity should
NAMTA is looking to expand its membership. To reflect that.”
communicate effectively to potential members, some
changes need to be made. 2. New logo
“NAMTA needs a new identity to more clearly Now with a cohesive
convey who we are and what we do,” Simmons com- look and a profes-
ments. “The existing logo is dated and provides no sional image, this logo
visual indication of the industry we serve.” is friendly and fun, but
not cartoonish.
Designer Sueann Hoppock agrees. “This logo
is for a business that deals in the art materials field,
3. Early exploration
and the current mark does not reflect that at all.” So The paintbrush con- 3
Hoppock set about giving NAMTA’s logo a more cept evolved during
distinct personality. the redesign process.
Using contemporary fonts was the first step in A brushed T, a brush
the redesign process. “A friendly Panorama Light font swirl, and a painter’s
works well for NAMTA,” Hoppock says. Adding palette preceded the
a dash of creativity was the second. A paint splash final design.
crossing the T represents artistic flair, and extend-
ing the crossbar over all five letters displays a sense 4. New typeface
“The original logo
of unity. Directly underneath the acronym the full
uses outdated fonts
association name appears, in a clean sans-serif font—
that are hard to read,”
Frutiger Bold Condensed. says Hoppock. She
Hoppock took into consideration the orga- chose new fonts that
nization’s preference for a one-color design. While reproduce well in vari-
the new logo will be equally effective in pure black, ous sizes: Panorama
showcasing the organization’s image with primary Light for NAMTA (Dry
colors, such as bright blue and red, will ensure a Brush Thick crossbar
more dramatic impact. g on the T made in Ill-
ustrator) and Frutiger
Bold Condensed for
the complete name.
Color
Hoppock chose red,
but she says any 4
bright color will work
well in the redesign.
40 DynamicGraphics
IWGS
A gardening society captures
its mission in a new logo. 1
Designer: Melissa Stauffer
After 20 years of researching and grow- 1. Current logo

ing aquatic plants, collecting, display- Designed in the
ing, and selling unique varieties, early 1980s, the
and educating its members about current logo’s shelf
life has expired. It
water-dwelling plant conservation,
fails to communicate
the International Water Lily and Water Gardening
the organization’s 2
Society (IWGS) is ready to step up its image with a evolving identity.
new logo.
Paula Biles, executive director of IWGS, wants 2. Revised logo
to increase the organization’s name recognition with A creative portrayal
a logo that presents a “more professional, attractive, of a water lily leaf sets
modern appearance.” The new image will appear the tone for the new
on all print and web-based communications. “We logo. This distinc-
are evolving into a new, more dynamic organization tive image is sure to
even though we’ve been around for a long time,” says appeal to the IWGS’s
diverse membership.
Biles. She is certain that a smart, contemporary logo 3
will display this to current and potential members. 3. Other explorations
Designer Melissa Stauffer prepared for this Designer Melissa
assignment by leafing through gardening books in Stauffer toyed with
search of inspiration. “I played around with different several ideas for
fonts, keeping in mind that I was looking for a the redesign, some
sophisticated, somewhat whimsical look,” she says. of which were too
She settled on Bickley Script Plain, a font bundled in busy for her taste.
Illustrator. The water lily leaf—which cleverly forms She began to move
the letter I in the acronym—curves gently towards closer toward the final
design with an imagi-
the W, lending harmony to all four letters. This con-
native treatment for
cept of unity is significant, as IWGS brings together
the letter I.
aquatic plant enthusiasts from around the world.
The final logo is a two-color design that stands 4. New typeface
out regardless of the publication medium (letterhead, Bickley Script pro-
website, T-shirts, etc). It will also work well as a vided the soft,
simple black-and-white image, Stauffer advises. g rounded feel that
Stauffer was seek-
ing. Its thickness will
reproduce well if the
logo size is decreased.
JUNE/JULY 2004 41
Community Financial
Federal Credit Union
A future is built on
hometown appeal. 1
Designer: Krista Anderson
Lisa Herman of Community Financial Federal 1. Outdated logo

Credit Union (CFFCU) is determined to put The existing, dated
her company’s identity on par with its highly logo doesn’t commu-
respected services. The first step toward nicate any information
about the company’s
achieving this goal, she believes, is a
services or products.
logo that speaks positively to the 40,000 residents 2
in Colorado’s Broomfield County. Because CFFCU 2. New logo
is locally owned and controlled by its members, Anderson mined
it stands apart from the larger commercial banks CFFCU’s tagline for
nearby. Herman knows that a new logo needs to ideas to emphasize Federal Credit Union
convey this important point. community (house
Your local hometown credit union
During the concepting phase, designer Krista graphics) while
Anderson took cues from CFFCU’s tag line, “Your acknowledging local
local hometown credit union.” She envisioned a fresh service. The pine tree
symbolizes CFFCU’s
and friendly—but not too corporate or formal—logo
geographic identity.
that would project a professional image. As she began 3
to test her ideas, Anderson scrapped any notions of 3. Early explorations
salvaging the original logo. Other ideas reflected
“I did away with the initials CF because this did community awareness
nothing to illustrate what this business is about,” she (a business alongside Federal Credit Union
says. As she toyed with visual images to help build a home) and an open
name recognition and reach out to customers as well door to welcome com-
as CFFCU’s corporate partners, Anderson crafted munity members.
several options intended to provide the identity boost
the credit union needs. 4. New typeface
Incorporating varia-
Anderson also kept in mind CFFCU’s plans Federal Credit Union
tions on a font family
to expand services to additional communities. The
helps establish unity.
graphic can later be altered slightly to symbolize Alinea Incise Regular
CFFCU’s expansions into other areas—apartment and Bold provide con-
buildings, cityscapes, or farm houses. Establishing trast in the name, and
a solid identity now is more important to CFFCU Alinea Regular Italic is
4
than ever, and the redesigned logo represents the ideal for emphasizing
credit union’s commitment to its immediate and the tagline.
neighboring regions. As she says, “This new logo
should help them tell prospective members what they 5. New colors
The new design, with
are all about: friendly service, low-cost financial ser-
blue, green, and black,
vices, and local ownership.” g
will reproduce well as
a three-color image,
as well as a basic, 5 C100 C76 C0
M60 M0 M0
one-color design. Y0 Y91 Y0
K6 K0 K60
42 DynamicGraphics

Age-old values deserve a
simple, contemporary look.
Designer: Deb Reynolds
Service. Strength. Community. Unity. 1. Outdated logo

These are just a few words the National The current logo is
Exchange Club (NEC), America’s oldest overly detailed and
and largest community service organiza- its style is outdated.
“We want a con-
tion, uses to describe its values. NEC is
temporary logo that
looking for a way to communicate these concepts
better reflects the
visually in the context of a new century. Stacy Poca, organization,” says
2
director of communications, explains, “Although NEC’s Stacy Poca.
the current logo has served the organization well
throughout its 93-year history, a more contemporary 2. New logo
design would help carry it into the 21st century.” Reynolds incorpo-
Designer Deb Reynolds knows that photo/ rated NEC’s tagline
illustration suppliers and image software programs— into the final design.
Photoshop, Illustrator, Draw, and all the others—are The starting point for
among the graphic artist’s best friends. But there’s the logo was image
S1366-11IC, from
more to designing a logo than finding an appro-
www.creatas.com.
priate image and incorporating it into a symbol.
Discovering a way to mold the image so it reflects 3. Early explorations
the client’s vision is the critical work. Artwork that symbol-
Reynolds’ effort to modernize NEC’s identity izes unity is a natu- 3
took her through several iterations, but she was ral choice since this
deterimined not to add visual complexity as she pro- organization works to
gressed. “I knew I wanted to keep the logo simple,” bring people together.
she says. She began by importing a JPEG file into Trial versions of the
Photoshop and saved it as a TIFF, then converted it logo show individuals
in close proximity.
in Streamline to an EPS. She did most of her design-
ing in Illustrator to achieve the clean, unified look
4. New typeface
she was after. Elroy Regular was
Although the journey wasn’t simple, the final chosen because it’s
result maintains a basic, honest appeal in keeping an improvement from
with the service club’s values. After all, one good ser- barely readable text in
vice deserves another. g the original logo.
New color
A blue hue in cyan
and magenta keeps
printing costs man-
ageable for NEC.
JUNE/JULY 2004 43
M A K E OV E R S | Newsletters
Troxler Transmissions
To promote employee readership,
send clear signals.
1
Designer: Sueann Hoppock
Employee newsletters aren’t just for 1. Primary concerns

bowling leagues and birthdays. They Text flow and the
also alert employees to important com- masthead are the
pany information. But if readers fail to main problems need-
glance past the first page, all the edito- ing to be addressed.
rial effort is essentially wasted. Enticing recipients
2. New nameplate
to read the entire newsletter can be as simple as
The title of the news-
surrounding content with an attractive design that letter is emphasized
2
calls, “Check me out … I’m informative and fun.” over the company
A leading developer of test and measurement name, and sonar
equipment for the construction industry, Troxler waves in the back-
Electronic Laboratories depends on its quarterly ground replace the
newsletter, Troxler Transmissions, to keep employees transmitter image.
in the loop. Submitting a recent issue for makeover “Change the color
consideration, Troxler graphic/web designer Nicole with every issue to
reflect the season,”
Perriello expressed concern about the current design,
Hoppock suggests.
especially poor text flow and drab color schemes.
Designer Sueann Hoppock took on the rede- 3. Fonts
sign. “Every newsletter needs a good banner, and Hoppock chose
this one needs help,” she says. “The nameplate gets contemporary fonts
lost on the page. It also fights with ‘Inside This for the newsletter
Issue’ since they’re similar in size. And the banner title and company
needs a stronger visual.” name. Headlines in
Hoppock reworked the newsletter to achieve Generica Condensed
a polished, contemporary look. The result is an Medium tie in with the
nameplate’s Generica 3
attractive, grid-based design with distinct separation
Condensed Bold.
between the company name, newsletter title, and
Aticon Bold adds to
table of contents.
page numbers and
Responding to the problem of text flow, the subheads, and Adobe
revised design includes edited stories with jumps to Caslon helps bring
the final page for longer articles. “The inside spread out the body text.
was especially intimidating with wall-to-wall text
and nothing to break it up,” Hoppock comments. 4. Colors
Her solution: Edit the lengthy text and distribute it Although color was
throughout the newsletter rather than placing it in a not a limitation for this
single, solid text block. g redesign, Hoppock 4 C10 C95
used a two-color for- M70 M0
mat, drawing from the Y85 Y25
K0 K0
hues used in the mast-
head. She suggests
saving full color for
photos in the newslet- C95 C10
M0 M25
ter—this eliminates Y85 Y85
color competition. K0 K0
44 DynamicGraphics
6
5. Three-column grid 6. Hue/Saturation
Two columns of text Hoppock suggests
and a narrow black using a different color
bar (useful for pho- scheme for each
tos, artwork, or pull issue—tweaking the
quotes) lend a hand Hue/Saturation com-
to this easy-to read, mand in Photoshop
clean design.
5
is all that’s required
to do so.
7. Employee photos
“This newsletter is for
employees, so the em-
phasis should be on
7 them,” Hoppock says.
She recommends pay-
ing attention to the
quality of the photos
(in focus, and sharp).
8. Short stories 9. Story conclusions

Concise stories are Saving the final page
key in keeping read- of the newsletter for 9
ers’ attention. This continuing stories
also allows space for helps improve text
other articles and tid- flow. Readers will be
bits of information. less overwhelmed with
large chunks of text.
JUNE/JULY 2004 45
Splash!
An arts school and its sister
charity focus their creativity.
Fact: Most organizations have budget 1. Old look 1

restraints that affect their publications. The organizations
This one for the Avenue Road Arts shared a newsletter
School and its charitable arm, Arts for but had completely
Children of Toronto, was developed in-house to different logos and
no unified look. “It is
stay within the school’s budget, but doesn’t seem to
a challenge for us to
fit with the creative tone of the organizations.
bring together a not-
The school’s focus is artmaking for both chil- for-profit organization
dren and adults; Arts for Children of Toronto pro- and a for-profit one
vides art programs to less fortunate children. Liana in a single newslet-
Del Mastro Vicente, associate director of Avenue ter,” admits associate
Road Arts School, and designer Mandy Barrett agree director Liana Del
on two major shortcomings of the current design. Mastro Vicente.
First, the newsletter does not reflect both organiza-
tions well. It’s difficult to distinguish the two separate 2. New typeface
“I went with Spumoni
entities. Second, “The creativity, fun, energy, and
to evoke the idea of
artistic accomplishments are not communicated in
children without being
this newsletter,” Del Mastro Vicente acknowledges. 2
too ‘comic sans,’”
“It has a very corporate and dull feel to it.” designer Mandy
Barrett says, “Nothing stands out for me. It doesn’t Barrett explains. For
get across the ideas of the organizations—creative, the body copy, she
Wingdings Regular
fun, charitable, fresh, new—and it doesn’t provide went with Gill Sans
reference as to what the organizations are.” for both its readability
In her redesign, Barrett had two simple goals: and flexibility.
to unify the newsletter by bringing the two groups
together, and to evoke a child-oriented spirit without 3. New colors
Barrett chose these
appearing too juvenile. She came up with a mark
to be used as a visual motif—a paint splotch—and
colors to “bring some 3 C17 C100 C0
excitement to the M0 M49 M35
employed dots to continue the theme. Barrett also page,” she says. She Y9 Y0 Y85
used a kid-friendly font that’s fun and creative, but took out the black to
K36 K70 K0
wanted something a little more contemporary and make room for a new
readable for the body copy. She stayed away from the color. “Del Mastro
original newsletter’s blue color. “It was too reminis- Vicente can use a
cent of water, which might give the wrong impres- light tinted paper to
sion of what it’s about,” says Barrett. add another color to
Overall, Barrett’s redesign lends a much-needed the newsletter,” says
Barrett. “She can
spark of creativity to the newsletter. It also makes a
change colors from
distinction between the two organizations, allowing
month to month or
the missions of each entity to be understood easily by keep the same ones
the newsletter’s readers. g for consistency.”
46 DynamicGraphics
4. New banner 4
Barrett’s splotch in
the left-hand corner
suggests the fun that
children can have
with art, a unifying
concept of the two
organizations. “I
wanted a mark that
reminded me of paint
and could be used
throughout the news- 5. Separate and unify
letter as a visual ele- “I needed to bring the
ment,” Barrett notes. logos together to con-
She also added the nect the two halves
“updates” sidebar to of the newsletter,”
the left side of the Barrett says. Once
cover for increased she chose the dot as a
visual interest. design element, it was
an easy decision to
5 place each logo in its
own dot. “This sepa-
rates the two sections
on the cover and the
newsletter’s interior.”
6. Curved text boxes

In keeping with the
curvilinear arrange-
ment of her redesign,
7 Barrett made rounded
corners for the text
boxes. “They can fill
and line the boxes to
separate ideas easily,”
6 she suggests.
7. Adding contrast
Another piece of
advice from Barrett
is to up the contrast
in lightly colored
duotone images to
make them pop off
the page.
JUNE/JULY 2004 47
Brick Computer Science Institute

Newsletter dresses up to attract
computer science students. 1
Designer: Deb Ledford
Leonora Ashe isn’t just an advocate for class- 1. Initial concerns

room education. As head of the Graphic Arts The old newsletter
and Design department at the Brick Computer didn’t speak to its
Science Institute, she also strives to pro- readers and seemed
duce printed materials that keep students stale. Designer Deb
Ledford modernized
on top of industry and school developments.
the design to appeal
Ashe has her eye on the institute’s newsletter,
to existing and poten- 2
News Source. She feels the publication lacks unifor- tial students.
mity and graphic impact, and fears its current state
might discourage students thinking about pursuing 2. Images
studies at Brick. New images are sim-
“The purpose of the newsletter is to attract pler and reproduce
potential clients to the school,” Ashe says. “Anyone well in black-and-
looking at it now would not think of our school as a white or spot colors.
graphic design magnet.” She cites a list of improve- Because only head-
shots are used, the
ments she’d like to see and expresses her desire for a
images won’t become
publication that “involves the entire student body,
dated as quickly.
serves as additional motivation, and provides real-
world experience.” 3. Fonts
Designer Deb Ledford’s modern layout fulfills These three font
Ashe’s wish list. An inventive nameplate with match- families establish a
ing banners for sections, simplified font choices, unified look through-
and column reductions play key roles in helping the out the publication.
newsletter sport a clean, easy-to-read appearance. Garamond’s read-
Ledford also discouraged hyphenation, with- ability makes it an
held widows, and abandoned orphans in the body ideal choice for body
text and Infinity T and
text—important to achieving a cleaner look. Article
Andale Mono stream- 3
headings are now left-justified to match correspond-
line the banners.
ing copy, and consistent use of font families remedies
the earlier problem of too many text types. These 4. New colors
revisions are calculated to give News Source a contem- “These alternate spot
porary and sophisticated character—one its reader- colors could be chan-
ship will certainly appreciate. g ged every month or
season,” says Ledford.
Her color choices
simplify the printing 4 C0 C20
process if the institute M60 M50
Y100 Y0
decides to have the
K0 K30
newsletter printed
outside the school.
C55 C10
M0 M0
Y25 Y50
K0 K30
48 DynamicGraphics
5. Banner
Adding a compel- 5
ling graphic to the
masthead imme-
diately gives the
newsletter a facelift.
Ledford dropped the
original tagline, “The
Newsletter for Brick
Computer Science
Institute” because
the title News Source 6
already explains it.
6. Numbers
The index originally
got lost on page one,
but by shifting it to 7. Logos
the first column of Downsizing logos and
the new grid, readers moving them to the
can now easily read bottom of the page
the newsletter’s con- allows readers to no-
tents. Ledford uses tice news content first.
oversized numbers Ledford also suggests
to notate pages but, obtaining good ver-
to keep them from sions of the logos so
dominating the page, they reproduce well
screens them back.
7 when printed.
8 8. New headers
Revised headers
harmonize with the
masthead and help
tie sections of the
publication together.
9. Grid
A four-column grid
allows room for three
columns of text and
9 more white space.
10. Fourth column

This space is ideal for
10 pull quotes or other
information that needs
to stand out from the
body text.
JUNE/JULY 2004 49
Minnesota Electrical Association

A professional organization’s
publication gets an image boost.
It’s a question faced by nearly every profes- 1. Original newsletter 1

sional organization: How do you give your The association’s
members the most bang for their buck? For newsletter is in need
the Minnesota Electrical Association—a group of a fresher look so
that helps members find success in the electrical readers can quickly
find regular sections.
contracting field—a print newsletter is a big part of
There is also potential
the equation.
to make better use
“Other than the legislative lobbying we do, our of three-color print-
newsletter is a tangible retention item for our mem- ing for branding and
bers,” says Mary Tellers, communications coordina- visual interest.
tor. “It contains information in a quick read with
resources that they can go to for more information.” 2. Typography
The publication’s other goal is to sell continuing edu- Changing the head-
cation classes to electricians, along with products that line and body copy to
help them with the business side of the industry. more distinctive fonts
helps differentiate
Tellers’ ideal newsletter design would give read-
editorial content from
ers more immediate value and be easier to use. One 2
advertising. The new
big item on the wish list is a clear identity for each body copy font also
section (membership, safety, legislative items, etc.) adds a lighter, unclut-
that makes it simple for readers to flip right to the tered feel to the text-
topic of greatest interest. Designer Krista Anderson heavy newsletter.
knew the easiest way to accomplish these goals was
to bring more consistency to the design—and in the 3. Colors
process create a more sophisticated look. To lend a more sophis-
She started by upgrading font choices—to ticated feel, the text is
Frutiger and BodegaSans—and creating a consistent now dark blue instead
of black. Gray is used
3 C17 C100 C0
style for headlines. Then she included simple cat- M0 M49 M35
for the table of con- Y9 Y0 Y85
egory tags above the headlines for easy navigation.
tents, and dark yellow K36 K70 K0
She justified the body text for a cleaner look. To sets off the title and
add more personality to this text-heavy newsletter, draws attention to pull
Anderson placed colorful signatures (in Longhand quotes. Together the
Bold) at the end of articles written by the organiza- three colors help cre-
tion’s leaders. Her final piece of advice: “To keep the ate a unified identity
sponsors’ ads cohesive, I suggest giving them all the for the publication.
same size borders—maybe one or two points.” g
50 DynamicGraphics
4
4. Nameplate 6. Photography
“I added the electric Thin rules used around
plug to give charac- headshots in the origi-
ter and recognition nal newsletter have
to the newsletter,” been dropped to give
says designer Krista the photography room
Anderson. The simple to breathe and to cre-
graphic immediately ate a cleaner, more
lets readers know elegant look.
what the newsletter 7
is about. 7. Headlines
6 Display headers are
5. Table of contents now the same size and
A color block helps 5 typeface throughout
the table of contents the newsletter. Simple
stand out as a way- category tags have
finding system, and been added above
the issue date at headlines to help
the top is enlarged readers navigate.
for easy reference.
Screening back the
word inside sets this
section apart from the
main editorial.
8. Pull quotes
These are a great
way to break up large
blocks of text in a
newsletter without
many images. The
yellow color grabs
attention and creates
visual interest.
9. Page numbers
The numbers have
moved from the
8 middle of the pages
to outside corners
for easier use. Simple
color blocks with
white numerals add a
decorative touch.
JUNE/JULY 2004 51

With variety and innovation, a
newsletter is born again.
Barb DeKruyter, newsletter editor for 1. Primary concerns 1

the Richland Bible Church Times, had “We’d like the news-
a tall order for the makeover of her letter to be less for-
publication. The newsletter’s name, mal and rigid,” says
graphics, color, and fonts were all in Barb DeKruyter of the
need of change, so we put designer Krista Anderson
Times. “Something
to the test.
more casual, fun, con-
“No one calls it the Times, they call it ‘the temporary, flowing,
newsletter,’” DeKruyter says of the original name. flexible, and timeless.”
Anderson did some researching on the church and its
mission, and came up with a new title. “I think the 2. Fonts
word outreach represents their ministry,” she explains. The Hoffman family
“The church logo and graphics are eight to 10 lends variety to the
years old and need updating,” says DeKruyter. “We redesigned publica-
need to mix it up a bit.” Since the church is in the tion and keeps it
unified. “The original
process of its third renovation, she hoped the rede-
newsletter doesn’t
signed newsletter could reflect this. “The theme of
have enough contrast
the church’s new addition is rocks and water,” says between the dif-
Anderson. “I chose a photo that correlates to this, 2
ferent headings on
made it a duotone, and reversed out the type for a page, leading to
better readability.” an unorganized feel,”
For the graphics, Anderson suggests using notes designer
simple images: “They use a lot of detailed, traditional Krista Anderson.
art, but the look they’re after is contemporary and
casual. They need to stay away from finely detailed 3. Colors
images and stick to ones that are simple, fun, and This brown and tan
color palette was cho-
cleanly lined.”
DeKruyter didn’t like the dark green ink on
sen for its freshness 3 C0 C0
and maturity. It is also M15 M10
off-white paper, finding it boring and formal. She less harsh on the eyes Y35 Y50
wants the newsletter to move to a two-color process, and complements the K60 K25
so Anderson obliged. The new colors, brown and nature feel of the
tan, complement the new nameplate graphic’s nature nameplate image.
theme. She added variety by screening colors and
adding reversed text boxes.
The font family Anderson used in her redesign,
Hoffman, gives the newsletter more variety, with
several different weights available. “I like this font
because it reverses out well, too,” says Anderson. g
52 DynamicGraphics
4. Nameplate
Anderson’s use of
rocks and water in the
nameplate image rep-
resents the church’s 4
recent renovation.
She also renamed the
newsletter “Outreach”
to better reflect the
church’s mission.
6. Template
For further variety,
Anderson chose a
three-column grid.
5. Pull quotes The format for
“Consider revers- the headlines was
ing type out of color designed to be flex-
blocks,” Anderson ible. “The headlines
suggests. This tech- and graphics do not
nique adds contrast need to fall in the
and interest to the same place on every
newsletter. “Don’t use page,” she says. “Shift
rules around boxes things around.” This
either—just keep them
5 open format keeps the
6 feel of the publication
simple.” She used
rounded corners to casual and light.
soften the look.
7. Screens
“Use screens of your
colors throughout the
newsletter,” Anderson
suggests. Screening
gives it the appear-
ance of having more 7
colors than the news-
letter actually has (see
gift box on Page 2).
JUNE/JULY 2004 53
Michigan Mini-grant Messenger

A food safety program is enhanced
with a coherent newsletter.
Improving consumer food safety knowledge 1. Initial concerns 1

is the purpose of the Michigan Mini-grant “Too busy” and “too
Messenger, a newsletter published by the cluttered” are descrip-
National Food Safety & Toxicology Center tions offered by Trent
at Michigan State University. Each year, one Wakenight of the
Mini-grant Messenger.
in four Americans suffers from a food-related illness,
making this one of the nation’s most serious health
2. New fonts
problems. Consistent font usage
The Messenger’s role is to document how com- is a big contributor
munities are teaching citizens to safely select, prepare, to the coherence
handle, and store food. Critical audiences for the designer Chris Tobin
newsletter include government and food agency deci- sought in his revamp.
sion makers who fund grants to the health depart- “Univers is a huge
ments, schools, and private organizations that deliver family of fonts offer-
information to consumers. The newsletter also pro- ing a lot of variety,”
he observes. “I used
vides an idea exchange among educators for improv-
Condensed for the
ing their outreach efforts.
headlines, but an
“Too busy” and “too cluttered” are appraisals of expanded version in 2
the current design offered by educational program the sidebar columns
coordinator Trent Wakenight. to separate those
Designer Chris Tobin echoed those thoughts in headlines from story
his comments on the existing design. “As in almost heads.” Body text is
every newsletter I have ever dealt with, space is an Palatino, condensed
issue,” he says. “They generally look ‘gray’ because manually to 85 per-
every inch is filled with uniform material: type, color, cent. Goudy appears
photos, etc.” The options, says Tobin, are to free up only in the banner on
page 1.
space (usually by cutting text) or to introduce struc- 3 C0 C100
ture that leads the reader’s eye through various topics. M45 M90
3. New colors Y100 Y0
In the case of the Messenger, Tobin feels the Color builds are used K10 K25
text of the original is already substantive and as to- to structure the news-
the-point as possible, so he built variations in the letter. “Four-color
structure to avoid “grayness.” In the original, page process headlines and C100 C0
one uses a four-column grid, with a three-column backgrounds organize M0 M90
Y40 Y55
grid on the interior spread. The four-column grid the content and liven
K25 K40
Tobin employs throughout his redesign is intended up the page,” says
to provide flexibility in how stories are distributed Tobin, adding that
backgrounds should
throughout the newsletter. Colors, fonts, and photos
be kept light, at 10
are all standardized for overall coherence. g
percent or so.
54 DynamicGraphics
4. Open banner
Tobin opened and 4
lightened the name-
plate to relieve the
heavy, cluttered feel
of the original news-
letter. The banner
font is Goudy.
5. Grid
A simple, consistent
four-column grid is
adopted in the rede-
sign. On page 1, the
first column functions
as a sidebar for grant- 5
related information.
6. Images
In his redesign, Tobin
varied image sizes to
relieve the “grayness”
of the original news-
letter. One aspect of
the original that he
praised (and retained)
is the tight cropping
of images to focus
on faces and other
6
relevant details.
7 7. Headlines
As with images, Tobin
advises varying the
sizes of headlines.
“Varied sizes bring
visual interest and
separation, and
create priority for
information,” he says,
adding that using
color in the headlines
amplifies this effect.
8 8. Charts/graphs
Tobin avoided the use
of solid color blocks in
his redesign, but says
they could be used in
standardized formats
for charts and graphs.
JUNE/JULY 2004 55
International Center for

Journalists
A journalists’ association gets
spruced up for its 20th birthday.
It seems only fitting that the International 1. Primary concerns 1

Center for Journalists (ICFJ) would investigate The newsletter needs
a newsletter makeover on its anniversary. The an updated look to
center, whose tagline for 2004 is “Celebrating more closely reflect
20 years: building strong, independent media its readership and
give the International
worldwide,” provides training to improve the profes-
Center for Journalists
sion and its practice around the world—especially in
(ICFJ) a bigger pres-
places where a free press is more dream than reality. ence in the media.
To keep in touch with journalists and media
organizations, ICFJ publishes a print newsletter, 2. Typography
The International Journalist. “The main purpose of DG art director Kathie
this entry is to update the look of ICFJ’s newsletter Alexander stayed with
and elevate the center’s image,” says Jill Gallagher, a serif body font so
communications associate. It’s also a chance for this the text-heavy news-
nonprofit group to leverage fundraising and raise its letter is easy to read.
profile within the realm of journalism training. 2
3. Images
Gallagher would like to see the newsletter look
InDesign makes color-
more up-to-date without completely abandoning the izing photos easy. “All
traditions of newspapering, an area where many of you do is select the
the group’s sponsors have professional experience. image with the hol-
She’d also like to see some white space in the text- low arrow tool and
heavy newsletter. DG art director Kathie Alexander apply a swatch color,”
added her own aspiration to the list: “I wanted to Alexander says. “If
make it a little more sophisticated for the audience.” you select the image
Alexander started with a five-column grid that with the solid arrow
makes it easier to include white space and gives a you can also colorize
the background.”
nod to newspaper design with its thin text columns.
She also standardized the headline treatment—both
Color choice 3
size and font—for a cleaner look, and minimized the Alexander chose
use of color. The latter is now an accent that doesn’t blue (Pantone 300)
compete with content for readers’ attention. In the because it represents
new nameplate she emphasizes the word journalist, honesty, an appropri-
and gives the table of contents prominence—a great ate sentiment for a
way to draw readers into the publication. g journalists’ newsletter.
She also scaled back
the use of color, so it
doesn’t compete with
content for attention.
56 DynamicGraphics
4. Table of contents
The small table of
contents fits well
underneath the
nameplate, and the
enlarged copy adds a
graphic element to the 4
newsletter. “Having it
force-justified is a bit
tricky, but with the
proper editing it will
work just fine each
issue,” Alexander says.
5. Grid choices
Going from three col- 5
umns to five makes it
easier to incorporate
white space and gives
a modern feel. The
thinner columns also 6
provide the illusion of
a quicker read and are
reminiscent of such
venerable publica-
tions as The New York
Times and The Wall
Street Journal.
6. Fifth column
This space is reserved
7 for images, captions,
and the masthead.
It provides much-
needed white space.
While cover images
are now smaller, they
attract more atten-
tion because they’re in
color and surrounded
by white space.
7. Interior images
Images on the inside
pages are black-and-
white and are allowed
to extend into the
8 copy. “This will help
the designer or editor
adjust copy length,
and it also breaks up
the long columns of
copy,” Alexander says.
JUNE/JULY 2004 57
Cambridge Chamber of Commerce

A unified look is key to a successful
business organization.
The Chamber of Commerce of 1. Original

1
Cambridge, Mass., relies on its news- “The Cambridge
letter, Connections, to communicate with newsletter is dated,”
members about events and activities, but it says DG ’s Kathie
might be losing the audience’s attention. Alexander. It doesn’t
match the chamber’s
According to Lisa Schoenberg, director of com-
other materials, which
munications, “It’s time for a change. It is starting to
have been redesigned.
look dated.” In order to reach out to its community
of 1,400 business leaders and gain new members, 2. New faces
the chamber needs a new look. “The new fonts
The main problem with the original newsletter give the newsletter
is that it doesn’t harmonize with the organization’s a clean, slick feel,”
other materials. “We have redesigned our corporate notes Alexander.
identity pieces, our website, and our membership Blazing Regular, from
directory,” explains Schoenberg. “The newsletter is www.fontface.com,
is free. Dynamo can
the last piece in completing our new look.” DG art
be purchased from
director Kathie Alexander researched the organiza-
www.creatas.com.
tion’s website to find ways to unify the newsletter
with the chamber’s new identity. New color
“I wanted the newsletter to reflect the rest of the Alexander chose a
chamber’s communication pieces,” says Alexander. lighter orange (C:0, M:
For color, she chose gold to match the organization’s 35, Y:90, K:0) to unify 2
website colors—blue and orange. A lighter orange the organization’s
is bright but traditional enough to carry the idea of newsletter with its
“historical yet progressive,” according to Alexander. website, which is blue
The chamber’s website also inspired Alexander and orange. Using
screens creates the
to place images within circles on the nameplate. This
illusion of more colors.
also helps add visual interest to the newsletter. The
original nameplate uses an obsolete logo which serves
as the o in Connections, another problem of congru-
ity. Alexander cut the logo from the nameplate and
proposes that it be placed at the end of the newsletter
or removed altogether.
The redesigned newsletter belongs with the
chamber’s other promotional pieces, sharing the pol-
ished, professional look of its counterparts. g
58 DynamicGraphics
3. Nameplate 5. Drop cap
3
Circles on the name- Fun new drop caps
plate were inspired can be employed on
by the chamber’s new the cover to pull the
website. They show reader into articles.
current events and They also give it a nice
activities, but images punch of color.
from inside the news-
letter can be used to 6. Smaller typeface
draw readers in. The redesigned
newsletter is set in
a smaller, more con-
5 densed typeface. This
allows more room for
ads, as well as much-
4 6 needed white space.
4. Highlights
Alexander brought 7. Table of contents
the Highlights section Alexander kept the
from the back page original table of
to the front cover. contents size and
“Putting highlights placement. “I think it
up front lets the audi- works,” she admits.
ence see what’s hap- “I played with the
pening from the start,” color and made the
she explains. numbers larger for a
quicker in-and-out.”
8. Masthead
“The masthead in the
original is hard to fol-
low, starting on the
right and flowing to
the bottom left—very
odd,” says Alexander.
The original also uses
line breaks between
names and titles,
which wastes space.
Alexander changed
it to one column by
dropping the point
size of the type and
relocating information.
JUNE/JULY 2004 59
M A K E OV E R S | Promotions

Traditional doesn’t have to
mean old-fashioned.
The National Exchange Club (NEC) 1. Original brochure

was founded in 1911, the oldest A large medallion
1
American service club. But that doesn’t dominates the cover
mean the brochure for its Freedom Shrine of the original bro-
Program has to look antiquated. “The chure. Designer
Mandy Barrett sug-
current design is outdated and old-fashioned,” says
gests bringing it to
Stacy Poca, director of communications for the club.
the inside of the book,
“It makes the program itself seem something of the where it is explained.
past, which it is not.”
Designer Mandy Barrett knew just where to 2. Font
begin in her redesign. “The whole thing is done in Barrett chose Voluta
one font,” she notes. “Nothing stands out because of Script for headlines
this.” Barrett wanted a distinct font for the headlines, because it gives the
one that looked like a signature on the old docu- impression of a
signature on an old
ments the Freedom Shrines display. She found Voluta 2
document. “I really
Script. For body copy she chose Optima. “I love its
like the different look
clean, sophisticated look, and it’s one of the most tra-
of all the capitals,”
ditional serif fonts,” she says. she says. For text she
In the original, blue and red are perfect to con- chose the more con-
vey patriotism, but the shades are too bright to be servative Optima.
conservative and mature. “I used deep blue for the
copy with tints of it for the images,” Barrett notes of 3. Color
her redesign. She chose a deep red for the headlines: Blue and red are fine
“I wanted colors that were strong enough to stand on for portraying patrio- 3 C100 C0
tism, but the tones in M72 M100
their own, but also complement each other.” Y0 Y65
In the original layout, Barrett points to multiple the original brochure K18 K34
are too bright. Barrett
images of the same size appearing in a single spread.
used deep blue for
In her redesign, she resized the images and placed
copy and blue tints for
them to emphasize only one or two images per images. Headlines are
spread. The images are all duotones; to bring atten- now in a deep red.
tion to a selected image Barrett adjusted the tint.
To complete the redesign, Barrett recommends
that the NEC replace dated photographs, especially
those that show people, because of changing fashions,
hairstyles, and even interior decorating. g
60 DynamicGraphics
4. Bleed 6. Pull quote
The original cover Barrett pulled a quote
uses a bleed, which from the interior of
Barrett decided could the brochure to the
be employed through- cover because she
out the piece. thinks the National
Exchange Club needs
5. Banner 4 to convey its message
Red bars on the ori- on first glance.
ginal cover “unite
the whole brochure
by letting the reader
know at a glance
what it is about,” says
6
Barrett. In her rede-
sign, she decided to
carry that over in one
thick banner, with the
title of the brochure 5
in reverse.
7. Updated images
“The images I used Barrett. She deleted
are obviously patri- unnecessary descrip-
otic, but I chose pic- tions from a list page,
tures shot at different freeing space for
angles, or of interest- images to grab
ing subjects,” notes readers’ attention.
JUNE/JULY 2004 61
Meridian Realty Group

Accessible marketing reaps
tangible benefits.
1
Although technology is meant to simplify 1. Original flyer
our lives, sometimes adapting to it is The background on
complicated. The Meridian Realty the original doesn’t
Group, a commercial real estate bro- work well for faxing
ker in North Carolina, wants the or online. It uses too
much ink to print.
reputation of being at the technological forefront,
“The layout doesn’t
says the group’s marketing coordinator, Rhonda
tie things together as
Oglesby. To do this, it needs to make brochures it should,” says DG ’s
available, yet readable, online and elsewhere. “My Michael Ulrich.
goal is to become more digital and automated—
information at your fingertips,” she says. 2. Grid a.
2
Meridian’s existing brochure format poses Ulrich’s solution to
problems for this kind of transmission. Large color the layout problem
backgrounds are not e-friendly. “These large color includes a grid for
fields suck the life out of an inkjet cartridge,” says interior pages, pro-
viding numerous
Oglesby. “They don’t fax or copy well, either.” The
options (just a few
backgrounds fail at unifying the pieces, so DG cre-
shown here) for image
ative director Michael Ulrich did away with them placement. The gray
altogether. This created more white space, made represents images
brochures transmit better, and gave the spotlight (pictures, floor plans, b.
to real estate. etc.), while the white
Ulrich thought the original layout didn’t work leaves room for infor-
well—the pictures used were ineffectual and the ele- mation about the
ments isolated. Oglesby agrees: “Every element is property. Creating
in its own little white box ... disjointed, oversimpli- new brochures should
fied, and unrelated.” Ulrich developed a grid for the be much easier.
brochures, creating a standard visual approach for
3. Font
Oglesby to follow with each property listing. It also
The original font was
provides parameters the group’s photographer can difficult to work with
work with. because it was meant c.
The original font wasn’t appropriate for the task. for spot uses, not
Oglesby admits she was tired of it, and Ulrich under- text. Ulrich went with
stands why. “Copperplate Gothic was designed to Alinea Incise because
mimic engraving,” he says. “It is for small uses like a it’s an uncomplicated
name or address, not for text applications.” He chose sans serif that acts
Alinea Incise for its clean, straightforward look. g much like a serif.
62 DynamicGraphics
4. Cover 5. Margins
The cover of each Ulrich’s new layout
brochure will feature includes generous
an extreme horizontal margins, as the printer
rectangular photo of Meridian uses doesn’t
the property across provide for full bleeds.
the center. Name and With these margins,
address go above the there’s room for
image, with Meridian’s printer error.
logo below.
4 5
6. Specifications
In the redesign, the
first interior page
will always have a
bulleted list of prop-
erty vitals (square
feet, updates, fixtures,
parking),with room for
a general description 6
(quiet street, ocean
view, shopping).
7. Image placement 7
This layout is one
variation of Ulrich’s
grid, a vertical rect-
angle combined with
an extreme horizontal
8
image, leaving white
space for information.
8. Floor plan
Ulrich’s design calls
for a floor plan on the
second interior page.
JUNE/JULY 2004 63
Virginia Beach Clean

Community Commission
An environmental message is
summed up in a high-value package.
Designer: Cami Schaill
The Virginia Beach Clean Community 1. Outdated format

1
Commission serves to enlighten area “We’ve been using this
residents on how to improve the environ- format for the booklet
ment through educational programs and since the mid-90s,”
says Virginia Beach’s
projects. Since the programs profit the envi-
Ruby Arredondo. “It
ronment and not the commission itself, promotional
needs a facelift.”
materials must be inexpensive, yet still inspire the
audience to become involved in preserving nature. 2. Art tip
This promotional booklet is inexpensively produced, Since Virginia Beach
but it leaves something to be desired in the inspira- has to emphasize
tion department. economy, designer
“Our primary focus is to educate citizens on Cami Schaill sug-
the diverse and accessible opportunities our depart- gests finding a piece
ment has to offer,” explains Ruby Arredondo, Clean of art with many ele- 2
ments. “This can be
Community coordinator for the City of Virginia
a great way to limit
Beach. Practicing what it preaches, the commission
costs,” she notes. “In
uses recycled paper as much as possible and pursues this piece you get 13
other environment-oriented strategies. pieces of art for the
Designer Cami Schaill appreciates the organi- price of one.” The
zation’s efforts, as well as its pocketbook. “I wanted graphics help break
colors for this booklet to be simple and the print- up lengthy but nec-
ing to be inexpensive,” she says. Because of budget essary text. Image
constraints, the commission usually prints just in 045B1203LL, www.
black, sometimes using an additional spot color. liquidlibrary.com.
Schaill decided to give the brochure more color
3. New typeface
without going overboard, using a navy blue color
Schaill chose a sim-
for the cover image and type, and continuing with a
ple, legible font in
screened-back lighter blue for images of marine life. two weights, Futura
“Presenting information about how residents Regular and Bold. “It
can get involved is important,” stresses Arredondo. In creates crisp, clean
Schaill’s redesign, content of the booklet remains the headlines and body 3
same as it was—to-the-point and vital—but the over- copy,” she explains.
all look is recast to capture the reader’s eye. g
New color
Schaill converted
the cover photo and
text to a navy blue
color—C:100, M:30, Y:
0, K:60. “A Pantone
color could be used
instead,” she suggests.
64 DynamicGraphics
4. Captivating cover
“I wanted to use
graphics that convey
the importance of
keeping our oceans 4
clean and safe not 5. Adjusting images
only for wildlife, but “This photo was too
for our children as dark, so I adjusted
well,” explains Schaill. brightness and con-
“I chose this cover trast a bit to lighten
image of a curious it up,” says Schaill.
child playing on the “I also wanted the
beach to convey inno- beach brighter and
cence and capture the the setting sun to
attention of a wide be reflected on the
age group.” Image water.” She chose
003910AT, available at the blue color to
www.creatas.com. 5 replicate the color
of the ocean. “It also
conveys a cool, clean
feeling,” she notes.
6. Necessary info
Because the
Virginia Beach
Clean Community
Commission has a lot
of ground to cover, its
booklet tends to be a
bit wordy. To break up
the text, Schaill added
several images (in
light blue) of marine
life to the body of the
brochure. She used
the same navy color
in the text as she did
6 on the cover image.
Simple changes like
these can make a
copy-heavy brochure
more interesting.
JUNE/JULY 2004 65
Catholic Marketing Network

A marketing journal is recast with
care to capture new business.
Designer: Mary Brophy
Conservative needn’t be synonymous 1. Primary concerns 1

with dull. While hot pink and neon Both CMN’s Cheryl
orange may not be appropriate for a Vaca and designer
publication aimed at religious retail- Mary Brophy agree
ers and wholesalers, introducing on the importance of
keeping the journal’s
a fresh look to ignite readers’ attention is always
image conservative
doable. That’s what Cheryl Vaca, creative director of
yet forward-thinking.
the Catholic Marketing Network (CMN), is search-
ing for: to breathe a little life into her twice-a-year 2. Religious CD
publication, CMN Trade Journal. Since CMN’s budget
CMN Trade Journal is full of book, music, and is limited, purchasing
video reviews in addition to articles of interest to its individual images is
readership. A new design that harmonizes with exist- not an option. Brophy
recommends using
2
ing content is what Vaca needs. While some features
must remain (at least one lead article has to begin Artworks Encore
Series Religion 1 CD,
on the front cover and a picture graph must remain
item no. 4103, avail-
there as well), the options for giving this magazine a
able for just $69 at
dynamic, modern look are limitless. www.creatas.com.
One rule of thumb designer Mary Brophy lives
by is keeping all aspects of her designs—from fonts 3. New fonts
to colors—simple. Less is more is her first motto, Reducing the number
and consistency is a close second. In the redesign, of fonts builds rec-
Brophy follows her own standards by employing only ognition. Fonts like
a few key fonts (Arial MT Regular, TF Caslon Ten Aviator SG Light for
Bold and Light, and Aviator SG Light) throughout headings and page
the publication. She also suggests using fewer images numbers modernize 3
the magazine. Caslon,
in larger sizes. In response to Vaca’s request for a
a readable serif face,
recommendation on photos showing Catholic icons,
is ideal for body copy.
Brophy suggests an affordable stock CD, which offers
a wealth of appropriate images. g 4. Subtle colors
Brophy applied a con-
servative color palette
in the redesign. Dark
blue and yellow—with
a splash of red for
accent—draw atten- 4 C100 C65
tion to the nameplate. M80 M100
A gradient of navy Y5 Y0
K0 K15
blue merging into pur-
ple appears in narrow
right-hand columns.
C0 C5
M15 M100
Y95 Y95
K0 K0
66 DynamicGraphics
5. Revamped banner 6. Big heading
“The masthead is Enlarging the headline
CMN’s identity,” and setting the first
Brophy states. “It paragraph in larger,
should be recogniz- bold type leaves read-
able and strong.” She ers with no doubt as
darkened the ban- to which article is the
ner to draw readers’
5 main feature.
attention and simpli-
fied the image of the
cross. Adding light
rays that appear to
shine from behind
suggests strength. 6
7. Table of contents
The original table of
contents desperately
needs a sense of
organization, Brophy
says. She created an
index at the back of
the magazine for the
numerous classified
ads that cluttered the
original TOC. She also
rearranged article
7 listings under newly
descriptive headings.
8. Faith and purpose

Enlarged “Statements
8 of Faith” will allow
readers to become
familiar with the
journal’s mission.
JUNE/JULY 2004 67
Texas Elementary Principals &

Supervisors Association
A community of educators
is portrayed with simplicity.
Designer: Tammy Risinger
In the words of Ricky Ricardo, “you’ve got some 1. Original

There are limitations 1
’splainin’ to do” when creating a promotional
piece for a society of educators. The Texas Ele- for the designers of
mentary Principals & Supervisors Association, the original piece, and
for designer Tammy
or TEPSA, has been challenged to get its mes-
Risinger. The TEPSA
sage across in a compact brochure intended to logo and “TEPSA teal”
increase membership. “I don’t like the flow of infor- color had to be main-
mation and the transition to the registration form,” tained in the redesign.
publications coordinator Cecilia Cortez says of the
current design. 2. Fonts
The purpose of the piece is to explain TEPSA, Risinger kept the
its benefits, and services succinctly and enthusiasti- typefaces simple,
cally. It needs to focus on recruiting new members at choosing Zapf Hum-
the same time. It must incorporate the TEPSA logo anist and Arial to help
the brochure from
(bulky and not easy to place, according to Cortez)
looking crowded and
and “TEPSA teal,” the group’s signature color used
keep the text flowing
in all of its materials. inside and out.
Designer Tammy Risinger turned these limita-
tions to her advantage. “I used teal throughout the Color
entire design to pull it together,” she notes. Applying The original TEPSA 2
a creative approach to the membership form, she brochure uses the
highlighted the different sections of the form with a group’s signature teal
box behind the title “to help it stand out and give it color as an accent.
separation from the next section,” she explains. In her redesign,
Risinger felt that TEPSA’s original piece was Risinger employs it
throughout the piece
“a bit childish with the art and colors used.” In her
to create continuity.
redesign, she wanted to create a more dignified,
classic look. She emphasized TEPSA’s “Make a
difference” slogan and used images that she felt “had
a warm, caring feeling, and would blend well with
the meaning of the organization,” notes Risinger.
The result is a polished, cleaner look. g
68 DynamicGraphics
3. New cover look 5. Slogan
Risinger’s new cover 3 TEPSA’s slogan,
is more polished and “Making a Difference,”
still grabs readers’ doesn’t get much
attention, but it’s not play in the original
as childish in appear- brochure. Risinger
ance. The overall look decided to use it to
is classic and subtle. make a bolder state-
ment in the redesign
so readers can iden-
tify TEPSA’s purpose.
4. Images
The images of children
work with the clean 6. Text flow
look of the redesign 4 This piece is neces-
better than the multi- sarily text-heavy to
colored image on the cover all the infor-
original cover. Risinger mation its audience
chose photos of chil- needs. Risinger broke
dren with educators up the text with ac-
to create a warm feel- cent boxes, which
ing that reinforces the work especially well in
purpose of the orga- the application form.
nization. Images, top
to bottom: BXP37555,
10042042CB, and
EDU57, all from
www.creatas.com.
JUNE/JULY 2004 69
University of Wisconsin–
La Crosse
A rec center gets a jolt of energy.
Designer: Melissa Stauffer
When you’re trying to get 1. Primary concerns 1

people pumped up about your “I’ve been doing
university’s recreation depart- this for four years
ment, you have to be unique, and have hit a wall,”
bold, and vibrant. “I was going for says University of
Wisconsin–La Crosse’s
a hip magazine look, but I don’t feel I’ve achieved
Nathan Barnhart. “I
it,” admits Nathan Barnhart, assistant director of
don’t really have a
the Rec Sports Department at the University of vision anymore.”
Wisconsin–La Crosse, of his publication, Velocity.
“I don’t feel it presents information in a fresh way 2. Fonts
that appeals to 18 to 21-year-olds. I want it to catch After trying out sev-
people’s attention and get them involved.” eral display fonts for
In her recasting of Velocity, designer Melissa the cover, designer
Stauffer set out to appeal to the thrill-seeking crowd. Melissa Stauffer chose
“The original cover design is not bad,” she says, Flywheel. “It has the
straight edges and
“but it needs some color enhancing and excitement
boldness I was looking
added.” She created a new banner that runs vertically
for,” she says. For the
on the cover, rather than the conventional nameplate interior of the publica-
running horizontally across the top, and continued tion, she used a com-
this style throughout the piece. She also chose an bination of Flywheel
energetic, bold font for the title. and Helvetica.
Stauffer maintained UW–La Crosse school col-
ors in the piece, but with a twist. She used maroon 3. Colors
and a sunny orange-yellow (to match the kayak Rather than just 2
image) on the cover, and stayed with the school’s tra- repeating the univer-
ditional maroon and gray inside. Of her cover image sity’s school colors
(maroon and gray),
she says, “I searched for images that represent sports
Stauffer used them
with extreme excitement.”
to her advantage.
Velocity has to be in-depth, since the Rec Sports The redesigned cover
Department “provides high-quality activities that features the maroon
try to meet everyone’s recreational needs,” says along with a bold yel-
Barnhart. But just because there is a lot of informa- low that matches the 3 C0 C0
tion to cover, the publication needn’t look text-heavy. cover image. The inte- M100 M30
“I changed the grid from four columns to two and rior has the expected Y4 Y100
K41 K0
added more white space,” says Stauffer. “I cut the color combination, but
‘Now Hiring’ section, and suggest they list it on the the gray is used in an
unexpected way—in
website.” The piece still has plenty of information,
black-and-white
but its refreshing redesign now appeals to readers’
images of the facility
interest in the activities they crave. g and its offerings.
70 DynamicGraphics
4. Cover image 5. Vertical banner
Stauffer chose this Avoiding the tra-
action-oriented cover ditional horizontal 4
image to get the nameplate running
message of extreme across the top of
excitement across many publications,
better than the blurry Stauffer went the
bicycle one. Image vertical route to
no. 782486, avail- please Velocity ’s
able from www. thrill-seeking readers. 5
picturequest.com.
6. Subject lines
“I scattered these in
different sizes across
the bottom for a fun
feel,” says Stauffer.
7. Table of contents 8. Inside

The original circle Two columns are
motif was appropri- easier on the eyes
ate, but not visual than four—especially
enough to focus read- 8 when there’s more
ers’ attention. Stauffer white space to give
enlarged the circles the reader a break.
and spaced them out. Stauffer also breaks
She also gave the up the information
quotes a more notice- with boxes, some
able placement. with rounded corners
to link them to the
circle motif.
JUNE/JULY 2004 71
M A K E OV E R S | Web
RedBooks of LexisNexis
Selling advertising resources
takes a straightforward site.
Up-to-date information and unique 1. Original 1

content are the two major selling “Usually it’s a good
points offered by RedBooks thing to link, rather
Advertisers and Agencies online, so than putting every-
thing on the home
product manager Peter Valli of par-
page,” says designer
ent company LexisNexis DCA feels the website for
Ashley Haffner. “But
RedBooks should also be fresh and unique. “The RedBooks’ site has
main purpose of this entry is to redesign a tired, gone overboard so
old website,” he comments. there is nothing left on
Designer Ashley Haffner had several concerns: the home page—it’s
The purpose of the site is mysterious; there are too streamlined to a fault.”
many links; and it’s so streamlined that it doesn’t sell, Visual interest suf-
which is what it’s supposed to do. “The RedBooks fers. “I realize they’re
site is very clean and streamlined, which is good,” she selling books and in-
2
formation,” she notes,
says. “But it’s hard to tell what it’s selling or provid-
“But you have to hold
ing. The navigation attempts to tackle this problem
people’s attention.”
by having long, descriptive navigation titles which
isn’t the best solution.” 2. Collage and images
In her redesign, Haffner addressed the issue The collage at the
of purpose by including a short description of right of each rede-
RedBooks next to the logo on every page of the site. signed page draws
This, she explains, is preferable to forcing users to the eye in and down,
visit a separate subsite to find out what RedBooks giving people some-
does. Similarly, instead of having a news link that thing to look at, as
takes you to other pages, she added teasers—the visi- well as creating con-
tinuity throughout
tor can read just a bit of information and click on the
the site. Haffner also
link to read the whole article. Haffner reorganized
added images of busi-
the other links by placing them in top and bottom nesspeople to portray
navigation bars, a characteristic the redesign shares the advertisers and
with the original. agencies RedBooks
3
R191 R94 R139
The existing site has a large gap of white space represents. Most were G205 G135 G36
below the banner and lower navigation bar. Haffner shot from above, B229 B185 B41
corrected this by filling the space with promotional which helps draw the
material to sell RedBooks resources, contributing to visitor’s eye down the
the company’s bottom line. g page. Images found
on www.creatas.com.
3. Colors
“I chose a mostly
two-color scheme,
so I could highlight
the red element of
RedBooks,” Haffner
says of her palette.
72 DynamicGraphics
4. Navigation 4 5. Short description
To address the link To avoid the problem
overpopulation prob- of visitors not know-
lem, Haffner broke ing the site’s purpose,
them up, using tabs 5 Haffner included a
in the top or bottom short description of
navigation. This works RedBooks on every
well since most of the page, rather than forc-
links—“subscribe,” for ing the visitor to click
example—need to be on yet another link to
on every page. She get acquainted.
links promotions on
just the home page. 6. News teasers
Instead of the old
site’s news link that
leads to a subsite,
6 Haffner suggests giv-
ing the visitor a brief
news description
along with a link. This
way the visitor can
read just the tidbit,
then click on the link
to see the full article.
7. Featured agency
“By highlighting a
featured agency along
with the Search, it
allows more expo-
sure for that agency
and shows off what
the site has to offer,”
notes Haffner.
7
8. Selling points
With brief descriptions
and smaller logos,
Haffner’s redesign
avoids forcing visitors
to leave the site to
learn about the repre-
sented agencies.
8
JUNE/JULY 2004 73
Sweetwater Events Complex

Capture the drama and simplify
navigation for a successful site.
When an events complex has 1. Current website

1
a huge variety of activities to The site for the
promote, it is important that its Sweetwater Events
website be easy to navigate. If Complex is hard to
visitors get lost or can’t find the follow, which can
cause visitors to lose
event they’re looking for quickly, they’re gone.
interest. The facility
With roughly 12 different venues on the property,
images mean little
and events ranging from concerts to motocross, the to the audience and
Sweetwater County Events Complex of Wyoming don’t effectively pro-
has a lot of information to convey. “We’d like to mote the complex
make everything much easier to use and navigate, and its activities.
as well as attractive and a real sales piece,” says
Sweetwater’s Chad M. Banks. 2. New font
DG creative director Michael Ulrich saw the DG creative director
original site’s problem right away. “It takes too many Michael Ulrich chose
Arial because every
levels for the reader to get to a certain place,” he
computer has it, which
explains. For this reason, Ulrich decided to add a
is important for web
simple navigation bar to the left side of the site, one viewing. But he admits
that never changes, so the visitor can always hop over that any simple font
to whatever page he’d like to see. With this naviga- can be used, even the 2
tion bar, events or activities are never buried and original site’s.
always within reach.
Ulrich found that the photography used in 3. Colors
the original site fell short—he felt photos of the The current website
area would better promote the complex. “The uses inappropriate
home page’s aerial photo of the complex really candy colors. The
recommended colors,
3
R86 R148 R146
means nothing to the audience,” he says. “The G107 G163 G28
blue, gray, and red,
complex is located in beautiful surroundings— B135 B181 B29
are not only more
why not use images of this to represent it?” He sophisticated, but also
thought good photography of White Mountain, blend well with the
Flaming Gorge, wild horses, and events such as nature photography
motocross, stock car racing, and garden shows would Ulrich chose.
be more enticing to visitors, while improved images
of the complex would be more attractive for the
rental aspect.
Overall, Ulrich simplified the website. He made
it easier to navigate, more visually appealing, and less
difficult to understand. g
74 DynamicGraphics
4. New logo 5. Photography
Although this is just a Good photography
4 sample image, Ulrich of the area, activities,
thinks Sweetwater and events is needed
needs to redesign to visually stimulate
its logo to say more the visitor. Photos of
about the activities the natural setting
and events offered by make the audience
the complex. want to visit.
6. Navigation bar
In the original, some
pages were buried
two or three links
6 into in the site. In the
redesign, a navigation
bar appears on every
page so visitors don’t
get lost. This makes
it much easier to find
out what’s going on
at the complex.
7. Event images
The current site’s
photography doesn’t
capture the excite- 8. Calendar
7 ment the complex Ulrich redesigned the happenings appear
offers. Ulrich believes calendar of events to in a basic list. “The
that if activities and be more user-friendly. simpler a calendar, the
events are what the The user just clicks on better,” he says.
site promotes, then a day, and the day’s
Sweetwater should
show some great pho-
tography of them.
JUNE/JULY 2004 75
Southern Kingfish Association

A sportfishing website is
recast to reel in visitors.
Serious fishermen will testify that the 1. Original site 1

thrill of landing a big game fish can’t be The existing home
expressed in mere words or pictures. page conveys none
Yet organizations that serve the fishing of the excitement of
enthusiast still have to win potential fishing for the king
mackerel on the open
audiences by portraying the adrenaline rush of
ocean. A large amount
stalking and landing a trophy.
of information is pre-
For the Southern Kingfish Association (SKA), sented, but the lack of
the attraction is the kingfish, or king mackerel, a organization echoes
hard-fighting sport fish that holds that same kind of the absence of drama.
fascination among oceangoing sportsmen that the
bass does for freshwater enthusiasts. Perhaps North 2. Fonts
America’s premier saltwater fishing organization, Designer Chris Tobin
the SKA produces the world-renowned Mercury chose Univers for but-
Tournament Trail, a multilevel event that stretches ton titles, headings,
and subheads in his
from North Carolina and the Atlantic states to the
redesign. He cites
Gulf of Mexico and Texas.
Univers’ selection of
While the association produces a monthly weights and bold look
magazine, its website is vitally important for attract- as deciding factors. “If
ing new members and informing existing ones of I’d used a serif face, 2
tournament winners, record-setting catches, asso- the type would have
ciation merchandise, news, and more. Christine had to be larger to
Rodenbaugh, magazine director for the group, has hold together in the
misgivings about whether the site is up to the job. reverses,” he notes.
“The colors do not reflect sportfishing,” she
says, “and the site organization is not user-friendly.” 3. Colors
New colors for the 3
Asked what her ideal site would show, she responds, R141 R237
site mostly occur in G194 G212
“Water. These guys fish way off shore for mackerel— B236 B53
type that reverses
no land in sight.” from ocean art. Tobin
Designer Chris Tobin emphasized liquid visual selected colors that
cues in his redesign. The new site opens with a Flash would stand out
fade-in on surging waves, and the water motif is re- against water images,
peated with still photos on subsequent pages. While and used a Photoshop
he incorporates additional changes to the site, includ- layer effect, Outer
ing improved organization, fonts, and colors, it’s the Glow, to put a small
sea that makes the site roll. g amount of darkness
behind the type for
even better definition.
76 DynamicGraphics
6. Subsections
Once a subsection
is selected from the
pull-down menu in the
main navigation bar,
the visitor is taken to
a new page. Further
4 breakdown is from
6
yellow subtitle head-
ings that again appear
as art, not text links.
7. Consistency
Tobin advises setting
up consistent formats
and tables for pages
on tournament results.
It’s more work initially,
he admits, but says,
“Categories don’t
change, just the data.”
4. New home page

Upon arriving at the
new site, visitors see
a brief Flash intro that
begins with the SKA
logo fading into view.
Next, ocean waves
fade in behind the
8. Imagery
logo, giving the illu-
Artwork depict-
sion of moving water
ing waves, surf, and
without the long load 8 water is a natural
time of full animation.
element to include
9 in a site devoted to
5. Navigation ocean fishing. Tobin
In the original site, all observes that it also
sections are lined up ties the site’s pages
to the left and appear together; varying the
as straight text links. images maintains
In the new site design, visitor interest. All
sections are grouped photos are from the
under three headings CD Liquid in Motion,
with pull-down menus no. 15206, $499,
in a navigation bar www.creatas.com.
running across the
top of the page. They
appear as art instead
of straight text links. 9. Logo issue
The redesign couldn’t features a fish leaping
fix one problem with off the pages. Flipping
SKA’s website: The the fish element so it’s
logo, which had to be facing into the pages
retained, prominently is recommended.
JUNE/JULY 2004 77
Make Scents Floral

A web presence helps this
floral design company shine.
Presence on the web is a must in busi- 1. Old logo

ness today. The increase in visibility has The old logo domi-
1
spurred competition among retailers nates the home page
and service providers, and the pressure is and provides only a
on to shine online. The importance of internet narrow representation
of the variety of Make
identity isn’t lost on Gwendolyn McCoy of Make
Scents’ services.
Scents Floral Design and Gifts, who asked for DG ’s
help to rejuvenate her company website. 2. New typefaces
McCoy has concerns about Make Scents’ cur- DG art director Kathie
rent image. She’s gearing up to target new customers, Alexander used Avant
and in order to reach them she knows her business Garde for its simple,
needs a solid identity. Currently, McCoy’s client base yet contemporary
consists mostly of consumers and small businesses, look. Subtle touches,
but she’s looking to add some larger companies to such as substituting
the list, and she’s certain a website overhaul will help the ampersand from
Toots Extended, sug-
her cause.
gest elegance and 2
DG art director Kathie Alexander initially
artistic capability.
directed her efforts toward revamping the site’s home
page. She first chose a color scheme appropriate for 3. New colors
the floral and gift industry, employing a range of The new palette is a
neutrals and adding a bit of red as an accent color. complementary blend
Then she reduced the number of images appearing of neutrals and accent
on the home page from five to four by combining colors. Alexander’s
similar floral and gift concepts. She also enlarged the choices respond to
photos to help showcase each category. McCoy’s request for a
3
To further enhance the images, Alexander “slick and contempo- R196 R204 R140
rary” image. G65 G204 G139
rounded the photos’ corners and placed each in its B39 B153 B82
own box. “This gives it a more delicate feel, but it’s
still organized,” she says. Making these examples the
focal point of the page will evoke the curiosity of site
visitors. She says, “Putting the best products up front R204 R51
G154 G51
will make the audience want to click on them to see B103 B51
what Make Scents is all about.” g
78 DynamicGraphics
4. Home page
MAKE SCENTS floral design & gifts On the original home
page, photos take a
Make Scents Floral Design is not just back seat to the logo
flowers and plants. Make Scents makes
customized vases. Make Scents makes and text. Reducing
gift baskets. Make Scents makes
invitations and programs. Make Scents the number of images
makes your event more memorable
with the special services you need. The and enlarging those
keyword: create—beauty, art,
relaxation, and memories for family, that remain will entice
lovers and friends.
visitors to learn more
Explore what Make Scents has to offer.
E-mail us with your questions or about Make Scents.
4
comments, or contact us by phone at
(617) 442-8586
For more information, please contact

5. Navigation bar 1
us at service@makescentsfloral.com A single navigation
bar at the bottom of
the home page directs
visitors toward addi-
tional information.
guest book calendar about us mailing list administration catalog contact us links
6. Navigation 2 MAKE SCENTS floral design & gifts

Rollover images are Fresh Flowers & Plants
Make Scents offers a variety of flowers arranged

used for the main in traditional and contemporary styles. Unlike
those from supermarket florists and flower shop
chains, each design keeps the recipient in mind.
navigation system. Whether it is a vase of tulips for a new mother, a
striking array of white flowers for a centerpiece,
or a final tribute for a cherished loved one, Make
Scrolling over an Scents consults with each customer to ensure a
personal touch. Looking for something to nurture
S ample 3
and watch grow? Plants and trees are also
image causes the title available. Delivery for fresh flowers and plants is
available in Massachusetts in the Boston, This bouquet was done for a wedding in
Cambridge and surrounding areas.
Boston. Varieties and colors were
of the corresponding Silk Flowers & Plants selected to coordinate with church decor
and the event's Victorian theme. The
page to appear, and 6 "They're not real?!" Silk flowers can provide long
lasting beauty to any room. Make Scents consults
bouquet was presented in coordinating
fabric as well.
clicking on an image
with you to make sure the final design fits your
home's decor and style. No time for real plants?
A silk plant or tree can also make a great accent.
7
Flowers & Plants Silk arrangements, plants and trees can be
provides detailed shipped anywhere in the world. Contact us to get

an estimate on your customized design.
information about the samples 1 2 3 4 5 6 7 8
selected topic.
7. Detail pop-up
Following the block of
text describing each
service is a series of 8. Simplified pages
numbers. Clicking
MAKE SCENTS floral design & gifts Alexander suggests
any of these num- keeping additional
bers causes a smaller To ensure that you cannot be enrolled in a list by someone else,
subscribing to an Address List is a two-step process. To take the first
step, please provide your name and e-mail address and then select
images on general
pop-up screen with the subscribe option at the bottom of the page. A system-generated
password will be sent to the e-mail address you provide. After
receiving the password, please return to this page and complete the
information pages to
detailed information subscription process by entering that password plus any other
information you would like to provide.
a minimum to reduce
to appear. *Last Name:
visual distractions. A
*E-Mail:
Please enter the Address List Password which you received via e-
8 simpler design with
mail and complete the final phase of the Address List subscription
process.
Address List Password: minimal imagery helps

(Received via email)
Make This Message Private? visitors find informa-

Fields with (*) are required fields. tion quickly and easily.
Subscribe | Unsubscribe | Modify | Entry Reset
JUNE/JULY 2004 79
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U. S. A. Norfolk Azores Sevilla Tunis Athens
Memphis Charlotte Gibraltar Algiers Nicosia Te
TUNISIA CYPRUS SYRIA
Atlanta Casablanca Rabat Tripoli LEBANON
Dallas
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Baghdad
IRAQ
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New Orleans Jacksonville Canary
Houston ALGERIA JORDAN
Islands Cairo
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KUWAIT
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Tampa
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WESTERN Riyadh
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SAHARA
Havana Tropic of Cancer (occupied by Morocco)
U. A
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EL SALVADOR BURKINA FASO
N'Djamena DJIBOUTI
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SOMALIA
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PANAMA Georgetown SURINAME ETHIOPIA
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COLOMBIA
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Quito GABON Dem. Rep. RWANDA
Use discount
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BURUNDI
Sao Goncalo
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PERU TANZANIA
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BRAZIL
O c e a n Huambo
Likasi
Lima BOLIVIA
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Salvador ZAMBIA
Brasilia ANGOLA
La Paz Lusaka
Harare
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MALAWI
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Rio De Janeiro Walvis Bay Gaborone
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code: VQ437
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ARGENTINA Porto Alegre
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Bloemfontein
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Rosario Umtata
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Santiago
Cape Town
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Port Stanley
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80 DynamicGraphics
CO N N E C T I O N S
Reference and Interaction
1. For inspiration, access this FREE information

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and how-to articles, get
innovative layouts to inspire
Dynamic Graphics Training 17 10
all your projects and get
FontShop 80 17
access to over 75,000 online ƒStop Images 80 28
images…for one low fee. Jupiter Images Back cover 23
Get liquidlibrary. LiquidLibrary 21 13
MacWorld 14–15 9
Map Resources 80 29
MVB Fonts 80 20
Pantone 13 8
Peachpit Press 19 11
Refreshing images and ideas ... monthly
Photis Inside front cover 1
Photoshop Fix 24A&B–25 15
800.255.8800 liquidlibrary.com
Print Runner 4-5 4
Seybold Seminars, Consulting & Publishing 26–27 16
Circle 13 on Connections card. Stock Layouts 22 12
STRETCH Inside back cover 22
Teaching Tools 23 14
UPM Kymmene 16A&B —
Within Reach Concepts 80 21
CRE ATAS
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Circle the number on the attached card to receive complimentary samples or informa-
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SS13037PD / PhotoDisc
JUNE/JULY 2004 81
Bethesda Custom Tailors

A custom website is fitted
with user-friendly design.
It’s an internet marketing article of faith that 1. Current site 1

visitors have to quickly find the information Lack of organization
they’re looking for, or they’ll just as quickly is an issue with the
move on. Businesses are especially aware of this current site. The home
risk; if their online presence isn’t up to par, they page should high-
light primary services
unknowingly send potential customers directly to a
(rental and sale items)
competitor’s site.
and de-emphasize
Sitki Kazanci of Creative Edge design studio is secondary services
the force behind Bethesda Custom Tailors’ current (credit card accep-
website. He’s ready to update the design and install tance). Many of the
fresh ideas to improve its overall appearance and site’s pages are physi-
usability. The ideal redesign, he says, will transform cally longer than they
online visitors into customers at the Maryland bricks- need to be.
and-mortar store.
As designer Ashley Haffner tackled this project, 2. New typeface
A diverse selection of
she relied on some basic, web-specific design prin-
typefaces has been
ciples. First, she minimized the need for scrolling by
reduced to just two:
staging pictures and text horizontally. She kept the Rage Italic for the
2
length of each copy block to a minimum because logo and Lucida Sans
long lines of text are difficult to read on-screen. Demibold (Roman
Haffner also reworked the overall color scheme. and Italic) for the rest
“The use of color is too sparse,” she says of the exist- of the site. Sans-serif
ing site. “It doesn’t pull the site together.” Using just fonts are ideal for web
three colors (black, dark brown, and light brown) text as they are very
in her redesign, she established a warm, welcoming readable on-screen.
atmosphere for browsers. Haffner also revised the
3. Colors
navigation system, a crucial element of good web
“The overall color pal-
design. Navigation buttons are now more visible on
ette is richer, and it
each of the site’s pages. g sets off the photos of
suits better,” Haffner
says. The colors were 3
R151 R41
selected for their G103 G32
compatibility with B103 B32
on-screen viewing.
82 DynamicGraphics
4. Home page
A smaller, less intru- 4
sive logo is nestled in
the upper left-hand
corner, and a single,
larger photo keeps
viewers’ eyes from
wandering. A testi-
monial is built into
the design, helping to
establish credibility.
5. Navigation 5
The main navigation
system is now promi-
nent on all pages.
Haffner eliminated
rollover images, and
arranged links in close
proximity to the logo.
6. Rotating images
Formal wear can be is refreshed, a new
displayed by adding a set of photos should 7
selection of rotating appear, allowing the
photos of each style. entire line of tuxedos
Haffner suggests that to be displayed.
each time the page 8
7. Going home 8. Specialty services

Using the new logo Making sure that
(which appears on customers are aware
every page) as a link of special services
back to the home Bethesda Custom
page offers visitors Tailors offers (such
an easy way to return as leather repair and
to their entry point. reweaving) is among
While some sites need Haffner’s recommen-
a separate “return dations to help this
to home page” but- business stand apart.
ton, most web users She suggests a sepa-
are used to this more rate page to explain
intuitive approach. these “extras.”
JUNE/JULY 2004 83
WO R K S PAC E SAV V Y
Tech Tools and Texts
Toolworthy
Superfine & no waste
Your mother told you not to waste, and now you
needn’t. Ordering envelopes in small quantities for
short-run projects has always been a headache. Too
often, ordering a full box was the only option. Now
the legendary quality of Mohawk Superfine paper
in envelope form is available in small lots from
Envelope Mall. Specialty styles, A-sizes, and stan-
dard commercial envelopes are offered. Mom will be
so proud. www.envelopemall.com
Action shots Professional

Whether you’re playing secret agent or just want a protection
camera for off-the-cuff opportunities, the l’Espion Top-notch com-
Mini II digital camera will never be far, especially puter and camera
equipment will avail
when attached to the (included) keychain. Its 2MB
you little without
onboard memory allows 20 shots at 352 x 288. an efficient, shock-
Makes a handy webcam, too. $27.99, ThinkGeek, resistant bag for safe
www.thinkgeek.com transport and easy Pantone ColorPlus
access. Professionals
favor the ProDigital
Fold, store, & creep MetroPaks from Accessible color
No, it doesn’t actually crawl, but it has a kinetic Tenba. The model P- Demonstrating that color management tools are
quality all its own. The Caterpillar File from 899C, for example, becoming accessible to the average computer user,
Amplifier is made from two conventional folding will accommodate a Pantone and ColorVision have introduced a new
17-inch laptop, cam-
rulers joined by cardboard at the moveable sections. monitor calibrator, ColorPlus. Targeted at consum-
era body, lenses, and
Store correspondence, CDs, and documents, and ers and photo hobbyists, ColorPlus is a Windows-
accessories. Pockets
watch it grow. $95, www.myamplifier.co.uk aplenty and a pull-
compatible hardware color sensor that corrects
out rain cover for CRT, LCD, and notebook monitors. It joins the
when the weather professionally oriented Spyder and SpyderPro
turns nasty. $300, systems in the Pantone ColorVision family. $99,
www.tenbagear.com www.pantone.com
Moveable frame
The Citron frame from Chia’sso makes it easy to
excise an ex or zoom in on a favored subject with
moveable magnetic frames that affix to a lacquered
metal board. Erasable pen and mounting hardware
included. Small and large sets available. Small frame
set, $58, www.chiasso.com
My Amplifier Caterpillar File
84 DynamicGraphics
Textworthy
Love, live, dream … eat
Combining two obsessions—food and design—with
remarkably outré packaging, the Allan Ben Studio
of New York serves up Art and Cook, an elaborate
and intriguing exercise in cross-genre publishing.
Subtitled Love Food, Live Design, and Dream Art,
it’s part cookbook, part surrealistic playground.
Those of us who are mildly manic about eating
and creating will be delighted with the connections
drawn between the two. $59.95, Digital In Space,
www.artandcook.com
Stimulus for the pixel-fixated

The ubiquitous and pedestrian pixel is a source of
endless fascination to the artists that take this sim-
ple building block and with it build virtual worlds. The Art of Promotion
Vasava Artworks’ 1 X 1: Pixel-based Illustration &
Design offers more than 2,000 examples of pixel- New world type Portable promotions
based art, from everyday icons to arresting and A product of more Promotions that cut through the clutter with
complex illustrations. Gaze at the art while you than 10 years of exceptional ideas in memorable packages are the
listen to the accompanying audio CD of appropri- meticulous research, subjects of The Art of Promotion by Lisa L. Cyr.
David Consuegra’s
ately loopy electronic music. $49.95, www. Unconventional surfaces and printing techniques;
American Type
markbattypublisher.com unique constructions, folds, and diecuts; and
Design and Designers
chronicles nearly
unusual bindings, fasteners, and wraps are featured
four centuries of with useful technical tips to ease their application.
American type history. Aptly, the book itself is uniquely packaged, as it
Highlights include bios comes with its own foldout carrying handles. $40,
of major type design- Rockport Publishers, www.rockpub.com
ers and a history of
type technology. More
than 330 reproduc-
tions of famous type
designs make this an
invaluable resource.
$19.95, Allworth Press,
www.allworth.com
JUNE/JULY 2004 85
S O F T WA R E S P E C I F I C
Solutions for Windows and Mac
Illustrator’s Crosshatch
Turn your favorite photos
into sketchy line art.
Your photos don’t always have to be picture
perfect—sometimes you might want to give them
an artsy look to enhance the memory or feeling
behind the image. Use this effect in Illustrator, and an
ordinary photo becomes a work of art. g
Illustrator 10 &
Photoshop 7
1. In Illustrator, open
a TIFF or JPEG file.
Select the image with
the Selection tool,
and choose Filter >
Pen and Ink > Photo
Crosshatch. Use the
options in the result-
ing Photo Crosshatch
dialog box (right).
Choose Edit > Copy.
Quit Illustrator and do

not save the changes.
Corel Photo-Paint 12
PHOTOSHOP
Follow these steps to achieve a similar effect in W M
QUICK TIP
Corel Photo-Paint 12.
1. Open a TIFF or JPEG file in Corel Photo- Changing the color in
Paint 12. Layer 1 will give you
2. Select Effects > Texture > Canvas. cool color effects.
3. From the drop-down list on the right of the
Canvas dialog box, select “Other.” Double- This technique can
click on the canvas map file “linen2c,” then also create a great
click OK in Canvas dialog box. effect in grayscale.
86 DynamicGraphics
2. Open your file
in Photoshop. In
the Layers palette,
double-click the
background layer, and
name it Layer 0 in the
resulting dialog box.
Create a new layer
and fill it with white.
Choose Edit > Paste.
Paste as pixels and

press OK, then press
Return. Put layers in
the order shown (left).
3. Select Layer 0
and drag it to the
Create New Layer
button, creating
Layer 0 copy. Set
the blending mode
of Layer 0 copy to
Linear Light.
4. Press Option and

place the cursor be-
tween Layer 0 and
Layer 2. When two
interlocking circles
appear, click to cre-
ate a clipping group.
JUNE/JULY 2004 87
COV E R TO COV E R
Up Front, Start to Finish
Subtle change?
Format considerations
came into play as we
began designing this
issue’s cover. Using
our own consider-
able experience as
newsstand grazers,
we flexed our original
cover format to move
the cover lines closer
to the banner, where
they’re more likely
to be noticed. It may
be a commonplace in
the publication busi-
ness, but it’s true that
readers are strongly
attracted by numbers.
We had an expanded
issue to sell (30 big
design makeovers
and extra pages), so
we used large numer-
als—Gotham Bold—on
the contrasting sky.
Options
We weighed images
of cosmetics, pamper-
ing, and all sorts of
0 3>
transformations. Who
would have thought
0 74470 90182 2 that some people do
not like feet?
Magazines that are sold on the newsstand—like this

one—are especially sensitive to cover matters, begin-
ing with the fact that the cover really does matter.
Coming Up
There are the obvious considerations like curb appeal: The new product launch is a designer’s
Does it grab you from across the room? There are dream. Is there ever a better chance to
more arcane concerns like newsstand placement: Which part of the put your stamp on a product, brand, or
cover gets blocked by the publication in front of it? campaign? It takes forethought, audi-
DG art director Kathie Alexander favored the customized car for ence research, and careful scanning of
this issue’s cover from the beginning. It met the requirements: a bold the competition to make the most of the
recognizable image, eye-catching colors, a clear tie-in with the make- opportunity. In the next issue of DG we
cover the topic in applications from man-
overs theme. Serendipity played a role. While we found the car image
ufacturing to not-for-profits.
right away, we struggled to identify alternatives that weren’t either too
obvious or too obscure. Plus part three of “6 Steps to Better
Finally, with 30 complete design makeovers to attract the news- Color,” wherein we explore how to moni-
stand browser, we just had to put the bold numerals where they tor your monitor. And software tips, fonts,
palettes, and resources to help you launch
couldn’t be missed. g
your career to new heights.
Cover photo from PictureQuest, www.picturequest.com: 709868
88 DynamicGraphics
Stretch
STEP inside design magazine presents Stretch,

a two-day conference featuring presentations
from design luminaries working across disciplines
and hands-on workshops to push your creativity
into fresh new territory.
October 14-16, 2004, Washington DC
For more information or to register call 888-698-8545

or visit www.stepinsidedesign.com

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Design ideas for the real world

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Master Real World

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