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Before&After
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i U X
How to design a
second page
Seashells
tion
llec
Hawaiian Co
You’ve designed a beautiful
outside. How do you follow it
up inside? Simply.
Continued 
Continued 
How to design a second page
0607
Before&After
BAmagazine.com
®
i U X
How to design a second page
You’ve designed a beautiful outside. How do you follow it up inside? Simply.
Outside
Outsides have insides. Once you’ve
designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
different words and a different purpose,
so how do you retain the look? The key
is simplicity; the second page should be
a lesser and simpler version of the first.
Four techniques:
Seashells
Hawaiian Collection
Seashells
Hawaiian Collection
A beautiful, jewel-box cover has been carefully cropped from a larger
image. Key to this design is placement; note (above right) that the
seashell’s position defines the margins containing the type.
 2 of 10 
How to design a second page
0607
How to design a second page
BAmagazine.com
3 of 10
i U X
Repeat the center of interest
When your cover has a strong focal point like this one, mask its background and bring
it inside. Alone on a white canvas, it will stand out in striking relief.
Inside
Seashells
Hawaiian Collection
Hawaiian Collection
Hawaiian Collection
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
of
the
ns
ce
s li
ni
co
lle
ctio
n its
elf
io
ect
coll
This
ed
on
t
he
ba
s
is
th
a
t th
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
eu
ser
may
use t
he
images in whole o
ale
res
for
pt
xce
e
t
r
r in pa
io
n
®
rib
ut
Before&After
i
or
n
Hierarchy Make type and other graphics secondary to
the focal point. To do this, center the layout—which moves
the eye down the page in a straight line (above left)—and
make the type recede: Set it small (smaller than you’d
think), and color it gray (above right) or a light tint of the
image itself. The result is a handsome, minimalist look.
st
di
By repeating the outside image inside, you get built-in
continuity of shape, color and texture while making a
fresh, bold statement. The inside is clearly a subset of the
outside, yet has its own distinctive presence.
 3 of 10 
How to design a second page
0607
Before&After
®
How to design a second page
i U X
BAmagazine.com
4 of 10
Find something in the scene
If the outside is big, make the inside small. Bring something from the forest to the inside—
a pine cone, an eagle, a rock—and you’ll create a beautiful contrast of far and near.
B T
N F
American Wildlands
American Wildlands Conservation Program
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Al
American Wildlands
lR
igh
ts
R
ese
rve
d.
Unau
tion
thorized
viola
duplication is a
p
of a
ble
ca
pli
s.
law
American Wildlands
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Al
Al
lR
igh
ts
R
ese
rve
d.
Unau
tion
thorized
viola
duplication is a
p
of a
ble
ca
pli
s.
law
lR
igh
ts
R
ese
rve
d.
Unau
tion
thorized
viola
duplication is a
p
of a
ble
ca
pli
s.
law
A forest is vast, panoramic and distant. A small object brings it close,
puts it at human scale, makes it
touchable. Below, simple alignment
helps bring the outside in.
For continuity, repeat the cover typefaces
inside. Note that the green background is a
neutral value against which dark and light
type are distinctively separate.
 4 of 10 
How to design a second page
0607
Before&After
®
How to design a second page
BAmagazine.com
5 of 10
i U X
Lift out one piece
Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the “key” inside—a single square lifted out and enlarged.
The Art College
of Washington
Spokane
Unlock your imagination
A door of opportunity awaits you
The Art College of Washington Spokane
www.acws.artcollege.edu
.artcollege.edu
50%
At first glance, what you see is a collage of doors. The
fun is that you can hide your message on the cover and
then reveal it inside.
It’s the only image with a key,
appropriately tying it to the message, “Unlock your imagination.”
 5 of 10 
Tint the type color to
blend with the image.
How to design a second page
0607
Before&After
®
How to design a second page
BAmagazine.com
6 of 10
i U X
Color
A grid of dissimilar images is naturally complex and should be simplified. An easy
organizational technique is to create one row of similar colors.
A) The title row is made of images with similar
colors with a few squares left empty for the words;
on a busy field, such empty space really stands out.
B) The type color must be similar, too; words in cool
blue would disrupt the continuity. C) To get this,
just sample the warm neighboring colors.
The Art College
of Washington
Spokane
A
A door of opportunity awaits you
B
The Art College
of Washington
Spokane
C
A door of opportunity awaits you
The Art College
of Washington
Spokane
 6 of 10 
A door of opportunity awaits you
How to design a second page
0607
Before&After
®
How to design a second page
BAmagazine.com
7 of 10
i U X
Make your own object
Draw an object—simpler is better—atop your image, then repeat it inside. This technique
is especially handy if your cover image has no available follow-up.
Front
Dawn Neil
Dawn Neil Interior Designer
Interior Designer
Dawn Neil Interior Designer
Back
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Dawn Neil
Interior Designer
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Same shapes, fonts, sizes and colors but opposite backgrounds
This look is cool and low-key. Note that similarities of shape, size
and color work together easily beside opposites of light and dark.
Note especially the very small type; it takes real restraint to set your
own name in 14-pt type, but the results couldn’t be classier.
 7 of 10 
How to design a second page
0607
Before&After
®
How to design a second page
BAmagazine.com
8 of 10
i U X
Layout
Position the shape in the same place on both sides, then align the type blocks neatly
to it. Be consistent and simple; note below the clean, straight lines of sight.
Dawn Neil Interior Designer
Dawn Neil
Interior Designer
Dawn Neil
Interior Designer
Dawn Neil Interior Designer
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Dawn Neil
Interior Designer
 8 of 10 
Note the positivenegative use of color.
How to design a second page
0607
Before&After
BAmagazine.com
9 of 10
How to design a second page
®
i U X
Article resources
Typefaces
11a
1a
2a
3a
4a
11b
B T
N F
Seashells
American Wildlands Conservation Program
Hawaiian Collection
13
17
14
18
1b
Hawaiian Collection
19
15
American Wildlands
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
16
ctio
n its
elf
io
ect
coll
This
co
lle
t
is
th
a
t th
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
eu
ser
may
use t
he
images in whole or i
le
sa
r re
t fo
ce p
t ex
n par
io
n
of
on
ba
s
rib
ut
ed
he
i
or
n
st
di
Al
11d
12
5
7a
7b
11c
the
ns
ce
s li
ni
2b
2c
The Art College
of Washington
Spokane
lR
igh
ts
R
ese
rve
d.
Unau
tion
thorized
viola
duplication is a
p
of a
ble
ca
pli
4c
11e
8a
9a
Dawn Neil Interior Designer
A door of opportunity awaits you
11f
13 C35 M80 Y80 K40
2 (a–c) Avenir Light | a) 11 pt, b) 7 pt,
c) 9/10.8 pt
14 C10 M25 Y60 K0
3 (a–b) Trajan Regular | a) 20/19 pt,
b) 20 pt
Dawn Neil
Interior Designer
Unlock your imagination
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
The Art College of Washington Spokane
www.acws.artcollege.edu
5 Adobe Garamond Bold | 18/16.5 pt,
18 C24 M19 Y49 K40
6 Helvetica Neue Roman | 6.25 pt
7 (a–c) Adobe Garamond Semi Bd. It.
a) 14 pt, b) 10 pt, c) 10 pt
19 C24 M19 Y49 K0
20 C25 M90 Y100 K20
21 C19 M64 Y100 K5
9 (a–b) Helvetica Neue Light | a) 10 pt,
b) 10 pt
22 C13 M29 Y58 K0
10 Adobe Garamond Semi Bd. | 7.5/9 pt
23 C70 M50 Y35 K10
24 C30 M30 Y50 K0
Images
23
11 (a–g) Photos.com |
a b c d e f g
25
16 C36 M30 Y30 K0
17 C30 M80 Y90 K50
10
24
11g
22
15 C0 M0 Y0 K70
4 (a–c) Avenir Light | a) 9/14 pt,
b) 8/9.6 pt, c) 7 pt
8b
9b
21
6
s.
law
1 (a–b) Kon Tiki Enchanted | a) 34 pt,
b) 12 pt
8 (a–b) Helvetica Neue Md. | a) 10 pt,
b) 10 pt
7c
20
3b
4b
Colors
25 C25 M20 Y20 K0
26 C50 M40 Y100 K20
12 All images are from Photos.com
26
 9 of 10 
How to design a second page
0607
Before&After
®
How to design a second page
BAmagazine.com
10 of 10
Subscribe to Before & After
i U X
Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understandable, useful and even fun for everyone.
Did you enjoy this article? Subscribe, and
become a more capable, confident designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
To pass along a free copy of this article to
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
others, click here.
Editorial board Gwen Amos, Carl Winther
E-mail this article
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail [email protected]
www http://www.bamagazine.com
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
http://www.bamagazine.com/email
Copyright ©2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know. To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
 10 of 10
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0607
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Before & After articles are intended for permanent reference. All are titled and numbered.
For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
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 Back
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Paper-saver format 
How to design a
second page
0607

lection
Hawaiian Col
Seashells

You’ve designed a beautiful
outside. How do you follow it
up inside? Simply. Continued
Outside
Hawaiian Collection
Seashells
Hawaiian Collection
Seashells
How to design a second page
A beautiful, jewel-box cover has been carefully cropped from a larger
image. Key to this design is placement; note (above right) that the
seashell’s position defines the margins containing the type.
1 of 5
Before&After | www.bamagazine.com
Outsides have insides. Once you’ve
designed a beautiful cover, you want the
following pages to be beautifully similar.
But inside is a different space with
different words and a different purpose,
so how do you retain the look? The key
is simplicity; the second page should be
a lesser and simpler version of the first.
Four techniques:
0607 How to design a second page

Repeat the center of interest
ba
le
sa
r re
t fo
ce p
rt ex
images in whole or in pa
Hawaiian Collection
io
ect
coll
This
ns
ce
s li
ni
ed
on
use
rm
ay u
se th
e
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
Inside
the
t
Al
l
Re
i
or
n
st
di
ser
ved
.
Unau
ble
ca
pli
s.
law
Hawaiian Collection
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
Al
lR
igh
ts
R
ese
rve
d.
American Wildlands
p
of a
ble
ca
pli
s.
law
igh
ts
R
ese
rve
d.
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
Unau
tion
thorized
viola
duplication is a
lR
Unau
p
of a
ble
ca
pli
s.
law
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
tion
thorized
viola
duplication is a
How to design a second page
A forest is vast, panoramic and distant. A small object brings it close,
puts it at human scale, makes it
touchable. Below, simple alignment
helps bring the outside in.
Al
American Wildlands
Hierarchy Make type and other graphics secondary to
the focal point. To do this, center the layout—which moves
the eye down the page in a straight line (above left)—and
make the type recede: Set it small (smaller than you’d
think), and color it gray (above right) or a light tint of the
image itself. The result is a handsome, minimalist look.
American Wildlands
p
of a
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
tion
thorized
viola
duplication is a
For continuity, repeat the cover typefaces
inside. Note that the green background is a
neutral value against which dark and light
type are distinctively separate.
2 of 5
Before&After | www.bamagazine.com
0607


he
When your cover has a strong focal point like this one, mask its background and bring
it inside. Alone on a white canvas, it will stand out in striking relief.
Seashells
Hawaiian Collection
B T
N F
American Wildlands Conservation Program
0607 How to design a second page
Rig
hts
If the outside is big, make the inside small. Bring something from the forest to the inside—
a pine cone, an eagle, a rock—and you’ll create a beautiful contrast of far and near.
Find something in the scene
By repeating the outside image inside, you get built-in
continuity of shape, color and texture while making a
fresh, bold statement. The inside is clearly a subset of the
outside, yet has its own distinctive presence.
sis
th
at
ctio
n its
elf
co
lle
the
of
io
n
rib
ut
Lift out one piece
A door of opportunity awaits you
3 of 5
A
www.acws.artcollege.edu
Unlock your imagination
The Art College of Washington Spokane
It’s the only image with a key,
appropriately tying it to the message, “Unlock your imagination.”
.artcollege.edu
50%
Tint the type color to
blend with the image.
A) The title row is made of images with similar
colors with a few squares left empty for the words;
on a busy field, such empty space really stands out.
B) The type color must be similar, too; words in cool
blue would disrupt the continuity. C) To get this,
just sample the warm neighboring colors.
A door of opportunity awaits you
The Art College
of Washington
Spokane
B
A door of opportunity awaits you
The Art College
of Washington
How to design a second page
Spokane
C
Before&After | www.bamagazine.com
0607

A door of opportunity awaits you
Tell a story. Here, a build-it-yourself cover of doors prepares the viewer for
the “key” inside—a single square lifted out and enlarged.
Spokane
The Art College
of Washington
At first glance, what you see is a collage of doors. The
fun is that you can hide your message on the cover and
then reveal it inside.
Color
Spokane
The Art College
of Washington
A grid of dissimilar images is naturally complex and should be simplified. An easy
organizational technique is to create one row of similar colors.
0607 How to design a second page

Make your own object
Front
Dawn Neil
Back
Dawn Neil
Interior Designer
Interior Designer
Dawn Neil
Interior Designer
Interior Designer
0607

Dawn Neil Interior Designer
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Dawn Neil
Note the positivenegative use of color.
How to design a second page
Interior Designer
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
This look is cool and low-key. Note that similarities of shape, size
and color work together easily beside opposites of light and dark.
Note especially the very small type; it takes real restraint to set your
own name in 14-pt type, but the results couldn’t be classier.
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Draw an object—simpler is better—atop your image, then repeat it inside. This technique
is especially handy if your cover image has no available follow-up.
Dawn Neil Interior Designer
Same shapes, fonts, sizes and colors but opposite backgrounds
Layout
Dawn Neil Interior Designer
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
4 of 5
Before&After | www.bamagazine.com
Dawn Neil
Position the shape in the same place on both sides, then align the type blocks neatly
to it. Be consistent and simple; note below the clean, straight lines of sight.
Dawn Neil Interior Designer
0607 How to design a second page

11a
1a
2a
he
ba
s
is
th
a
t th
n
st
di
io
ect
coll
This
ns
ce
s li
ni
ed
on
11g
11d
Al
lR
igh
11e
ts
R
Unau
American Wildlands
ble
ca
pli
s.
law
Our interest is to preserve and
maintain wildlands and wildlife
throughout the great state
of California
p
of a
t
2230 East Woodrow Street
Modesto, California, 95240
www.dawnneildesign.com
[email protected]
Interior Designer
tion
thorized
viola
duplication is a
Dawn Neil
Dawn Neil Interior Designer
ese
rve
d.
American Wildlands Conservation Program
B T
N F
Article resources
Hawaiian Collection
i
or
Seashells
Hawaiian Collection
le
sa
r re
t fo
ce p
rt ex
images in whole or in pa
A door of opportunity awaits you
Precisely catalogued and carefully
identified for the viewer’s
pleasure and learning
eu
ser
may
use t
he
12
Spokane
The Art College
of Washington
www.acws.artcollege.edu
Unlock your imagination
The Art College of Washington Spokane
3a
4a
11b
17
18
19
11c
3b
4b
4c
8a
9a
11f
8b
9b
10
23
25
24
26
Typefaces
1 (a–b) Kon Tiki Enchanted | a) 34 pt,
b) 12 pt
2 (a–c) Avenir Light | a) 11 pt, b) 7 pt,
c) 9/10.8 pt
3 (a–b) Trajan Regular | a) 20/19 pt,
b) 20 pt
4 (a–c) Avenir Light | a) 9/14 pt,
b) 8/9.6 pt, c) 7 pt
5 Adobe Garamond Bold | 18/16.5 pt,
6 Helvetica Neue Roman | 6.25 pt
7 (a–c) Adobe Garamond Semi Bd. It.
a) 14 pt, b) 10 pt, c) 10 pt
Colors
13 C35 M80 Y80 K40
14 C10 M25 Y60 K0
15 C0 M0 Y0 K70
16 C36 M30 Y30 K0
17 C30 M80 Y90 K50
18 C24 M19 Y49 K40
19 C24 M19 Y49 K0
20 C25 M90 Y100 K20
22 C13 M29 Y58 K0
21 C19 M64 Y100 K5
23 C70 M50 Y35 K10
8 (a–b) Helvetica Neue Md. | a) 10 pt,
b) 10 pt
9 (a–b) Helvetica Neue Light | a) 10 pt,
b) 10 pt
26 C50 M40 Y100 K20
25 C25 M20 Y20 K0
24 C30 M30 Y50 K0
10 Adobe Garamond Semi Bd. | 7.5/9 pt
Images
11 (a–g) Photos.com |
a b c d e f g
12 All images are from Photos.com
Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understandable, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer
Editorial board Gwen Amos, Carl Winther
Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
E-mail [email protected]
www http://www.bamagazine.com
Copyright ©2005 Before & After magazine, ISSN
1049-0035. All rights reserved
You may pass this article around, but you may not alter
it, and you may not charge for it. You may quote brief
sections for review. If you do this, please credit Before
& After magazine, and let us know. To feature free
Before & After articles on your Web site, please contact
us. For permission to include all or part of this article in
another work, please contact us.
How to design a second page
0607

13
14
1b
15
16
2b
2c
5
7a
7b
7c
20
21
22
Subscribe to Before & After
Did you enjoy this article? Subscribe, and
become a more capable, confident designer
for pennies per article. To learn more, go to
http://www.bamagazine.com/Subscribe
E-mail this article
To pass along a free copy of this article to
others, click here.
Join our e-list
To be notified by e-mail of new articles as
they become available, go to
5 of 5
Before&After | www.bamagazine.com
http://www.bamagazine.com/email
0607 How to design a second page
6
ctio
n its
elf
co
lle
the
of
io
n
rib
ut