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Web graphics
PixTrix2
How to design great-looking
ads in tiny spaces
Continued
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A typical advertisement is full of images and text. Yet the
standard Web ad is 120 x 90 pixels at 72 dpi. Thats tiny. So
how do you shoehorn, say, the city of New York into that
speck of real estate? The key when working on the Web
is to not tryquite. The space is so small, the resolution
so low, and the typical Web page so cluttered with other
messages that your microscopic cityscape will be lost.
Instead, think simple, bold and brief. Use not the entire
city but an icon that represents itthe Statue of Liberty,
Empire State Building; you get the idea.
Look for an iconic image, a simple shape, a bold color,
a bold angle, high contrastor, best, all of it.
Step one: Use a simple photo
Think simple, bold and brief The goal is to convey your message with the least amount of visual information. Think icons, symbols
and objects. New York City: Statue of Liberty; health care: doctor in a lab coat; kitchen products: stack of bowls, and so on.
120 x 90 px
432 x 288 px
Complex . . . Complex . . . Complex . . . simple simple simple
Designing in a tiny space has unique requirements. Start by looking for an image that says a lot with a little.
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Step two: Make a simple layout
REGISTER
FOR FALL
CLASSES
Weber University
REGISTER
FOR FALL
CLASSES
Weber University
Add the words
. . . but when the words
are added, it works just
ne. White words tie to the
white mouse; university
name in gold stands apart.
Use an iconic object with
a simple, familiar shape, and
set it against a high-contrast
(black) eld. Note that by
itself the mouse does not
convey class registration . . .
Use as few words as possible, and arrange your material simply.
Simplify
Keep the layout as simple as
you can; note above that aligning
the two objects turns them into
one block and that the spaces
between objects (below) are all
the same. As a rule, the fewer
differences, the better.
REGISTER
FOR FALL
CLASSES
Weber University
Online class registration
involves a lot of hard-
ware, but dont show it
all. Instead . . .
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Use cropping as a design tool
You can control the effect of your ad by changing the size of the
photo, its angle and the way its cropped. With so little material to
work with, its important to make every nuance count.
Center is the stable position.
Her gaze is direct, deliberate,
engaging.
Angle the image, and her
look turns coy. Shes atten-
tive, but for how long?
Scale Extremely close up and
her eyes become the message.
Intense and arresting.
Be dramatic (Far left) Its a beautiful original that will say
different things depending on how you handle it. Cropped in half
(left), it gains intensity and mysteryand space for words. Ultra-
light typeface retains the high-key (light on light) theme.
Off-center unbalances the
space, creating a light sense
of tension.
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Use text to frame your image
Panorama Denitely not
simple, incomparable El
Capitan is a case where an
entire mountain of gran-
ite is the focal point. We
could crop, but this image
benets from its distant
vantage point, scale and
surrounding detail. Adding
the green bar separates
image from text, limiting
the complexity.
Monument With tighter
cropping, the mountain
becomes more vertical
than horizontal, an effect
heightened by its deep
shadows. Extremely con-
densed typeface in mighty
uppercase amplies the
effect, welding words
and image into a single,
powerful message read-
able at a glance.
Postcard style Designed
in the style of an Ansel-
Adams print, this treatment
is quieter, more gallery-
likealthough the photo
hasnt changed! Gray type
on white recedes yet is
readable at a glance. Wide
spacing makes the space
appear horizontal. White
page oats above the gray
eld as a single unit.
In such close quarters, text and photos must work together, not
separately. In fact, the two must form virtually one message. Like a
photo, type is graphical, so you can use its style, case, shape, weight
and color to complement and strengthen the image.
Y OS E MI T E
E X P E R I E N C E
YOSEMITE
El Capitan
Yosemite National Park
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E X P E R I E N C E
Use the full image Reduce (1) a standard-size image to 120 pixels wide, which leaves it
shallower than 90 pixels (2). Fill the remaining spaceplus a littlewith a solid eld of color
eyedroppered from the image (3), then add your type (4). This photo-above-eld technique
simplies the space; it is an excellent choice when your image is complex or detailed.
YOSEMITE YOSEMITE
Use part of the image Crop the image to emphasize (or create) a focal point. Then nd
a typeface that complements or amplies an attribute of the image. Here, a tall, condensed
typeface spanning the page amplies the mountains monumental presence. A slight over-
lap of mountain and the type above it adds depth, pushing the granite wall forward.
El Capitan
Yosemite National Park
E X P E R I E N C E
YOSEMITE
90 px
?
120 px
1 2
3
4
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Here, an exciting image is weakened by excessive contrast, a monochromatic
color cast, lack of focal point and a busy background. Rescue it by using type
to supplement the picture:
INTERVIEW
TONY
PEREZ
SKATE MAG
INTERVIEW
TONY
PEREZ
SKATE MAG
2
3
1
Focal point rst Crop tightly to give the skateboarder
as much presence as possible (1 ). Note the textured
background is busy but visually interesting. You can
amplify its effect by using a similarly textured typeface
(2). The result is artistic but not easy to read. To remedy
this, replace the background with high-contrast black (3)
while retaining the textured type. To retain the improved
visibility and the background texture, use the texture to
ll the distressed typeface (4).
Use text to supplement an image
4
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INTERVIEW
TONY
PEREZ
SKATE MAG
REGISTER
FOR FALL
CLASSES
Weber University
Y OS E MI T E
E X P E R I E N C E
YOSEMITE
Typefaces
1 (ab) Trajan Pro Regular | a) 13.5/16 pt
b) 7.5 pt
2 (ac) Sabotage | a) 17 pt, b) 31/11 pt
c) 11 pt
3 (ab) Helvetica Neue Std Ultra Light
a) 31/26.5 pt, b) 15 pt
4 Clarendon Bold | 15 pt
5 Clarendon Light | 8 pt
6 (ab) ITC Cheltenham Bold Cond
a) 37 pt, b) 12 pt
7 ITC Cheltenham Book | 18 pt
Images
8 (ak) iStockphoto.com | a b c d
e f g h i j k
Article resources
9
Colors
C30 M50 Y90 K0
C25 M35 Y95 K20
C10 M40 Y53 K40
C50 M30 Y70 K30
C0 M0 Y0 K45
9
El Capitan
Yosemite National Forest
12
10
Image row 8ej (left to right)
11
12
13
5 4 6a 8d 6b
8a 1b
1a 2a
11
13
2c
10
2b 3a
3b 8c
7
8b
8k
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Before & After magazine
Before & After has been sharing its practical approach
to graphic design since 1990. Because our modern world
has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
able, useful and even fun for everyone.
John McWade Publisher and creative director
Gaye McWade Associate publisher
Vincent Pascual Staff designer
Dexter Mark Abellera Staff designer

Before & After magazine
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
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www http://www.bamagazine.com
Copyright 2006 Before & After magazine
ISSN 1049-0035. All rights reserved
You may pass along a free copy of this article to others
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may not charge for it. You may quote brief sections
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Subscribe to Before & After
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Back | Paper-saver format
Design a label-style title
Article 0600
Squeeze play
Article 0601
Design a peekaboo brochure
Article 0602
Many from one
Article 0603
Simple, uniform, repetitive
Article 0604
Swipe it!
Article 0605
Design easy cover patterns
Article 0606
How to design a second page
Article 0607
Three documents, one look
Article 0608
Simply borderless
Article 0609
How to design small calendars
Article 0610
Design a $10 clock
Article 0611
Open space
Article 0612
What typeface goes with that?
Article 0613
Theres more Before & After!
Learn more. Design better. Browse and shop a complete list of articles at www.iStockphoto.com
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For the current table of contents, click here. To save time and paper, a paper-saver format of this article,
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