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Continued Picture your group 0663
Have a dozen or more mug shots?
A grid of squares gets that gang of
yours looking goodtogether.
Continued
Picture
your group
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Picture your group 0663
Picture your group
Have a dozen or more mug shots? A grid of squares gets that
gang of yours looking goodtogether.
Equal divisions yield page-
shaped elds. This has two
assets: 1) The photos have a
familiar, portrait shape, and
2) every shape including the
page is identical. Downside:
Letter-shape proportions are
visually ambiguous.
Divide the page into a grid. Two types:
Square divisions are sym-
metrical, simple (all four sides
are the same) and unambigu-
ous. This imparts an unusually
sharp, intentionally designed
look. Downside: Square mugs
are harder to crop.
We people are social creatures. We
congregate. We work together, attend
school together, form clubs together.
We network. We rub elbows. Were
reaching out to touch someone, it
seems, all the time. And yet for all
our similarities, we look plenty differ-
ent. We have different faces, hairstyles,
body builds, clothing. Put us together on a
page, and we can make a motley herd.
So how do we picture a group of us? The
key to a great design is to get uniform. Get
the scale, cropping and backgrounds of your
photos as similar as possible, then arrange
the results on a neat grid. A few ideas:
8
1
/2

11

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Scale and crop for uniformity
The rst step is to get your photos looking as similar as possible. Heads should be
the same size, eyes at the same level, backgrounds smooth as possible.
After Start with the most closely cropped original (above, left), then scale and crop the others to match. Center
each face in its frame, and put everyones eyes on the same level. Male and female adult heads should be pretty
much the same size. Head shape, hairstyle and tilt affect the perceived size, so make small adjustments by eye.
Except for your school pictures, a group of photos is rarely
taken under uniform conditions and so will benet from
post-production work. Lighting is key; adjust it as well as you
can. The things to avoid (left, left to right) are heavy shadows
(the kind a ash makes against a wall), washed out highlights (often from a ash), odd color casts and blurry
images. Similarly, a dark photo in a eld of light ones, or vice-versa, will draw unwanted attention.
Before Well-lit photos
taken at different view-
ing distances.
Start with the image that has the least cropping
room, and make the others match.
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Faces inward (mostly) Distribute by value Soften with color
Place your photos
Place your photos on the grid, facing the perimeter photos inward (mostly)
and distributing the dark-light values as evenly as you can.
Adding a dark eld will lower
the contrast, which softens
the message. The dark also
makes a canvas out of which
to reverse our name (left).
Snap your photos to the grid. Face the perimeter photos
inward or straight ahead. Where possible, distribute the dark-
light values evenly (note the lighter images are highlighted
above). Once grouped, look for things you missed earlierfor
example, are all the faces centered, and are they really the
same size? Make small scale and cropping adjustments.
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Note the alignment. Centered.
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Variation 1 Big images
One or two big images in a eld of small ones can add emphasis or context.
Be sure to maintain the visual balance of the layout.
A mug shot enlarged
One mug shot bigger than
the others will draw special
attention. Square format is
retained.
Offset
Similar-but-different image
will broaden the story and
lessen the impact of the rst
image. Different proportions
and absence of alignment
help it remain different.
A different kind of image
Completely different images
give the mug shots context.
The page now conveys sev-
eral stories in one.
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Variation 2 Add words
Replace some photos with colored squares, which can function as a table of
contents, highlights or links. Centered words mimic the centered faces.
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Center focus
The strength of a square is its
natural pull into the center.
Centered faces and text take
advantage of that and yield
a sharp, repetitive design
of real clarity. Note the tiny
shadow behind the text.
Reunions &
Societies
Reunions &
Societies
A single color attens the
page (Left) Distributing photos
yields an interesting checker-
board pattern, but same-color
squares atten the design
note how they connect and
form a single eld.
(Right) Bring the design to life
by eyedroppering from the
photos a palette of desaturated
colors (below). Note how the
squares no longer connect but
form a vibrant tapestry.
Before
After
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Variation 3 Subtract
Its the same grid, but here the white eld shapes the design. Its now full of dynamic
forces that move the eye left, right, up and down, full of energy, very modern.
Put the focal point on the
axis Who says white space
is passive? Here, its incred-
ibly active, pressing in on all
four sides and dening the
central shape, which radiates
out from the center logo like
a pinwheel.
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Hard and soft edges The higher the
contrasts, the more energy a design
has. (Above, left) Against white, the
photos hard edges actively move the
eye left, right, up and down. (Above,
right) Dark eld has soft edges, and
what a difference! Its the same layout,
but the page is much quieter.
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Typefaces
1 (ab) ITC New Baskerville Italic
a) 18/18 pt, b) 16 pt
2 ITC New Baskerville Bold
28/28 pt
Images
3 (aj) iStockphoto.com | a b c d
e f g h i j k
All others are from www.rubberball.com
Article resources
Colors
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C36 M78 Y100 K45
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C45 M40 Y70 K40
C0 M25 Y100 K5
4
5
6
7
8
9
10
11
12
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3g
3h
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3e
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3i
1a 3a 3b 3c 3d
4 6 8 5 7 9 10 11 12
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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
Dexter Mark Abellera Staff designer

Before & After magazine
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V
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1


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|

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