Many One: Big Photos Have Small Photos Inside. Here's How To Get Several Images Out of One Original

Before&After
®
BAmagazine.com i U X
Many from one

Big photos have small photos
inside. Here’s how to get several
images out of one original.
Continued 
Continued  Many from one 0603

Before&After
®
Many from one

Here’s a way to stretch your photo dollar and coordinate your layout, too,
by getting several images out of one original
This one photo . . .
. . . made this entire layout 
Did you realize that big photos have small photos hidden in the details— a collar,
a button, a necklace? So take advantage — slice an image and use it in pieces!
What’s cool is that the slices will have a built-in unity of color and texture, allowing
them to work easily together.
 2 of 11  Many from one 0603

Before&After ® Many from one 3 of 11 BAmagazine.com i U X
Story
The key is to pick good parts. Think story. What’s fun is that taking images out of context gives
them new meaning. Isolate different sections, visualizing what each might now convey.
When we first saw the

beach scene, we saw it
as a whole, more or less
unaware of the details. But
by isolating sections, we
see that each can tell a
story that contributes its
own intrigue and interest.
Pretty dreamy scene. Is it close to

home or half a world away? Out of
context, we can’t tell.
How long is the coastline?

This small piece might seem
insignificant, but because
Old things seem to have more character than new ones. it shows land and water, it
Take this tattered old boat. It makes you wonder what unifies the other two images.
it has seen in its lifetime. Out of context, it’s alone and A wave implies movement,
lonely. Does someone use it? What is it doing here? Those erosion, the wind.
footprints in the sand, whose are they?

Before&After
® Many from one 4 of 11 BAmagazine.com i U X
Scale
Viewers generally perceive big images as important. By making a small image big and
vice-versa, we can change its emphasis and bring out different parts of the story.
Three days in
Paradise
Lore magna augiam, vel ip eliqui tet amcon
hendreet vulputatis nim vulla auguer ad
inisciduisit in hendigna faccum.
BY TERRANCE MATTHEWS
O ortis ese facilit nullum exeraessim num velit ut

landigna commod et, velisl dolorperat.
Loreetum do dunt lutatum andre dolorer alit
laore tat nos estie el eros niam vullut vel et niametum dip
eugiam, verostrud magnissequis nim zzrillaore faccum
erat wis et, sit nostrud te ming euissi.Lorperaessi. Lor
amconsecte dolor sum incing essed dolenis iduisi.
Duis dunt verostrud magnisl ulputet nonse diam ent
The bow of the boat occupies a aut acin hent ad dolobortis nullamcoreet wis nisim dolor-
perit ilisl ex estin volobortie delit autatue ostis augiam
in hendre dunt ilisse min henibh ercilit loreet ad tem ea
con enisl doluptat lobor illum quipit, conse dolenis nos
small percentage of the original num ing et auguera stinit, sum iriure ver sequam qui tisi
bla conumsan vel utpat. Ut augiamet alissed eu feuismo
uptatue consecte commodiat. Ut wissit at, sendit numsan
image—less than a tenth—but in

venit wismoluptat lore dolore dit il incil delis nullam alit
ver sent lorem adio etue ea facil il utpat.
Duisciliqui tin ulluptat la feugait am do er incipsustie
magna faci eu feu feu feuisl dolobore dolortisit at pratem
Texture and flasp net exating end
our layout, it’s half. Its new size

irillan veril iliquisim zril inci bla faci blaorer in hendrer Texture and flasp net exating
mist of it snooling. Spaff forl isn’t
ustio conulla faciliquamet wismodiam, commy num ex end mist of it snooling. Spaff
cubular but quastic, leam restart that ea alit, quat. Ut aci eu facillum irit aliquatet, volore dolut forl isn’t cubular but quastic,
can’t prebast. It’s tope, this fluant praesto dolore tis adigna feuguerci blandre min vendign leam restart that can’t prebast.
has changed it from an interesting

chasible. Silk, shast, lape and behast smodolore feu facipit alit praestie commodit praessisLor It’s tope, this fluant chasible.
the thin chack. “It has larch to say illa feuguer ate modo do con vulla commy nos nosting
Silk, shast, lape and behast a
fan.” Why? Elesara and order is fay enim incidunt dolesecte dolobortie tem dolorperci tat.
thin chack. “It has
of alm. A card whint not oogum or Duis dunt verostrud magnisl ulputet nonse diam ent aut
Toes in the sand larch to say—and
object to the main story point.

bont. Pretty simple, glead and tarm. acin hent ad dolobortis nullamcoreet wis nisim dolor-
perit ilisl ex estin volobortie delit autatue ostis augiam fan.” Why? Elesara
in hendre dunt ilisse min henibh ercilit loreet ad tem ea and order is fay of alm. A card
con enisl doluptat lobor illum quipit, conse dolenis nos whint not oogum or bont. Pretty
num ing et auguera stinit, sum iriure ver sequam qui tisi simple, glead and tarm. Texture
bla conumsan vel utpat. Ut augiamet alissed eu feuismo and flasp net exating end mist
uptatue consecte commodiat. Ut wissit at, sendit numsan of it snooling. Spaff forl isn’t
cubular but quastic, leam but
restart that can’t prebast. It’s
tope, this fluant chasible. Silk,
shast, lape and behast the thin
chack. “It has larch to say fan.”
Why? Elesara and order is fay
of alm. A card whint not oogum
Three days in
Paradise
Big, medium, small Note the great differences in size among the three
O
images. These differences are useful for creating visual hierarchy; the reader’s
ortis ese facilit nullum exeraessim num velit ut
Loreetum do dunt lutatum andre dolorer
alit laore tat nos estie el eros niam vullut vel et nia-
metum dip eugiam, verostrud magnissequis nim
zzrillaore faccum erat wis et, sit nostrud te ming
euissi.Lorperaessi. Lor amconsecte dolor sum incing
essed dolenis iduisi.
Duis dunt verostrud magnisl ulputet nonse diam
eye moves through the layout from big to small (left).

ent aut acin hent ad dolobortis nullamcoreet wis nisim
dolorperit ilisl ex estin volobortie delit autatue ostis
augiam in hendre dunt ilisse min henibh ercilit loreet
ad tem ea con enisl doluptat lobor illum quipit, conse
dolenis nos num ing et auguera stinit, sum iriure ver
sequam qui tisi bla conumsan vel utpat. Ut augiamet
alissed eu feuismo uptatue consecte commodiat. Ut
wissit at, sendit numsan venit wismoluptat lore dolore
dit il incil delis nullam alit ver sent lorem adio etue ea
facil il utpat.
Duisciliqui tin ulluptat la feugait am do er incipsus-
tie magna faci eu feu feu feuisl dolobore dolortisit at
pratem irillan veril iliquisim zzril inci bla faci blaorer
in hendrer ustio conulla faciliquamet wismodiam,
commy num ex ea alit, quat. Ut aci eu facillum irit ali-
quatet, volore dolut praesto dolore tis adigna feuguerci
blandre min vendign smodolore feu facipit alit praes-
tie commodit praessisLor illa feuguer ate modo do
con vulla commy nos nosting enim incidunt dolesecte
dolobortie tem dolorperci tat. Ut dunt ipis eriure min
utatet in utpate modio dunt.

Before&After
Same technique, different look

All the pictures on the Web page below are from one image. Five slices of the photo—
plus colored rectangles—have turned a single chair into a handsome, multi-image display!
Every image on the page

is a slice of this chair.
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
SWIVEL
CHAISE

Before&After
Look at the details

Up close, an ordinary object is a surprising potpourri of lines, shapes, colors, curves,
corners and edges. Look for contrasts (light-dark, square-round) and variety.
Curve
Solid color
Complex shapes
Diagonal line
Horizontal lines
Corner
Vertical line

Layout
Top and bottom halves of this layout draw the eyes in different ways. The top half is empty,
airy and quiet; the bottom half is full and busy but well organized.
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
Quiet top half
The empty, white space allows all eyes to settle on the chair.
SWIVEL
Busy bottom half
Interlocking images suggests activity and abundance. There is no
CHAISE focal point because the images are all within the boundary of the
rectangular shape.
STATIONARY
It’s amazing how from one image we can get a page full of
contrast in scale, mass, shape, texture and direction.
SWIVEL
CHAISE

Before&After
Similar colors harmonize

Replacing a few sections with flat color lightens the design and creates site headings,
too. The key to an attractive page is to now coordinate the flat colors to the image.
Use the eyedropper tool to

sample a range of colors in the
chair, then locate them on the
color wheel. In this case they’re
all warm. To retain the warmth,
select a color just a spoke or
two away as shown below. Such
neighboring colors are analogous,
meaning they share colors—in HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
this case red and yellow—and so
always work well together.
STATIONARY
SWIVEL
CHAISE

Before&After
Opposite colors contrast

Here, we’ll cool our chair’s warm palette by selecting an opposite color.
For contrast and energy, use an

opposite color, or complement.
Opposites are usually the most
exciting combinations.
STATIONARY
SWIVEL
Because opposites demand

equal attention (above), they CHAISE
tend to cancel each other. Solve

this by lightening one of the
colors—in this case blue—which
makes it recede, allowing the
warm chair to come forward.

Article resources
8 Typefaces Colors
1 1 Vectora LH Bold | 7 pt 8 C0 M35 Y70 K20

Three days in
9
2a Paradise
Lore magna augiam, vel ip eliqui tet amcon 2 (a–b) Vectora LH Light | a) 77 pt,
2b 10
9 C85 M15 Y10 K25

b) 13/15 pt

7a
3
3 Utopia Regular | 8.2/10.5 pt

10 C30 M40 Y85 K10

aut acin hent ad dolobortis nullamcoreet wis nisim dolor-
num ing et auguera stinit, sum iriure ver sequam qui tisi
4 Vectora LH Black | 6.5/8.5 pt

4
11 C35 M90 Y80 K55

5 Avenir Heavy | 6.5 pt

1
of alm. A card whint not oogum or
bont. Pretty simple, glead and tarm.
Duis dunt verostrud magnisl ulputet nonse diam ent aut
acin hent ad dolobortis nullamcoreet wis nisim dolor-
fan.” Why? Elesara
simple, glead and tarm. Texture
4
6 Trajan Regular | 16 pt
13 C0 M0 Y75 K45
13 C36 M22 Y8 K0
Images
7 (a–b) Photos.com | a b
7b
5 HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS 6
5 STATIONARY 11
12
SWIVEL
CHAISE
13
STATIONARY
SWIVEL
SWIVEL
CHAISE
CHAISE

Before&After
Subscribe to Before & After Before & After magazine

Before & After has been sharing its practical approach
Did you enjoy this article? Subscribe, and to graphic design since 1990. Because our modern world
become a more capable, confident designer has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
for pennies per article. To learn more, go to
able, useful and even fun for everyone.
http://www.bamagazine.com/Subscribe
John McWade Publisher and creative director
Gaye McWade Associate publisher
E-mail this article Vincent Pascual Staff designer
To pass along a free copy of this article to Dexter Mark Abellera Staff designer
others, click here. Editorial board Gwen Amos, Carl Winther
Before & After magazine

Join our e-list 323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
To be notified by e-mail of new articles as
Fax 916-784-3995
they become available, go to E-mail mailbox@bamagazine.com
http://www.bamagazine.com/email 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.
 11 of 11 | Printing formats  Label-style title 0600

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®
Before & After is made to fit your binder

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,
suitable for one- or two-sided printing, is provided on the following pages.
For presentation format For paper-saver format

Print: (Specify pages 1–11) Print: (Specify pages 13–18)
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Format: Landscape
Page Size: Fit to Page
Save
Presentation format or
Paper-saver format
 Back | Paper-saver format 


Many from one 
Big photos have small photos
inside. Here’s how to get several
images out of one original.
This one photo . . .
. . . made this entire layout 
Did you realize that big photos have small photos hidden in the details— a collar,
a button, a necklace? So take advantage — slice an image and use it in pieces!
What’s cool is that the slices will have a built-in unity of color and texture, allowing
them to work easily together.
0603 Many from one Before&After | www.bamagazine.com Many from one 0603
1 of 6

Story

The key is to pick good parts. Think story. What’s fun is that taking images out of context gives
them new meaning. Isolate different sections, visualizing what each might now convey.
When we first saw the
beach scene, we saw it
as a whole, more or less
unaware of the details. But
by isolating sections, we
see that each can tell a
story that contributes its
own intrigue and interest.
Pretty dreamy scene. Is it close to
home or half a world away? Out of
context, we can’t tell.
How long is the coastline?
This small piece might seem
insignificant, but because
Old things seem to have more character than new ones. it shows land and water, it
Take this tattered old boat. It makes you wonder what unifies the other two images.
it has seen in its lifetime. Out of context, it’s alone and A wave implies movement,
lonely. Does someone use it? What is it doing here? Those erosion, the wind.
footprints in the sand, whose are they?
Scale
Viewers generally perceive big images as important. By making a small image big and
vice-versa, we can change its emphasis and bring out different parts of the story.
Three days in
Paradise
The bow of the boat occupies a aut acin hent ad dolobortis nullamcoreet wis nisim dolor-
small percentage of the original
image—less than a tenth—but in
our layout, it’s half. Its new size
has changed it from an interesting
of alm. A card whint not oogum or Duis dunt verostrud magnisl ulputet nonse diam ent aut
object to the main story point.
bont. Pretty simple, glead and tarm. acin hent ad dolobortis nullamcoreet wis nisim dolor-
perit ilisl ex estin volobortie delit autatue ostis augiam fan.” Why? Elesara
num ing et auguera stinit, sum iriure ver sequam qui tisi simple, glead and tarm. Texture
Three days in
Paradise
Big, medium, small Note the great differences in size among the three
O
images. These differences are useful for creating visual hierarchy; the reader’s
ortis ese facilit nullum exeraessim num velit ut
Loreetum do dunt lutatum andre dolorer
alit laore tat nos estie el eros niam vullut vel et nia-
metum dip eugiam, verostrud magnissequis nim
zzrillaore faccum erat wis et, sit nostrud te ming
euissi.Lorperaessi. Lor amconsecte dolor sum incing
essed dolenis iduisi.
Duis dunt verostrud magnisl ulputet nonse diam
eye moves through the layout from big to small (left).
ent aut acin hent ad dolobortis nullamcoreet wis nisim
dolorperit ilisl ex estin volobortie delit autatue ostis
augiam in hendre dunt ilisse min henibh ercilit loreet
ad tem ea con enisl doluptat lobor illum quipit, conse
dolenis nos num ing et auguera stinit, sum iriure ver
sequam qui tisi bla conumsan vel utpat. Ut augiamet
alissed eu feuismo uptatue consecte commodiat. Ut
wissit at, sendit numsan venit wismoluptat lore dolore
dit il incil delis nullam alit ver sent lorem adio etue ea
facil il utpat.
Duisciliqui tin ulluptat la feugait am do er incipsus-
tie magna faci eu feu feu feuisl dolobore dolortisit at
pratem irillan veril iliquisim zzril inci bla faci blaorer
in hendrer ustio conulla faciliquamet wismodiam,
commy num ex ea alit, quat. Ut aci eu facillum irit ali-
quatet, volore dolut praesto dolore tis adigna feuguerci
blandre min vendign smodolore feu facipit alit praes-
tie commodit praessisLor illa feuguer ate modo do
con vulla commy nos nosting enim incidunt dolesecte
dolobortie tem dolorperci tat. Ut dunt ipis eriure min
utatet in utpate modio dunt.
2 of 6

Same technique, different look


All the pictures on the Web page below are from one image. Five slices of the photo—
plus colored rectangles—have turned a single chair into a handsome, multi-image display!
Every image on the page
is a slice of this chair.
STATIONARY
SWIVEL
CHAISE
Look at the details
Up close, an ordinary object is a surprising potpourri of lines, shapes, colors, curves,
corners and edges. Look for contrasts (light-dark, square-round) and variety.
Curve
Solid color
Complex shapes
Diagonal line
Horizontal lines
Corner
Vertical line
3 of 6

Layout

Top and bottom halves of this layout draw the eyes in different ways. The top half is empty,
airy and quiet; the bottom half is full and busy but well organized.
HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
STATIONARY
Quiet top half
The empty, white space allows all eyes to settle on the chair.
SWIVEL
Busy bottom half
Interlocking images suggests activity and abundance. There is no
CHAISE focal point because the images are all within the boundary of the
rectangular shape.
STATIONARY
It’s amazing how from one image we can get a page full of
contrast in scale, mass, shape, texture and direction.
SWIVEL
CHAISE
Similar colors harmonize
Replacing a few sections with flat color lightens the design and creates site headings,
too. The key to an attractive page is to now coordinate the flat colors to the image.
Use the eyedropper tool to
sample a range of colors in
the chair, then locate them on
the color wheel. In this case
they’re all warm. To retain the
warmth, select a color just a
spoke or two away as shown
below. Such neighboring colors
are analogous, meaning they HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS
share colors—in this case red
and yellow—and so always work
STATIONARY
SWIVEL
CHAISE
4 of 6

Opposite colors contrast


Here, we’ll cool our chair’s warm palette by selecting an opposite color.
For contrast and energy, use an
opposite color, or complement.
Opposites are usually the most
exciting combinations.
STATIONARY
SWIVEL
Because opposites demand
equal attention (above), they CHAISE
tend to cancel each other. Solve
this by lightening one of the
colors—in this case blue—which
makes it recede, allowing the
warm chair to come forward.
Article resources
8 Typefaces Colors
1 1 Vectora LH Bold | 7 pt 8 C0 M35 Y70 K20
Three days in
9
2a Paradise
Lore magna augiam, vel ip eliqui tet amcon 2 (a–b) Vectora LH Light | a) 77 pt,
2b 10
9 C85 M15 Y10 K25
b) 13/15 pt
7a
3
3 Univers Regular | 8.2/10.5 pt
10 C30 M40 Y85 K10
aut acin hent ad dolobortis nullamcoreet wis nisim dolor-
4 Vectora LH Black | 6.5/8.5 pt
4
11 C35 M90 Y80 K55
5 Avenir Heavy | 6.5 pt
1
of alm. A card whint not oogum or
bont. Pretty simple, glead and tarm.
Duis dunt verostrud magnisl ulputet nonse diam ent aut
acin hent ad dolobortis nullamcoreet wis nisim dolor-
fan.” Why? Elesara
simple, glead and tarm. Texture
4
6 Trajan Regular | 16 pt
13 C0 M0 Y75 K45
13 C36 M22 Y8 K0
Images
7 (a–b) Photos.com | a b
7b
5 HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS 6
5 STATIONARY
11
12
SWIVEL
CHAISE
13
STATIONARY
SWIVEL
SWIVEL
CHAISE
CHAISE
5 of 6

Subscribe to Before & After Before & After magazine

Before & After has been sharing its practical approach
Did you enjoy this article? Subscribe, and to graphic design since 1990. Because our modern world
become a more capable, confident designer has made designers of us all (ready or not), Before &
After is dedicated to making graphic design understand-
for pennies per article. To learn more, go to
able, useful and even fun for everyone.
http://www.bamagazine.com/Subscribe
John McWade Publisher and creative director
Gaye McWade Associate publisher
E-mail this article Vincent Pascual Staff designer
To pass along a free copy of this article to Dexter Mark Abellera Staff designer
others, click here. Editorial board Gwen Amos, Carl Winther
Before & After magazine
Join our e-list 323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
To be notified by e-mail of new articles as
Fax 916-784-3995
they become available, go to E-mail mailbox@bamagazine.com
http://www.bamagazine.com/email 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.
6 of 6

Many One: Big Photos Have Small Photos Inside. Here's How To Get Several Images Out of One Original

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Before&After

Many from one

Continued  Many from one 0603

Many from one

This one photo . . .

. . . made this entire layout 

 2 of 11  Many from one 0603

When we first saw the

Pretty dreamy scene. Is it close to

How long is the coastline?

 3 of 11  Many from one 0603

O ortis ese facilit nullum exeraessim num velit ut

image—less than a tenth—but in

our layout, it’s half. Its new size

has changed it from an interesting

object to the main story point.

eye moves through the layout from big to small (left).

 4 of 11  Many from one 0603

Same technique, different look

Every image on the page

HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS

 5 of 11  Many from one 0603

Look at the details

 6 of 11  Many from one 0603

 7 of 11  Many from one 0603

Similar colors harmonize

Use the eyedropper tool to

 8 of 11  Many from one 0603

Opposite colors contrast

For contrast and energy, use an

HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS

Because opposites demand

tend to cancel each other. Solve

 9 of 11  Many from one 0603

1 1 Vectora LH Bold | 7 pt 8 C0 M35 Y70 K20

9 C85 M15 Y10 K25

O ortis ese facilit nullum exeraessim num velit ut

3 Utopia Regular | 8.2/10.5 pt

10 C30 M40 Y85 K10

4 Vectora LH Black | 6.5/8.5 pt

11 C35 M90 Y80 K55

5 Avenir Heavy | 6.5 pt

HOME | SHOP ONLINE | CATALOG | CONTACT CLASSICS

 10 of 11  Many from one 0603

Subscribe to Before & After Before & After magazine

others, click here. Editorial board Gwen Amos, Carl Winther

Before & After magazine

Copyright ©2005 Before & After magazine, ISSN

 11 of 11 | Printing formats  Label-style title 0600

Before & After is made to fit your binder

For presentation format For paper-saver format

 Back | Paper-saver format 

Same technique, different look

Opposite colors contrast

Subscribe to Before & After Before & After magazine

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