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Design rom a

creative brie

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When 30-year-old Jennier Diamond quietly

passed away o appendiceal carcinoma, arare orm o cancer, on July 23, 2002, she let

behind amily, riends and a gentle legacy o

graceulness and love. And she let her ather

Harvey with a missionto share the knowledge gained

rom this experience with others. So was born the Jennier

Diamond Foundation, which would be dedicated to

helping people win the ght against all orms o cancer.

Soon ater, designer Karen Barranco was retained to give

Jenniers oundation a public image. The beautiul logo she

made is a textbook lesson in how to design or a clientand

work to a shared, creative vision. The process begins not on

a computer but ace to ace with the client, or as long as

it takes, listening, building rapport, understandingand

sharingthe mission. Heres how she did it:

Design rom a creative brieTo know i youve reached a design goal, you must frst know whatthe goal is. Heres where to start answering that.

Write it down The creative brie is the blueprint or

the project. It is a collaboration o designer and client. It

includes a project overview, goals, messages, audience

description, budget, schedule, and so on. The act o writing

all this down means that everyone has talked through and

agreed on what the design is to embody.

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Listen

When you meet your client, yourmost important tools are your ears.

Hear who they areand what theyre

saying. As you proceed together,

talk about the goals or the design.

(Which is dierent rom what the

design should looklike.) Develop

the creative brie. Keep it short. Use

clear headlines and bulleted lists.

Project description

The project description is a brie summary o what

were doing and why. Because dragonies had sym-

bolic meaning to Jennier and her amily, the deci-

sion was made at the outset that a dragony would

be central to the image, so it was included here.

Meanings

What is the symbolism o the dragony? Dont

assume you know. Listen to your client. Participate;

fll in the gaps with research, but check your results

with the client. Think in metaphors, which helps you

avoid becoming too literal. Avoid clichs.

project DeScrIptIoN

This identity will capture the true essence o Jennier Diamonds legacyto help people with rare cancers to be strong, inormed and promote

healing through mind and body connections and will set the tone or

all uture design applications. This identity will use the metaphor and

symbolism o the Dragonfy as the healing messenger, intertwined with

the ollowing meanings:

pwfl

The Dragonfy is an important insect in legend, where they are creatures

with supernatural powers.

psiy and HamnyThe Dragonfy represents the powers o light and transormation, and

the ability to see through illusion. The dragonfy teaches a ree and joyul

sense o being.

Infmd

The Dragonfy teaches us to apply the art o knowledge to our own

questions and situationsto remember things are never completely as

they seem.

Abiliy b psiiv

The shiting movement, energy, orm, and color o its iridescent wings

open vague memories, reminding us o alternative perspectives.

cmmnia

The Dragonfy is the essence o change, the messages o enlightenment

and wisdom. It also brings communication rom the elemental world,

nature spirits.

Da Dam

The Dragonfy is the doorkeeper who allows the gates to the dream

dimensions to be opened through the breaking o the physical illusion.

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AuDIeNce

OrganizationtoIndividualnonprot CoreTarget:Individualsand familymemberswithrarecancers

SecondaryTarget:MedicalCommunity

TertiaryTarget:privateandbusinesssectorspotentialdonors

GoALS/project oBjectIVeS

Positionasapremiumnon-protorganizationoperatingin

a niche market.

Attractinterestandrespect.

MeSSAGeS

Conveycondence,trustedguidance,credibility,professionalism

Projectgrowth,stabilityandtrust

Timelessness/ nottrendy

Conservative,reliable,tasteful,elegant,subtle

Understatedsimplici ty,Cleanandsimplewithminimallines

Feminine,softandwarmwithoutbeingtoogirly

Welcomingandapproachable

Sophisticated,not toorich,though.Embossingmaybetoo

extravagantfornonprot;wecandiscuss.

ApproAcHeS Donotuseacronyms:JDF

UseJenniferDiamondFoundation

Donotincludeinc.

Doesnotvisuallyrelatetocancer

Minimalist/simplisticapproach

Horizontalformat(preferred)

Typographicalsolutionwiththeintegrat ionofasymbol/mark

Exploreusingthedragonyas asymbol

Uptothreecolors,opentomore?

Mustbeusedincolorandb/w

Audience

An image that has meaning to one group may be

meaningless to another. Understand who the audi-

ence is. Let your client guide you. Dont assume you

know the audience or what it is like. Keep in mind

that the frst audience is the client himsel and his

employees and volunteers. They must enjoy their logo

and be proud o it and what it represents. Seriously.

Messages

A logo is a signature, not a marketing program. It

does not need to tell the whole story. Nevertheless,

it has a story to tell. The logo may picture the product

or service. It may be only the name. But it will always

convey an intangibleperhaps a vision or attitude or

eeling. In this, it is similar to clothing; a red suit says

something dierent rom jeans. Write down every-

thing you imagine. This is the artistic step. We must

say visually what words alone cannot.

Approaches

This step is more mechanical than artistic. Write

down what can and cant be done. This helps you and

the client approach the conceptual stage with better

clarity and ocus.



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Get to work

A dragonfy will be central to the logo. A dragonfy in real lie is beautiul butcomplex, and the logo needs to be simple. One way to achieve simplicity is to use

a silhouette. A silhouette must have just the right pose . . .

Side view Its a beautiully

engineered creature, but sticky little

insect legs say bug, not warmth,

emininity or welcome.Front view What is this? Its hard to

tell at a glance, and you probably dont

want it crawling on you.

Top view This is the strongview. Simple, symmetrical,

graceul. No legs, no body parts,

all attention is on those wings.



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Get artistic

The logo must convey many intangible qualities. Fill in the silhouette, then beginworking out lines and shapes; each small variation will say something different.

Angled edges Flattening the curves

yields somewhat crystalline shapes.

The idea is interesting, but here it

appears heavy and masculine, which

we dont want.

Abstract Sharp points and fat head

look too much like a nail or a plant. The

tapered body, however, shows potential;

it lightens the weight o the silhouette, a

eminine quality.

Rotate Upright orientation is natural to

our eye, because its the most like us.

In this position, the dragonfy appears

balanced, motionless, stable, standing

like an object to be admired, almost as

i were viewing a statue.



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Continuous line, simplifed The

complex, single line is replaced with a

simplifed line, which oten yields bet-

ter results but here does not. Yet while

the single wings look nothing like a

dragony, they do suggest an angel.

Abstract, outlined Pointed wings take

the angel idea urther. Four wings say

dragony, but the image has now morphed

into a symbol and is no longer an insect.

The lines can also be seen as single wings

in motion. The taper has returned.

Continuous line Single line makes

a uid image, sweeping and graceul,

like a spinning ballerina. This image is

light but airly abstractwere losing

the sense o a dragonybut its

attributes are desirable.

Push

Because lighter is better, push that direction. Lighten it more by outlining the silhouette.Listen to what the lines are saying. As you work, pay attention to small improvements.



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Arms added Two curves

become arms that are open

in gentle welcome . . .

. . . and a circle becomes ahead. The body is widened into

a tapered diamondwhich, o

course, has its own symbolism

and the image has become beau-

tiul. This sketch was shown to

the client, who loved everything

except one detail . . .

Converging lines are deleted

because they reminded Harvey

o the tubes that were attached

to Jennier at the hospital.

Expand

Two lines and a circle are a breakthrough. The image not only has dragonfysymbolism but acquires that o an angelic gure, too, clearly eminine.

Flat head The wings are sleek

and pretty, but the blunt head

still looks like a nail. Although

unfnished, key at this point is

that the design has developed

a clear direction.



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Render

Rene on the computer. A single line weight lends strength and posture and tiesthe two chie imagesJennier and dragonfytogether.

Floating like an angel Tapered base

conveys weightlessness.

Position o arms Open arms welcome;

clasped hands portray care, watchulness.

The fnished symbol is a beautiul blend

o images, simple, engaging, timeless, powerul.

It connects on many levelsinviting, caring,

confdent, dignifed, angelic and so on.



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Type

Mighty Trajan, rst inscribed in stone on Emperor Trajans column in Rome, hasthe dignity and stability that bets a premium cancer oundation.

The stable centerCentered type reinorces the

symmetrical symbol. Centering is robust, stable, motionless,

which strengthens the sense o permanence.

Secondary typeace The simple orms

o modern classic Futura Book are crystal

clear and nearly style-neutral. Because othis, Futura makes an excellent complement

to Trajan and many other typeaces as well.

Note its panoramic letterspacing (let).

Main typeace Its seen a lot o

use in recent years, but Trajan is

timelessstrong, permanent, adirect connection to the ancient

past. Its deault letterspacing is

like the engraved column, above.

It can be looser but should not be

tighter than this.

foun



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Color

A colorul dragonfy suggests bright, spring hues, but they would be too active.Muting the colors conveys sotness, proessionalism, trust.

Spring greens Vibrant colors

are pretty but too new and inap-

propriately active to use here. The

solution is to desaturate, which

replaces hue with gray and yields

muted, dusty tones. Note above

that the original colors were eye-

droppered rom the image.

Subdued blues The client

preered to use blue, which sug-

gests lightness, healing, medicine.

Desaturated blue was applied only

to the logo, not the type. The colors

work naturally together because

theyreanalogous (side by side on

the color wheel) and mainly gray.

Too bright

Desaturated





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Our report card

As we have seen, the creative brie gives everyone goals to work toward. And now thatwere done, it provides the measure by which to judge the outcome. Keep in mind that many

goals proessional, or exampleare subjective, and that the client gets a vote.

Does the logo meet the goals?

From the creative brie . . .

Captures the true essence of Jennifer

Diamonds legacy to help people with

rare cancers be strong, inormed and

promote healing . . .

Attractive to individuals and family

members with rare cancers, plus the

medical community and donors

Dragonfy This central eature is

clearly visible in the outcome.

Conveys condence, credibility,

proessionalism

The image is that of a premium

non-proft organization.

It attracts interest and respect.

Conveys stability, trust, credibility

Appears timeless, not trendy

Its conservative, reliable, tasteful,

elegant, subtle.

Its feminine, soft and warm without

being girly.

Its welcoming and approachable.





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President

Harvey Diamond

Vice President

Matthew Diamond

Secretary

Rachel Farley

Treasurer

David Jackel

Board of Dir ectors

Harvey Diamond, Chair

Matthew Diamond

Rachel Farley

Marshall Gelfand

1880 Century Park East 16th Floor Los Angeles, CA 90067 phone 310 551 0800 fax 805 379 2913

www.jenniferdiamondfoundation.org

1880 Century Park East 16th Floor Los Angeles, CA 90067 phone 310 551 0800 fax 805 379 2913


1880 Century Park East

16th Floor

Los Angeles, CA 90067

Harvey Diamond

President

1880 Century Park East, 16th Floor

LosAngeles, CA90067

phone 310 551 0800

fax 805 379 2913

[email protected]


Envelope White logo on the printed ap is an

impressive touch that draws ull attention to the

message it wordlessly conveys. Manuacturing

the ull-bleed ap requires that the envelope be

printed at, then assembled.

Letterhead

Light colors and small, light type convey a sense

o peaceulness and dignity. Top logo and bottom

address are ar apart, but centered alignment keeps

them connected. Key personnel are on the ar let;

wide line spacing sustains the airiness.

Letterhead, envelope and

business card are designed

as a package; note the logo

and type are the same size

on all three pieces.

Business card

Vertical ormat heightens

the sense o a oating

angel. Aligned-let copy

repeats that on the enve-lope and letterhead.





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Article resources

Typeaces

1 Adobe Garamond Italic

2 Frutiger Roman

3 Futura Book

4 Trajan Pro

Images

Images: iStockphoto

5 (6980328)

6 (7339555)

Colors

PMS 550

PMS 7539

7

8

Harvey Diamond

President

1880 Century Park East, 16th Floor

LosAngeles, CA9006 7

phone 310 551 0800

fax 805 379 2913

[email protected]


7 8

1 2 3 4 5 6

Special thanks to the ever-impressive

Karen Barranco or allowing us to morph

her beautiul work into a design lesson.

Developing an image o this caliber is neither

as easy, nor as linear, as a condensed, 123

article makes it appear and oten involves

nail biting and sleepless nights. And, o

course, a true brand is about much more than

a logo. Nevertheless, the principles shownhere are correct and in good order and have

a lot to teach us.

About Karen we can say thisthat i we were

in need o a designer, she would be on our

short list o people to phone. See more o her

workand read about her processon her

Web site, www.specialmoderndesign.com.

Visit the Jennier Diamond Cancer Foundation at

www.jennierdiamondoundation.org .



http://specialmoderndesign.com/http://specialmoderndesign.com/http://www.jenniferdiamondfoundation.org/http://www.jenniferdiamondfoundation.org/http://specialmoderndesign.com/


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Beore & Ater magazine

Beore & Ater has been sharing its practical approach

to graphic design since 1990. Because our modern world

has made designers o us all (ready or not), Beore &

Ater is dedicated to making graphic design understand-

able, useul and even un or everyone.

John McWade Publisher and creative director

Gaye McWade Associate publisher

Dexter Mark Abellera Sta designer

Beore & Ater 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 2009 Beore & Ater magazine

ISSN 1049-0035. All rights reserved

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For all other permissions, please contact us.

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Before&After

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ama

gazin

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1of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

When30-year-oldJenniferDiamondqu

ietly

passedawayof

appendicealcarcinoma

,a

rareformofcancer,onJuly23,2002,sh

eleft

behindfamily,friendsandagentlelega

cyof

gracefulnessan

dlove.Andsheleftherfather

Harveywithamissiontosharetheknowledgegain

ed

from

thisexperiencewithoth

ers.SowasborntheJennifer

Diam

ondFoundation,which

wouldbededicatedto

helpingpeoplewinthefightagainstallformsofcanc

er.

Soonafter,designerKaren

Barrancowasretainedtogive

Jennifersfoundationapublic

image.Thebeautifullo

goshe

made

isatextbooklessoninhowtodesignforaclien

tand

work

toashared,creativevision.Theprocessbeginsnoton

acom

puterbutfacetofacew

iththeclient,foraslongas

ittakes,listening,buildingrapport,understandingand

sharingthemission.Heres

howshedidit:

Writeitdown

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Before&After

|www.b

ama

gazin

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2of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

AUDIENCE

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(Whichisdifferent

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designshouldlook

like.)Develop

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gonfl

yteachesus

toapp

lytheartofkn

owle

dgetoour

own

question

sandsituation

s

torem

em

ber

thin

gsaren

ever

com

p

letely

as

theyseem

.

AbilitytobePositive

Th

eshiftin

gm

ovem

en

t,energ

y,form

,an

dcolor

ofitsirid

esce

ntwin

gs

openva

guem

em

orie

s,remin

din

gusof

altern

ative

persp

ectiv

es.

Communicator

Th

eDra

gonfl

yis

theessen

ceof

chan

ge,them

essagesof

enligh

tenm

en

t

an

dwisd

om

.It

also

brin

g

scomm

unica

tionfrom

theelem

en

tal

world,

nature

spirits.

DaretoDream

Th

eDra

gonfl

yis

thedoorkee

perwh

oallow

sthegatestothed

ream

dim

en

sion

stobeo

pen

ed

through

thebre

akin

gof

the

ph

ysicalillu

sion

.


19/24

Before&After|www.ba

magazine.com

3of8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

Gettowork

Adra

gonfl

ywillbecentraltothelo

go.Adra

gonfl

yinreallifeisbeautifulbut

com

plex,andthelo

goneedstobesimple.Onewaytoachievesimp

licityistouse

asilhouette.Asilho

uettemusthavejusttherightpose...

SideviewItsabeautifully

engineeredcreature,butstickylittle

ins

ectlegssaybug,notwarmth,

fem

ininityorwelcome.

FrontviewWhatisthis?Itsha

rdto

tellataglance,andyouprobablydont

wantitcrawlingonyou.

TopviewThisisthestrong

view.Simple,symmetrical,

graceful.N

olegs,nobodyparts,

allattentionisonthosewings.

Getartistic

Thelo

gomustconv

eyman

yintan

gible

qua

lities.Fillinthesilhouette,thenbegin

workin

goutlinesandshapes;eachsmallvariationwillsa

ysomet

hingdifferent.

AnglededgesFlatteningthecurves

yieldssomewh

atcrystallineshapes.

Theideaisinte

resting,buthereit

appearsheavy

andmasculine,which

wedontwant

.

AbstractSharppointsandflathead

looktoomuchlikeanailoraplant.T

he

taperedbody,however,showspoten

tial;

itlightenstheweightofthesilhouette,a

femininequality.

RotateUprightorientationisnaturalto

oureye,becauseitsthemostlikeus.

Inthisposition,thedragonfly

appears

balanced,motionless,stable,standing

likeanobjecttobeadmired,

almostas

ifwereviewingastatue.


20/24

Before&After

|www.b

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e.c

om

4of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

Continuousline,simplifiedTh

e

com

plex

,single

lineisre

pla

cedwith

a

simplifi

edlin

e,which

often

yield

sbet-

terre

sults

buth

eredoesn

ot.Y

etwhile

thesinglewin

gslo

okn

othin

glik

ea

dra

gonfl

y,theydosuggestan

an

gel.

Abstract,outlinedP

oin

tedwin

gstake

theangelid

eafurth

er.F

ourwin

gssa

y

dra

gonfl

y,buttheim

ageh

asn

owm

orph

ed

intoasym

bol

an

disn

olon

ger

anin

sect.

Th

elinescan

also

beseen

assinglewin

gs

in

motion.Th

etaperh

asre

turn

ed.

ContinuouslineSin

glelin

e

mak

es

afl

uidim

age,sweepin

gan

dgrac

eful,

likeaspinnin

gballerin

a.This

imageis

ligh

tbutfairly

abstractw

e

relosing

thesen

seof

adra

gonfl

y

bu

tits

attributesare

desirable.

Push

Becauselighterisb

etter,pushthatdirection.Lightenitmorebyou

tliningthesilhouette.

Listentowhatthel

inesaresaying.Asyouw

ork,payattentiontosm

allimprovements.

ArmsaddedTw

ocurv

es

becom

earm

sthatare

open

ingen

tlew

elc

om

e...

..

.an

dacircle

becom

esa

head.Th

ebodyiswid

en

edin

to

atapere

ddiam

on

dwhich

,of

course

,h

asits

own

sym

bolism

andtheim

ageh

asbecom

ebeau

-

tiful.This

sketchw

asshown

to

theclien

t,wh

olov

edev

ery

thin

g

excepton

edetail...

Converginglinesare

deleted

becausetheyremin

ded

Harvey

of

thetubesthatw

ere

a

ttach

ed

toJennifer

attheh

ospit

al.

Expand

Twolinesandacirc

leareabreakthrough.T

heimagenotonlyhasd

ragonfly

symbolismbutacq

uiresthatofanangelicfigure,too,clearlyfemin

ine.

FlatheadTh

e

wingsare

sleek

an

dpre

tty,but

theblun

th

ead

stilllo

ok

slik

ea

nail.Alth

ough

unfinish

ed,k

ey

atthis

poin

tis

thatthedesign

hasdevelo

ped

acle

ar

dire

ctio

n.


21/24

Before&After

|www.b

a

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e.c

om

5of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

Render

Refineonthecomp

uter.Asinglelineweigh

tlendsstrengthandpostureandties

thetwochiefimage

sJenniferanddragonflytogether.

Flo

atinglikeanangelTa

pere

dbase

conveysw

eigh

tlessness.

PositionofarmsOpen

arm

sw

elc

om

e;

cla

spedh

an

dsportra

ycare

,w

atchfuln

ess.

Thefinishedsymbolis

a

beautiful

blen

d

ofim

ages,simple

,en

gagin

g

,timele

ss,pow

erful.

Itconn

ectsonm

an

ylev

els

invitin

g,carin

g,

confi

den

t,dignifi

ed,an

gelic

andsoon.

Type

MightyTrajan,first

inscribedinstoneonEmperorTrajanscolumn

inRome,has

thedignityandstabilitythatbefitsapremiumcancerfoundation.

Thestablecenter

Cen

tere

dtypereinforc

esthe

symm

etrical

sym

bol.

Cen

terin

g

isrobust,stable

,m

otionle

ss,

which

stren

gthen

sthesen

seof

perman

en

ce.

SecondarytypefaceTh

esimpleform

s

ofm

odern

cla

ssicF

uturaB

ook

are

cry

stal

cle

ar

andn

early

style-n

eutral.B

ecause

of

this,Futuram

ak

esan

ex

cellen

tcom

plemen

t

toTr

ajanan

dm

an

yother

typefa

cesas

well.

Noteits

pan

oramicle

ttersp

acin

g(left).

Maintype

faceIts

seen

alo

tof

useinre

cen

tyears,

butTra

janis

timele

sss

trong,perm

an

en

t,a

dire

ctconn

ection

tothean

cien

t

past.Its

def

aultle

ttersp

acin

gis

liketheen

g

ravedcolumn

,abov

e.

Itcan

belo

oser

butshouldn

otbe

tigh

ter

than

this.

FOUN

0


22/24

Before&After

|www.b

a

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e.c

om

6of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

Ourreportcard

Aswehaveseen,th

ecreativebriefgiveseve

ryonegoalstoworktow

ard.Andnowthat

weredone,itprovidesthemeasurebywhic

htojudgetheoutcome.Keepinmindthatman

y

goalsprofession

al,forexamplearesu

bjective,andthatthecli

entgetsavote.

Does

thelogomeetthegoals?

From

thecreativebrief...

CapturesthetrueessenceofJennifer

Diam

ondsle

gacytoh

elp

peoplewith

rare

cancers

bestron

g,inform

edan

d

prom

oteh

ealin

g...

Attractivetoindividualsandfamily

mem

berswithrare

can

cers,

plu

sthe

medi

calcomm

unity

an

ddon

ors

D

ragonfly

This

cen

tralfe

atureis

cle

arlyvisiblein

theoutcom

e.

Conv

eysconfidence,credibility,

profe

ssion

alism

Theimageisthatofapremium

non-pr

ofitorg

aniza

tion.

Itattractsinterestandrespect.

Convey

sstability,trust,credibility

Appear

stimeless,nottrendy

Itsco

nservative,reliable,tasteful,

ele

gan

t,subtle.

Itsfem

inine,softandwarmwithout

bein

ggirly.

Itswe

lcomingandapproachable.

Color

Acolorfuldragonflysuggestsbright,spring

hues,buttheywouldbetooactive.

Mutingthecolorsc

onveyssoftness,profess

ionalism,trust.

SpringgreensVib

rantcolors

are

pre

ttybuttoon

ew

an

din

ap-

pro

pria

tely

activetouseh

ere.Th

e

solu

tionis

todesaturate

,which

repla

cesh

uewith

g

rayan

dyield

s

muted,dustyton

es

.Noteabov

e

thattheorigin

al

col

orsw

ere

eye-

dro

ppere

dfrom

the

image.

SubduedbluesTh

eclient

prefere

dtouseblu

e,wh

ichsug-

gestsligh

tness,h

ealin

g,

medicin

e.

Desatura

tedblu

ew

asappliedonly

tothelo

go,n

otthetype.The

colors

workn

aturally

together

because

theyreanalogous(sidebysideon

thecolorwh

eel)

an

dm

a

inlygra

y.

Toobrigh

t

Desatura

ted

0


23/24

Before&After

|www.b

a

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e.c

om

7of

8

Designfromacreativ

ebrief0680

0680Designfromac

reativebrief

President

HarveyDiamond

VicePresident

Matthew

Diamond

Secretary

RachelFarley

Treasurer

DavidJackel

BoardofDirectors

HarveyDiamond,Chair

Matthew

Diamond

RachelFarley

MarshallGelfand

1880CenturyParkEast1

6thFloorLosAngeles,CA90067

phone3105510800

fax8053792913


1880CenturyParkEast1

6thFloorLosAngeles,CA90067

phone3105510800

fax8053792913


1880CenturyParkEast

16thFloor

LosAngeles,CA90067

HarveyDiamond

President

1880CenturyParkEast,16thFloor

LosAngeles,CA90067

phone3105510800

fax8053792913

[email protected]


EnvelopeW

hitelo

goon

theprin

tedfl

apis

an

impre

ssivetouch

thatdraw

sfull

atten

tion

tothe

messageitw

ordle

sslyconv

eys.M

an

ufa

cturin

g

thefull-ble

e

dflapre

quire

sthattheenvelo

peb

e

prin

tedfl

at,

then

assem

ble

d.

Letterhead

Ligh

tcolors

andsmall,ligh

ttypeconve

yasen

se

of

peacefuln

essan

ddignity.To

plo

goan

dbottom

addre

ssare

farapart,

butcen

tere

dalignm

en

t

keeps

them

conn

e

cted.K

eypersonn

el

are

on

thefar

left;

wid

elin

esp

acingsustain

stheairin

ess.

Letterhead,envelopeand

businesscardaredesigned

asapackage;notethelogo

andtypearethesamesize

onallthreepieces.

Businesscard

Vertic

alform

ath

eigh

ten

s

thesen

seof

afl

oating

an

gel.Align

ed-left

copy

repeatsthaton

theenv

e-

lopean

dle

tterh

ead.

Articleresources

Typ

efaces

1A

dobeGaram

on

dItalic

2Fr

utigerR

om

an

3F

uturaB

ook

4Tr

ajanPro

Images

Ima

ges:iS

tock

ph

oto

5(6

98032

8)

6(7

339555)

Colors

PM

S550

PM

S7539

78

Harve

yDiamond

Presid

ent

1880C

enturyParkEast,16thFloor

LosAn

geles,CA90067

phone3105510800

fax8053792913

[email protected]


7

8

1

2

3

4

5

6

Specialthankstotheeve

r-impressive

KarenBarrancoforallow

ingustomorph

herbeautifulworkintoa

designlesson.

Developinganimageofthiscaliberisneither

aseasy,noraslinear,asacondensed,123

articlemakesitappearandofteninvolves

nailbitingandsleeplessnights.And,of

course,atruebrandisab

outmuchmorethan

alogo.Nevertheless,the

principlesshown

herearecorrectandingoodorderandhave

alottoteachus.

AboutKarenwecansaythisthatifwewere

inneedofadesigner,she

wouldbeonour

shortlistofpeopletophone.Seemoreofher

workandreadabouthe

rprocessonher

Website,www.specialmoderndesign.com.

Visit

theJenniferDiam

on

dCancerF

oun

dation

at

www.jenniferdiam

on

dfo

un

da

tion.org.

0


24/24

Before&After

|www.b

a

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e.c

om

8of

8

Designfromacreativebrief0680

0680Designfromac

reativebrief

Before&Aftermaga

zine

Before

&Afterh

asbee

nsharin

gits

pra

ctical

appro

ach

togra

phic

design

sin

ce

199

0.B

ecauseourm

odernw

orld

hasm

adedesign

ers

of

usall

(readyorn

ot),B

efore

&

Afteris

dedic

atedtom

akinggra

phic

design

un

ders

tan

d-

able

,useful

an

dev

enfunfor

ev

ery

on

e.

JohnMcWadeP

ublish

eran

dcre

ativedire

ctor

GayeMcWadeA

ssoci

atepublish

er

DexterMarkAbelleraStaff

design

er

Before&Aftermaga

zine

32

3Lin

coln

Street,R

os

eville,CA9

567

8

Telephone91

6-7

84-3

8

80

Fax91

6-7

84-399

5

E-mailm

ailb

ox

@bam

agazine.c

om

wwwh

ttp://www.b

am

agazin

e.c

om

Copyright2009Before&Aftermagazine

ISSN1049-0035.Allr

ightsreserved

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aypassalon

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asecre

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&Afterm

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letuskn

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agazin

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