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Design a catalog of rectangles 0661
Design a
catalog of
rectangles
Segways catalog motif is simple,
handsome and versatile. Continued
Before&After
2 of 12
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Design a catalog of rectangles 0661
Its a good thing the Segway Personal Transporter costs as much as it does ($5,000-ish),
or wed be out riding instead of writingthis thing is a hoot. Ahead of its time when it was
introduced in 2001, the self-balancing, ride-about platform is almost magically
intuitive; it runs silently indoors and out, and has become popular with urban
commuters, tour groups and others who need to get places that would be too far
or too slow to walk. A 28-page catalog presents the machine in tried-and-true
fashion; its an attractive synthesis of text and images in a simple, rectangular
format. What we like about the rectangles is how easy they make it to blend
different elements into a uniform whole. Thatll be our focus:
Design a catalog of rectangles
Segways catalog motif is simple, handsome and versatile.
Rectangular
simplicity can be seen
in shapes, borders and
lines throughout the
catalog. It allows the
designer to easily meld
different photos and
varying amounts of text
into a uniform whole.
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Design a catalog of rectangles 3 of 12
Build it in blocks
As we work through the catalog, youll see that rectangles are a deliberately visible part
of the design. This begins on the cover, where the elements are stacked in blocks.
Page
7 x 10 rectangular page
3/8 white frame
Frame
Rectangular photo,
slightly smaller. Result:
three visual elements
photo, page and white
frame, which the eye
subconsciously follows.
Base
Heavy black rectangle
serves as a visual base
and also interrupts the
circuit, which draws
attention to the tiny
text within it.
Headline
Rectangular white head-
line completes the page.
Note the rectangles are all
centered, a static arrange-
ment that contrasts with
the moving rider.
Simply moving
S e g w a y p r o d u c t b r o c h u r e
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Design a catalog of rectangles 4 of 12
The spread is made of
rectangles both tall and
wide. Note the product
photos are inside a phan-
tom square, a negative
space dened by nearby
positive elements. The
columns on the far right,
tinted gray, recede.
Oversize text and a large
photo make an easy-to read
focal point that will be repeat-
ed throughout the catalog.
Against black, the paragraph
adds visual texture; its long,
white lines are a contrasting
counterpoint to the narrow,
gray columns on the right.
Headline at the bottom is
opposite the normal position,
yet it reads naturally. Cool.
Phantom column
Phantom square
Two-level design
Inside, the catalog is designed in two levels, one to browse and one to read.
A big photo and a short block of big type are for browsing. Regular text columns
are for detailed reading. Massive black sets the visual theme.
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Design a catalog of rectangles 5 of 12
Immersive imagery
A huge, nearly wall-to-wall photo illustrates the product in its environment. This
technique is effective because its immersive; its how we experience real life.
Small and big The huge photo does the heavy work; the small, side image is an extra.
Oversize text serves here as
a caption, aligned right to tuck
into the corner. Type like this
is valuable because its visible
and brief, so most readers will
read it rst. With careful edit-
ing, these captions can carry
a themeeven a second story
linethroughout the catalog.
Text-on-black theme from the opening spread is brought forward . . . . . . and onto subsequent spreads.
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Design a catalog of rectangles 6 of 12
Big viewing, light reading
Repetitive spreadsbig photo and caption, small textpresent life-size vignettes
of Segways world. In this section, the catalog is setting up the reader by helping him
visualize usingand enjoyingthe product.
Place oversize text in the corner
The caption can go in any corner; look for the
smoothest, clearest backdrop. Its distance from
the edges should remain constant, too. The cap-
tion can be black or white, whichever has the
more pleasing contrast.
Reverse the layout
Black text column can
change sides without
changing the look. The
small photo size should
stay constant.
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Design a catalog of rectangles 7 of 12
Show the product
Product pages show the machine in detail. Pure white eld removes all distractions,
then descriptive callouts take the reader on an item-by-item tour.
Big and clear Shoppers like to touch stuff, look
it over, think about it, so the more lifelike a product
appears, the more successful it will be. Photograph
an angle that shows everything well, then make the
picture BIG. Here, gray type and cool, rectangular
hairlines are beautifully minimal. Note the com-
plete absence of adornmentno lls, shadows, ital-
ics, colors, nothing to take away from the product.
Shadowed against pure white, the black i2 rect-
angle stands out with startling clarity.
Caption size of the half-spread photo is
smaller to retain its proportions to the others.
Light typeface Oversize paragraph is low-key gray. Only the headline is black. Sublime.
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The look in triplicate
Packages spread shows three products; each small module contains all the
elements of the large ones. Lead paragraph and mid-page headlinethis time
on whiterecall the design of the opening spread.
Same three elements, smaller space, same look
Once youve established a look, stay with it. In this section,
the catalog restructures and reduces the look of full-size
sections into smaller spaceslead paragraph, environ-
mental photo, product photo and rectangular callouts all
are here. Type styles, sizes and colors remain the same as
before. Very strong continuity, beautifully done.
Crop uniformly Left, photos that are
almost the same should always be cropped
the same. Here, heads and wheels align.
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Versatile rectangles
Accessories section contains products of varying sizes, shapes and caption lengths.
Rectangles do a good job of holding it all together. Careful alignment is key.
Bend the rules
Photos of uneven proportions require un-
even columns, which is not ideal, but rect-
angles make it fairly easy to sustain the look.
Wherever possible, align your images all the
way across or all the way down a page, as
shown at right in blue. For exibility, captions
can go beneath or beside their photos.
Even columns Uneven columns
Across the page Down the page
Captions beneath Captions beside
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Mind the details
Consistent typography, irregular interrupters and gray space llers keep the spread
lively and the design exible. Gray type recedes, keeping the products center stage.
Visual interrupter
The irregular shape of the
shirt provides visual
relief from the rectan-
gles. Note its differ-
encesit interrupts
the border, bleeds to
the edge, and is shad-
owed for depth.
Space ller
White text in a gray eld
is both space ller and
advertisement. These can
go anywhere.
Reverse the value
Rectangular gray bars neatly
head each subsection. Con-
tinue the same typeface; just
reverse its value to white on
gray. Note the larger head is
in the lighter typeface.
Across
Across
Down
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Design a catalog of rectangles 11 of 12
Article resources
Typefaces
Four styles of Benton Sans Condensed
are used in this product catalog:
Benton Sans Condensed Book
Benton Sans Condensed Regular
Benton Sans Condensed Medium
Benton Sans Condensed Bold
Credits
Segway, Inc. & Saltworks, Inc., Designers
Bob Carey, Photographer
Special thanks to Segway dealer
Norris Rancourt of Carmichael Honda
in Carmichael, California (www.car-
michaelhonda.com) for giving us the
extended demonstration.
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Design a catalog of rectangles 0661 12 of 12 | Printing formats
Design a catalog of rectangles 12 of 12
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
323 Lincoln Street, Roseville, CA 95678
Telephone 916-784-3880
Fax 916-784-3995
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www http://www.bamagazine.com
Copyright 2007 Before & After magazine
ISSN 1049-0035. All rights reserved
You may pass along a free copy of this article to others
by clicking here. You may not alter this article, and you
may not charge for it. You may quote brief sections
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