Good Examples of Bad Design

WITH DAVE FLETCHER :: JUNE 10, 2002

:: JUNE 10, 2002

BOOK I
FLETCHER
DAVE
WITH

WHERE BAD D3SIGN
COMES FROM

1. LEGAL RED TAPE.
:: JUNE 10, 2002

• When corporate lawyers get involved with
contracts, problems arise.
FLETCHER
DAVE
WITH

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
• Testing proves how the audience feels at
that moment.
FLETCHER
DAVE
WITH

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
111. TOO MANY COOKS IN THE KITCHEN
FLETCHER

• How many design team members does it
DAVE

take to screw in a lightbulb?
WITH

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
FLETCHER

1v. LACK OF INFORMATION
DAVE

• Get as much from a client as possible
WITH

before starting a project.

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
FLETCHER

DAVE

v. TOO MUCH INFORMATION
WITH

• Loading up an advertisement with words
will not make a client read it.

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
FLETCHER

DAVE

WITH

v1. BAD CHOICES
• Fonts, Colors and Legibility must be
consistent with a targeted audience.

1. LEGAL RED TAPE.
:: JUNE 10, 2002

11. FOCUS GROUPS
FLETCHER

DAVE

WITH

v1. BAD CHOICES
v11. FEAR OF FAILURE
• Never be afraid to fail. It happens to
everyone, and you'll learn from it.

:: JUNE 10, 2002

BOOK II
FLETCHER
DAVE
WITH

IN THE BEGINNING
THERE WAS A PAST
1.THE CODE OF HAMMURABI

“If a builder builds a house
:: JUNE 10, 2002

and does not make
its Construction ﬁrm,
FLETCHER
DAVE
WITH

and the house which he has built collapse
and cause the death of the owner of that house,
that builder shall be put to death.”

:: JUNE 10, 2002

BOOK II
FLETCHER
DAVE
WITH

IN THE BEGINNING
THERE WAS A PAST
2.FAILED DESIGN

:: JUNE 10, 2002

BOOK II
FLETCHER
DAVE
WITH

IN THE BEGINNING
THERE WAS A PAST
3.WHAT IS BAD WAS GOOD

THE DEVIL'S IN THE DETAILS
:: JUNE 10, 2002

Here's how to smoke all you want-
If you really enjoy smoking, yet feel you smoke
too much, you don't have to cut down and
deprive yourself of smoking pleasure!
FLETCHER

Follow the lead of thousands of others - switch
to new Julep Cigarettes. Smoke all you want
DAVE

without unpleasant symptoms of oversmoking! A
smoking miracle? Yes, it's the triple miracle of
WITH

mint.

(1) Your mouth doesn't get smoke-weary!

(2) Your throat doesn't get that harsh, hacking
feeling!

(3) Your breath avoids tobacco-taint!

Get Juleps today - get more joy out of smoking!

:: JUNE 10, 2002

“That Design
is for the Birds.”
FLETCHER
DAVE
WITH

PAUL RAND
(1914–1996)

:: JUNE 10, 2002

BOOK III
FLETCHER
DAVE
WITH

FAST FORWARD
TO THE PRESENT
1.WEBSLIGHTS


where did it all go wrong?

iDNA
intelligent dynamic network aesthetic

European Business Forum
iDNA prototype v1.0

iDNA ARTIFACT IS ©2k METHODFIVE, ALL RIGHTS RESERVED

The increasing level of competition in virtually every industry has forced company decision-makers to
pinpoint new methods of gaining a market advantage. As a result, more businesses understand the value
of integrating strategic design decisions with their products, marketing efforts and identities.
Communication design is becoming as important a competitive business edge as manufacturing, product
selection, quality, pricing or distribution channels.

Effectively designed communication establishes vital links between a company and its target audience. As
technology progresses and becomes more infused in the everyday world, businesses are presented with a
growing number of options for developing these links. Because of all the media available, and the surplus
of messages aimed at every audience, it is crucial that communication be effectively designed.

As a leading design agency, methodfive determines a client’s message and chooses the most effective way
to transmit that message. Whether spoken, felt, heard or read, it is a matter of transforming intangible
ideas into tangible objects. Interactive media, the Internet in particular, is exciting because it allows for the
creation of lush environments, which encourage and reward participation. The objects of these
environments are more than just a lexicon of sounds, colours, forms and spatial arrangements that define
the circumstances surrounding the individual - they are the vehicles for encounters and confrontations.
Understanding this is crucial to the success of designing in the digital age.

The media thinker and author, Marshall McLuhan explains in his seminal book, The Medium is the
Message, that: “the vested interests of acquired knowledge and conventional wisdom have always been
by-passed and engulfed by new media.” This observation strikes to the heart of the designer’s
contemporary dilemma. One who is trained in the correct methods of professional photography,
illustration, graphic and typographic design but who lacks the experience of applying design principles to
an interactive environment is continually ambushed as technological innovations and new creative
directions challenge conventional wisdom.

All too often, switched-on designers focus too heavily on exploring design as it relates to an interactive
environment such as the Internet. It is imperative that new media designers understand that man is the
actual medium of expression, not the tool he elects to use as a means. Results alone should be appraised;
the way in which these are achieved is of importance only to the designer. To the extent that the completed
design realizes depth of understanding, uniqueness of viewpoint and vitality of presentation, will the user
respond and participate in the experience.

from
DesiGn in the DigItal Age -by anthony shafto, art director:methodfive UK

iDNA


Page layout
Establish Visual Hierarchy

Internet users seek clarity, order, and trustworthiness in a websites diverse information
sources. The spatial organization of graphics and text on an a Web page can engage the
user with graphic impact, direct the user's attention, prioritise information, and make the
user's interactions with the website more enjoyable and more efficient.

The primary task of graphic design is to create a strong, consistent visual hierarchy, where
important elements are emphasized, and content is organized logically and predictably.
Graphic design is visual information management using the tools of layout, typography, and
illustration to lead the eye through the page. Visitors see pages first as large masses of
shape and colour with foreground elements contrasted against the background field. Only
secondarily do they begin to pick out specific information, first from graphics if they are
present, and only afterward do they start parsing the "harder" medium of text and begin to
read individual words and phrases.

Thus the overall graphic balance and organization of the page is crucial to drawing the
visitor into your content. A dull page of solid text will repel the eye as a mass of
undifferentiated grey, but a page dominated by poorly designed or overly bold graphics or
type will also repel sophisticated users looking for substantive content. website design
demands an appropriate balance that attracts the eye with visual contrast.

organized

iDNA


Page layout
Create Visual Balance

Graphic design creates visual logic, an optimal balance between visual sensation and
graphic or text information. Without the visual impact of shape, colour, and contrast, pages
are often graphically boring and will not motivate the viewer to investigate their contents.
Dense text documents without the contrast and visual relief offered by graphics and careful
page layout and typography are also more difficult to read, particularly on the relatively
low-resolution screens of current personal computers. However, without the depth and
complexity of text, highly graphic pages risk disappointing the user by offering a poor
balance between visual sensation, text information, and hyperlinks.

In seeking this ideal balance, the primary graphic design constraints in Web pages are the
vertical, list-oriented structure of HTML as seen in current Web browsers, and the practical
bandwidth limitations on user access rates which runs the gamut from 14.4 to T1 (a
connection speed of 28.8 has been identified as the standard against which all design and
build will be measured). Visual and functional continuity in EBF's site organization,
graphic design, and typography is essential to convince users that the site offers them
timely, accurate, and useful information.

A careful, systematic approach to page design will simplify navigation, reduce errors, and
make it much easier for users to take full advantage of the information and features of the
EBF site and will also make it much easier for the maintenance team to manage and update
the site.

organized
balance

iDNA


Page layout
Direct the Eye

In the West readers of English read from left to right, and from the top of the page to the
bottom. This fundamental visual axis dominates most design decisions, and is the basis for
most conventional graphic design of print publications. In page layout the top of the page is
always the most dominant location, but on Web pages the upper page is especially
important, because the top four inches of the page is all that is visible on the typical 14 to 16
inch monitor.

Avoid Graphic Distractions

The EBF design must avoid complex graphic embellishments. Horizontal rules, graphic
bullets, icons, and other visual markers have appropriate uses, but should be applied
sparingly to avoid a patchy and confusing layout. The tools of graphic emphasis are
powerful, and should be used only in small doses for maximum effect.

organized
balance
direction

iDNA


Page layout
Be Consistent

EBF's design should establish a layout grid and a style for handling text and graphics and
then stick with it to build a consistent rhythm and unity across all pages of the site.
Repetition with purposeful intent is not boring; it will give the website a consistent graphic
identity that reinforces a distinct sense of "place," which makes the visitors’ experience
more memorable. A consistent approach to layout and navigation will allow visitors to
quickly adapt to the design, and to confidently predict the location of information and
navigation controls across the pages of the site.

There is no single design grid system that is appropriate for the EBF site. The first
consideration in the project is to establish the basic layout grid for the site’s pages. With this
graphic "backbone" design establishes how the major blocks of type and illustrations will
regularly occur in the pages, and set the placement and style guidelines for major screen
titles, subtitles, and navigation links or buttons. It isn't possible to predict how every
particular combination of text and graphics will interact on the screen, but it is important to
examine layout "sketches" against both the most complex and least complex pages.

The goal is to quickly establish a consistent, logical screen layout, and one that allows the
site’s editorial staff to quickly "plug in" text and graphics for each page. Without a firm
underlying design grid, page layout will be driven by the problems of the moment, and the
overall design of the site will look patchy and visually confusing.

organized
balance
direction

iDNA
rhythm



eBf
"The European Business Forum is an influential,
Euro-centric source of debate, knowledge and
information, which enable senior and aspiring
(business) decision takers worldwide to gain
competitive edge in the emerging global
marketplace."

...and it is more >>

iDNA


The publishing vertical is perhaps the most difficult and dangerous online venture. Nicholas Negroponte,
head of the MIT Media Lab, has reasoned that the internet is causing a shift from atoms to bits. As digital
information separates itself from various media and begins to disseminate across networks in its purest
form, we find that the economic model for the entire publishing industry no longer applies. Information
was once valued in part because of the media to which it was bound. The digitization of information has

iDNA
liberated it, and consequently left us in the disoriented state of questioning how to value information alone.

The challenge of publishing online revolves around providing information that is more relevant and
concise. Inevitably, the question of interface arises. No other element of an application can more
powerfully assist or impede a user’s attempt to not merely receive, but absorb information. Finding an intelligent dynamic network aesthetic
equilibrium between minimizing a user’s attention and time, and maximizing the precision and quantity of
the information is the key to successful online publishing.

State oF the enVIronMent

authority
intelligence


"competitors are never enemies. They
"competitors are never enemies. They
are unknowing educators.”
are unknowing educators.” D@ve Fletcher, Creative Director:methodfive

methodfive believes the key to any online initiative is a detailed analysis of our
client’s competition. It is the valuable data gathered from this research,
including detailed color palettes, common navigational elements, and industry
trends, that steer our methodology in the creation of something that exceeds
our clients' expectations.

iDNA

iDNA DOCUMENT IS ©2K METHODFIVE, ALL RIGHTS RESERVED

FORRESTER
• Forrester is a leading independent research firm
that analyzes the future of technology change and
its impact on businesses, consumers, and society.
The website uses a standard left-side navigational
structure with an emphasis on both client and guest
logins.
• The homepage features a very compartmentalized
content area area which is graphically and
structurally powerful. Important links are easily
identified and persuasive in their subtlety. Adding to
the persuasiveness of the homepage is the calm
color palette. The user enters the site and is
immediately not overcome by the amount of
information that is available.
• Essentially, Forrester is a site which requires
subscriptions for most of the available content. A
guest login account will remain active for 90 days to
allow the visitor to discover the relevance of the
content before subscribing. ( see gravity well )
The large, organic circle frames links to research
polls and visitor input. The circular image breaks up
the strict division of space with an organic touch.

primary secondary

palette [primary]

The primary color palette for the Forrester
site combines natural, casual pastels with a

iDNA
touch of vibrant orange highlight. The
mood created is very calming and skillfully
creates a balance between tasteful and
inviting.



page title
LOGO headline date LOGO

FORRESTER login login
advert join content advert

navigation
secondary
nav
• The elements of the secondary pages remain
news information
relatively consistent. All navigational elements
remain, with the addition of secondary navigation

navigation
interaction

which appears directly under the chosen section. join
• Content is spaced out appropriately, and the white timely info mission
empty space to the right creates a more direct focus
join
to the secondary navigational elements. join upcoming events
• The headline from the homepage is replaced with employment search
a section header, simply giving another point of
focus of location to the visitor. statement

• A most interesting point is that the number of copyright

navigational elements and repetition of links is
understated by the simple spacious nature of the
site. The site never feels crowded to the eye, yet inquiries

features plenty of worthwhile content.

contact

primary secondary

palette [secondary]

The secondary palette follows the
homepage colors with a minor shift. White

iDNA
is introduced as a main background color to
first, support printing of information, and
second, to allow the eye to focus on the
appearance of secondary navigation at the
left. The overall feel of the site remains
consistent.


TheStreet.com
• TheStreet.com: Sly, irreverent, to the point.
TheStreet is a site which features plenty of
content which is valuable to the Wall Street
Banker, CEO or casual day trader.
• Immediate focus is given to the number of
images used to represent regular columns.
And available links to content are rendered in
a high contrast color for secondary focus.
• The navigation forces the audience to scroll,
yet the content is incredibly dense and without
focus. There are too many hyperlinks, making
it difficult to pinpoint pertinent information.

primary secondary

palette [main]
The same palette is used throughout the
site, whether the visitor is at the homepage
or within interior pages. Simple colour

iDNA
shifts would have given the visitor a clearer
picture the different areas. Perhaps even a
subtle colour shift between paid and free
areas would have been appropriate.

The palette is made of neutral, non-
intelligent dynamic network aesthetic offensive tones. The main highlight is the
green colour within the navigation playing
off of the logo. Dull, tans/yellows fill the
background and subsequent content
navigation areas. They give the site a
simple, implied dignity. The green alludes
to money and the red is a nice complement
to highlight the subscription area.

iDNA DOCUMENT IS ©2k METHODFIVE, ALL RIGHTS RESERVED

advert

TheStreet.com
subscription logo subscription
logo inquiry inquiry
date phone date phone

paid main paid
navigation story navigation

• Advertising is kept to a minimum and is toolbox/ toolbox/
quotes
markets quotes
mostly restricted to the right column. Both self [free content]

and outside advertising co-exist, creating color

top-level navigation

top-level navigation
free free
navigation navigation

harmony between the advertising and the self-
advert

content. search
featured
search advert

• The use of a columnar layout, in combination breaking news
[free content]
commentary
[paid content] advert self-
with the density of information creates a sponsored
area
sponsored
area
advert

cascade, assisting the user's attention in
moving down the page. Noting immediately subscribe
community
subscribe
FAQ

what content is free and what is premium is community content self-
also extraordinarily useful to the user and a advert
legal/info/
advert

good use of information to pull the user into a legal/info/
policies
policies

relationship. advert advert

• The frameset at the bottom of the page, self-
news & analysis
which contains a stock ticker, visible advert community
[paid content] chat

throughout the experience at TheStreet.com is advert

an appropriate use of frames to give the user a advert

consistency of needed content.
advert

finance featured
[free content] commentator
[paid content]

featured
commentary list
[paid content]

main stocks in frameset main stocks in frameset

primary secondary

palette [main]
The same palette is used throughout the
site, whether the visitor is at the homepage
or within interior pages. Simple color shifts

iDNA
would of given the visitor a clearer picture
the different areas. Perhaps even a subtle
color shift between paid and free areas
would have been appropriate.

The palette is made of neutral, non-
intelligent dynamic network aesthetic offensive tones. The main highlight is the
green color within the navigation playing
off of the logo. Dull, tans/yellows fill the
background and subsequent content
navigation areas. They give the site a
simple, implied dignity. The green alludes
to money and the red is a nice complement
to highlight the subscription area.


FASTCOMPANY
• FastCompany is an online companion to the
printed publication. The magazine writes
about the new economy and workplace for
people who believe in fusing tough-minded
performance with human values.
• Confusion of interface values is apparent
with a sloppy, double navigation structure
which follows neither a decided order or
reasonable repetition. Some elements are
carried into the left and right navigation are
also available at the top. The inconsistency of
available navigational elements causes a level
of confusion. Additionally, as graphical
elements, the navigation suffers from
inconsistent implementation as well.
• The absence of a banner on the homepage is
refreshing, with both internal and external
advertising placed on the left and right side in
small, unobtrusive boxes.
• Content is organized in a compartmentalized
newspaper format; the main story leads at the
top with features and community cascading
into links and quotes. The links help to
differentiate the online product from the
printed publication. The separation of orange
to white columns creates focus on the content.
primary secondary

palette [primary]

FastCompany online follows the color
palettes defined by the printed publication.

iDNA
The serious, deep red creates a dynamic to
the lighthearted combination orange and
whites. The orange and red stick to the
warm side of the tonal scales. The colors of
the navigational elements (see top
navigation) are so severely in competition
with the color palette, they create
distraction. Sticking with variances of the
initial palette would be more appropriate.


LOGO NAVIGATION BANNER AD

LOGO NAVIGATION

FASTCOMPANY INTERNAL
ADVERT

MAIN
INTERNAL
ADVERT

FEATURE
• The secondary pages of fastcompany lose the NAVIGATION
NAVIGATION
NAVIGATION
NAVIGATION
PRINT SECTION CONTENT
left and right navigation of the homepage and NAVIGATION
NAVIGATION
NAVIGATION
NAVIGATION
INFO
divide into a two column format. The left
section is reserved for placeholding more ADVERT ADVERT

COMMUNITY
advertising and confusing imagery. INTERNAL INTERNAL
• Colors change to match the colors associated ADVERT ADVERT

with the top navigation in every instance with INTERNAL
ADVERT

the exception of << THEMES >>. Consistency

DISCUSSION
EMAIL FEATURES
is overlooked and sets the tone of "amateur"

ONLINE
CAPTURE

throughout the experience.
• The use of white within content areas in
secondary pages continues the "white signifies ARCHIVE
FEATURE
content" theme throughout the site.
• Stylized artwork mixed with photographic
LINKS
elements looks unprofessional in the
secondary pages.
• Frequently Asked Questions are buried
within the legal footer hyperlinks, and feel like
QUOTES
an afterthought.

PRINT OPTION
LOGO NAVIGATION
LEGAL LOGO NAVIGATION
LEGAL

primary secondary

palette [secondary]

The variance of color from page to page at
the secondary level is worth noting,

iDNA
because when implemented properly, can
be successful in branding pages unto
themselves. When the user returns, they
become familiar with a particular color
combination of a navigational element. No
matter how large the site becomes in the
future with addition of other navigational
elements, the user can intuitively define
where they want to go with minimum
effort.


thestandard.com
• TheStandard is the online version of the
Industry Standard publication, and functions as
an up-to-date news resource for the internet
business community.
• Curved boxes serve as a departure point from
the strict-edged column structure of the printed
publication. However, this "organic" approach
fights with the angular online logo (upper left of
page), leaving the logo feeling like a secondary
thought. This becomes a barrier to the realization
of a well branded site.
• The use of a subdued yellow (a color choice
from the actual publication) within the logo
creates an accent that should be reiterated as an
accent to important articles or sections. Again,
this is a lack of branding consistency, and a
failure to relate the site to the print magazine.
• Content may or may not be organized by
immediate relevance due to the lack of date or
time of posting for individual articles.
• Advertising is carefully separated with self-
advertising located below the main navigation
and industry relevant advertising located to the
right.

primary secondary

palette [primary]

TheStandard's color palette is a reflection
of the magazine. Casual, classic colors with

iDNA
a cerebral gray background denotes
intelligence mixed with a laid-back
comfortable atmosphere. The soft yellow,
used as an occasional accent to articles
within the printed publication is present
only in the online version of the logo. The
which displays compartmentalization
without a focus on its relevance to the
internet economy.


logo advertising logo advertising

thestandard.com search
personalized navigation
date
search
personalized navigation
date

• The navigation, expanded at the homepage main
level, becomes condensed at the secondary top advert navigation
top advert
news [condensed]
news/
articles
levels showing only select elements of the
subsection menu. It would seem that a color main
coding of individual sections would have navigation

allowed the secondary levels to be present at opinion
posts
special self-
all interior levels. DHTML may have been reports advert advert
[subscribe]
advert

utilized to shorten the main navigation with
pull-out subsections if space was an issue.
• The color choices at interior levels is directory job
recruitment
opinions/
Related Links
inconsistent. Some subsections feature the
same colors, while others feature radical shifts self-
advert
self-
in secondary colors. advert
[subscribe] events
special
reports
• The intelligent Industry Standard charts are
missed at the homepage level. While too many
charts become an unecessary distraction,
daily metric
TheStandard online missed an opportunity to
highlight the Metrics which are a major point self-
advert
of interest in the printed publication.
• The Personalized navigation takes the visitor
to an inconsistent series of pages. They lack
the main navigation areas of the content pages
located within the left column advert advert

footer footer

primary secondary

palette [secondary]

TheStandard's secondary palettes become
inconsistent as the visitor explores the

iDNA
sections. Some sections feature a radical
color shift (see events section). Others
feature the same palettes as the homepage
while others have a slight variance in color
(purple to blue). The most alarming
inconsistency within the palettes is the
varied colors within single sections. In
companies, for example, green is the
highlight for one subsection, while blue is
the highlight for another subsection.
It is this lack of coordination between
sections which, ultimately, will confuse the
visitor to TheStandard.


:: JUNE 10, 2002

Marketing Misfires
FLETCHER

Coors translated its slogan,
DAVE

"Turn it loose," into Spanish,
WITH

where it was read as

"Suffer from diarrhea."

:: JUNE 10, 2002

irritating information architecture.
FLETCHER
DAVE
WITH

Step 1.
: enter the site.

:: JUNE 10, 2002

FLETCHER
DAVE
WITH

Step 2.
: navigate.

1. Don't assume that an underaged drinker
will not figure out a date that will give them
:: JUNE 10, 2002

access to your site.

FLETCHER

2. What “secret” drinking information could be
provided on coors.com that an underaged kid
DAVE

could find out?
WITH

Step 3.
: re-verify your age?

:: JUNE 10, 2002
FLETCHER
DAVE
WITH

Step 4.
: Read an ad about
the dangers of underage drinking.

:: JUNE 10, 2002
FLETCHER
DAVE

http://www.johnsonandjohnson.com
WITH

“It is our job as designers
to create effective representations
:: JUNE 10, 2002

of information
for human consumption.”
FLETCHER

JEF RASKIN (INVENTOR OF THE MACINTOSH)
DAVE
WITH


Top Half of Site.


(navigation)
Bottom of Site.


Et Tu, Dio?

:: JUNE 10, 2002

BOOK III
FLETCHER
DAVE
WITH

FAST FORWARD
TO THE PRESENT
2.TOO MUCH INFORMATION


36 Cars.

1 3 #12 Jeremy Mayfield Ford Mobil 1 185/10 200 Running $111,580

2 1 #24 Jeff Gordon Chevrolet DuPont 175/5 200 Running $79,500

3 9 #88 Dale Jarrett Ford Quality Care/ Ford Credit 170/5 200 Running

$62,220

4 28 #99 Jeff Burton Ford Exide Batteries 165/5 200 Running $49,080

5 6 #6 Mark Martin Ford Valvoline 160/5 200 Running $40,645

6 18 #1 Darrell Waltrip Chevrolet Pennzoil 155/5 200 Running $28,725
:: JUNE 10, 2002

7 14 #50 Wally Dallenbach Chevrolet Budweiser 151/5 200 Running $34,575

8 11 #3 Dale Earnhardt Chevrolet GM Goodwrench Service Plus 147/5 200

Running $34,625

9 15 #40 Sterling Marlin Chevrolet Coors Light 138/0 200 Running $23,825

10 34 #23 Jimmy Spencer Ford Winston 134/0 200 Running $41,975

11 36 #28 Kenny Irwin * Ford Texaco/ Havoline 130/0 200 Running $33,175

12 12 #5 Terry Labonte Chevrolet Kellogg's Corn Flakes 127/0 200 Running

$32,025
FLETCHER

13 19 #43 John Andretti Pontiac STP 124/0 200 Running $31,425

14 29 #21 Michael Waltrip Chevrolet Citgo 121/0 200 Running $27,575

15 23 #18 Bobby Labonte Pontiac Interstate Batteries 123/5 200 Running

$31,675
DAVE

16 32 #77 Robert Pressley Ford Jasper Engine's/Federal-Mogul 120/5 200

Running $20,275
WITH

17 8 #16 Ted Musgrave Ford PRIMESTAR 112/0 200 Running $25,825

18 35 #11 Brett Bodine Ford Paychex 114/5 200 Running $25,525

117.801 mph


Cheap Beer.

:: JUNE 10, 2002
FLETCHER
DAVE
WITH

Cheap Beer.
(sorry Anheuser-Busch...)


Too much information.

Coast Guard
:: JUNE 10, 2002
FLETCHER
DAVE
WITH


Coast Guard 3M
:: JUNE 10, 2002
FLETCHER
DAVE
WITH


Coast Guard 3M Penzoil
:: JUNE 10, 2002
FLETCHER
DAVE
WITH


Coast Guard 3M Penzoil Prestone
:: JUNE 10, 2002
FLETCHER
DAVE
WITH


Coast Guard 3M Penzoil Prestone GoodYear
:: JUNE 10, 2002
FLETCHER
DAVE
WITH


:: JUNE 10, 2002

76
FLETCHER
DAVE
WITH


:: JUNE 10, 2002

76 Moog
FLETCHER
DAVE
WITH


:: JUNE 10, 2002

76 Moog Quaker State
FLETCHER
DAVE
WITH


:: JUNE 10, 2002

76 Moog Quaker State True Value
FLETCHER
DAVE
WITH


:: JUNE 10, 2002

76 Moog Quaker State True Value GMAC
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


Blah
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


Blah Blah
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


Blah Blah Blah
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


Blah Blah Blah Blah
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


Blah Blah Blah Blah Blah
FLETCHER
DAVE
WITH


:: JUNE 10, 2002


FLETCHER
DAVE

Blah
WITH


:: JUNE 10, 2002


FLETCHER
DAVE

Blah Blah
WITH



Designed for confusion.


The Land of Confusion.

Good Examples of Bad Design

Recommended

Recommended

More Related Content

Featured

Featured (20)

Good Examples of Bad Design