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 Digitized by the Internet Archive
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httos://archive.org/details/artdirectioneditO000zapp
THE FACE No: SO
 YOLANDA ZAPPATERRA

ART DIRECTION
+ EDITORIAL DESIGN

Abrams Studio

Abrams, New York

Editorial design
Il
Anatomy of
AB
Creating layouts
and its objective a publication Principal components of alayout 74

What is editorialdesign? 6 Branding and identity 28 Determining factors in layout construction 90

The different forms of editorialdesign 7 The cover 29 Harmony and discord 104

The people who make it happen 12 Inside the publication 47 Style—what is it, how do you get it,

The tempo and deadlines 21 The role of copy 60 how do you deliver it? 108

The evolution of the printed page 23 Image treatment 66 How to convert inspiration into a layout 113

IV
Essential design skills Looking back, Additional material
Page preparation and grids 117 looking forward Mini biographies 194

Choosing and using type 128 Looking back—motivating and underlying Type foundries 196

Artwork skills and production issues 141 principles 160 Glossary 198

Acquiring, evaluating, and using images 146 Case studies—designers and publications 162 Further reading 202

Consistency without monotony 152 Looking forward 186 Index 205

Redesigning—when and why? 156 Photo credits 208

Acknowledgments 208
For Laurence King
Designers: Mark Holt and Corinna Farrow

For Abrams
Cover Design: Sarah Gifford

Frontispiece: Neville Brody, The Face no.50, June 1984

Typeset in ITC Garamond Book and ITC Officina Sans

Library of Congress Cataloging-in-Publication Data

Zappaterra, Yolanda.
Art direction + editorial design / by Yolanda Zappaterra.
p.cm.
Includes index.
ISBN-13: 978-0-8109-9377-8 (pbk.]
ISBN-10: 0-8109-9377-5
1. Graphic design {Typography} 2. Magazine design.
3. Layout (Printing) |. Title.

Z246.Z37 2007
686.2'252—dc22
2007015738

Copyright ©2007 Central Saint Martins College of Art & Design,

University of the Arts London

First published in 2007 by Laurence King Publishing Ltd.,

London, in association with Central Saint Martins College
of Art & Design.

Published in North America in 2007 by Abrams Studio,

an imprint of Harry N. Abrams, Inc.

Allrights reserved. No portion of this book may be reproduced,

stored in a retrieval system, or transmitted in any form or by
any means, mechanical, electronic, photocopying, recording,
or otherwise, without written permission from the publisher.

Printed and bound in China

IOV STE AS? 1

a ne A I \ et

harry n. abrams, inc.

a subsidiary of La Martiniére Groupe

115 West 18th Street

New York, NY 10011
www.hnabooks.com
his haat
 What is editorial design?
It is impossible to begin an examination of editorial design without first defining
what it is and how it differs from other forms of design. A simple way of defining
editorial design is as visual journalism, and it is this that most easily distinguishes
it from other graphic design processes such as marketing or packaging design,
which tend to be about promoting a single point of view or product.
An editorial
publication can entertain, inform, instruct, communicate, educate, or be a
combination of these things. It is usually a mix of text and images, but it might be
made up solely of one or the other. It is not unusual to have varying opinions in a
publication, although they tend to be from one school of thought—newspapers
are a good example of this. In this book, the focus will be largely—but not
exclusively—on periodical publications delivered on paper.

The aims and elements of editorial

The vast majority of editorial has at its heart the idea of communicating an idea or
story through the organization and presentation of visuals (including information
graphics and graphic devices such as rules) and words (arranged into display and
body text). Each of these fulfills a different function: In a magazine a headline will
usually have been written and laid out to grab the reader’s attention, while a
diagram will usually be there to clarify or support a point made in the body copy.

Design
Editorial
Direction
6Art
+ The function of editorial design
The design of editorial matter has many different functions, such as giving
Below Different types of publications have very expression and personality to the content, attracting and retaining readers, and
different looks: Everything from format, cover design, structuring the material clearly. These roles have to coexist and work cohesively
typography, and stock will be determined by whether
the title is a newspaper supplement such as FT The together to deliver something that is enjoyable, useful, or informative—usually a
Business (1), a newsstand weekly listings magazine
combination of all three if it is to succeed. At its very best, design for editorial is
such as Time Out (2), or a newsstand monthly such
as Paper Sky (3). an exciting and constantly evolving research lab and launch pad for stylistic

August 11-18 1993 No.1199 £1.40

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7 5177 2AFIN
Essential Edinbu:
Late ni
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mr don and mr george
‘Absolutely’ hilarious
Steve Reich
Music from ‘The Cave" A Differ ent‘Way tote,
> ravel
The British artworld
confronts the past

PORTUGAL
WINE
JOURNEY
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ROLLIE
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innovations that are often then enthusiastically taken up in many other areas of * Editorial design is the framework
visual communication. through which a given story is
But editorial design does something else, too: It acts as a vivid cultural snapshot read and interpreted. It consists
of the era in which it is produced.
The 1960s magazines Nova and Oz, for example,
of both the overall architecture
not only brilliantly evoked the visual vibrancy of the decade, but also captured the
of the publication (and the
spirit of an age that celebrated experimentation, innovation, and new directions.
logical structure that it implies)
and the specific treatment of the
The different forms of editorial design story (as it bends or even defies
If there is a pecking order in the status of editorial design, the highest position that very logic)./"
undoubtedly goes to magazines, newspapers, and supplements. The design of
MARTIN VENEZKY, ART DIRECTOR, SPEAK
online publications—both stand-alone titles and online versions of existing media
—as well as catalogues and books, are, of course, all technically forms of editorial
design, but our focus is on those periodical publications—magazines, newspapers,
and supplements—that set and dictate the trends for the rest to follow.

Newspapers
Harold Evans, editor of The Sunday Times from 1967 to 1981, wrote a series of
seminal books on newspaper editing, layout, and typography that are still used
in journalism schools. In Book Five: Newspaper Design, he said:

Below Although these are all newsstand titles, they

A newspaper is a vehicle for transmitting news and ideas. The design is
an integral part of that process. We begin with a blank sheet of newsprint
and a mosaic of ideas we want to communicate, and it ts the function
of newspaper design to present that mosaic in an organized and
comprehensible way. To do this, the newspaper designer uses text type,
display type, photographs, line work, white space, and a sequence of pages
in the most fitting combinations.
have an individual look, tone, and feel. This is in order
to convey effectively the brand’s message: Vanity Fair
(4) is an intelligent, lively monthly for people who
like to be connected with the current zeitgeist
through well-written, engaging content. By contrast,
Vogue Paris (5) is sure of its position in the market
and has no need to shout through cover lines, instead
offering shelf-shout through its imagery, for which it
is rightly famous. Weekly gossip title Heat (6), on the
other hand, is unsophisticated but fun and young.

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its
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7I:

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 Newspaper sizes
Broadsheet
Berliner
Tabloid
Although there are many other sizes for
newspapers (in particular, a number of
European newspapers publish in sizes
between a Berliner and a broadsheet),
the majority of papers worldwide use
Design
Editonal
Direction
8Art
+ one of three formats: tabloid, Berliner, or
broadsheet. Dimensions are as follows:
Broadsheet (or Nordic/Nordisch)
approximately 22 x 17 in (56 x 43.2 cm)
Berliner (or midi) approximately
18.5 x 12.4 in (47 x 31.5 cm)
Tabloid (also known as Half Nordic
or Compact) approximately 14 x 12 in
(35.5'x' 30:5.cm)
Opposite Independent magazines targeting niche
consumers, such as culture and style title Amelia's
Magazine, can afford to be bolder and more original
and individualistic than traditional consumer titles.
They tend to have fewer competitors, often sell in
outlets where there are fewer magazines on the
shelves clamoring for the potential reader's attention,
and have a much clearer sense of their readership and,
therefore, a stronger sense of how to communicate
with them. Design is to the fore.
This is probably as succinct and accurate a description of newspapers as
you will find anywhere. But Harold Evans didn’t have to contend with the
Internet and mobile media. The immediacy of these delivery media has now
forced newspapers to provide a different service to their readers, and required
designers to respond accordingly. As Mark Porter, creative director at The
Guardian, explains:
Many papers are now less concerned with simply reporting and more
with providing background, perspective, and interpretation. Rather than
just telling readers what happened, these papers now have to help them
understand the significance of events, and encourage them to think.
Design has to respond to this in a number of ways. As stories get longer
and more complex, rational and readable page layouts and typography
become increasingly important.
And visual journalism —intelligent use
of photography, infographics, and layout—has also become an essential
tool for editors.
Mainstream consumer magazines and newsstand titles
Check out a bookshop in New York or London, a newsstand in Barcelona, or a
magazine outlet in the Far East and you will find hundreds of consumer magazines
all screaming for the customer’s attention through a combination of their choice
of cover image, cover mounts, cover lines, brand recognition, and appeals to reader
loyalty. For a medium whose imminent death was widely predicted with the
growth of the Internet, the magazine market remains both international and
vibrant in its appeal, led by innovative publishers in what is still a massively
competitive arena. The majority of consumer titlkes—including women’s, men’s,
business, leisure, news, style, special interest, and microzines—can be broken
down further into different areas, interests,and genres, each with its own target
audience and often appearing in different regional editions, where they attract
that country’s leading design consultants.
Microzines
The worldwide appetite for not only consuming magazines but also creating
them seems to be insatiable, and nowhere is this more clearly visible than in the
rise of independently published microzines and special interest publications
(SIPs) catering to niche audiences worldwide, all hoping to offer consumers
something that the mainstream titles, in pursuit of huge circulation numbers,
don’t. Microzines are particularly interesting because, while their subjects and
content are as broad as their price, approach, and style, what they all share is
independence, which impacts on both their content and design.At one end is
the super-slick, ultra-stylish, and reassuringly expensive Visionaire, at the other
the fanzinelike, antidesign style of Arty. In between are thousands of titles that
hold visual journalism in high esteem.They are seen as a powerful force in
emerging graphic trends, crossing over into other areas such as art, architecture,
photography, fashion, and music.
 CSNce,,)
raes! VY NlZe fi
 Supplements
Below Using elements from parent titles for supplements When The Sunday Times launched a full-color glossy magazine with its
may seem the only way to ensure a brand is consistent,
newspaper in 1962, a whole new form of publishing was born. Supplements had
but international design consultant Mario Garcia
believes that “beyond placing the logo somewhere, been around in the U.S. since the end of the nineteenth century, but the sheer
supplements should have a life and identity of their own;
pizzazz, gloss, and production values of this new form of magazine made them an
readers are smart and will know the parent publication.
Supplement design should be adventurous, and the instant success. They quickly came to have a cachet and regard in design circles
typography more relaxed and not that of the newspaper.
Photos should be bigger, more color, better quality that matched those for the highest quality magazines, and in their forty-five-year
paper.” San Francisco Chronicle Magazine (1), (2) takes history they have attracted some of the world’s best designers, delivering some
this on board, with great use of full-page illustrations
and wide columns to differentiate its tone and style. Le of the world’s best editorial design. The need to brand and express a title as part
Figaro (3), (4) has color photos and delicate illustration
of a much bigger family—the newspaper it comes with, which has a particular
in its culture section, giving it a lighter feel than its
news counterpart, but keeping the brand’s attributes. tone, stance, and readership—yet give it a distinct identity of its own, is a

A SEROSORTING
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{Lalso allows for an intimacy
previously missing

Design
Editorial
Direction
Art
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|Profile: [iiZaNew York Times Magazine
Not to live (or die) by your newsstand blocks of text and drop caps that present
appealis a great position for aneditorial an element of discord in the harmonious
designer, but even better is to have a layouts), but also rewards them for their
ready-made reader who is culturally, effort with stunning imagery and layouts
intellectually, and visually literate...the that immediately draw them in through
reader of The New York Times newspaper, for the use of the design elements. For this
example. Art director Janet Froelich is in annual issue on design, the theme was
such a position on the newspaper's the roots of inspiration.
weekend supplement, and enthusiastically
concedes: “It’s such a huge pleasure to The New ork Cimes Magazine
have this reader, and not to be dependent
on newsstand sales. We are able to avoid Inspiration:
so much of the commercially driven, W heoS Does It Come I:rom?
celebrity-driven content of other By Arthur Luho

magazines.” In design terms this means

she is also able to play to the strengths of
such a reader, and says that while she has
“no proof of the role of design in reader
loyalty, [imagine it is huge. Design is at
the forefront of establishing a relationship
with the reader. It telegraphs the content,
spirit, and forward-thinking qualities of
the publication and gives the reader an
instant relationship with the spirit of the
magazine.” As can be seen here, the |
relationship fostered by Froelich is one Ns DWI
ral I
here> doesSCs me e On
from?

that makes demands ofits readers (big

The Shape of Jackets to Come

To create a new world of clothing, Olivier Theyskens started
with the gentlest of notions — anew silhouette
By Lynn Hirschberg

from the house Pap Rochas in early 2002, he was a little sur-
prised. Rochas was a lostfashion name, a company knawn
mostly for the creation of the guépiere (a | iegirdle
thar smoothed the curv ike Marlene ee h)
and, more enduringly, arrived in
pale pink box decorated in ax had
made clothes since 1990, they were not distinctive, “When they phonedto ask me tt] was inter-
ested in the job,” Theyskens (pronounced THIGH skins) said, calling from his atelier in Paris, “I
remembered the perftume and its box. t have a passionate relationship with black lace. My grand-
mother, whois French, would collect black lace for me asa child, Iwould save i NOW Te m=
der if my interest started with her Rochas box. I think
Thave that box in my as
The fashion world is full of moribund houses; companie: s that one ed,
from the efforts of a now-departed ¢ v peaived. Fendi was
reinvented by the success
of a handbag trom Karl Lager
feld! (at Chanel) to Ste ‘ and modernized
them, The mo: st vivid cxaniple of reinvigoration is Gucci, which was nearly dead when Tom
Ford took over 10 yearsiago. Ford created some beautiful clothes and accessories, but bis
Photograph by Teby McParlan Pond

The marketplace:
wnats out theres
Mi Each month, over 30 million copies
of magazines are bought through
subscription or newsstands in the U.S.
M@ In 2004 American magazines
numbered 18,821 titles.
IM The average American supermarket
carries 700 titles, and may have
300 to 400 of those titles on the
shelf at any given time.
Ml There are over 120 Asian-American
magazine titles published in the U.S.
fi In 2002 Germany saw 224 newsstand
launches and more than 200
customer magazine launches.
MM The U.K. has around 3,000
magazines, with about 200 of these
accounting for more than 90 percent
of the total sales.
(iM Each year in the U.S. around 1,000
titles are proposed, of which around
a third make it to a launch issue.
Design
Editorial
Direction
Art
12
+ as they seek to attract new readers. Customer magazines are interested
U.S. STATISTICS from the Magazine Publishers of
America and Audit Bureau of Circulations (ABC),
based on 2002 sales/circulation. U.K. STATISTICS
from Nielsen BookData.
44 Editorial design is the design
of publications—printed
magazines that come out
more than once, normally
having a look and a feel that
es é - |A
are distinctive and unique.”/
VINCE FROST, ART DIRECTOR, ZEMBLA
particularly exciting challenge for designers, who can experiment with elements
such as fonts, layouts, and formats with greater freedom than the designer of
newsstand titles. Add to this good budgets (because newspaper proprietors
know that readers will buy their paper if they particularly like the magazine
or supplement), and designing newspaper supplements becomes one of the
best editorial design jobs there is.
Customer magazines
Customer magazines are available exclusively to users of a particular telecom
network, digital TV package, store card, upmarket department store, or airline.
It used to be the case that a supermarket’s in-store magazine would be full of
nothing but special offers and recipes made from products available in the store,
but, increasingly, brand marketers understand that for a customer magazine to
work well, the content has to be informative and entertaining, and any brand
promotion subtle and understated. These dual needs mean that much more is
expected of a designer in customer publishing, maintains Jeremy Leslie, creative
director of John Brown Citrus Publishing:
There is little difference in terms of design skills, but much in terms of
strategy, thinking, and broader creativity. Consumer magazines need to
stand out on the shelf, but cannot risk alienating their existing audience
in standing out in every and any way they can. They have to demand the
attention of the reader in an appropriate way for the brand or service they
are promoting. So there is far more emphasis on ideas and conceptual
thinking—what can a magazine be?
The people who make it happen
Key to successful editorial design is the working relationship between the
designer and the editor, but equally important is the designer’s relationship with
the rest of the publication’s staff. The designer will often be second only to the
editor in the number of staff he or she interacts with on a daily basis.
Key staff in editorial
Depending on the type of publication, the size of the team, and how it has
been organized, the individual roles of the team may vary. But while a magazine
editor will probably have commissioned the bulk of the material to appear in
the publication, it is the art director, design director, or lead designer who will
be responsible for the way this is organized and presented to represent the
magazine’s identity.
It would take a whole book to explain the various roles and relationships of
everyone working on a newspaper or magazine, and these will also differ vastly
depending on the style, size, and circulation of a publication—an independent
magazine produced biennially will have staffing needs that are very different
from those of a daily newspaper. Here is a guide to the staff that an editorial “The best thing about working on
designer will almost certainly encounter and work most closely with over the a newspaper is the opportunity to
course of a career.
work with such a wide range of
incredibly intelligent and
Editor: ultimately responsible for the publication’s content. Works most closely
knowledgeable people. The worst is
with the art director and the tier of editorial staff immediately below him or her,
including features editor, picture editor,and production editor. the lack of control over the detail.
Most newspaper pages are not laid
Art director/art editor: responsible for the organization and ordering of all out by trained designers. This is
the content, including commissioned and in-house articles and all imagery, to very difficult for magazine-trained
a timescale set by the production manager or production editor. He or she art directors to adjust to!/ ”
commissions illustrators and, sometimes, photographers (see also picture editor,
MARK PORTER, CREATIVE DIRECTOR,
below). Works closely with his or her team of designers, the editor, picture editor,
GUARDIAN GRouP
studio manager, production manager, and section editors.

Production manager/production editor: oversees the physical compilation of

all the material by setting a production schedule. This works backward from
the publication date to determine receipt of copy and imagery, editing, subbing,
design schedules, and dates on which the sections need to go to the printer. The
production manager is also responsible for producing, updating, and circulating
the flatplan. Works most closely with the art department and the printer,
particularly in overseeing all special print requirements.

Chief copy editor, proofreaders: responsible for proofing and copy editing the
copy to ensure stylistic coherence, correct spelling, grammar, punctuation, etc.,
writing all display copy, rewriting any badly written copy, cutting excess copy,
and sometimes laying out pages. Works closely with the editor, art team, features
editor, and, depending on the structure of the particular editorial team, the
writing staff.

Picture editor: usually responsible for commissioning photographers and

objective
its
and
design
Editorial
I:
13
copyright clearing on imagery, but also, in conjunction with the art director
and editor, for ensuring the quality of photographic material used throughout
the magazine. Works closely with these individuals, but also with picture agencies,
photo libraries, and repro houses.

Designers: responsible for laying out the publication according to the art
director’s instructions.
The way designers work with their art director and how
much autonomy they have in laying out the material will be determined by a
number of factors, including levels of seniority, the working practice of the
particular art director (some like to be very hands-on and oversee every detail
of the publication; others are happy to delegate and sign off on pages once
they’ve been laid out), the ratio of staff to the number of pages, and the lead time
to publication—often, the shorter a lead time, the more responsibility will be given
to designers.
 Right, below, and opposite Two magazines published
by John Brown Citrus Publishing are Carlos (1), (2), for
first-class passengers of Virgin Atlantic, and M-real,
CARLOS
TSSUK FOAVTIUMN BOO

for paper specifiers, shown here with a front cover (3)

echoed by its inside front cover and contents page
(4). According to Jeremy Leslie, the group creative
director, “One of the problems faced by Carlos is that
its visual identity is so strong. This is its strength—
being easily recognized—but also its weakness; it
is defined as much by what it does not do [no
photography, no full color] as by what it does.
The rules are black and white, making it awkward
to develop and change. M-real faces the opposite
challenge. Every issue changes completely, with the
exception of the page size, the grid system, and a
diagonal corner pattern at the start of each feature.
These elements present a small level of familiarity,
while the majority of the design elements provide
newness. As before, this continual change becomes
familiar, becomes the identity.”

Design
Editorial
Direction
Art
14
+

ON
MPS
CLO
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FOP OS TAR

BOB DYLAN
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 What's fascinating about
magazines generally is their
organic nature; unlike books
or other print media they
are a constantly evolving
thing that changes slightly
with each issue.

JEREMY LESLIE, GROUP CREATIVE DIRECTOR,

JOHN Brown CITRUS PUBLISHING

PAGE 18

It’s all in the mind

| Now!
| CHECK IT OUT!
CLAIRE BEALE gives coma
S EB} ¢

=(Ne bestfeoledin bytheimitations.

market
objective
its
and
design
Editorial
I:
15
Don't be
| the lowdown on print WELCOME TO M-REAL It’sa jungle out there, soys
| odvertising today
COUNTRY. Whassup? Fae CONNOR

= |SUBVERT!
ADVERTISING ADOPTS THE
TACTICS OF REBELLION
KALLE LASN challenges
designers to revolt
against corporatism ond PAGE 36
STEPHEN ARMSTRONG I
looks at how those very ideas
have been incorporated into e
mainstream advertising

PAGE 10

CLASSIC. &
Images and words
 Che New York Gimes Magazine
NOVEMBER 9, 2003 / SECTION 6

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The Annual Movie Issue
Studio manager: not all publications have a studio manager, as the project Magazine content is basically
management aspects of the job mirror that of the production manager to some built around the idea that
degree. But a studio manager is a great facilitator to an art studio, acting as a
editorial breaks up the
coordinator and handling the everyday interaction between art studio, picture
advertising, which, for a lot
desk, and production. He or she ensures that everything is going according to plan
of magazines, is what it’s all
and is on schedule, and that all the differing elements that go to make up the page
layout are in place and as they should be. about: selling ads.

VINCE FROST, ART DIRECTOR, ZEMBLA

Writing staff (feature writers, reporters, commissioning editors): senior
writing staff will often have some initial input into layout discussions—
depending on the management style of the editor—to ensure that visual
treatment of the text is appropriate to the subject.

Advertising staff: depending on the type of publication, ad managers and

senior advertising sales staff can have an enormous impact on the magazine’s
look. It is not unusual for the advertisers to determine not only exactly
where their ad will be placed, but what editorial will be put next to it.
They therefore have a very real impact on the pagination and layout of
a publication.

What attributes should an editorial designer have?

Tibor Kalman once famously said that it is the job of the art editor to get the
editor fired if he or she believes the job is not being done properly. By this he
meant that an editorial designer should take as much interest in the content of
a publication as the editor, because designing a magazine is unquestionably an
extension of editing it. Both roles are creative ones that are rooted in and part
of a creative process, and how they function together will nearly always determine
the success or failure of an editorial publication.
So, if editorial designers should “become” editors, the converse is equally true,
and editors should “become?” editorial designers—or at the very least they should
understand each other’s attitudes, roles, and areas of expertise in order to build
objectiv
its
and
design
Editorial
I:
17
the necessary trust that creates a first-rate publication. All the great editorial
designers and editors have expressed this, some of them even bringing other
skills and backgrounds to the mix. Mark Porter, who designed Colors and Wired
before becoming design director of The Guardian newspaper, studied modern
languages rather than graphic design. Dylan Jones, editor of GQ magazine, but
also past editor of i-D magazine, The Face, Arena,and Arena Homme Plus,
trained as a graphic designer. Willy Fleckhaus, art director of the seminal 1960s Opposite For the cover of this movies issue of The
New York Times Magazine, editor Gerry Marzorati came
German magazine Twen, was a journalist. And David Hillman, Pentagram partner up with the idea of a ticket line comprised of several
and designer of New Statesman and Society and The Guardian newspaper, was of the high-powered celebrities featuring in that
year’s Hollywood movies. Says Times Magazine art
both art director and deputy editor on Nova. He has said,“Art direction isn’t director Janet Froelich, “It was a huge job to pull off.
about establishing a grid or styling a masthead, or even about a good-looking For reference, we looked at old movie lines from the
1930s and 1940s. We built the set and it was up to the
juxtaposition of image and text. In its best form, it involves the art director having photographer, Dan Winters, to find a way to light and
frame it so that it felt like a classic Hollywood scene,
a full and in-depth understanding of what the magazine says and, through design,
with all those narrative photographic values
influencing how it is said.” we associate with the heyday of the movies.”
|Profile: The Guardian
In 2005 the U.K’s The Guardian newspaper
became the first large-circulation British
daily to have front-to-back color,
something that its creative director,
Mark Porter, says was necessary because
“real life is in color, and in an age when
we are in competition with TV and the
Internet as news providers, it’s crazy to
attempt to do it without full color. That
is a twentieth-century approach which
readers found very frustrating.”
Unlike many of the U.K. broadsheets,
which have adopted a tabloid format to
respond to modern users’ changing needs
and relationship with their daily paper,
The Guardian's redesign incorporated a
move to a brand-new format—the Berliner
format used by Le Monde newspaper.
It’s not surprising that the newspaper is
forging its own path with a format that
Porter says “has a unique ability to
combine convenience for the reader with
serious journalism, a contemporary
approach to design, and the demands of
advertisers.” Its approach to design has
always been intelligent and forward-
thinking; in 1988 a radical redesign by
Pentagram’s David Hillman split the
newspaper into two sections, unveiled
a new masthead and, most importantly,
introduced the idea of “white space” to
newspaper design, a concept previously
restricted to magazines. “Everything
changed with the Hillman redesign.
It wasn’t just a new look; it was a whole
design philosophy, probably the first time
any newspaper really had one,” says
Porter. “The designers who followed
(Mike McNay, Simon Esterson, and myself)
have had a very strong set of principles
to work with,” he adds. These principles
were adapted in the 2005 redesign by
following Hillman’s own clear vision of
how a newspaper should work—a vision
“that was based not on journalistic
habits and traditions, but on sound
design principles.”

WHAT
LIES
BENEATH
Is she brilliant? Shallow? Anartist?
Abully? However you look at Anna Wintour,
she is more than just the editor
of American Vogue. In a rare interview, the
empress of fashion talks to Emma Brockes
Mark Porter
Mark Porter, creative director of The
Guardian, came to the paper in 1995,
having worked on Wired, Colors and other
magazines. His work has been recognized
in the U.K. and the U.S., and he has won
awards from British Design and Art
he ad
Simon Schama:
America will never
be the same again
G2 Pages
£0.60
Monday 12.09.05
red
guardian.co.uk
Backlash over
Blair's school
revolution
City academy plans condemned
by ex-education secretary Morris
An acceleration of plans to reform state
education, including the speeding up of
the creation of the independently funded
ity academy schools, will be announced
today by Tony Blair.
But the increasingly controversial
meddling” in secohdary education.
Im an article in tomorrow's Education
Guardian she writes: “Another round of
structural change won't by itsélf achieve
universally high standards. Worse than
that itcould beadistraction. In five years’
time, whose children will be going to
these new academies? Will choice and
market forces once again squeeze out the
children of the disadvantaged?”
Today, the prime minister will sry: “It is
not government edict that isdetermining
the fate of city academies, but parent
power. Parents are choosing city acade-
mies, and that isgood for me.”
He will also set out the future ofloca) Patrick Wintour and Rebecca
UK link to terror snatches
‘The United Nations ts investigating the
CIA's use ofBritish airports when abduct-
ing terrorism suspects and flying them to
prisons around the world where they are
alleged to have been tortured, The in-
quiry, led by Martin Scheinin, a special
Fapporteur from the UN Commission on
Human Rights, comes as an investigation
by the Guardian reveals the full extent of
the Britishk support. Aircraft used the MoD,” said one. “The air-
in the secret operations have flown into _craft use ourairfields.
the UK at least 210 times since the Sep-
tember
11terrorattacks. Foreign Office of- happen to bebehind thewire.”
fictals
haye denied allknowledge
ofthe Lan Cobain and Richard Norton-Taylor
National
War crimes suspect Judges may block _Israelitroopsleave
evades arrest
stamp the UK's human rights deals with
countries such as Jordan and Algeria, |occupation. Thousands of Palestinians {ors timited to 50%
‘on Saturday at Bow Street - Despite being ui
trates court, central London, allegest
Mr Almog committed war crimes 5) agreements, t
in the Gaza Strip In 2002 when he | willdemnand evidencethat
%
”~ ordered thedestruction
of$9Palestinian | surances are “worth the
= _ homes near Rafah.
Bd v @
education authorities as “commissioners
of education and champions of stan-
dards”, rather than direct providers.
The academies replace failing schools,
normally on new sites, in challenging
inner-city areas. The number of acade-
mies will rise to between 40 and 50 by
next September. Thismonth 10city acad-
‘omies started, bringing thetotal to27, and |
Mr Blair will insist the ment ison |
target to reach 200 by 2010. City acade-
mies have proved to beamong the most
hotly debated aspects ofhis public sector
reforms. The Commons education select |
committee has criticised them as divisive
and teaching union leaders have also de-
nounced the expansion ofan “unproven”
scheme.
However, this will not deter Mr Blair
who will point out that in the last |
academic year the proportion of
pupils receiving five good GCSEs 4)
in city academies rose by 8 per
cent, four times the national average.
secret flights, telling MPs on the foreign
affairs select committee that the ministry
has “not granted any permissions for the |
use of UK territory or airspace”,
and sug-
gesting
tothe Guardian that it was “just a
conspiracy theory” Privately, Ministry of
Defence officials admit that they are aware |
of the flights, and that they have decided |
to turn a blind eye. “It is nota matter for |
We don't 13>
ask any questions. They just
Law
|deportations
depors
by the home secre: gathered on roads leading to the settle: jue for sale, The League, meanwhile, is
tary to seaectuuocage) ments, reacly tostorm the rubble once the | resisting all attempts to remove its
iges say 6 last troops were gone, A 12-year-
theas-LO¥? | old boy was seriously wounded 17 | that clubs" finances wil be uo 26)
they’
ey're
{ written on®, ee
rv ee
Direction (D&AD) and the Society of design is, firstly, about making people
Publication Designers, New York. The fact want to read, and then about telling
that he did not study design, instead stories; most readers aren’t interested
reading languages at Oxford University, in design, and when they look at a page
lies at the heart of his approach, as he they should see ideas, people, and
explains: “I approach editorial from the places, not graphic design. It may also
reader's point of view. Good editorial be that having been to university makes
it easier for me to communicate with
editors, as they tend to share the same
INT
Chris Patten: background. Newspapers are full of very
How the Tories smart journalists, which is a constant
fay
\
°
This Section Page 32
intellectual challenge for me; if Ican’t
Lady Macbeth,
four-letter needle-
oie. s make a clear, convincing case for my
work and learning
from Cate Blanchett. design, then I will just get shot down.
Judi Dench in her prime
G2, page 22
Amy Jenkins: Languages themselves haven't been that
Theme generation useful in my work (apart from doing
is now in charge
G2Page2
projects overseas), but I believe that
design is a language too, and, like any
language, of no real value in itself; it
only becomes useful when you have
something worthwhile to say.”
Column five
The shape
of things
to come
‘elcometothe
Berliner
@uantttan, No,
we won't goon
calling it that
for long, and
yes, it’s an ined
| gant name.
We tried many altemuatives, related
| either to size or to the European origins
of the format. In the end, “the Berliner”
| stuck. But tn a short time we hope we
| can revert to being simply the Guardian.
| Many things about today’s paper are
National
| different.
Starting with the most obvious, the
page size is smaller. We believe the
| format combines the convenience of a
| tabloid with the sensibility of a broad-
sheet, Next mast conspicuousty, we City academies (eee
| have changed the paper's titlepiece and
headline fonts. Gone is the striking 80s are unstoppab le, Britain tolear
| David Hillman design — adapted over : ‘om the north
| | the years — which mixed Garamond,
Miller and Helvetica fonts. In their piace
says Blair phon tr
isa new font, Guardian Egyptian, which
és, we hope, elegant, intelligent and
| highly legible,
The next difference you may notice is
| colour. The paper is printed on state-of-
the-art MAN Roland ColorMan presses,
which give colour on every page
something that sets us apart from every
| other national newspaper. The effect
will be ta give greater emphasts and
_ power to our photography and, we
hope, make the whole paper a touch less
forbidding than it sometimes may have
seemed in the past.
| G2 has also shrunk: it §s now a full
colour, stapled news magazine with
newspaper deadlines. Sport has ex
panded into its own section — at least 12
| pages every day, again in full colour,
As the week progresses you'll notice
further changes. There are one or two
| new sections, There will be new colum-
| nists, both in Gtand G2 — most notably
| | the pre-eminent commentator Simon
| | Jenkins, who joins us from the Timesto
= = - write on Wednesdays and Fridays.
| Asoldier onpatrol behind a burning barricade in SATE ERE REA
| hundreds ofrioters took to thestreets fora second day. Page 3» | Continued
onpage 2»
| International Financial Pee Caron“re i a a ar
_Sky's Premiership | Blunkett hits back at ex-Met chief's
| Gaza after 38 years |rights under threat WHERE YOU LIVE accusation of duplicity and bullying
TRACY CHAPMAN
Israel lowered itsflagin theGazaStripfor|DSkyB's 13-year monopoly overive broad: |
thelasttime yesterday asthe government | casts of Premier League football games ts
} declared an end to 38years ofoccupation | under immediate threat. Media regulator |
Bigger 12/09/05
and troops withdrew from demolished
Jewish settlements.
| expected
| Ofcom has told the European Counission
Thelast troops were | it should force whoever holds the Pre- |
to leave overn! . Palestinian | miership:TV rights to sell a number of |
|
isn’t always
} leaders déscribed it asa “Iiberation”, but | games to rival broadcasters,
Aseparate |
|said tsrael{ controls on border crossings | regulatory plan under consideration in |
| and other restrictions maintained the | Brussels
could seeindividual broadcast~ | better... “THIS ALBUM HER SEVENTH
of the live games put |
1S AN ABSOLUTE DELIGHT,’
|
THE OBSERVER
“oxchusivity premium,” arguing |
i A COMPELLING AND
bygunfire from an Israelitankstill goatd> | dermined. The current rights deatexpires. | UNCOMPROMISING WORK.’
ing the settlements. in 2007. : INDEPENDENT
5@ ey we

Right This page from Zembla, designed by Vince
Frost, is a strong example of design at the conceptual
level: Not only does it look arresting through its
decorative use of typography and layout, but, in
playing with scale and typographic symbols, it
provides a convincing underlying concept for
the literary magazine.
Design
Editorial
Direction
Art
20
+ Michel Faber
An art editor and editor need
respect and love for each other,
but they also need to be prepared
to fall out, have sulks, get
together... it’s a marrage.
JEREMY LESLIE, GROUP CREATIVE DIRECTOR,
JOHN BROWN CITRUS PUBLISHING
the dead celebrity interview
One of the most brilliant and radical artists of the twentieth century, Marcel
Duchamp forever revolutionized the way we look at, and indeed think about, art
A cross-dresser, he shocked the world in 1917 by showing a white urinal signed R.
Mutt, known simply as Fountain. His work was consistently controy ersial, though he
produced very little. He v irtually abandoned painting from around 1913, and used
unconventional materials as he became interested in the ready-made. Pointing out
that anything could be art, he became a legend in his own lifetime, a man with a keen
sense of irony and humour, who turned around notions of art, language and beauty.
Marcel
Duchamp
Here, for the first time since his death in 1968, he gives a frank and revealing interview to a kindred spirit, novelist Michel Faber.
by Portrait
Manolo Blahnik
[88] Zembla Magazine september_two thousand and three bry
Vinohoggiapt
Hert
Hressean
Carthor
Vince Frost, who currently designs literary independent magazine Zembla,
but has worked on a wide range of editorial matter, including The Independent
newspaper, a Nan Goldin monograph, a weekend supplement for the Financial
Times,and a range of customer magazines, goes further:
The most important thing is to have fun. There is no point in designing a
magazine issue after issue ifyou don't like the subject matter. Ihave to have
great content to be inspired. like contributing to the content with stories
and headlines. I am also interested not just in the mag but all its touch-
points—business cards, advertising, Web site, and so on.
Martin Venezky, designer of Speak magazine, agrees:
 Born to Quit, an

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Without an active engagement with the material, I'd think the job
would be minimally rewarding. You need a willingness to read the material,
to discuss it thoughtfully and passionately, and to develop
visual components that expand the read while still working within the
publication’s architecture.
The tempo and deadlines
In editorial design there is an ever-changing body of work to interpret and
organize, so good planning is key to making day-to-day tasks work to the advantage
of the creative process. These tasks and the tempo of the work vary depending on
whether the publication is a daily, weekly, or monthly. Broadly, these are as follows:
Daily publication
Above Speak designer Martin Venezky’s fiery
relationship with editor Dan Rollen is well
documented (see p.154): “In the early days it was
sometimes confrontational,” admits Rolleri. “In
addition to giving Martin a good deal of creative
freedom, I had guidelines as well, some important
(the text must be readable), some personal (I
preferred muted colors over, say, lime green), and I
would look at Martin’s layouts during their very early
stages, which created some unnecessary tension.
Plus, Martin was in the habit of learning where the
lines were drawn, then purposely taking a step or
and
design
objectiv
Editorial
its
I:
21
two beyond them. It was an important part of his
process in knowing that he was pushing things as
far as he could; but for me, in an already tense
environment, it was sometimes frustrating. Over
time, our dynamic changed to such a degree that
we essentially worked as partners. I came to trust
Martin entirely and, even if Iwasn’t crazy about a
particular spread, even if it had a splash of lime
green, I usually let it go.”

Prepublication work (one-off and regular updating): establishing a style

(typography, color, graphics, use of pictures) and setting up templates and a rule
book or style guide to ensure consistent implementation. On newspapers this
stage is particularly important; as Mark Porter says:

At this stage it’s important to be realistic about what is achievable, as most

newspaper pages are laid out by nondesigners, the usual solution will be a
 kit of parts, which can be used in any number of combinations to give a
What makes a
totally flexible response to editorial demands. Clearly, news pages will be
brilliant publication?
fairly constrained, while features pages and magazines, which generally
Vince Frost's ten-point plan
have trained designers on staff, will be more open.
for editors and art directors
Prepublication work (daily): overseeing the output of all the different designers
Relentless passion and energy.
on the paper, as well as the picture and graphics departments. Also, art directing
An endless determination to get
special projects (usually one-off magazines and supplements).
it right.
A great relationship between editor
and art director. This is vital. Publication work: overseeing the daily page makeup, a task usually performed
Being prepared to work long, long by copy editors. The art director will oversee their work and ensure that text
hours and give up weekends to and visuals combine to make a successful layout.
send things off to print and start
all over again!
Vision is important.
Weekly and monthly production cycles
The aim is to make the best Prepublication work: meeting photographers, illustrators, going to exhibitions,
publication in the world. knowing who and what’s hot, so that when it comes to commissioning visual artists
Ideas, ideas, ideas, contacts, and a (between six and two weeks before publication) you know who to use and why.
head full of images.
Regular meetings with the editor and features editor to discuss content ideas and
The ability to make something out of
their visual organization.
nothing: It’s 4 a.m. and you've got a
late story that has been allocated
four pages and the text fits one and 7-10 days before publication of a weekly title (15-30 days for a monthly title):
Design
Editorial
Direction
Art
22
+ there are no illustrations in sight. gathering together features material, development of initial design ideas and
Constantly thinking about the end direction, cover consideration based on incoming material.
user’s experience with the content
when it is printed.
An unspoken respect for each other, 4-7 days (10-20 days) before publication: layouts for features to be worked up
as neither can do it alone. (based on flatplan), proofs distributed and edited. Gathering together news and non-
feature pages material, beginning layout of these pages with priority given to pages
needing to go to printers earlier as determined by flatplan. Work up cover ideas.

2-4 days (3-10 days) before publication: feature proofs corrected, color features
and agreed flatplan sections to printer, high-resolution printer’s proofs checked by
necessary staff, pages signed off on. Nonfeature pages are now being laid out,
edited, proofed, corrected, sent to repro, corrected, and signed off on.

1 day (1-3 days) before publication: finalize cover decisions, cover lines written,
and pages sent to repro, corrected, and signed off on (most magazine covers will
have been proofed, with copy all but decided, by this stage).

With all editorial cycles, there will be occasions when major rethinking takes
place—covers going through huge changes, features reheadlined, new features
introduced, layouts redone, and pagination changed right up to the final deadline.
In extreme cases, reshoots will take place if imagery is deemed to be flawed or weak,
anew cover story will be swapped at the last minute,a feature will be dropped and
need replacing, or neighboring features will be extended to fill the space ... a good
editorial designer will respond to all of these quickly, efficiently, and creatively.
The evolution of the printed page
AD 105 _ Paper is invented in China.
AD770_ Relief printing is practiced in China.
AD 868 The world’s earliest dated printed book,a Chinese Diamond Sutra text,
is created using woodblocks.
Early 15th century Professional writers join the ranks of monks in writing books
as trading and wider education lead to more books for the upper and
middle classes in Europe. In Paris, these writers form themselves into
a guild—publishing has arrived.
1450 In Mainz, Germany, goldsmith Johannes Gutenberg invents movable
type (also known as “foundry type” or “hot type”), and five years later
uses it to begin a print run of 180 copies of the Gutenberg Bible.
1457 Gazette, claimed as the first printed newspaper, is printed in Nuremberg,
Germany. The earliest example of color printing arrives with the Mainz
Psalter by Johann Fust and Peter Schoffer.
1476 William Caxton returns from Cologne, Germany, with a range of
typefaces and sets up a printing press in Westminster, London, having
already produced the first book in the English language, The Recuyell
of the Historyes of Troye, in Bruges.
1486 The first English, color-illustrated book is printed in St. Albans, England.
1494 Typographer, teacher, and editor Aldus Manutius establishes the Aldine
printing house in Venice, Italy.
1500 Approximately 35,000 books have been printed, 10 million copies
worldwide.
1501 Italic type, designed by Francesco Griffo, is first used in an octavo
edition of Virgil printed by Aldus Manutius’s Aldine Press.
1588 Englishman Timothy Bright invents a form of shorthand.
1605 The first regularly published weekly newspaper appears in Strasbourg,
France.
1622 Nathaniel Butter, the “father of the English press,” publishes Weekly
Newes, the first printed English newspaper, in London.
objective
its
and
design
Editorial
I:
23
1650 Leipzig, Germany, becomes home to the first daily newspaper.
1663 Erbauliche Monaths-Unterredungen (“Edifying Monthly Discussions”),
considered the world’s first magazine, is published in Germany.
1690 America’s first newspaper, Publick Occurrences Both Forreign and
Domestick, is printed in Boston, Massachusetts, and subsequently
suspended for operating without a royal license.
1702 The first daily newssheet, The Daily Courant, is published in England.
1703 Sankt-Peterburgskie Vedomasti newspaper founded by Peter the Great
in Russia.
1709 The Copyright Act is passed in England. 7atler, the first major magazine,
is launched in London.
1714 Henry Mill is granted a patent for a writing machine in London.
1719 German engraver Jakob Le Blon, granted a privilege by George I of
England to reproduce pictures and drawings in full color, produces
 the basis of modern four-color plate printing.
1731 The Gentleman’s Magazine, considered the first modern magazine,
is published in England.
1741 Benjamin Franklin plans to publish America’s first magazine, General
Magazine, but American Magazine comes out three days earlier.
1764 Pierre Fournier of France develops the point system to measure type
sizes. His system is further refined by Francois Didot, establishing
consistency in type measure throughout the world.
1784 The Pennsylvania Evening Post is America’s first daily newspaper.
1785 The Daily Universal Register is founded in London by John Walter.
Three years later it is renamed The Times.
1791 The Observer, the country’s first Sunday newspaper, is launched in
England by W.S. Bourne.
1790s Lithography is invented by Alois Senefelder in Bavaria, Germany,
streamlining the reproduction of images by eliminating the need for
engraving or carving.
1814 An early version of the cylinder press is used to produce the London
Times at a rate of 1,100 copies an hour, but it is not refined and taken
up universally until 1830, when Richard March Hoe perfects the drum-
cylinder press, capable of producing 2,500 pages per hour. By 1847 he
has expanded this to a five-cylinder press.
Design
Editorial
Direction
Art
24
+ 1828 The Ladies’ Magazine is launched to become the first successful
American magazine for women.
1842 The Illustrated London News is founded in England by Herbert Ingram
and Mark Lemon. Using woodcuts and engravings, it prompts the growth
of illustrated publications.
1844 The Bangkok Recorder is the first newspaper published in Thailand.
1845 Scientific American launches in America. It has been published
continuously since that date, making it the longest-running magazine
in American history.
c.1845 Paperbacks are introduced in America (four years after their appearance
in Germany) as newspaper supplements, and soon appear as small-size
reprints of existing books.
1850 Heidelberg’s first press is made by Andreas Hamm in the Palatine city of
Frankenthal in southwest Germany.
1851 The New York Times launches, priced at one cent.
1854 Le Figaro newspaper is launched in Paris, France.
1856 The first African-American daily, the New Orleans Daily Creole, is
published.
1867 The first Japanese magazine, Se/yo-Zasshi (“The Western Magazine”),
is published.
1874 E. Remington and Sons in Illinois manufactures the first commercial
typewriter, invented seven years earlier by Wisconsin newspaperman
Christopher Latham Sholes. It has only uppercase letters, but has a
QWERTY keyboard. The machine is refined the following year to
 incorporate lowercase letters.
1875 Offset litho printing—printing onto etched metal plates from a smooth
surface rather than letterpress—is introduced.
1878 In America, inventor William A. Lavalette patents a printing press that
greatly improves the quality of printing, particularly in terms of legibility
and quality.
In Scotland, Frederick Wicks invents the typecasting machine.
1886 The Linotype typesetting machine is invented by Ottmar Mergenthaler.
Combining keyboard unit, matrix magazine, and caster in one unit, it
can cast letters at the rate of 17,000 per hour by compositors pressing
keys to create “slugs”—lines of matrices combined then redistributed
for reuse.
1900 An estimated 1,800 magazines are being published in America, where
total newspaper circulation passes 15 million a day.
1903 The first offset printing press is used by Ira Washington Rubel in America
and, separately, by Caspar Hermann in Germany.
1911 Typesetting is refined further with the introduction of the Ludlow
typesetting machine, developed by Washington I. Ludlow and William
Reade in Chicago, Illinois.
1912 Photoplay debuts in America as the first magazine for movie fans.
1917 The first “op-ed” (opinion and editorial) page appears in The New
York Times.
1923 Time magazine debuts in America.
1933 Esquire launches in America as the first men’s magazine.
1936 Allen Lane’s Penguin Press reintroduces the paperback book in the U.K.
In America, photojournalism magazine Life is founded by Henry Luce for
Time Inc.
1945 Ebony, the first magazine for the African-American market, is founded in
the U.S. by John H. Johnson.
1953 The first issue of TV Guide magazine hits the newsstands on April 3 in
ten American cities, with a circulation of 1,560,000.
objective
its
and
design
Editorial
I:
25
Playboy magazine appears. Its cover features Marilyn Monroe.
1955 Dry-coated paper is developed at the Battelle Memorial Institute,
Columbia, Ohio.
1956 The first hard disk drive is created at IBM.
1962 British national newspaper The Sunday Times launches a full-color
magazine supplement designed by Michael Rand.
1965 Teen magazine Twen is launched by German publishing giant Springer.
Designed by Willy Fleckhaus, it comes to be regarded as a ground-
breaking example of editorial design.
In the U.K., the Daily Mirror’s magazine division launches Nova, with
Dennis Hackett as editor and David Hillman as designer.
1967 The ISBN CUnternational Standard Book Number) system starts in the U.K.
Rolling Stone debuts in the U.S., followed by New York Magazine,
spawning the popularity of special interest and regional magazines.
 1969 Andy Warhol launches Interview magazine in America.
1971 Newspapers worldwide begin the switch from hot metal letterpress
to offset.
1975 Nova magazine closes with falling sales.
1977 Apple Computer launches the Apple II microcomputer.
1980 At the European Organization for Nuclear Research (CERN) in Geneva,
Switzerland, Englishman Tim Berners-Lee embarks on the first steps of
a universal worldwide web by creating a software program called
“Enquire Within Upon Everything” after a Victorian-era encyclopaedia
remembered from his childhood.
1982 Daily newspaper USA Today launches. Taking its visual lead from
television, it uses color throughout, features numerous graphics, and is
an immediate success. Innovative techniques assist distribution, enabling
the final edition to be printed in multiple locations across the country.
1983 The Apple Lisa is launched by Apple Computer, ushering in a new
Graphic User Interface (GUD that makes home computing—and
publishing—accessible and affordable.
1984 The Apple Macintosh, or the Mac, is introduced, marking the first
successful commercial implementation of a GUI, which is now used in
all major computers.
1985 The first desktop publishing program, Aldus Pagemaker 1.0, is created
Design
Editorial
Direction
Art
26
+ by Paul Brainerd and Aldus, and released for the Macintosh. This desktop
publishing program enables a new type of publishing, and puts design
and editing tools into the hands of everyone.
1987 QuarkXPress is launched. Despite the release of Aldus Pagemaker two
years earlier, it quickly becomes de facto the preeminent desktop
publishing program.
1991 The World Wide Web debuts. Using Tim Berners-Lee’s HTML (hypertext
markup language), anyone can now build a Web site and share it with at
first hundreds, but quickly millions, of people worldwide.
1994 In Italy,an A5 handbag-size version of Glamour is launched by
Condé Nast.
In America, the first beta version of the Netscape browser Mosaic
is released.
1997 The New York Times introduces color photos to its news pages.
2004 In the U.K., The Independent newspaper moves from a broadsheet to
a tabloid format. Within a year, The Times also produces a daily tabloid.
2005 The Guardian newspaper moves to a Berliner format and to full color.
2006 Video-sharing Web site YouTube purchased by Google for $1.65 billion
in stock.
Online newspaper Web sites in the U.S. attract over 58 million readers,
according to a report for the Newspaper Association for America.
2007 U.K. online publication Financial Times reports a 30 percent increase
in advertising sales.
 :a et
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ant
 Having a proper understanding of editorial design is just the first ingredient in a
complex mix. Another essential element is a real understanding of the publication
and the ability to apply this to the constituent parts of the magazine or newspaper.
It’s not simply about design decisions, but a deep knowledge and fascination with
what underpins and motivates these design decisions.

Branding and identity

On a new publication, the first thing that has to be established is the brand
message, or the identity, expression, and feel of the publication.
This is best
explained as the editor and designer working together to construct a strong bridge
across which the client—the publisher—can deliver the brand and its values to
the customer—the reader. Once this has been done, the actual construction of the
publication can begin, as detailed in Chapter II. With each issue, the brand must be
reviewed so that it is kept fresh and vibrant, retaining the values and identity of the
core brand without simply adopting a formulaic approach. Key to doing this
successfully is the ability to keep a recognizable style for the publication, while
making each issue sufficiently different from the last one that it is recognized by
the reader or the potential reader as a new issue of a familiar, loved object.

How a targeted audience may dictate a design style

Design
Editorial
Direction
Art
28
+ A good designer will design with a publication’s readership in mind. This is not
to say that the design must slavishly adhere to what comes from the marketing
department, but knowing, for example, that the bulk of readers are male students
aged 18 to 23 is valuable information that should feed into the publication’s style
and design. Thus, a magazine for the elderly, such as Saga, should use an open
typeface at a comfortably legible size for its readership, and ensure that layout

Hi Annisox Fon was

Right Saga magazine's readership is the over-45 age
group, and, as such, its primary concern has to be
legibility. But this does not mean its design has to be
dull. As this spread shows, combining a strong image,
a clear body of text, a large but delicate drop cap, a
strip of white space that allows the whole to breathe,
and a turn arrow gives the Saga reader everything
he or she needs without looking old-fashioned
or uninviting.
waiting for me in his New York hotel suite. On my way
from the lobby I had been musing over a tactful way to
terview, The key question was whether
severe mid-life crisis. He had ditched
hhis sober image. left his wile of more than 20 years
checked Into a series of luxury hotels and started to hit
nightclubs like 0 teenager who had won a few nuiltion
on the lottery. He then moved in with actress Calista
Flockhart, just turned 40, He celebrated his 63rd
birthday on July 13.
And what is the first thing | notice about Ford when
we meet? A gold earring, dangling incongruously from
his left car. The question Jeaves my tips with remarkable
ease: “Are you having. severe mid-life crisis?”
Ford shoots a look of dark anger, mixed with silent
hunt, His hunched, sulted figure takes on a sort of
bristling menace, as if he's wondering whether he
should throw me from the window. And we arv on the
19th floor. “A lot of people might be asking that,” he
Bnally growls. “Buc they are not actually saying it”
We are offto a lively start, then, But! have interviewed
Ford several times over the past 30 years. Put uside, for a
moment, that he’s one of the three most successful film
actors in the world, His personality has always been
guarded, ring-fenced with safe answers to questions.
Think of a castle with a deep moatand a dozen cannon
on the turrets. In other words, unassailable
One example: 10 years ago, he was starring in
Sabrina, and snaking an untypical hash of ic} had
asked him, perfectly reasonably, about the most
romantic location hed ever been to with his wife,
“Romantic?” he asked, nsifchewingawasp,
A long silence followed. “Fez. in Morocco,” he finally
declared, Why?
“Because everyone there leaves me alone.”
Bur now? Ford has suddenly become owinkle toes on
the dance floor, a lad who likes a drop of the hard stuff
at the bar, che tife and soul at party time. Afier scorning,
the bright tights of Los Angeles for years in favour of the
wilds of an 800-ucre ranch in fackson Hole, Wyoming,
he {ssuddenly Mr Hollywood. How did it happen?
“1 was interested in changing my life,” he says simply.
“Lhave always had the ability (o change and (o become
other people through my acting. Ft00k a good lookat&
92
elements such as knockout text, colored text, or text over imagery are kept to
How design reflects and
a minimum. Because the ability to read small text diminishes with age, clarity is
attracts a readership
key with an older readership, but this does not mean the design or color palette
has to be dull or unadventurous. Conversely, an “indie” music magazine should
The design of a publication depends
be prepared to experiment and take risks in its design, reflecting the culture it completely on what it is and who it’s
belongs to. If you want to broaden your readership beyond such parameters, for. Good design is dependent on the
how do you do so without losing existing readers? By knowing the magazine, designer understanding these things
the readers, and the potential readers you are hoping to attract. thoroughly, and to prove that they
do so, editorial designers should be
able to:
The advantages of producing a pilot issue
In developing the feel of the publication, a key tool at the designer’s disposal is = Define their publication easily.
the pilot or dummy issue—a version of a publication that precedes the launch. State clearly the aims and purpose.
This is circulated solely among the team of people working on it and, where Ml Define the publication’s readership,
applicable, management, publishers, advertisers, the marketing department, and not just as a market demographic,
but as individuals.
focus groups.A publisher may produce a whole batch of dummies before launching
lM Understand the needs of
the real thing. The role of the design during this phase is hugely important and the that readership.
advantage of such dummies to the designer is obvious: They offer the opportunity if Understand the structure of the
to experiment with every aspect of the magazine, from format, grids, and stock to publication, know who controls the
fonts, layouts, color palette, and overall visual style. Not only will the magazine’s finances, what the chain of command
is, how itis sold, and how much
whole visual concept be set during this phase, but style sheets and a style book
influence the advertisers have.
can be determined that will set the ongoing visual tone and elements for its future.

Color psychology and branding

Green logos and blue backgrounds don’t sell. Red sells. Blondes on a cover sell
better than brunettes. Yellow is often seen as an unpopular cover color choice.
All these are accepted conventions in magazine design, but hard evidence for
these beliefs is hard to come by, and designers and editors would do well to follow
their gut instinct, which will often be based on color and its emotional impact.
Remember, any color can be used to emphasize and highlight, and specific
colors can be used symbolically or to trigger emotions and memories, but of
publication
Anatomy
II:
29
a

trying to use color to sell a publication is unlikely to work (see p.30), largely
because color is so personal, and associations with it are dependent on so
many different factors.

The cover
The first and most important part of any publication on which to stamp the brand
and its values is the cover. This is the part of the magazine that will work tirelessly for
the publisher, both on the newsstand, where it must get its feel across and stand out
from the competition,and after purchase, where it will continue to sell the brand
values on a more intimate scale to both the owner and other readers.

How covers reinforce and sell the brand

The cover of any publication has an enormous task—it must be many things to
many people.The publisher has to believe it will deliver sales. It has to be striking
 Color use

While there is little hard evidence for many
conventions that have grown around color
use in publications, there is one area in
which color use does follow hard-and-fast
rules: cultural color psychology. The high
visibility of red might make it appealing in
the West, but in South Africa, where it is
associated with mourning, it would be seen
on a cover about as often as black would be
in the West. Blue is generally appealing to
all of us irrespective of culture because of
its calming influence, but is a turnoff when
used for food. It’s all about context. So
while it is simply useless to tell you how
to use color, here’s a helpful guide on
how not to use it.
Black is complex; it can be sexy,
authoritative, powerful, menacing,
intriguing, rich, depressing, dull, glossy,
textural, timeless . . . on many occasions
it will be at least two of these at the same
Design
Editorial
Direction
Art
30
+ time. Avoid using black on the cover, where
it is too widely associated with death and
tragedy, but on the inside pages of a
magazine its use can be striking. In color
psychology, many people think that it
implies submission.
White is almost as complex as black:
Innocence, cleanliness, wealth, and purity
are some of the associations we make with
white, but it can also be sterile and neutral
to the point of blandness.
Red The extreme vibrancy of red has both
good and bad points: It is confrontational
and can render other elements on a page
almost invisible. But it will definitely attract
the eye and has been proved to create a
strong emotional response in a viewer,
stimulating faster heartbeats and breathing.
Blue Peaceful and tranquil, blue causes
the body to produce calming chemicals,
but choose it carefully—it can also be cold
and depressing.
Green is the easiest color on the eye and
is calming and refreshing. As the color of
nature, most associations viewers make are
positive ones. Additionally, dark green
implies wealth and power.
Yellow is the most difficult color for
the eye to take in, and thus is potentially
overpowering—possibly why it’s seen
as an unpopular color choice for covers.
Purple Used in the right way, purple has
associations of luxury, wealth, romance, and
sophistication, but it can also appear overly
feminine or gauche.
Orange Our associations with orange are
good ones: exciting, vibrant, and joyous.
But it can be a difficult color to use—too
red and it can overpower; too yellow and it
can appear washed-out.
Brown Another “nature” color with
good associations: Light brown implies
genuineness, while dark brown suggests
wood or leather. The combination of these
makes them appealing for men’s subjects.

and stand out from the crowd, drawing the reader to it rather than to its
competitors. If it is a periodical, it has to be familiar to regular readers but look
sufficiently different from its predecessor so that those readers recognize it as
being a new issue. It has to appeal to potential new readers without alienating
existing readers. It has to express the publication’s character as well as its content.
It then has to entice potential readers to look inside. So it’s no wonder that many
publications and designers spend almost as much time, money, and energy on this
one page as on the rest of the publication.
Research and psychological studies by publishers and decades of marketing-
led wisdom would have us believe that the most successful magazine cover in
Western culture will have a large, clearly legible logo across its top, under
which sits a large-scale, good-looking face, probably a woman, smiling and
making eye contact with the viewer with the pupils at a set distance apart.
This person in women’s magazines represents a mirror image of the reader’s
aspirations. In men’s magazines she represents the ideal mate. The only figurative
alternative to this recognition of self is the use of the celebrity picture. Whoever
the figure is, he or she is often surrounded by a barrage of cover lines breathlessly
trying to convince potential readers that inside they will find bigger and better
content than the competition.
This conservative approach has become an almost
Profile: [Ae
Wired magazine, launched in San Francisco
in 1993, is that rare thing in print
publishing: a magazine whose design is
perfectly attuned to its times and subject
matter. As a general interest magazine
that specialized in the rise of technology
as a cultural force, it replaced traditional,
technology-related severity in design and
visual expression with a layout, structure,
and aesthetic that challenged readers with
their frenetic pace, and an inventive and
Web-inspired content and design format.
It made eye-popping use of color, which,
through the placement of tinted text on
a background of the same color, often
frustrated as much as it excited. In giving
readers a very real sense of how amazing
this emerging medium and technology
was, and of its potentiality, it demanded
much, but an intelligent, knowledgeable
readership understood the connections
immediately and responded
enthusiastically as circulation soared.
When the dot-com bust came, most
magazines folded; Wired slimmed down
but survived. Overall creative direction,
design, and typography for Wired's first
five years were by John Plunkett and his
partner Barbara Kuhr, of Plunkett+Kuhr.
Their designers included Tricia McGillis,
Thomas Schneider, and Eric Courtemanche. ||I
i Hii
|

75 £3.50:

Web Rustling
Hate your Job? Fire off 9 rexig- wiReEoD
nation letter in Jack the Ripper's
 for men who should snow better JAN 1995 £2 |
Right There is a simple guiding rule to cover design:
Appeal to the reader's interest. The image is the first
point at which design does this, but it is by no means
the only element of the cover that does so. Covers are,
) fact, made up of four elements:

¢ format—size, shape, and design characteristics;

logo or title and other regular page furniture
(tagline, date, and barcode);

@ cover lines and headlines.

In the 1990s, “lad mag” Loaded used all of these to

effect. Targeting its readership with a tagline
for men who should know better,” its design
et approach was an exuberant “we're off our
ve that was completely in tune with the sex-,
nd drug- degae frenz ied lifestyles its ccauels

the time that it was “for the man who believes

anything, if only he wasn’t hungover.” In anna friel
terms this attitude was successfully interpreted Brookside’s sexiest babe
gh art director Steve Read's clever devising of a panzer people
le that looked undesigned but was full of energy
lin ae
4 Messing around in tanks
and n rotion, with its excellent use of color, typefaces, ad new york & ibiza
ages, and layout construction. Cover lines and :] loaded at large
eadlines were big, bold, active, and funny.
7 HURLEY : 8 ee ae 7 ehiite et ee

. EY . A yy? Mm there's these three irishmen...

Jason McAteer, Phil Babb, Gary Kelly

desperately seeking anyone

Shagging in the small ads

Design
Editorial
Direction
Art
32
+ get the puck out
Not sojolly ice hockey sticks

chubby brown
Wash your mouth out

{|
| 01>

9 eidak 53 347012!

Opposite For this special British style issue of U.K. stifling constraint in the glossy magazines of mass-market publishing, where
Vogue, art director Robin Derrick used a close-up shot
competition is fierce in an overcrowded field. But independent magazines,
of model Kate Moss by Nick Knight that is near-perfect
in its composition, scale, and crop. While many less dependent on newsstand sales, are leading the way in new directions.
women’s newsstand titles would have chosen to use
numerous cover lines on the cover, Vogue boldly chose As Jeremy Leslie, creative director of John Brown Citrus Publishing, says:
not to. “All the rules dictate that you wouldn't
eliminate cover lines on a newsstand title, particularly
as so many standard women’s—and increasingly There are some interesting things happening in terms of magazines that are
men’s—titles are putting more and more cover
outside the monthly Cosmo or Company routine, magazines which don’t
lines on, but there are other effects that are more
creatively interesting and can push aside the rules,” have to conform to the industrialized distribution network that dictates that
says Jeremy Leslie, creative director of John Brown
Citrus Publishing.
a magazine has to be A4, upright, and so on. It’s increasingly easy to break
out of that and produce something different.
 il gy

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Their art
belongs |
é
to Dada.
‘The most mindless of anti-Establishment art cults
‘
: ver also the most provocative:
Inside, a preview of the Hayward Gallen’s
Dada and Surrealism show.

Design
Editorial
Direction
Art
34
+
Can Britain bite back?
TEN
is tseworth noting
pottyUhat
the pro-
“! with theGeneral
Member of
the Audit Bureawof | tures come Infor lavish praisein
Cucvhions ee:

Above Concept covers can be particularly arresting.
Pearce Marchbank at Time Out (1) in the 1970s used
such covers to great effect, employing photography,
illustration, collage, and typography skillfully to
“sell” difficult concepts such as Dadaism and envy.
Vince Frost achieved equally striking results with
his covers for The Independent on Saturday newspaper
magazine supplement (2), which used abstract cut-
out photography on white backgrounds with wit
and elegance to intrigue readers and suggest a broad
concept of a story, rather than explaining it literally.
Both these designers knew that the key issue in
designing a cover is to approach it as a poster,
as that is, in effect, what it is. First and foremost,
it has to be striking and draw in the viewer.
The different types of cover
There are many different approaches to cover design, but, broadly speaking, covers
can be categorized under three headings: figurative, abstract, and text-based.
The
latter are rare now as editors shy away from text-dominated covers and graphic
puns, but the very fact that they are rare creates its own impact.
Figurative covers
The traditional face or figure shot can be made more engaging by approaching it
with some element of originality; for example, by replacing the smiling face shot
with a face displaying an emotion such as anger, fear, or elation. The degree to
which this kind of treatment can be attempted depends on the conformity of the
publication’s readership: Readers of anticonsumerist magazine Adbusters are
unlikely to be repelled by a negative figure image, while the readers of a weekly
women’s magazine probably would be. Wit and humor can often attract readers,
and an action shot with a sense of adventure invites us to join in the fun. Even a
regular face shot can be made interesting: Style magazine 7-D has always shown its
cover faces winking, aping the “winking face” created by its logo. With full-figure
shots there is a greater flexibility, a fact that Dazed and Confused plays with
inventively. Carlos magazine uses illustration to depict cover figures, enhanced by
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a striking splash of metallic ink. Fashion magazines can use illustration effectively,
too; an illustration of a garment can convey an emotional sense of the material,
rather than the literal representation of photography. And illustration has the
advantage of enabling words to be incorporated in a way that is different from
photography’s clear boundaries, which make it distinct from any surrounding or
superimposed text. Montage is an old device that can bring another dimension—
that of metaphor—to figurative covers, and can be used most effectively to make
incisive comments.
Above Two very different interpretations of the usual
close-up head shot. On M-real (3), creative director
Jeremy Leslie playfully undermined the idea of the
close-up female head shot making eye contact.
Pop (4) did the same thing with a Jennifer Lopez of
publica
II:
Anatom
35
a
cover using a very different technique. By not making
eye contact with the viewer and suggesting an
emotive and expressive state as opposed to a passive,
nonspecific one, Lopez's image marks itself out as
different from its competitors.

Abstract covers
Abstract covers are rare in publications that rely heavily on newsstand sales,
but feature regularly in special interest and subscription-only publications, news
weeklies, or newspaper supplements. These often have the luxury of minimal
or no cover lines and the freedom to place the logo wherever it best suits the
design, since shelf visibility isn’t an issue. This can result in highly original
designs, but it is important to remember that the brand and its message must
be maintained through a clear design direction and approach. Wired has always
been particularly skillful at doing this (see p.31). From the magazine’s inception,
its designers John Plunkett and Barbara Kuhr made frequent use of abstract
 77 5 -12-F: 4,00 €-AD
Design
Editorial
Direction
Art
36
+ |WNW AL

(inside)
Above A figurative cover can be inventive and original
if a publication’s designer, editor, and publisher have
the courage to counteract the perceived notion of
what is acceptable, popular, or sellable as seen in australian design review
these examples from Adbusters (1) and French
magazine WAD (2). Adbusters in particular slyly
undermines traditional notions of a cover’s salability
by showing a traditional head shot of an attractive
blonde woman in a very confrontational and
unconventional way.

Right For this cover of Inside magazine (3), the

theme was leisure. The magazine’s art director, Jeffrey
Docherty, says, “Choosing a single representation of
‘leisure’ provided an artistic challenge. To capture a
particular essence of ‘leisure’ I created an image using
several novels, which I arranged dynamically on a
flatbed scanner. This assisted in crafting a three-
dimensional feel; from afar the image has strong
architectural qualities, while, close up, it holds finer
details that draw the eye in deeper.”

Ina brainstorming session with her
Creative team. Jennifer Moria; whose”
~ sensibility nas rangeditrom the slyly retro
to the trenly modern, composed several
% covers using different objacte; butthen
? “landedon-ono thatshe fell best sulled the —
issue. wanted to make-the cover.the.
= object Itsell,” she says_“You'haveloturn
4! she magazine upside Gown and right.
i 33 aide up in ordertofigure out how to open
FE tis vary familiar objact. The cover Is.
tog } ‘iterally the object being shocked." John
= Underwood, a graphics designer who
“2 ‘works with Moria, came up with the idea
‘olputting the word “familiar” in white
4 1950's Univers typeon an iridescent silver
(background! "This makes the cover a
high-designad object, precious,"’ he says. —
“And then we flipped tt.” ~
124 Enterstate Cruising the freesoays inspired Tobias Frere-Jones to create atypeface based on highwy signs for the Font Bureau int 1993
:: A Cover Story
Sixways to solve the same problem.
Tiker Kalman
M&Co.
"> “Brands have become such a dominant
a4 i forceinour society,” says Tibor Kalman,
3 who has earned a feputation as “the bad» —
? boy of graphic design’*and is perhaps ~~
3 4 beat known for hia Irreverent timepinces.:~ ——
With his design assistant Diane Shaw;
— £ he. created severalinew “brands” for the
cover — a baby bearing a Martha Stewart.
id ? Jogo, A.sunsel brought fo.you by Cooa=
“3 _ Cola, a Louls Vuitton agg, But they settled
— & ¥ ona package of Calvin Klein chicken
«2K __parts —-grodt lags, nice breasts
> “The original notion of brand was quality,
ay but now brand Is a stylistic badge of
2 ~ [pourage, and an expensive one at that.
2 This. to me, [s the shack of the familiar.”
= io
2 looking out onto another designer world —
Left and below Says Janet Froelich, art director,
of The New York Times Magazine, “This was our first
‘design special’ issue, and we treated it as a primer,
an advance-guard explanation to our readers of all the
places where they would find good design. We decided
to involve them slightly in the process, and made the
cover into a graphic design competition in which we
invited six great graphic designers from varied
backgrounds to create a concept. We printed all six
solutions (5). When we opened Jennifer Morla’s
contribution (4), we knew right away it was the
winner—it was so simple. ‘The Shock of the Familiar’
was in bold, simple Helvetica, like signage, on a plain
silver background. But The New York Times Magazine
logo was upside down and at the bottom. It made you
turn the cover upside down, and [be] aware of the
cover as an object. And the shock factor was there as
well. Its absolute clarity was riveting. It was also fun
to read about the other five solutions inside, and
begin to understand the way designers think and
how they go about solving problems.”
ication
37
‘ocome up witha cover, the magazine tried an experiment, asking some of the country’s top designers to solve the same desien
problem —to capture in one “poster” the message of its special issue: the shock of the familiar: The teams — experimental —
and traditional; from “packaging,” corporate-image creation, print advertising, television and CD design — were told the theme
and given the Headline the editors had written. Below are six cover ideas, including the winner, and the thinking behind the
solutions. In the end, the editors and the art director chose the one with no image at all — just an unadorned type cover
that by inverting the logo forced the reader to see the cover, itself a familiar object, in an entirely new light. While the magazine
found much to admire in the other submissions, the Morla design told the story in the simplest, most pleasing way.
‘You might disagree; the fun of these pages is letting you decide for yourself.
publ
of
Anatom
a
II
Margera’ Youngblood Stojan Sagmielarar Fil} Obarlander
Uandor Aasociates Sagmeister inc. Kirshenbaum Bond & Partners
es a in ‘ “Even things that weren't intentionally FS *Y am not what you'd call a minimalist,” 4. "My]0b." says Bill Oberlander, the
3© -MTV¥ visual personality, anoStacy” i Gesinned are now betnigconsidered 3 = Says Stefan Sagmeister. the Austrian: BS advertising Wunderkind, “is to inspire,
= z Orummend, also a’designer andhis eS designed objects,” says Margaret : i born designer known for hic discordant: .E to shepherd, to help cut through the
gz 3 Youngblood, a giant of traditional desian cS) iconoclastic etyle. “I may be the “S<§communication ctutter out there and make
ee { i %_ Whohas helped many maior corporations - a8 only designer in the music business Ae a clear statement, tell a story" For the
————— § te 3 establish their identiies“Even the most t2 who-aolually prefers the GO,format to ® FE antdirector Julian Pugsley and the
is § the shockofthe familiar” Keyton- says, at 7 eee image, Eve and er joal,” says. at the album cover. What you Jose in Sey Copyuritar Andrew Bruck, who worked
8 : “Stacy.and | decided to juxtapose jg Bac Scolt. Younguiond
3senier. dasipn. © 5... size, you gain in density!" For nis cover. & with Oberlander on his cover design.
g 'No.designed objacts, one high. one... z Sicector, ig now.part of our designer. £& Sagmeigter says, ") asked mysolf how g the task was to. come up with something
. 2 low," A Gucgi baby spoon costs about— de worlds.” Consequently, fo emphasize the —g A ___to interpret the notion that design 3 £ graphically jarring that would convey the
ut i $250, but a plastic one trom’ Gerber Car 3a shack of tha lamitiar, hey asked Eight 3 Is everywhore and came yp with what §.¢ (daa that dosign is notonly everywhere
oe be had for about $1.49 almost, a 4 {he's Industrial designer ta come up with > Ubalieve is the epitome of 20th-century E but in fact ia us. “And that's how we came
§ supermarkets, Drummond
andKeyton, Cae Wem nes. modern leat, They then soltened 3 object design. the chair. | drew 30 3 upon tho rew woman.” Obertande:
= find both equally beautiful : : Eve's curves and gave her a pure white & or 40, Then | got the idea of adding 5 Says. “She's the morph — the offspring
* £ Moe suggestive of Bd +5 é :Pot, something = oe ed en 3 of choman anda designed proc SY f
i SShio count eieesuty lized by Marlatt Many people's homes. By : ne Tartarty is Shoo ing yo hall
9 the Cot with a layer of the chair ro} of ner, you see hall of the corkscrew
pattern, twas abte to create a futuriotic and you do 9 double take and think. Huh,
designer world, which the cat is in \s this telling me that high design and
humanity are now this interchangeabie?
‘our own,
PHOTO CREDITS ON PAGE 141
“Oh my‘God
-we hit.
a little oir?

The true story of M Company.

From Fort Dix to Vietnam.
 Che New 4] Magazine
SLEAZENATION
AN IDEAL FOR LIVING THROUGH HONEST FASHION, ART, MUSIC AND DESIGN
Opposite and left The directness of text has an
appeal and impact that sometimes simply cannot be
conveyed by an image, as in this Esquire cover (1) by
George Lois. It can also work as a conceptual tool, as
in this New York Times Magazine cover (2) for the
“Ideas” issue, the annual end-of-year compendium of
the year’s best. “Our approach was to present the best
ideas, inventions, and schemes in an encyclopedic
fashion, using the alphabet as a construction device.
To that end, we created a template that resembled

PM WITH STUPID
both a dictionary and an encyclopedia, in its use of
thumb index, the illusion of thick pages, the wide
columns, the little drawings in the margins, and the
somewhat stuffy, dictionary-style typographic
conventions. The cover was designed as an old-
fashioned book cover, with the texture of fabric and
embossed, gold lettering. It was then photographed in
three dimensions, with the depth of the pages on the
right forcing the image into a slightly narrower
format,” says Janet Froelich. Scott King’s use of words
severy38 mastonre on youth culture magazine Sleazenation (3) took its
ANG i cue from a T-shirt design and was a direct, witty joke
slyly poking fun at its readers, magazines, and fashion.
2 5

cover illustrations in order to communicate complex concepts in simple ways.

Adbusters also uses this method, while Tentaciones, the El Pais supplement Below A weekly magazine has to look very different
from issue to issue—the reader needs to be aware
designed by Fernando Gutiérrez (see p.172), moves the logo around the that the one on the newsstand is new. Moreover, it
white space of the cover at will, unrestrained by anything other than the fact is possible for two issues to be on the newsstand at
the same time (as is the case with Time Out, which
that, because the magazine is printed on newspaper presses, it cannot use overlaps by a day). Consequently, Time Out makes
the most of the ability of text to stand out in a way
full-bleed photos, so instead floats images on white backgrounds to give the
that a succession of images can’t. For this cover, it’s
illusion of bleeds. hard to imagine anything working as well as the type
does. Micha Weidmann’s solution (4) to an issue on
whether north or south London is better was
Text-based covers innovative and orginal; rather than simply show a
photo or illustration of the Thames river, he devised
Text-based covers are rare in contemporary periodicals, but many designers, two covers: Dependent on which side of the river you
including George Lois on Esquire, Herb Lubalin on Fact, and Scott King on bought your copy, either “north” was the right way up
or “south” was—an ingenious and simple solution to
Sleazenation, have used text-based covers to brilliant effect. Pearce Marchbank a difficult concept.
often took this option for his 7ime Out covers in the 1970s, for instance

imeO.ut
LONDON’S WEEKLY LISTINGS BIBLE

eschewing photography for an issue on Japanese movies, choosing instead a

DECEMBER 14-21 2005
of
publicat
II:
Anatom
39
a
AWUN i
graphic treatment of a bleeding Japanese flag with a single, pithy cover line.
A more recent issue, featuring an Amsterdam guide, opted for a typographic London
approach because, as its art director Jeremy Leslie explains,“Amsterdam lacks an
iconic location, building, or event, so a typographic solution was used to express
the buzz of the city.”
There is no doubt that text-based covers work, but in a culture that is now
so visually oriented their use is minimal—which, of course, can be useful for
the editor and designer looking to make an impact or stand out: hence their use
when tragedy strikes or a famous person dies.
A final word on covers:
The term “cover” comprises the outside front cover
(or OFC), the inside front cover (IFC), the outside back cover (OBC), and the
inside back cover (IBC). In most periodicals all but the OFC will be given over
UOPUO 7
moe
to lucrative advertising, but if they are not, it’s worth remembering that these
pages are infinitely more valuable than any other available pages, apart from iit0s:
9002 Te - PT 4383930
the main cover. 21818 SONLLSTT AT#33M S.NOGNOT

4
 Eee Adbusters
Quarterly Canadian magazine Adbusters—
subtitled “the magazine of the culture-
jamming revolution” —is an excellent
example of the relationship that a special
interest publication can develop with its
target audience (in this case, 120,000 of
them). Editor Kalle Lasn brought a
documentary film background to the
publication, which played a large part in
the development of the magazine as an
intelligent, design-literate publication
that not only delivered a meaningful
message but also married each issue's
theme to coherent, relevant design issues.
Each issue deals with one theme and is
treated as a mini-book, enabling a
completely different look each quarter.
This is heightened by occasional guest
art directors, such as Jonathan Barnbrook,
who are brought in to deal with the visual
journalism of a particular theme. The fact
that it doesn’t carry advertising means
that the magazine's flow and pace present
interesting problems for designers used to
Editorial
40
Art
Design
Direction
+ ad pages that, while generally seen as a
design evil, can be effectively employed
to the designer's
and magazine's advantage by breaking up
spreads to create variety in the flow and
enabling a feature occasionally to start
on a right-hand page.

ENDLess Poss BILITIES ™

 Left and below Style magazine Flaunt’s covers are
always highly original in both production and design
terms, and always include an inside and outside front
cover. This one features a teasing two-part cover that
has an unrecognizable color-by-numbers front (1).
Only when readers turn the page do they see that it’s
Reese Witherspoon (2). According to creative director
im Turner, “Where other magazines would use a
Gcimple card cover, Flaunt always goes the extra
WwW

distance. Cover ideas are discussed with the

AS) otographers many times prior to shooting the inside
over, but the majority of the time we find a particular
tist who has a gallery show opening, or recently
pened, or just someone whose work we like, and let
Oey
we) im or her run with it. It’s also great when you find an
art director/designer/illustrator group all-in-one
situation to work on the cover—that’s only happened
a couple of times.”

COMAG £3.75.
FLAUNT
7 0

i i
WWW MavaCHIOCale,
of
Anatom
II:
publica
41
a
al

Left On Interview magazine (3), Andy Warhol often

employed both front and back covers to present a
portrait in full frame. On the front it would look like
aivd aivsoana
DORE
LIWEId
SPTZOL
sn
39¥1s0d the traditional star close-up, but the back gave
readers greater insight into the shoot and the subject.
 Boston Sunday Globe
& Books & Books

as
CHILDHOOD'S END Sue Miller's new novel, “Lost in the Forest” D6 CPTY OF SHADOWS An anonymous diary ofthe fall ofBerlin £6
MURDER AND MAJESTY Mysterles in LA and Elizabethan England, in “On Crime” D6 LAUGHING MATTERS Romantic comedies, in “Pop Lit” £6
WAR STORY Relmagining a brother's experiences in the SS D7 TEN FATHOMS DFEP Profiting from marine disaster €7
REFLECTIONS Gail Caldwell on « novel about an octogenarian writer D7 “LUNAR* LANDING From Bret Easton Ellis, a new novel €7
UNREALITY SHOWS Trompe Posi), from ancient Greece to today 09 MISSISSIPPI MASTERAn ambitlous biography of Eudora Welty £8
PARADOXICAL Works about Gédel and other thinkers, in “On Science” D9 UP AGAINST THE EVIL. EMPIRE The Dodgers vs. the Yankees, 1955 E9
STRING THEORY In "A Reading Life,” bluegrass and fiddling pioneers 09 ICONOCLAST In “A Reading Life,” rememberingtheBritish writer B.S. Johnson

APRIL 24, 2005 Thinking Big: ‘The new insecurity p10-12 AUGUST 14, 2005 Thinking big: Going to college in high school e12

Filmmakers on hoaxes a
the war path oz By Hua Hsu
By Thom Powers
Was the New
Orgasmic Deal racist?ts |
science os By Christopher |
By Cees Shea Shea {

Hiding at |
the movies cs |
By BenBirnbaum By Mark Pothier

|
AND... |
Cap tricks, |
Law enforcement is clamping down on doctors who prescribe high
doses of the most powerful and dangerous pain killers. Is this protecting and more 23 |
AND... Sy patients — or hurting them? |By DRAKE BENNETT
Loathsome IDEAS ONLINE |
In“Tanked,* Thomas
Bostonians, Jane UNTIL HE CLOSED his northern Virginia prac- were using their pain Killers recreationally or ©.Palmer Ir. discusses
Fonda's latest goof, ‘ce In 2002, Dr. William E. Hurwitz was a na- torning around andselling them wastantamount the riseandfllof
and more 023 tionally known pain specialist whose willingness torunning a drugringoutafhis office.A fewof PioneerInstitute,a
to treat chronic pain with high doses of powerful his patients, the prosecution charged, suffered
Ideas online nareotic pain killers like Oxycontin and Dilaudid severe overdoses at hishands, onedying after z z z ee&
In'"The politics of pain,” had attracted patients from around the country. Hurwitz prescribed her morphine at a dose 45
Drake Bennett discusses the ‘Many of them saw Hurwitz asa savior offering de- times higher than anything she had previousty

jong-running debate over the
nature of pain and the proper
medical use of powerful-and
dangerous-oploid pain killers
In treating It. Should such
drugs be prescribed liberally
to combat the chronic pain
Design
Editorial
Direction
Art
42
+ estimated to afflict as many
as 50 milion Americans? Or
ate the risks of addiction and
abuse Just too high? Record
i
liverance from years ofagony that other doctors taken. As Drug Enforcement Administration
had been unwilling totreat. Hurwitz’s liberal pre- chfet Karen P.Tandy putit,“Dr. Hurwitz wasno
scribing got him profiled on “60 Minutes.” Twice, different thana cocaine orheroin dealer peddling 3 2 Ey
in1991 and 1996, italsogothismedical Ucense poison on a street corner.”
suspended. And a weekand a halfago,itgothim ‘To Hurwitz’s defenders, however, he was a vic~ cutting red tape. Does |
sentenced to25yearsina federal prison. tim of drughysteria andof& crueldisregard for the Bay State need a
Hurwitz’s was the most visible conviction in the destructive power ofchronfe pain. And while greater Infusion of free-
a three-yearfederal investigation of prescription few pain doctors would defend all theparticulars market thinking on the |
drug abuse, a crackdown triggered by a widely of Hurwitz’ practice, many are deeply worrled
reported rash ofOxycontin addictions inthelate about theexample thathisconviction sets.Ac-
big policy issues facing |
1990s, According to prosecutors, Hurwitz’s will- cordingtoRussell K. Portenoy, a neurologist and
falignorance ofthefactthat somteofhispatients leading pain care specialist, PAIN,DS
Drake Bennetts thestaffcriterforIdeas. Emaildrbernett@globe
com.

Common ground
A group of historians want
to reconsider the 1915
Armenian genocide —
and prove that Turkish
the Workshop for Armeaian-Turkish Scholarship,
ale As Israel prepares to withdraw from Gaza,
pigment gets political |sy Boris FisuMan
‘THE ISRAELI WITHDRAWAL from the Gaza ae a ee
‘Strip, scheduled tobegin tomorrow, hasprovoked
and Armenian scholars ferocious opposition from those who view it asa
ans, adopted
“org a eden ce orapoi
really can get along movement,” said Leatrice diree-
rotfisResacasCuebasioon Nee Dear
By Meine TouMANI the marriage ofred,which isexciting anddynamic,
‘with yellow, which isfriendly and convivial. It'sthe
‘Dest ofboth worlds”
FIVEYEARS
AGO,Ronald GrigorSumy,a profes-
ofChi

thisyear,Kuwait! advocates ofwomen’s Orange, nding

uffrage marched inblue.Mongolian reformersare ‘sumand sand,{soneofthemunicipal colors ofGush
A boy paused last week infront ofa poster inYerevan, Armenia, depicting survivors ofthe COLOR ME RESISTANT, Au Isracli policeman arrests an opponent of Israel's yellow. Azerbaljanls and Moldovans, notwishing to Kati, themain group ofJewish settlements inGaza.
mass kilings of Armenians that took place ineastern Turkey betwee!n 1915 and 1923, In recent Ivory towerdispute. It wasthefrstmeeting of jent plan from the Gaza Strip, Aug. 8. Anti-withdrawal activists have thisyear,theIsracli fashion establishment
years,agroup ofArmenian ond Turkish historians ave bec selina:‘together tobridge the adopted orange as their color, while the government supporters embrace the blue of BorisPiskman isthaeditorofWildBast-Storie from had anointed {tusthe“in”colarof thesumamer, “If
gap between the two sides’ sharply polarized views of the events. Meline Tournard isawriterYing in
Brooklyn. the Israeli flag. thsLastFrontier.” He tivesénNew York ‘someone doesn't choose orange” ORANGE,£4

Above Newspaper designers, who lack luxuries such as Newspaper covers

huge images, color, or glossy stock, have to make a
title appealing in a very different way to magazine News no longer sells newspapers.
The Internet and mobile media have made
designers, as these examples from the Boston Sunday newspapers redundant as the preferred media for breaking news, and newspapers
Globe show (1), (2). “Typography is the key to look
and feel—what readers perceive in the first ten have had to reposition themselves accordingly.“The old definition was: News is
seconds when their eyes land on a page. It is through
what I find out today that I did not know about yesterday. My definition of news
the feel of typography that one conveys seriousness,
youthfulness, playfulness, and so on. The color palette today, which I share with my clients, is this: News is what I understood today,
is the second important criterion. We react instantly
to the combination of type and color on a page, and,
which I found out about yesterday,’ explains Mario Garcia, design consultant on
as a result, white space and its allocation within the a global range of newspapers. Consequently, the early years of the twenty-first
architecture of the page play the third most important
role, “ says Mario Garcia. century have seen a great number of newspaper redesigns, and this is apparent,
above all, on the front page where, for publications across the board, the desire
for impact has become all-consuming.As Mark Porter explains:
 It is no longer just downmarket tabloids that strive to create a dramatic or
surprising presentation of a single story on the front every day. But this can
be a dangerous strategy, as it leaves nowhere to go when a truly powerful
or dramatic story breaks.Many newspapers s still prefer to carry a range of
stories calmly presented on the front page, as this conveys a sense of the
diversity of the day's s events, and credits readers with the intelligence to
make up their own minds about what to read and think.

Newspaper of the year

Children of war: the generation

traumatised by violence “pee
lag,
Growing upina
war zone takes its
toll as young play
games of murder
and mayhem
Michael Howard faghdod

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Continued
on page 2»

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National _ International : Financial Sport Left The Guardian newspaper (3) dedicates the central
bulk of the front page to one or two stories, but also
Britain worst for Bush seeks $100bn Ryanair's profits Barton booked by
crime, says EU poll extra for warin Iraq —climb by 30% England captain strips four or five turns across the bottom of the page.
Britalo
isone ofthe word courntster in tee Large cate ii medical cate spencting: Ryartait ported necord protits yesterday Steven Gerrard's frst nolwine Engtanilcap- These are not ideal, as they force the reader to go back
HL torheirplary, assaults and hate cringe, w poor and eleterly: people will Pett cbeaqite wahay'p vive in Cuel costs, thanks | tayn Was t0 det as peacemakers best nteht
sutvey basfons). TheElicrime and satiety Une coarlog cost of Che wor fitfeag @: to rising passenger ourobers, Increased to prevent Jovy Boitan’s totrodisction and forth from cover to news pages, but the designer
surrey putkx the UK alongside fretarut, Googe Duah’s $2.19 trithon budget mad fares and chagges for checked Gt meer STEUNG any divisions in the squad, She
FstonG, the Netherlands wud Pevumiart
29 2 cobOrY whens the chances of being | 4
Posals sent to Congress for approval
Yesterday. The Pentagon wort receive
‘The alstine said 1p £7 Ghacge fenwach
aches takGases sac st of pet Workd
Maochestes Coty midtloldor’s exitician
one Besa autobiographies ~
must find a balance, which should be predicated on
2 Victlon of crinne
areat bexat Soom higher
than tbeElfaveraye London isdescned |
40 11.9% thorease, with stoobo exten for
raqand Afghanistan on topofthe moocy
Thoarmount @payee for
boosting ite prohts eae WON to £48, o
pouty received! He teat
pak aud Gers nie ted the brand: A quality newspaper, in particular, will
as “tbe crime capiial of Rurgpe™, where the final three otanths of Last your, The tocalmahe tation,neecepeee pu*
the Stel hoadt ofbecoming w vaction
Sect Cie resi thantoall ether£1
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COMA YCOLES 10Niibon palsurigwrs it friendly aeaiivet Spade atOldTratfiond. Tye
that period, tyvby tone, while theavemec
always want to present a number of stories on its
Siverpool captain decided humour was
coapitals god-eren New York White the
faew cewarch Concedes thant ertrte ay
contlict, The Deinerats, who control fore Cosi HeyP% TO £28, Itachiefexccutivy,
| Congas, have promiand caretyl 15 Michael O'Leary, tasnbastedthe
he bestwae todefuse the stoation soda.
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cover. As Mark Porter says, “Turns enable us to get a
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dere washiaverls in theWk about hotel room yestonday. “T’ve s hitter presence for a wide range of stories on the front page,
other BU counttrtes. at New York week teoapsonHei Tronttiog thor ofaviation
oochomate change. rina, said Geran
ee Dt aS cs) BS rn
85 pS men which is essential for a newspaper that aims to give a
é e r
st 4 broad and balanced view of the day's news.”
 Opposite A great example of visual confidence in
the brand that might be misplaced if the brand was
not well known. Harper’s Bazaar or Vogue would still
be recognized with barely any of its logo showing;
a less well-known magazine would not be.
So, finding the right balance is important, and key to this is a good production
system and underlying, flexible grid. Mario Garcia adds that newspapers have to
offer readers “good stories that surprise, with photos that have not been shown
on television and the net for the last twenty-four hours. It’s all about redefining
news, offering surprises, and not just reaffirmation.”

The logo as ambassador for the brand

A publication’s logo—the graphical representation of its title—is the first and
often the most important element of its cover. While the publication’s title may
be as important as the way it looks, for the majority of designers this is
something that will already have been decided. A logo is intended to capture
and impart the publication’s character, subject, stance, and attitude to its
intended readership, often in a subliminal way, and, while its primary function
is to appear on the cover of the publication, it also needs to work on all of
the brand’s representations.
Thus, it will appear on stationery, on promotional
and marketing material, and on the Web site, and all these uses should be
considered. If a magazine is successful, then its logo will be around for a very
long time and its treatment, manipulation, and positioning, along with any
obscuring of the logo, become significant.

Playing with the logo

Design
Editorial
Direction
Art
44
+ A logo is a publication’s calling card and should therefore be visible. Publishers
are not happy with the logo of their title being obscured (by a photo or an
illustration), but there have been many examples of a title being covered or
partially covered and still selling very well; the trick is to show just enough
of the title to make it instantly recognizable. There are many instances when
obscuring a logo strengthens a concept that would otherwise be weakened
if the logo had to be visible in its entirety: Henry Wolf’s cover for the March
1959 issue of Harper’s Bazaar (right) interwove gloves with the magazine’s
title to create a riveting cover that looked three-dimensional and offered a
seamless, completely integrated image.
Nest, the U.S. interior design magazine, changed, happily, both the design
and position of its logo for a while, as did David Carson for RayGun (see
p.46). This conceit was copied by sister title Blab Blah Blah, designed by
Substance, while FT The Business magazine (see p.46) played decorative
and visual tricks with the logo each week, treating it as a movable graphic
element that was an integrated and witty part of the image and stood out
boldly from it. Others stuck with a good thing. Nova, with its elegant logo
set in an old wood type, Windsor, worked brilliantly with just the logo and an
expressive single theme on each cover, using just one cover line to sell it (see
p.177). Interview, too, with its hand-drawn logo by illustrator Mats Gustafson,
rarely played around with the logo or cover lines, which remained minimal.
It played to its strengths—a large format, a unique logo, and a visual style of
tight, harsh crops of celebrities that was all its own.
 —

“a
~
—
4
4
a)
R’S

‘TT Awojzeuy
joe uolzedqnd
Gy
 Weekend FT. 27/11/99

issue #3, featuring :

dinosaur jr.
shamen, screaming
trees, flaming lips,
michael stipe. shabba &
ranks, new logo, the

Design
Editorial
Direction
Art
46
+ > eS” a
SDYERVEDRIVER
Stereolab manic street preachers tank girl
slowdive lush etcot

Above Playfulness, experimentation, and an irreverent Spines

approach to the logo can not only “fit” a publication
well, as designer David Carson realized on alternative
music magazine RayGun (1), (2), but can also enable
the designer to link a logo to the cover’s concept, as
designer Gary Cook frequently did on FT The Business
magazine (3). He says, “About once a month I tried
to do a concept cover, not one based on a portrait,
and I did everything from making the logo into a piece
of ‘bling’ jewelry, to sprinkling it on a cappuccino.
This helped develop the magazine as a brand and
strengthen its position next to the paper. I try to use
wit in my design work as much as possible and when
appropriate, like here, where I think the concept
covers worked well.”
While book designers know the value of spines as a design area, this little band
of space is generally ignored by periodical publishers, beyond using it to show
the title and publication date. This is a shame for two reasons: First, the spine
has excellent sales value as, when stacked, it is more visible than the cover, and
second, because this strip is an excellent place in which to reinforce the brand
and style of the title, a fact not lost on the designers of titles such as Arena,
Loaded, Vanidad, and wallpaper*. Rather than simply list title information, the first
two of these use the spines to build up arresting narratives that make readers feel
they are buying part of a series and not just a single issue, thereby encouraging
loyalty and the desire to build up a whole set. Vanidad, designed by Fernando
Gutiérrez, echoes Arena by having the separate spines (opposite, next to Loaded)
combine to create the upside-down “A’ that is the title’s logo, while wallpaper*
uses it to carry a list of key contents—an excellent indexing feature. Separating
what’s important from what’s not can be achieved by using different weights and
sizes of fonts: The title logo and date should attract from a distance, drawing the
potential reader closer to finding further, more detailed information.

Inside the publication

A publication is broken down into areas that largely follow an established format
for its particular type. Thus, a magazine breaks down into three areas: the news-led
first third (called the front of the book), a middle third housing the features (called
the feature well), and a back third (called the back of the book), which is usually
where information-based content—reviews, listings, directories, and so on—is
located. Anewspaper can be similarly broken down into areas of content: hard
news (the unpredictable, including international news and business); analysis
and opinion of the news; expected content (television, stock market information,
reviews, weather, sports, etc.); and irregular features.
A flick through any newspaper or magazine will reveal that the different
areas are often signposted by varying layouts or grids: Column widths, headlines,
fonts and their weights, images, and so on are all likely to differ subtly from each
other, identifying departments and making navigation easier for the reader. There
is, of course, no reason why designers should not deviate from these formats, but
if they do, they should use consistency in flow and navigation to compensate for
the reader’s lack of familiarity with the structure.
This is particularly true for
popular and predictable content—TV listings, weather forecasts, letters,
crosswords, horoscopes, and so on.

Contents page
What does the contents page of a magazine do? Contemporary readers use the
contents page in a number of different ways: to find the cover story, browse the of
publicati
Anatomy
II:
47
a

entire content of the publication, find favorite sections, or find a story they vaguely
remember reading years earlier. Some people don’t use the contents page at all; BUeW
UOISIAG]9}
aweseg
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it is the only device that can literally guide the reader deeper into the publication
and signpost a way through and around its content. Because of this status, contents
pages are often located on the right-hand side, since this is the page most easily read.
However, precisely because of this, right-hand pages—and particularly those near
the front of a magazine—are more appealing to advertisers and therefore may be
sold, forcing contents pages onto the left-hand side of a spread.

66/0 66/90
Designing the contents page 486/11 66/Z0
66/1-86/Z}
First and foremost, the contents page—and particularly the essential information
RSE
*PRLS
66/£0.

it contains—should be clear to read, simple to follow, and easy to find. While

traditionally it is placed as close to the cover as possible, its position isn’t as
 Zembla magazine >contents
END

§2>Writer’s Shock
Toby Litt remembers
the writer and educator
Malcolm Bradbury

Authors on t
books; and Z hat to read now,
damn it

102>Big
By Alexander Ba!

112>Cartoon
By R. Crumb and Gavarni
MIDDLE -
115>Crossword: Crass Word
38>Sanchak By Francis He;
By Matthew Knea

54>Under th
By James Hopkin
and win a first

120>Lost Page
Never-before published pictures
72>Close-up Stand-off 81>Sometimes the Daughter Says
the Things Her Mother Thinks
By Donno Daley-Clarke
88>The De
Michel Faber i

87>Dr Mortimer’s Observations

The problem with ‘nice’ people

Design
Editorial
Direction
Art
48
+

[oa] pazine (05)

Above and right Contents pages have to list

everything in the publication, but there is no reason
why their design cannot be handled inventively, as
these examples from Zembla (1) and The New York s lome rom?

Times Magazine (2) demonstrate. For the latter's

annual issue on inspiration, art director Janet Froelich The Seeds of Inspiration: |oe
eaign n PePortfolio
found inspiration at the Cooper Hewitt Design
Museum’s biennial. “I saw the wonderful ‘Alphabits/
which designer and writer Paul Elliman constructs from
scrap materials, found objects, and bits of industrial Text by Camille Swe ne |a &
waste, including bottle tops, computer components,
The Guts of a New Machine
engine parts, and so on. As such, they are a perfect tThoiP 1 it sic bycombining
embodiment of the question of where inspiration
comes from. His letterforms are powerful graphic
objects and they made our pages look fresh and
inspirational. They were so much fun to work with,”
says Froelich.

Vote Getters How Do You Spoll Inspiration?

In posters and bat
peenideittiat ca
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Die Kunst, zu bertihren und
aufithlen

Above and left Contents pages can be designed

. well as lists, as illustrated by these examples from II:
of
Anatomy
publicat
49
a
yy Twen (3), Sleazenation (4), and About Town (5), which
a use strict underlying grids and a Swiss formalism to
122 make the text matter-of-fact and informative while
nat muniior§ MAROH 1981 ABOUT TOWN'S EXAMINATION
OF THE TORIES BEGINS ON PAGE 20
WITH AN EXOLUSIVE INTERVIEW
COADTMICNTC
DEPARTMENTS
Y
retaining a graphic elegance. But there are many
WITH THE PRIME MINISTER, f
THE MAN WHO TODAY REPRESENTS different ways of representing the navigation of the
THE PUBLIC IMAGE OF THE PARTY
128 ws Magazine. In Metropolis (6), “The map on the table of
| 25 © | 72 | 8 129
2 contents is a graphic device that was created by Paula
Scher when she redesigned the magazine in 1999. It
|about town ‘ me v ee | z. aon we 5 a provides a framework to show the reader where the
NEW ANO EXCLUSIVE ON THE W : ; stories appear in relation to each other. Although
acabaraial fede | nO Panik ; the table of contents has gone through many
a
DLOTHED Af Mon about the Mack Country, | | 4 Cr design variants over the last five years, the map has
photographed by Z'erenee Danenan
7A Adiirens ook:tallory
‘vl services (hrouehout thecountry. remained, and has actually become a more significant
MODBAN LIVING 68 J.owdon's wiih
yy Anthony Haden: Quest mupported
boy Hill Hrandi andabnDonattson
| element in the design of the page,” says Metropolis art
| 40 Ane sre moo bored thats wo wed 10 bo?
‘aske Eliyalsth Snort director Criswell Lappin.
BRITAIN TODAY | 20/The ToryPorty) Lweid duphs explains otis e ls |
| ita phenomenal euceeas :
iv de for me; John Wain dottwes tow

50 Kngannl’s har
and JahnBudever i
spot on the eden
a |
OARS | 02 Tno-open roadsters:
spots core
Henatedcbilth
FOOD AND DRINK | 4/ dipliting th apple(n gublo to the whieh,
| haw and when of olderdetiiing:
10.00 te towns where to drink, dine oF
‘inp nin
COMMENT 1
 important as consistency of positioning. Every issue of the same magazine will
put the contents page in the same place. Regularity leads to familiarity. This, in
turn, fosters the sense of a publication being a friend. The arrangement and
organization of a contents page should be attractive, lucid, and quick to absorb
and navigate—to find the cover story, for example, or a favorite regular section.
It should highlight individual features and important section stories through the
use of type, imagery, and graphic devices such as rules and icons, and it should
summarize main stories to tempt the reader to them. After all, someone reading

the contents page may not have bought the magazine as yet. Finally, it should
echo the arrangement of the contents that come after it; so, if there’s a news

section followed by a feature well (see p.53) and a directory, this should be
reflected in the contents page.

(SSN
0263-1210

i N ui R oO
8 “Chaka Khan meets Eurythmics” Helen Terry
Design
Editorial
Direction
Art
50
+ IT WAS a game at first. A publisher had been 11. Sara Sugarman/Olympic shirts/Sunday Best
stonewalling my proposal for a new magazine 15 The Black Theatre Coop/Rich Ai lacs
d ‘Popcorn VVYIIE
so | started to toy with the idea of publishing it
myself. Independence ~ now there's a thought
16 Yellowman/Grace Jones/Was Not Was
to set any journalist's pulse racing. But | never 18 Alternative Country — High noon in NW1!
honestly thought I'd go through with it. On the 20 Jermaine Jackson/|ntro's record selections
other hand, what if | could actually escape the
frustrations and constrictions imposed by hav-
22 Absolute Beginners Loose Ends Bronski Beat
ing to conform to somebody else's notions of
how a magazine should be run and what it F E A T U R E s
should be? So | started to check it out, juggled
24 Hippie as Capitalist — profile of Richard Branson
2 few figures using some £4,500 of savings, and
calculated that — yes ~ | could just about cover
28 Mods! The Class of ‘84 hit the Trail of '64
the costs in the event of total public rejection. 38 The Genera! Revisited — Jerry Dammers
Then there arrived the day when | telephoned 44 Gang Wars! Sudden death in Olympic City
an order for £7,500 of Finnish paper, literally
feeling queasy in my stomach as | replaced the 2 Photospread The funeral of Marvin Gaye
receiver and contemplated the commitment. | 58 Saint Joseph the Tastemaker!
=
had the same feeling at Sam one April 1980 Exclusive! Stevie Wonder has a dream
morning in South Wales when the first issue 5
came off the presses. The initial idea was, in a
EXPO Night People by Derek Ridgers
sense, self-indulgent. To hell with market re- D oO All for Art — Gilbert & George
ID
search! This would be the magazine that |
would enjoy reading visually attractive, Ss 3 Cc T i oO N Ss
surprising, diverse, colourful, stimulating
Wind it up and let it go! Profits (sic) would be 42 Julie Burchill How to get /t! ow to lose it!
spent improving the product; behind-the- 50 Music for June reviewed by Geoff Dean
scenes costs cut to the bone. To survive during
55 Letters The readers bite back!
the first year | was the only full-time staffer,
working first from a corner of a room in 66 Back Issues (going fast!)
somebody else's office, then in a musty one- 74 Films New on the circuits
roomed basement. In that period there were at 76 Nightlife THE FACE in Turin/Club selections
least two occasions when disaster was immi-
nent. The fact is that it’s relatively easy to start 82 Bodylicious! 12 pages of Style start here
a magazine, a major act of endurance and faith 94 DisINFORMATION for THE FACE’s 50th
to keep it going when things don’t immediate- 95 Subscriptions advice THE FACE by post!
ly click. But there has always been enormous
goodwill towards THE FACE and it was this,
with equal measures of stubbornness, pride The Face ® 4th Floor, 5/11 Mortimer Street, London W1, England
and my wife's support, that kept us afloat
Today we have 4 rising circulation and an Publisher/Editor Nick Logan
international reputation. On top of UK sales, Assistant Editor Paul Rambali
every month we export 24,000 magazines to Designer Neville Brody
some 36 countries. Quality of content improves
with every issue; there's no room for com-
Features Paul Rambali
Intro/Features assistant Lesley White
placency. Last year we were elected Magazine
Accounts’ Julie Logan
Of The Year in two polls. This year (so far)
Designassistant. Ben Murphy
we've put out two 96-page issues, expanded
New York Editor James Truman (212 989 4579)
Right On alternative style magazine The Face, editor the scope of coverage, tried to stick our necks
Ad Manager Rod Sopp (01-580 6756)
even further out. Profits are still being rein
Nick Logan and designer and typographer Neville vested, Not just me, but all of us at THE FACE
+ Peter Ashworth/Janette Beckman/Max Belllan Birch/Chrs BurkhamJule
Brody recorded a postpunk era by taking typography,
would like to thank the readers, contributors.
advertisers, associates and friends of the Burchil/David Coria/Kevin Cummins!Giovann) Dadoma/Chalkie Davies
Anthony Denselow/Robert Elms/Anthony Fawcett/Jill Furmanovsky/Laura
layout, and design in new directions, which drew magazine for their generous and continuing
support. And we're still independent! Hardy/David Johnson/Marek Kohn/Nei! Matthews/John MayJoe McKenna

on the politics and visual aesthetic of Russian NICK LOGAN Jamie Morgan/Neil Norman/Steve Pyke/Derek Ridgers/Dave
Roberts/Sheila Rock/Fiona Russell Powell/Chris Salewicz
Ri mmenteten

constructivism. However, the layout of the contents Simorn/Caro! Start/Jay Strongmarv’Kevin Suicliffe/Steve Taylor/David
Paul Tickell/Steve TynarV/Eltssa Van Poznak/Jane Withers/Patrick Zerbib
page was still clear, and remained fairly traditional
THE FACE
in its design.
 Some publications don’t bother with a contents page at all. Chris Dixon, former
art editor at Adbusters, did away with the contents page because he and the editor,
Kalle Lasn, agreed that it segmented the magazine too much and dictated the
approach. Instead, navigational tools, including color bars and color stock, were
used, the former signifying the length and variety of the section’s contents by their
width, color selection, and length. This is an extreme solution to a design problem
and one that, in any case, can only be applied to certain types and sizes of
publications; a news weekly or listings magazine with no contents page would
quickly annoy its readers, while a publication with 300-plus pages simply has to
be navigable in a practical way.

The front sections

Magazine editorial department pages—pages into which all the editorial
departments on the publication will feed, whether culture, fashion, sport,
music, travel, or interiors, and so on—will generally have well-structured style
sheets and templates that are based on a selected range of fonts (size and
weights), colors, and page furniture (including graphic icons, rules, and
keylines), all laid out across a well-defined grid. Design has a part to play in the Below Zembla’s letters page is a good example of a
masthead and editorial comment, too, where the way in which information is well-defined structure that always looks original but
has a very distinct brand identity—and, with the
laid out sends strong clues as to the style and tone of the publication.
This is physical use of letters, a gentle wit, too.

letters page
Thank you for your letters, you are very kind. Those whose letters are published
receive a Zembla pencil. Please send more to submissions@zemblanagazine.com

of
publicat
II:
51
Anatomy
a

Hello,
Ihave seen your magazine with my work Jo i,
so why have Lnot been paid? This is not good,
my dad says that {can sue you fe
7 that’s what [think wa
I Abercrombie Tshirt, Pease tell
me it's a
money or |will tell my friends: lovely lady?

f me « Yours in anticipation
and ink p
A Frangois

y man that
Dear Zembla wontld do th He knew
Hove what you are doing, Fun With Words ete,
sand
in the magazin
internationally? What gives, man?
Hest

Giles Becker for the Commodore 64

‘You laugh, bot I have it en good authority
that Stuart Maconie gets paidACTUAL MONEY ann tre sees the weeaest sant Hp"
for this shit

Yours faithfully,

Rupert Kverett (not really)

3 foro Chanci td wad mbla magazine (17)

(16) zembla magazine spring. rw thousand
andfour 4
 ed GED A. Vogue Déc, 2004-Janv. 2005 Sublime IN FINI
Fin 2002, dans le hall des turbines
de la ‘Tate Modern, 4 Londres,
Anish Kapoor avait installé
Marsyas, oeuvre gigantesque
couleur rouge sang. Blanche et la
taille plus réduite —36 m de long
pour 6,80 m de haut -, la piéce que
le sculpteur déploie, cette fois, a
l’intérieur du Magasin aux foins
du Grand-Hornu fonctionne
néanmoins sur le méme principe.
MARC JACOUS
Melancholia ressemble a deux
FOR LOUIS VUITTON
corolles mises bout a bout et
constituées d’une membrane de
PVC tendue a!’extréme. Que l’on
plonge le regard par lune ou l’autre
extrémité, on est soudain pris
d’une douce sensation de vertige,
un sentiment sublime de l’infini.
HORNU (BELGIQUE).
TEL. 00 32 (0) 65/65 21 21. /CS/

THE EGO-TRIP BOLDUC MINTER LOLA VIKTOR & ROLF

HARK LAGERFELD HAN-LOUS OYMAS ALEXANOER McOULTN OOKCE 6 GANCANA YINTOR 6 ROLF

JEUX D’AD U Ll ES . Le plus expérimental des fashion

magazines, Visionaire, s'amuse 4 jouer ala poupée. Son nouveau et .
44° numéro décline une dizaine de petits personnages comme de mini-
robots tout ronds, chacun habillé par un créateur— Pavereld. Hermés,
Dolce & Gabbana, Prada, Viktor & Rolf... —et chacun accompagné
d’accessoires adéquats et indispensables — mobile, verre de Martini, fleur,
apparel photo... Evidemment, le tout est d'un graphisme ultra-créatif,
Direction
Design
Editorial
Art
52
+ ludique, out, mais abordé avec le plus grand sérieux. vsronaree, issue 44: TOYS. (SR)

Psyché-LDYLLIQUE
Ca se passe 4 San
wit Francisco, au milieu §
an des années 60, Lépoque pias £
ee
est 4 la contestation

prédilection : le rock.
ilier du bar
Ils boivent du café, fument des cigarettes, refont le monde ou non,
5

2
De cet air du temps nait parlent ou se taisent, s’‘amusent ou s’ennuient : Coffeeand Cigarette i
alors un mouvement de Jim Jarmusch sort en DVD, et c’est l'occasion de voir ou &
artistique singulier, revoir ce film, succession de moments, comme autant de séquences :
dit «psychédélique», indépendantes mettant en scénes anonymes et stars — Roberto &
incarné en particulier Benigni, ‘Tom Waits, Cate Blanchett, Bill Murray, Iggy Pop... — autour Zz
par des affiches de de tables de bistrot fagon diners 4 l’américaine. Ce n’est pas, loin de =
concerts, et vite repris la, le meilleur film du cinéaste, mais le c6té excentrico-insolite de g
par le monde de la l'ensemble constitue un intéressant et poétique exercice de style. /SR/ z
publicité, Couleurs
vibrantes, effets
d’optique, lettrages
forts, arabesques et
fleurs Arts déco...
Un vocabulaire visuel
qui peut aujourd’hui
paraitre daté, mais qui
continue de symboliser
un souffle de paix et de
réjouissante liberté. En
témoignent les quelque
200 affiches proposées
au musée de la Publicité.
JUSQU’AU 27 MARS,
WWW.UCAD.FR /SR/
 Opposite and left Two very different approaches to
Surreality Bites Cool Reception
news-page design. Vogue Paris (1) shows a classic,
structured page with all the stories clearly delineated
from each other by white space. Wired (2) takes a
more cluttered, frenetic approach with varying column
widths, boxes, and colors, but individual stories and
departments on the spread are still clearly visible.

Language, Thought and Flame Wars

LantyearTreneh speaking Jove TILT instigated
anonlinevote
1 sho

talk TV beijlum
why inuireet

ce ave
TILT. sive: Wet /orere. style

particularly true of the editorial comment, which should deliver the editorial
tone of the publication very clearly.
Contemporary news pages (and the writing for them) have learned much
from Web design, which uses boxes, colors, and a variety of font weights and
sizes to make pages lively and energetic. Wired and Business 2.0,in particular,
pioneered this approach, which was picked up by Gary Cook at FT The Business.
In an effort to make the Wired news pages busy and energetic, designers used
an abundance of overlapping boxes, shades, tints and colors, fonts, photos, and
shapes. White space, which would add an unwelcome sense of calm to the layout,
is completely obliterated.
A newspaper’s front section shares certain aspects with magazines in that it
contains the most up-to-the-minute content laid out across flexible templates on
a well-structured grid. The bulk of unpredictable content—breaking news stories, of
II:
publicati
Anatomy
53
a

developments in current news stories, and so on—is contained here.

The feature well

Features are the most important textual element of a magazine’s branding.
Whether it be the handling of a celebrity interview that every other publication
is running that month, an in-depth analysis of an event, situation, or topic that is
currently hot, or a scoop that no one else has, the style, content, and tone of the
writing and layout are what will make it stand out from competitors.
Many publications use a standardized house style or “look” for features, and
employ design to distinguish them from other editorial content through elements
such as wider columns, more white space, different typefaces, larger headlines, and
longer standfirsts or kickers beneath them. If the feature begins on a spread, it will
often open with a full-bleed image—a head shot, figure, or illustration—facing the
feature opener, which usually consists of the text (a headline, standfirst or kicker,
body copy, and pull-quotes) and perhaps further images that will tie the full-bleed
 water sports story by TIM SOUTHWELL photon by NEALE HAYNES

When the world’s

swashbuckliest pro
windsurfer invites you for
a weekend of free lessons,
shark baiting and pina colladas 2g ‘gas
*
_ thrown over ou by beautiful
gwomen in bik meyoucanhardly
d 1you?
ih fis se, ins
Ss
with Nik: Baker, one of th
Bre s © siders in
bed ett i

Design
Editorial
Direction
Art
54
+

Above In becoming the first “lad mag,” Loaded (1) City Weekly Arts ous
in the 1990s identified a new market, but it remained ¥ SUNDAY Giopr, Joxe 19, 2005 & Entertainment
Bostox Sonoay Giowe Decemaen 11, 9005
WHAT wis Maid NING THE WAY PEOPLE COULD
successful because the features and how they were WAS THI
written both tuned in perfectly to that market. Here WERE WILLING TO DISCUSS With fewer limits, will
were great wnters expressing all the things their Stern still have a shtick?
readers wanted to be doing, thinking, seeing, having, AND DIVERSITY
AND ACKNOWLEDGE
and being. Its design also brilliantly conveyed and THAT IT EX!
illustrated the energy, mayhem, and anarchy expressed
in the wnting. Art director Steve Read achieved this
by developing an “undesigned” style that suggested
features had been thrown together. The combination
of vibrant color, big full-bleed action shots, huge
AS IRAN INTO THEM AROUND TOWN
headlines that were manipulated to convey movement
and depth, and body copy printed out of the image
created an effect of sheer joie de vivre. TALK =
ABOUT RACE
Quietly, under the media radar, some folks are tackling Boston’s touchiest topic

. J
@2 00009090 |
©99020080080 -

Economic woes hit home,

as foreclosure rate soars

Right The Boston Sunday Globe features pages (2),

(3), designed by associate design director Greg Klee,
retain the vertical feel of the news pages in the city
section, designed by Lesley Becker, but use imagery
in place of typography to create a more leisurely, less InsideJamalea Palatudents prepa lo Moattheir African boat,1 Ho bookstoreisbestsel looking fora
beryer, oseMe $n Brightoa, the shutdown of ProvidentN ome hits 100patients han, Page 6...Pull index, ge 2
urgent tone.
2
 Below On Vogue Paris (4), art director Fabien Baron
uses both black and white space to construct spreads
that reference the underlying grid and accentuate
display text. As seen on this Paper Sky spread (5),
white body text printed over a picture can be very
effective, but must be used with care; a serif that is
too fine, stock that is too porous, or an underlying
picture whose tone is too varied can render text
illegible. Willy Fleckhaus’s bold use of white space
in this issue of Twen (6) from 1968 is an unexpected
treatment for the subject matter, and is therefore
an elegant surprise, both visually and conceptually.

TRAIN «
JOURNEY”
DAT EOCONEOM

Yann
wuprendn

' Das Hippie-Musical ,,Hair”

| macht den Broadway of
publicat
Anatomy
II:
55
a
verriickt. Seine Roek-
Musik ist laut und unver-
| schimt, seine Texte sind
|drasiisch und wahr. ,,Hair”
| riecht nach SchweiB und
} Blumen. Es keucht vor
! Liebe und ist authentisch.
 Right French style title WAD (1) shows how important
it is to use scale and space in the normally crowded BOOK
back-of-book section. Page after page of small items REVIEW
would become repetitive and dull, but by throwing
I FARNSWORTH MOUSE’ LUDWIG MIES VAN DER ROWE
in an occasional picture-led, large-scale item, a lively
pace is achieved. At Inside magazine (2), Jeffrey
Docherty says type craft is key to making individual
departments in the magazine sufficiently distinct from BALTIC HOMES
each other but still recognizably part of a brand. “I try
to keep my type usage to a minimum—a separate face
for body, one for headers and titles, and a third face,
which may be in complete contrast to the others. This
Meo ARCHITECTURE
third typeface can change the mood of the magazine.
However, what I find to be key in maintaining
harmony throughout the mag is adhering to the
grid,” he explains. INDUOTHIAL INTERIORS) OFFICES

MOUVEMENTS

‘THE PHATDON ATLAS OF CONTEMPORART WOULD ARCHITECTURE: TRAVEL EDITION

i 2

Design
Editorial
Direction
Art
56
+ the ad toward the editorial. Using white space formed part of a move away from
Below Here, Flaunt magazine (3) comes up with an
innovative solution to the design of the horoscope
page: “Bar Code Astrology” makes a wry comment on
the value of astrology, takes a sideswipe at consumer
culture, and creates a page that stands out visually at
the back of the book—and contains horoscopes, too.
image to the feature (if no such imagery is used, the headline usually does this
instead). If the feature begins on a single page facing a full-color ad,a bleed image
in black-and-white to contrast with the ad next to it, or judicious use of white
space, can create a distinction between the two pages and draw the eye away from
the excessive overdesign of the 1990s toward a clean simplicity,a move whose
popularity has, unsurprisingly, continued well into the new century. One way
of ensuring consistent use of white space is by incorporating it into the grid or
templates: For example, in top or bottom margins, or in the relationship between
headline and kicker, in “blank” columns, and in space around pull-quotes.
Back sections: reviews, listings, commentary
As with the front of the publication, elements that come after the feature well
(for instance, reviews, listings, letters, and horoscopes) are often laid out by junior
designers and have a fairly well-determined structure and grid. A color palette is
usually in place, as are font selections, weights, and styles. Imagery is all-important
in these pages: Good use of illustration and photography will determine whether
the pages are lively, and, indeed, which individual story on the page is read. Equally,

mil
U9 fy23
Preeti wherewllyouovate ye Cone
layout is crucial: Using cutouts on white backgrounds will make an image stand

via Aen a) Seperate carnico | out and allow the page breathing space, something that can be difficult to achieve
on editorial department pages, which are often crammed with stories and imagery.

lt
easy < feet syjin lr.

Very few people will read all the stories, but they may be tempted to do so if faced
| ll
|
with a page that surprises and excites them, a fact that is true for all editorial
uses
oe»
design, even listings pages, where the intelligent use of typefaces and rules is
H
i}
o MagrDiasivanty a OM
crucial if the page is not to look gray overall. Of the back section, the most valuable
page is that facing the inside back cover; readers flicking from back to front will
fe 24ely2
fh preva.

see this page first, which is why some titles use it for high-volume or popular
content such as horoscopes, letters, or the masthead.
 INSIDE
4 Where the Highway Ends
«4 Turning the Tables
46 Local Hero
6 Mutant Form’
The Art of Protest
4 Changing Outlook
46 Community Building
so Recipe for Success
& Plain and Fancy
Play It Again
0 Learning from Mexico City
10 Extreme Makoover

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Left and above This section opener for The New York
Times “T:Travel” Magazine (4) reinforces the brand
through the use of the hand-drawn Fraktur font of
The New York Times, and the concept of the content
through lettering in sand, while also presenting an
image that is both original and inviting. The section
opener for “Metropolis Observed” in Metropolis
magazine (5) is equally inviting through its use of a
textured image that gives a sense of depth and space,
while simultaneously acting as a mini contents page.

of
Anatomy
II:
publicati
57
a

Section openers
Section openers are often an indulgence in a periodical publication, but a
welcome one for the reader. In content terms, they are generally unnecessary
spreads with an eye-catching image and a minimal amount of text, but they do
allow breathing space and, if used as a spread, offer a rare opportunity for a
landscape, image-led layout, which can be used to create a much greater design
impact than a portrait (though ensuring that you have an image of good enough
quality and impact to repeat this regularly can be tricky). Because they generally
stand out in a memorable way, such openers can act as useful “markers” for the
reader looking for an article in a particular section. If this is their primary use, it
can be helpful to create a distinct format that the regular reader can recognize
and use to navigate the publication.
Goied7 The Business
FT The Business, a Saturday glossy
supplement that ran for three years
with the Financial Times newspaper, was
designed by Vince Frost and art directed
by Gary Cook, who had previously
designed both Creative Review and
Time magazines.
Editor Michael Watts chose Frost from
their work together on The Independent
on Saturday magazine, which Watts
edited. The result was something that a
magazine designer would not have come
up with, believes Watts. “The thing about
Vincent is that he’s not really a magazine
designer; he’s a graphics designer, which
you must take on board when you work
with him. His great contribution was the
huge FT logo that occupies the maq’s
front—typically the invention of a
graphics designer, although it made it
very difficult to write cover lines in the
downward strokes of the ‘F’ and the ‘T’
—a mag designer would never have come
up with the thought. Nonetheless, it was
a brilliant and distinctive invention.
He came up with it right away. He also
wanted Tasse, a rather purist typeface,
which was fine by me. Together, we
thought of setting the page idents
vertically—a mistake, I think, in
retrospect. A case of overdesign,”
he recalls.
Britscooking prefers broad beans with meat,
butTurks andEgyptians know better ay Hugo Arnold
Frost and Cook worked together on
the first two issues. This allowed the art
director to develop an understanding of
Frost’s design aims for the magazine,
which Cook describes as “based on the
premise that the magazine was the cheeky
young brother of the FT proper. The line
that we used when trying to express it
was ‘alley cats, not fat cats’ Briefly, this
was supposed to suggest that although
we stood on the shoulders of a giant in a
sense, the magazine itself was composed
of features that would not necessarily
have made it into the paper.” Loose
influences included publications such as
Fast Company and Wired—Cook “tried to
pick up on their ‘speed’ but inject it into
a supplement design.” In his covers, Cook
communicated the “slightly cheeky
attitude” he strove for particularly well.
“The idea of personalizing the FT logo
itself comes from a different medium
altogether: the BBC's logo for BBC Two,”
and in particular, the eye-catching and
inventive approaches that designer Martin
Lambie-Nairn came up with for it.
A lot of stories in FT The Business
were about young entrepreneurs
who had made a lot of money with
Internet ideas or the like—money
from businesses that had not, or
could not, have existed ten years
earlier. The design had to reflect
that, and my idea was that it should
become as visual as possible. The
graphics we used, the excellent
photography (commissioned by photo
editors Caroline Metcalfe and Karin
Mueller), and the extra slugs of
captions (which were linked to the
main copy, like a link on a Web page)
were all meant to suggest that this
magazine was a new thing.
Despite being closed after just three
years, FT The Business was successful and
innovative on every level, a fact Cook
attributes to the editor: “Michael Watts
had a clear idea of what the magazine
should be. He was receptive to any ideas
we had, was always pushing to do new S
things, and never wanted the magazine
to stand still. He is as interested in the
design of a magazine as the copy and
ultimately gave everyone the autonomy to
do their own job, while also suggesting
things that could or should be changed.”
SO
NE
ae
ee
ee
eee
rePe
Fashion conglomerates
Words by Tamsin Blanchard. Research by Vanessa Friedman
As London Fashion Week opens, it's becoming apparent that it’s
not who you know that counts in fashion now - it's who you own.
The international fashion market, currently worth approximately
$60bn (£43bn| annually, is dominated by a handful of mighty
corporations, including Wertheimer, Pinault Printemps Redoute,
Hermes and Vendome, jockeying to buy the great fashion houses.
The French luxury-geods conglomerate, LVMH, proudly lists
Louis Vuitton, Dior, Givenchy, Celine, Kenzo and Pucci as part of its
collection of famous names. The company would like to have added
Yves Saint Laurent to its shopping list, but Gucci, the increasingly dew
ay)
powerful Italian luxury fashion house, got there first. Both are said
to be eyeing up Giorgio Armani, still a privately-owned company. fig
piaeg
uoymayy
Another prominent predator is Patrizio Bertelli of Prada, the
italian luggage firm, whose assets now include a share in the fur-
and-handbag brand Fendi, as well as Jil Sander and Helmut Lang,
Bertelli has said that fashion houses no longer need a creative
designer to succeed in the marketplace. What's required is a sugar
daddy and a global marketing strategy. FT

Fendi {part }
Givenchy

se Christian Lacroix
Regina Rubens
_ Thomas Pink
Marc Jacobs International
Michael Kors (30% |
Hermes:
Tag Heuer oe
Gaultier =
Fred
John Lobb =
Chaumet
Cartier
Chloe
Dunhill Gucci Jee
Lancel e ~ Yves Saint Laurent
: VENDOME / PARIS publicati
of
59
Anatomy
II:
a
Hackett Boucheron
Old England
RICHOUX
Van Cleef & Arpels Valentina
"Panerai
Piaget
@ MADRID
Baume & Mercier
Miu Miu
Helmut Lang
Jil Sander
Nina Ricci Fendi |part |
Paco Rabanne Church
Victorio 6 Lucchino
Carlina Herrera
 The role of copy
The terminology for copy can be confusing to a designer unused to the array of
terms used in editorial design. It doesn’t help that many of them have different
names for the same thing (see illustration below), but it is important for the
designer to know four things when it comes to copy:

* the different terms for copy;

¢ what these different forms of copy are;
¢ how writing for editorial generally, and these types of copy specifically,
differs from other types of writing;
¢ how this affects the designer.

Cover lines
These apply exclusively to periodicals. Newsstand titles will usually display
a mass of these in a bid to show they have more and better content than the
competition.
The largest cover line, if the publication is using size to
distinguish order of “importance,” is nearly always related to the cover image.
The content, use, and placement of cover lines in such titles as Vogue, GQ,
Vanity Fair,and Marie Claire are generally decided by the editor and art
director, but marketing and competition considerations drive this process (they
often appear on the left third of the cover, as this is most likely to be visible on
Design
Editorial
Direction
EArt
60
+ the newsagents’ shelves). But the look and tone of the cover lines—their color,
how they stand out against competitors and each other, what their number,

cover lines left third logo/masthead folio |headlines | byline | body copy | credits running heads panel/box copy |

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‘iii
date-line barcode issue number | main cover line intro/deck text kickers/standfirsts pull-quotes captions/cutlines
 Left The tagline for WAD, “we'ar different” (1), works
on a number of levels: It explains the title’s name, is
an exhortation to the reader to be an individual in
their style (“wear different” being a witty reworking
of Apple’s “think different”) and also boldly states
“We Are Different.” Such a strong and individual
tagline is rare; more often a tagline will simply give
some idea of the content and tone of the title, as
seen in the tagline for Paper Sky (2).

WE'AR DIFFERENT / MUSIC, URBAN & SPORTS FASHION CULTURE

length, and words say about the magazine and its personality—are very much the
responsibility of the designer. In newspapers, too, designers have started to use
the space above the banner for cover lines that highlight featured articles inside
the paper and its supplements.

Taglines
Taglines or slogans under a logo can add enormous value to a publication.
A well-worded tagline not only tells the reader what a title is, but also indicates of
publicati
Anatomy
II:
61
a

tone and target audience. For regular readers, it reinforces the feeling that they
are “the men who should know better” Loaded), the people who care about
“the stuff that surrounds you” (wallpaper*), and the fashionistas that form part of
the unusually styled “we’ar different” cognoscenti (WAD—illustrated above). For
newcomers, it’s a handy instant clue to content that they may not otherwise get.

Headlines
A copy editor will argue that the headline is just as important in persuading a
reader to read a story as the layout. A headline creates a strong bond between
the publication and the reader; it says,“We know you, we're like you, we share the
same sense of humor/interests/cultural references,and we know your're intelligent
enough to understand this headline and story.” Therefore, appropriate size,
positioning, and treatment is vital. This is particularly true on a text-driven
newspaper, which may not have the luxury of images with which to entice
the reader into a purchase.
 Right and below /he Observer Music Monthly headline
(1) neatly refers not just to the subject of the
interview (Noel Gallager of rock band Oasis) but also
the equally famous interviewer, David Walliams, whose
comedy sketch show Little Bntain—and, in particular,
a catchphrase from it, “yeah but no but”—was taking
the U.K. by storm at the time. Thus, it manages to be
clever, funny, and absolutely in sync with the
zeitgeist. The Flaunt headline (2) is more traditional,
but is still strong, clever, and insightful, suggesting as
it does a self-effacing attitude to (and on the part of?)
superstar actor Brad Pitt, but also promising real
insight rather than half a story.

Design
Editorial
Direction
Art
62
+

NOT HALF BRAD

writte> by Jim Turner photogrophed by Tony Duran
‘g

'
——- Stanffurter Allgemeine RITUNG FOR DEUTSCHLAND
Left Unlike magazines, which can alternate between
the two, newspapers are either driven by illustration

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[ar ae Ramer i wareahn Nagsre
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DON’TLOOKNOWe“";>
DONALD SUTHERLAND AND JULIE CHRISTIE IN A MOVIE MASTERPIECE
or text. “There is a difference between the design of
a newspaper such as Frankfurter Allgemeine (3), which

TheObserver,”
Gece sninin 4 am Strand von Gaza
Merge,
is very text-driven, and, say, The Observer (4), which
is more photo/color/illustration-driven in its
storytelling process,” says Mario Garcia.
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Kicker
The content of the kicker (a.k.a. standfirst, sell, deck, or intro text) is textually more
important than the headline,
for it sets the tone, after the headline, in informing
the reader of the story’s intention,
and acts as the bridge or link, both textually and
visually, between the headline and the body copy. As such, it must contextualize the
headline,
but also summarize and sell the story to the reader in a pithy, arresting way.
Below More and more newspapers are using pull-
quotes, a device borrowed from consumer magazines,
Pull-quotes to catch the reader’s eye and also to break up dense
columns of body copy, as seen here in Spanish
Pull-quotes are another very useful tool at the designer’s disposal when it comes newspaper El Pais (5).
to orienting the reader and breaking up copy to improve readability and make the
feature more enticing.
The content for pull-quotes is pulled directly out of the
copy, or is a summarized excerpt.
ANALISIS, (2resacadet
Predera
y
of
publicat
Anatomy
II:
63
a
Ruptura intempestiva

Subheads (a.k.a. crossheads)

Subheads can break up dense columns of copy and are most usefully employed in
lengthy news items, where continuous copy can be off-putting or a reader may be
looking for a particular aspect of a story. Subheads are also useful for denoting a i
3.
is
new section, chapter subdivision, or a subject change, and they will help readers gat

find their place if not reading the article in one sitting. al

i
zyEe
Freestone
3

Hi f
;aEeH |
33

i
RFE
3
iuf
Bylines and credits Hi
aise

; : #
WHa Hi
The treatment and positioning of bylines and credits should be determined m
vg re 7 ‘Dew
Besgo
fo
largely by the publication and the importance of these elements to it:Amagazine
will generally want to flag contributors and staff, particularly if they are using a
well-known writer, photographer, or illustrator; newspapers (which used not to 4 7 TErH HL HT oHi Hg it ii i
|
aE

have bylines at all) focus on the news, not who is reporting it, so bylines will be I iit‘5 tgshs Hi
H i) fi ‘|idet ai }
smaller on news pages than on feature pages.
 A designer should have a
willingness to read the material,
to discuss it thoughtfully and
passionately, and to develop
visual components that expand
the read while still working within
the publication’s architecture.
MARTIN VENEZKY, ART DIRECTOR, SPEAK
Design
Direction
Editorial
Art
64
+
Right Two differing approaches to body copy from
two very different publications: The New York Times
Magazine (1) fills the page with body copy yet retains
a sense of space, light, and accessibility through its
selection of fonts (Cheltenham redesigned by
Jonathan Hoefler, Stymie redesigned by Cyrus
Highsmith and Matthew Carter, Garamond, and
Helvetica). On Speak (2), Martin Venezky shapes
the body copy to create space, but also to create
a sense of cohesion across the spread, unifying the
various elements.
Body copy
On many titles,a publication’s design will draw a readership in, but if the textual
content or body copy does not match expectations, sales will fall, advertisers will
stop advertising, and the publication could fold. Of course, a publication’s content
will change to meet trends and remain relevant to its readership, but key to such
change is the ability to remain true to the brand and the brand’s message, and
essential to this is the strength of content, its writers, and its entire staff. The
designer’s involvement in body copy is, therefore, twofold: He or she must deal
with its main requisite and characteristic, using column and font selection to
reflect and deliver the brand and the individual content of the story to the reader;
but they should also contribute ideas and knowledge of cultural trends to the
editorial mix, as this can lead to dynamic content.
‘Igrewup |i) the suburbs,’ Burton
says, ‘and somehow if
you are deprived of certain feelings, there is a desire to get them
out, Otherwise, you feel like you're going to explode?
george
FHAPES
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Panels, box copy, sidebars, and infographics
Panels function as short news items or adjuncts to lengthy articles, where they are
used to impart data such as facts and statistics,a case study,oranother element that
is separate from but still relevant to the main article. Because of this, panel and box
copy is usually snappier than the more discursive or in-depth approach of feature
writing. This is reflected in shorter sentences, a more factual tone, lots of snippets of
information,and elements that break down continuous text into lists, points, and the
like. The design should,of course, visualize this snappiness.

Captions
Just as kickers act as the bridge between headline and body copy, captions
bridge the image and the text, and are therefore an important design element
that requires a well thought-out design solution. There are different approaches
to designing captions and their placement (as outlined in Chapter IID, but their
design will be dependent on the designer knowing what the role and tone of the
caption is in the publication.
Below Two different successful approaches to box text
from FT The Business (3) and I.D. magazine (4): Both
Folios combine white space, a strong use of eye-catching
Consisting of a page number, the publication’s title, and, in some cases, a section images cropped and scaled in different ways, color
in text, and short paragraphs set in serifs to help
or chapter title, folios are an indispensable part of the page furniture, helping create impact.

Pop art's Mr Postman

tay Johoson cumned
we tn the 1950s
tadescabe
the part parody art
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Tony fare guobably Gade Snow he wouldbr active artform duet prefigured
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sand desiqness wher: 9spostriasies gemeral Imagine never having to consider the
inTht, heeseatraged
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telense regula: setsafspecial vamps an odd-size book on your bookshell.
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aedDavid Hadkoey loBon with special hardware that grips each
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of
publicat
Anatom
II:
65
a
Bookish it may be, but philately nwender ofslamps now being peeduced is
dampening
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or www.drango-design.com,

can make you very rich, indeed
Samp-collecting might not be the most dynamic
\ - pastine inthe world, but, pound for pound, this still
Mkely to be te smanest investment any sunestaned,
bookish young boywill ever make Because, despite
all theevalattractionsofthe modern world, stamp:
wotleeting is sll big business.
from Monday until Sunday, and for thefirst ime
in.adecade, theUK willhost TheStamp Show, the
global industry showcase: Organisers are expecting
120,000 visitors to Early Court, along with 225
dealers and representativesofthe philatelic interests
‘ofmore than 140 different countries worldwide
The London dealer, Spink & Son, will he offering
themost valuable set of stamps ever to come to
market Its seeking £2.75m for “the Buccleuch
find"
asetof1840 Twopenny Blues discovered at
© Dalkeith Palace, Noweof theslanypshasbeenused:
é used‘example would feteh just 150
docse't justceward rarity The
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scarce ~ around 8m were issucd before iiwas
and PADD theRegal Mailissued 7V4different
stamps, itwilproduce 48thisgear alone.
With its elongated troat end and avae)
ability in a huge asray of colors, the
Niko Alr Presto ($85) {4 likely to give
understated New Balance a run for tis
But then, is not just collecting starnps money. Designed by the undergraund
that can be lucrative. Should you ever be Web ‘zine and design fim Platform,
net
Air Prosto will hit the stores next
ta position Lo be pictured on a set, itis
month; www,nike.com,
probably wise to follow in the footsteps
of Adolf Hither: According to the historian
Poised Co compete with the famously
Wull Schwarowaller, Hitler negotiated a energy-efficient Miele, the Jetsy wast
cunning copyright deal for the use of his ing machine from Electrolux Zanussi
image: Albert Speer records Hither adjusts its water consumption accord
receiving a cheque for DMS50m atarks jing to the size of the load and fabric
(£100m in today’s money) as justone specifics. It also offers users a roomier.
payment for his postage-stamp rights. Upped-up drum for easy loading and
unloading. Currently available onty
in Maly, the unit costs about $875, For
more Information contact Electrolus
Zanussi, Perdenone, taly:
+39 0434 396054,

1.0, MAGAZINE MAY 2000

 to orient the reader in the publication and strengthening the structure of the
format, and therefore the brand. On a title where the content is straightforward
and direct, folios will not usually be made into a design feature, but a publication
whose readers are visually literate will use fonts, weights, and positioning to make
folios stand out as design elements in their own right. David Carson, Martin
Venezky, and Rudy VanderLans often did this on RayGun, Speak, and Emigre
magazines. Many magazines will drop folios on pages featuring full-bleed images.
There is nothing intrinsically wrong with this, but too many folio-free pages
together might make production difficult for the design team and printer, and
make navigation difficult and irritating for the reader. If choosing a left- or right-
hand page for a folio, the right is the more visible page.

Below Image use on newspapers is becoming

increasingly complex. Mark Porter observes,
“Now newspapers have to think more and more like Image treatment
magazines in their picture editing. In the past, the Imagery and what the designer does with it have an enormous impact on a
priority was to find images that reported events. Now,
most readers will already have seen such images in publication’s feel. On design magazine Metropolis, for example, stories are dictated
other media . . . Simple factual images can still have
by the art received. As Criswell Lappin explains:
value—when they show scenes to which other news
media don’t have access, or don’t wish to cover. But
to engage the reader's interest, the choice and use
now needs to be more surprising, more allusive, and
A piece will not be assigned unless it meets one of three visual standards:
more thought-provoking. Designers need to leverage excellent photography already exists, scouting shots are provided and we
the unique qualities of the printed image—scale and
detail, and the opportunity for readers to engage with can send our own photographer, or there is enough direction in a story
Design
Editorial
Direction
Art
66
+ the content at their own pace.” In the Dutch paper that an illustrator can interpret the piece for us. The last case has to be
Het Parool (1), this is seen to good effect in the
culture section, where strong images are placed in determined well in advance since it always involves a few rounds of
such a way as to create a dynamic whole. The image in
approval. The art department maintains the right to reject a story or move
the middle of the spread pulls the reader's eye into the
page, but also offers an unexpected crop that surprises it out of the feature well if we decide the art does not meet Metropolis
the reader. The photograph in another Dutch paper,
De Volskrant (2), has an undeniable impact and is standards. Stories can also originate from art. If we receive a body of work
cropped in such a way as to create a strong narrative. that we feel merits attention, we will assign a story based on the artwork.

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Iris Ruprecht at style magazine soDA is also well aware of the critical role played
Roger Black’s ten rules
by imagery:
of design
Our focus is visual rather than textual, which allows us, after setting a
(But remember, rules, once learned,
concept, to research image-based aspects of it before spending too much time are there to be broken!)
reading tons of books. The image selection we then do is similar to a short 1 Put content on every page. Design
trailer of our final work, which we extend and create together with authors shouldn't be mere decoration; it must
from all fields. I think the behaviors of filmmaking and producing a SoDA convey information. Or entertainment.
Content should come to the surface on
issue have a lot in common—to start with a good story or idea, followed by
every level. Corollary: Nobody reads
a good casting of authors, a nice production, and proper distribution. soDA
anything—at least not everything. The
strongly believes in the reading of pictures. only person who will read every word of
what you've written is your mother. All
Increasingly, newspapers also rely on pictures as storytelling. As more newspapers other people skim and surf. So make
move from text-driven to image-driven content, their use of all kinds of images— sure there’s content on every page.
2,3, 4 The first color is white. The second
graphs, illustrations,and graphic devices—is growing.
But there is a key difference
color is black. The third coloris red.
between the use of pictures in newspapers and magazines;as Mario Garcia puts it, Calligraphers and early printers grasped
“The nature of the content is different; newspapers need imagery that imparts this over 500 years ago, and experience
immediacy in contrast to the more relaxing environment for the images that you’d has proved them exactly right. White
find in a magazine.” Production and budget issues are also factors,as time and money for background, black for text, red for
accent and excitement. These three
spent on images for a newspaper will be minute compared to that of magazines.
colors are the best. Be very careful with
all other colors.
Photography 5 Don’t be blown around by fashion like
Photography functions as visual reporting or storytelling, and the huge range of a hot dog wrapper in the wind.
contemporary photographic techniques and styles available offers the editorial 6 Never set a lot of text type in all caps.
designer a vast choice of reporters and storytellers. Even if photography cannot After a while, it’s just too hard to read.
7 A cover should be a poster. A single
be commissioned for financial reasons, the photos that are supplied by a PR
image of a human will sell more copies
agency, or by the subject of the story, can be edited just as text is. Commissioning a than multiple images or all type. Always
visual story or style is just the beginning (see p.148 for successful commissioning), has, always will. Think about why.
for although photographs are taken in a rectangular format, the designer then has 8 Use only one or two typefaces. Italian
the option to crop the image or change the shape, as well as alter tonal values and design is the model: a strong sense of of
publicat
Anatom
II:
67
a
a few things that work together. Avoid
employ other photo manipulation techniques. All of this is visual editing; just as
a free-for-all of multiple fonts/colors.
the editor makes selections and decisions about the copy, so art directors work
9 Make everything as big as possible.
with the image content of a publication. Type looks great in big font sizes. A
But they can go farther than that: If an art editor wants a different perspective bad picture always looks better bigger.
ona story,he or she has the luxury of not giving the photographer any information 10 Get lumpy! The trouble with most design
about it, possibly resulting in two very different interpretations (image and text), is it has no surprise. If you want normal
people to pay attention, you have to
which can add up to more than the sum of their parts. Just as editing can shape a
change pace in your presentation.
viewpoint,so can editorial design. The selection, juxtaposition, combination,and Monotonous rhythms of picture,
positioning of images and text with captions that “tell” viewers what they are seeing headline, picture, text, ad, headline,
can strongly suggest a“truth” that may not be there at all. Added to this is the picture, ad, etc., is like a pudding
growing sophistication in photo manipulation (both in and out of camera), which without raisins—a stew without lumps.

literally changes truth to lies. Hence the intervention of art editor, editor, picture
editor,and photographer can result in myriad representations ofa story.
Michael Watts, editor of many newspaper supplements, recalls experiences on
RoGER BLACK HAS DESIGNED ROLLING STONE, THE NEw YORK
Times MAGAZINE, Newsweek, McCALus, Reader's DIGEST,
Esquire, AND NATIONAL ENQUIRER, AMONG OTHERS.

the FT The Business magazine for the Financial Times:

 Sometimes there were difficulties between myself and Julia Cutherbertson,
who ran the weekend paper She wanted conventional magazine items like
food and restaurant reviews, while we wanted something that was visually
dynamic and neu, reflecting the dot-com boom and the new, cool status
of business. The trick was to subvert the genre. On the food pages we
photographed food in its raw state, when everyone else was showing cooked
dishes. Our picture editor, Caroline Metcalfe, came up with some great food
photographers, notably Rob White. Then we illustrated the restaurant
reviews—by the very witty Marion McGilvary—with a mixture of maps
showing where the restaurant was located, and bills that we reproduced. The
combination of all these elements made the mag highly idiosyncratic, which
irritated some but pleased many more. It gave it character. And sales of the

Direction
Design
Editorial
68
Art
+

Right A great photo is the basic requirement for a

great image, but equally important are sympathetic
and appropriate cropping, scaling, positioning,
format, and stock. This image from Twen (1) is a
brilliant image, brilliantly cropped. The images from
soDA (2) derive impact from positioning, stock, and
high-quality printing, but mostly from their content.
 Left Whereas photography in magazines is as much
about image as text, in newspapers imagery is very
much used to support text. But aspects of magazine
design are creeping in, so that a front page will
often use one striking image to attract the eye
immediately and communicate something that no
words could do, as in this powerful Guardian cover
of 12 September 2001 (3).

Below “The December 2001 issue was our first after

9/11. Because of our two- to three-month lead time,

hi
the world had been saturated with images of the Twin
Towers being destroyed by the time this issue was
printed. We decided not to show any images of
destruction but use the space to celebrate the past
Wit
eat
and look toward the future,” says Criswell Lappin,
art director of Metropolis. This photograph by Sean
f Hemmerle did just that (4).

of
publica
Anatom
II:
69
a

iW
4

Was
nti
“weroe
Heath ! ant
photog phy
 weekend Financial Times rose to over the 250,000 mark in my time there
—a 20 percent leap. People who never read the Financial Times in the week
would get it at the weekend.

Illustration
Mark Porter at The Guardian newspaper uses illustration because “it has always
been an important part of The Guardian visual mix, and by introducing more
contemporary illustrators,we have ensured that the paper feels fresh and
modern.” Other art editors use it when a story demands a conceptual or oblique

Right and below In this July 1967 issue of Harper's

Bazaar (1), a piece on poetry is illustrated with a
picture of the score for Karlheinz Stockhausen’s ROBERT CREELEY
“Refrain for the Players, no.11.” Art directors Ruth TALKS ABOUT POETRY

Ansel and Bea Feitler are making the conceptual link

between the elegant intricacy and visual lyricism of
the score (and the music it represents) and the nature
Imave Ise evidinnt for someone (ryink to realize Nien or
and concept of poetry. It is a brilliant visual metaphor the world wasthe contusion about the very nature af “|
\tselt. Convig from New England, | felt awkwardness about
for the article. Newspapers are also increasingly using to be because they were lor me often instances of
‘mark of measure, evan at (imen # privilege of snteliectual
illustration to give readers a less literal interpretation Just os Mardy speaks of them in Juan the Obscure |was We
Ary About communicating my ewn cemmilmente in reeding.
ye! | Ubedbooks on a veryrnd laceto beNetmerelyon est
of a story, as illustrations will offer a different {vom the world—tne ditcutty was how 10 get into it. nat
In _bOCAK prowed.a placevery deeply epentoma,at mementyof
dynamic to a page. Marion Deuchars’s illustration for few others were ewer 1s be

The Guardian (2) gives breath and life to the page. Its
composition and color contrast well with the blocks of
text beneath it, while its obvious handcraftedness
gives the story something a photo would struggle to
do. By choosing to use illustration in place of
Design
Editorial
Direction
Art
70
+ photography, which is only used for high-gloss, full-
color ads confined to two or three spreads in the
center of the magazine, first-class Virgin Atlantic
fanzine Carlos (3) “set out to avoid the clichéd world One would find that theld oF
Would be equally the senseof
of celebrity-led magazine content, both editorially
and visually. Or, in the words of the art director, Carlos
is ‘post-photography’!” says Jeremy Leslie.

Goodwill hunting
an On EXINoor& sentric Brinsh tradition

Seal a
e's:
Essay
by PJO'Rourke Diustrattons
by Marion Deuchars
interpretation, or there are no good photographic images to be used, or simply
to create an interesting and constantly varying dialogue between visuals and text.
Illustration can express a concept or feeling more than photography can, because
readers often cannot help but attach a narrative to a photograph, particularly if
it’s figurative. This is because they “read” the photograph literally: “This image is
made up of this figure wearing these clothes in this setting doing this thing,
therefore I am being told this.” But illustration is not read in this way, allowing
the story, art editor, and reader to create other, often more expressive and abstract
associations. Illustration can also illustrate the zeitgeist in a more obvious way than

SOFTENING THE
Left Regarding an illustrated spread in Metropolis,

EDGES
art director Criswell Lappin says, “If we didn’t
incorporate the textiles into an illustration (4),
then we would be left showing carpet swatches,
Theory
}
~ which would be pretty dull. By having Christopher
MILUKEN | Neal incorporate the textiles into his one-color line
drawings, we accomplished two things. First, we made
carpet samples interesting to look at without taking
away from the product. Second, the illustrations give
the viewer information about the product. The
The textile industry is reaching out to an intriguing environments, while somewhat tongue-in-cheek,
group of designers that you wouldn't necessarily associate indicate the locations that the different textiles are
with its often staid and traditional products. Can the
likes of Bruce Mau and Shashi Caan give contract carpet designed for—schools, offices, airports, and so on.
and fabrics a long overdue makeover? I gave Christopher a rough page layout, the
approximate size for each illustration and told
Translations him which environment went with each textile.
Karastan Contract
Christopher came up with the content of each
The Mobawk Group
illustration with little direction. Once he sent me
the finished illustrations, I decided to hand-letter the
word ‘edges’ in the headline to reflect what he did.”

“ es {T'S A BIT OF A TALL Left Many editorial publications incorporate

verrrow WOMEN 2 DATA / OATE:_ we
. APE (« wo a OROER TO ANSWER THAT illustrations into their design, but none besides The
REFERENTE A/irae QUESTION OF WHAT'S IT LIKE. Illustrated Ape (5), edited by Christian Patterson and
REFERENCE: ——
Michael Sims, designed by Darren Ellis at See Studio, of
publica
Anatom
II:
71
a
(Yen bane LL corigwl whet na )
and illustrated by top illustrators such as Paul Davis,
@ wit Quntans wed wonen lide L be ‘ached builds its whole raison d’étre around it. Created by
using open submissions from writers, artists, and
illustrators, this cultural quarterly of poetry and
do Yalg po lhe
a. F
got, ’ avd when A fiction uses only illustration as its imagery—and more
ilalvw per lhe a wenan 7 often than not its text, too. The resulting large-scale
@) whets tc dipgerenee ? spreads are rich and textural, and form an intelligent,
cohesive whole that always looks fresh.
@ ARE GENTLEMEN smMfoRTANT?
?
@ Do yan discuss your hawy-upS
) Whe are. nore Aucrah — men rr wemen.

© Wow mpertanh ix re matter [patter

wtatorns hap w bien AvAdoen art _—- |

( sw elved cf

QD com gen poly Weta patsy| eneredb ly Yd

Atte 7 Yen nonst be aware Fy Un “i

3) WHAT'S SEXY IN OTHER PEoPLE?


Below On this spread from Japanese magazine Fat (1),
the close-up photograph of the scales of an upside-
down artichoke turn what could have been a mundane
image into a sculptural, striking graphic. In I.D.
magazine, the image of a bicycle (2), (4) works hard
to pull two spreads literally and boldly together
while also suggesting movement and continuity;
in another issue, toothbrushes become abstract
transluscent objects (3).
Design
Editorial
Direction
Art
72.
+
photography can, and it can be used to support a brand. The Illustrated Ape
magazine in the U.K. is famed for only using illustration, as is Carlos, which retains
color photography solely for the ads.
Cropping an image
Cropping, magnifying, repeating, or shooting an image from unusual approaches
can have a huge impact on a layout and create original and unexpected
perspectives. Techniques such as cropping and magnifying can also concentrate
the eye on the portion of an image that contains its essence, or create a
meaningful dialogue with the text and, ultimately, a dynamic rapport with the
text and layout. If more than one image is used, this rapport becomes more
complex, with the need to create a narrative interaction both between the
images and between the images and text. American industrial design magazine
[.D.uses these tools to great effect: By blowing up a product to massive
proportions on a page, an everyday item such as a toothbrush becomes a surreal
object of beauty whose sculptural qualities are revealed, making for a visually
arresting page. Tight close-ups can be equally effective, as can using images to
create abstract patterns and focusing on or bringing out an unusual curve, shape,
or aspect in an object.
Trailblazers
Dalascing comfortable ecosecic ihesctieanlasovation,
snbleyle-maer lemegs Lop high pote rsigenis
 Having established what editorial design is,and how an understanding of it and
its components is essential to good design and art direction,we come to a key
part of the design process itself: creating layouts. Although there is no magic
formula for composing a layout, there are certain considerations that condition
the design of an editorial publication. Those dealing with roles, branding, and the
publication’s identity and readership have already been discussed, but others, such
as specific factors (space, amount of copy, cost, time, purpose), required elements
(type styles, weights, symmetry, images), and governing principles (styles,
techniques) play an equally important part. Combined, all these elements act as
guiding principles to the design.
The way in which a designer interprets, applies
or sets aside these guiding principles is fundamental to editorial design, as is the
ability to look at content as shape forms and make the constituent parts work
within the proportions of a page—another (usually rectangular) shape.

Principal components of a layout

The components of this layout are contained on two single pages, which, together,
form a double-page spread (DPS). Some of these have been defined in Chapter II
from a branding and identity point of view; here, they are examined from a visual
and layout composition perspective.
The illustration opposite shows the
component parts, but it also shows the grid substructure, which consists of
Design
Editonal
Direction
Art
74
+ columns, column gutter, spine gutter, margins, folio line, baseline, and trim area.

Templates
For newspapers and news pages of magazines, flexible templates will speed up the
layout and production processes, and give the pages and overall design a cohesion
that might otherwise be lost in the frantic days and hours before going to press.

PLEASE DON’T HAVE SEX WITH MY GRANDMA

i
In about 15 minutes I'll be landing in Vegas, an hour drive from the
home of my nympho grandma, She lives in Pahrump, Nevada, one
of the only cities in the U.S, with legal prostitution, | secretly believe
that her insurance job is a cover, that she’s actually the Heidi Fleiss
of Pahrump. Or even worse, that she’s a call grandma, She fulfills
Right Student magazine Fishwrap exhibits an men’s granny fantasies by strapping on vibrating dentures or wear-

interesting relationship between text and image. ing prune-flavored panties, while they whisper hot love words into
her drooping, drop-pearled lobes.
Layouts are built around the image or text, “with a lot When I was in high school, our house was Grandma's pit stop on the
of experimenting with combinations of text inspiring road of potential sales. During winter it was Medical. During summer,
image and image inspiring text . . . We try to hook Accidental Death, And she said any season was good for selling Life. She'd
appear at the front door unexpectedly and march straight to my room,
up writers with artists and designers and encourage where she'd line up rows of her bunion-stretched shoes, anti-aging creams
dialogue. In this story, the text came first and artists and pill bottles. Each morning she would wake up hours before me to rat
were inspired by the content. The opening image was her hair vigorously with a metal comb and two-dollar hairspray. I'd walk

made by one artist, the designer created the marks

and image on the opposite page of that spread in
reaction to the art, and the following pages for that
story were taken from another artist’s sketchbook,”
explains graphic designer Lisa Wagner Holley.
Principal components of a layout

The essential elements of a template consist

of margins (blue), columns and gutters (green),
baseline grid (pink), folio (purple), and bleed area.
This template uses a six-column grid, allowing the
option of two-, three-, or six-column layouts.
The sizes of the margins are integral to creating
white space on a page—their size is often
influenced by advertising revenues as every
extra centimeter can be sold. The baseline
grid determines the variations in leading, and
consequently type size, allowing the possibility
for type of varying sizes to align. This baseline
grid is founded on 9-point type on 11-point
leading, meaning that all other type sizes need to
fit on leadings that are multiples of eleven. The
folio is a guide line to mark the positioning of
page numbers and sections.

This spread incorporates some of the principal

components of a layout. The image, headline,
kicker, and pull-quote help to grab attention and
provide easy, instant access to the article. The drop
cap and folio help guide the reader, while the asthe Paledoiveegearae
caption and credit add interest to both image and “Mister edohie Wisuiendd|

article. These components, plus color and graphic

rules, create variety within the layout. he eye or!brain.
LH i ee
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Creating
75
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There are many other components that can be

: 6
lemscl
i isadvanuuge th
on of actualcopa included in the design. This spread shows the
{using dinars ctl whaawormal level Gequences i can't
Psa
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Simulies is effective pispelace
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rcinsgler nay arse: heli tc ce
It also demonstrates the flexibility of the same
sibberishliahpproximate te
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template, using two columns instead of three,
dd Paragraph
ilar
png orsho
and a varying headline size and color, all of
ice which contribute to creating a different look
and feel for this article.
 ‘
... then you're sure to meet Britain’s finest
neo-medieval psychedelic folk-rock band. Or
you are ifyou're author and journalist Tom Cox,
who for the best part of a decade has cultivated
an unlikely bond with Circulus that has survived
their differering tastes in fashion, recreational
pursuits and—most alarmingly — his
relentless championing of their music.
Photographs by Murdo MacLeod

Design
Editorial
Direction
Art
76
+
44 0M June 200% June 2005 OMB 43

Above and right Depending on the size of the other

components on the page, impact can be created by
using a head that is either huge or small, and by
placing the headline in dynamic relationship with
other items on the page. Elements such as imagery or
the content of a headline can be incorporated into the
type to unify the whole layout, as with this spread in
The Observer Music Monthly (1). If there is no pictorial
image, the headline itself can be used illustratively
and visually to create impact and focus. Key to good
use of headline type is experimentation. Fishwrap (2)
illustrates this well, with a range of decorative fonts
that are created by illustrators making type and
designers being inventive with letterform and, in some
cases, designing original typefaces for the magazine.

ight as ignited dimes. (

he would wink a
den to extingvi
AK iL into the bac!
the goddamn city.” }

frame made
never bulky, Nis

Words: Andy Corutti
In many ways, the story of Washington, OC's
drum ‘0! bass producer and DJ Kiko is very
similar to many people, promoters and Dus in
the DC drum 'n' bass cena. And justlike the
playing in the UK. Kiko and a w/
other local producers and Dus
things out properly and making some waves.
Washington, OC, is a very transient area
and it's hard to find anyone that truly grew up
here, Alex Nguyen, better known as Kiko, is
0 eaception as he was born in Par, France:
later emigrated 10 New York and made his
wary to the DCmotro areaby the timeof high
Behool, In regards to his eartier musical
endeavors Kiko remarks, “I played classical
piano for quite some time and am now got
ting back into it efter a hiatus,” This wil surely
play a factor in the deeper, more musical
ound that Kiko Is headed into now.
For the longest time it was just stuff that
other people in drum ‘a’ bass were doing and
| wastrying to emulate thatstufffora while,
he says. “But lately I've been trying to come
Up with a different sound. | think my newer
work has been a departure from the cold
techy bound because | am starting {0 incor
porate a warmer, more soul sound.”
The DC drum 'n’ bass scene can trace its
roots back to 1994 as a few underground
renegade events broke out with the first all
jungle/drum ‘n' bass lineups. But the scene
Templates simplify all aspects of page makeup, but they can also be restrictive in
design terms, and care must be taken to ensure that they don’t make pages look
too alike. Imagery plays an important part here; subject, crop, scale, and tension
can all be used to distinguish pages from each other.
Headline and heading
The title of the story is usually the largest type size on the layout, as its aim is to
stimulate curiosity about the feature and tempt you to read on. A headline written
before the story gets to the design stage can be helpful in determining a direction
for the layout, but different publications construct layouts in different ways. It may
be that the designer dictates the headline space by laying out the feature first, in
which case the designer may have an input into the content of the text as well as
its design. Either way, the content of the headline and its visual representation are
interconnected and should be handled as such.
Kicker
As with the headline, the kicker will usually be written by the copy editor and
is normally around forty to fifty words in length; any longer and it defeats its
purpose, any shorter and it becomes difficult to get the necessary information in
and can make the page look unbalanced. It is a good idea to construct a system—
or style sheets—for displaying this kind of information rather than applying it on
an ad hoc basis, but flexibility and the ability to deviate from the norm when
necessary are important, so style sheets should always be used as guiding tools
rather than hard-and-fast rules.
PEO "O° BASS
the music and the local
1996 or 1997
by Diezalboy
par
mind! So| quess
thatmakes
ma abitof a new
echooter.”
Kiko admits he ts a diel
ething that's
bean happening for ats long as }can ream
ber, it seers like the scene here is too clique
Lat some pope armvalvedfor
But good nights are sti
Nv
esting | think, unies
could not agree 1am gesring Up to go on alittle tour over in
Blut just who ar Western and Eastern Europe In January of ‘eome new things with Rob
ing things to get s0 messy in the studio? 2004 and | am very @xcited about that. | F currently, although It may be on a different
“I'm working mostly with Rob F; impulse would love to play sometime in Asia, €3 tip altogether. | have a bunch of things alot
and Mayhem, This developed really from ail clay In Japan, ite sticha incredible for reiaase, hopefully in the raxt fow
ter the As
ing forward to workin
though.” Wall cons) 9 that Kiko has a Also got some thing
une coming cut on DSCK Recordings soon, Nd yet unique beckground, | was quite ourl- Recordings (Ayme Tyi
| would say that things are about to gat a up 10 960 how Kiko would like to hapa the ‘some material coming on#
whole fot messier| {uture of drum ‘n' bass in America. both Skynet and Cause 4 Concern,
I's great lo see more and more of Wast- “U.S. drum ‘n’ bass seers to be in a bit of In addition to these exciting releases, Kiko
ington, DC's world-claaa drum ‘n' bans talent 7 right now,” he eays. “I think thisltstem. a6 material on hie crew's
getting oUtofthelocalarea ares taking the DC ming mostly irom not haviag enough new las own label, Ohm Resistance Recordings. It's
ound ontheroad.When vaveliny acroes the teners, and | cant really altribute that to great to have such a dedicated and venous
countyy and even overseas people always enything off the top of my head, except for musician like Kiko making contrioutionstothe
soem to show respect for the Washington perhaps tne poor state of affairs this Country focal drum ‘n' bassindustry, There av afot of
OC, massive andsuppor its greattalent.Kiko has been true school heads like Kiko in OC and things
has been fortunate enough to take his sound are renily sterting to take off for alot of pao-
all over America and is preparing for interna: ple. | enjoyed gotting to know Kikoalitle bet
tional touring as we speak. drum ‘n’ bass music in the United States, but ter.
{had fun playing in Los Angelos, New York something iw keeping ther out of the clubs
City, Las Vegas, North Carolina, and ail over As (ar28Washington, 0G, 's concared, there Hf you are looking for more info, be sure to
the place really,” he say, "As long as there {8 0 Jot of talent in this area, in my opinion. | check out the Ohm Resistance home page at
arepeapte having funi'sailgoodin my book think that maybe having one too many events htip://www.obmvessstance,com.
NOVEMHPN 200 ( innesooe
Above This spread from Inner Loop (3) uses an
oversize graphical headline as if it were part of
the image. This headline contrasts strongly with
the neat, ordered columns of text on the facing
page. Interestingly, by aligning columns of text to a
baseline, the designer has created the silhouette of
an urban cityscape that echoes the facing graphic.
The bleeding horizontal rule in the bottom third of
the spread unifies the pages, drawing the disparate
elements together. layouts
Creating
III:
77
 TRLPas, GONG 1) OF20NDOFHe ECONOMIA 13
NICHOLAS D. KRISTOF | THOMAS L.FRIEDMAN
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CALCUTTA — The great race of the and political explosions in India are de- | DETROIT — I came to Detroit look- —_a toaster and arefrigerator, If we don’t
aimee te 21stcenturyisunder way betweenChina — clining, while In China they may be ris- ing for the hottest new American cars, quickly move to renewable alternatives
pity fees
seanetlores 3 and Indiatosee which willbe the leading — ing.
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| Instead, J found Sputnik.
|} You remember Sputnik — the Jittle
to fossil fuels, we will warm up, smoke
up and choke up this planet far faster
President Bush's trip to India next tual transition to democracy with bear- || satellite the Soviets launched in 1957. than at any time in history.
month is important, for we in America —_able turbulence, as Taiwan and South | The Eisenhower administration was so Third, because of the above, green en
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PP.tere must brace ourselves to see not only Korea did, but with China anything is | stunned it put the U.S. intoacrash pro- — ergy-saving technologies and designs
TVNurs Yorky unasects TuItido politico
de Haskadi
China looming in our rear-view mirror, — conceivable, including a coup d'état, | gram totrain more scientists andengi- — forcars, planes, homes, appliances or
but eventually India as well. India was — mass unrestor even civil war. neers so America could catch up with office buildings ~ will be one of the big-
precepts jorlamaretya stelow 7 sda the world’s great disappointment of the Yet if democracy is one of India’s | the Russians inthe space race, gest industries of the 21st century. Tell
capone
oa ln
fo vo upto weics Mrohan
a walamnesia premnS ge 20th century, but now it's moving jerk- strengths, it’s also a weakness. Prime Well, for anyone paying attention,our your kids, Wil] we dominate the green
may : Minlneiswrle’
twtr 3)cp tps Pasig ry ayee ily forward with economic reforms, re- Minister Manmohan Singh knows ex- | generation's Sputnik showed up atthe industry, or will we all be driving cars
ifs) ron yea verona phe
sven earn
4 Ne
Vmdebe minding me of China around 1990. actly what to do, and I've rarely met a | annual Detroit auto show this month. from China, Japan and Europe?
geri)
te Una 7,
Js teal
Wi Yala ke
{celta ce edad ‘Paes One of India's (and China's) greatest — leader more competent (or less charis- | It’s not a satellite. It’s a car. It’s called Finally, if we continue to depend on
strengths is its hunger for education. _matic). But his reforms are stalled or | theGeely7151 CK sedan. Itseatsafam- oil, we are going toundermine the whole
Most American newspapers lure read- slowed in the Indian political labyrinth. | ily of five, gets good mileage and will democratic trend that was unleashed
ers with comics, and some British tab- India’s basic problemisthatitseconom- | cost around $10,000 when it goesonsale by the fall of the Berlin Wall. Because oi}
loids with photos of topless women, but ic policy-making isn’tnearly asshrewd, | in 2008, It’s made in China. will remain at $60 a barre) and will fuel
aCalcuttadaily newspaper issoshame- _ pro-growthor farsighted as China's. That doesn't get your attention? Well, the worst regimes in the world — like
less that it publishes a column on math That's a tragedy; we should all want | there's another Sputnik that just went Iran — to do the worst things for the
equations. Imagine titillating readers India to demonstrate that democracy | up: Iran. It’s going to make anuclear world. Indeed, this $60-a-barrel boom
with trigonometry! is an advantage, But | bomb, no matter inthe hands ofcrimi-
1 visited the ram- pee ae es
a Indian lawmakers | what the U.N. or CE SESH eee ae nal regimes,
and just
shackle Hasi Khust i bab i payed because B 5 plain criminals, will,
Kindergarten and Foreigners are | at -a-barrel oil, r if sustained,’ pose
Primary School in a A contest o still blocked from | Tehran’s mullahs ush’s blindness a bigger threat to
poor area of Caleul- titans: India US. directly investing | are rich enough to puts our way of democracies than
ta, where most of the in some sectors in | buy off ortell off the communism or Is-
pupils’ parents are India, like retailing. | rest of the world. G if a lamism, It will be a

i Iy
filiterate street ven- China Privatization is le- | That doesn't worry life in peril. black tide that turns

iiliyithi
dors, rickshaw driv? —- Sc os thargic. Food subsi- | you? Well, there's back the democratic
PATE ith ers or laborers. Out
of anaverage family
dies are soaring and
aresoinefficientthat
| a quieter Sputnik
| orbiting Earth, It's
Tee wave everywhere,
includingin Iraq.

i income of $23a month, theparentspaya

one-time fee of $13 for registration and
then $2.30a month.
—_|{ costs 6,6 rupees to transfer | rupee's
—_worthoffood to the poor. Restrictive la-
| called climate change ~ ak a Katrina
| and melting glaciers,
bor laws mean that companies hesitate ne What am I saying here? | am saying
The one thing we can do now to cope
with all four
of these trends is tocreatea
tax that fixes the pump price at $3.50 to

Above These pages from El Pais (1) and The New York Byline
Times (2) illustrate different ways of using bylines.
Incorporating such different styles into a newspaper
If the name of the author or writer is well-known, it often appears alongside
signals to the reader the section they are in: News a picture of him or her to form a picture byline. Picture bylines are usually
comment columns tend to be dense with little use
Design
Editorial
Direction
Art
78
+ of white space, conveying a sense of importance and popular with readers and they work well in newspaper design, but in a magazine
gravity. In more general comment and debate, bylines feature there is a danger they will detract from the many other elements on an
can be more engaging through the use of white space
and playful pull-quotes. The former signals news, the opening spread.
latter opinion.

Body copy
Text as a component of a layout can be handled in a number of ways. Columns
of text are either justified (text filling the column width), aligned left with ragged
right, or aligned right with ragged left. Left-aligned text is the most common in
editorial because text that is centered or aligned right (ragged left) can be tiring
on the eyes when reading large quantities of print. Similarly, column widths
should be narrow enough to read easily (see Fassett’s theorem of legibility,
p.122), but not so narrow as to create rivers of white space, which can occur
when gaps between words in adjacent lines form distracting vertical shapes.
Lengthy blocks of text can be broken up, making overall readability easier, but
also making the page lighter and more attractive to the reader.
Toward the end of the production cycle, when all necessary editing,
cutting, and changing of copy have been completed, a good designer will
manually fine-tune body copy to make it look as appealing as possible. Words
may be kerned or lines tracked back to remove a single word at the end of
a paragraph (widow), or a single word at the top of a column (orphan), soft
returns added to create a better shape in the ragging of the column, or words
taken over to improve line lengths and hyphenation inserted in the case of
awkward word or line breaks. By looking at the blocks as shapes, designers
should be able to use such tweaks to make blocks accessible and appealing.
 The Guts of a New Machine
The iPod became an instant classic by combining high ce sign
ind powerful technology. But as Apple has learned before, that formula
alone doesn't ke ep you on top

By Rob Walker

WO Year ago this month, Apple Computer released a small, sleek-look-

ing device it called the iPod. A digital music player, it weighed just 6.5
ounces and held about 1,000 songs. There were small MP3 players around at
the ume, and there were players that could hold a lor of music, But if the
crucial equation is “largest number of songs” divided by “smallest physical
space,” the iPod se ned untouchable. And yet the initial reaction was
mixed: the thing cost . so much more than existing digital players that
it prompted one online skeptic to su zest that the name might be an acro-
nym for “Idiots Price Our Devices.” This line of complaint called to mind
the Newton, Apple’s pen-based personal organizer that was ahead of its
time but carried a bloated price tag to its doom,
Since then, however, about 1.4 million iPods have been sold. (It has been
updated twice and now comes in three versions, all of which improved on
the ori al’s songs-per-space ratio, and are priced at $30! $400 and $500, the most expensive
holding | songs.) For the months of July and August, the iPod claimed the No. 1 spot in the
MP3 player market both in terms of unit share (31 percent) and revenue share (56 percent), by
Apple's reckoning. It is now Apple's highest-volume product. “It’s something that’s as big a brand
to Apple as the Mac,” is how Philip Schiller, Apple’s senior vice president of worldwide product
marketing, puts it. “And that’s a pretty big deal.”
Of course, as anyone who knows the basic outline of Apple’s history is aware, there is no guar-
antee that today’s innoyation leader will not be copycatted and undersold into tomorrow’s niche
player. Apple’s recent and highly publicized move to make the iPod and its related software,
iTunes, available to users of Windows-based computers is widely seen as a sign that the company is
trying to avoid that fate this time around. But it may happen anyway. The history of innovation is

Photograph by Richard Burbridgo

Above and left Crossheads, paragraph indents, extra

leading before a new paragraph, and paragraph breaks
are employed to break up text and create smaller, more
visually appealing blocks of text than lengthy columns
of gray print. However, Janet Froelich of The New York
layouts
Creating
III:
79
Times Magazine (3), (4) advises designers not to be
afraid of such text use: “The New York Times Magazine
is a reader's magazine. Its mission is to present both
text and images that give our readers a deeper
the des
understanding of the cultural and political forces
compli
and,
at work in the world. To this end writers’ and
ite dooiise photographers’ voices are critical, and the design
serves that mission. Large blocks of text have a
beauty that our designers respect. When juxtaposed
with powerful photography, judicious use of white
space, and strong headline treatments, they give the
reader a varied intellectual experience.”

It looks neater to have at least two lines of a paragraph at the top and bottom
of a column—more details on type sizes, leading, and alignment can be found
in Chapter IV.
During the 1980s and 1990s it was fashionable to see pages that were built
purely around text and typography, and stories that were interpreted through
 WE SOE RS OUAST OGRA Oe eae AOC kes ceN IER eR
Right Text can be used as well as images to illustrate
a concept. A conversation can be laid out to be
oppositional, confrontational, light-hearted, or
animated. Font use, runarounds, shaping, and spacing
can all work toward delivering not just letterforms but
the tone, content, and style of an article. David Carson
famously used dingbats to illustrate the irrelevance of
a Bryan Ferry interview in a month when very similar
interviews with the star had already appeared in
dozens of magazines (see p.168), but Vince Frost on
Zembla (1) and Martin Venezky on Speak (2) illustrate
more subtle ways of suggesting expression through
body copy layout. Look at concrete poetry and the
work of the Dadaists for inspiration.

(00) rembla magazine sprmcismmncy fev thensiad entf=

Design
Editorial
Direction
Art
80
+

_ Sie in ES ante EASA NI | .

ele ra ea INO
soar Ni ene : WNL Ih URS.

typography. It takes skill and cooperation between the editorial and design
departments to do this well, and a very active engagement with the material
on the part of the designer. Vince Frost on Zembla went as far as creating shapes
to suggest dialogue, and using the language of printing as a visual element—
literally, having “fun with words,” as the tagline for the magazine states.
He says,“There is no point in designing a magazine if you don’t like the
subject matter.”

Drop caps and initial caps

As well as indicating where a story begins, drop caps and initial caps—the former
drops below the baseline, the latter sits on it but is bigger than the rest of the body
 Left Drop caps can do more than indicate the start
of an article, chapter, or paragraph. On this New York
Times Magazine spread (3) about identity crisis among
French Jews facing the rise of anti-Semitism, art
Pranrhinnn director Janet Froelich has split the drop cap “I” in
two and used it to illustrate that crisis, while echoing
Or a Jew?
Anti-Somitism Is again an issue the split Star of David in the facing image.
in Franco, largely as a rovult of a spate
of vandalism and violence
by Fronch Muslims, For many
Fronch Jows, it has created a climato of
tht
By Fernanda Ebersiadt

Photograph by Sébax

Left The initial capital (which is also a partial drop

cap) for this spread in Fishwrap (4) deftly echoes the
headline, which, set at a diagonal, directs the reader's
eye straight to the first paragraph of text.

layouts
Creatin
III:
81

;copy—can be put into paragraphs to break up copy and avoid a page of

‘monotonous “gray blocks.” Drop caps and initial caps can sit within the body copy
ior outside; they can be enormous, and whole words, or symbols. Thought should
be employed when choosing the font for a drop cap or initial cap to complement
the rest of the body copy style; it could be a heavy cut of the body typeface ora
completely contrasting typestyle, such as an elaborate italic juxtaposed with a
iclean, modern sans serif.

Crossheads or subheads
‘These small headings usually sit within the body copy but may be a larger size,
/bolder,“capped-up” Gin uppercase), a color, or set in a different typeface.
 Right and below Pull-quotes can be used in a number
of ways, from the standard blown-up text, seen in
virtually all editorial, to unique ones that visually
enhance the content, as shown here in The New York
Times Magazine (1). This issue about Hollywood
players featured a cover (by editor Gerry Marzorati)
of a ticket line comprised of several high-profile
celebrities taking part in that year’s Hollywood movies
(see p.16), backed up by visual devices throughout
the magazine such as movie theater tickets used
in different ways and pull-quotes. More traditionally,
quote marks can be run vertically to create energy or
dynamic interest on the page, or run in a blank column
to enhance white space as seen here on a spread from
Het Parool (2).
‘I grew uP in the suburbs, Burton
——’ says, and somehow if
you are deprived of certain feelings, there is a desire to get them
out. Otherwise, you feel like you're going to explode’
1
Quotes, pull-quotes, and sound bites
As with most display copy, pull-quotes are selected by the copy editor, but the
design team should have a say in their number, placement, and length. Quote
marks form a focal point on a page, and can be used in varying ways to create extra
interest. Either single ( ’) or double (“ ”) quote marks can be used, as long as usage
is consistent.When the quote is taken from the text but has not been made by an
interviewee or subject, quote marks are not usually used. Ways of designing pull-
quotes (with or without quotation marks) might include floating text in a box,
running them in a separate column, running them as bands across a whole spread,
or using them over pictures. In newspapers their use is vital as a device for
drawing readers into a news page.

er ___NIEUWS

bie Williams
G _sarenoae
17sun2008 i= ZATERDAG 17 JUN) 2006 7

Design
Editorial
Direction
Art
82.
+

Hij staat vanaf woensdag le. la, | eg fet volk hoste por ar o el. & t
vier keer voor een volle
Arena. Pakweg cen kwart
miljoen mensen gaat
de man zien die ooit
het dikkerdje van
Take That was en werd
uitgelachen toen hij een ildde alsk
solocarriére aankondigde.
HET ZIJN Z’N OGEN HiJ BESPEELT HET
MAX STEENOERGHE
RONDE KIJKERS MET PUBLIEK MANNETJE
s EEN COCAINERANDJE VOOR MANNETJE

‘Mijn zoontje
hoor ik zeggen:
Fuck Robbie!’

Parade,
‘Amoterdam
510-2008

van Anja Schreuder.

‘Straplines, section headings, and running headlines
|These give structure to the various sections of a publication, identifying or
{emphasizing what that subject matter, section, or feature is about. Graphics such
jas lines or rules, blocks, bars, WOBs (“white on blacks”), and shapes can be used to
‘ give straplines an identity. A running headline is an abbreviated headline that may
/ appear on further pages of an article, especially if the article continues over several
t
ages,
<=
thus remindingc readers which storyd theyd are reading.o

FERNANDA’S HIDEAWAY
Equal parts Warhol bohemian, Oxford bluestocking, and
Park Avenue aristocrat, Fernanda Eberstadt draws on all her wild
and proper worlds for her latest novel,
a sweeping portraioft the 1980s New York art scene
BY BOB COLACELLO

83
layouts
Creatin
III:

a ee
gi
“lt wanted to write about ar!
a way to look at New York socie
says Fernanda Eberstadt. “Pet
trade art, but they also worship

ernanda Eberstadt wrote her first novel at the age of 11,
while taking a year off from Brearley, the upper-crust
Manhattan girls’ school, to read the Bible and Dosto-
yevsky. At the time, the early 1970s, her very understand-
ing old-money parents, Frederick and Isabel Eberstadt, were
among the hippest of the hip in a Park Avenue pack that in-
cluded Gloria Vanderbilt, Lee Radziwill, philanthropists Samuel
and Judith Peabody, and record mogul Ahmet Ertegtin and his
decorator wife, Mica. Although that first literary effort remains
unpublished, the precocious young Eberstadt finished Brearley
in 1978, graduated from Magdalen College, Oxford, in 1982,
VANITY FAIR PHOTOGRAPH
BY
with the highest honors in her year, and published two highly
praised novels with Knopf—Low Tide in 1985 and Isaac and
His Devils in 1991—by the time she turned 30. This month
Knopf is bringing out the book it hopes will put Fernanda
Eberstadt on the best-seller list, a teeming work of fiction set
in the New York art world of the 1980s. hen the Sons of Left This “Books” strapline on its red block in Vanity
Heaven Meet the Daughters of the Earth is not really a roman
a clef, but given the life its author, now 36. has led, even the
Fair (3), which bleeds off the top of the page, not
title seems intriguingly autobiographical only clearly signals which department the reader is
Fernanda Eberstadt was named for her paternal grandfather, in (even when the magazine is shut the red would be
Ferdinand Eberstadt, a half-Venezuelan, half-<Germ
an-Jewish visible to the reader), but works harmoniously with
DAVID SEIDNER the drop cap “F” at the bottom of the page to unify
these two graphic elements.
 vingly real. Genet Icons
If a story is to continue overleaf or elsewhere in an issue, it is helpful to let the
reader know by employing either “continued on” and “continued from” lines
alcohol induced. or some form of directional arrow. This is called a jumpline, turn arrow, or,on a
newspaper, a slug. Stories spanning more than one page should break midway

y hard way... *%© through a sentence or paragraph, as a full stop at the end of a page might make
readers think they had reached the end of the story. The end of a story should be
made clear with an end icon.

nphery wiirde es freuen. Captions

is machen, Clyde — mir Captions usually appear near or on an image, giving information about either that
ae picture’s content, or the reason for the image’s presence and its relationship to the
story.When there are a large number of images to caption, it can be useful to
2
number each picture and relate it to a list of captions elsewhere on the page.
Extended picture captions give additional text information not included in the
ange kann es nicht dauern.
main body copy. Captions on newspapers are treated as factual matter and rarely
rerden wir nach einer Weile
stray far from their associated image.
yen Kasten gepackt. -
Folios
3
Folios work as a navigational aid around the issue and so are usually in the same
Above Jumplines (or turn arrows) and end icons place on each page—either bottom right or middle in order to find and see the
can be emphasized graphically with a box, bullet,
Design
Editorial
Direction
Art
84
+
or initial from the publication title or other symbol.
number easily. If they are placed near the gutter, flicking through to locate a page
End icons show the reader the end of the story, and can be hard work. Newspapers often put numbers at the top; book folios often
are a good visual guide to the length of an article, as
here in Garageland (1) and Twen (2), which also used incorporate the title and chapter, too.While magazines often drop folios (on full-
whimsical jumplines (3). bleed pictures, full-page ads, etc.), it is vital that a newspaper does not do so
(except on ads) in their main news sections. Here, navigation and swift location of
stories is key to the reader’s experience, so folios must be clear to read and well
placed, enabling the reader to flick to a particular story or to one continuing from
the front page.

Unsere Stadt ist abgestellt.

Alles ist grau und untitig. Picture credits
Ein giinstiger Augenblick, um anzu- The credits for images normally run on the same page as their image, either
fangen.
running vertically up the side of the image or in the inside gutter of the page.
Machen wir uns nichts vor, Clyde —
ich weiB, was du iiber mich denkst. Du However, if the photographer is well known, his or her name is likely to be treated
haltst mich fiir eine nette alte Dame, as a byline or incorporated into the kicker.
die ihre Tage in der Kiiche zubringt
und an bleichdugige Kinder einge-
machte Apfel verteilt. Aber ich habe Boxes, panels, and sidebars
in meinem Leben nie eine Kiiche be- Rules, color tints, borders, different column widths, and sans serif faces (as opposed
treten, und natiirlich gibt es auch kei-
to the serif faces often used in feature copy) are traditional ways of handling box or
Z
panel copy, either related to a story or being laid out as a stand-alone item.
Above Along with pull-quotes, there are many other
devices for adding visual interest and alerting readers
to particularly interesting text. Twen, for example, Images
used numerous icons, including a little trumpet that
announced a newsworthy item in a column (4); and Images are key visual elements on a page and their relationship to the story is
the Internet uses a range of visual indicators that
crucial to the design. Either the text is driven by the image or the image illustrates
print designers can incorporate into page layouts,
including arrows, buttons, and rules. the story; in both cases what is important is to create an interesting dialogue
 HAG bey
Altar
1

3| Class Action, Yale

4 University. He Hits Me,
5 He HitsMe Not
Billboard project
| Lolti Aboutboul:'A against domestic
hungry woman is not violence
a free woman’, forthe 4| Sheila Levrantde
UN World conference Bretteville. Pink, 1974
on Women, Bejing, 5 | Sandra Kelch,
1995. Photographsby Cranbrook Academy
Lana Wong of Art’Bosnian Rape
2|WD+AU, Team: Sian Camps; 1993
Bu awed Cook and Teal Triggs. Postgraduate student
TT
bat Shere ‘Smart Fun’ 1996 project
OF NERD wan
chan bi
Espana rite Mi
Gabe ype
SEA) FN eee
> pap bint tae

Left and above There are numerous ways of designing

captions, including the caption map seen here in
Graphic International (5) or this discreet list at the
bottom of an image page in WAD (6). Key things to
wh Ay po dante consider are whether a captioning system is going to
Md Haan Fonte
Bins dese, Sh
+ hamper or constrain your page design unnecessarily,
and whether they work. Are they large enough? Will
the reader find them easily? Is it clear which item the
caption refers to?

layouts
Creatin
85
Ill

ALE OF CONTENT

‘Tmage Contributors

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au supplice. Violette Jesuletrop er Left On Fishwrap (7) all individual page credits
Ssauey rerenson yy are listed on an inventive map at the front of the
DALE RAINES f
“Soe cHnisrine ROBINSON 4
publication. This approach makes finding credits easy
AIA ROWLEY and means they do not have to be incorporated on
“Soe hy) SHAUGHNESSY
CAITLIN SMITH My the highly visual spreads that are a trademark of the
LzSE
TERE
LASSE
S2ZSSISLERIRIESRI york swim o— magazine. However you handle box text, panels, and
IAvise TOKOK
uss
“ sidebars, they must be clearly delineated from running
Hd detetae text on the page or other box copy. Here, Vogue Paris
(8) illustrates an excellent way of doing this.
 Below Says Criswell Lappin, creative director of
Metropolis, “For our first issue after 9/11, Sara Barrett,
our photo editor, found this shot from the original
construction of the north tower in 1972. I tinted the
sky blue to give it a little sense of hope, but other than
that the image is unretouched. We knew it was a
success because of all the reactions it elicited. People
attached different meanings to it, many based on their
personal experiences, and it really resonated with what
people—both architects and the general population—
were thinking. The image references the past and
questions the future at the same time. From a distance
it looks a bit like wreckage, but once you have it in your
hands you realize that it is an image of construction,
and with the cover line ‘How Do We Begin Again?’ it
made readers think and reflect. Even David Carson
asked me how I photoshopped the image, but we
didn’t do anything to it except add a little cyan.”
between text and visual. Within these two simple functions there are many
different ways to approach image use. Martin Venezky on Speak, for example,
“used design as a device to open up the interpretation of an article ... Rather
than directly illustrating a story’s content, Imight develop a visual metaphor as
a companion to the text,”he explains.
How an image is cropped and scaled, where it is placed in relation to text
and other images, and its position on the page or spread all create expression and
narrative for the viewer. Faces looking toward the spine create harmony, those
looking out draw the eye away from the publication and create tension; if two
images face in opposite directions even greater tension is created.A large close-up
of a banal image will draw the viewer in, while its contours or shape may create
an abstract image that intrigues or surprises.

oe

LOOKING FOR. ROMANACH

ee ; OS cea
Direction
Design
Editorial
Art
86
+

Exiled from his home, Cuban }

architect Mario Romaiach lost his eden Sere
place in history. A fellow Havanan
writes him—and the city’s Modern
architecture—back into the canon

Above right It is important to know when to use

images as straightforward illustrations of the text.
Criswell Lappin on Metropolis (2), faced with
THE EMPIRE
designing a spread on little-known modernist
Cuban architect Mario Romanach, remembers he was
STRIKES BACK
(IMPERIAL VENICE MIGI
“less concerned with the graphic layout reflecting
modernism as I was with showing a range of
Romanach’s work. He was virtually unknown in the
U.S., and his architecture says more about modernism
than my layouts could. The red tint behind some of
the images signifies that a building is in danger or is
being destroyed.”

Right This layout in The New York Times “T:Travel”

Magazine (3) was constructed around a photo to
convey the bleached-out white light of Venice.
“T love the Massimo Vitale photograph—inspired by
Canaletto, but utterly contemporary. The same holds
true for the typography, with that gorgeous letter
‘T in Fraktur. The formal arrangements just feel very
satisfying, and the depth of the image, along with the
use of white space and the variations in typography,
create a very satisfying page,” says Janet Froelich.
phetography

Left and below Tension and movement are conveyed

WALTER SCHELS
vncitton by Lawrence Schubert
in these spreads from Flaunt (4) and Harper's Bazaar
(5). In the former this is achieved through the donkey
facing to the left and using the image as a bleed. This
draws the eye out and away from the confines of the
prechen Sle Deutsch?
page, suggesting movement and space. On the Harper's
Bazaar spread an interesting discord is created by the
positioning of the figures on the stairs. Angles and
diagonals create movement, while the positioning
of the image on the right, balanced against the full-
.s bleed image on the left, again draws the eye out of
the spread.

layouts
Creating
III:
87

Dresses of the night in swaying laces for a newly agile

fragility of contrasting skirts,
widened tops, bared open footfalls.
mn the d bodice, purple skirt, astonishir u
e, high in front, ft deeply in back;
ec. At Bergdo: 1; Nan Duskin
sandals by Palizzio.
royal blue faille, scalle cl skirt of flowered black MaeCarthy la By
Talmack. About $225. At Saks Fifth Avenue: Harzfeld’s, Kansas City, Sandals by Made.
moiselle. Both pages: Bryans stockings; the lipstick is Stendhal’s vivid new Seduisant
2 Ged ‘aunt
Flaunt, aU.S. monthly style title launched
in 1998, influenced by 1950s magazine
Flair, is an excellent example of a magazine
that successfully fuses harmony and discord.
It is a sophisticated, interactive book,
using advanced printing techniques, fold-
_ out articles, beautiful papers, and inserts
_ to create a magazine that surprises but
never alienates its readers. Harmonyis
evident in its handling of body copy and use
of imagery, but with each issue its creative
team plays with discord through unusual
page sizes, unique papers, scale, and use of
_ display texts. Flaunt is famous for a daring
use of two-part die-cut covers, which
changes the normal rectangular format
into a playful, interactive experience with
windows to open and hearts to peer through,
thus echoing the playfulness of the brand.
Jim Turner, Flaunt’s creative director, says:
“Our original mission was to create an
activity book for adults—something that
went beyond the printed page with text
and photos, something that would tickle
readers, make them look forward to the
next issue.” Such concepts for the cover
and contents would be mere gimmicks
were it not for the fact that thoughtful
contextualization of imagery and content
lies at their heart. “We approach each
outside cover every month based on the
photograph on the second (inside) cover
and what it inspires us to come up with.
I simply design to please the eye. It’s been
called architectural by some people, which
is another great interest of mine. I also
design interiors, products...Ifeelthata
good designer wants to design everything.”
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Design
Editonal
Direction
Art
90
+ material is constantly assessed, tweaked, or dropped during this period.
Before starting page design
M™@ Gather the copy, illustrative material,
and any information from the editorial
team, including the most up-to-date
flatplan. As the deadlines approach,
this will change frequently as more
ads are sold or incoming material is
found to need more or less space.
M™ Read the copy so that you understand
the article and purpose of the page(s).
M™ Examine all visuals (illustrations,
photos, and any graphics). Are they
good enough quality for publication?
Remember, digital photographs have
to be 300 dpi (dots per inch) to be of
satisfactory quality for print; many
digital cameras take photos at 72
dpi. Consequently, in converting
them, their optimum print size will
be reduced to a quarter of the size.
@ Make sure you have all the style
elements in place, including the
template pages of the publication,
style sheets, color palettes, and
magazine livery.
Determining factors in layout construction
The construction of a layout has no magic formula. Essentially, it is about
organization, communication, and navigation. It takes in everything from knowing
what a planning meeting is for to knowing how much a feature is going to cost,
how much time is available for changing layouts, and understanding how the
required on-page elements work best together for a particular section’s style.
Many of these factors will be outside the designer’s control, such as budget, space
allocation, pagination, and time constraints.
This is part of the challenge of any
design—finding ways around the boundaries is what makes you creative.
Planning and timeline
All publications have planning meetings or a series of progress meetings.
The
purpose of these editorial or production meetings is to establish and inform all
the editorial departments as to the content and importance of the features for the
issue, and sketch out estimates of the amount of space needed for each item or
feature. From this information the art department can start to plan how each
feature will be illustrated. Visuals might need to be commissioned or sourced
and bought. At the same time, the editorial departments will begin researching,
writing, and commissioning articles; the technical or beauty departments will start
to call in products for testing and photographing; the fashion department will be
getting in outfits and organizing shoots. This process is ongoing and fluid—
The production cycle
For the art department, the production cycle begins when editorial, pictures, and
illustrations start to arrive. At this point the process of laying out pages begins. If
there is imagery, it is usual to build the layout around this; if not,a focal point can
be created by a strong heading. It is important not to detract from or dilute any
impact, so avoid elements fighting with each other. Nonprinting areas, or empty
space, also create a focus for the eye. Once completed, layouts are passed on to
the proofreaders’ desks for cutting (if necessary) and proofing. By now, the
sections of the magazine will have been defined for the printer’s schedule. If the
publication is large, these sections may have different deadlines and be sent in a
particular order to the printer, with the cover often going last. Sections have to
be complete, including advertisements, before they can be printed.
Practical factors
The amount of money the art department has to spend on images, special
stocks, inks, and special effects, such as die-cutting, is set well in advance, but
exactly how the art budget is spent is up to the art director, who has to make
such decisions early on and adhere to them as much as possible, just as the
deadlines agreed by the publication and its printer have to be adhered to if the
publication is not to miss printing and publication dates. Such time factors may
determine the amount of experimentation possible or whether there is time to
change a layout if it is not working to a designer’s satisfaction. Designers have
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* Above and left For this Vogue Paris (1) special issue
about the life and work of Sofia Coppola, art director layouts
Creating
III:
91
Fabien Baron kept things simple. Sumptuous black-
and-white photography by Mario Testino, metallic
printing, and a decorative font (Cottonwood) form the
bulk of the issue, with space, shape, pagination, and
layout construction creating a narrative about the
director's life. Gary Cook’s layout for a feature on
politician Jonathan Aitken in FT The Business (2) uses
the negative space of the underlying grid wittily to
convey the religious theme of the article, and to tie
the text page to the image to unify the spread.

Longford. Butto his (ies

critics, he’s just
doing what he
does best: lying
Portrait by Sasha Gusav
 How the eye scans a page

Be PAROOL!

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The Geerdie Boy is back.
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and talking exclusively to
loaded about football, fame
and hair extensions...

1 2

While there are no definitive rules about how any individual will scan a page
or spread, the use of visual hooks, whether in the images or text, will often
determine where the eye starts its journey. The eye is drawn to the oversize
“G" in this layout from Loaded (1) because of its dominant size and color,
then follows the horizontal serif of the letter to footballer Paul Gascoigne’s
eye, then finally moves to the smaller kicker text. In this complex spread
from Dutch newspaper Het Parool (2), the eyeline of the subject of the main
photograph is linked up to the running head, and the reader's attention then
moves through the other elements, often following the vertical and horizontal
dominance of the grid—see p.66 to view this page without guides.

Design
Editorial
Direction
Art
92
+
an entirely personal method of coping with the constraints of tight deadlines.
Some get the overall design established on the page, then tweak boxes, type,
and color until they are entirely happy. Others will keep starting a fresh layout,
saving different versions until they are happy or until time runs out. Similarly,
the running order of the pages and number of pages available to editorial are set
by the publisher and/or editor, and are usually tied to the advertising sales; pages
are sold to advertisers against a particular section or feature, and a publication
will have an editorial/advertising ratio, so if ads are added, dropped, or moved,
editorial pages are lost, gained, or shifted accordingly. Again, this can have a
big impact on design if, for example, a five-page feature has to be shrunk into
three pages.

Design factors: spatial issues

The demand from contemporary readers is for a publication to be portable in
size and format, and flexible and varied in its content—a publication that can
be dipped in and out of randomly.
This is reflected in the design by the use of
imagery, display copy, colored headings, boxed type, bullet points, and lists.
A publication that tends to run text-heavy articles will probably use white space
to counterbalance the gray effect. All these devices take up space, but a balance
of text, images,and graphic elements must be achieved.
The number of words for an editorial page is usually predetermined. If the
story has been massively overwritten and the page becomes impossible to
design, the copy editor can usually cut copy to a reasonable length. Occasionally,
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Left Two different approaches to the issue of
balancing the vertical and horizontal elements on
a newspaper's front page. German paper Die Zeit (1)
Und Jeisesurst de a is austere and businesslike, its vertical design
sciicuntodeririie emphasizing the length of the stories and the
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seriousness of the title’s tone. Italian paper Cornere
Della Sera (2) mixes horizontal and vertical elements
to create an accessible yet elegant page, but one
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_feature might need to be designed before the words have been written, or
De completely design-led. In this case a word count is decided on and the piece
written to length. The format of any illustrative material must also be taken into
.ccount. If the illustration is a digital image, it may have to be used at a certain
ize; some photographs are grainy and any enlargement would emphasize this,
vhich may not suit the magazine’s style. Sometimes when journalists are
writing articles they come across information that should be emphasized to
make better sense of the copy, or the picture research team may have negotiated
0 print a picture at no bigger than a couple of columns. This sort of information layouts
Creating
III:
93

may well be supplied at the last minute and it will have some degree of impact
yn the design.
One spatial issue that is particularly relevant to newspapers is that of
10rizontal and vertical designing. Until the mid-twentieth century, many
1ewspapers were designed with multiple-deck, one-column headlines that
‘reated pages with long, thin, ruled columns, which often made legibility
very difficult, and also gave the paper a dense and unappealing appearance.
Yevelopments such as the growing use of wider columns and margins, along
vith the rise of tabloid newspapers and other smaller formats, have pushed
1ewspapers to adopt a more horizontal design, which is more appealing visually
ind also easier to read. Even in the narrow Berliner format, designers can still
‘reate horizontal design through the use of headlines and stories spread across
nultiple columns that lead the viewer across the page rather than up and down.
Where vertical designs are being used, it is important to allow enough margin
vidth to ensure good legibility and to lighten the overall look of the page.
White space and blank columns can also be added to further heighten the
ense of space and legibility.
 Where to place items

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The placement and design of copy can communicate and influence the reader.
Deciding whether to give an article an entire spread or place it among two
or three others immediately signals its importance to the reader. Here we see
one article with a full-bleed image, large headline and kicker, wide column
setting, lists, strong color, and lots of white space—all this attempts to
stimulate interest and entice the reader.
In contrast, this layout demonstrates how the same article, designed another
way, can send out different signals. Here it is laid out not as a feature but
more as a news story. With text filling the spread from top to bottom, smaller
headlines, a narrower colurnn measure and less white space, the article is
reduced in priority and importance. However pull-quotes, boxes, bullet points,
and color all help in catching the eye and drawing the reader in.

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A newspaper's selling point is often its front page. For this reason it must
be prominent on a newsstand. The size and placement of a masthead,
images, and headlines are integral to the newspaper's salability. The design
of a front page is often created in response to having either a great image
or a great headline available, and their respective ability to grab attention.
On a page with multiple stories, the positioning of text and other elements
guides the reader's eye around the page. The main story is signaled to the
reader by being placed at the top of the page, with the largest headline,
image, and kicker, and the widest column measure. In contrast, the other
two articles are across a six-column measure, with no kickers, and both utilize a
much smaller space on the page. Hierarchy between these two articles is
communicated by the headline size, image, and amount of space used.
Design factors: the dominance of shape
A large proportion ofeditorial design is the organization of shapes to support
che written word within the confines or parameters of a publication’s style.
Mark Porter of The Guardian describes it as “being in charge of the distribution of
=lements in space,’ these elements being headlines, text, artwork, and white space.
Che way these shapes are organized creates the difference between a satisfactory
and an unsatisfactory layout. Used well, shape distribution can be used to lead the
-eader’s eye through an article as well as navigate around the page, and create a
wide range of feelings and meanings.
If you look at a layout and half shut your eyes, you will see all its elements in the
rorm of shapes. Type blends into gray blocks, illustrations and pictures form squares

layouts
Creating
III:
95

Above and left Establishing a visual dialogue

between image and text is an excellent way of
creating structure and shape in a spread, as seen on
these examples from Inside magazine. On the Zaha
Hadid feature (1) Jeffrey Docherty used the shape
of the architecture as the layout’s determining factor.
“T have a true respect for architectural photography.
I find myself shying away from the placement of type
over an image. I prefer to show images as if they were
artworks, framed and unhindered. There are exceptions
in which an image or a story can benefit from the
combination of the two. In these instances, the type
may provide structure or a dynamic twist to the image.
However, finding the right spot for text is vital. The
obvious spaces can be boring, so finding a dynamic
fit of text and image can be challenging. Too often,
I observe design blindly giving in to current trends
and style. Design is all about finding the proper
balance. Learning to exercise restraint is a design
quality rarely considered.”
 Mtegawoeraphy Goes Dighal

1
Above and right Three different ways of using shape
to create pleasing spreads. For the “Year In Ideas”
issue of The New York Times Magazine (1), which was
designed to present the best ideas, inventions and
schemes in an encyclopaedic fashion, Janet Froelich
was inspired by nineteenth-century illustration
conventions, and “chose the photographer Rodney
Smith for his ability to build on those visual ideas to
create images that felt like explanations without really
being explanatory.” The combination of imagery, white
space and indented text intelligently and wittily plays
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on the encyclopaedic form, and creates a harmonious
and delightful spread. For a piece on the new Boeing
offices, Criswell Lappin at Metropolis (2) simply
created archetypal plane shapes from image and text
Design
Editorial
Direction
Art
96
+ boxes to visualize clearly the content, but also to
create interest and reader recognition. In J.D. (3),
a visually intriguing spread is created through the
graphic pattern of the images, which are balanced
well against the white space and chunky blocks of
the text page.

or rectangles with the occasional irregular shapes of cutout pictures or decorative

type. If you continue to keep your eyes half shut, you begin to see how these
shapes work together and connect to form other shapes or strong diagonal lines.
White, or nonprinting, space also produces shapes. These shapes create balance,
harmony, or discord. Creating patterns with shapes helps to give the layout flow.

Shapes in a layout have to fulfill two functions: first, all the above shapes have to
work together on the page area;second,
the contents within the shapes have to
work directly with the page layout. Shape organization and coordination are key
techniques for creating a satisfactory layout and, through variation in the shapes,
an essential factor in making features distinct from each other. By organizing shapes
in this way, the designer can draw the viewer's eye to a particular point on a page—
it might be the largest image, the loudest color, or the oddest shape, and for this
reason designers use many tricks with their palette of shapes to create interest.

Design factors: shape as a classical proportion

Whether through custom or an innate sense of balance, convention tends to favor
0.
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convey enthusiasm and professionalism
without being slick or shallow. It is
particularly strong in its use of imagery
that is playful and witty but never
undermines the content of the images,
and in the bold way its designers scale
and crop images. News pages are lively
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 Golden rectangle certain classical proportions.The most famous of these in editorial design
is the golden section, which is defined by the ratio 1:1.618, or a height of 16.2 and
a width of 10. This shape is thought of as pleasing on the eye and can be seen in
many layouts.

Design factors: shape through color

Shape is often used to break up the monotony that might be created by a page
that is type-heavy. This can be done with photographs, illustrations, decorative
type, white space, and blocks of color, tones, or the text itself. Tonal shapes
are effective in separating, organizing, or pulling elements together, and
psychologically, the text appears easier to read when it is broken into smaller
chunks. Color can add meaning to a layout by linking elements together through
colored headings, borders, and rules. The eye is very sophisticated in its ability to
make connections by the use of these types of signposts.
Designers should not be afraid to experiment with color, both in terms of the
palette and its use in a publication.AsMario Garcia says,“Color is such a personal
issue.We think that readers today like vibrant colors and don’t necessarily equate
them to vulgar or downmarket. For example,
for years the handbag maker Louis
Vuitton made bags in brown, now LV bags come in yellow, lime green, and pink.”
Garcia’s use of bold colors in The Observer newspaper, both as navigation tools and
layout elements, has made this Sunday title vibrant, broadening its appeal toa
Direction
Design
Editorial
Art
98
+ younger audience.“In surveys, readers like color and color coding,and I do too.
It organizes things at a visual and practical level; says Garcia. He suggests using one
palette for coding and another for the rest of the colors in the publication.

Design factors: tension

Tension can be used to great effect in supporting an editorial stance, and is
To make a golden section from a square,
divide the square in half. The diagonal created by the shape of elements and their relationship to each other and to
of this half square is rotated to the the edges of the page. For example, elements can be positioned to create a
horizontal, defining the length of the
rectangle. If a square is added to the
long side of the resulting rectangle,
a new golden section is then formed.

Right Using the diagonal eyeline in the photograph

as the basis for the design of the spread, RayGun (1)
creates a pleasingly off-kilter layout. The effect is
heightened by repeating and rotating the outline
of the photo.
diagonal movement, leading the eye to other shapes or to other areas of the
page, while bleeding an image or text off the page can create a dynamic effect.
Tension can also be created by the use of color. Images used in conjunction with
each other can repel or attract other elements and shapes by their color
or tone.

Design factors: repetition and flow

On many titles a visual continuity or repetition forms the central essence or
identity of the publication. In the case of repeated tones or shape, these are
usually built on a grid structure or alignment (for more on grids, see Chapter IV)
to maintain harmony throughout the publication. Other factors that reinforce
repetition and flow are the positioning of typography, visuals and graphic devices

layouts
Creating
99
III:

Left Esopus (2) uses a huge, predominantly red image

to create an uneasy, unsettling spread that is gripping
and filmic. The New York Times Magazine image below
(3) illustrates how two figures looking away from each
other and out of the spread, rather than into the
Judah Friedlander |American Splendor
spine, create tension.
 Right I.D. magazine (1) uses rules, scale, color, and
typography to ensure that each department and the
pages within those departments have their own
identity and character. On Metropolis (2), the color
barcodes Criswell Lappin employs as an iconic
reference to the retail industry also give the theme
of shopping a distinct identity. “Since we were
covering a variety of shopping environments, we
needed a symbol that could represent them all. Each
barcode is used to signify the different categories of
new retail environments that we covered.”

a
ll
Design
Editorial
Direction
Art
100
+

such as sidebars and rules, and their respective colors and sizes. All these elements
enable the designer to construct a flow of layouts that is consistent but allows for
variation and fluidity, as repetition on every page is rarely desirable in any
publication (even a phone book is varied with the use and placement of display
ads and different weights of fonts).

Design factors: experiments with scale

Scale is used to guide the viewer’s eyes through the article, provide visual
interest, and dramatize or emphasize the editorial message. One large word in
a headline can change or skew the emphasis and meaning of the whole page,
an effect that can also be achieved with images. Scale is relative, it creates a
hierarchy, and there are many situations where this would be entirely
appropriate—for example, in an article that contained both main and subsidiary
elements. But it has a visual purpose, too, making the page lively and creating
interesting blocks and shapes. The content of the publication plays an important
part in sizing and use of visual material. For example, a travel magazine will often
use full-bleed pictures to create a feeling of expansiveness and to help fulfill the
dream of being in that location. If the picture were smaller, it wouldn’t evoke the
same response or desires.

Design factors: contrast

There are occasions when it is appropriate to illustrate an editorial piece with
subtle contrasts in size of the design elements, but this must be done with caution,
as it might make the design look tentative and weak. It is more usual to illustrate
designs with extreme contrast—one large element balanced against several small
ones. Imagery and its sizing are always affected by the relationship to other items
on the page or its boundaries. Imagine sizing an image of a tomato slice so that it
bleeds off all the edges. It would take on a completely different look if the same
image were used in a sidebar the size of a thumbnail.
Design factors: balance
In design terms balance is very important. It can be achieved in a number of
ways. Symmetry or an equal number of items are literal examples of balance that
are not always successful if they create little or no dynamism, tension, or contrast.
Experimentation with balance can create a relationship that strengthens the
design. For example, balance might be achieved in an asymmetrical way: One large
image could be counterbalanced with several smaller ones or a larger, dark picture.
Above On this money-themed issue of WAD (3), the
tiny Monopoly car works as an instantly recognizable
icon of capitalism, but also creates a bold and
distinctive layout.
Below One image, two extreme crops (4), (5), show
how very different responses, balance, and expression
_¢an be conveyed through intelligent cropping.
Contrasting sizes, colors, and scales can produce a
very graphic effect, almost becoming a pattern, as is
¢¢Tonstrated on this page of 1.0. (6), which turns a
page on wallpapers into a very graphic form of
wallpaper of its own.

layouts
Creating
III:
101

Repeat After Me
{tall began when the queen ofsubur-
ban taste, Martha Stewart, asked the
downtown-New York photography stu-
dio Davies + Starr to shoot daffodils for
a floral wrapping-paper design. But
after snapping some 50 daffodils, the
idea wilted and the project was thrown
out for compost. A few months later,
Davies + Starr tried shooting the same
sort of repeat pattern with a savage
looking hunting blade. According to
photographer Chalkie Davies, that was
when they saw something cruelly
beguiling. “It looked beautiful from a
distance, like a heart,” says Davies,
“but when you got closer you could see
it was an incredibly vicious knife,” The
idea hit him: un-Martha wallpaper,
Re | : ( “Martha had made this huge state
= aes =a 4 ment—no wallpaper—I.guess because
she sells paint,” says Davies. “But !
think kids would really like it if you
 Right Two different forms of balance on a spread:
Flaunt (1) simply balances the two pages on the
horizontal diagonally; Dazed and Confused (2) creates
a filmic storyboard.

Design
Editorial
Direction
Art
102
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Balancing the elements of a layout is individual to the designer, but key to doing
so successfully is ensuring that one side of a layout is given equal weight with
the other.

Design Factors: depth

Spatially, working in print is limited to two dimensions, though the illusion
of depth can be created through production techniques such as die-cutting,
embossing, and the use of metallics and fifth colors. But it can also be achieved
through the arrangement of the elements on the page. For example, skillful
overlapping of the design elements—shape, type, and color, in particular—
can make pages stand out or even “jump” out at the reader.
 fany futher has been forsaken by his children, itis Thomas
Paine. Statues of the man should greet incoming journalism
shidents; his words should be chiselled above newsroom doors
and laped to laptops, guiding the communications media
through their many travails, controversies and challenges. Not
so. A fuzzy historical figure of the 1700s, Paine is remembered mostly
for one or (wo sparkling patriotic quotes - “These are the times that try
men's souls” ~ but little else,
Yet Thomas Paine, Professional Revolutionary, was one of the frst to
use media as a powerful weapon against an entrenched array of
monarchies, feudal lords, dictators, and repressive social structures.
He invented political journalism, creating almost by himself amass
reading public aware for the first time of its right to red controv ersial
opinions and (o participate in politics,
Between his birth in 1757 and his death in 1809, enormous political
upheavals turned the Western World upside down ~ and Paine was tn
the middle of the biggest, His writings put bis own life at risk In every
country he ever lived = in America for rebellion, in England for sedt-
tion, and in France for his Insistence on a mercifu) and democratic
revolution. At the end of his life, he was shunned by the country he
helped create, reviled as an infidel, forced to beg friends for money,
Because Paine is for the taking and he fs worth having, Ifthe ol
media — newspapers, magazines, radio, and television = have aby
doned thelr father, the new media = computers, cable and the ty
can and should adopt him, Ifthe press has lost contaclwith its
spiritual and (deologteat roots, the new media culture ean elaliy th
as iis own,
For Paine does have a descendent, # place whore bis values Prosper
and are validated millions of imes o day: the Interdet. There, bis
Ideas about communications, media ethics, the tiniversal connect
between people, the free Now of honest opinion are all relevant «
visible every time one modem shakes hands with another,
The Net offers what Paine and his revolutionary colleagues ho,
for in thelr own new media ~ a vast, diverse, passionate, global
of transmitting (dens and opening minds. That was part of the poi.)
transformation he envistoned when he wrote: “We have itin our
er to begin the world over again” Through media, he believed, *
seo with other eyes; we hear with other cars; and think with oth:
thoughts, than those we formorly used!
‘Tom Patne’s ideas, the example he set of free expression, the
sacrifices he made to preserve the integrity of his work, are bein,
resuscitated by means that hadn't existed or been Imagined in

His Rights of Man

The. oe O!|Paine
was a clarion call for universal democracy,

invpived Amenleahs to thdependence

He died 186 years ago.

So why should beadopied as the patran +. ate yipelest aateseime
6c .$7:
Thomas Paine ia
denied the right to yote, refused burial ina Quaker cemetery. His grave his day ~ via the blinking cursors, clacking keyboards, hissing
was desecrated. His remains were stolen. modems, bits and databytes of another revolution, te digital one
A popular old nursery rhyme about Paine could as easily be sung Jf Paine’s vision was aborted by the new technologies of the last
today: century, newer technology has brought his vision full circle. If this
Poor Tum Paine! there he lies values rio longer have much relevance for conventional Journalise:
Nobody laughs and nobody cries. they fit the Net like a glove,
Where he has gone or how he fares,
Nobody knows and nobody cares, 3 aine’s life and the birth of American media prove that
Certainly that’s true of today’s media. The modern-day press has information media were never meant tobe just another
become thoroughly disconnected fron: this britliant, lonely, socially- industry. The press had a familior and profoundly inspir 4
awkward ancestor who ploncered the concept of the uncensored flow moral mission when it was conceived: information woo
of ideas and developed a new kind of communications ~ journalism = to be free, Media existed to spread ideas, 10 allow fearles
in the seryice of the then-radica) proposition that people should argument, to challenge und question authority, to set o common
control their own lives. soclul agenda,
In the US, his memory has been tended in the main by a few Asked about the reasons for new media, Paine would have answered
determined academics and historians, and a stubborn litle historical} in. a flash; to advance human rights, spread democracy, ease sulferisi2,
society In New Rochelle, NY, where he spent most of his final, pester government. Modern journalists would have a much rougher
impoverished days, In Britain, the Thomas Paine Society (president, time withthe question. There is no longer much widespread conse
Michael Foot MP) is widely regarded as no more thon a harmles$ SUS, danOng practitioners or consumers, About journalism's practices
hobby for old lefties.
and goals. :
But if journalism and the rest of the country has forgotten Paine, ESOL RG ane er iiwetvstion. cy Maric Sommers
why should we remember another of history's Jost souls?
Jon Katz can be emailét
at OKav@uol.com =e
WIRED APRIL 1995 as

Above and left Skillful conveyance of depth can be layouts

103
created through background and foreground color use,
as seen here in Wired (3). On Metropolis (4), Criswell
Lappin demonstrates a great way of enlivening a
feature on door handles by making their appearance Creatin
:
three-dimensional. III

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 Someone suggested we
had a loaded staff outing...
so we took Manhattan instyle

i
photos by CHRIS FLOYD

Design
Editorial
Direction
Art
104
+

Above In the 1990s, Loaded magazine was particularly Implied motion

skillful at implying motion through a combination of
headline manipulation, full-bleed images—using
a long exposure to heighten the sense of speed—
and scale.
The projection and interpretation of movement onto a two-dimensional page
is a substantial challenge.
The effect is often created using the photographic
techniques of double exposure, multiple printing, blurred motion, or the use
of multiple sequences of stills in a line.

°
Harmony and discord
Depending upon a publication, design can be conservative or cutting-edge.
Creating a visual balance or disturbance on a page is often left to the individual
instinct, training, and experience of the designer, who will make the elements
of a layout either complement or compete with each other in order to create
harmony or discord. In philosophical terms, the clash between harmony and
discord goes beyond mere style and echoes the great divide between the two
streams of human history, thought, and development—the division between the
classical, ordered organizer and the rootless, restless romantic.
The competition
and compromises between these extremes makes for a creative tension that may
never be resolved.
 MOYEL CASADELMAR Corsica
Hotel Casadelmar is the first hate! to
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cedar and stone by architect Jean-
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dune as a haven of hip refinement It
Is aimed al those who will preter to
laze by the heated, 25-metre infinity
pool o¢ indulge in massages with
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olts rather than join the crowds
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ts designed to dazzle, from the
luminous, split-level white lobby
and bar with its violet Frigerio stools
to the comfortable, bay-windowed
rooms with their fuchsia, orange or
violet curtains; yet nothing can match
the sweeping vista of the bay from
the rooms’ private wooden terraces.
Up-and-coming star chet Davide
Bisetto has just been awarded a
Michelin star for his changing menu
of exquisite Mediterranean dishes
using local ingredients, served on a
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grounds. Highlights include red tune
with pecorino and mint oll, saffron
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It you tire of the hotel's small, sandy
beach, there is also a fitness centre
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WHEN TO GO May for the wild
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ROOM TO BOOK Any upperfloor
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Hote! Casadelmar, Route de
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95 72 34 35; www.casadelmarty),
Doudles from €320; suites from €570
Fy
Siebert
The infinity pool at Hote! Casadelmar,
overlooking the Mediterranean

Achieving harmony Above Images can be the anchor for a harmonious layou
Creat
105
III:
design, as seen in this Condé Nast Traveller spread,
Harmony in editorial design can be achieved in several ways. Design purists in which the long line of perspex in the foreground
in the Bauhaus and Swiss movements believed that a harmonious design is mirrored by the body of water in the background.
The full-bleed off the spread creates a sense of space
should feature: which the placement of the text does not hamper.

* an even gray, with no superfluous “tricksy” elements such as oversized drop

caps to detract from the classical feel of the layout;
¢ a calm, rigid typographical grid;
¢ an unfussy sans serif typeface throughout;
¢ small body copy;
* leading that strengthens overall visual quality and does not draw attention
to itself, but is never so wide that the white space conflicts with the copy;
¢ headlines set in the same typeface as or in a bolder version of the body copy,
at just a few point sizes larger;
* margins wide enough to differentiate text boxes clearly, but not so wide as to
appear ostentatious or wasteful;
* any extra material such as running heads or folios following the overriding
principles already described;
 ¢ photographs anchored by placing them across the column grid at one-,
two-, three-, or four-column widths exactly, horizontally aligned with
other elements;
* white space used carefully to create breathing space and balance.

On such a layout, the overall feel is one of regularity and evenness with no jarring
elements. This is often seen at its best in book and catalog design. But as anyone
who reads editorial knows, magazines and newspapers rarely follow such a style
because they need to highlight content in different ways and to create hierarchies
and visual excitement.They do this by marrying harmony with some discord,
creating a unity of opposites.

Fusing harmony and discord

Contemporary readers schooled in a visual style derived from television and the
Internet as well as from printed matter respond well to elements of discord in
layouts, and many contemporary publications now fuse aspects of both in the
same package. Harmony can be achieved by using common elements—a running
headline, a distinctive folio, the application of Bauhaus principles to text—and
mixing them with the discord created by typefaces that change and clash
frequently, or by a conflict of shapes and balance, or by the way text is handled.
Text can be hand-produced, scribbled over, cut up, and generally distressed and
Design
Editonal
Direction
Art
106
+ damaged. Text boxes can be angled, oddly shaped, or overlaid. Drop caps can be
half a page high. Beautifully considered type may be deliberately rendered almost
illegible by being printed in yellow over the yellow dress of a model in a photo
feature.Whatever mixes are applied, the effect should not be one of anarchy but
of excitement, interest,and freedom in order to communicate meaning in some
way. Such an approach can help give a publication an identity that makes it stand
out from the crowd.

Overthrowing harmony
Why do some designers choose to emphasize the discord in their layouts? The
best reason is because the content and brand are trying to do something different,
perhaps propound an alternative lifestyle, offer a radical political agenda, pick up
on the disaffection of a cultural zeitgeist ... Generally, great designers on such
publications will use design intelligently and inventively to illustrate a new
or alternative approach. Neville Brody’s The Face, David Carson’s RayGun,and
Martin Venezky’s Speak are extreme examples of such ventures that fuse style and
content in a nontraditional or unexpected kind of harmony—one that unites the
discord of their design with the dissent of their message. Producing such fresh,
radical design month after month, however, can quickly drain the resources of
even the most committed and inventive designer. Equally, the popular acclaim
and commercial success that accrues to a radically designed magazine will blunt
its cutting edge,so designers must always remain aware of cultural shifts and
their title’s role within them if using discord in this way. It is worth noting that,
historically, many experimental and avant-garde titles—including the hugely
 ay
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@ The State of the Nation's dress by Paul Weller
WH
@ Text by Lesley White: Photography Jill Furmanovsky

Ls eee 3
Sut YL if
Counst\
1 SUPPOSE PEOPLE find it difficult to respect. To his small circle of friends he is, days later 10 nervously report a faulty tape
penetrate me.” offers the pale young man in simply, “the main man”; to the fanatically recorder and ask him to repeat the ordeal, he
the white mac, “theyre not sure whether I'm loyal Jam fans Weller walks on water. Quite a acquiesced, laughing, Perhaps t caught hin) on
really deepor there's nothing there. I dunno few people, however, wish he'd drown a good day (but twice?), perhaps the easy
1 don’t sit around trying to analyse Always depicted as unsmiling, often ae- self-irony is newly learnt cither way, to
myself! Most people his age wouldn't share cused of rigid dogmatism. the prospect of set the record straight, his humour was never
this reluctance to describe Paul Weller mecting this “spokesman for a generation” in doubt
whether or not they'd met him or even and “angry young man” (clichés breed clichés) The video for “Speak Like A Child”, the ESSeeee-
listened to his songs. His reputation goes was daunting. Moreover the challenge of not Style Council's debut single, proves the point
before, or rather instead of him, making him simply augmenting the dusty pile of “exclu- It has Weller and a group of friends attired in
someone you just know about, have an sive” interviews that all end up saying the ludicrous Sixties gear romping through the |
opinion on same thing (being Paul Weller is a worthy but Malvern Hills in an open-top bus: very Cliff
Reluctant hero to a generation of sensitive serious business) made wild invention an cirea "65 and very silly. At one point Weller
suburban youth, Weller never demonstrated attractive proposition. Happily, it didn't come recomposes that well known earmest express-
the obvious charisma of other teen idols. to that ion and the real Paul, watching beside
Articulate but never eloquent. he could With one mythically successful chapter of me, laughs oul loud at his own pathos
almost have been any working class Woking his story completed and a fresh one begun That well documented concern with words
e
boy — a quality that made him seem totally with The Style Council, there was plenty of like honesty and dignity still informs much of
authentic. casy to both idealise and identify brand new ground and Weller covered it what he says but the austere puritanism I'd
with. There is something very convincing optimistically and light hearted. Even when I anticipated turned up as a relaxed confidence,
whout the man. an intensity that demands interrupted his work at Polydor studios two the pragmatism of one who knows what he's
24 THE FACE

(shot THe orHERI P

my
Above and left Neville Brody's designs for The Face 107
layouts
Creating
hen we were
‘sa date
developing Ray (1) look tame by comparison with Speak ‘s crash-and-
Gun, we asked
San Diego writer
‘
2 burn design approach (2), but both exhibit an anti- III
with Adam Kaye to go
up ta Los Angeles
d interview authoritarian design style that was directly connected
ary Rollins.
lam was told to the morally and politically stagnant milieu in which
get something
ferent, to push
je limits ofrev
the designers were working. In different ways each
erential rock
Journalism and design replaces harmony with a vital edginess, but
remains legible and accessible.
to have 4 good
time, As you can
sec, he had any

'HT
TINS
i but

B
ETSNITAN’
 lauded RayGun, Speak,and The Face—were short-lived or lost their edge ina
market that often diluted their style, but their impact and role as catalysts in print
design are undeniable.

In summary
Harmonious designs are likely to continue to be the norm, being commercially
safe and appealing to a corporate mindset. Such design sits comfortably with
advertising material and ensures a working environment in which standard
templates can be handed off safely to junior designers and where instructions
are clear and readily understood.
With these considerations and more, designs
of a harmonious type are pleasant, acceptable, and easy on the eye, and are
unlikely to be challenged seriously. Although kudos and prizes do tend to
accrue to innovative layout design, the role of the avant-garde remains as it
Below A large part of style consideration in editorial , : ;
design is cultural. For the redesign of Brazilian always has been—the testing ground for new ideas, which may or may not
newspaper Folha de S.Paulo (1), (2), (3), Mario Garcia he picked up and incorporated in diluted form by larger circulation or
(with Paula Ripoll art directing for Garcia Media and
Massimo Gentile for the paper) looked at everything, | Mainstream publications.
from bylines and jumplines to inside pages with
numerous ads and supplements, in order to arrive at
a paper that would appeal to the typical Folha reader,
who considered it “user-friendly.” “The philosophy of Style—what is it, how do you get it, how do you
the redesign intensifies
: .
that relationship with the e e >)
readers, respecting their different ways of reading a de liver 1t bs
newspaper,” says Garcia. At the forefront was a lively ees : . : F
color palette and navigation system, which, in Garcia’s Style is difficult to verbalize for many designers, most of whom will say it’s
Direction
Design
Editorial
Art
108
+ opimion, has resulted in “a very vibrant, newsy, and instinctive, a gut feeling, something that feels right. But although no rules as such
visually appealing, but not overwhelming, newspaper
.. even though this is Brazil.” exist for acquiring style, styles and style techniques can be taught and learned

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from recognition, appreciation, training, and exposure to visual media.
Knowledge of these things will help the designer create the right style for
any particular publication, be it formal or informal, traditional or modern,
symmetrical or asymmetrical.
When you are attracted to a publication, what catches your eye first? Is it the
colors, the image, or the cover lines? When you pick it up, are you conscious of
its weight, how the paper feels? Do you notice anything else—its binding, for
example? Does it stand out in some way? Can you say what makes it stand out?
If it features a complex die-cut cover or an embossed fifth color, what does that
suggest to you? Style will set the mood for a readership; from the style the reader
can make assumptions about content and tone. Once familiar with the clues,a
publication becomes like an old friend—the reader knows what to expect, looks
forward to the next encounter, enjoys spending time with that “friend.”
The various
style components that make up a brand can be categorized into three main areas:
editorial style, design style, and advertising style.

Editorial style
The editorial style is the organization or flow of the pages, the expression and tone
of the writing and visuals, and the amount and variation of the types of articles.
Most publications have a framework. For example, both features and interview
spreads are longer than other editorial pages and are designed to be read from the
beginning of the story to its end. Other pages, such as reviews, news, and listings
pages, can be scanned or read in short bursts in random order. Approaching the
overall organization of the content in such a manner helps to fulfill the reader’s
expectations of editorial consistency. This style is generally set by the editor, and
the editorial designer must ensure that it is communicated clearly to the reader
through the design style.
layouts
Creatin
III:
109
Design style
The design style of a magazine is how all of the visual elements are presented—
a creative counterbalance of typography and image. The design style of a magazine
is inextricably linked to its brand and can be subdivided into the following areas:
format (size and shape), stock, structure, and design elements.

Format: The format or size of the publication generally has to take several factors
into consideration.
When designing, the size, shape, and number of pages are
dictated by the printing presses and the paper sizes that go on them. The format
may need to take into consideration envelope sizes when mailing to subscribers.
By conforming to a conventional range of sizes, magazines can be stacked and
displayed on regular newsagents’ shelves. There are, of course, magazines that
choose not to follow these dictates: U.K. design magazines Creative Review and
M-real make a statement by publishing on a square. Statements, soDA, and
Visionaire change formats with each issue. These sorts of format decisions
are taken on aesthetic grounds but have to be balanced with practical cost
considerations. Format decisions should also take functionality and content
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Profile: ay
Independent Swiss magazine soDA,
launched in 1997, started life as a 64-
page publication with a print run of 500.
It combines startling and provocative
imagery with emerging print technology
to deliver what it calls “a magazine for a
mental lifestyle.” Coeditor Iris Ruprecht
says its content and design ethos is
rooted in “a strongly held belief that we
have to dig deeper and put the ‘shiny
surfaces’ in second place. Lifestyle today
has become a very complicated attitude,
where most people are no longer able to
follow or create their own paths and
dreams but simply follow the order to
consume. For this reason, we tried to
set up some key phrases such as ‘mental
lifestyle’ and ‘intelligent entertainment;
which we try to connect to the existing
world, but in a conflicting and ironic
correlation.” Each issue takes about five
months to produce, and is a collaborative
creative process between editors,
contributing editors, and artists and
designers from a number of disciplines,
and involves close relationships with
printers and paper suppliers.
The design of soDA (the name is a
Ill671008
: German expression, so da, similar to the
French word voila, meaning “there it is,”
but, says Ruprecht, “It is also,
importantly, a reference to Dadaism and
its way of seeing things”) comes very
much from this collaborative approach,
as SODA does not have one overarching
design vision, instead dealing with each
issue independently of its predecessors.
“We begin by trying to find ideas and
authors with a straight focus. Then we
add our point of view to these to create
interesting and sometimes controversial
connections. To do so, we have to
constantly change our look to find the
best-fitting surroundings for the contents.
This design approach keeps us open-
minded, fresh, and always under
construction—in flux,” she concludes.
into account. Printing a glossy, oversize publication to create a feeling of luxury
is fine Gf predictable!) for a first-class hotel chain, whereas something that needs
to be portable—such as a listings magazine—serves its reader better when in a
smaller format.

Stock: This, too, plays a part in style and functionality, and the tactile appeal of
printed publications should not be underestimated. A publication printed on
newsprint will have a more environmentally friendly feel than a fashion magazine
printed on glossy paper, and is therefore better suited to a particular brand
message and readership. On magazines and books, the feeling of quality
is often transmitted through the paper, weight, binding, and finish. The tactile

Left and below Jeremy Leslie uses stock to confound

expectations on the Virgin Atlantic first-class fanzine
Carlos, which manages to feel like a high-quality,
luxury product in part “due to a matter of context...
Twenty years ago, in a world of magazines that were
=
bes
the not all full-color, Carlos (1) would have looked cheap
Norla-shaped hong because it didn’t make use of what was then an
his garage. An
t € tattoo yn his
| shoulder =anexact expensive commodity: full-color. It would have looked
splica of the eal
his | like many magazines—one- or two-color. Today, full-
color is the norm, and anything that’s different to that
\y |
stands out and looks rare and ‘expensive,” explains
1: fesgival of Djwal SYDNEY
|AC i fa!tu1i0n,o
gopd over evi and ||
| | Fox Srupios, Licnrsaners! Leslie. Swiss magazine soDA (2) changes format and
Camera! Action!
|| t over darkness,
» || afid maybe of Lord
||
|| AG stocks with each issue, a luxury afforded by its once-
| Ra ns return from
| CXLTE (ihe te
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a-year publication, which renders familiarity with its
format irrelevant. Pariscope (3), a weekly listings title
for Paris, is small enough to fit into a bag or pocket
and has remained consistently profitable, with sales in
the region of 103,000 each week. A square magazine
such as Impnnt (4) is rare though not unique. Ina
specific market against its competitors, an unusual
choice of format can stand out, but issues such as
DELHI paper wastage and the impact on the newsstand
Diwaur Bany. Don's Licirr sy
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layouts
Creatin
III:
111

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 quality of a beautifully produced publication such as soDA (which has used
metallics and colored plastic on its covers), Matador, or Statements will deliver
a very different feel and message to that of a gossip weekly such as Hello, or a
news weekly such as The Economist.

Structure: Readers rarely read a periodical from cover to cover, and the traditional
pace and structure is built on the assumption that the reader starts at the front
before dipping in and out of features and articles that are of interest. However,
there is no reason not to experiment with this pace. Regular readers will quickly
become familiar with any structure; more important is consistency and a good
navigation system to aid new or occasional readers. Criswell Lappin of Metropolis
says that the key is “varying the design and length of stories in the feature well to
alter the pacing and keep people interested. Readers want to turn the page to find
out what is next.”

Design elements: Many elements make up a design, including visuals, typefaces,

colors, panels, and graphic elements. Individual use of these and their
combinations establishes a style and helps to create a mood. The typefaces you
choose and how you use them will ensure a feel that is timeless or trendy, and
there are thousands to choose from. For example, Lee Corbin at Flaunt uses type
in a number of ways, as he explains:
Design
Editorial
Direction
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112
+
There is a lot of information to organize every month for each issue.
We use typography to organize this information so that it is easily
navigable by the reader. We also use typography to create visually
stimulating compositions, which help to give our magazine its identity.
In each issue of Flaunt we use type that is chosen because of its legibility
and type that is chosen because of its character. We look for something that
fits the project. Sometimes that’s determined by the content of a single story,
or an entire issue. If we feel it’s appropriate to depart from what we are
doing typographically in the rest of the issue for one story, then we do.
In this case we usually let the title of the story or the images steer us in
the right direction.

Equally, the type of illustration or photograph selected will immediately

communicate something to the reader, but by scaling, cropping, and positioning,
it can say something completely different. There are no rules as to how you should
use these design elements, provided that, together, they express the identity of the
publication in general and the specific content in particular. This is true for both
newspapers and magazines—as Mario Garcia says,“Both magazine and newspaper
designers have to work hard to make sure that design is there to enhance content
and to make it accessible. There are different techniques in terms of the look and
feel, but the effort and logistics are the same.”
 Left A good editor and art editor will ensure that
advertisements harmonize with the editorial, whether
this involves placiig ads opposite one-page features
where they will complement each other or ape the
design style and tone of the editorial, as shown here
on Loaded. This latter, known as advertorial, will
demonstrate similar stylistic attributes as editorial.
A strapline reading “Advertorial” or “Advertising
feature” may be the only thing that clearly
distinguishes the page, spread, or even feature
from the editorial, so the placement of this line
is very important.

Under different - &

circumstances,

Advertising style: A publication often has to accept advertising and advertorials

to cover the cost of publishing. Advertisers wield a lot of power and can be
instrumental in determining pagination and the number of spreads available to
editorial. As a condition of purchase they may request particular spreads or stots
facing editorial pages and, because the first third of a publication is so desirable,
this results in fewer spreads in this section being available to the designers.
Moreover, right-hand pages are more expensive than left-hand ones because they
are more visible, so a title may be forced to sell more of these, resulting in whole
sections consisting predominantly of left-hand pages. In such a case, designers layout
Creati
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have to make these layouts work hard. If they know what the advertisement is,
they can design the editorial page to stand out against it, but they can also create
an aesthetically pleasing spread that works in harmony with the ad as well as
with the magazine as a whole. Either way, through its shapes, contrast, and tones,
designers will need to design the page as an element in its own right, as well as
a strong aspect of a feature that may span a wide range of pages.

How to convert inspiration into a layout

The search for inspiration when trying to arrive at an interesting, dynamic, and
relevant layout concept can be difficult for any designer at any point. Sitting
and staring at a computer screen is quite possibly the least creative action that a !4 Don't follow what other graphic
designer can perform, but what can you do about it? Move away from your work designers are doing. Find your
environment. Going to art galleries, street markets, the movies, shops, funfairs, or inspiration in other places, such
just sitting in a park and looking at the skyline can often spark an inspirational idea
as art, film, fashion, or history.”
by allowing the designer to look at things from a totally unexpected perspective.
On the following page are a number of creative exercises that can help, too. ERIC ROINESTAD, ART DIRECTOR, FLAUNT
 The
New York Cimes Magazine Where else can a designer turn for inspiration?
All creatives struggle at some point with the search for inspiration, and all find
ways out of the impasse. These can include:

Architecture: Referencing architectural structures is a rich source of visual

inspiration. Many buildings are based on a grid structure, which, when translated
to a layout, can give exciting and useful divisions of space. The great American
designer Saul Bass realized this and incorporated the grid structures of buildings
into some of his most successful screen credit sequences, in which his elegant
typography slid effortlessly across the perspective lines of office-block windows.

Nature: The hugely magnified images of butterfly wings, insect eyes, and fish
scales and the exoskeletons of arthropods can offer excellent ideas for scale,
shape, contrast, and structure.
The Crystal Palace in London, for example, was
based on the ribs of a lily leaf.

Above Janet Froelich, art director of The New York Industrial design: Images gleaned from industrial design can be a source of
Times Magazine, explains, “The theme of this issue was
the classic ‘coming to New York’ story. We spent a year
inspiring imagery. Being man-made and designed, industrial objects can often be
with each of the subjects, from the moment of their easily translated into text and picture boxes. Sleek ocean liners, streamlined trains,
arrival through their first year in the city. The cover
had to convey that sense of wonder, anticipation, the understated, elegant lines of Ken Grange’s Parker Pens,and the work of Jonathan
and fear. We were inspired by one of Cindy Sherman’s Ive at Apple Computer are the result of a skillfully crafted application of solid design
untitled film stills, the one with the hitchhiker on the
Design
Editorial
Direction
Art
114
+ road, suitcase by her side. We scouted locations and principles—the very same principles that you can apply to your layouts.
came up with the great lawn in Central Park, where the
buildings in the skyline feel timeless, and the stretch
of lawn unfolds with both possibility and anxiety. Look around you: Look at your virtual and physical desktops. However they
We shot it in black-and-white because it felt like the
spint of the city, and used yellow as a spot because appear to those unfamiliar with them, you will probably know where and what
it’s so very New York. Black-and-white and yellow for everything is, and this is central to design thinking; all you have to do is make the
taxis—very simple.”
underlying structure apparent to others.
The things you collect, the way in which
these things are displayed—all of this is design. On Speak, designer Martin Venezky
would begin by reading the manuscript:

After that. 'd enumerate the relationships and imagery that stuck with me.
With that fresh in my mind, I would begin sifting through piles of pictures,
books, type, and so on, pulling out things that struck me either directly or
indirectly. I make a point of not organizing my files, which keeps the element
of surprise always in play. While looking for one kind of image, another one
might slide into view that is more exciting and unexpected.
I often refer to the “poetic gap’ as the space between a direct illustration
of the text and its more eccentric interpretation.

Get away from your desk: Ideas arrive most easily to a mind that is allowed to
wander. Your subconscious carries a myriad of images and concepts—the trick is
to unlock and make use of these. Play games, stare out the window, go for a walk,
and always carry a small design notebook with you. Sometimes a quick sketch
rushed off in a local park can be translated into a dynamic, powerful, and unique
layout, headline treatment, logotype, or page design.
 It should be becoming clear by now that, in order to create effective and
successful layouts, designers need a broad range of practical, technical, and
mental design skills and knowledge.
The preceding chapters have dealt with
many of these skills, such as understanding a publication and everyone’s roles
in it, being able to create particular styles, constructing successful layouts,
and remaining innovative and inspired in layout creation. In this chapter
we continue our focus on the design skills and knowledge needed to be
an editorial designer, specifically:

* the ability to master objective visualization;

¢ skillful page preparation;
* an understanding of and skill in working with typography;
* strong artwork skills and production knowledge;
¢ the ability to create consistency without monotony;
* project managing time and cost.

Mastering objective visualization

This is a complex skill that involves the ability to select, reject, emphasize, arrange,
and combine essential elements in order to design a layout that is completely
attuned to its subject matter or raison d’étre, the publication’s style, and the
readership.
The designer must be able to:
Design
Editorial
Direction
Art
116
+
¢ understand and make a good and accurate interpretation of editorial
material—do this by reading the copy and, where appropriate, talking
to the features editor, writer, and/or photographer;
synchronize thinking with an editor to produce the layouts he or she
has in mind—meetings and mock-ups are the keys to achieving clear
communication here;
have a clear idea of the requirements and purpose of a particular
Jeremy Leslie’s guide to publication, or know the brand, the reader, and the relationship
the editorial designer's between the two;
must-have attributes produce more than one version of a layout Cif, for example, the
pagination alters). Always develop more than one idea—this has the
Mi An interest in the content he or she dual purpose of testing the strength of your original idea against other
is working with and the ability to solutions, and offering backups for discussion and development if the
make it look interesting.
first idea is unacceptable;
M™@ Good typographic skills.
stay inspired and, as far as possible, free from constraints—once they
M@ A strong sense of what's what in
illustration and photography. have been learned, all the elements and structures of editorial design can
M@ An understanding of market context, be examined, questioned, played with, revisited, and broken. Don’t get so
competitors, etc. stuck in one route and direction that you can’t approach a graphic
Ml Being able to spot a good idea solution laterally;
_ regardless of whose it is (and give
visualize and produce layouts from material that may have been created
credit for it).
@ The ability to choose the right battle. or selected before the start of a layout. Always have a sketchbook on you.
@ Bloody-minded self-belief! Work out ideas and rough layouts on paper, create sketches, diagrams,
and other material before going near the computer.
 °
Page preparation and grids
Building successful foundations for layout construction consists of choosing
the format and stock, creating appropriate grids, knowing how to use design
to signal priorities, and working with a flatplan to ensure that sections and
pagination keep the flow and pace of the publication while working through
constant changes.

Grids
Rather like blueprints in architecture, grids are invisible sets of guidelines, or
systems of order, which help the designer determine the placement and use of
text, images, and other design elements, such as white space, margins, and folios,

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Left There are many sophisticated grid formations.

AT THE MOVIES
The basic grid formation is three or four columns wide
for magazines, and six to twelve for broadsheet
newspapers. This may be consistent throughout or
used to indicate different editorial pages. A features
page might be laid out on a two- or three-column grid,
while news and review items might be produced on
narrower column grids or, more commonly, mixed
widths—perhaps two wide and one narrow, where
pictures and captions can be placed. “On J.D. (1),
(2), a regular issue has multiple grid systems. For
department pages, we use a three-column grid; ona
feature story we use one of three grid systems: two
two-column pages and one three-column. This gives
us the flexibility to change the structure according
Design, Build, Spend to the quality and format of the artwork or the length
and style of the writing. Default for features is two-
The booming economy is doing wonders residential-like compound (“Everyone's ( ! what iL is to be ALHOUN
for high-design retailers. In November, idea of aNapa dream house,” Friedlander column, but when a story is written in more of a news
Manhattan welcomes the returnof says) where shoppers drive in ona car style (short sentences, factual), I prefer to use the
England’s design godfather,
Sir Terence ramp and enter the store from one of ‘ i ‘d
Conran, who will open the Terence four courtyards —each created by a dif- three-column grid to avoid short paragraphs on a wide
Conran Shop in a 22,000-square- ferent landscape designer, Frledlander Is 10, 55 on : 18 (0 January 2: 6 column and a bad-looking rag,” says art director Kobi
foot space under the city’s Queensboro making a break from the typical contem- r ss f
bridge. The store willbe part
of the porary-furnishings
store by mixing vin- Benezn. But, like all good designers, he does not
Bridgemarket restoration, an ambitious tage pieces — Oriental carpets, Japanese
ehaw dnuanial acntne: restrict himself completely to his grids
 Grids and how they shape design

This grid is based on two columns with wide

gutters, ample margins, a hanging folio line, and a
12-point baseline grid. It echoes an editorial-heavy
magazine, where words are more important than
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In comparison, this three-column grid with smaller

gutters and smaller baseline grid is a more
standard magazine format. There is more variation
possible with this grid and here it echoes a glossy
Design
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This five-column grid, with its smaller margins

and baseline grid, is more reflective of a trade or
listings magazine. The narrower column width helps
organize the large number of stories on one spread,
while the smaller margins, gutters, and baseline
grid help fit as much onto one page as possible.
The grid gives this layout a practical feel.
 Left Many periodicals or serial publications, which are
published just once or twice a year, don’t bother with
a grid system, relying instead on their conceptual
approach to content and treatment to create
continuity from issue to issue. Annual publication
soDA (1) takes this approach. The theme dictates the
format, design, and underlying grid (if any) of each
issue. Metropolis (2) uses a two-, three-, and four-
column grid throughout the magazine. Says Criswell
Lappin, creative director, “On editorial pages the
text never comes above a certain point on the
page, leaving plenty of white space at the top. The
Metropolis logo moves cinematically back and forth
across the top of the page as you progress through the
magazine. This is a convention that still exists from
Paula Scher’s redesign in 1999. Features are printed on
an uncoated sheet, which lets readers know—visually
and tactilely—that they are in a specific section of
the magazine. This allows us to be more experimental
in the layout and structure of this section, because
it only contains editorial content. Each feature is
designed individually, based on the content of the
story and the quality and quantity of art that supports
it. Most stories are loosely based on the same two-
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helping to maintain continuity while still allowing for variety in the layout. Good
grid systems anchor but do not necessarily constrain items on a page.Where a
publication has a particularly fluid design, the grid acts as an anchor or point of
reference, a departure point that roots the whole structure. Sizes and shapes of
type, images, and areas of white space can be preplanned, greatly facilitating the
process of creating a layout. They can vary from rigid three-column grids to more
complex ones of nine or twelve units that enable greater flexibility and almost
endless permutations. In either case, the grid remains defined, but having the
confidence and knowledge to manipulate and personalize the layout around it
is what will make it into something special.
It is useful to be aware of grid conventions that underpin different forms of
publishing, if only in order to deviate from them if desired. A weekly or daily, for
example, usually has a formal grid structure because its production process has
 PADEINO
IL Giulio Cappellini is one of the Giulio, how is the sky in Melbourne different ‘This might have nothing to do with the
to the sky in Milan’ colour of the light, but tell me, why has
world’s most influential furniture Laughs) The colo’ ir of the light is totally Milan managed for so Jong to bethe centre
manufacturers. The list of designers different, The Milan i of design and manufacturing?
paler blue There were a lor of very ge od designers wi
that have been commissioned by

Cappellini reads like the who's who

of design of the past few decades.
Design
Editorial
Direction
Art
120
+ Simon Horauf managed to steal
an hour of Cappellini’s time during
his first visit to Australia

6NEWS 7 SPECIAL INVESTIGATION SPECIAL INVES N NEWS7

Above and right On Inside magazine (1) the
underlying grid is restrained, but its simplicity doesn’t
hamper design and layouts of other department pages.
Mother's plea for justice for her slaughtered i
son
This week Tom Hurndall’s mother
>) Nas Ly
“A simple grid can still carry many possible willtestifyat the inquest into the
death of her son, shot by an Isracil
iW

combinations. You have to look at the bigger picture. soldier in Gaza, She wants the truth
to he told - and asks why, when her
son was helping children avoid
Readers like to feel as if they have an understanding, quofire, he wis left fatally
wounded. Mark Townsend reports
almost a relationship, with the magazine. The
consistency of the grid nurtures this need. If it’s kept
consistent, the avid reader of a magazine can pick up
any issue and feel comfortable navigating through
‘new’ material,” says art director Jeffrey Docherty. The
Observer newspaper (2) underwent a redesign in 2006,
in which design consultant Mario Garcia led a move
from a six-column broadsheet format to a five-column
Berliner format. He says, “The smaller canvas allows choose vou avaur
for better movement of elements, makes the designer cheeksto

more focused and decisive in terms of what images to

bring into play in a protagonistic role, while allowing
space for type to tell the story in a narrative format.”
HIGH ART
THREE EMERGING STARS DRAW FROM FASHION.
By Maura Egan

n this era of art and fashion mash-ups — in which Mare Jacobs finds a muse in
arusts like Elizabeth Peyton and Rachel Feinstein, and the pop art sensation Takashi
Murakami earns rock-star status with his cherry blossom Louis Vuitton ba
surprise that many artists are mining the runway and style.com to ur
flow. With proverbial paper and pencil in hand, these up-and-comers were asked to
incorporate a piece of fall fashion into the ature styles.
Resear he Prada collection tor visual cues was. a departure for Amy Cutler,
who populates her fairy-tale tableaux with sturdy women who are often dressed in
modest Victorian garb — more Mennonite farmer than Milanese fashion priestess.
than I usually work.” says.the Brooklyn-based Cutler. “I typically dress the people after
I draw them.” Cutler perched three Prada-clad ladies atop an elephant balanced precariously on ww
trees. She built the piece around one red strappy high-heel sandal. “Walking down the runway in those
must be equivalent to an elephant on stilts,” she savs.
an odd choice for the men who inhabit the Houston
ark, snowy world, Usually in uniform sweats, they Jook like a lost fitness tribe
wrong turn.at the Mall of America and ended up ina Bruegel landscape. Karl Lagerfeld,
however, is himself adevotee of uniforms. And his gray. blick and white palette for this season fits easily
into her woodsy setting, in which half the men wear Chanel and half_are in their customary gvm wear.
“The Chanel men represent individuality, while the other men have lost their identity.” O'Neil explains,
“They're zombies.” In other words, high fashion (and cross-dre
Which is.often what happens in the work of Simone Shubuck. Not only is she conversant in the latest
Nike Dunks, but also her titles — ¢ ou-€an Definitely Take Bette of Yourself in Prada
can sometimes:sound as if they have been ripped from the pages ofa fashion glossy. WhenShubuck saw
Etro’s kaleidoscopic fall collection, with its bright colors, Japanese embroidery and geometric shapes,
she immediately envisioned an Egon Schiele type with her-high fin ,
based in New York, often draws her decorative doodlings on found objects. For this piece, her canvas was
a boy’s scrawled science homework, which she salvaged fr ? tra “He writes about shiny and
dazzling de: * she says. “It seer : “s
121
FALL COLLECTION

Left and above In a magazine feature, for reasons of

legibility, the grid traditionally has three columns, but
literary magazines often use two wide columns instead
skills
design
Essential
to form a classical symmetry and deliver big dense
blocks of text. The New York Times Magazine (3), (4) IV
pages shown here take this farther, boldly using one
wide column that defies Fassett’s theory of legibility
I] DA SWINTOI (see p.122), while remaining accessible and with a
Prstegraphs by Raymond Meier formal beauty provided by its classical structure.

oe ofTiida Swinton's ancestors on |

 theguardian é : p
—
Four years after 9/11
to be simple and fast. Quarterlies, by contrast, have the luxury of time, enabling
The war of unintended consequences
experimentation and fluidity in the grid and columns system. In Fernando
Gutiérrez’s annual Matador, each issue is designed using a strict but different grid
and one typeface. Some publications don’t bother with a grid at all, choosing to
use just the limits of the page as a grid. In this way they can build up the structure
of a layout around an image or headline. Handled well, the result could be a fluid,
flexible page and publication, but caution should be used in such an approach—
Amandate and a monopoly it must be right for the publication, its brand attributes, and its readership.
Legibility issues play a part in the construction of a grid, so Fassett’s theorem
of legible line length should always be considered.
This states that line lengths
o=many Containing 45 to 65 characters are legible (characters include letters, numerals,
TheProms punctuation, and spaces). Line lengths exceeding these limits challenge legibility.
This does not mean that 40 characters or 75 characters should never be used, but
anything that challenges established legibility theory should be examined closely
September
12 1914
—including a designer’s reasons for doing so. If clear, easy reading is important,
grids must take this into account. In newspapers, five columns are viewed as
the optimum number for tabloid or Berliner formats, and a story deeper than
3 inches (7.5 centimeters) under a multicolumn headline is traditionally broken
up with subheads and/or images. There are stylistic conventions, too, that might
Above Chunky blocks of text in formal grid structures be considered: In a magazine feature, for reasons of legibility, the grid traditionally
can look very effective “floated” in space, as seen here
feted ioned ihe Guardian newspaper (4): has three columns, but literary magazines often use two wide columns instead to
Design
Editorial
Direction
Art
122
+ form a classical symmetry and deliver long lengths or squares of text that shout
“we're intellectual”; many supplements take this as their basic structure but
lighten the page through white space and other design elements.

Templates
Once a grid has been established, templates should be made up for the different
sections—news pages, feature pages, back sections, and so on. These templates
should be flexible enough to allow for maximum versatility and individuality in
pages and spreads, but also comprehensively designed so that all the major
elements of the design—boxes for display fonts in alternative sizes, columns,
picture boxes, caption boxes, and so on—are available (for more on templates,
including an example, see p.75).

Pagination
Pagination, or page planning, is the order in which editorial appears. Such
planning is important in design terms because the flow created by a
publication’s pagination will determine the pace and balance, and ensure that
spreads of similar contents are spaced apart. Determining pagination is usually
a collaboration between the editor, art editor, production editor, and advertising
sales head. The only real restrictions are those of the print process—the way
sections need to be made up for the presses—and the needs of advertising.
Special attention should be paid to the details: A feature ending on a left-hand
page with a new feature facing it is rarely desirable, and neither is a feature that
is interrupted by four consecutive pages of advertising, or by an unexpected
 LONDON’S WEEKLY LISTINGS BIBLE
JULY 13-20 2005
No.1821 £2.50
Left The day after London was bombed, national
tabloid the Daily Mirror (2) portrayed the capital as
bloody but unbowed. Newspapers will usually treat

37.dead, 700 injured
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by
‘. Blair vows: Britain
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London such huge events pictorially. London listings magazine
Time Out (3), by contrast, opted to make a bold design
statement with its simple text cover that had an
; i. expressively visual impact, something that would have
been difficult to achieve pictorially after a week of
exhaustive visual coverage.

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advertising insert. The best way to test the pacing and flow of your publication
is to produce miniature spreads that are then pinned to a large board in the art
room. These can easily be shifted around as the flatplan changes, enabling you
to monitor constantly the effects such changes are having.

Signaling
In periodicals an integral part of pagination and page preparation is the ability
to signal the importance, priority, and style of articles to the reader. All the design
elements act as signals, from an article’s position in the publication and on the
page to the width of columns (wider columns usually indicate features or the
opinion and editorial—op-ed—section of a newspaper), type size, length and
position of a headline, length of text, style of text setting, use and size of images,
skills
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IV:
123
and use of color. A newspaper illustrates this very clearly. On the front page the
lead story will be near the top of the page (so that it’s visible to the reader at the
newsstand) and have the biggest headline and most space allocated to it, with
less important stories radiating from it. The op-ed pages distinguish themselves
from news pages by using a lot more negative space, picture bylines, pull-quotes,
wider columns, and different type weights and sizes. But this signaling is also
visible in magazines. In the news and reviews pages, signaling is similar to that
of a newspaper, but in the feature well it may be more subtly employed. If
the headline is very prominent and the article spans eight pages in wide columns
with full-bleed commissioned photographs, it’s clear that the publication wants
you to read it. A designer should adopt a coherent and consistent use of such
signals appropriate to his or her publication.

Sections
Most editorial is printed in sections, or signatures, because of the volume of pages
and the size of the print presses. Sections are made up as multiples of four and are
 Above A flatplan showing pagination for a 96-page usually printed as booklets of 8, 16, or 32 pages, which, when laid flat on top of
publication using three sheets of paper (A, B, and C)
to be printed on both sides. Each sheet prints 32
one another, make up the publication.
This enables the whole issue to be printed
Design
Editorial
Direction
Art
124
+ pages, 16 on each side. If your publication is not full- over a period of time, section by section, but it also means that costs can be
color throughout, the flatplan should clearly
distinguish between the color and black-and-white controlled and kept down; for example, effects such as a fifth color or particular
sections by using a tint on the color pages or by type of paper can be applied to one section to give a publication a desired feel or
creating a bold keyline around them. The yellow tinted
pages indicate full-color, the red pages indicate two- appeal for a reasonable cost, because all the special effects only need to be
color, and the gray tint indicates a one-color print
applied to that plate.
such as black. The color sections can be placed
anywhere in an edition, as long as the color
distribution matches up on each sheet. Most printers
print and bind in multiples of 16 pages, although 20
The flatplan
or 24 are also widely used. Usually the printer will The single most important tool in producing any publication is the flatplan.
require all the pages within one sheet section first—
j.e., all the pages falling on sheet A need to be sent This ingenious exploded diagram of a publication, similar to a film storyboard,
to print a day or two before those on section B, and enables everyone involved in its production to see pages, content, print sections
so on.
or signatures, editorial-to-advertising ratio, and pagination at a single glance.
Usually the responsibility of the production editor or studio manager, flatplans
are updated constantly to reflect inevitable changes that will occur, from a
feature that needs to be extended, shrunk, or dropped to a specific ad that
needs to go opposite a particular editorial page. Such changes will necessitate
a rearrangement of a section so that balance and pacing are still maintained
throughout the publication. Each time such an alteration or amendment
occurs, a new flatplan will be printed out and distributed to keep everyone
up-to-date on developments.

Stock selection
The selection of paper is vital to the feel, tone, style, and look of a publication,
because it affects both expression of the publication and reproduction of its
contents. There are two traditional routes for stock selection—via the printer
 Left A working flatplan shows where the various
‘ elements of a publication’s content are to appear.
Page one is conventionally the front cover. A diagonal

LON. ; Contents
strike through a page indicates that it is reserved for
advertising, but “AD” written clearly on the page
ree works just as well, particularly if you want to use
strikes as a production schedule device—one strike
to show that the page has been designed, another to
show it’s been proofed, and so on. A good naming or
numerical convention for new versions of the flatplan
is important: Mark the date, time, and version number
clearly on a prominent part of the sheet. This witty
contents page for M-real gives a good idea of how
a flatplan might look once the publication has gone
to press.

HOorOM™ ]
RORUNY

skills
design
Essential
IV:
125
f
]

7 4B 49

re

or a paper merchant—but the best is a combination of the two. A printer will be

able to give you good initial guidance and work closely with you to find the best
stock for your specific production needs. For example, if you know you want a
thin, coated gloss stock with no show-through and high brightness, the printer
will usually be able to suggest good examples. Paper merchants are happy to
send printed and blank sample books and sheets to designers and will also make
up a sample in your chosen format (usually via the printer), giving you a good
idea of the weight and feel of the publication. But if you require unusual print or
production techniques, such as an embossed fifth metallic color or die-cuts,
speak to your printer—this is where his or her knowledge and expertise come
Design
Editorial
Direction
Art
126
+

Above As an independent publication or microzine, into play. And look at existing print material that may match your needs; you will
soDA (1) survives by selling ads, through subscriptions
and, as in this case, with the support of printers or
often find that publications list the stock or printer’s name, making your search
paper companies, who are often keen to promote that much easier.
particular techniques and stocks. For this issue about
surface, the cover is made of holographic card, while
inside pages use metallic inks and numerous coated Paper considerations
and uncoated stocks in different colors. Flaunt covers
(2) are often die-cut and embossed—this May 2001 Stock selection is usually a question of balancing your needs. For example, if your
cover mimics a schoolbook and has raised strips of
main criterion is faithful color reproduction, then the best sheet to use is a bright,
Scotch tape and R.E.M. and Missy Elliott logos to
create a real three-dimensional depth. Such covers are blue-white, thick-coated sheet with an ultrasmooth finish. This reflects the most
produced because, “When you're called Flaunt, you
sort of have to flaunt yourself and be a little showy.
light at the best angle without adding a tone or hue of its own. But other issues
We have to flaunt the special inks, tricks, and may need to be considered: What if there is a lot of text? Or weight is an issue?
embossing. It’s important to sell the word and the
image of flaunting by going the extra distance. The This guide should help.
embossing also throws in another sensitivity that
most magazines don’t use—the tactile element to
touching the front cover. People love to touch the Coated or uncoated? Coated papers reflect light better and absorb less ink,
cover,” says Jim Turner, creative director.
giving images more detail; the higher the number of coats, the sharper the images.
Uncoated papers offer a softness in print contrast that can work well with fine art
or illustration and make text easier to read.

Gloss or matte? A high-gloss stock is usually used on a high-quality publication

with a large number of images, but many matte stocks offer excellent reproduction
and can make a publication stand out from its competitors.

Thick or thin?
We all associate thick papers with art and “highbrow” books, but
3

thin papers can give the same sense of opulence and richness, depending on other
qualities such as density, brightness, and coating.
Dense or opaque? The opacity of stock will affect its show-through, so bear this
in mind when specifying your stock, and test it by laying it over a black-and-white
striped design. If using an opaque stock, you will need to consider the page
carefully to minimize print show-through.An asymmetric grid, for example,
will show through more than a symmetrical one.
Above Paper manufacturers and suppliers go to great
lengths to persuade designers to use their paper,
producing numerous swatch books and luxurious
samples containing different weights and colors of
a particular stock (3). Remember that these can look
very different with print on them, so ask to see a job
that’s been printed on the stock you are interested in,
and ask for a dummy to be made to the size and
number of pages in your publication.
skills
design
Essentia
IV:
127

Heavy or light? We associate weight in paper with luxury, but luxury costs—
not just the paper itself, but in postage and portability. Do you want to discourage
potential purchasers from carrying your publication around with them because
it’s the weight of a telephone book? If the image you are trying to project is that
of a faithful companion, should the publication be portable?

High or low brightness? The brighter the paper, the more blue light it reflects, which
works well for reproducing images. But such brightness can create glare that might
interfere with readability,and because of the amount of bleaching needed to
achieve high brightness, qualities such as durability and printability may be affected.

Recycled or virgin stock? Readers of a magazine about environmental issues

would expect it to be printed on stock that was environmentally friendly, which
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Above As newspapers continue to lose sales, they are could be anything from wholly recycled unbleached stocks to partially recycled
fighting hard to find more readers, many changing
format from unwieldy broadsheets to the popular
stocks. Most paper merchants now offer these, but you can also find out what the
Berliner, compact (1), and tabloid formats, and different terms mean by getting advice from environmental agencies.
moving toward even smaller formats such as A4. The
best examples do not simply try to “shrink” content
Design
Editorial
Direction
Art
128
+ to fit the smaller page, but consider the new format Format
as a new design, looking at columns (their numbers,
widths, and lengths), negative space, typography, Format is defined as the shape and size of a page. The most common format
and other design elements such as rules and folios.
—A4—is dictated by the width of paper rolls and the size of the drum on the
Mario Garcia uses the analogy of moving from a large
house to a small flat: “You have to reassess what you offset web presses commonly used to produce mass-circulation magazines and
need and want to keep, and what you are happy to
leave behind.”
books. Because American and European drum circumferences differ, there are
slight variations, notably a shorter standard format in the U.S. Consumer magazines
Above right A publication’s format should be dictated
by its readership and its purpose, such parameters also have to conform to requirements such as shelf size in shops and the ability to
allowing for a wide variety of approaches. Microzines fit through a standard mailbox. While short-run publications have the luxury of
such as Tank (2) have the freedom to be as big or
small as they want (or indeed to change with every printing on a bespoke format, it is still worth bearing in mind the reader’s needs—
issue). Glamour magazine has found massive success
a large-format magazine or odd shape can be a nuisance if filing for future
with its “handbag” format, which has been copied
worldwide, while Emigre (3) has experimented with reference is important.
different formats. This one enabled an expansive,
large-scale design approach suited to its subject
matter, the design work of David Carson.

Choosing and using type

Any publication should create an enjoyable, accessible, and appropriate experience
for its reader, and a large part of this is determined by the use of typography.
Readers who are accustomed to unvarying pages of dense text in a novel would
not read the same page in a magazine, where decoration, variation, space, and
cohesive use of design elements are expected. Type that is too small, too dense,
and too uniform will put off the reader, as will columns of “gray” text; an editorial
designer has to employ a range of tricks to keep the reader interested.
Practical issues may need to be considered, too. On some publications,
particularly dailies and weeklies, designers need to accommodate exact lengths
of copy and headlines. And lastly, but most importantly for a publication’s
 LAN
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popular
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Laurence Sigal-Kiagsbald,

identity and appeal, aesthetic, emotional, and contextual considerations apply. Above Two very different but equally effective
approaches to font use for headlines. In Vogue Paris
Type, more than any other design element, signals certain associations to the (4), the choice of a vibrant red serif face for the words
reader. To address all these issues satisfactorily, each different form of type should “Vamour absolu” results in a spread that is bold and
passionate without being brash or masculine. About
be selected for its specific function, but also to form a whole that is appropriate Town (5), by contrast, is the opposite—confident,
to the publication. At Flaunt, Lee Corbin’s selection of fonts is determined by manly, and swaggering, it visually reflects the topic.

what is happening typographically throughout the entire issue.“I try to take Below How to break up columns of text: On this page
account of what’s going on in the photographs, the clothes, the content, from Die Zeit (6), long, narrow columns are given more
interest by running them around the page’s heading
illustrations, and so on, in all the stories running in the issue. I decide what and exploded graphic. In the heavily covered pages
faces will be used in which sections, and the varying degrees of abstraction,” of The New York Times (7), the delicate section title,
“Essay,” set in a box of white, and a picture centered
he explains. across two columns, help break up the copy. Many
magazines use color for display text, but it can be
There are no hard-and-fast rules for how big or small text and headings
effectively employed for breaking up body copy, too,
should be. Logically, the display text—information intended to catch the eye as seen here in WAD magazine (8).

OHEZDTT Nea POLIIK 3 beautifully grainy white marble walls

By SUZANNE SLESIN and floors selected from a quarry in
Italy. Nice. skills
design
Essential
IV:
129
NEW YORK — Whenever a new But the master bedroom is less so. It
building goes up, Istartimagining what is a strange shape with a curved wall of
it would be like to live there. glass and a small area off the bathroom

BRANDING LUCK
Now that many of the new residen- described as a solarium, and only one
tial buildings come with a big-name wall on which the bed could be anchored.
designer or architect I try to imagine sleeping or better yet,
Doeeae
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ow nagp
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ente eee Essay am even more curi- I realized that there was really not a con-
ous. What do these venient place to put the TV. WHAT IF FASHION WAS ALSO A QUESTION GF CHANCE”
famous, sophisticat- 1 ooh and aah over the clever third
ed and fashionable people bring to a bathroom with a shower stall, located
building that was once defined only by powder-room-style near the front door
location and size? Are they worth the This bathroom is also adjacent to the
premium prices? “media space”’ that is open to the living
When! read'that Charles Gwathmey room, but that with the addition of a wall
and Robert Siegel, who are partners in could function as a third bedroom.
one of America’s greatest architectur- I started feeling sentimental about
al firms, had designed a building at As- the things we would have to leave
tor Place on an unusual triangular site behind. The years of going to flea
on the western edge of the East Village, markets, collecting dishes, the large
I was intrigued. As a collection of art and
design journalist, Ihad design books, and an
always admired Mr, ever growing number
Gwathmey's work: of drawings, photo-
the apartment he de- graphs, and paintings

7
 and be read first, such as headings and introductions—will dominate the page
by being larger than body text and captions, while body copy should always
be large enough to be readable by its intended audience. It’s a good idea to
experiment with these by printing them out at different sizes with different
leadings. There are no formulaic type sizes that always work for all situations—
it’s more about using judgment to determine what looks and works best for the
publication’s readership. It is also worth considering that most typefaces were
designed for a particular purpose, and for that reason may work better at certain
sizes than others. But by using such faces in offbeat or unexpected ways, a
designer can deliver an inventive, original, or starkly awkward layout that may

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Right British tabloid newspapers (also known as

“redtops”) rarely use serif faces, and often use all
capitals in their headlines, as seen here in the Daily
Mirror (1). While the use of an uppercase sans serif
fails to distinguish the newspaper from its rivals, it
very clearly signals the type of newspaper it is. Die
Zeit (2), by contrast, uses serif faces in upper- and
lowercase, their delicacy emphasized by italics and
by wide gutters and margins. These combine to
convey the sense that the content is analytical and Non exchuddo cheglioered
thoughtful; there is nothing rushed about the page—
it demands a much deeper level of engagement and
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Cornere della Sera (3) uses serif and sans serif, in
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Typographically it feels ambivalent, but the whole
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spread, bringing in layout elements such as wide
margins and white space in columns, still manages
to convey a certain rigor and intelligent tone.
Prenota
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Changing the impact of images and copy with layouts

In this layout the headline is hero—it dominates

THE HARD-HITTING
the page and draws the eye’s attention. Echoing
a tabloid newspaper, the headline is hard-hitting
while the body text is lowest in priority. There are

NEWS HEADLINE
only small variations in typography, little white
ARTICLE space, and short articles. This gives the newspaper
an immediate and throwaway quality.

a= __— The softer.

an entirely different feel. With a softer headline, | hittin g 17)CW S
greater white space, and the introduction of pull-
quotes and subheads, the body text now carries
the highest priority. This layout tries to create
easy access to the article but still uses a large
headline and image to draw attention to the
headline
Pummy settings which use other languages to approximate text have
spread. With the feel of an upmarket magazine, the inherent disadvantage of distracting attention to themselves.

it uses the same components to create an

intellectual look for the article.

skills
design
Essenti
IV:
131
FR

The medium-
hitting news |
headline
poccccovchecscssesechdosaccscechtaccceseed
Dummy settings which\use other languages
pr even gibberish to dpproximate\ text hax
the inherent disadvantage of distracting

The image is the dominant feature of this layout.

Aided by dotted rules, a single short story, and a
dominant kicker, it achieves a glossy-magazine
feel. These publications are quick to navigate and
easy to flick through. The images tend to play hero
in order to grab the attention of a skimming reader.
 Right While Fishwrap’s format and stock change from
issue to issue (1), what unites them, says graphic
designer Lisa Wagner Holley, is “typography—a
sensitivity to working with it, and carefulness
about the read and the reader's experience.” Editonal
elements are shared also, using pull-quote texts
to unify images (footnoting conversational ideas to
address the reader more intimately). Fonts—in this
issue, Minion, Trade Gothic, Knockout, and Young
Baroque—are carefully considered to work with each
other because, adds Wagner Holley, “The text is very EVERY DAY»: HOLIDAY © 9s»
important to us as we try to keep the read friendly,
legible, smart.”

6 freeway. It's a lot better for us iRyou get off the freeway.”

Right Flaunt’s (2) use of Hoefler and Gotham as body

copy contrasts well with elaborate and decorative
headline fonts, many hand-lettered by the magazine’s
ga
art directors. “At Flaunt there is a lot of information to f4
organize, both image and copy, every month for each
Design
Editorial
Direction
Art
132
+ issue. We use typography to organize this information
so that it is easily navigable by the reader. We also
use typography to create visually stimulating
compositions, which help to give our magazine
its identity. In each issue of Flaunt we use type that
is chosen because of its legibility, and type that is
chosen because of its character. We also frequently
create and sometimes draw typefaces for specific
layouts or issues. We use type that expresses the
feel of the content and that also expresses our
own interests,” explains art director Lee Corbin.

be perfect for its readership. Newspaper headlines, by contrast, should have

nothing “tricksy” about them; they need to be clear, clean, and unambiguous in
their design. This is not to say that serifs can’t be used for newspaper headlines;
many quality papers use italics and serifs in headlines to impart a gravitas and
quality that sans serif heads sometimes lack.
Readability and usability are the main considerations when choosing a body
typeface because of its vital role in communicating the editorial message. Broadly
speaking,
we are more accustomed to reading serif faces, and traditionally, these
are used in long columns of text, such as feature pages, with sans serif faces
offering visual variation through their use in shorter texts (news pages, reviews,
 The rules are breaking down, In a frenzy to move pro:
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box text, and so forth). The use of a serif typeface gives a formal feel, while a sans Above left A great combination of fonts underpins
The New York Times Magazine (3): Cheltenham
serif face has a more relaxed, contemporary look. If a letterform is curvaceous and (redesigned by Jonathan Hoefler), Stymie
flowing like a script face, this delivers a softer feeling, whereas a hard-edged, (redesigned by Cyrus Highsmith and Matthew Carter),
Garamond, and Helvetica. The designer's care and
Germanic gothic typeface makes a very different statement (but as both of these love of typography are particularly in evidence in
are very hard to read, neither should be considered for large amounts of body this issue about design. As art director Janet Froelich
explains,“This page serves as an introduction to the
copy). Type is meant to be read as a shape, and sometimes as a visual element in its entire issue, it telegraphs to the reader that they will
be reading and discovering ideas about design and
own right. It is one of the most flexible elements of editorial design-——the stylistic
culture. That mission drives the design, the idea
muscle of a publication. of which was to present the history of typography
in a concise, telegraphic fashion. We asked the
typographer Tobias Frere-Jones to choose twelve fonts
that presented the history of type, from Old English
through to grunge style. We began the story in the skills
design
Essentia
133
magazine with an initial cap from one of those fonts,
IV
and all of those fonts are represented at the bottom
of this title page with the letter ‘A! The design is
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satisfying because the hierarchy of information is
clear, the proportions are classic, and the letterforms
are both beautiful and informational.”

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designers fear that large blocks of text will deter a
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can offer an elegant, simple beauty. David Hillman
so vonny eae er arin by heinsBr:Asta a mt “A al
Seep”thevrata et patents + opp arn henae fai eh dM on Nova (4) happily filled spreads with nothing but
dense columns of text together with pull-quotes or
drop caps, while this issue of Emigre (5) on David
Carson uses just text and folios to express an intensely
intellectual dialogue.
 Right At design magazine Metropolis (1), creative
director Criswell Lappin is not afraid to experiment THE SEATTLE PUBLIC LIBRARY by OCTOBER 2004
FEATURES
with guest headline fonts if such an approach works
for a particular piece. While fonts for body text and borah Jacobs, Alex Harris, Greg Maffe
caption information stay consistent (Bodoni Book
and Trade Gothic), the typography used in headlines is arson, Gil Anderson, Gordon McHenry, R&
often dictated by the story, especially if a specific font
or stylistic treatment relates to the content. This is a aas, Joshua Ramus, Natasha Sandmeier,
significant part of the Metropolis brand and is the
opposite of the standard “house fonts” system used in els, Meghan Corwin, Carol Patterson, Mark v
most publications. This opener for a 20-page feature
on the new Seattle Public Library, designed by Rem )f-Zogrotski, Keely Colcleugh, Rache honent
Koolhaas, is a good example. Driven by the concept
of the building, “The main idea was to identify the
rah Gibson, Laura Gilmore, Anna; | |
building as a collaborative project rather than
attribute the building to one iconic architect, which is
orrough, Kate Orff, Beat Schenk, THE MAKING
so often the norm with a well-publicized building like
this,” explains Lappin. “The names on the first page
a Sutor, Chris van Duijn. Victoria BimaaaEias
function as an extensive byline for the project, and
the list is cropped to indicate that there are more
with Florence Clausel, Thomas DBgiawagatess
Achim Gergen, Eveline Jurgens,
ed extensively, and ultimately
participants. We have the liberty to do this because of onsible for whether a building
succeeds or fails. The truth, of course, is
the subject we cover—design. There are not many
nes Peer, Joao Ribeiro, Kristina $
so much more Fs, that even a book-
0 the process jus
magazines where I think this system would work. are engineers
Sometimes we have a feature well where each headline and project managers and contractors

is set in a different typeface, but it still works because aeltli, Leonard Weil, John Nesho = Mectareesaae
it is done smartly with consideration to the content of
each piece.” mer, Sam Miller, Tim Pfeiffer, State ngsTecan |
gnesh Pariikh, Vern Cooley, Mary iamite ee
ris Baxter, Jim Brown, Wayne Floke vee
ard, Mette Greenshields, Cassandra
Design
Editorial
Direction
Art
134
+
Ed Kranick, Ken Loddeke, Howag
thews, Damien McBride, Howard &
Rice, Kathy Stallings, Page SwanbR
almond, Atila Zekioglu, Anders Cag
roll, Alistair Guthrie, Bruce McKi ?

Type use in newspapers

While typography underpins the design of all editorial matter, its use in
newspapers differs from that in magazines. As Mark Porter explains,“In
newspapers the first priority is always legibility of typefaces and readability of
pages. Only after that do you think about using type to establish a distinctive voice
for the paper, and try and create beautiful and dramatic typographic design.”
In terms of key font considerations for handling typeface in newspapers, Porter
adds, “Text legibility is by far the most crucial. In display type, color and range
of weights also become more important.” Porter’s introduction of the custom-
designed Egyptian for Tbe Guardian as both headline and body font is unusual,
but, with more than two hundred weights, the font shows a versatility and ability
to perform in its different roles that is rare for a single typeface.
In introducing new fonts to a publication, whether commissioned or existing,
the creative director must ensure that the relationship of the type to the brand,
 National oe Left and below The serif/sans combination is the
standard system used in almost every newspaper in
% |Fast-track summary powers Writ large ry the world, so when Mark Porter brought Paul Barnes
Raided, arrested, ‘to cross line on civil liberties’ Tate Ree
and Christian Schwartz in to design a new face for the
released: the meget = mp ne 2
Berliner Guardian (2), (3), (4), he was expecting to
price of wrong
intelligence | combine a redrawn Helvetica with the new face. “But
Oniy 21 6f 895 atests have resulted im eanvicons
when we arrived at the Egyptian and they created
Offictals say terror risk means They must act co Up-olty
three basic weights—a thin, a regular, and a black—
there was a lightbulb moment when we realized that a
full range of weights in the Egyptian would give us all
the flexibility we needed,” says Porter. There are now
more than two hundred weights to the font, beginning
with the 8-point Egyptian text face.

Find where this fits

today,
and go. there free. Half price wireless
router with
AOL Broadband
Isr¥t it time to go wireless?
/ discuss

3 4

content, and other design elements works as well as it can. They do this by trusting
their instinct and by their understanding of the publication, says Mark Porter:
skills
design
Essenti
IV:
135

Egyptian was commissioned for The Guardian because we wanted

something that had some of the properties of a classic serif typeface, while
remaining modern and distinctive. It had to be legible and flexible and
have a strong personality, and it succeeds in this. The range of weights also
enables us to avoid the system, which most other newspapers adopt, of
mixing a serif and a sans—in most sections we only use Egyptian, which
gives the paper a unique typographic character.

Type as expression
In layouts where it isn’t possible to use images, or where images are dull,
typography has to be handled particularly creatively, a role that evokes medieval
illuminated manuscripts and continues with imageless advertising posters.
The
confident editorial designer can have a huge amount of fun with type. In fact, the
duller the material, image, or copy, the greater the challenge for the designer to
employ imaginative and creative skills, using techniques such as typeface
 Above These two spreads show very different but juxtaposition, changing the shape and arrangement of elements or letterforms,
equally strong and innovative use of type as
illustration. For Speak magazine (1), Martin Venezky
and creating scale contrast. Look at concrete poetry, such as the work of Carlos
draws on his collection of typographic ephemera to Drummond de Andrade, Stéphane Mallarmé, George Herbert, and Ian Hamilton
construct an innovative illustration for the subject—
an exploration of the relationship between rock and Finlay; look at Russian constructivism, the Bauhaus, and the Dadaists, and, later,
contemporary art. Equally appropriate and reflective of the work of Otto Storch on McCall’s magazine, Alexey Brodovitch on Harper's
its subject is Vince Frost's typographic illustration for
a Zembla feature about nationalism (2). Bazaar,Yom Wolsey on Queen and Town, Harri Peccinotti on Nova, Neville
Brody on The Face, Fabien Baron on Vogue, David Carson on Beach Culture and
RayGun, Martin Venezky on Speak, and Vince Frost on Zembia to see some great
Design
Editorial
Direction
Art
136
+ examples of type used in this way.

Type as illustration
While type is, at its most basic,a method of conveying words, it can, of course,
do much more. An editorial designer will use type to interpret and express the
editorial, communicate meaning, offer variation, work with the image and other

Right On Inside magazine (3), Jeffrey Docherty uses

type craft to distinguish individual departments in the
magazine “so that they are sufficiently distinct from
each other, but still recognizably part of a brand.”
He keeps font use to a minimum: separate faces for
body and heads, and a third face, which may be in
complete contrast to the others. “This third typeface
can change the mood of the magazine. On this spread
about a library in Cottbus, Germany, the architects
used a letter motif to surround the entire exterior
paneling of the building, which I decided to replicate
in the titling. Interlinking the individual letters and
stacking them one above the other gave an automatic
visual reference to the project,” says Docherty.
 CG086 Bear
Left Three spreads that use type as illustration in
very different ways. The scale and manipulation of
headlines in the magazine Inner Loop (4) were entirely
in keeping with the frenetic, anarchic tone of this
indie dance magazine. “Because the two headline
faces were quite different in style (military-style
template and a kind of script), they helped to lend
each feature its own identity within the mag, but also
combined to give the whole a distinct Inner Loop feel.
I think they expressed the different voices of those
being interviewed. They we re also very robust faces,
which could stand out from strong graphic elements
such as running across a bi tmapped photo,” says art
director Ivan Cottrell. On RayGun (5) David Carson
consistently used type to form illustrations, hand-
lettering or combining it wi th imagery to create the
kind of work seen more frequently in the art world
than the print world. Ferna do Gutiérrez’s use of type
in Vanidad (6) is not just a wonderfully decorative
juxtaposition and skillful a rangement of type and
image; it breaks down the words of the subject,
“Belle de Jour,” into letters—a fitting illustration for
a call girl whe became famous for the entries in her
online diaries. The crop and scale of “Belle de Jour”
on the right-hand page is e legantly balanced by the
headline on the far left, creating an arrangement over
the spread that is harmonious and tender but has
massive impact.

skills
design
Essential
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137

Nilsson
Barnna
Esiilismas,
Gehrke
Petet
Fotogralia
 design elements to convey emotions or make symbolic or lateral links. These
can be achieved in a number of ways: Manipulation can offer opportunities for
creating links between, or playing off, the type, image, and meaning; combining
different weights, leadings, sizes, and ranging can offer expressive abstract or
literal interpretations of the content; the use of a particular clichéd typeface,
such as a gothic or typewriter face, can create a symbolic or cultural link that
immediately conveys something about the content.

Above and below Letterpress is a highly illustrative
form of typography that can be used to build a layout,
as in this cover from FT The Business (1) by British
letterpress lecturer and illustrator Alan Kitching, and
also in this issue of Zembla (2).
Finding type
Whether it is in the form of cookie cutters, fridge magnets, pasta shapes, or hair
accessories, type can be found in many ways. Martin Venezky scours flea markets
and antique stores for it; Vince Frost has probably visited every letterpress
foundry in England in search of it; Alan Kitching has made a career from
illustrating with it; and most designers will probably have some quirky examples
of it knocking around. Letterpress and wood type now have a limited use, and
most unusual forms of type are used for display rather than for body copy, but
finding such three-dimensional, physical examples of type can prove inspirational
to designers who now rarely handle physical examples of type, instead obtaining
fonts through print and online font catalogs and foundries, most of which can
supply fonts immediately via the Internet.

For Destynh
ees ih
Direction
Design
Editorial
Art
138
+

by GrahaM Buchan

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[105]
Ged Zembla
Literary culture magazine Zembla (named treating the content with disdain by
after a fictional northern land in Vladimir making text illegible. The example below,
Nabokov’s Pale Fire), whose byline is “fun taken from the launch issue, shows the
with words,” was launched in 2004 by entire text of one story knocked out of
Simon Finch, edited in London, U.K., by a black panel, which is cropped tight
Dan Crowe and designed in Melbourne, around the text area, forming a ragged
Australia, by Vince Frost at EmeryFrost right edge against the white of the page,
and in London by Matt Willey at Frost what some might view as deliberately
Design. Its union of substance and style RICK MOSOY TALKS WITH HR HENORIX / obstructive design. But Frost says,
set it apart from many special interest “T did not mean to upset the writer or
magazines, and it playfully subverted the reader. I normally stand back and let
often dour and incestuous world of book the writer be the hero. However, I simply
reviewing, which sees authors from the pa wanted to try something different for a
Same publishing houses reviewing each
1st... change rather than just do the same thing
other's books in broadsheet supplements, Anniversary, Issue
TILOS SWIKTON
all the time. It feels good to get that kind
by asking authors to review their own
WANIF KUREISAT
BRIAN ENO
OL SLINANE of reaction as opposed to being ‘nice:
PAUL BOMLES
books. In designing the publication with TOKN BALMESSERT
DUROYMY DARKER Graphic designers are normally invisible
ROBERT WACFARLANE
a frenetic, in-your-face typographic TANES FLINT
JACE ARNOTT and not normally the heroes. I find this
approach and bold structural format, 5)
frustrating as it is a barrier between the
Vince Frost has been charged with ‘design world’ and the public domain.”

as the geologist of the
group: a large, sprawling man
who made his plastic canteen
chair look unsafe. He was
listening but not that closely,
land from time to time his
thoughts wandered, to what
it would be like going back to
Dallas, how it would be living,
without Dana. Not that he had
lived with her for so long.
“It’s a hell of a journey, four
days on the road.” Carl spoke
slowly, his words spreading out
to fill the tiny ept when
something went wrong there
was rarely a rush at the drilling
stations in Xinjiang Province,
northwest China. Fhe Chinese!
workers were playing cards
next door-and Benny could hear
ja regular slap, slap as they
smacked each down onto the
table, then a:sudden shout as
somebody won or lost
“And the landscape is|
spectacular. It’s not just flat like
‘round here. There's red desert,
snow mountains.” Carl threw,
ja look at Benny. “And there’s
loads of rock strata. You should
try it, Benny.”
Benny pulled an appropriate|
face. “Strata? Now that’s not my
idea of a vacation.” It was the
second time that Carl had
directed his talk specifically at
him, joking that he should go.
Benny could guess why. Carl
wanted to help take him out of
himself. You could see he was
1 Good Samaritairfrom his smile.
I, Benny didn’t give much
thought to the idea. A trip!
through the Xinjiang Desert?)
He'd’seen enough of that to last
a lifetime. Later, though, as he lay
in his bed, the dust storm rising
to a how! outside, he found
himself wondering. It wa
if he were in a rush to go home’
to the empty condoin Dallas.
He had vacation days to use,
while he would probably never
come, back here again. But what
really caught his interest, oddly
enough, was the fact that the trip:
took so long. Four days on the
road: there was something epic
about that kind of journey, Benny
had never done anything of the
sort, not even in the US, and just
thinking about it made him feel
somehow a little heroic about
himself. Benny the adventurer
for once, rather than just sensible,
no-nonsense Benny who did his
job and earned his pay. Two days:
later he claimed some vacation
days and asked the next guy
making a supply trip to
Urumuchi to buy him a seat.
The ticket he brought back was
surprisingly small, like a ci
bus ticket: a rectangle of grey
the window that he had never quite managed to close, as the bus!
strained to climb through a lifeless, monochrome land of jagged
rocks, Benny expected them to descend into a more populated area
tor the night, as they had for the previous stops, but instead the bus
cardboard stamped with C! hinese characters and a numbe! r scrawled in the corner. drew to a halt in the middle of the emptiness, in a small dusty town.
“Is that the seat number?” Even after a year in Xinjiang drilling stations he found it hard to
guess.” imagiiie a more desolate spot. Twerlong, straggling streets sat
“I wouldn't like to stand for four days.” e this? I’m taking uneasily beneath a vast slither of rock that pointed at the settlement
He kept it in his wallet for a tin showing it to the guys at the stations.
. Itsounds a hell of a ride. It’s four dijays on the road. Can you
like a shark's fin. The town seemed to have known better days and
the bus to Kashgar. The trip Carl a good number of the squat, concrete buildings were doorless and
imagine that? Four days on the road.” abandoned. It was so gnm, Benny decided, as he wheeled his bag
As his last workdays approached he found he was a little sorry to pack up his possessions to be from the bus, that italmost had-something. “What is this place?”
shipped home. injiang was not a popular posting: @ moonscapcape thousands off miles from
f anywhere, he asked Frans.
freezing in winter and baking hot in summet where one was hassled by suspicious Chinese “From my map I think itis called Sanchakou.”
advisers, themselves resentful of being stuck in’such a place. Benny, though, had asked to be sent To his relief there was no walled enclosure here and Benny and the
his head of
here, and not just for the pay bonus: he had wanted to get far away, to try and clear
The guys on the
Dana. And in a way it had worked, There was nothing to remind him of her here.were mostly okay
other passengers filed along the street towards a concrete hotel. It wa:
there, in fact, that he first saw her, standing at the desk writing down
i
drilling stations were sometimes anky from boredom but they passport details. It was impossible not to see her. She was 20, perhaps
pnd they respected him for bei good at his job. He had even lost a little weight a year or two older, and she could not have looked more out of place.
- not that it made much difference. All in all he was glad, as he sat in the truck! There was no other word to use: she was beautiful, strikingly
on his way to Urumuchi, the cardboard bus ticket in his tlop pocket, that he beautiful. She had dark eyes, jet-black hair, and there was a delicacy
wasn’t headed straight home. to her face, her neck, her wrists; a lightness in her smile as she
He felt less glad when he walked thre ough Urumuchi bus u station glanced up at the next passenger. She did not look especially Uygher,
This might be the Silk Road but it was still a bus journey ina battered old
certainly not Chinese, and she might have been from India or Greece
Pullman. Taking hi place he found the seat sagged and the window was lor Arabia, Why not, as people had come from all these places to
jammed slightly open. Four days in this? Benny h roughed it from time’
10 time, of course, but for work, not his vacation. The vehicle wasn’t the only
travel the Silk Raad? The second surprise was that somehow, in this
terrible spot, she had made herself elegant. Her hair was cut ina
problem. The bus — one of a small convoy of them - made a lunch stop at a row neat bob and she wore.a simple but tasteful necklace of pale stones
of dirty-looking roadside cafés run by the Turkish-speaking locals; the Uyghers
r
Xinjiang was Uygher territory yet Benny had ne had very much to do with them, as the people
Her white blouse and jacket were spotless in a way that seemed
almost magical in this dusty, stained room. Benny madean effort
he worked with on the oi wells had mostly been Chinese. The Uyghers, who were Muslims, looked to stop staring. But everybody was: everyone in the queue, Chinese,
tough in their Turkish caps as they stood around the roadside, and Benny wondered if it was Uygher and Western, male and female, was watching her, intrigued.
really.safe here. And there was their food. Benny tried each café in turn but all they had were} “Do you think she is a prostitute?” murmured Frans blankly.
noodles with a pot of chilli pepper on the table for flavour. No meat, no vegetables, just starch Eric sok his head with the air of one who knew about such things.
and fire. Already the tins and packets at the drilling stations were beginning to seem tempting “I think she wants to find someone to take her away from this
Accommodation was no better. That evening the buses rolled into a walled enclosure that looked town very much.”
military and Benny followed the other passengers into a large barracks-like dormitory, If this was Benny was happy to agree. He.was annoyed at Frans’s remark.
i caravan 1 stop there was no si zn of it now. The washrooms he tried not to think about,
an ancient For some reason he didn’t like to think of her in that way.
let alone use. It didn’t take long for him to shower away the journey’s dirt and
By the second day: he decided there was something more annoying than any travel discomtorts. change into another buttoned shirt and pair of dark, office trousers.
This was his fellow passengers, or rather the Westerners among them, the backpackers. Try as he Walking down with Eric and Frans he hoped he would see the girl
might he couldn’t tune out their chatter on the bus, hour after hour, spoiling the views through again, but her place had now been taken by an old man with a
the window, as they tried to out-boast one another as to which parts of the world they had seen, curling white beard.
and how little mon icy they had spent. There was the way they stood around at stops, leaning selt “So this is the last evening of this journey,” observed Frans as
admiringly a nst the bus in their locally bought hats and scarves. Most of all there were the they sat over their noodles and chilli sauce in a restaurant a few
superior looks they threw in his direction. As if these guys had any reason to feel superior Why, doors down from the hotel. His words gave the meal a sense of
th probably didn’t have a single qualification between them, let alone a decent job. Benny had occasion and they ordered a round of beers, then another. By the
always thought of himself as a regular guy?and yet somehow they made him feel like an outsider, third they were toasting. Benny proposed “better days”, Frans
Just because he didn’t dress in the showy play-acting way they did, but wore a plain, office-style ‘0 successful journey”, and finally Eric made them smile by
buttoned shirt and dark trousers. Those were good, practical clothes. And what if he was the only raising, his glass to “the dark beauty of the Sanchakou hotel”.
Westemer who had a black airport bag with wheels and a handle, rather than a backpack? His ba Benny hadn’t expected to see her when they returned, but there
was much less hassle to haul’round. Yes, he was heavier than the were. Most of them were thin she was, sitting at the desk with a book, He would have walked by,
as sticks from their travelling, while Benny knew he was a bigg y. He had always been like that, unwilling to disturb her, but Eric stopped. “What are you
large and almost shapeless, and looking in shaving mirrors he could see the way his soft round face reading?” He leaned over the desk and took the book)
seemed almost to merge with his soft, round body. What did it matter? Dana said it didn’t bother from her hands. “Further English?” He shook his
her. She even told him,itwas kind of cute. So they could zo stick it, these backpackers, with their head in mock disgust. “But you should be}
sneering looks learning French.”
“English is better,” she said simply, taking it back
Then on the second evening he found a clan of his own. Searching in vain for a café with
something different on the menu he joined forces with two other travellers his own age. Ericfrom SAMO
U ea SS
‘So you can run away with some American? But
Paris had worked in investments, explaining, with a weary smile, “until they decided I was an asset you will be much better with a Frenchman. Perhaps
they could dispose of.” Frans fror Rotterdam described in his slow, sober voice how be‘ had been — even a grey-haired Frenchman like me
divorced a couple of years earlier, nd now she has the house, the kids, the dog, and I live in my She laughed, not at all shocked, and then she|
small flat.” Bei smiled, almost challengingly, first at Eric, then at Frans
jand finally at Benny. It was a strange mom s he felt her
glance, like heat, making him catch his breath, and he grinned back,
trying in vain to think of something to say. Then she returned to her!
lon the sett “m sorry Benny but I just can’t do this”. A few weeks’ later someone at work said he book and on they went
had seen her in a car lot walking hand in hand with some guy. And she had complained he was too. "You know,” said Eric thoughtfully, “I think she would come.”
suspicious of her. Too damn right he was suspicious. He had been crazy about her. He had bought “But it would all be very difficult to organize,” decided Frans.
her so many things, he had wanted to have kids, and had even offered to set her up with her own Benny woke the next morning with a slight headache from the!
hairdressing salon, Frans and Eric nodded, and for 4 moment the three of them communed over beer. As he made his way down, his wheely bag thumping on the
their noodles and chilli sauce, silently agreed on the unfairness of the world stairs behind him, he hoped the girl would be there again, but no,
By the next afternoon Benn beginning to rise. Talking about Dana had left him the desk was empty. For some reason he felt annoyed, almost faintly
feeling newly unburdened, while he had a sense of achievement now that the end of the bus journey cheated. It was better that way, he told himself, as he would only
was finally in sight. Tomorrow they would be in Kashgar. He had enjoyed the trip, he realized, in have stared and made a fool of himself. The departure was an carly,
spite of the discomforts and the backpackers. The landscape had been spectacular, just as Carl had ‘one, as the buses - like everything official in Xinjiang — followed
promised. Even up here it was striking in a harsh kind of way: the wind was up, humming throw Beijing time, several zones to the east, and it was still dark outside
jas he walked down the street. As he watche two bus workers load i
his bag onto the roof-rack, shielding his eyes from the wind whipping
lup dust, he found himself recalling the look’she had given him, that
seemed to burn, He should have stayed and talked to her. Too late
now. He hated the finality of it all. He would never come back here,
that was certain, and, so would never know what might have
happened. It.was stupid to think like this, he told himself as he
climbed aboard, but as he took his place her face gnawed at him.
Soon everybody was in his seat and they were ready. Benny hated
the thought of the engine starting up and yet was impatient for it too,
jas then he could stop taunting himself with this foolishness.
Nothing happened. A backpacker behind him began to snore
Benny could see the first glow of dawn in the sky. How long had they
been waiting? Half an hour? Usually they set off
right on time. Jf anything tipped him into
decision, ina curious way it was this,
delay, Benny the geologist, vaguely
skills
ign
139
religious Benny, was not much of a
believer in great forces dictating his
life, but as the minutes crept past he
began to feel almost as if something,
were being intended for him. Each extra
second was giving him another chance.
Why else, on this very morning, was the
bus so delayed? Hell, and why shouldn’t he
ave something beautiful for once? Not even Dana had been
beautiful: scrawny Dana with her puzzled, dissatisfied eyes, Just
des
Essential
because he was 46 and too heavy, did that mean he was somehow
disbarred? It just wasn’t fair. He thought of her face, her shape, that
could be his if he only had the guts to try. How could he let this slip
IV
away? Slowly, tentatively, he climbed to his feet, and found himself
standing in the aisle, shocked by his own action. He would be doing
good. He would be rescuing her from this terrible place. He would
give her everything she wanted. He would fulfil her dreams. He
would love her. He felt he already did.
People were watching him, wondering why he was sidling
towards the door. “Sit down,” called out the driver with a glare.
"We go soon
“I need my bag.”
“Not now. Kashgar.”
Benny stepped out towards the ground, catching his heel slightly
lon the last step. Frans, at the window of the bus opposite, was staring,
“Benny, what's wrong. Are you sick?”
He felt like laughing. “I'm fine_ I’m staying here. I’m going to see
that girl.”
Frans’s face broke into a deep, puzzled frown
Glancing up, Benny saw that luck was on his side. The canvas}
cover on the roof-rack had not yet been tied down. He clambered
up the ladder at the back of the bus, panting from the effort, dully
amazed by himself. There were so many bags, but finally he spotted
la square black edge in the far corner and waded through the luggage
to heave it free. Clambering down, precariously gripping his bag: with
his free hand, he nearly collided with a tractor as it drew up below,
its trailer full of sacks. So that was the reason for the delay. Back on
firm ground, his heroism done, Benny was suddenly unsure,-and he
lingered in the road, watching as the bus workers heaved sacks on
to the roof-racks and tied the cove en now he could still go back.
There was his seat, beckoning empty. He did not move. Finally the
engines roared into life and one by one the buses began to draw,
away, rows of curious faces staring out at him as they passed.
He stood for a moment by the road, that was now so empty, and
all at once he felt stupid, disastrously stupid. As if a girl like that)
could ever be interested in a guy like him? She will have bee!
dreaming of a young backpacker, not an overweight middle-aged
fool. Now he would be stuck here till the next convoy of buses passed
through. If there wasn’t a seat he would have to stand the whole way.
He felt reluctant to go back to the hotel, She would know. She would
be aloof, even amused. But there was nowhere else to stay, so what
could he do? He began wheeling his bag, hoping someone else}
would be at the desk,
But no, there she was, sat reading her book. She glanced up,
leyes opening wide with surprise. “Why are you here?
He could think of no reason, no excuse. There was no possible
explanation for stopping in Sanchakou, “To see you, I guess.”
For just a moment she looked at him, uncertain. And then, to!
his amazement, her beautiful, perfect face broke into a smile, “How
nice.” She held out her hand, and he wasn’t sure whether to shake

[41]
 Custom-designed type
As in any creative industry, type design and use tend to follow trends, which can
result in publications looking very similar. An obvious way to distinguish yourself
from the crowd is to commission your own font family. As well as creating a
unique identity, such a move also affords you a font that truly expresses and
conveys your brand attributes. Flaunt, Another Magazine, and The Guardian
newspaper are all titles that have taken this route recently. Lee Corbin at Flaunt
felt it was time for change, so decided to introduce a custom font to the new body
fonts, Berthold Akzidenz Grotesk and Century Schoolbook, both of which he
believes fit very well with the new custom faces.

In the previous year of issues we used Gotham and Hoefler Text for our
standard faces. Both faces were designed by Hoefler & Frere-Jones, so they
worked well together.Gotham has a strong character that does not call too
much attention to itself, but in its heavier weights it really dominates the area
around it.We matched Gotham up with Hoefler because Hoefler has such a
classic look. It’s also an enormous family, which gave us plenty of options.

With a new logo came the need for a new font, which Corbin designed in two
weights—a bold and a light face—with more variations to come.

Design
Direction
Editorial
Art
140
+ The logo came first, but I was already interested in creating an extrabold
Below In 2006 Flaunt magazine created its own
typeface (1), (2), “because there wasn’t anything face based on geometric figures. I exploited the use of symbols, like crosses,
preexisting that possessed the feel I wanted for the
new issues, but also because a new typeface would x's, triangles, and circles, as letterforms. Because that’s what I did in the logo,
be exclusive to our magazine,” says art director Lee
this gave the face more character and reinforced the new logo. It was also
Corbin. He has built many alternate characters into
the new Flaunt face so that “it will allow for more used very sparingly so that both the logo and typeface don’t become tired.
unique combinations in titles. It was based on the
logotype that I created for the redesign, so that it
would reinforce the new identity beyond the cover of A final few words of warning on using type:The development of prepress
each issue.” Of the two initial weights shown here, the
bold face is used more sparingly and with ample space technology meant the sudden demise of professionals such as the typesetter
around the individual characters. “The letters that and compositor, roles that became the responsibility of the designer and the
make up the new Flaunt logo come from this alphabet,
so the use of the face in the magazine is meant computer. The latter’s default settings in programs such as QuarkXPress and
to reinforce the new identity. The thin face is used
Adobe InDesign should not always be assumed to be right for your publication,
more frequently and more experimentally. It is also
displayed larger as it is not so dense,” explains Corbin. so an understanding of, and care with, kerning, hyphenation, leading, letter

STEVE
BUSCE/\
Indie-flim veteran Stevo Buscem!
directs his third flim,Lonesome Jim.
 h reclamos conareae cayDiadelos enamorados, nuestras emociones se
igen por los mandatos de las hormonas de los instintos. En estas ocasiones el olfato es
y de 1 eniad nsegulr
nuestro mejor allado, al igual que lacosmetica que se las ha Ingenlado
filtros de amor, capaces de alterar nuestra Mbido. Texto: A. Herbé Fotografia;paraDavid
co Dunan

spacing, trapping, and tracking is necessary. Similarly, page composition and make- Above A brilliantly expressive use of type by Fernando
Gutiérrez on Vanidad (3). Think about how the design
up, which used to involve physically moving elements such as display text, galleys,
elements make it work. Consider, in particular, scale,
and images around three-dimensional space, is now all done on screen. Arguments cropping, balance, and arrangement.
design
Essential
IV:
skills
141
rage as to whether this is a good or bad thing, but when construction of a three-
dimensional delivery medium is undertaken in a two-dimensional environment,
there is unquestionably a physical and emotional diminishment.Try to
compensate for this by handling and playing with paper, color, inks, photographs,
and mark-making implements as much as possible. Print out layouts as often as you
can—they are very different from screen layouts. Always proof on page rather than
on screen and never rely solely on a program’s spell-check function. Read all
headlines, display text, and captions carefully; these are often spelled incorrectly
because the copy editor’s focus is on body copy and no one thinks to check the
display text. Also make sure that ligatures, hyphenation, and kerning are corrected.

Artwork skills and production issues

Some designers manage to design perfectly well with minimal software skills, but
in magazine or newspaper design, where the need to react quickly and effectively
to layout and flatplan changes is essential, a competent designer will need a strong

Design
Editorial
Direction
Art
142
+ see on-screen is an accurate representation of what you get on the page, which is
Above Color swatch books are a vital tool for
designers, who should never rely solely on the colors
on their screen, no matter how well calibrated it is.
They need to be updated regularly as colors fade—
when not in use, make sure swatch books are kept in
their case. The most widely used color system is the
Pantone Matching System, which will also indicate,
where relevant, the CMYK equivalent.
Opposite The seventh issue of 0z magazine is one
of the publication’s most famous, thanks to its iconic
Bob Dylan cover by Martin Sharp. Sharp exploited new
printing techniques to create an image that expressed
the experimental druggy mood, music, and culture of
the time.
working knowledge of design, layout,and image manipulation software programs
(QuarkXPress, InDesign, Photoshop, Illustrator, and Freehand) and good technical
skills and knowledge. Screen calibration, printing and its processes, reproduction,
color management, color separation, photography, and illustration and how best to
acquire them, and when and how to use information graphics are all artwork
skills—the nuts and bolts of successful design.
Software
With the arrival of the Apple computer in the 1980s came the desktop publishing
revolution, and software developers were quick to publish programs that enabled
anyone with a rudimentary understanding of page makeup and a technological
bent to produce their own magazine or book. Such programs have developed
to the point where they have made once-integral aspects of printing—repro,
typesetting, and compositing—redundant, making the designer and production
editor responsible for all these skills. The complexity and ability of these programs
is vast,and being able to experiment and get the most out of them depends on
your knowledge and understanding, as is the case with any tool or material.
Screen calibration
Professional screen calibration software (a device that sits on the screen and
measures its appearance) is the only absolute method of ensuring that what you
of vital importance in designing. But it is possible to get good screen calibration
cheaply—Apple users, for example, might find that Berg Design’s shareware
application, SuperCal, makes a very noticeable difference—or even free, by
using your computer’s own color balance features in the gamma control panel.
Photoshop has an excellent step-by-step guide to using this control panel in its
help menu.
Printing
The best printer is, to begin with, one who prints a lot of similar work to yours,
so look through such publications and find the name of the printer, or contact
the publication’s production editor and ask for it. But other factors should be
considered, too: Can the printer and press handle the print run? Can they deal with
your stock and chosen format? Can you get an ICC Profile (see p.145) off the press
that you can apply to your desktop system? Will the printer be abie to meet the
turnaround time you require? Is their color repro quality adequate for your needs?
Is their fee acceptable? It is always a good idea to get quotes from three
or four printers before making your decision, but communication is the most
important factor—a good, long-term relationship with your printer will reap
massive rewards. Printers have knowledge, experience, and skills that you will
never have,so nurture your relationship with them to get the best from them.
In the 1960s, antiestablishment magazine Oz and its printer exploited the ,
printing process and emerging technologies within it to deliver techniques that
had never been seen before, including color washes, split-fountain inking (where
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This page Different uses of special techniques: on

first-class Virgin Atlantic magazine Carlos (1) and
Dazed & Confused magazine (2), metallic embossing
adds an unusual dimension. On Carlos, it is particularly

we
effective used on simple card, offering an unexpected
Direction
Design
Editorial
Art
144
+ take on luxury publishing. For indie title Amelia's
Magazine (3), the cover was wrapped in a cutout
by artist and illustrator Rob Ryan, giving readers a
limited edition piece of art, but also turning a two-
dimensional cover into a three-dimensional one. Twen
(4) often used foldouts to enable the use of great
visual elements (including games, art reproductions,

r
and topical photo stories), and Esopus (5) takes the
4
os
concept of foldout farther with its 3-D art pop-ups.

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two colors are printed simultaneously through one divided ink supply) and
fifth colors, including metallics. Such experimentation was not simply stylistic
posing; it visually echoed and reinforced the publication’s editorial stance of
experimentation and in-your-face, maverick antiauthoritarianism.

Peculiarities in newspaper printing

How many times have you seen newspapers in which the text is completely
illegible? Or in which the pictures make your eyes go funny? Usually, this is due to
misregistration,
where the four color plates have not been laid down exactly on top
of each other.When this happens the page is said to be “out of register? and it will
affect all the pages in that section. Given the speed of newspaper production and
the huge lengths of runs, there is little the designer can do about this, but the other
common problem with newspapers—ink bleed and consequent fills—can
be controlled. Because of newsprint’s lack of coating and absorbency, it is important
that designers choose the right fonts where fill will not be a problem (such as Bell
Centennial, designed by Matthew Carter for telephone directories, which deals
specifically with the problem of fill). Equally, WOBs and color use on fonts and boxes
should be carefully considered when laying out on newspaper stock.

Repro houses
Prepress systems and digital photography are making the traditional functions of
the repro houses (scanning and proofing transparencies and working with digital
images) redundant, but they are still very useful to the picture editor and designer.
Their understanding of color, out-of-camera manipulation, and achieving the
optimum results for your images will nearly always be greater than yours, as
will their scanning equipment, so if you can afford to, use a repro house.

Color management
Reproducing color is complicated, as there are three different aspects that
skills
design
Essential
IV:
145
need to be addressed: what the eye sees, what the monitor shows, and what
a print nozzle produces. Fortunately, the print industry has developed a color
management system that gives an image a profile (called an International Color
Consortium, or ICC Profile) so that as it moves through the printing process—
from original to monitor viewing, separation, prepress, proofing, plating, and
printing—all the tools involved are calibrated and adjusted to ensure color
accuracy and consistency. If your publication is being produced without ICC
Profiling, stick to “safe” colors when making up color palettes or using spot colors
(check the gamut warnings for these, which indicate when a selected color will
alter appearance when converted from RGB to CMYK), and don’t rely on what’s
on screen. In such cases it is best to make up colors using a Pantone swatch book,
which should be updated annually to allow for color fade. Be aware, however, that
not all Pantone colors are reproducible in CMYK; if you want to use a Pantone
color that brings up a gamut warning in your layout program, you may need to
make the color up as a fifth one, in which case consult your printer about the
best way forward.
 Proofs and how to use them
There are a number of different quality proofs, and increasingly, printers are
only offering PDF screen proofs free; all others have to be paid for. But it is
worth budgeting for proofs, and, ideally, for the best available.
The best proofs are wet proofs, which are run from the plates that will
86
26
6
produce your publication and are the closest approximation available. Next best
SA.
OYAAEY
are Cromalins and Matchprints, which are run from thin sheets of film and give a
very good idea of everything except what will happen when the ink hits the
paper.The most popular (and affordable) are digital prints such as inkjets, and of
these, Irises, generated by a PostScript inkjet printer, give a good approximation
of the final files. It is worth noting that all the above tend to show colors brighter
than they will actually be printed.
= Laserjet proofs are so poor that they can be badly misleading if you are
>
+ looking at colors, but they can be useful for checking type, positions, and so on,
2) particularly if you like to proof on page rather than on screen. Finally, there is the
-
Uv
PDF proof, which, again, gives little indication of color output, but is useful for
2 checking everything else.
=
%
Acquiring, evaluating, and using images
When working with a photograph, choose one aspect of it that is the heart of the
Design
Editorial
Direction
Art
146
+ image—it may be the framing, the density of color (a perfect blue sky or a rich red
dress, the composition, the light, the subtlety of tones . .). Whatever it is,a good
image will have something that makes it stand out, and it’s this that you want to
maximize. Keep whatever it is in mind while you’re working with the image—it
may determine the shape, scale, or structure of a layout and will often be the most
important element of it. lf necessary, work with the printers at the soft-proof stage
(on screen) to optimize this element. Their knowledge of color levels and how
these will affect the image’s reproduction will be greater than that of even the
very best designer. But initially, consider the following.
AL
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148
JON
How good is your original? Highlights and shadows should span the gamut from as
light as possible to as dark as possible, with well-defined midtones. It is a good idea
to ensure that tones, highlights, and shadows are brought to their optimum output
et
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1
Midtones or gamma should be adjusted to improve overall brightness or darkness
Above Color and monochrome bars run along the side of the image without affecting the highlights adversely. To do this, use Photoshop’s
or bottom of the printed proof and enable both printer
and designer to review all the color elements of the imageadjusting curves and raise or lower the curve at the 50-percent point until
page (1). Proofs should also be checked for spelling, the brightness is accurate.
and to ensure that all the content is there, that
caption information and folios are correct, and that
all bleeds and image alignments across the spreads How does it look on the monitor? Assuming your monitor is calibrated correctly,
are adequate.
what you see on it should be the very best approximation of what you will get
in print.So,if you’re not happy with it on screen, fix it before it goes to press.
Photoshop has a number of features that will improve images, but a very basic one
is Unsharp Masking, which most professional bureaus use to improve the quality of
an image.
An average unsharp mask setting is amount: 160 percent; radius: 2 pixels;
thresholds: 9 levels. Adjusting these settings will improve nearly all photographs.

Finding images
A good editorial designer will be constantly on the lookout for new photographers
and illustrators, and will locate them through these routes:

BAD BIRDS

skills
design
Essentia
IV:
147

LUST
AN EXTRACT FROM THE NOVEL SEX, SUGAR & SHOPPIN’ BY STEVE LOMAX

Left Choosing an appropriate image that “fits” both

the text and the tone of the magazine can result in a
spread that is compelling in itself, but also reinforces
the brand and its attributes. Cabinet's (2) use of
photography in this spread emphasizes the title’s
studied, thoughtful approach to art; Garageland’s (3)
more grungy, in-your-face image reflects the DIY art
aesthetic the publication promotes. Both have an
impact on the spread, but both also say something
about their differing attitudes to art.
 Agencies: These will have Web sites and portfolios showing their clients’ work,
and are a good route for the designer looking for ideas of style, tone, and so on.
Do online searches and contact professional bodies (such as the Association of
Illustrators in the U.K.and the American Society of Media Photographers in the
U.S.) to find these.

Degree shows: Students’ work will reflect cultural trends and offer exciting new
directions and visual styles, so go to as many students’ exhibitions as possible and
collect names and examples of work from those you like. Pick up cards giving
contact details to keep on file in your office.

Other publications: Publications targeting the creative industries will often

showcase and use the work of the best new and emerging image-makers. Trend-
Remains of the Day
setting style bibles and alternative magazines offer good sources of new work, too.

Other media: Areas such as motion graphics, animation, television “stings,” and title
Above Good use of imagery is more than expressive; it design give you insight into visual trends and new image-makers to approach.
can define an era or event in a way that words simply
cannot. The ability to find or create such imagery is a
crucial part of a designer's skill, as Janet Froelich Awards books and CDs: Most of the creative professional bodies (American
recalls while discussing the aftermath of 9/11. “9/11
happened on a Tuesday morning. The New York Times Institute of Graphic Arts, D&AD [Design & Art Direction], Association of
Magazine (1), which is on a weekly schedule, Photographers, Association of Illustrators, etc.) have annual awards ceremonies
completes each issue on a Friday, nine days before the
Direction
Design
Editorial
Art
148
+ publication date. So we had three days to tear apart for professionals and students, both of which offer good sources of practitioners.
the September 23 issue and remake it in response to
9/11. During those terrible days, we had to try to
imagine what our readers would want to know about DIY: You are a visual creative, so why not build up your own stock library
two weeks later. We had to think forward, while almost
everyone was simply reacting to the nightmare of what comprised of your friends’ and your own work? Encourage your designers
had just happened. One of the ideas was to ask artists (and give them the time, if possible) to take photos, draw, and continue the
and architects for their thoughts on a memorial. Two
artists, Paul Myoda and Julian LaVerdiere, had been mark-making they learned at college. This will help all of you to develop ideas
part of a group working in studios in one of the Twin and directions for layouts and keep up your creative energy, and it may also
Towers. They came up with a plan, which they called
‘Towers of Light; in which they imagined two powerful result in affordable visuals that can be used in those layouts.
beams of light, positioned in the center of the
footprint and pointed towards the sky. I worked with
a photograph by Fred Conrad, which showed lower Portfolios and commissioning
Manhattan the night of the disaster with that awful
arc of dust and debris, and with a Photoshop artist When you find image-makers you like, invite them to bring in their portfolio. Set
to create the vision of those twin beams of light. That aside enough time to go through it properly with them, ask them questions about
became our cover and, one year later, it became one of
the most moving memorials to the events of 9/11, as the pieces and the way they work. They may not be very confident or articulate,
the Lower Manhattan Development Corporation made
particularly if they are young or students, so be patient, encourage them, and let
it a reality. It is hard to describe the combined feeling
of pride and awe, to see the cover of our magazine their work speak for them.
become a living memorial, viewable for 50 miles [80
kilometers] in all directions, to such a terrible event.”
When it comes to commissioning, the kind of brief you give will determine to a
large degree what is produced, so be clear about what you want and communicate
this. Do you want an alternative view to the text, or something that visualizes it
literally, or a series that provides visual reportage of a specific nature? Do you want
the photographer or illustrator to read all the text (if there is any), a précis of it, or
none of it? However clear the brief is, talk to the people you have commissioned
to make sure they understand what’s required. Make sure deadline, fee, and
administrative requirements (invoicing, expenses, payment, tax matters) are
clear. And finally, make sure that the shoot, if there is one, is organized.
Information graphics
Along with photography and illustration, information graphics offer the designer
a great visual tool, and, with the advent of the internet, they have seen a massive
resurgence. Their ability to act as decorative images and simplify complex
information is perfect for the visual information culture of the twenty-first century,
but they were actually popularized some seventy-five years ago, when designer
and typographer Thomas Maitland Cleland devised a format for business magazine
Fortune that unified editorial and visual concepts in a completely new way. Since
then, magazines such as the Radio Times, Wired, FT The Business, and news
magazines worldwide, particularly graphics-heavy newspapers such as USA
Today, have refined and made ever-greater use of information graphics.When
commissioning people to produce information graphics, designers should take
as much care as they would with any other image-maker.

22-18JULY1978
LONDON
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4 skills
design
Essentia
149
IV:
Above and left On the television listings magazine
The World About Us, Sunday 7.25 BBC2
You'llbefamiliar with the insect life that seuttles away |scorpions? Richard Draper's drawing shows you a
when you lift up a stone, of course. bul were you aware |sample of them and here Riebard Mabey writes about
Radio Times, David Driver used a number of techniques
special problems of making Sunday's progcamme
and styles to deliver information on subjects as
diverse as how the Apollo and Soyuz spacecraft docked
(2), how an orchestra works (3), and how the police
districts in Kojak’s New York were laid out (4). A firm
favorite were the graphics of Richard Draper, who
devised pictorial approaches to information graphics,
as seen here in the “Underground movements” panel
(5). Driver also used montage, incorporating graphic
panels that crossed and unified spreads, and
illustrated covers to enhance visually and consistently
engage the readership of a publication that, by
necessity, was text-heavy and densely packed.
 Internet radio vinsscsreineisn dew
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The great escape

SHROPSHIRE
NORTHAMPTONSHIRE
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As the search for bigger homes and better

quality of life grows more frantic each year,
we presenta guide to 10 property hot spots
By Anne Spackman

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Above The use ofinformation graphics on FT The D8 cx r n POLIA DE SPADLO FOLIA D6SPALLO. no

COMO FOI As duas principais duvidas O SISTEMA ANTICOLISAG

Business was inspired by the Internet (1), but made O ACIDENTE Apora anaren
great by art director Gary Cook’s love of graphic
artists, according to its editor, Michael Watts. Cook's
remit on the magazine “was to try and display
information in an unexpected way. Graphics had only TRASETOHIA DO BOXING DA GOL
om e Ek=
Design
Editorial
Direction
Art
150
+ really been used to illustrate complex stones in the
newspaper, but we felt that bright visual elements like
MANAUS
this could be used in different ways in a new culture
that relied heavily on imagery from television and the
Web. Michael had an idea that every week we would BUSCAS

do a map on the inside back cover: a random display Mobilizacao de resgate

of information by David Newton. This was one of the
most popular pages in the magazine. Sometimes it
envolve quatro municipios
showed a visual breakdown of the average age of
death across China, other times the amount of
beehives kept in London, and so on—random every
week.” This use of information graphics was not
confined to the back page, and often featured as
the sole illustrative device in a spread (2). st Recém-fabricado,
Conheca as
aeronaves
envolvidas

Right For this spread about a midair plane collision

no acidente
“~~ avido ia deixar o
(3), Brazilian newspaper Folha de S.Paulo uses pais pela 12 vez
information graphics to illustrate aspects of the Aeronave da Embraer tinha abordo apenas sete passageinas

tragedy, such as the airplanes’ routes, locations, and

designs that photography could not illustrate. They
act as additional information rather than graphic
replacements for photography, and, through the use
Policia investiga responsaveis por tragédia
of such devices, readers can be given a more thorough
understanding of an event.
ch week The
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:
Pakistan, members
qtowo4ssaunrs Philippines, Russia (Chechyna), of the UN
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Council —
instant
instant briefing
briefing |‘The global industry is now worth $1 trillion a year, but who
one of the
Other clients include... the US, UK,
ues of the week benefits from this trade and what is the human cost? France, Russia,
and China —are
responsible for

88%
of the world’s
reported

daip
conventional
arms exports.

’ In 2004,
the US alone
accounted for

: > 47%
® In2004, the of global
The UK is the world’s second UK sold arms 3 defence
largest arms exporter. The UK to 87 countries s. spending.
.. including Licensed UK arms A However most
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people, providing around 3% of Algeria, Iraq exports 2004 of itsbusiness
manufacturing output and Indonesia Value of goods goes to US
companies,

Each year about

half a million people
are killed globally by
World military armed violence
expenditure reached
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5 | How does spending on 6 Who
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SOOO =15
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Above and left Information graphics can offer

attributes that other visuals can’t. In this spread
from The Guardian (4) illustrating the arms trade,
the shapes of the various weapons immediately impart
knowledge and communicate figures associated with skills
design
Essentia
IV:
151
specific arms. This Wired (5) spread on Internet access
worldwide is less successful, but still offers an
arresting and accessible wealth of information.
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 Consistency without monotony
Tips and techniques One of the editorial designer’s most challenging—and enjoyable—tasks is
for avoiding creating a distinct, individual product or issue that is obviously part of a strong
monotonous layouts: brand, but does not look or feel the same with every issue. How do they do it?
With a good grid that is flexible, pagination that ensures similar spreads are
fi Try to vary your approach to interspersed with other pages, and inventive use of the design elements at
constructing layouts. their disposal.
Mm Experiment with building up a A daily newspaper or weekly news-based magazine will have tight deadlines
page from color blocks or cutouts,
and short lead times, and the design has to be led by functionality and legibility.
which bring white space and
geometric considerations into
play alongside text, images, and
other design elements.
i Visualize each layout as a separate
entity with the use of the style book.

NEW YORK

Die Narbe
Fas(nd labre
nachcernJ.September

Design
Editorial
Direction
Art
152
+

Right and below German weekly news magazine

Stern's cover, feature pages, and photographic spreads
all display a lively, populist approach to the news.
Bold crops such as the face halved by the edge of the
cover (2), along with a straightforward three-column
grid on feature pages (3) and ever-popular aerial
photography (1), all appeal to a broad audience.

Helmut Dubiel ist Hochschullehrer. Er leidet an PARKINSON.

Tief in seinem Kopf sitzen zwei Sonden. Er steuert sie mit einer Fernbedienung.
Ein kleiner StromstoB — und er kann sprechen. Ein gréBerer StromstoB —
und er kann gehen. Zumindest eine Zeit lang

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135

2
As a result, the designer hz to develop and adopt a problem-solving approach,
setting in place a grid and production system that enables fast layouts, fast repro Below Where American news magazines once
and printing, and a design approach that is ordered and organized. But one need exhibited a conservative style of design to convey
seriousness and depth, they are now more relaxed
only compare a few of these titles to see that, within such order, there are still in their designs. Time magazine’s cover logo and
many opportunities for inventive structure, different directions, and wholly trademark red borders (4) are skillfully carried inside
the magazine and onto headlines and straplines on
distinct results, as seen here in these weekly news titles from Europe and Americz the news pages (5), (6), where layouts are lively and
original. The cover on U.K. financial magazine The
An annual, monthly, or quarterly publication has the luxuries of more
Economist (7) is witty and eye-catching—in contrast
loosely structured frameworks, a bigger visuals budget, greater flexibility in such to the calm orderliness of its feature pages. Again,
this illustrates how magazines can remain original
elements as grid, fonts, and image treatment, and the ability to experiment almost and engaging from issue to issue and page to page.

Much Ado About Abe

over Yasuku
Wiser ways torile Jap:
the
ighbors

revise the country’s p

‘als have cquiethy
160 questioning jussthow m-
ly its battlingthe‘Taliban
Qacxla fighters who crass
unistan have
in recent months, And some
gon officials havo boon,
harbonng al-Qseda members
in unpoliced an
he region where,9¢
cording fo Islamabad, the
unidentified al-Queda master
mind believed to be bebind the
British plot is said to be hiding
Bnt Pakistan mayhave won
points with tha US. for its
steadtastness jn the f ase.
British authorities had wanted
to wail for the alleyed plotters
North Korea's Rising Waters
Peaeareenccety
evennatural disasters areshrouds in
mystery. WEAinternational aidgroups
‘Struping to cetermine theextentofdam:
‘agecaused byJuly'storrential rains ond
Noods, Seoul-hased NGOGood!Flends last
Week reported thatthodisaster loftmore
than $4,700 deadormissing and2.5milion
3 homeless
2 Pyongyang’
— stating contradiction of
clanthat“hundreds” word
6204, GoodFrinndsalsewomed thatlange
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{the specter cf another famine, eeminyacent
* of tnoone that costthoIkvsofasmanyas
2 nition North Korwansinthemd-19905, “Ie
isavenyhocific anddevastating situation,”
saysGoodFriends’ manager EricaKani,
Other North Koroa-watchors nro skop-
ticalofthoestimates, butwithaccurate
datahardto came by nthe HermitKing
stitution to allow Japan’
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Sidique Khun und Sholiae) wy Abe
scor—whivlookpart in Kokrunuy’s visits to the con-
troversial Yasuiloini shrine—
ombings and are believed
tohave been regulars at
of their mission swooped ontheirsuspects. and Richard Reid, Une jailed, failect tions of Japanese mili
‘ashington vig.
while
Pakistan deliv od Raul
Tauf’s networks haven't yet
shoe bomber, wha frequented 3
Tablighi Jarrizat mosque too?
The Summer JustGot Hotter turism. But Beijing and
Seoul have signales
Pakistan was officially neutral in boen ful mapped. For instance Pakistani intelligence officials PYER SEVERAL YALSE Thierry Breton, his French \illimnesstogive Abe a
an Islsmabad official investigatorssyhis phone aren't done with Rauf but expect A SectieCag ccuterprt pelit chance to vepair ties—if he
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want isforsomething to happen to contactsinGermany, Who Britain, “He ean be extradited, to crank up its ceo cd your” | Don't betonit. A Tife-
and everyone says it svere they? He mace numerous ssiy3 an official, “once we get the wth engine. But Many economists are Jong right-winger from conser pationinallied military opera
Pakistan” Accord phone callsto South Africa. maximum ont of him’ One can how long before it oni more skeptical, pointing vative stock (his grandfather tions—a signal that he's wager
souree, the US, th ned to What were they about? Several mggine that will not be «pleas again sputters? Preliminary outa slew of signifificant was arrested asawarcriminal for Japan tobecome mare as-
| tke Ranf with Palostan’s help of his 23 suspected ¢o-conspira ol, Re second-quarter figures pub» risks that could nip the after World War (1, though nev= serine player on the world
| eve if London didn't move. tong boing held (n Britaln are lished by the EU's statistics Euro-recovery in the bud, excharged), Abo basvisited Ya stage. IF so, Beijing and Scou!
Washington won, the British stid to hare attended Keranie office last week showed that Including the prospect of sukun| repeatedly in the past may havesecond thoughts
the 12 euro-zone countries, interest-rate hikes and the So far hy hus refused to say about celebrating, Koizumi’s the
inteoductionofa higher var whether he would go as PM,
and France rale—op to but even if Abe defuses tensions
enjoyedther
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ple” inNorth Korearightnem continues to
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Whatever its scope, international atten:
Bon on the catastrophe coud benefit robustly than six years just starting (o
dictator Kim Jong. whose neigh: even the prudent govern- vol as the Europeans beat
bors have toughened their up “Much will depend on
stance toward the Stalinist stato how abruptly the U.S |
Since it test-fired seven ballistic g bar Battch- |
missles in July. Seoul, which sus
pended (cod shipments after the
tests, quicay revorsod course,
promising $10 milion in ald ensi-
‘exthis month, And while Wosh-
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tnuo, SayeDavidSiolnbert. directorof Asian pel nit. Stil
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153
studiesatGeorgetown University. he Wab-outre: Continent, I all amounts
Sotar Washington hasn't resumed the rodie Stat
(000 ad it suspended last year.Pyongyang, tothe first plece of yood
romaine oqually dofiant and shows no mic news fora
signs of returning to talks aimedatenchng,
Its quctear progrann. Unknown milions of
Pity everyone
acation. -tty
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North Koreans might bo strupyling (0 cur
va, but i Jong a itingprot
By Mich
Jeol

Nehleksand weapons, Atitee-carconoy elas
to Sunni M.-P, Tayscer al-Mashbodanj was stopped
last month by 30 gunmen in'a Shi'ite suburb. Al
Mashhadan(aind sevenbodlyguinrds wervbundled {ite
omarked carsund drivenicway. An eighth bodyguard
‘ckcaped and reported that the abductors had police-
Jesue weapons, Al-Mashhadani hasn't been released.
‘An oven moreaudacious snatehcame soon alt
in uniforms grabbed thechief ofIraq’s Olympkc
mittee and 30other sports officials (tonhavebeon re-
Jeased, but the chief remains in captivity), Earlierthis
Com-
month, men oniform snatches 26
ficeslessthan twokilometers from TMi
“The governments standard responso to cach now’
‘outrage Js to deny that police were involved and
instead finger “criminal gangs” wearing knockolf uni-
forms and using stolen weapons and vehicles Oca
sionally, blanie is directed atthe militias, but newer by |
name. After all, the political groups that control the |
silitias are key components of the Shi'ite coalition
thethisthemost seatsinparliaroent andthatinclodes
al-Maliki’ pacty. Tie only militia to feel the Prime
Minister's “iron fist”wasthe toothless Mujahedin-e-
Khalq, 2small, nnarmerd band ofIranian rebels dedi-
cated totoppling the regime InTehnin; it hadbeen
confined to a single base outside Baghdad and was
monitored: by the U.S. Nobody had accused the
Mojabedin-c-Khalg of any atrocities on fragi spil, und
al-Malikr’s decision to evict the group smacked of
tokenism. Sunni politicians seized on the eviction as
proofthatal-Maliki wasdoingTehran's bidding.
For Sunnis in Baghdad, the sight of policomon
iscauseforconcern rathorthanreasstirance, Traffic
chieokpoints are especially perilous. Recently three
‘NMe. staf members—brothers, all Sunni—were de~
pained
atnpolice cheekpoint for five hours. ‘theybegan
toworry whenaShite friend whohadbeen ridingwith
them wasallowed toleave: \When themenshowed their
mediaVeaarbecsie the US. military, the copsac-
cused themofbeingAmerican spies.“Wellsend you to
the Interior Ministry” a cop said, obviously enjoying
theirdiscomfort ashebundled then: into thebackofa
pickup tick “Youmayberelcased o¢jailed,or maybe
soinebody willuseanelectric drillon you"In theend,
theTax men wereuble totalktheir way outofcaptivity
| IV
| the Mahdi Army in 2004, he becamea political pariah
| ©
| ing hard to win his endorsement of the
| «
| point asking for identification. Its profiling. Iraqi
| stylo. The harassment ranges from getting insulting,
|sniggering comments ("Nice car.Where did yousteal
| it”) to being handouffed, blindfolded
and hanledt off
to prison of, worse, atorture chamber. The most vul-
them asashield from themamnuding militias. It's clear ‘SURREAL CALM
from hisindignation thattheironyescapes hitn. The Tigris River
‘The Bush Administration seems to befinally com- separates the
ing oat ofitsstateof denialaboutthe dangerof sectar- froqueatly
‘Sadoun district (near
anism). For months, officialsand military brasshave bank from) the Green
des
Essential
Why Britain has souredonimmigration
havingasolution. The corrent military strategy isn't
suecoecting,
asevidenced bythe continuing tit-for-tat _ Ending trans spin cycle
Economist
sectarian killings. U.S. and Iraqi forecs last month:
idingx in the Mahdi Army'sstrong-
killing several fighters anel arcesting
Has America‘s housing bubble burst?
ler. But the anticipated knockout
US-led opern- The limits ofair power
$ ago was puiblicly condemned by the = a
ALMalikisaysaseniorIraqi govern
migotofficial, “doesn't want a warayainst Muqtscla al- AUGUSTZETE:SEETEMGER 15T2005 vaew.tconornlst.
com Asstep forward forstem cells
Sadr because it would open him up to charges of
[sling his fellow Shi‘tes—like whatAllawifaced.”Af=
ter Allawi gave the green light for U.S. forors toattack
{oShi'ites, Andal-Malikt isloath to antagontzeal-Sadr
i, the failuretosmash the Maheli Army
isnot so much an indictment of
al-Maliki as proof
ofa
US. donble standard. Salam alZaubai, a Sunn! ane
‘one ofal Maliki’s two Deputy Prime Ministers, com:
plains that U.S. forces treat the militias with kid
gloves. “When they attacked the Sunni resistance,
they fattened entire cities, like Fallujah” he says
But when it comes tos eirapproach is dif-
ferent, Why?” For their part, resicients ofSadrCityask
why the U.S. is attacking the militias—seen as Robin
Hood figures—when they should be looking for the
Sunni terrorists whobomnlied themarket
Amid all the cursing and complaining, there's an.
unexpected benefit forthe U.S. military: theprolifer-
ating, investigations into tho killing of civilians by
American troops are boing forgotten. In our previous
meeting two months ago, the insurgent leader had
been cursing the Marines accusedl in the massacre of
innocent civilians in Haditha. Since then, the accu-
muilationofateocibes by traq’s militias has altered his
perspective, “Haditha was nothing compared to what
themillitiasare doing.” hesays.
11'S. MAND NOT TO SYMPATHIZE WITH AL-MALIXI. THE
Prime Minister has the near impossible task of re-
pairing the damage wrought by three years’ worth of
bombed
poorly considered policies and half-measures, most
of thom instituted by U.S. officials and generals who

aftertheowner ofa shopnearthecheckpoint youches!
for them. ~The potice realized that. ifwedisappeared,
tho shopkeeper might he able to identify thern as the
‘ones whocaptured us"saysonoof thebrothers. A few
days later,one ofthe brothers hadanother claseshave
When liestopped in busy neighborhood to buy black-
market gas.Acarborub wentoff45maway, destroying
hiscar,Lauckily,he had steppedcutof the veiiels to ne=
otiate withtheseller; he gotaway’ wilh minorshinpnel
‘wounds.
Onetinyshard ripped intohis shirt pocket in a.
diractline tohisheartThe shrapnel arrowed through a
thick wadofIraqicurrency anclsameloase paperand
nomble are those who have obviously: Sunni names,
such as Omar. } have interviewed more than a dozen
Omars, including two of Mabmud’s nephews, who
have ondured varying degrees of persecution from
pollos or militius. As a precaution, many Sunnis are
Duying fake UD)eardswithsxfeShiite names.
Feoting the heat from tho militias and security.
forces, Baghilad’s Sunnis know thelr best hope for
protection lies In the Americans, the veryccoupying
forces they have despised for toppling them from.
power, My nteoting witha high-level commanderufa
Sunni insurgent group takes an unexpected turn.
doggedly maintained that the Shiite-on-Sunni sec- Zone
tartan ldllingswere onc-offs, unlikely to spread across | whose
keep
the community. ‘That pasture began to change when
Shi'ite mols went ona murderous speveinBaghelnd’s
Sunni neighborhoods after the Feb, 22 bombing. of
the Shi'ite shrine in Samarm. By the time U.S. De
{fersa Secretary Donald Rumsfeld macie his latest vis~
itto Baghdad last month, the assessment was mors
realistle, General George Casey, the U.S, commandec
in frag, told Rumisteld that Shrite dest squads were
calalyzinga surgein sectarian violenee. And General
Jolin Abizaid, the top U.S. cammander in the Middle
Pe
(lar bank) have long since gone home, “I'm tempted to get him
high walls
out most of the
‘a coffee mug with the slogan WORLD'S WORST JOB? a
that racks Western liplamat told me in May, when’ akMalikd
of Baghiclad suas sworn in. “They've justhanded him a toothbrush
‘andl fold him to clean up tho mountain of a moss left
by [former U.S, administrator} Paul Bremer, Allawi
and [former Prise Minister Ibrahim) al-Jaafani” “Sen
AleMaliki is petting veryittlehetp from other Iraqi
| leaders. The national-unity government [s anything
but unified. Shifte and Sunni ministers roatinely
contradict one another It's hardfo get consenisus even
among his fellow Shiites. His offer of amnesty for

0
Sun Insurgents was compromised when a powerful
|
was finallystopped byhs plato[Deard "Atl, foun, when he angrily demands, “Where are the Aneri« Fadl, foldaSenate committee in Washington earlior cr publicly disagreed about who should be 34
stymoney siwed my/lfe"hejokes. ‘cans? Why’ aren't they’ protecting our people?” For this month that ifthe scetarian violencu continued to

tl
Almesst every Sunnifamily I meet seems tohavea two years, the man has boasted to me about his fght- spinal, fraq "eould rovetoward elvil wart pardoned. Abdul Aziz al Halins said insurgents who
horror story that starts with a policeman at a check= ‘ers’ operations against U.S; soldiers. Now he wants But recognizing the problem isn't the same as had killed U.S. sorvico personnel should be pardoned,
TIME, AUGUST 28,2008 2a 4
2 TIME, AUGUST 25,2006
Trrofite: aan
Dan Roller’, editor and publisher of
Speak magazine, rode the crest of the
independent magazine wave when he
came out of college in the mid-1990s.
The desktop publishing revolution
ushered in by microcomputers and
publishing programs had spawned
thousands of magazines dealing with
hundreds of specialities, and Rolleri
decided to follow suit.
Rollers first titlte—a music video
trade magazine—was, in his own words,
“a horrible failure.” His second attempt
was the popular culture magazine Speak,
| which is widely regarded as an excellent
example of the genre. This success was
due in no small part to the combative
but collaborative relationship that
existed between Rolleri and the
publication’s art director, Martin
Venezky. And, from the outset, Roller
had strong ideas about his magazine's
designer:
At the time, there was a glut of
magazines on the newsstand, and
I wanted Speak to stand out visually.
It was important that the art director
be willing to push the form. It was
also important that the art director
have an organic quality about his or
her work. But more than anything, ““ Editors and art directors need
it was important that I liked the art to have a dynamic rapport. And
director's work (not a small challenge healthy respect. And an ability to
because I didn’t like much).
argue and to sometimes lose. W
Rolleri’s ensuing stormy relationship
MARTIN VENEZKY, ART DIRECTOR, SPEAK
with Venezky, which included the two
suing each other, is well documented,
but what is less well-known are Rolleri’s
very strong feelings and understanding
of the designer's impact on the magazine:
It was important for me that the
art director be intellectually driven
and curious about the magazine's
content, as opposed to only looking
to follow a template or showcase
his or her abilities separate from
the magazine.
Rolleri knew that Venezky had all that,
and more:
He reads, he thinks, he’s extremely
diligent. I wanted to match his
effort, to get the editorial to live
up to the design. I probably failed
more times than I succeeded, but
after my time with Martin I can’t
imagine ever working with another
designer again.
by Michelle Gold
You have to |
 4
endlessly with layouts. But this can present its own problems; it can be difficult
to adhere to the brand message when presented with greater freedom, so it is
important to find a balance between those elements that need to be constant
(brand and identity) and those that will change with every issue.
The house style and style books
Determining the role of design in delivering a brand’s attributes to its users results
in a house style. This is a “look” created by the selection and juxtaposition of the
various elements—fonts, grids, format, stock, use of space, and so on—as described
in Chapter III. For example, the house style might dictate that four sizes of
headlines are used throughout the publication, or that a headline of a particular
size is always used over two lines, or that images are never used below a certain
size. In order for this prescription to be maintained, adhered to, and updated or
revised properly, a style sheet or style book should be created in the appropriate
desktop publishing program to cover all visual and textual aspects of the
publication.
The latter aspect is usually produced by the chief editor, but the
former is the remit of the art department, which will produce a style book
detailing all the design elements: fonts (including display ones such as headlines,
folios, bylines, pull-quotes, and captions, plus all the body copy fonts) with
weights, sizes, and stylings (such as italics or bolds), and other graphic elements
Above Two spreads from the same department of
Inside magazine (1), (2)—"In Profile” —offer very
different solutions to layouts, while sharing a bold
use of type and design elements. “The layout process
has many potentially determining factors, such as the
number of pages per article, word count, image crops,
skills
design
Essential
IV:
155
and even the advertising within the publication. Color
and flow also need to be considered as the magazine is
being constructed. On completion, the magazine has
to work as one canvas. I often find myself revisiting
stories to create rhythm throughout the entire
publication—much like the composition of a song
structured by its verses and choruses,” says Jeffrey
Docherty, art director. soDA’s emphasis is on visual
culture (3), (4), so many of its spreads are full-bleed
color images. Consistency lies in the inventive and
original photography and reproduction, and monotony
is avoided by careful pagination of the publication.
Particular attention is paid to placement of spreads.
Finally, different formats and stocks keep the
publication consistently original and exciting.
 such as rules and drop caps, folios, grids, colors, and spacing. Example sheets of
these (hence the name “style sheets”), with the elements marked on them, should
be produced and distributed to every member of editorial.

Redesigning—when and why?

Designers may tweak elements of a layout to update a publication and keep
it feeling contemporary and relevant (for example, a heavy font may be replaced
with a medium or light version from the same family to accommodate changing
tastes), but, eventually, even the best-designed long-running publication may
become outdated and stale. In this case,a major overhaul or redesign should be

Right and below In 2003 art director Kobi Benezri,

working with his predecessor Nico Schweizer,
undertook a redesign of I.D. magazine. “When we
started working on the design we knew that the look
of I.D. had to be updated (the last redesign by Bruce
Mau took place in 1992) (1). The new design came in
correlation to a new editonal approach—coverage of
a broader range of design fields, different takes on
particular previously discussed subject matters, new
departments, and a more critical approach; we wanted Teeater, with a lower-case 't,” has (ueled David Rockwell's drive for the past 20 years.
to make sure the design took the same attitude and {att'scollaboration, the new andthe scary, and the moment of not having theanswer
that koep the creative engines revved for this unpretentious architect who wears bis
tssloas as comfortably ashlstrademark flannel shirt
was very informative and objective. At the same time
we had no intention of impressing anyone with
Design
Editonal
Direction
Art
156
+
overpowering design elements or eye candy. There was
a clear purpose for the layouts and we tried to keep it
subtle and elegant, and put our mark where it was
necessary.” New features included new fonts—Scala
was replaced with the very modern Gerard Unger font
Coranto for body text; Meta was replaced with a
variety of fonts that would change over time to keep
the design up-to-date—and new sections, including
a photospread called “Scape” (2) and a new back
section called “Crit” (3).

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considered. Many publications also redesign when sales are falling, or in times of ‘© Editorial design is the framework
economic recession when advertising revenue drops and they need to boost sales, through which a given story is
but doing so is a risky strategy, as any redesign can—and almost certainly will— read and interpreted. It consists
alienate some existing readers while enticing new ones. ;
ee i : of both the overall architecture
The best reason for a redesign is to stay in tune with and reflect the needs ee ;
' ; om ie of the publication (and the logical
of a readership; over a period of five years, fashion, taste, and styles will alter
sufficiently that a magazine aimed at 16-year-olds will have to redesign to keep in structure that it implies) and the
step. But it is important not to let readers dictate the redesign; contextualizing the specific treatment of the story
publication through cultural trends and shifts is the best approach. It is also (as it bends or even defies that
important that a redesign is not conducted in a vacuum. If visual trends shift over very logic). é
time, so, too, do the other elements that go to make up a publication:The content
‘ MARTIN VENEZKY, ART DIRECTOR, SPEAK
and tone should also be carefully examined and addressed to ensure that no one
element is isolated and that the whole publication is moving forward cohesively
and intelligently. Lee Corbin at Flaunt magazine took this approach in 2006 when
he completely overhauled the look of the magazine, even creating a new logo and
custom-designed fonts:

The entire magazine has been rebuilt, graphically at least, to accommodate

more variation and a new identity. We simply had to do away with most of
our preceding visual identity to make room for new ideas. Our magazine
is constantly changing; as we are a monthly publication we need to
embrace spontaneity—we had to give the magazine a new voice.

While redesigns happen fairly frequently on magazines, newspapers rarely

overhaul their publications—such a step is a logistical nightmare from a
production perspective for a daily title.AsMark Porter explains:

JONNY’S @
TRIUMPH
> HetPAROOL:
ONAFHANKELIJK AMSTERDAMS DAGBLAD
skills
design
Essential
IV:
157

World braced for huge,a

surge in bird flu cases»
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@ 160,000 turkeys slaughtered
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mzware 7A Left To stave off homogeneity in his many redesigns of
Oranje wint moeizasm van lvoorkust (2-1)
newspapers, Mario Garcia offers this suggestion: “I run
through the city, look at houses, curtains on windows,
stuff in the trash bags, visit the local museums. How
do the local artists paint? I use my senses, and I bring
no preconceived ideas to a project. Start with a fresh
empty canvas each time. Let your imagination go.”
Both British Sunday newspaper The Observer (4) and
Dutch daily Het Parool (5) were redesigned by Garcia
in 2006. With few ads on the cover, The Observer offers
a lively yet dignified layout, the mix of one lead story
with both above-logo and bottom-of-page teasers
giving readers the suggestion of serious, in-depth
journalism with value for money. Het Parool by
contrast puts teasers between the logo and the lead
3 rw RYANAIR, com
= y = e* story; text is minimal, the feel is of picture-led stories.
4 ee, 5
 Mario Garcia’s top ten dos and don'ts of redesign

em
IR
0eon
1 Not all redesigns are alike, so customize your work to make it appropriate for the specific
product undergoing a “rethink.”
2 Geta full briefing of expectations, target audience, and extent of change. I always say
that some redesigns are nothing more than a face wash, while others are the full bath,
complete with bubbles and candles!

aiSng
ex
~>
3 Plan the rethink of the publication around the four major story structures: typography,
page, architecture, and color.
4 Story structuring should be the first step: How do editors tell stories in this publication?
How many styles of storytelling techniques should be created? How can hierarchy
be emphasized?
Above Mario Garcia has redesigned newspapers
5 Typographically, test at least three font combinations of serifs and sans serifs to choose
worldwide, frequently working with new formats. In the most convenient and appropriate.
2005 he redesigned The Observer newspaper, taking 6 For page architecture, develop at least two grid patterns with various column
it from a broadsheet to a Berliner format. He thinks
size is not an issue, and certainly not a negative one.
measurements, and perhaps include both in the final design.
“The canvas is smaller, therefore one must be more 7 Play with a color palette that starts with two dozen combinations of colors, from
focused and direct in creating hierarchy. So, what the dark to light and in-between, then create a simple palette of no more than ten shades
publication must do in creating criteria for inclusion
and exclusion is simply draw up a list. Study your
for continuous use.
readers of today. Do your visual and editorial 8 Emphasize navigation—readers who surf the Internet become impatient and bring that
archaeology and evaluate what needs to stay and impatience to print. Work hard to make sure that navigational strategies are a top
what must go. Differentiate between real antiques
and Aunt Clara’s old teacup, so to speak. Newspapers
consideration of the redesign process.
have a tendency to drag old visual things as ‘antiques’ 9 Review the “break of the book” —the order in which content will appear.
But they are nothing more than old things, not Time to move elements in or out? Or to change the order of events?
worthy of preservation.” On The Observer redesign, he
Design
Editorial
Direction
Art
158
+ retained the elegance of the broadsheet through use
10 Work closely with editors and reporters, as they will bring that necessary journalistic
of typography, but gave the paper a more vibrant, ingredient to the process of visually changing a publication.
youthful feel through color coding, which readers in
surveys have been shown to like. He used one palette
for coding and another one for other colors
throughout the paper to ensure that such color coding
would work with other elements on the page. He Newspaper redesign ts usually market-driven. There is a tendency for
approaches all of his redesigns from the standpoint of
journalism, because, he insists, “People come to a editors to assume that what they are doing is totally successful. It’s only
newspaper for its content, not its look. Design is part when sales start to fall that they realize they might need to change. But this
of the enhancement of that content.”
is a particularly interesting moment, because newspaper readerships are
in decline all over the world, and pressure from television and the Internet
is forcing journalists and designers to question their assumptions about
what modern readers need. There has never been so much redesigning
and format-changing going on.

Media such as the Internet and changes in distribution and demographics are
having a design impact on both newspapers and magazines: Formats are shrinking,
pages are becoming more uniform, and navigation is becoming simpler, because,
says Mario Garcia,“The Internet has created a savvy, impatient reader who expects
hierarchy, good navigation, and fast motion on the printed page.”
sat

: me fe

a ley
ai
EI
 All designers benefit from an awareness of trends, cultural shifts, and the
contemporary zeitgeist, and this is doubly so for editorial designers, many of
whom have to ensure that they are in the vanguard of visual fashion and culture.
For this reason, we look at broad cultural and design trends and delivery media.
But editorial designers can also gain huge insight into their craft—not to mention
ideas and inspirations—by looking at work from the past, especially those
designers and publications that were particularly influential, innovative, or
groundbreaking. Whether through an understanding of print techniques, a style
of cropping, a certain grid or structure, a use of typography and symbols as a
means of expression, or the ability to exploit the latest print technologies,
designers over the last eighty years have created graphic ephemera that stand
shoulder to shoulder with fine art in their ability to inspire visual delight and
express Cultural concerns in conceptual form.The designers who have done
so are numerous, but in this chapter are gathered a handful of the best. In
studying the work of these past masters, contemporary designers should
focus on the following:

* motivating and underlying principles;

* reasons why a particular design works in a specific context (in any
given period);
* how the past plays a part in mapping out future trends and directions.
Direction
Art
160
Design
Editorial
+

Looking back—motivating and

underlying principles .

All designers look at other design work, but many focus exclusively on
contemporary work. This is important in terms of being aware of cultural shifts
and changing and emerging trends in typography, illustration, photography, stock,
and so on; but it is equally important to look at work that has gone before. What
should you look for? Ideas and directions certainly, but you won't understand
them unless you understand the principles underpinning them, which in the past
were often closely aligned to movements in art and culture, which, in turn, were
contextualized both politically and socially. So, for example, the ideas around
mechanization and functionality, which formed part of the Bauhaus principles
of the 1930s, reflected the industrialization of Western society and the rise of
socialism in eastern Europe.When Neville Brody appropriated the typographical
and geometrical styles of Russian constructivism in the mid-1970s, it was a
cultural gesture that drew on the spirit of overthrowing oppression. An
understanding and exploration of such principles, and how they relate to
and reflect their cultural and political milieu, will give contemporary editorial
designers a set of tools with which to develop their own cultural responses
and connections, which are needed to acquire a true understanding of their
publication’s readership. So, study from the past often—not to copy great
designers, but to understand their work.
Understanding why a particular design works in a specific context
jdersiancing now designers work involves an understandingof why a design
WOK ) ‘ CODLCKL mie cyamining the broad picture—the
NOCNYINE ana mouvating principles of 4 publicationas outlined above then

fon Ng On in« dua) Jayouts and understanding why they work for the
PUDUCAUON 19 Guestion and its readership. How do the Jayouts work to

communicate the principles? Find out by deconstructing the Jayout, then looking
now the individua) clements work alone and together. he lace
is an example
‘ © prox nderstood that,in principle,a magazine about alternative culture

CNG Graw on influences and styles outside its own cultural milicu,and give them
contemporary forwardtooking twist to communicate its cool outsider status. But

WUD styles to Choose? He intelligently opted for an appropriate visual style with
frOO16 ane connections that were abundantly Clear to a youthful readership, whose
politica) integrity was untainted and whose cultural cachet was assured. He
COICICA these principles through Jayouts composed predominantly of type
apes, ana geometrical clements—rules, blocks, and scale. The effect was
sew, bold, irreverent, and absolutely right for the readership

Exploring the past to map future trends and directions

It is hear from the case studies and influentias publications listed here that
the intelectual, moral,and cultura) Climates of an era play a part in creating key
design movements, Which in turn influence the styles of editorial design. Such
movemcnts 2nd styles do not exist in a vacuum,and do not become meaningless
Of It Cvannt a6 the tA shifts. They may go out of fashion, but through an
ndersanding of their principles they always have something to offer,as Neville
Vase vated with The Face elbow). By updating the principles and styles
Jf constructivism, Brody ushered in a whole new style of editorial design that
WIA exert huge influence over other designers

forward
looking
back,
Looking
V:
161
 Case studies—designers and publications

M.F. Agha
Dr. Mehemed Fehmy Agha (known as M.E Agha) was one of the first “art
directors.” A Russian-Turkish constructivist working on German Vogue, he was
discovered by Condé Nast, who was trawling Europe looking for designers to
introduce the modern (European) style to his publications. In 1929 Agha took
over the flagship Condé Nast title, American Vogue, and lived up to expectations;
control of Vanity Fair (below) and House & Garden followed. What Agha
brought to these titles was fresh, new, and vital art direction. He was a pioneer in
the use of sans serif typefaces and emerging print and photographic techniques
such as montage, duotones, and full-color photographs, favoring photography over
illustrations wherever possible. He experimented with photographic layouts,
exploiting double-page spreads to take images across the gutter and using full-
bleeds to create a sense of space and scale. His use of leading photographers,
including Cecil Beaton and Edward Weston, was matched by his employment of
artists such as Matisse and Picasso years before any other American magazine.
On Vanity Fair M.F Agha adapted the stylistic tenets of European modernism
toa U.S. title and its market. He achieved this by simplifying and systemizing type
use, recognizing the spread as a palette on which the various design elements—
gutters, margins, headlines, and white space—could be endlessly expanded and
Design
Editorial
Direction
Art
162
+ manipulated to create vibrant and varied spreads. He understood that by playing
with the position and size of his design tools, such as floating small headlines on
white space at the bottom of the page, he could create impact and energy—
something hitherto unseen in editorial design. Hence, traditional decorative
elements were pushed off the page in favor of sparse layouts in which scale
and shape became the primary means of decoration.

Towie, the new form of Contract Bridge

BY WILLIAM J. HUSKE

PRICE 35 CTS.
THE CONDE NAST
PUBLICATIONS, INC.
9 3 3 1934—a picnic for the British
Alexey Brodovitch
Russian émigré Alexey Brodovitch was art director at Harper’s Bazaar from
1934 to 1958, and in that period initiated techniques that have set standards of art
direction ever since. Indeed, he pioneered the notion of art direction as conceiving
and commissioning visual material rather than simply laying out pages. In terms of
style, Brodovitch introduced asymmetrical layouts, movement, stripped-down
simplicity, and dynamic imagery to magazines (and U.S. editorial design in general),
which had previously been dominated by static pages filled with decorative but
irrelevant clutter. These innovations were based on the simple “modern” graphic
style he had helped develop in Europe in the 1920s, which, in turn, was based on
an amalgam of modernist movements and styles in art and design—notably Dada
and constructivism. Obsessed with change and new ideas, including early abstract
expressionism, Brodovitch developed a style that by the 1950s was a byword for
elegance, largely achieved through white space and understated color, along with
contrasts of scale, precise, restrained typography (often Bodoni), and photo shoots
AMERICAN FASIILONS
and spreads invested with lively drama. 25 fy.in Sits §SO conts «Hin foraton

Part of Brodovitch’s skill lay in his ability to discover and nurture new
photographic talent, including Irving Penn and Richard Avedon. He introduced the
work of avant-garde European photographers and artists such as A.M. Cassandre,
Salvador Dali, Henri Cartier-Bresson, and Man Ray to the American public. He used
this photography as the backbone of spreads that were light, spacious, full of
movement, and, above all, expressionistic—something we take for granted today.
To achieve this, he took shoots outside the studio, and made the models—what
they were doing, where, and why—as important as the clothes they wore.
A desire to innovate and experiment lay at the heart of Brodovitch’s work:
a very instinctive approach based on eschewing the rational and the dogmatic
for the constant pursuit of change and modernity.

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Willy Fleckhaus
German designer Willy Fleckhaus is noted for his work on just two publications,

NEUE LIEBE PER ©COMPUTER

but Twen (illustrated here) and Frankfurter Allgemeine Magazin (FAZ) are
widely regarded as among the most influential titles in postwar editorial design.
Fleckhaus’s genius was to take the International Style, which dominated postwar
graphic design, and give it an explosive 1960s energy created by the use of huge,
tightly cropped pictures anchored to a rigid, grid-ruled approach to design.
The resulting spreads offered a formal simplicity that he carried through to
Frankfurter Allgemeine Magazin, ten years after leaving Twen.This news
magazine experimented and played with illustration in much the same way that
Twen had done with photography, and retained the simple formalism of the earlier
title, which was copied throughout Europe. In his book designs for publishing
houses such as Suhrkamp, Fleckhaus’s work shows as much aplomb and
understated panache as that used in his magazines.

Twen
Twen launched in 1959 as a provocative youth title that combined erotic
photography with thoughtful, intelligent articles. Its aim was to attract a new
readership that demanded to be seen as distinct from its parents, an audience that
was finding a language and style of its own: the emerging youth culture that was
sweeping the West. This culture demanded a new graphic style, and designer Willy
Editorial
Direction
Design
Art
164
+ Fleckhaus provided it by combining elements of Swiss formalism—the rationalism
of the grid and simple typography—with the witty and bold visual aesthetic of
American publishing.To achieve this, he devised a 12-unit modular grid for the
publication’s large-scale format, 10.4 x 13.2 in (26.5 x 33.5 cm). The importance of
this grid lay in its ability to combine units in a seemingly endless number of ways,
enabling the use of two, three, four, or six columns, while horizontal units could be
used to break down the columns into chunky blocks. What Fleckhaus put in place
was a series of versatile coordinates on which to anchor his layouts—a brilliant
solution that stood out from every other publication. Into this grid Fleckhaus
then dropped some of the most striking imagery of the time, cropping and
manipulating compositions to produce strange shapes and massive close-ups
that looked like weird landscapes, surreal portraits ...anything went as long as it
was dramatic, visually subversive, and different. Combining the large format with
distinctive black pages, minimal type (though a trained journalist, Fleckhaus didn’t
like writing and believed that visual storytelling had more impact), and some of
the most eye-popping visual reportage of the day, Twen offered a dramatic shock-
of-the-new publication that perfectly reflected its social and cultural milieu.
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 FEBRUARY 1986 90p US 52.06
Neville Brody
Neville Brody joined The Face in 1981, and immediately established a design
aesthetic rooted in, but not aping, the work of the twentieth-century art
movements constructivism, Dada, and expressionism. Here, once again,
was typographic symbolism: playful experimentation that looked back
to the mechanization of print and the opportunities it afforded the visual
communicator, and utilized the expressionism inherent in stark, bold, geometric
shapes and symbols. This was visual culture affiliated to political rebellion,
which had a particular appeal for the overtly political designer. The Face’s
antiauthoritarian, postpunk political and visual identity was a perfect match
for Brody’s experimental, individualistic approach to design because they
shared the same rebellious spirit and helped define the look and feel of their
time. Brody’s main contribution to this youth culture magazine was to break
with traditional methods of type construction and establish it as a versatile,
malleable design element that was barely distinguishable from imagery and
could act as a vehicle for meaning.

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+
HEE The Absolute Beginners industry starts in earnest mid-January with
David Bowie's single of the theme song (P7), the reissue of Colin
Macinnes’s three novels, and the paperback of Temy Gould's Macinnes
biography. Your last chance to bone up. The film itself opens Easter 86 Iii z
Open now: the western Silverado which has SDP jester 4 double bill of STEVEN
BERKOFF. Fresh from the
John Cleese playing it straight as a less-than-honest set of the new Prince
lawman Mill Bulletin also recommends William Hurt in Kiss movie Cherry Moon, the —
Of The Spiderwoman (interview P20) and two superior actor-playwright is back on
the London stage after a
splatter films: Return Of The Living Dead (not a George two year absence. The
Romero vehicle but a homage to same) and the born-again Donmar Warehouse
comic schlocker Re-Animator (reviews P88) MEM Films on Theatre has Berkoff in
two one-man shows, read- 4
TV over Xmas include Warren Beatty's Reds, Dustin ing Edgar Allen Poe's —
Hoffman as Teetsie and ITV's ratings clincher Minder On TELL-TALE HEART and in
his own previously
The Orient Express MMM Also note: a repeat of the Max unperformed HARRY'S —
Headroom pilot, explaining his origin, The Tube’s Live Aid cnristmas.
lookback, and Billy Connolly and Robbie Coltrane’s alternative New Year's
Eve show Aft Last It’s Hogmanay MM At Londons ICA until Jan 19, an
exhibition devoted to the pioneering Viennese architect Adolf Loos Mil
Great, edgy, rock orchestral version of Detroit Emeralds “Feel The Need” on
Bryan Ferry’s “Windswept” EP, with other tracks dating from his self-
imposed exile in 1977 MM West Country stylists should check out Fittz,
newly opened and sartorially smart menswear shop in Bristol’s The Berkeley
Centre MMMM At the Royal Court a powerful new play by David Mamet
(Glengarry Glenross etc): Edmond has Colin Stinton and
Miranda Richardson odysseying in low-life New York Mill
Seasonal recommendation: The Jesus And Mary Chain LP
“Psychocandy”. Not simply a post-punk thrash, there are The coiled high-
agreeable pop songs below the surface rubble Ill A literary thoi, fashioned
out
side order to our Food feature (P27): The Cook, a novel by pros
Gohry in 1972 for
Harry Kressing, described as “a Kafkaesque cookbook” Mill F of the Pop Sixtios,
Do-Do’s returns to Buzby’s (Charing Cross Rd, London WC1) ther more serious-
Inclined 1930s lacquered desk
Dec 17 for a Christmas thrash. And if you miss that, there’s Poul Fronkl ropresent con:
tresting schools of American
Raw’s Xmas party (Dec 21 at the YMCA) Ill And, finally, a dosign. They come together,
panto: a new production of Mozart's The Magic Flute at the along with Michael Graves’ post-

ICA in The Mall, London SW1, until Dec 29... High Styles: Twentieth Century
Amoricon Design at the Whitney
Museum, Now York, until Fob 16,
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WANUARY 1996 90p Us 22.06 4

The Face
Neville Brody’s design of 1980s counterculture magazine The Face
revolutionized the editorial role of type and would have a lasting impact
ILLIAM HURT
on graphic design. Brody’s strength lay in using type to express meaning: by RACKED ACTOR!

2
employing different faces within words to suggest nonconformity, positioning ARE YOU SERIOUS.
RBOUTFOOD? = forward
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167
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and angling type to echo the radical edginess introduced by Russian DOLPH LUNGREN...) epee
STALLONE’S FOE! py INTER RE
constructivism, and using graphic devices and symbols as page furniture to jOWTOBEA: ry Lae ia
DOLE SURVIVOR ts Music,
unify spreads and create visual cohesion. He also took a bold approach to {

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images, cropping, and framing to emphasize content visually. Full bleeds with Prefab Sprout
just a portion of an image visible underlined the title’s identity as anachronistic, Nichael Roberts
[eames
anarchistic, and thoroughly individual. As the magazine matured, so, too, did Paul Morrissey

Brody’s use of type and image, remaining in step with the readers, but always hax Vadukul

offering innovative and skillful design solutions. He was less successful in

applying these same styles to other publications such as City Limits and
Per Lui, but his work on The Face continues to stand out as a defining piece
of editorial design.
 David Carson
All art directors hope to visualize the content of their publication,
but few have
succeeded as well as David Carson.A sociology graduate,
who famously lacked a
design education and worked as a teacher until his early thirties, Carson came to
art direction through a love of surfing (qualifying in 1989 as the fourth-best surfer
in the world) and skateboarding. Following a three-week workshop in graphic
design in Switzerland (taught by Hans-Rudolf Lutz), which he took in 1983 as part
of his degree course,he became art director for Transworld Skateboarding,
where
he quickly established his trademark style of illegible layouts that broke every
known rule in design and art direction. From here he launched Beach Culture,on
which he worked for three years before the magazine folded because ofa lack of
advertising —but not before winning 150 awards. In his subsequent role at RayGun,
a magazine about alternative rock music (illustrated here), Carson made design
history, becoming arguably the most famous art director ever,and with good reason.
Through his intuitive ability to combine type and photography as expression,
Carson created a new school of art direction and photography-based editorial design.
His work on the magazine reflected a consistent commitment to experimentation
and abstract visualization that—and this is key to his style—had content at its
center. Though this new visual aesthetic appeared to have come from nowhere,
it was, in fact, rooted in the visual expressionism of the Dadaists, and is strongly
reminiscent of concrete poetry,in which the typographical arrangement of words,
Direction
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168
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Terry Jones
The name of Terry Jones may not have the cachet of Willy Fleckhaus, Alexey
Brodovitch, or Fabien Baron, but this English designer is undoubtedly one of
the most influential and intelligent editorial designers working today.
Experience in art direction at British Vogue,German Vogue, and Donna had
schooled Jones in the principles of mainstream titles, but it was on alternative
youth style magazine /-D (illustrated here) that he shone. Born out of the punk
movement, this independent title began life in 1980 in a portrait format,and was
famed for its frenzied cut-and-paste montage pages featuring readers: people who
were clubbing, going to punk gigs, or hanging out on the King’s Road, checking
out fashion at Malcolm McClaren and Vivienne Westwood’s shop, Seditionaries,
before going home to concoct their own subversive take on the garments. Its
anticelebrity street fashion stance, both in image and content (much of it written
by readers), was welcomed by a politically nihilistic audience alienated from
the mainstream by a right-wing government and a stilted music scene.
The punk aesthetic underpinning the design of 7-D is evident,as is the influence
of Dada techniques such as montage and photomontage, but it always manages to
look fresh and relevant. Jones’s instant,apparently makeshift design, which
borrowed much from DIY fanzines,
was belied by his attention to detail anda
rigorous understanding of print that enabled him to use design elements to create
a sense of immediacy and spontaneity in every spread and issue. Jones achieved
this primarily through print techniques applied before and at the print stage:
Photocopying, image manipulation, montage, layering, moiré,and screenprinting
were all vital parts of his toolkit,as were the manipulation and layering of type to
make text less readable and slow the reader down. By these means, Jones managed
to craft a real sense of DIY editorial that has retained its relevance, readership,and,
to arefreshing degree, antifashion stance for more than twenty-five years.

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 Henry Wolf
Austrian émigré Henry Wolf, who was art director of Esquire from 1952 to 1958,
completely overhauled the design of this up-and-coming literary magazine, giving
it a sophisticated and innovative style. In 1958 he became art director at Harper's
Bazaar, succeeding Alexey Brodovitch. He remained there for three years, leaving
in 1961 to start his own magazine, Show.
’) () Wolf saw his task on all these titles as being to express their contents visually by
i ee integrating rigorous typography with expressive, eye-catching layouts.On Harper's
a a

Bazaar,where he inherited Alexey Brodovitch’s stable of outstanding visual talent,

Wolf built on this legacy, introducing simple, streamlined fonts and calm,spare
compositions,
which invested the layouts (illustrated left),and the magazine asa
whole, with a measured pacing and flow. This was unusual for a designer who was
more comfortable with opening spreads and covers than with the hard graft of
lengthy features and their attendant problems of continuity and sustaining interest.
Not surprisingly, given his success in advertising,
Wolf reigned supreme
in creating the concept cover, often best seen in his work on Show, where he
designed surrealist covers that were clever, witty, and always original. Famous for
the belief that “a magazine should not only reflect a trend, it should help start it;
Wolf was an intuitive designer who was instrumental in introducing Americans
i of the 1950s to European modernism.

JULY, 1958 ‘< HARPER’S

PRICE 60¢
Design
Editorial
Direction
Art
170
+

FORD FRICK
RELUCTA

THE FOUR LIVES

OF WM. BENTON

THE COMPLEAT
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Vince Frost
No designer since David Carson has used type in editorial as expressively as
Vince Frost. The results could hardly be more different, but what unites the two
is an inherent understanding of the need for editorial design—and particularly
typography—to express the content and identity of a publication visually. For both
designers, this has resulted in accusations of pointless obstruction in their visual
solutions, but set against this is Frost’s constant desire to intrigue and engage the
reader through vibrant, exciting design.
Along with art directing The Independent on Saturday newspapet’s magazine
in the U.K. during the mid-1990s, Frost devised the design for the Financial Times’s
weekend magazine FT The Business. Both reveal a delight in intelligent conceptual
design. Frost favors simplification and “tidy” designs, which may explain his
extraordinary ability to work with letterpress and woodblock typography as
decorative elements that are always wholly related to content—though perhaps
not always appropriate to its tone and style. By reducing the number of design tools
in his palette, Frost is able to focus on making each element work extra hard to arrive
at clean, bold solutions.On Big magazine (below),
an alternative style title printed in Independent
Magazine
Spanish and English,he worked with letterpress guru Alan Kitching to produce type
that he employed playfully as skyscrapers, speech bubbles,a mask, and various other
objects,
allresponding to the stunning accompanying photography, which in turn
echoed the work of seminal New York photographer William Klein. And on the U.K.
magazine Zembia,a literary magazine that wanted us to“have fun with words,”
Frost literally interpreted that fun on every page, with bright, energetic, irreverent,
and playfully unpredictable designs centered in most cases on type as decoration.
Frost’s skill goes beyond individual page solutions, however, to incorporate
another, equally important aspect of editorial design: the ability to handle the flow
of a publication so that the whole product is an exciting, constantly unexpected
experience for the user. Nowhere is this more evident than on Zembla, where
stunning photography, much of it black-and-white, was combined with letterpress
to surprising and delightful effect,and where the regular editorial department—
letters, reviews, news, and so on—received as much attention as feature pages. forward
looking
back,
Looking
V:
171
 EL PAIS
ELENA ANAYA
T449
Fernando Gutiérrez
"SE PONE EL CHANDAL Everyone associates Benetton’s Colors magazine with its original creators
Sg La actriz encarna a una | mee"
=i desalifiada chicade —_| RAVES’ LEJANAS Oliviero Toscani and Tibor Kalman, but it is also very much the product of
sea PUCDIO en ‘Rencor’ lena por el mundo

TENTAGIONES Fernando Gutiérrez, who became its creative director in 2000, adopting Kalman’s
original concept of visual reportage as honest, stark storytelling. A versatile
designer, Gutiérrez has worked on everything, including book publishing,
communications campaigns, and editorial design, all produced by his own
company within just seven years of graduating from the London College of
Printing. Since then he has been quietly reshaping the landscape of editorial
design in Spain and beyond, first on a government department youth magazine,
for which he created a format based on a double grid, but most notably on the
Spanish fashion magazines Vanidad and Matador—a literary and a photography
journal respectively—and on the newspaper E/ Pais. He has designed and art
directed a full range of daily sections and supplements for E/ Pais, including
the youth-oriented Tentaciones (left and “Conexion” spread opposite) and the
Sunday EPS, which has a nationwide readership of 1.2 million. These are printed
on low-grade newsprint, yet play to the strengths of the format and stock but
are not confined by them. Gutiérrez was keen to design them as stand-alone
magazines rather than as newspaper supplements, and the dynamism and
panache with which he achieved this goal saw sales rocket.
On all these publications what is evident is Gutiérrez’s ability to use
Design
Editorial
Direction
Art
172
+ design elements to express the title’s identity and give readers an appropriate
experience. Moreover, his work is infused with a cultural and national identity,
which makes these magazines stand out from the crowd. On Matador, for which
Gutiérrez plans to produce twenty-nine issues by 2022 (each annual issue being
“numbered” with one letter from the Spanish alphabet, representing an homage to
a different typeface), the key design elements are the high-quality stock, large-scale
format, and the printing. These combine with a formalism in the layout (see below)
to create a dramatic and distinctly unique publication. Themes focusing on identity
are overtly about nationality, but other less obvious topics also keep the title’s
Spanish parentage in evidence.

CABARET PUNK

Subversiva, impudica, divertida.

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 Cipe Pineles
Nowadays, it is a given that photographers, illustrators, artists, and editorial
designers are allowed to interpret a story personally; indeed, it’s a practice
that virtually guarantees a result that, whether conceptual, impressionistic,
expressionistic, or literal, will be original and unexpected. Its invention was the
brainchild of Cipe Pineles,
who in 1946 initiated the practice on Seventeen
magazine when she began commissioning visuals for fiction.
Pineles began her career under M.F Agha at Condé Nast, where in five years she
learned enough to take her to Glamour in 1942 as the first autonomous female art
director. Here, she took fashion shoots into galleries and open spaces, bled images
off spreads, cleverly guided readers from four-color to two-color images,
introduced drama and scale to photographs, and gave a personal twist to editorial
design by integrating modernist principles of structure and abstraction with
playful use of visuals and type. But it was on Seventeen (top left and opposite),
the first magazine aimed at teenage girls, that she really came into her own.
Both Pineles and Seventeen’s founder and editor Helen Valentine viewed
their readers as serious, intelligent young adults, and gave them serious, intelligent
content. Pineles did so by introducing them to some of the most thought-
provoking art of the time: the radical politics of Seymour Chwast and Ben Shahn,
among others. She also introduced a system for the use of type to define and shape
individual sections, and brought American figurative typography into the fashion
Design
Editorial
Direction
Art
174
+ and editorial spreads, replacing type with objects to create visual puns, and
manipulating and interacting with letterforms (scratching, tearing, hand-lettering,
and so forth) to add meaning and expression to a story. In this sense her work
echoed what was happening in the American art world, where expression was
moving away from the figurative to explore directions such as conceptualism
and abstract art with the use of wildly varying media.
Pineles expanded her experimentation and intervention with type on Charm
magazine in 1950. Once again, here was a thoughtful, intelligent publication,
bearing the strapline “for women who work,’ which consciously and firmly located
its readers in the context of a working and changing world in which women
BRIDES IMPORTATIONS.LIMITED INCOME PORTFOLIO.
APRIL}, 1939.PRICE 35 CENTS
played a vital part. Pineles responded to the magazine’s remit with a modern
realism that was refreshing and new. Fashion shoots were conducted against city
backdrops and freeways to reflect the country’s industrial revolution, vernacular
type expressed the two-dimensional realism of urban space, and typography was
used to give impact and emphasis. Above all, it was Pineles’s ability to find and
work with artists and photographers, treating them as friends as well as
professionals, that marks her as one of the great art directors. She won every
major design award possible during her lifetime, illustrating the importance
of strong productive relationships with contributors and the ability to
communicate effectively.
 growers, becuuse potatoes grow better in colder
climates. Majne leads the rest of the countey

your pounds sweet, but usually well under two

pounds per person, Yet millio of people in
the world rely on the rich root for a major part
with abou! one-sixth of the erop. All told, the
United Stotes raises about
of white potatoes annual
6 million bushel
That's a lot of

potato
puds. We're no champs, though, In Germany,
of their food needs. wine, cooked with beef marrow ar spiced and the greatest polato growers in the
We bring up the point now because you eun preserved (us, we don’t blame the homefolk
do a job in your own fomily—a job that will billion bushels a year are produced
today's recipesare more inviting) You never see any of these potatoes while
help feed other people, With many foods so At yout the same tine, otber New World
and others urgently needed for « ernvay
they grow. The ve Je king isreally a blob
taters, spuds, murphies, adventurers brought both sweet and white that form at the end of an underground stem
shipment, the plenti{ul potato ean, pinch-hit for potatoes back from Virginia to England—and
you name them but make grains and help you make-more of meats and A new crop of potatoes In made by planting a
met With the same resistance. In fact, the feel plece of un old potato thut contains an On
poultry, This is your cue to “sell” the potate in so strong that an organization called
the most of them—especially now commercial potato forms, Jarge troctor-drawn
your home, if st is lithe used there. When
mother recheeks the price and father dips into machines can fl t four r of seeds, spaced

a tasty dish of spuds, you'll find your task is as

What's your potato-eating score? Go ahead
add them up: the bay of chips you had alter
school, the baked spud last night; a side of
French frieds with your lunch Tuesday; baked
sweets on Sunday nd there's not much more
» (about
Maybe you're watching your waistli
little myth, more later) or m 2¢, like
many Am Jeans, you just don’t give the potato
its delicious due,
This crisp and crunchy or smooth and bland
or sweet and cre: ny tuber (depending on how
you take it) is more than just another vegetable.
In the world’s history it has time and again
spelled survival for a nation.
This struck us with force some months ago—
right in a front-page headline. We picked up
the morning paper on the wa to market. It
reported a drastic cut in Britain's food ration.
Each person was to be limited to three pounds
of potatoes a week. Drastic? Not to us, On
most American grocery lists is a small weekly
potato order—maybe five pounds white; two
easy as it is helpful to the world crisis.
For the last hundred and fifty years the
potato has been top brass among the vegetables,
but back in the sixteenth century when the
Spanish invaded South America this native
product was a mystery to them. However, the
Indians seemed to survive on the rool, and to
men who braved the unknown ocean this was a
challenge to be picked up. ‘They tasted, they
saw possibilities and brought quantities of the
new find home to Spain. Their countrymen
would have none of it—maybe because
r sailors tried serving the root steeped in
et” fought biwery—but in vain—t
thirty-six inches apact, at one ime. Thousands
koop the potato out of Enyland, And that, be- of eyes wre cut from one variety of potato and
Hove itor not, is how the nickeane spud, taken
dropped singly six to twel hes apart. The
feom the initials of the society, came to he same mechanized planter adds fertilizer ay the
In France there's the little story about how the xeods are planted; while th grow, v are
King trickod his peuple into trying the potato, 8 to avoid di case. Huge po-
He put an armed guard around his garden and
tuto ¢¢ care of har esting the crop:
wouldn't let anye ened the "secret" crop.
on lar
When the potatoes werefreshly dug he remo’ ed
the guard, and suce enough that night t ° gar
den wa raided. Th people took home the
potatoe . evoked, tried and liked them
In this country, the potato is grown In every
the single State, Like the sun which never x¢ mm
the British empire, the potato is planted during
month of the year iy one of our States.
orthera States are the greatest potate

90

forward
175
wealhor conditions, taking serial photographs
ete. And they-have been. emple yed in many
interes S Ways during wartine—Contarles
ing
ago, a Korea nemil-sent a kite, with Tine
Aitached, to the opposite bank of w river. A
cable followed the line, forrning the nucleus
from which a bridge was built, The Japanese
¢ being Rip. We mean it literally developed’ a man arrying kite, Invaluable in
April wind is up and you feel if you scouting t © enemy’s position, Many armies
you'll burst—zo \isedl to emp kites for signaling purposes,
heat you thinking, “Girls Now some airplane lifeboats © equipped
with k carrying a radio antenna which
automatically signalsan aS
As the illustration shows, kites can be made
wonderful
ic (see the party story
ing variety of shapex anid sizes.
Probably the most famitiar to you 18 the two- back,
looki
Looking
ou ¢ of delight
ore-bought ‘kites
stick, diamwad-shaped kite (see directions on
ake and fly it on A kite
V
king a kite of » the Sanplune’ shoiwn on the next
© was used by the Navy for target prac-
elf a kite. Tle becuuse of a special rudder it could be
and send them s aring made to do nose dives and loop-the-loops in
tand the the sky. The box-kite can be flown te
ed for some- helyhts and, due to its gres rdiness, is the {
most often used for carrying sclentitic i
ancient times were uments. The decorative Chinese and
iatic peoples—Chinese, Japanese, Ko- panese kites will fly at the slightest pulf of
resns—and primiti tribes like the Maorls ir. Thecentipede floats with grace, the eagle's
The letter beled kites protected them tail flutters, the Oy’s eyes spin round on thelr
evil ts and often kept th tiny bamboo ax as it Soars through th

their re fs all ni it. Sometimes these Almost a y paper can be used to m

kites were equipped ith reed whistles which ki but tissue or 9 igh rapping paper 1s
emitted a shrill note in the wind. The Korean best. The sticks should be { spruce or bamboo
child’s counterpart for a letter to Santa Claus and light cotton twine vill be strong enough
wasapaper containing birthday requests, sent to fly a medium-sized kite. Tails provide wind-
aloft via kite. It was assumed that if the kite re istance and, while not always essential e
got up high enough, the gods would read the picturesque. They may be made by tying bits
peper and take note. The Chinese believed of paper or rag onto a piece of twine or by’
they could transfer their own troubles to the braiding thin strips of paper or rags,
shoulders of the gods through the medium of Ready to fly? We'll wager you and your gang f
a kite. An hour's flying would leave a hitherto will find jt's more fun than you've had in
harassed Chinese cheerful and relaxed! Kite- month of windy days, and it won't be long
flying has always been so popular in China fore all the teens in town will be following
that shopkeepers run to the street with their
kites in between customers! And every year
the ninth day of the ninth month is known as
Kites’ Day, when every Chinese male takes a
holiday to fly his most magnificent kite.
Everyone knows about Ben Franklin's kite
experiment to prove that lightning contained
electricity. Kites have been used for scientific
purposes since the middle 1700's—for testing

Pf
HY BARDARASMOENCH
fi
G
104
 David Hillman
Newspaper designers rarely achieve the same level of fame and recognition
as magazine art directors,
but a notable exception is David Hillman, the British
designer renowned for his audacity in putting content above the title and using
two fonts for the logo when he redesigned The Guardian newspaper in 1988.
Part of Hillman’s strength is his involvement in the editorial as well as the design of a
publication.On both The Sunday Times and Nova, which he joined in 1968,
he not
only art directed but also worked as section editor and deputy editor, and it is likely
that this experience and understanding of editorial has played a significant role in
a four-decade career that has involved designs and redesigns of titles worldwide,
including New Statesman and Society, Le Matin de Paris, and People magazine.
However, it is above all for his work on Nova and The Guardian that Hillman
is rightly lauded,
and his redesign of the latter in 1988 is seen as a turning point in
newspaper design.A close relationship with the paper’s editor, Peter Preston, gave
him an in-depth understanding of both the title and its future—a future that was
assured through Hillman’s work, which transformed a stuffy, old-fashioned
newspaper into a modern, forward-looking publication and raised the 18- to 25-year-
old readership by 30 percent.That it did so as much through the restructuring of its
content as through Hillman’s design was acknowledged by very few; but Hillman
understood this completely, and it is this awareness of every aspect of editorial,
and what the visual communicator can bring to it, that underpins his work.
Design
Editorial
Direction
Art
176
+

Weekeiid Home news, page 4 Be ‘5 te ; Sport, page 18

Hostage: Brian Keenan's own story

Thursday
February 18
1988
Published in London
and Manchester

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Nova
Founded in the U.K. in 1965, the radical women’s monthly Nova saw its remit from
the outset as being a women’s version of a men’s magazine—a title that would
offer its readers intelligent conceptual content that went far beyond fashion and
makeup. Art director Harri Peccinotti and editor Dennis Hackett were united in
their determination to design a magazine that reflected this forward-looking
stance, and drew on the American expressionist style developed by M.F Agha
and Alexey Brodovitch in the 1950s to do so. Covers, in particular, used a
combination of unexpected image, space, and text to reflect confrontational and
often explosive topics such as racism, abuse, sex, and politics. Photography was
stark and expressive, both in content and cropping. But type was also innovative:
Kickers in Times font covered half a page and demanded as much attention as the forward
looking
back,
Looking
177
V:
images. The legacy that Peccinotti left for David Hillman, who worked on Nova
re all for equalityofthe sexes
from 1969 until its demise in 1975, was ideal for documenting and exploring a —but this
th Soe mand
period of intense social, sexual, and political upheaval through bold, in-your-face
visual elements (in particular photography, which he was highly skilled at using
as reportage).
Hillman’s ability to take design beyond defining a publication’s identity to
expressing its content, tone,and stance was honed on Nova, highlighting the
importance of being involved in all aspects of editorial. Acting as both deputy
editor and art director,he was able both to interpret the magazine’s identity as an
uncompromising, individualistic title, breaking boundaries and taking risks,and to
look at individual stories. Crucially, he believed photographs could tell stories,and
commissioned many such “stories” from photographers with different perspectives
and even opposing stances.As a result, the magazine consistently broke new
ground, but always in a way that was entirely appropriate to its identity and content.
 ‘ “| Fabien Baron
| 4 For Fabien Baron, art direction runs in the family. After just one year of art
4 _4 school at the Ecole des Arts Appliqués in Paris, he started work with his father,
who art directed a number of French newspapers (including Jean-Paul Sartre’s
radical left-wing newspaper Libération), later moving to Se/f, and then to GQ in
the U.S. But it was on Italian Vogue in 1988, and then on Harper’s Bazaar with
Liz Tilberis, that he carved a reputation for strong, distinctive art direction that
broke all the rules, including commercial ones. On Italian Vogue, for example,
he simply ignored the accepted diktat of close-up figurative cover shots, and
commissioned photographers such as Albert Watson to shoot arresting abstract
portraits by reducing shapes to strong graphic devices that had real impact on
the newsstand.
Baron’s trademark style of bold graphic solutions was developed by minimizing
the elements of design, as well as the range within those elements, drawing his
wewvoguacom
color palette from primary colors used sparingly and to startling effect with big
blocks of black. Similarly, his illustration style is reduced to a few select artists (on
Italian Vogue he only ever used illustrator Mats Gustafson,
who created Interview
magazine’s logo) and his photos are mostly black-and-white images cropped in
unusual ways to create striking results.
Above all, it is his use of typography as a constructive architectural element
that Baron is famed for. On Italian Vogue, his use of huge full-page headlines to
Design
Editorial
Direction
Art
178
+ open a feature, combined with a minimalist style and large amounts of white
space, created a new modern aesthetic (below middle). His letterforms echoed
elements of an image; scale combined with a shape, a curve, or a color would act
as the cornerstone on which to build a typographic solution. These became visual
responses and connections that were perfectly adjusted to the magazine.On
Interview he used this approach to strengthen textual portraits of interviewees,
constructing type to express a sense of the person visually. In both cases, Baron
presented the reader with visual solutions that were always coherent and
exuberant pieces of editorial design. More than a decade later, his work on Vogue
Paris (above and bottom left) continues to do this, playing with image, text, space,
and scale to express the movement, action, and vitality of fashion in a new century.
Harpers

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Merz and the New Typography
The influence of the prewar modernist art movements—Dada, futurism, and
constructivism—on the postwar editorial design boom cannot be overstated, but
if their tenets can be seen in any one publication, it is the Dada publication Merz.
Designed by Kurt Schwitters in 1919 as a series of collages, then with El Lissitzky His 4vin yur
Fhe’
aS ys,
in 1924 as a magazine, Merz took the principles of these movements—in
particular, the possibilities offered by mechanization—and applied them to all
aspects of editorial design. Fundamental to this was the understanding that the
shape, form,and makeup of the printed page could be radically reshaped, and
ultimately liberated, by movement, dynamism, balance, and a new approach to
typography (what would become known as the “New Typography”).
These were
all possible because of emerging production techniques such as lithography and
lino-typesetting. But the most important transformation was the massive
underlying shift in print that these innovations ushered in—the possibility of
true expression, rational organization, and democratization in graphic design,
all delivering more effective communication. Such work influenced not only
the anarchic look of punk fanzines and of Neville Brody’s work, but also in more
subtle ways had an impact on the visual playfulness evident in many newsstand
publications by art directors such as Fabien Baron.

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 David King
David King’s name surfaces regularly in British design. Mostly, it does so in
conjunction with Michael Rand, with whom he revolutionized newspapers
through their design for The Sunday Times Magazine in 1962 (below). This
brought radical change to newspaper design, introducing color and a cinematic
feel to the imagery through graphic effects and cropping that made the whole
layout feel alive. They constructed cinematic photo sequences that stretched over
three or four spreads (a luxury possible thanks to the low volume of advertising).
This was a device based loosely on the style of the Russian filmmaker Sergei
Eisenstein,
who cut from long shots to close-ups to create a new style of
filmmaking and editing that would reach beyond the medium of cinema, and
on film noir, which used a similarly stark and dramatic narrative construct.
King worked as art editor of The Sunday Times Magazine from 1965 to 1975,
where, with Rand, he produced some of the most eye-popping graphics of the era,
and in the process raised sales by 150,000 in a year. Techniques such as halftones,
silk screens, hand-coloring, and montage formed the basis for the graphics, which,
constructed through pasteup to create a layered, textural effect, helped
compensate for largely black-and-white photography. Illustration was, of course,
color,and The Sunday Times Magazine made the most of this, commissioning
illustrations for subjects that would now be visualized through photography.
Drama lay at the heart of all David King’s work, even when he moved away from
Design
Editorial
Direction
Art
180
+ photography towards a more typographic language on City Limits,a London listings
magazine that broke away from Time Out.The acrimonious split was rooted ina
disagreement between management and staff over unionization, so for his covers
King raided the constructivist cabinet for a style that was bold, dynamic,and,above
all, political.
The fact that the style was also cheap to produce was a bonus, and took
King back to the knowledge and skills he had developed in print techniques while
at The Sunday Times Magazine. King’s love of visual history informed City Limits
more than any of his other work,and would influence his subsequent career, in
which political ideology and left-wing politics played a major part.Indeed, his
interest in Soviet graphics and art has resulted in a collection that is the largest
of its kind in the Western world, containing over a quarter of a million pieces.
 3 5& = :

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MAN Tom Wolsey

ABOUT
THE BLACK
COUNTRY
Many of the big names of modernist design are Europeans who fled their homes
to forge new careers and lives in America. A notable exception is Englishman Tom
Wolsey, whose extraordinary art direction on tailor’s magazine Man About Town
(later About Town, then Town) during the early 1960s brought Swiss modernist
ideals to the previously ornate, classical taste of English periodical publishing. His
work was typified by the use of slab serifs and modern sans serifs such as Haas
Le a “a ae
Ttzis
_ Grotesk—he aggressively combined the brute force of these faces with equally
uncompromising, startling illustrations and set the two onto grid-free layouts that
were all about horizontals and angles. The result was a form of design that had
immediate and forceful impact but was never monotonous, thanks to Wolsey’s
rejection of the grid, occasional playful integration of display fonts, masterly use
of picture placement, unerring ability to create movement and dynamism, and
instinctive knowledge of good photography. He commissioned some of the best
photographers of the decade, among them Don McCullin and Terence Donovan,
and employed excellent print production to reproduce their work, setting the
standards and styles for magazine design in the 1960s and on.

| | |
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Boredom! Boreable! Bore- passage to the moon and| of boredom have just slipped | the fact that it's Boredom
Elizabeth Smart | To stuff? To satiate? From |ability! It’s a street-cry of TOMORROW MORNING | even farther? into mass BORO DHeneeet | itself alright, creeping in-
| F. deriv. bourrer? Undecided, | the times. E yen ¥ nly Ican't. I fancy Iseeboredom. | That self-awareness has be- | fectiously round, as danger-
| Bat certainly it’s aword you | lip-service. it Can you see anything | And not only in Under- | come so uni 1 that we} ous as any of our new-
| can't go a day without he the copy-cats and bandierg similar to what Keats saw, | grounds. In buses. Trains. | now know we're bored, while | fangled lethal toys, or the
Design
Editorial
Direction
Art
182
+ ing now. Even people who
| won't admit to being coed | echo
| of catch-phrases there's an
of anguish in the cry,
even though
dance peppily
bright headlines |Off
2
| before we only felt bored; | sly new bugs that get them-
suffered in our unenlighten- | selves born just fast enough
| when cross- questioned | Sometimes you actually hear " t | ment ‘agriefwithoutapang,| to outdistance pursuing
| directly, use the word
all day | people say (and they don't beckon distractingly with Vv void, dark, and drear. A/| scientists by a microscopic
| long, Listen and you'll hear even seem to know how treble chances and £300,000 | oozing agonizingly from the | stifled, drowsy, unimpas-| head, and keep them at least
| it, What a bore! How boring! |shocking they are): for a penny, dropping like | wastes of Sunday streets? sioned grief. Which finds no | from being bored

D 0 BE a
Bored is a word you never heard
‘DURING THE WAR PEACETIME PURPOSE WHY? WHY? WHY? |sutivent.- averstning easy,
Could it be our amusements? fun we had, dear,’ say
on Victorian lips. A bored FE WAS
Oire BORING
OBSERVED
AGO BY
18 0 YEARS But if it's Boredom, why are
erionad Tend sit
nostalgic tycoons and lost-
in-luxury film stars? ‘in the
Elizabethan sounds like a mixed sas
epithet. Boswell suffered from a ; watching tele food old days when we had
hen there were no vacant oS » 5: | to struggle to afford a meal
remorse, guilt, social frustrations, faces pulling dully at slot- | JOHN KEATS, 23 SPORT ANCBente out of spaghetti and meat
and pox; Johnson from sloth and
spleen. But boredom? As a
machines under the brutal|| ‘I go among the Fields’, he song round the old plano, or balls?’)
neon glare. ‘We felt we were | wrote in March 1819,’ ‘and making a set of petit-point | Third guess:
general idea it seems to have really doing something then. | catch a glimpse of a Stoat or dining-room chair-covers, or |Could it be the alphabetical
sprung up as unnoticed and We had a purpose.. We were | & fieldmouse peeping out of | bombs?
ubiquitous as the other strange all in it together’, But does |the withered grass—the ies ae book of pressed - |Or is it because of the b )
extras of the twentieth century, it take war to cure boredom? | creature hath a purpose and 4 > pict turesque No use acting or em
along with slipped dises, teenage Has it gone that far? It | its eyes are bright with it. spots we found them in? sinceit might so easily go
idols, nylons, suburban architec- | certainly used to be so. Igo amongst the buildings of Ns Might as well wait and
ture, virus infections, and bombs. | BUT WHY? WHY? a city and Iseea Man hurry- Second guess: | ... 80 life has got rid-
| ing along—to what? The Could it be the affluent society? | Giodwithadentist's-w aiting-
| WHY? Creature hath a purpose and Or is it because we're too | roomatmosphore?
| his eyes are bright with it’.
Fortune
The business magazine Fortune, launched in 1930, ushered in a different style of
magazine, one based on the concept that the visual dimension was as important as
the editorial, and that an orderly, intelligent, and lively unification of the two could
achieve something entirely new. To achieve this balance, Fortune’s publisher,
Henry Luce, brought in designer Thomas Maitland Cleland to devise a format
emphasizing bold illustration, commissioned photography, and beautifully printed
information graphics. Cleland, in turn, recruited Eleanor Treacy as art director
(a first for women in magazine production).
This fertile partnership delivered
content that celebrated America’s greatness as a capitalist nation at a time when
the country was experiencing one of its bleakest periods: the Great Depression.
Targeting the country’s elite and priced accordingly, everything about Fortune
was bold, not least its format: 160 to 220 pages at 14 x 11% in G6 x 28.5 cm) of
heavy uncoated stock weighing 3 lbs (1.36 kg), delivered in a distinctive thick
cardboard package. Subscribers were cherished, flattered, and respected; a lively
mix of subjects from science and culture to business and politics, thoroughly
researched and written by leaders in these fields, kept interest and loyalty.
Cleland used the best illustrators, photographers, and artists, including
Margaret Bourke-White, Ben Shahn, Antonio Petruccelli,and Herbert Bayer, to
ensure visual material was communicated with panache, style, and intelligence. For
more abstract topics such as industrialization, science, and finance, Fortune relied
on information graphics and illustration, but such visual devices were well suited
to delivering the emerging art of marketing and statistics. It would have been easy
to present pie charts and mathematical data familiar to all of us from school, but
Maitland Cleland recognized the importance of graphics remaining in keeping
with the magazine’s urgent, forward-looking stance. Consequently, Fortune was
full of dynamic bar charts that echoed America’s emerging skylines and a style that
expressed the changing role of the machine in society, which went on to influence

ott
the design of magazines and information design worldwide.

GisBatlar & Copy SERLEMBER 1937

F rtun:
one powar a copy OCTOBER 1943 ten vo.ars A YEAR
forward
looking
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Looking
V:
183

R. My 1a A
 0z
Radical psychedelic magazine Oz was first published in Sydney, Australia, as a
satirical publication edited by Richard Neville and coedited by Richard Walsh and,
crucially, artist, cartoonist, songwriter, and filmmaker Martin Sharp. It was Sharp
who drove the design direction of the magazine in its second incarnation as a
London hippie magazine (from 1967 to 1973), where it garnered artistic kudos in
equal measure with establishment opprobrium, and in 1970 a prosecution that
would result in (at the time) the longest obscenity trial in British legal history.
For the London issues of Oz,Sharp was able to take advantage of new advances
in printing, stock, and inks to design or show some of the most experimental and
adventurous covers ever seen in editorial; many editions of the magazine included
dazzling wraparound covers or pullout posters and were printed in metallic inks
or on foil. With these covers and materials Sharp was pushing at the boundaries
of print technology and offering a rich metaphor for Oz’s content, which was
extending the limits of what was permissible by exploring accepted notions
of pornography, libertarianism, obscenity, and radical thinking.
Formats and sizes changed frequently, with Sharp as happy to explore the
possibilities of landscape formats as he was portrait ones, but what remained
constant was the ability of Oz to reflect and express brilliantly a subculture’s
shift from antiauthoritarian, drug-fueled anarchy and experimentalism to
dilution and eventual absorption in the establishment it had raged so hard
Editorial
Direction
Design
Art
184
+ against. It did this not just through its covers, but also through its design by Jon
Goodchild. Working often with Sharp and other contributors, Goodchild turned
the art room into “a theater of experiment,’ happily using pasteup to create
collages and loose typographic layouts that moved editorial design away from
the rigors and constraints of the prevailing Swiss style, with a lasting impact
on graphic design.

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 Looking forward
While it is almost impossible, and certainly foolish, to try and predict emerging
trends in any field of endeavor, it is useful to touch on broader trends in graphic
design. For some years, the future of graphic design has been one of widening
horizons and a questioning by designers of what exactly graphic design is and
what it means to be a graphic designer. Where previously the boundaries between
different disciplines were almost impossible to cross, today’s designer is a multi-
disciplinarian, as likely to be taking the photos as art directing them, while also
supervising the layout or even coding the Web site where they might appear.
The modern designer must therefore be part printer, part photographer, part
coder, part editor, part art worker, part illustrator ... but he or she must be more
than the sum of all these parts. Increasingly, designers must be aware of economic,
cultural, and technological shifts,and emerging trends in different media. The huge,

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Design
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 emerging “BRIC” markets (Brazil, Russia, India, and China) will offer publishers new
readerships, but will also affect labor, distribution, printing, and production of
editorial design worldwide. How does this affect the editorial designer?

Cutural shifts
Nova and Twen illustrated the explosive, experimental youth culture of the
1960s as much as Jimi Hendrix and acid; The Face and i-D are recognized as eae :
; Below While it may not be an option to learn Chinese
groundbreaking design because of their ability to deliver an antiestablishment or Urdu, looking at cultural differences in design, at
how and why they may occur, is bound to be useful
punk attitude; David Carson’s work on RayGun and Bikini emerged from a and of real interest to the intellectually engaged
West Coast surfing culture; John Plunkett and Barbara Kuhr’s work on Wired visual communicator—these well-designed front
ri - : z : ; : ; ’ pages come from Brazil's Folha de S.Paulo (1), (2),
expressed the colorful energy and dynamic design of the Web; the antidesign (3) and India’s Malayala Manorama (4). And again,
style of Loaded reflected a men’s culture that was all about hedonism and excess. _taying informed and abreast of world economies and
their developments will make you a more desirable
Good editorial design, because of its periodical and its serial nature, reflects, member of an editorial team.

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 thelondon
bapa icra aaah oath wire2
Above thelondonpaper's lilac color (used for the logo
and in all the marketing material), combined with the
use of lots of short stories and pictures, sans serif
headlines, and elegant use of white space, gives the
brand a youthful energy (1), (2). Interacting with
the reader through the use of seemingly personal,
conversational items makes the paper appear friendly
and personal. It provides a useful function in design
Design
Editorial
Direction
Art
188
+ terms, too, breaking up the page into segments and
offering short, user-friendly places for the eye to rest.
These are all elements inherited from Internet design.
PEER'S 40MILLION SHARESUPFORSALE
] Takeover bid
responds to, and is intertwined with culture. One of the biggest cultural shifts
currently underway is again related to the Internet, but this time in a far wider-
reaching way.
In designing pages for the Internet, designers have always had to take account
of issues such as the unwillingness of younger readers to read lengthy articles, the
discomfort of reading large chunks of text on a screen, constraints on typography,
the limitations of the landscape-based format of most monitors, and the need for
more display material, and these have all played their part in shaping the layout of
the online page. But they are increasingly shaping the layout of printed editorial,
too. This is most clearly visible in the gossip magazines and free newspapers, a
trend which could well be the publishing model of the near future.
In London, 2006 saw the publication of two competing new free newspapers,
London Lite and thelondonpaper. Both new titles have lifted a number of features
from the Net, including the “citizen reporter” model that devotes much of the title
to reader contributions and offers readers many more “interactive” elements than
a real newspaper would, aping the blogs, chat rooms, and community feel of the
Net, and also the emphasis on “celebrity” over real hard news. Both titles are made
up of lots of short, snappy articles, and both borrow design features from Web
pages. On thelondonpaper, color is used liberally on display features such as
boxes, information graphics, subheads, straplines, rules, and pull-quotes; white
space and delicate rules make the page look clean and contemporary; and a
sans serif face gives the design a firmly modern stance that is youthful, a key
requirement for the younger readers the paper is hoping to attract.
Technological shifts
It is incredibly hard to predict how fast-changing technology will impact on
editorial design. Roll-up computer screens and holographic keyboards already
exist, which could seriously impact on the survival—or otherwise—of printed
matter, in particular newsstand titles. Conversely, improving digital printing and
Internet distribution could see independent publishing continue to grow,
offering exciting design possibilities and directions for editorial designers.
There’s little the designer can do to prepare for such shifts, but staying in
touch with technological developments through research (in magazines CHAPTER 2
such as Computer Arts, Wired, New Scientist, Scientific American, MacUser, One mile away, the hulking albino named Silas
limped through the front gate of the luxurious

and PC) will keep you ahead of the game and help you develop and brownstone residence on Rue La Bruyere. The
spiked effice belt that he wore around his thigh
cut into his flesh, and yet his soul sang with
pursue strategies and skills for the future. At the time of writing, two key satisfaction of service to the Lord
Pain 1s good.
technological shifts are the emergence of both Print on Demand (POD) His red eyes scanned the lobby as he entered
the residence. Empty. He climbed the stairs
and eBooks or other portable computer screens. The immediate effects of quietly, not wanting 1o awaken any of his fellow
numerarics. His bedroom door was open; locks
were forbidden here. He entered, closing the door
these will be felt more on books than magazines and newspapers, but there behind him.
The room was spartan—hardwood floors, a
are profound implications for all publishing, and for editorial designers. By pine dresser, a canvas mat in the corner that
served as his bed. He was a visitor here this

enabling an exact number of copies of publications to be printed, POD will week, and yet for many years he had been
blessed with a similar sanctuary in New York

do away with the existing arcane publishing model that necessitates the
printing and distribution of thousands of unwanted copies of a publication
with the aim of bringing down the cost per issue. With POD, publishers will
be able to “take orders” that can be dictated by the number of subscribers,
the number of retail outlets available to them, or any other set of criteria.
The
importance of circulation figures may consequently be challenged by other,
more targeted figures, which might lead to designers being able to design Above What will the impact of the eReader (3) be
on editorial design? It is impossible to say now,
for a much more clearly defined reader. but designers must be ready to meet fast-changing
technological shifts that may see publications move
to much smaller formats or begin to incorporate video,
Electronic podcasts, and interaction.
“Paper displays” on devices such as the Sony eReader may have the opposite
effect. Lightweight and boasting “paper” that is reflective, daylight-readable,
adjustable for magnification, and with a near 180-degree viewing angle, could
these readers spell the death knell for good editorial design? It’s hard to
say, but what is definite is that they will change the face of editorial design
in ways that are impossible to predict at the moment.
The way in which
designers use typefaces, images, and display elements to lay out pages might
be severely restricted. Users might determine which pictures they want to
see with which story, or indeed which story they want to see, eventually forward
looking
back,
Looking
V:
189
becoming the designer in much the same way that they have become publishers,
or part of publishing communities, online. So designers would do well to keep
abreast of technological shifts and developing software in order to stay ahead of
their game. And learning new skills remains important for the graphic designer;
these can keep your training as a graphic designer relevant and desirable in an
increasingly crowded profession.

Emerging trends in different media

Blogs, Web sites, podcasts, vodcasts, and interactive media are all areas in which
interactivity, screen-based rather than print-based, restricted typographic uses,
limitations imposed by the delivery and download speeds, and so on. But it is
not simply a question of physical differences; technology is enabling new
economic and distribution models, and these impact on design issues, too—
things are moving so fast that anything printed on the pages of this book is
 liable to be out-of-date by the time the book is published! There are, however,
trends developing now that show no signs of abating.

Multitasking creatives
Over time, many graphic designers have been adept in skills such as photography,
illustration, type design, writing, collage, and other visual areas that help them
communicate to their audiences, but contemporary designers need to be even
more multiskilled. Already it is useful for designers to be digital photographers, but
as the boundaries between media continue to blur, the best graphic designers are
likely to be those who can also make videos, construct audio-visual sequences
and art pieces, create animations, code script, and write and tell stories.

Multitasking users
Just as designers of print will need to learn skills to make them designers of
interactive publications, so, too, users and consumers are taking on different roles;
as the success of Web 2.0 phenomena like blogs, YouTube, Wikipedia, and MySpace
has shown, users are increasingly also becoming editors, filmmakers, reporters,
designers, and artists. How the role of the designer will need to shift to incorporate
these new users’ needs, and how the two will interact, is anybody’s guess!

The impact of the Internet and digital media on editorial design

Design
Editorial
Direction
Art
190
+ There are many examples of ways in which Web site design has already shaped
recent trends in editorial design, including the use of color and boxes, the
busyness of newspaper and magazine news pages, packed with many short,
lively stories, and the physical dimensions of publications altering. This Net/print
crossover will continue apace, though, as Jeremy Leslie has shown with Carlos,
by taking just some of the trends (in this example, size), and vigorously leaving

Below and right Another Magazine (1) successfully

JOHN MALKOVICH
translates its print offering online by changing very AN APPRECIATION
little in the design. This is a bold attitude that reflects
the brand and shows confidence in both media. Carlos ALIGE
Wy
Fister
(2) cherry-picks online design ideas such as size but HE'S THE OSCAR-NOMINATED US ACTOR
marries them with other design elements unique to HE'S THE CAKE-BAKING AESTHETE
WHO FLED TO FRANCE
WHO'S HANDY
print, such as the use of metallic inks. IN A FIGHT.
AND
HE'S
CLOTHING.
PASSIONATE
WHAT'S
ABOUT
NOT
POLITICS
TO LIKE»
33

‘ohn Malkovich sits on a train and regards

Je:passing countryside. He's dressed ina
pinstriped shirt, tie, charcoal-grey V-neck and
Ilack jacket. He sports a trimmed goatee. He
turns to the camera and says: “I'm not Mc
Personality. My personality is too cold and smace
alecky. 1 mean, I'm not co be teusted, pur it
PROJECTS / FASHION Wy PEOPLE / ART / LITERATURE / FEATURES / Cae InFo. [ hac way.”
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Horst Dlekgerdos 0 / wilyVenderperte/ inex Ven Lomaweerde &Vincedh Mat cin./ ase shore / at Malkovich played the sophisticated, creative
Mark Segal / Alexander McQueen / Crale McDeen If / Venetia Scot! «ames
psychopath, Tom Ripley. Maybe he's the insane, The Sheltering Sky, life's eternal vier
nihilistic sniper Joba Booth from In The LintOf And Men or the t
fire, Possibly the cold, manipulative art collector The Kampere. Wis
Gilbert Osmond in The Portrait Of A Lady? No. extent of bis
‘This is John Malkovich as John Malkovich. Not psychopathic
John Horatio Malkovich, the buffoonish aleer ego Of Fire, bun che first was fo
invented by screenwriter Charlie Kaufman in blind lodger, alongside Sal
Being JobnMalkovich, either, but Jobn Gavin In The Heart
Malkovich, the award-winning actor-director: Malkovich acting ability~superlative Beeek
designerentrepreneur, in a Sundance Channel — has only ever been part of his appeal
documentary on his directorial debut, The Dancer Fetare hebecame fear Mal
Upstairs, Kes worth emphasising: in his 30-year like a Jobo teving novel, It's ew
career, the boundaries beeween the accor and his tortured: it’s funnyandrich, |
roles have blurred somewhat. Partly because he’s a talkswith celish abouthis life
consummate actor, but mainly because, in real life / SER ee
and without a script or director, he's turned out | now that most starsare neurotic about privacy
to be even more funny, difficult, clever and | He doesn’t seem to feel the need co hide who heis
unbelievable than the characters he plays on the | or wherehe'scomefrom
hig screen. John was raised inBenton, Ilinois, His father,

DRAWINGS
BY
JOHN MALKOVICH
 ’ pts 4k

The Bible alerts.us to

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FRESH NEW TUNES FROM THE BASEMENT

THE BASEMENT

I) Ammomanes

warren lewis = collage

Above and left South African CD-ROM magazine

Sub_Urban, art directed by Nigel Moore, used
traditional print design elements for its publication,
Looking
forward
looking
back,
191
which was laid out and navigated like a magazine,
but made the most of the possibilities inherent in
V
digital media. Turning a page might bring you to
a music video, short film, original electronic
INT /-FILM / SOUND / FASHION / WRITING ()DIGITAt composition, or audio story, but underpinning
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 aside others (color, busy boxes, etc.), a skillful designer can make a publication
stand out from the crowd and still look contemporary and stylish.

Achieving individuality
There is an ever more sophisticated requirement for individuality in design to
make print stand out from the Internet or television. As Mario Garcia points out,
“As everyone increasingly gets their news via faster media (Internet, television,
etc.) than newspapers, news has to be refined.” This is equally true for print
design, which has to stand out from the immediacy its competitors can deliver.
Stock, special print techniques, inventive and surprising use of imagery, and good
printing will all play a part here.

Smaller publications
Whether on paper, laptop screen, or handheld reader, publications are likely to get
smaller. This is already happening with newspapers, which are responding to the
design elements imposed or directed by the dimensions of the screen and the
shorter attention span of many younger readers. It is possible that it will also
happen increasingly in magazine design, as paper costs are likely to rise and more
publications are likely to take the virtual route. Mario Garcia believes there are
benefits here for the designer:“Smaller canvases allow for better movement of
elements, and make the designer more focused and decisive in terms of what
Design
Editorial
Direction
Art
192
+ images to play in a protagonistic role, which allows space for type to tell the story
in a narrative format.” However, “Designers will need to be more focused and direct
in creating hierarchy,’ he warns.

User-driven design
As Western populations become older, it is likely that graphic designers will need
to cope with accessibility issues far more than they do currently. Color use, type
selection and sizes, brightness of stock, and clarity of layout will all be affected,
and possibly even dictated, by the needs of older readers. It is possible that best-
practice guidelines will be brought into use that match the Internet ones as set by
the World Wide Web Consortium (W3C). Designers will need to be aware of these
shifts and changing needs.
Many more trends will emerge. The knowledgable, interested, and curious
designer will be aware of them as they emerge, and will be ready to react, respond,
and reject them as necessary and as appropriate to individual preferences and
methodology. All shifts offer opportunities, and all real creatives will keep abreast
of these shifts and be ready to embrace these opportunities, whether they be
technological, cultural, or economic. For the graphic designer, there has never
been a more interesting convergence of all three than there is today.
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 Mini biographies
This book would not have been possible without the help of the following designers and editorial
staff, who patiently took the time to give us a huge amount of valuable insight into and information
about their work.
KOBI BENEZRI art director
Key design work featured in this book:
I.D. magazine.
Look at this work for: scale;
photography; white space; relationship
between design and content.
GARY COOK director
Cook Design
www.cookdesign.co.uk
Key design work featured in this book:
FT The Business newspaper supplement.
Look at this work for:
illustration; information graphics;
covers; photography.
Other key works by this designer:
Creative Review magazine, Time magazine.
Design
Editorial
Direction
Art
194
+ LEE CORBIN art director
JIM TURNER creative director
www.flaunt.com
Key design work featured in this book:
Flaunt magazine.
Look at this work for: stock;
photography; decorative fonts.
Other key work by these designers:
Detour magazine.
IVAN COTTRELL art director
Key design work featured in this book:
Inner Loop magazine.
Look at this work for: lo-fi aesthetic;
monochrome spreads; use of typography;
strong user-centered branding.
JEFFREY DOCHERTY art director
Key design work featured in this book:
Inside magazine.
Look at this work for: photography and
illustration; typography; scale; grids;
dynamic layouts.
JANET FROELICH art/creative director
Key design work featured in this book:
The New York Times Magazine newspaper
supplement, The New York Times
“T: Travel” Magazine newspaper
supplement.
Look at these works for: photography;
grids; negative space; cover design.
Other key works by this designer: Daily
News magazine; Daily News Tonight
newspaper (principal designer).
VINCE FROST designer
www.frostdesign.com.au
Key design works featured in this book:
Zembla magazine, Big magazine, The
Independent on Saturday newspaper
supplement, FT The Business newspaper
supplement.
Look at these works for: typography as
illustration; scaling and cropping; image
use; use of black-and-white.
Other key works by this designer: Little
Z magazine supplement; Chris Boot and
Andrew Cross, 5453 Trains, Lakewood,
New Jersey: Prestel, 2000; Lakshmi
Bhaskaran, Frost* (Sorry Trees), Sydney:
Published Art, 2006; David Jury, About
Face, Hove, Sussex: RotoVision, 2004.
MARIO GARCIA CEO and founder
Garcia Media
www.mariogarcia.com
Key redesigns featured in this book:
The Wall Street Journal newspaper; Die
Zeit newspaper, The Observer newspaper,
Liberation newspaper, Fohla de S.Paulo
newspaper, Malayala Manorama
newspaper.
Look at these for: vertical and
horizontal design solutions; different
formats; typography; color; different
approaches to newspaper and supplement
design; design as branding.
Other key works by this designer:
The Miami Herald newspaper, The
Philadelphia Inquirer newspaper,
Handelsblatt newspaper, El Tiempo
newspaper.
FERNANDO GUTIERREZ designer and partner
Pentagram
www.pentagram.com
Key design works featured in this
book: Vanidad magazine, Tentaciones
magazine, Matador magazine, Colors
magazine.
Look at this work for: scale and
cropping; stock; printing; type as
illustration; flexibility of grids; restraint
in font use; illustration; photography.
CRISWELL LAPPIN creative director
www.metropolismag.com
Key design work featured in this book:
Metropolis magazine.
Look at this work for: photography;
scale; grids; imaginative combining of
graphic elements; illustration.
Other key works by this designer:
Robert Polidori, with Martin C. Pedersen
and Criswell Lappin, Robert Polidon’s
Metropolis, New York: Metropolis
Books, 2004.
MARTIN VENEZKY designer
JEREMY LESLIE creative director
John Brown Citrus Publishing
www.jbcp.co.uk
www.magculture.com
Key design works featured in
this book:
M-real magazine, Carlos magazine,
Time Out magazine (1990-93).
Look at these works for: illustration;
innovative design solutions; idiosyncratic
approaches and expression.
MARTIN LOTSCHER and IRIS RUPRECHT
coeditors
www.soda.ch/magazin
Key design work featured in this book:
soDA magazine.
Look at this work for: unusual materials,
stock, and formats; typography;
photography, printing, and production
techniques; no-grid design.
MARK PORTER creative director
Guardian Media Group PLC
Key design work featured in this book:
The Guardian newspaper and
supplements.
Look at this work for: balance; grids;
type; illustration; typographic elements.
Other key works by this designer:
ES Evening Standard newspaper
supplement; Wired magazine (U.K.);
Colors magazine.
www.appetiteengineers.com
Key design work featured in this book:
Speak magazine.
Look at this work for: typography as
illustration; ephemera and unusual
materials as graphic components;
illustration; color and its relationship
to the grid and layout.
Other key works by this designer:
Barry Gifford and David Perry,
Bordertown, San Francisco: Chronicle
Books, 1998; Sundance Film Festival
literature and branding; Martin Venezky,
It is Beautiful. . . Then Gone, New York:
Princeton Architectural Press, 2005.
LISA WAGNER HOLLEY tutor and
graphic designer
Key design work featured in this book:
Fishwrap magazine.
Look at this work for: illustration;
display type; brand unity without
uniformity; hand-drawn elements.
MICHA WEIDMANN art director
www.michaweidmann.com
Key design work featured in this book:
Time Out magazine (London, 2005-2006).
Look at this work for: how to break
up dense copy; typography and
photography; color; listings design;
integrating a large number of
graphic elements.
Other key works by this designer:
redesign and art direction of biannual
womenswear magazine The Fashion;
Tate Modern campaign, exhibition
and catalogue design for “Common
Wealth” show.
mater
Addit
195
 Type foundries
There are hundreds of independent digital type foundries, many of which distribute their fonts via the big one-stop
shops. But don’t discount smaller foundries, which will often specialize in particular types of fonts, or will showcase
the work of contemporary designers who set the trends in editorial design. Below are the best of both worlds.
ADOBE
www.adobe.com/type/index.html
More than 2,200 typefaces and efficient
online purchasing make the Adobe type
showroom a great one-stop shop for
fonts. A good browse facility enables you
to search by name of font or designer,
plus its use, style, theme, and type
classification, making this site very
useful if you're looking for a particular
type of font.
BITSTREAM
www.myfonts.com
The first independent digital type foundry
was established in 1981 and now
incorporates more than 45,000 fonts,
all available via the Bitstream subsidiary
Design
Editorial
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+ MyFonts. A key feature of the site is
WhatTheFont, the one-of-a-kind font
identifier that enables you to upload a
scanned image of your desired font for
identification or closest matches.
EMIGRE
www.emigre.com
Established in 1984, Emigre developed
into a preeminent font foundry, and now
holds exclusive license to more than 300
original typeface designs created by such
contemporary type luminaries as Rudy
VanderLans and Zuzana Licko (Emigre’s
founders), Bob Aufuldish, Jonathan
Barnbrook, Edward Fella, Christian
Schwartz, P. Scott Makela, and
Barry Deck.
THE FONT BUREAU, INC.
www.fontbureau.com
The Font Bureau was founded in 1989 by
editorial designer and consultant Roger
Black and type designer David Berlow to
serve the emerging needs of independent
magazine and newspaper publishers
looking for bespoke typographic
identities. Since then, the foundry has
designed over 1,000 fonts, most of which
have become part its retail library.
FONTFABRIK
www.fontfabrik.com
This Berlin-based foundry headed by
renowned type designer Luc(as) de Groot
offers original and custom typefaces on a
great site.
FONTFONT
www.fontfont.com
The FontFont Library claims to be the
world’s largest collection of original,
contemporary typefaces. In among
over 4,000 faces is a vast range of styles,
from elegant text faces to distinctive
display fonts, all by the top names of
typography, including Neville Brody,
Erik Spiekermann, David Berlow, Max
Kisman, Enk van Blokland, Just van
Rossum, Tobias Frere-Jones, and many,
many more.
FONTSHOP
www.fontshop.com
FontShop is arguably the best one-stop
font shop around. There are thousands
upon thousands of fonts here, and all
the best independent foundnes are
represented, including 2Rebels, Baseline,
Emigre, P22, Club-21, Carter & Cone, and
Typotheque. Browse facilities are
excellent (and include a useful “browse
for free fonts” facility), and features
such as “what’s new” and “most
popular” columns help locate trends
and current favorites.
HOEFLER & FRERE-JONES
www.typography.com
Two of the most successful font designers
of the 1990s, Jonathan Hoefler and
Tobias Frere-Jones joined forces in 1999.
Their prestigious foundry, Hoefler &
Frere-Jones, is a regular port of call for
custom type designs and off-the-peg
fonts for major publications and design
studios—they have accumulated nearly
1,000 designs in their library.
INTERNATIONAL TYPEFACE CORPORATION
www.itcfonts.com
The International Typeface Corporation’s
online font shop is the ITC Library, an
industry staple for creative professionals
for more than thirty-five years. Here
you'll find 1,500 fonts ranging from
classics to contemporary designs,
including a nice selection of display
fonts in the DesignFonts collection.
LINOTYPE
www.linotype.com
The oldest type foundry listed here,
Linotype dates back to the 1890s, when
the Mergenthaler Linotype Company was
founded on the back of the first
linecasting machine. It now offers more
than 6,000 typefaces and some excellent
search facilities, including browsing
by categories, themes, inspirations,
and usage.
MONOTYPE
www.fonts.com
Monotype Imaging owns Fonts.com, a
vast fonts library that incorporates the
output of many smaller foundries. The
site is huge and it takes a while to
familiarize yourself, but once you have,
it’s easy to use and a valuable one-stop
type resource.
PORCHEZ TYPOFONDERIE
www.typofonderie.com
Type designer Jean Francois Porchez
launched his foundry in 1994, and his
first retail typefaces in 1995. Porchez
specializes in typefaces for newspapers,
and has been joined by a small group
of other designers who also sell faces
on the site.
Ree
www.p22.com
P22 creates computer typefaces inspired
by art, history, and sometimes science,
and as such offers some wonderfully
unusual fonts. As befits its hip status,
P22 also offers merchandise and a “Top
of the Pops” chart of fonts based on the
previous month's sales. The lovely Web
site gives lots of information on the
design of the fonts.
2REBELS
www. 2rebels.com
2Rebels is a small but determinedly
modern foundry, which distributes its
fonts through a selection of suppliers
(listed on the site). A good range of
European designers can be found here,
and while there are few really big
names, the range of work by excellent
up-and-coming designers is always
worth checking out.
T.26
www.t26.com mater
Addit
197
Carlos Segura’s type foundry contains
a fantastic array of contemporary fonts
submitted by type designers. A great
feature is the Typesetter, where you can
see the piece of type you want to set in
the font you're thinking of using.
 Glossary
Barcode A printed machine-readable code,
usually in the form of vertical stripes of
variable width, found on the cover of
books and magazines and used for
inventory control and pricing.
Baseline An imaginary line on which
the letters of a word sit. By extension,
the baseline grid is made up of a series
of baselines across the page. See also
leading.
Bleed (or full-bleed) When an image
is printed to the very edge of a page.
This effect is traditionally achieved by
printing the image beyond the trim edge
(the area that is lost when the page
is cut).
Body copy The main element of a piece
of editorial text (as opposed to the
headline, kicker, or caption).
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+
Book Traditionally used to describe a bound
publication of 48 pages or more with a
stiff or heavy cover. Less usually used to
refer to a magazine.
Box An editorial element on a page that
carries supplementary or related
material, usually with a border to
separate it from the body copy. For
example, a travel feature on Brazil might
have a box with key facts about the
country such as population, currency,
average temperatures, and so on.
Broadsheet The largest size of newspaper
page, usually twice the size of a tabloid
(although sizes vary in different
countries).
Bullet point A dot or similar character
placed to the left of a line of text to
denote that it is part of a list. Each item
in the list will be similarly denoted.
Byline The writer's credit that appears with
a news story or editorial feature. It can
be as simple as the author's name or can
extend to a short biography with an
image of the writer.
Calibration Adjustments to highlights,
shadows, and midtones of images to
ensure optimum print results.
Caption Descriptive text that accompanies
an image or photograph.
CMYK Cyan, magenta, yellow, and black: the
components of the four-color printing
process. The K stands for “key,” being the
key color to which all other colors are
aligned in the printing process.
Compositor Traditionally the compositor
was the person who set the metal type.
The term is now used for any typesetter.
Cover lines The lines of text on a
magazine's front cover that are written
to draw in potential readers and alert
them to its contents.
Cover mounts Items given away with a
magazine of newspaper. Usually these
are mounted and displayed prominently
on the front cover. Recent years have
seen DVDs and CDs as the most popular
cover mounts.
Cromalin An extremely high-quality color
proof that comes close to replicating the
final printed product.
Crosshead A subordinate heading used in a
long piece of body copy to break it up.
See subhead.
Cutline An alternative term for captions
(usually used for newspapers).
Cutout A photograph with the background
behind the object or person removed.
Deck A headline is made up of decks, each
set in the same style and size of type.
Hence a one-deck headline occupies one
line, a two-deck headline two lines, and
so on. Confusingly, in the U.S. “deck” is
used to refer to the text between a
headline and the body copy (see kicker)
and a multideck headline is a combined
headline and kicker, each set in its own
size and style of type.
Desktop publishing The introduction of
page layout software and the personal
computer in 1985, which changed the
nature of publishing design.
Die-cut A hole or cutout shape punched
into heavy paper or card.
Dingbat A set of decorative type characters
that can be used individually or repeated
to produce decorative patterns.
Display type Type larger than body copy
used to attract the reader's attention.
Dpi Dots per inch: a way of defining the
resolution of an image made up of dots
or pixels.
Drop cap A large capitalized letter used at
the start of a body of text, which drops
down to occupy several lines. Derived
from the manuscript tradition, in which
the first letter of the first word was
highly decorative and marked the
beginning of a text.
Dummy The pages of a magazine in the
planning stage used to demonstrate
what the finished product might look
like. Prelaunch, or during redesign,
a magazine or newspaper will produce
countless dummies as a way of testing
new ideas and designs.
Duotone A form of printing using two
colors, one of which is usually black.
Embossing Paper stamped so that the
printed image appears in shallow
relief above the surface of the page.
Blind embossing is when the paper
is embossed, but without any
printed image.
End icon A character or decorative element
used at the bottom of a paragraph to
denote the end of a text.
Fanzines Used to refer to self-published
magazines on a specific subject or
interest. Despite the fact that fanzines
usually have amateur and not-for-profit
connotations, many have grown into
commercially successful publications.
Feature well The middle section of
a magazine.
Fifth (or spot) color Refers to the use of a
fifth color (the first four being cyan,
magenta, yellow, and black) in four-color
offset process printing. It would be used
when, for example, a metallic,
fluorescent, or nonstandard offset ink is
required. As each spot color requires its
own lithographic film, there are cost
implications.
Flatplan A plan of a publication’s contents
showing which pages and content go
where. The flatplan is the backbone of
managing the production of a magazine
or newspaper.
Folio The page number as displayed on
a layout.
Font Originally a complete set of type in
a particular size and style. Nowadays
used to denote a single weight or style
of a typeface.
Galley Generally used today to refer
to a column of text within a page
layout, more commonly used in
newspaper design.
Grid A plan or blueprint formed by
horizontal and vertical lines that
define areas in a layout; a plan for
designing pages.
Gutter The space between columns of text
in a layout.
Hot type A term encompassing a range of
nineteenth-century technologies
associated with letterpress printing.
Icon A pictorial, typographic symbol that
conveys information or instruction: for
example, an arrow directing the reader
to turn the page.
Infographics Visual representation of
information, data, or knowledge.
ISBN International Standard Book Number:
a unique, machine-readable code used to
identify individual
book titles.
Jumpline A continuation link (usually a
turn arrow or similar icon) for articles
that are set over more than one page.
Justified text Text that has been set to
align on both right and left sides.
Kerning The process of closing up (or
opening out) the space between two text
characters to produce a balanced effect.
Keylines Lines on a template that show
where graphic elements should be placed.
Kicker A body of text that accompanies the
headline and expands on it, giving more
information about the article and guiding
readers into it. Also known as sell, slug
line, or intro.
Knockout text White text printed out of a
color background. Also known as a WOB
or “white on black.”
Laserjet proofs Proofs produced by
laser printers.
Laying out Putting together graphic
elements to compose a whole page.
Leading The space from one baseline to
the next in lines of type.
Lead time The period in which the
publication is put together before going
to print.
Letterpress Printing from a raised surface,
such as wood or metal, directly onto
paper.
Ligature Two or more letters that are joined
to form a combined character.
Lithography The process of making prints
using greasy ink from a stone or metal
plate directly onto paper.
Livery Graphic elements used to convey
a publication’s house style. This might
include a color palette, icons, bespoke
fonts, and logos.
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Logo Short for logotype. The name of
the publication as run on the cover
and sometimes reproduced inside
the publication. Sometimes called a
masthead (see below).
Lowercase Small letters (as opposed to
capital or uppercase letters)
Makeup The process of laying out a page
in a publication.
Masthead A magazine's or newspaper's
masthead contains contact information
about the publication, such as staff
members, frequency of publication,
advertising rates, and so on. It usually
appears on a magazine's contents page.
Also occasionally used to refer to a
publication’s logo (see above).
 Microzine An independent publication
that often covers style or art and is
printed in small quantities for selective
distribution.
Moiré The disruptive visual effect when a
halftone print is rephotographed through
another screen.
Montage Making a composite image
or collage by cutting and juxtaposing
different images together. Also known
as photomontage.
Motion graphics Graphics that use
animation or video to create motion,
usually found in multimedia projects such
as Web sites or interactive displays.
Negative space (white space) The area
of a page without text, images, or
other elements.
Offset When the ink of a printed sheet
Design
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200
+ marks the next sheet; usually occuring
within a stack of freshly printed sheets.
Op-ed Opinion and editorial pages of
a newspaper.
Orphan Single word at the top of a page or
text column.
Pagination The system by which pages of a
publication are marked with consecutive
numbers to indicate the proper order of
the pages.
PDF Portable document format: file transfer
system which retains the formatting of
printable documents.
Perfect binding Trimmed single sheets
of paper bound with glue to produce
a publication with a flat spine.
Photomontage The process (and result) of
making a composite picture by cutting
and joining a number of photographs.
Pilot issue A prelaunch issue of a magazine
or newspaper used for marketing and
design purposes. For a new mass-market
publication, a number of pilot issues may
be produced before the title is launched.
Also known as dummy issues or dummies.
Prepress The stages before a publication
goes to print.
Press run The number of copies printed
during one printing—also known as a
print run or run.
Process colors Yellow, magenta, cyan, and
black. See also CMYK.
Proof Page produced from the artwork or
film to be used for platemaking. Proofs
enable a page to be checked for mistakes
before it is produced in quantity. Also
known as comps.
Proofing Checking for spelling and
grammar, but also ensuring that copy
fits the house style.
Pull-quote A quote or excerpt from an
article that is used as display text on the
same page to entice the reader, highlight
a topic, or break up linearity.
Ragged left/right (aligned left/right)
The alignment of text on a printed page.
Ragged left (or aligned right) aligns text
to the right and staggers it on the left,
ragged right (or aligned left) aligns text
to the left and staggers it on the right.
Register (registration) Accurate
superimposition of colors in multicolor
printing; exact alignment of pages so
that they back one another precisely.
Colors or pages that are not accurately
aligned are said to be “out of register.”
RGB Red, green, and blue additive primary
colors. Colors used in monitors.
Roman Normal upright typeface, as distinct
from italic or bold typefaces.
Rule Printed line used either horizontally
or vertically to separate layout elements
such as columns of text, text from
images, etc.
Rule book Instructions for typesetting,
also known as a style guide (see below).
Runaround Area of body copy that wraps
around an inset image.
Running head Heading that is repeated
page after page, usually (but not always)
at the top of the page. A running
headline is usually a longer, more
descriptive version of a running head.
Saddle stitching Binding method that uses
metal staples on publications (usually no
bigger than 64 pages) to bind printed
sections inside each other.
Sans serif Typeface with no ser'fs.
Screen calibration Adjustment of monitor
settings to produce as accurate a screen
image as possible.
Self-cover Cover printed on the same stock
as the inside pages.
Serif Small finishing strokes of a roman
letter found at its terminals or stems.
Set flush Text set at the full width of a
column with no indentation.
Show-through Condition where printing on
one side of the paper can be seen from
the other.
Sidebar Short piece of text or element
of article related to main article and
run nearby.
Signature A printed section of a
publication, usually made up of a
multiple of 16 pages. This is folded down
to page size, trimmed, and bound with
other signatures or sections to create the
whole publication.
Sign off To approve a page for printing,
literally by signing or initialing
the proof.
SIP Special interest publication.
Slug line See kicker.
Soft return Forcing a word or part of a word
over onto a new line to avoid unwanted
hyphenation or to create a better shape
in a column of text.
Spine The side of a publication’s cover
visible when it is stacked vertically on
a shelf.
Split-fountain inking A method by
which two or more inks emerge from
the same source.
Spot color A ready-made color not
made up from the CMYK process.
See fifth color.
Spread Two facing pages of a publication.
Stock Paper or card to be printed.
Strap or strapline A line of text that
emphasizes, identifies, or explains a title,
section, or feature.
Style guide/style sheets Printed sheets
with instructions on typesetting,
margins, makeup, treatment of headings,
body copy, indents, captions, etc.
Accompanying style sheets or guides will
exist for proofreaders dealing with body
copy, headlines, etc.
Subhead Short headline or descriptive line
of text in body copy.
Swatch book Color sample books showing
the colors available from the CMYK
process and spot colors.
Tabloid A publishing term for a smaller
newspaper format (usually 14 x 12 in
[35.5 x 30.5 cm]).
Tagline A short, memorable line of cover text
that sums up the tone of the publication.
Template Pages made up using a desktop
publishing program onto which layouts
are mapped.
Thumbnail A small version of a page,
allowing all the pages of a publication
to be printed out and viewed at once,
showing the flow of the publication.
Tracking Tightening or opening up the
space between characters, words, or
passages of text.
Trapping The creation of small overlaps
between abutting colors in order to
compensate for registration/alignment
imperfections that may occur in printing.
Turnaround The time between signing
off on the proofs and delivery of the
printed publication.
Turn arrow A device used on a page to show
that an article continues on another page.
Typeface A set of fonts make up a
complete typeface.
Additi
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Unjustified text Text settings in which lines
can align right or left, producing lines of
different widths. Also called ragged text.
Uppercase Capital letters.
UV varnish High-gloss varnish.
Varnish Thin, protective coating applied to a
printed sheet, usually used for protection.
Widow A single word on a line ending
a paragraph.
WOB White on black: white text
out of black or colored background.
See also knockout text.
For more detailed definitions of print terms,
see http://www. printgraphics.com.au
 Further reading
EDITORIAL ART DIRECTION
Conover, Theodore E. Revised by Wilham
W. Ryan. Graphic Communications
Today, fourth edition. Clifton Park,
New York: Thomson Delmar Learning,
2004.
Duperray, Stephane, and Raphaele Vidaling.
Front Page: Covers of the Twentieth
Century. London: Weidenfeld and
Nicolson, 2003.
Fawcett-Tang, Roger, ed. Experimental
Formats: Books, Brochures, Catalogues.
Hove, Sussex: RotoVision, 2001.
Feierabend, Peter, and Hans Heiermann.
Best of Graphis: Editorial. Corte Madera,
California: Gingko Press, 1995.
Foges, Chris, ed. Magazine Design.
Design
Editorial
Direction
Art
202
+
Hove, Sussex: RotoVision, 1999.
Johnson, Sammye, and Patricia Prijatel.
The Magazine from Cover to Cover: Inside
a Dynamic Industry. Lincolnwood,
Illinois: NTC, 1999.
King, Stacey. Magazine Design That Works:
Secrets for Successful Magazine Design.
Gloucester, Massachusetts: Rockport
Publishers, 2001.
Leslie, Jeremy. Foreword by Lewis Blackwell.
Issues: New Magazine Design. Corte
Madera, California: Gingko Press, 2000.
Leslie, Jeremy, ed. MagCulture: New
Magazine Design. New York:
HarperCollins, 2003.
Moser, Horst, Surprise Me: Editonal Design.
Translated from the German by David H.
Wilson. West New York, New Jersey:
Mark Batty Publisher, 2003.
Owen, William. Magazine Design. London:
Laurence King Publishing Ltd., 1991.
Pedersen, B. Martin, ed. Graphis Magazine
Design, volume 1. New York: Graphis
Press, 1997.
White, Jan V. Designing for Magazines:
Common Problems, Realistic
Solutions, revised edition. New
York: Bowker, 1982.
—— —. Fditing by Design: For Designers,
Art Directors and Editors—
The Classic Guide to Winning Readers.
New York: Allworth Press, 2003.
Yamashita, Kaoru, and Maya Kishida, eds.
Magazine Editorial Graphics. Tokyo:
PIE Books, 1997.
TYPOGRAPHY
Baines, Phil, and Andrew Haslam. Type and
Typography. New York: Watson-Guptill
Publications, 2002; revised edition,
2005.
Balius, Andreu. Type at Work: The Use of
Type in Editorial Design. Corte Madera,
California: Gingko Press, 2003.
Bringhurst, Robert. The Elements of
Typographic Style. Vancouver:
Hartley and Marks, 1997.
Dair, Carl. Design with Type. Toronto:
University of Toronto Press, 2000.
Heller, Steven, and Mirko Ilic.
Handwritten: Expressive Lettering in
the Digital Age. New York: Thames and
Hudson, 2004.
Jury, David. About Face: Reviving the Rules
of Typography. Gloucester, Massachusetts:
Rockport Publishers, 2002.
Lupton, Ellen. Thinking with Type: A Cntical
Guide for Designers, Writers, Editors,
& Students. New York: Princeton
Architectural Press, 2004.
McLean, Ruari. The Thames and Hudson
Manual of Typography. New York: Thames
and Hudson, 1980; reprinted 1997.
Poynor, Rick, ed. Typography Now: The
Next Wave. London: Booth-Clibborn
Editions, 1991.
Robinson, Andrew. The Story of Wnting:
Alphabets, Hieroglyphs and Pictograms.
New York: Thames and Hudson, 1995.
Spiekermann, Erik, and E. M. Ginger.
Stop Stealing Sheep & Find Out
How Type Works. Berkeley, California:
Adobe Press, 1993; second
edition, 2002.
There are many great sources for
typographic inspiration on the Web.
The photo-sharing Web site Flickr
(www.flickr.com) has numerous groups
devoted to type, such as the excellent
Typography and Lettering group to be
found at: www.flickr.com/groups/type.
LAYOUTS
Ambrose, Gavin, and Paul Harris. Layout.
Lausanne: AVA Publishing, 2005.
Carter, David E. The Little Book of
Layouts: Good Designs and Why
They Work. New York: Harper
Design, 2003.
Dabner, David. Graphic Design School:
The Principles and Practices of
Graphic Design. New York: Thames
and Hudson, 2004.
Elam, Kimberly. Grid Systems: Principles of
Organizing Type. New York: Princeton
Architectural Press, 2004.
Finke, Gail Deibler. White Graphics: The
Power of White in Graphic Design.
Gloucester, Massachusetts: Rockport
Publishers, 2003.
Hurlburt, Allen. The Grd: A Modular System
for the Design and Production of
Newpapers, Magazines and Books.
New York: John Wiley, 1982.
Knight, Carolyn, and Jessica Glaser. Layout:
Making It Fit—Finding the Right Balance
Between Content and Space. Gloucester,
Massachusetts: Rockport Publishers, 2003.
Roberts, Lucienne. The Designer and the Gnd.
Hove, Sussex: RotoVision, 2002.
Samara, Timothy. Making and Breaking the
Grid: A Graphic Design Layout Workshop.
Gloucester, Massachusetts: Rockport
Publishers, 2003.
IMAGERY
Ambrose, Gavin. Image. Lausanne: AVA
Publishing, 2005.
Cotton, Charlotte. The Photograph as
Contemporary Art. New York: Thames
and Hudson, 2004.
Dyer, Geoff. The Ongoing Moment. New York:
Pantheon Books, 2005.
Hyland, Angus, and Roanne Bell. Hand to
Eye: Contemporary Illustration. London:
Laurence King Publishing Ltd., 2003.
Ingledew, John. The Creative Photographer:
A Complete Guide to Photography. New
York: Harry N. Abrams, 2005.
Kelby, Scott. The Photoshop CS2 Book for
Digital Photographers. Indianapolis,
Indiana: New Riders, 2003.
Klanten, Robert, and Hendrik Hellige, eds.
Illusive: Contemporary Illustration and
its Context. Berlin: Die Gestalten, 2005.
Kress, Gunther, and Theo van Leeuwen.
Reading Images: The Grammar of
Visual Design. New York: Routledge, 1996.
Sontag, Susan. On Photography. New York:
Farrar Straus and Giroux, 1977.
———. Regarding the Pain of Others. New
York: Farrar Straus and Giroux, 2003.
Wiedemann, Julius. Illustration Now!.
Cologne: Taschen, 2005.
Zeegen, Lawrence. The Fundamentals
of Illustration. Lausanne: AVA
Publishing, 2005.
INSPIRATION
Blackwell, Lewis, and Lorraine Wild. Edward
Fella: Letters on America. New York:
Princeton Architectural Press, 2000.
Blackwell, Lewis, and David Carson.
The End of Print: The Grafik Design of
David Carson, revised edition. San
Francisco: Chronicle Books, 2000.
Carson, David, Trek: David Carson—Recent
Werk. Corte Madera, California: Gingko
Press, 2003.
Crowley, David. Magazine Covers. London:
Mitchell Beazley (Octopus Publishing
Group Ltd.), 2006.
Fletcher, Alan. The Art of Looking Sideways.
London: Phaidon Press, 2001.
Hollis, Richard. Swiss Graphic Design:
The Ongins and Growth of an
International Style, 1920-1965. New
Haven, Connecticut: Yale University
Press, 2006.
de Jong, Cees W., and Alston W. Purvis.
Dutch Graphic Design: A Century of
Innovation. New York: Thames and
Hudson, 2006.
Kalman, Tibor, and Maira Kalman.
Colors: Issues 1-13. New York:
Harry N. Abrams, 2002.
Kruger, Barbara. Barbara Kruger. Cambridge,
Massachusetts: MIT Press, 1999.
McAlhone, Beryl, and David Stuart. A Smile
in the Mind, revised edition. London:
Phaidon Press, 1998.
The Society for News Design. The Best
of Newspaper Design 27. Gloucester,
Massachusetts: Rockport Publishers
Inc., 2006.
Venezky, Martin. It Is Beautiful... Then
Gone. New York: Princeton Architectural
Press, 2005.
PRINTING AND COLOR USE
Albers, Josef. Interaction of Color,
revised and expanded edition. New
Haven, Connecticut: Yale University
Press, 2006.
Eiseman, Leatrice. Pantone Guide to
Communicating with Color. Cincinnati,
Ohio: Grafix Press, 2000.
Gatter, Mark. Getting It Right in Print: Digital
Prepress for Graphic Designers. New York:
Additio
materia
203
Harry N. Abrams, 2005.
Itten, Johannes. The Art of Color: The
Subjective Experience and Objective
Rationale of Color, revised edition. New
York: John Wiley & Sons Inc., 1997.
Kuno, Naomi, and FORMS Inc./Color
Intelligence Institute. Colors in Context.
Tokyo: Graphic-sha Publishing, 1999.
Pipes, Alan. Production for Graphic
Designers, fourth edition. London:
Laurence King Publishing Ltd, 2005.
Rogondino, Michael and Pat. Process
Color Manual: 24,000 CMYK
Combinations for Design, Prepress,
and Printing. San Francisco: Chronicle
Books, 2000.
 Sawahata, Lesa. Color Harmony Workbook:
A Workbook and Guide to Creative Color
Combinations. Gloucester, Massachusetts:
Rockport Publishers Inc., 2001.
JOURNALISM AND COMMUNICATION
Evans, Harold. Editing and Design, five
volumes. London: Wiliam Heinneman
(Random House Group Ltd.), 1972-78.
———. Fssential English for
Journalists, Editors and Writers.
London: Pimlico (Random House Group
Ltd.), 2000.
Johnson, Michael. Problem Solved: A Primer
in Design and Communication. London:
Phaidon Press, 2002.
Lupton, Ellen, and J. Abbott Miller. Design
Wnting Research. Wnting on Graphic
Design. New York: Kiosk Press, 1996.
Newark, Quentin. What Is Graphic Design?
Gloucester, Massachusetts: Rockport
Publishers Inc., 2002.
Poynor, Rick. Design Without Boundaries.
Visual Communication in the Nineties.
London: Booth-Clibborn Editions, 2000.

Quinn, Stephen. Digital Sub-Editing Shaughnessy, Adrian. How to Be a

and Design. Oxford: Focal Press Graphic Designer, Without Losing Your
(Elsevier Ltd.), 2001. Soul. London: Laurence King Publishing
ltd 72005:
Sharples, Mike. How We Write: Writing as
Creative Design. Oxford: Routledge Tufte, Edward R. Visual Explanations: Images
Design
Editorial
Direction
Art
204
+ (Taylor & Francis Books Ltd.), 1998. and Quantities, Evidence and Narrative.
Cheshire, Connecticut: Graphics Press,
GENERAL DESIGN BOOKS 1997.

Berger, Joshua, and Sarah Dougher. 100

Habits of Successful Graphic Designers:
Insider Secrets on Working Smart and
Staying Creative. Gloucester,
Massachusetts: Rockport Publishers
Inc., 2003.

Fiell, Charlotte and Peter. Graphic Design

Now. Cologne: Taschen, 2005.

Graham, Lisa. Basics of Design: Layout

and Typography for Beginners. Clifton
Park, New York: Thomson Delmar
Learning, 2001.

Hollis, Richard. A Concise History of Graphic

Design, revised edition. New York:
Thames and Hudson, 2002.

Itten, Johannes. Design and Form: The Basic

Course at the Bauhaus, revised edition.
London: Thames and Hudson, 1975.
Index

Page numbers in bold refer to images in layout 75, 86, 98, 99, 100, of supplements 6, 10, 34, 37, 58 El Pais 63, 78, 172
and captions 103, 129 taglines 32, 61, 201 Ellis, Darren 71
as navigational tool 51 targeting readers 7, 29-30, 32 Emigre 133
A in newspapers 18, 26, 42, 98, text-based 34, 37, 39 IPS WH
About Town 49, 129, 182 188 types of 34-9 eReaders 189
Adbusters 34, 36, 39, 40, 51 and paper selection 126 Creative Review 109 Esopus 99, 144
Agha, M.F. 162, 177 psychology of 29, 30 Crowe, Dan 139 Esquire 25, 39,170
Amelia's Magazine 8, 144 and shape 98 Esterson, Simon 18
Another Magazine 190 in style creation 111, 188 D Evans, Harold 7
Ansel, Ruth 70 in supplements 10, 25 Daily Mirror 123, 130
Arena 46 F
in text 31, 29, 55, 65, 103 Dazed and Confused 34, 102, 144
Arty 8 Condé Nast Traveller 105 De Volskrant 66 The Face 1, 50, 106, 107, 108, 161,
Cook, Gary 46, 53, 58, 91, 150, 194 Dechaur, Marion 70 166-7, 187
B copy Derrick, Robin 32 Fassett’s theory of legibility 121, 122
Barnbrook, Jonathan 40 body copy 60, 64, 78-80, 198 design skills Fast Company 58
Baron, Fabien 55, 91, 178, 179 in branding and identity 61, 64, artwork skills 141-2 Feitler, Bea 70
Barrett, Sara 86 65-6 consistency vs. monotony 152-3, Financial Times 26, 70
Beach Culture 168 breaking up 78, 122, 128, 129 155-6 Finch, Simon 139
Becker, Lesley 54 bylines 60, 63, 75, 78, 198 desktop publishing 140-2, 146-7, Fishwrap 74, 76, 81, 85, 132
Benezn, Kobi 97, 117, 156, 194 caps 67, 80-1, 106 198 Flaunt 88-9
Berliner format 8, 18, 93, 120, 128 captions 60, 65, 84, 85, 198 grids 47, 49, 56, 75, 78, 99, copy 56, 62
Big 171 cover lines 7, 30, 32, 60-1, 198 117-22, 199 covers 41, 88, 126
Bikini 187 crossheads see subheads images, use of 146-8 layout 87, 102
Black, Roger 67 cutlines see captions information graphics 149, 150, redesign 157
Blah Blah Blah 44 folios 60, 65-6, 75, 84, 199 151, 199 style creation 113, 126, 132
Boston Sunday Globe 42, 54 information graphics 65, 149, 150, objective visualization 116 type selection 129, 132, 140
branding and identity 151, 199 page preparation 117, 122-6 see Fleckhaus, Willy 17, 25, 55, 164
through color 29, 111 kickers 53, 60, 63, 75, 77, 94, also grids Folha de S.Paulo 108, 150, 187
through copy 61, 64, 65-6 199 redesigning 120, 128, 134, 135, font selection see type selection
and covers 7, 14, 29-30, 44, 61, 67 mastheads 51, 94, 199 156-8 Fortune 149, 183
through images 30, 32, 71-2, 147 panels, boxes, and sidebars 60, 65, screen calibration 142, 198, 200 Frankfurter Allgemeine Magazin (FAZ)
and layout 64, 116 84, 85, 94, 99-100, 198, 200 type selection see type selection 63, 164
monotony issues 152, 155 picture credits 60, 63, 84, 85 designers Froelich, Janet 11, 194
and redesigning 157 positioning 94, 131 attributes of 17, 19, 20-1, 22, 29, on covers 17, 37, 39
in style creation 7, 28-9, 51, 111 pull-quotes 60, 63, 75, 82, 94, 116 on image treatment 148
in supplements 6, 10 200 and cultural differences 186-7 on layout 79, 81, 86, 96, 114
materia
Additi
205
targeting readers 28-9 “sells” see kickers and deadlines 90, 92 on type selection 48, 133
type selection 64, 128-9, 132, sign-offs 75 editor relationship 17, 20, 21, 154 Frost, Vince 58, 171, 194
134-5, 136 subheads 63, 75, 79, 81, 198, 201 future trends 160, 161, 186-90, 192 on covers 34
broadsheet format 8, 18, 128, 198 taglines 32, 61, 201 inspiration for design 113-4, 116 on editorial design 12, 17, 20, 22
Brodovitch, Alexey 163, 170, 177 terminology 60 multitasking 190 on layout 80
Brody, Neville 1, 50, 106, 107, 160, see also headlines practical issues 90, 92 on type selection 136, 138, 139
161, 166-7, 179 Corbin, Lee 112, 129, 132, 140, 157, preparation 90, 116 FT The Business 58-9, 171
Brown, James 32 194 problems with space 92-3 copy 53, 65
Business 2.0 53 Cornere della Sera 93, 130 researching the past 160-1, 187 covers 6, 44, 46
Cottrell, Ivan 137 role of 13, 28 images 67-8
C Courtemanche, Eric 31 see also design skills information graphics 149, 150
Cabinet 147 covers desktop publishing 26, 140-2, 146-7, layout 91
Carlos 14, 34-5, 70, 111, 144, abstract 34, 35, 36, 39 154, 198 type selection 138
190 in branding and identity 7, 14, Die Zeit 93, 129, 130
Carson, David 46, 66, 80, 106, 133, 29-30, 44, 61, 67 Dixon, Chris 51 G
137, 168 cover lines 7, 30, 32, 60-1, 198 Docherty, Jeffrey 36, 56, 95, 120, Garageland 84, 147
Charm 174 die-cut 8, 88, 126, 144 136, 155, 194 Garcia, Mario 194
City Limits 180, 181 embossed 126, 144 Draper, Richard 149 on covers 10, 44
Cleland, Thomas Maitland 149, 162, figurative 32, 34-5, 36, 67 Driver, David 149 on formats 128
183 images 7, 30, 32, 41, 67 on future trends 192
Colors 172, 173 inside covers 39, 56, 88 E on newspaper design 42, 44, 63,
color logos 32, 37, 39, 44, 46, 58, 60, Eat 72 67, 98, 108, 112
in branding and identity 29, 111 199 eBooks 189 on redesigning 120, 157, 158
color management 144, 145 of newspapers 42, 43 The Economist 153 on type selection 42
history of 23-4 spines 46-7, 201 editorial design, defined 6-7 Glamour 26, 174
 glossary 198-201
golden section 98
Goodchild, Jon 184
Graphic International 85
The Guardian 18-9, 26
covers 43, 69
images 69, 70
infographics 151
redesign 134, 135, 176
type selection 134
Gustafson, Mats 44, 178
Gutiérrez, Fernando 39, 46-7, 122,
137, 141, 172, 194
H the Internet 31, 26, 188, 189, 190,
Harper's Bazaar 44, 70, 87, 163,
170, 178
headlines 32, 60
in newspapers 61, 94, 123, 130,
alssal, aly
running headlines 83, 200
size 76, 77, 94, 123
in targeting readers 61
treatment 62, 75, 76, 94, 123,
130, 131
type selection 76, 129, 130, 131,
134, 137
Heat 7
Hemmerle, Sean 69
Het Parool 66, 82, 92, 157
Design
Editorial
Direction
Art
206
+ Hillman, David 17, 18, 133, 176-7
Holley, Lisa Wagner 74, 132, 195
House & Garden 162
I on images 66, 69, 71, 86, 100,
i-D 34, 169, 187
I.D. 65, 72, 96, 97, 100, 101, 117,
156
The Illustrated Ape 71, 72
images
in back sections 56
for branding and identity 30, 32,
71-2, 147
captions 60, 65, 84, 198
commissioning 67, 148
on covers 7, 30, 32, 41, 67
cropping 66, 68, 72, 86, 101, 112
in desktop publishing 142, 146-7
evaluating 146-7
in features pages 53, 54, 55, 56
finding 147-8
full-bleed 53,54, 56, 105, 198
for harmonious design 105, 106
illustrations 70-2, 74, 75
for implied motion 104
information graphics 65, 149, 150,
151, 199
in layouts 74, 75, 84, 86, 91, 93,
101
in newspapers 63, 66, 67, 69, 70,
94,131
paper selection 68, 126
photographs 67-8, 69, 71, 90, 93,
146-7, 148
positioning 68, 86, 99, 112 113 customer magazines 12, 14
printing 146-7 icons 84, 199 fanzines 25, 199
scale experiments 68, 86, 112 illustrations 74, 75 history of 23, 24
in section openers 57 images 74, 75, 84, 86, 91, 93, 101 independent magazines 8, 29, 32
in style creation 109, 112 implied motion 104 marketplace 12
tension, creating 98-9 initial caps 80-1 microzines 8, 126, 200
text relationship 29, 74, 77, 91, inspiration sources 113-14 news pages 53
95,96 jumplines see turn arrows newsstand titles 6, 7, 8, 32
Imprint 111 kickers 53, 60, 63, 75, 77, 94, 199 online 190, 191
The Independent 26, 128 legibility 78, 121, 122 special interest magazines 8, 26,
The Independent on Saturday mastheads 51, 60, 94, 199 201
magazine 34, 171 objective visualization 116 Malayala Manorama 187
Inner Loop 77, 137 page preparation 117, 122-6 see Marchbank, Pearce 34, 39
Inside 36, 56, 95, 120, 136, 155 also grids Marzorati, Gerry 17, 82
pagination 122-3, 200 Matador 122, 172-3
192 panels, boxes, and sidebars 60, 65, McGillis, Tricia 31
Interview 26, 41, 44, 178 84, 85, 94, 99-100, 198, 200 McNay, Mike 18
picture credits 60, 63, 84, 85 Merz 179
J positioning copy 94, 131 Metcalfe, Caroline 58, 68
Jones, Dylan 17 practical issues 90, 92 Metropolis
Jones, Terry 169 pull-quotes 60, 63, 75, 82, 94, contents pages 49, 57
200 grids 119
K repetition and flow 99-100 images 57, 66, 69, 71, 86, 100,
Kalman, Tibor 17, 172 scale experiments 20, 68, 86, 103
King, David 180 100-1, 112 layout 96, 119
King, Scott 39 sections 123-4 type selection 57, 134
Kitching, Alan 138, 171 “sells” see kickers Moore, Nigel 191
Klee, Greg 54 and shape 95-6, 98-9 Morla, Jennifer 37
Knight, Nick 32 sign-offs 75 Mueller, Karin 58
Kuhr, Barbara 31, 35, 39, 187 signaling 123
slugs 84, 199, 201 N
L spatial issues 92-3, 128-9 Neal, Christopher 71
Lappin, Criswell 195 straplines 83, 201 Nest 44
on contents pages 49 subheads 63, 75, 79, 81, 198, 201 The New Typography 179
templates 56, 74, 75, 77, 122, 201 The New York Times 24, 25, 26, 78
103 tension, creating 98-9 The New York Times Magazine 11
on layout 96, 119 text treatment 78-80 branding and identity 57
style creation 112 timelines 90 covers 17, 37, 39
on type selection 134 turn arrow 28, 84, 199, 201 grids 121
Lasn, Kalle 40, 51 white space 53, 56, 78, 92, 94, images 148
layout 106, 122, 200 layout 79, 81, 82, 96, 99, 114,
back sections 56 see also headlines 129
balance 95, 101-2, 104 Le Figaro 10, 24 type selection 48, 64, 133
body copy 60, 64, 78-80, 198 Leslie, Jeremy 195 The New York Times “T:Travel”
in branding and identity 64, 116 on branding and identity 14, 111 Magazine 86
bullet points 94, 198 on covers 39 newspapers
bylines 60, 63, 75, 78, 198 editorial design 116 bylines 63, 78, 198
captions 60, 65, 84, 85, 198 on editorial design 12, 15, 20, 32 captions 84, 198
color in 75, 86, 98, 99, 100, 103, on images 70 color 18, 26, 42, 98, 188
129 on style creation 111, 190 columns 93, 123
columns 64, 75, 78, 93, 123 on use of color 14, 111 covers 42, 43
consistency vs. monotony 152-3, Lissitzky, El 179 expected content 47
155-6 Loaded 32, 46, 47, 54, 61, 92, 104, folios 84, 199
contrast 101 113, 187 front pages 53, 94
deadlines 90, 92 Logan, Nick 50 future trends 192
depth, creating 102, 103, 126 Lois, George 39 grids 117, 199
determining factors 90, 92-3 London Lite 188 hard news 47, 53
drop caps 28, 11, 75, 80-1, 106, Lotscher, Martin 195 headlines 61, 94, 123, 130, 131,
198 Luce, Henry 25, 183 132
flatplan 124, 125, 199 history of 23, 24
folios 60, 65-6, 75, 84, 199 M horizontal and vertical designing
grids 47, 49, 56, 75, 78, 99, M-real 14, 35, 109, 125 93
117-22, 199 magazines images 63, 66, 67, 69, 70, 94,
for harmony and discord 104-8, consumer magazines 8 131
 information graphics 149, 199 navigational tools 49, 51, 56 Statements 109 caps 81, 86, 106
irregular features 47 section openers 57 Stern 152 custom-designed 133, 134, 135,
mastheads 94, 199 see also copy; covers; images; style 140-1, 196-7
online 26 layout advertising style 112-3 finding type 138
op-ed pages 25, 47, 123, 200 future trends 188-90, 191, 192 “advertorial” 113 for harmony and discord 105, 106
printing 145 marketplace 12 in branding and identity 7, 28-9, for headlines 76, 129, 130, 131,
pull-quotes 63, 200 printing Cyl, halal 134, 137
redesigning 120, 128, 134, 135, choosing a printer 142 through color 111, 188 legibility 132-3, 134, 139
157-8 color management 142, 145 defined 108-9 letterpress 138, 199
sizes 8, 18 experimentation 142, 145 design elements 112, 123 as navigation tool 56
text-driven 63, 67, 122 history of 23-6 design style 28-9, 109, 111-3 in newspapers 42, 130, 131,
type selection 42, 130, 131, images 146-7 editonal style 109 134-5, 145
134-5, 145 newspapers 145 formats 109, 111, 120, 128 practical issues 128-9
typography 42 proofs 146, 199, 200 house style 155 in redesigning 134, 135, 156, 157
white space 78, 94, 122 repro houses 145 through images 109, 112 in section openers 57
see also supplements special techniques 88, 102, paper selection 68, 111-2, 119, size issues 129-30
Newton, David 150 126, 144 124-6 in style creation 20, 112, 128-9,
Nova 7, 25, 26, 44, 133, 176, 177, publishing structure 112 ahei74, UBS), ae yA
187 budgets 90 style guides 77, 155-6, 201 type as illustration 20, 136-8
deadlines 22, 90, 92 in targeting readers 28-9, 108 type foundries 196-7
0 dummy issues 29, 141, 198 type selection 20, 112, 128-9,
The Observer 24, 63, 98, 120, 157, key roles 12-3, 17 ie}74, Sieh, aS¥A U
158 pilot issues 29, 200 Substance 44 USA Today 26, 149
The Observer Music Monthly 62, 76 planning 21, 90 Sub_Urban 191
0z7, 142, 184-5 prepublication work 21-2, 200 The Sunday Times 10, 176 V
production cycles 22, 90 The Sunday Times Magazine 25, 180 VanderLans, Rudy 66
P
timelines 21-2, 90 supplements Vanidad 46-7, 47, 137, 141, 172,
paper special techniques branding and identity 6, 10 173
brightness 127 die-cutting 88, 102, 126, 144, covers 6, 10, 34, 37, 58 Vanity Fair 7, 83, 162
for color reproduction 126 198 history of 10, 24, 25 Venezky, Martin 154, 195
for images 68, 126 embossing 99, 102, 126, 144, use of color 10, 25 on editorial design 7, 20-1, 64,
opacity 127 199 Swiss formalism 49 114, 157
recycled 127-8 foldouts 144 T on layout 64, 66, 80, 86, 106
selection 68, 111-2, 119, pop-ups 24, 144 on type selection 136, 138
124-8 style creation 109, 111-3 tabloid format 8, 18, 93, 128, Visionaire 8, 109
surface 126 201 Vogue (America) 162, 174
thickness 126-7 R technological developments in design Vogue (Italy) 178
weight 127 Radio Times 149 24, 26, 188-90, 192 Vogue (Paris) 7, 53, 55, 85, 91, 129,
Paper Sky 6, 55, 61 RayGun 44, 46, 98, 106, 108, 137, Tentaciones 39, 172-3 178
materia
Additio
207
Pariscope 111 168, 187 text Vogue (U.K.) 32
Patterson, Christian 71 Read, Steve 32, 54 caps 67, 80-1, 106
Peccinotti, Harn 177 Ripoli, Paula 108 color 31, 29, 55, 65, 103 W
Pineles, Cipe 174 Roinestad, Eric 113 for harmony and discord 106 WAD 36, 56, 61, 85, 101, 129
Plunkett, John 31, 35, 39, 187 Rolleri, Dan 21, 154 image relationship 29, 74, 77, 91, wallpaper* 46, 47, 61
Pop 39 Rolling Stone 26 95,96 Warhol, Andy 26, 41
Porter, Mark 17, 18, 19, 195 Ruprecht, Iris 67, 110, 195 knockout 29, 200 Watts, Michael 58, 67-8, 150
on covers 42-3 Ryan, Rob 144 in layout 78-80 Weidmann, Micha 39, 195
on editorial design 8, 13 in newspapers 63, 67, 122 White, Rob 68
on images 66, 70 S positioning 94, 99, 131 Willey, Matt 139
on layout 95 Saga 28 text-based covers 34, 37, 39 Winters, Dan 17
on redesigning 134, 135, 157-8 San Francisco Chronicle Magazine 10 see also copy Wired 31, 35, 39, 53, 103, 149, 151,
on type selection 134, 135 Scher, Paula 49, 119 thelondonpaper 188 187
Print on Demand (POD) 189 Schneider, Thomas 31 Time 25, 153 Wolf, Henry 44, 170
publications Schwitters, Kurt 179 Time Out 6, 34 Wolsey, Tom 136, 182
advertising 17, 26, 39, 40, Seventeen 174-5 The Times 24, 26
112-3 Sharp, Martin 142, 184 Transworld Skateboarding 168 Z
components Show 170 Treacy, Eleanor 183 Zembla 20, 48, 51, 80, 136, 138,
back sections 47, 56 Sims, Michael 71 Turner, Jim 41, 88, 126, 194 139,171
contents pages 47-51 Sleazenation 39, 49 Twen 25, 49, 55, 68, 84, 144,
editorial material 51, 53, 92, Smith, Rodney 96 164-5, 187
109, 113, 116, 117 soDA 67, 68, 109, 110, 111, 112, type selection
feature wells 47, 53-6, 92-3, 119, 126 in back sections 56
109, 112, 117, 199 Speak 21, 64, 80, 86, 106, 107, 108, in branding and identity 64,
front sections 47, 51, 53 136, 154 128-9, 132, 134-5, 136
 Photo credits
The author, Central Saint Martins College of Art & Design,
and Laurence King Publishing Ltd. would like to thank
all the publishers, art directors, and designers who have
supplied material and granted permission to reproduce
images in this book. Every effort has been made to
contact all copyright holders, but should there be any
errors or omissions, Laurence King Publishing Ltd. would
be pleased to insert the appropriate acknowledgement
in any subsequent printing of this publication.
Numbers refer to pages
6l FT The Business. Photograph Gareth Munden; 6m,
34l, 39b, 111bm, 123r Courtesy Time Out Group;
7m Publications Condé Nast S.A. Photograph Jean-
Baptiste Mondino © Vogue Paris; 7r Courtesy Heat
magazine; 9, 144m Courtesy Amelia’s Magazine. Art
Director: Amelia Gregory, Illustrator: Rob Ryan; 10b
Courtesy Le Figaro; 11, 16, 37, 39tl, 48b, 571, 64t,
79, 81t, 82t, 86b, 96tl, 99b, 114, 121, 133tl, 148
The New York Times Magazine. Courtesy Janet Froelich;
14, 70br, 111t, 144tl, 190r Courtesy Carlos magazine;
15, 35l, 125 Courtesy M-real magazine; 18 Courtesy The
Guardian. Photograph © www.lfi.co.uk; 19l Courtesy The
Guardian. Photographs Darren Kidd and Eric Ogden/
Retna; 19r Courtesy The Guardian. Photograph M.J.
Kim/Getty Images; 20, 48t, 51, 80t, 136tr, 138b, 139
Courtesy Zembla magazine; 21 Courtesy Speak magazine.
Illustrations by Mette Brix and Brad Holland; 31t, 103
Wired. Design by John Plunkett, Plunkett+Kuhr,
Design
Editorial
Direction
Art
208
+ copyright Condé Nast 2007. Illustration by Mark
Sommers; 31b Wired. Creative Director John Plunkett,
copyright Condé Nast 2007; 33 Nick Knight/Vogue ©
Condé Nast Publications Ltd.; 34r, 1281, 171t Courtesy
The Independent; 35 Courtesy Pop magazine; 36tl, 40
Courtesy www.adbusters.org; 36tr, 56tl, 61t, 85tr,
101t, 129br Courtesy WAD magazine; 36b, 56tr, 95,
120t, 136b, 155tl, 155tr Courtesy (inside) magazine;
38 Courtesy Hearst Communications and George Lois;
41tl, 41tr, 56b, 62b, 87t, 88-89, 102t, 126r, 132b,
140 Courtesy Flaunt magazine; 41b Interview magazine,
August, 1972, Liza Minnelli photographed by Berry
Berenson. Designed by Richard Bernstein. Courtesy
Brant Publications, Inc.; 42, 54bl, 54br Courtesy
Boston Sunday Globe; 45, 70t, 87b, 170, 178br
Courtesy Hearst Communications; 43 Courtesy The
Guardian, Photograph Reuters/Namir Noor-Eldeen; 46r
FT The Business. Photograph Sandro Sodano; 48br, 57r,
86tl, 86tr, 100b, 119b, 134 Courtesy Metropolis; 49bl,
129tr, 182 Collection Tony Quinn; 52 Bill Graham/Nic
Tenwiggenhorn/Kunsthaus Bregenz, D.R.—Publications
Acknowledgments
I never cease to be amazed by the generosity of design
creatives, who will happily give up valuable time to
share their knowledge and experience with others. So
huge thanks go to my contributors (see pp.194-5) for
their valuable thoughts and input into the book, and for
their unflagging patience and enthusiasm during its
writing. Behind the scenes another group of people
worked equally enthusiastically and patiently, and I am
grateful to them also: Patricia Batley, who persevered
with picture research despite the monumental task it
Condé Nast S.A. © Vogue Paris; 53 Wired. Design by John
Plunkett, Plunkett+Kuhr, copyright Condé Nast 2007;
55tl, 91t Vogue par Sofia Coppola, Sofia Coppola—
Publications Condé Nast S.A. © Vogue Paris; 60r, 661,
82b, 92r, 157r Courtesy Het Parool; 62t, 120b, 158
Courtesy The Observer; 63tr Courtesy The Observer,
Photograph propaganda-photo.com; 64b Courtesy Speak
magazine. Photograph by Ira Nowinski; 65r, 72tr, 72bl,
72br, 96b, 97, 100t, 101br, 117, 156 Courtesy J.D.
magazine; 68 Courtesy soDA. Photograph by Diane
Scheunemann; 69t Courtesy The Guardian. Photograph
Allsport/Getty Images; 69b Courtesy Metropolis.
Photograph Sean Hemmerle; 70bl Courtesy The
Guardian. Illustration Marian Deuchars; 71 Courtesy
Metropolis. Illustration Christopher Silas Neal; 76t
Courtesy The Observer. Photograph Murdo MacLeod;
77, 137t Courtesy Inner Loop; 80, 136, 154l Courtesy
Speak magazine; 84t Courtesy Garageland magazine;
85br Cliché BNF, illustration from the book Trésors
de la Bibliothéque Nationale de France, Mémoires et
Merveilles, VIITé-XVIITé siécle—Publications Condé Nast
S.A. © Vogue Paris; 91b FT The Business. Photograph
Sasha Gusov; 93l, 129bl, 130tr Courtesy Die Zeit;
93r, 130b Courtesy Cornere della Serra; 96tr Courtesy
Metropolis. Photograph Michelle Litvin; 99t Courtesy
Esopus. Photograph © 2004 David Michalek; 102b
Courtesy Dazed & Confused; 103 Courtesy Metropolis.
Photographs Conrad Kiffin; 106b Courtesy Speak
magazine. Illustration Brad Holland. Photograph Steve
Sherman; 108, 150b, 186, 187r Courtesy Folha de
S.Paulo; 110t Courtesy soDA. Photograph Hans-Jorg
Walter; 110m Courtesy soDA. Bastien Aubry and Dmitri
Broquard; 110b Courtesy soDA. Happypets, Marc
Kappeler, Norm, Martin Woodtli; 111bl Courtesy soDA.
Benjamin Giidel and Marc Kappeler; 119t Courtesy soDA.
Visionlab by Soyana; 122, 176 Courtesy The Guardian
News & Media Ltd.; 123L, 130tl Courtesy Mirrorpix;
126l Courtesy soDA. Marc Kappeler; 128m Courtesy
Tank magazine. Thierry Van Biesen; 128r, 133b Courtesy
Emigre magazine; 129tl Publications Condé Nast S.A.
© Vogue Panis; 135t Courtesy The Guardian, Photograph
Getty Images; 135bl Courtesy The Guardian. Photograph
Francesca Yorke 2006; 135br Courtesy The Guardian.
Photograph J. Watts/Du Bin 2006; 137b, 141, 172b,
173 Courtesy Fernando Gutiérrez; 138t FT The Business.
Courtesy Alan Kitching; 143, 184t, 184br, 185tr
Courtesy Martin Sharp; 144tr Courtesy Dazed &
Confused. Photograph Rankin; 144br Courtesy Esopus.
Ghost Form, 2004 © Willian Christenberry; 147t Courtesy
Cabinet. Photograph Lynne Roberts-Goodwin; 147b
Courtesy Garageland magazine. Illustration Paul Murphy;
became; everyone at Laurence King for their patience,
assistance and support, and in particular my editor
John Jervis; Ishbel Neat at Central Saint Martins;
Corinna Farrow for her help in writing the book and
her hard work on designing it alongside Mark Holt;
Peter Hall, Mike Harding at Time Out, Michael Watts,
Pentagram, Gabriela Mirensky at the AIGA, and Greg Klee
at The Boston Globe for their suggestions and advice;
Don Cornelio and Batfoy for their unflagging support;
Paul Murphy for stepping into the photography breach
149tl, 149tm Courtesy Radio Times © BBC Worldwide
Limited; 149tr Courtesy Radio Times © BBC Worldwide
Limited. Illustration Lyn Gray 149b Courtesy Radio
Times © BBC Worldwide Limited. Illustration Richard
Draper; 151t Courtesy The Guardian. Grundy Graphics
2006; 151b Wired. Copyright Condé Nast 2007;
152t Photograph Vincent Laforet/Polaris; 152br Stern.
Photograph: Volker Hinz; 153tl, 153tr, 153br Courtesy
Time; 153br Courtesy The Economist; 154r Courtesy
Speak magazine. Illustration Austin Cowdall; 155bl
Courtesy soDA. Photograph Hans Meier; 155br Courtesy
soDA. Fabian Roth; 157l Courtesy The Observer.
Photograph © PA Photos; 163bl Courtesy Hearst
Communications. Archives and Special Collections, RIT
Library, Rochester Institute of Technology; 163t, 163br
Courtesy Hearst Communications (Collection of R. Roger
Remington); 169t Courtesy 7-D Magazine. Photography
and concept Nick Knight, translated to video by Eamonn
McCabe; 169bl Courtesy 7-D magazine; 169br Courtesy
i-D magazine. Photography by Nick Knight, styling by
Simon Foxton; 171bl, 171br Courtesy Vince Frost;
174t, 175 Archives and Special Collections, RIT Library,
Rochester Institute of Technology; 174b © 1939, Condé
Nast Publications Inc. Reprinted by permission; 178t
Sofia Coppola par Mario Testino—Publications Condé
Nast S.A. © Vogue Paris; 178bl Agenda, Tate/Courtesy
Marlborough Graphics/DACS 2004, D.R.—Publications
Condé Nast S.A. © Vogue Paris; 178bm Vogue Italia.
Photograph Steven Meisel; 179t Kurt Schwitters
Archive, Sprengel Museum Hannover, photograph
Michael Herling/Aline Gwose—® DACS 2007; 179b V&A
Images/Victoria and Albert Museum—® DACS 2007;
180t, 181 David King Collection. Design: David King;
181bl Photograph by Snowdon/Camera Press, London;
181br Frames from Psycho (Universal Pictures); 183br
© Herbert Matter Estate (Collection R. Roger Remington);
185m Michael English—www.michaelenglishart.com;
185b Hapshash & the Coloured Coat; 187r Courtesy
Mario Garcia; 188 Courtesy thelondonpaper; 191tl
Courtesy Sub_Urban. Design: Nigel Moore. Illustration:
Kim Town; 191tr, 191b Courtesy Sub_Urban. Design:
Nigel Moore. Illustration: Appropriated; 191ml Courtesy
Sub_Urban. Design: Nigel Moore. Illustration: Warren
Lewis; 191mr Courtesy Sub_Urban. Design &
Photography: Nigel Moore
Diagrams by Amelia Gainford. Library photography by
Jennie Crisp. Additional photography by Richard Dean
(33, 34r, 39tr, 46tl, 46bl, 47r, 58t, 69t, 72tl, 171t)
and Christopher Makos (161). Thank you also to
Pentagram for all their help in supplying images.
when no one else would; and finally to my family for
always supporting me and encouraging me in everything
I've chosen to do (despite not always knowing what it
is I do!).
DEDICATION
To Paul Murphy—artist, partner, and all-round good
guy—for always believing in me and for his unfailing
encouragement, good humor, support, and love.
 one
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