Essencial References for Editorial Designers Book

ESSENCIAL REFERENCES FOR

EDITORIAL DESIGNERS BARBARA STEIN AND GABRIELA PINTO

UEL CIENCE WITHOUT BORDERS SUMMER PROJEC

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THEORICAL REFERENCES

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MAGAZINES

GLOSSARY

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THEORETICAL REFERENCES

WILLIAM MORRIS 6

William Morris (24 March 1834 to 3 October 1896) was an British textile designer, poet, novelist, translator, and socialist activist.

Associated with the British Arts and Crafts Movement, he was a major contributor to the revival of traditional British textile arts and methods of production. He also was one of the names that incited the socialism movement in Britain.

Morris had the desire of creating nice and beautiful objects with rinsable prices, so everybody from different social classes could have it. Contrasting with what really happened, just people from the highest levels could buy it.

In a conference of typology in 1888, Morris heard from a typology that the print methods of the XV and XVI centuries should be adopted to prevent the lack of quality at the contemporary books. Some years later, Morris founded the Kelmscott Press, a book publisher. With the goal of inspiring moral quality and value to the printed works. “ I began printing books with the hope of producing some which would have a definite claim to beauty, while at the same time they should be easy to read and should not dazzle the eye, or trouble the intellect of the reader by eccentricity of form in the letters.”- William Morris (1895) Morris defended that the academic books, although they may have a good print, unlikely would be adorned as a book of poems. He also said that a book which must have illustrations should have no ornament, since the ornaments would get in conflict with the illustrations.

The way that the letters were arranged also was an issue to Morris. The

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letters had to have a blank space between each other and also the right size. Also defended the importance and the caution with the blank spaces between the words and the lines of text. “ First, the ‘face’ of the letter should be as nearly conterminous with the ‘body’ as possible, so as to avoid undue whites between the letters. Next, the lateral spaces between the words should be (a) no more than is necessary to distinguish clearly the division into words, and (b) should be as nearly equal as possible. Modern printers, even the best, pay very little heed to these two essentials of seemly composition, and the inferior ones run riot in licentious spacing, thereby producing, inter alia, those ugly rivers of lines running about the page which are such a blemish to decent printing.

Third, the whites between the lines should not be excessive; the modern practice of ‘leading’ should be used as little as possible, and never without some definite reason, such as marking some special piece of printing ” - William Morris (1895) About the types of typography Morris also had his thoughts, some shapes were beautiful but hard to read. Some others, more basic, simple designed making the reading more effortless. The two pages, the spreads from a book were the unit and should be designed as that. The intern margin where the binding goes, should be the narrowest, followed by the superior and the extern, the bottom margin was suppose to be the biggest.

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PETER BEHRENS

Peter Behrens ( 14 April 1868 to 27 february 1940) was a german architecture, artist and a graphic and industrial designer. Behrens is considered one of the first designers in history, along with English Christopher Dresser.

In 1903 Behrens was in Dusseldorf to direct the School of Arts and Crafts in the city. He developed innovative preparatory courses mainly for the areas of architecture, interior and graphic design. Proposing to the students the return to the basics of form and creative thinking. This introductory course was a precursor to the Bauhaus Preliminary Course.

In 1904. J. L.Mathieu Lauweriks,dutch architect joins the faculty of the School of Arts and Crafts in Dusseldorf and there Lauweriks developed a method of teaching composition, based on the dissection of a circle by squares. His method could be used to determine proportions, dimensions and the spatial division of the elements from design to architecture.

Behren decided to apply the Lauweriks method in his work and this has promoted a great change in the way designers and architects thought their projects. Considered one of the most important changes of the century. Behren proved possible to rationally use the geometry as an underlying system of visual organisation.

His work in this period can be summarised by attempts that were fundamental to the start of Constructivism in graphic design.

Where both stylised representations as realistic, will be replaced by geometric structures.

Logo and poster, project by Peter Behrens to AEG, a German Industry.

Lauweriks method of teaching composition, based on the dissection of a circle by squares.

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VILLARD DIAGRAM 8

Villard de Honnecourt was a famous French master worker in the XIII. Learned his craft traveling along his life, becoming later a master-builder -at that time the profession also involved the work of architect.

The architect Villard developed a method of geometric division of space that differs from the scale of Fibonacci by the fact that any chosen page shape can be subdivided. This approach, when used with any form of golden section, effectively divides the height and width of the page by nine, creating 81 units, each of which has the same proportions of both format as the text box. Margins are determined by the height and width of the unit.

This is a moment in which the boundaries separating graphic design and architecture were blurred, showing that the development of pleasing ratios, shapes and sizes is not dependent on the medium, but the mind.

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THE BAUHAUS

The Bauhaus was founded in 1919 in the city of Weimar by German architect Walter Gropius (1883– 1969). Its first objective was a radical concept: to reimagine the material world to reflect the unity of all the arts. Gropius explained this vision for a union of art and design in the Proclamation of the Bauhaus (1919), which described a utopian craft guild combining architecture, sculpture, and painting into a single creative expression. Gropius developed a craft-based curriculum that would turn out artisans and designers capable of creating useful and beautiful objects appropriate to this new system of living. Was forced to close its doors, under pressure from the Nazism, in 1933. The school favored simplified forms, rationality, functionality and the idea that mass production could live in harmony with the artistic spirit of individuality.

Along with Gropius, and many other artists and teachers, both Laszlo Moholy-Nagy and Herbert Bayer made significant contributions to the development of graphic design. Among its many contributions to the development of design, the Bauhaus taught typography as part of its curriculum and was instrumental in the development of sans-serif typography, which they favored for its simplified geometric forms and as an alternative to the heavily ornate German standard of black letter typography.

The most basic tenet of the Bauhaus was form follows function.

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The German architect Walter Gropius.

The Bauhaus school in Germany

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GRID

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A grid system is a rigid framework that is supposed to help graphic designers in the meaningful, logical and consistent organisation of information on a page.

Rudimentary versions of grid systems existed since the medieval times, but a group of graphic designers, mostly inspired in ideas from typographical literature started building a more rigid and coherent system for page layout.

The core of these ideas were first presented in the book Grid Systems in Graphic Design by Josef Müller-Brockmann which helped to spread the knowledge about the grids thorough the world.

In the 13th century, the architect Villard De Honnecourt came up with a famous diagram used for producing page layouts with margins of fixed ratios — what was considered a “harmonious” design. This remains a guiding principle in the design of print objects such as book covers.

The grid did not enter the graphic design lexicon until around World War I, in Switzerland. One of the only neutral countries in the war, Switzerland became a meeting ground for intellectual refugees from all over Europe.

It was also one of the few places where printing supplies like paper and ink weren’t heavily rationed.

These conditions amounted to a lot of sharp people printing a lot of multi-lingual documents, often with columns of French, Italian, German and English. This presented a design problem that typographers like Herbert Bayer and Jan Tschichold stepped up to address.

One contribution of these designers

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was a turn away from the centred text positioning to an “asymmetric” approach meant to feel more natural for people reading leftto-right. Such an approach aligns text flush-left, ragged-right, often positioning the body of text slightly further to the left or right to leave a bigger margin for notes.

Is clear that the gris is really important to graphic design and is a bit like magic sets of intersecting lines that help the designer decide where to put things, but that generally no one else sees. The benefits of using a grid are multifarious, ranging from the psychological to the functional, and, of course, the aesthetic. There is multiple types of grid, and you can project yours as your need, and since you know how to project it then you can break it. The grid embodies all the contradictions that designers struggle with. This is the designer’s very own enigma code that can elevate design discourse to that of a science.

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ERNST KELLER

Ernst Keller was born 1891 in Aarau, Switzerland. Keller was first trained as a draughtsman and lithographer in 1906. He worked in Leipzig, Germany until 1914. Keller joined Zurich’s famous Kunstgewerbeschule (School of Applied Art) in 1918 until he retired in 1956.

As a teacher he was the most important single influence on the development of the Swiss style while teaching design and typography. Where he then established several training programs in design and typography and was called “the father of Swiss graphics”. The economically drawn images and inventive lettering of his posters designed in the 1920s and 30s made an important contribution to Modernism.

Keller created a design system characterised by a rigid grid format, structured layout and unjustified type. The core of these ideas were first presented in the book Grid Systems in Graphic Design by his student Josef Muller-Brockmann.

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Posters made by Ernst Keller

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KARL GERSTNER 12

Born in Basel, Switzerland in 1930, Karl Gerstner was a painter and a graphic designer, who studied design at Allgemeine Gewerbschule in Basel under the thoughts of Emil Ruder. In 1959, he and Markus Kutter confounded Gerstner & Kutter a design agency.

Later, when the architect Paul Gredinger joined them they changed its name to GGK. Gerstner’s grid for the journal Capital, designed in 1962, is still often cited by some as near-perfect in terms of its mathematical properties. The smallest unit in Gerstner’s grid, or matrix as he called it, is 10pt—the baseline to baseline measurement of the text.

The main area for text and images is a square, with an area above for titles and running heads. The cleverness lies in the subdivision of the square into 58 equal units in both directions. If all inter column spaces are two units, then a two-three-four-five-, or six-column structure is possible without any leftover units. “ The typographic grid is a proportional regulator for type– matter, tables, pictures and so on.

It is a priority programme for a content as yet unknown. The difficulty lies in finding the balance between maximum formality and maximum freedom, or in other words, the greatest number of constant factors combined with the greatest possible variability.”

- Gerstner.

There are two aspects of design process which are central to Gerstner’s theories. First is creativity. Gerstner’s evangelism for introducing programmes into design process is not to limit

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creativity, but to ensure creative energy is efficiently allocated to the stages where it most benefits answering the design problem.

The second fundamental aspect of Gerstner’s theories is the importance defining and understanding of the design problem. Once the design problem has been carefully defined, then an appropriate programme could be developed to explore solutions. The failure of a programme comes when it is not developed comprehensively enough or does not regard the design problem adequately.

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THE SWISS STYLE

The Swiss Style or Swiss Graphic Design was developed in the 1950s in Switzerland. It remained a major design movement for more than 2 decades, and still influences graphic design today.

Also known as the International style or International Typographic Style, it emerged in Russia, Germany and the Netherlands in the 1920s, and was made famous by talented Swiss graphic designers.

The Swiss Style emphasised simplicity, communication and objectivity. Its hallmarks are the mathematical grid, sans serif typefaces arranged in a flush left and ragged right formation (asymmetry), black and white photography, and the elimination of ornament The Swiss Style merged elements of The New Typography, Bauhaus and De Stijl. The Swiss Style has its roots in The New Typography, which was developed in the 1920s and 1930s as artists and designers looked to give design a place in the new industrialised era. They discarded symmetry, ornament and drawn illustration for whitespace, plain letterforms and photographs. As printing became industrialised a need for plain letterforms for fast efficient printing was necessary. Photography was at the time becoming very popular and more accessible, and designers embraced this.

Of the many contributions to develop from the two schools were the use of, sans-serif typography, grids and asymmetrical layouts. Also stressed was the combination of typography and photography as a means of visual communication. The primary

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influential works were developed as posters, which were seen to be the most effective means of communication.

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NEU GRAPHIC 14

Neue Grafik, it was an influential magazine on graphic design published from 1958 to 1965, seventeen issues, eighteen numbers – the last issue 17/18 was a double issue. Edited by like minded Zurich designers LMNV – Richard Lohse (1902–1988), Josef Müller-Brockmann (1919–1996), Hans Neuburg (1904–1983) and Carlo Vivarelli (1919–1986) – in English, French and German.

From a historical point of view, Neue Grafik can be seen as a programmatic platform and effective publishing organ of Swiss graphic design, an international authority in its field at the time.

Protagonists of the Swiss school and its rigorous Zurich faction lead an essential discourse on the foundations of current communication and constructive design.

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The influence of this movement cannot be overstated. The Swiss school, also called “International Style,” became exemplary for the conceptual approach to corporate design of increasingly globally operating corporations and an influential precursor in the design of individual projects, such as posters, exhibitions, and publications.

The Neue Grafik grid used to be based in four columns, and had three horizontal bands where all the information, text and images were arranged.

The complete volumes are now available in an excellent reprint from Lars Müller Publishers.

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THE BASEL DESIGN SCHOOL

The Basel School of Design and its students have influenced the international Graphic Design community since the 1960’s. Under the direction of Armin Hofmann and Emil Ruder courses for Graphic Design and Typography were developed. They were outstanding models for a modernist design education.

The Basel school had a different approach from that of the designers fromZurich. The director of the school adopted an intuitive method to teach composition, based on symbolic form and contrasts between qualities optical and abstract varying from: light to dark, curve and angle, and organic geometric. Also the kind of paper and the typography had an important role in school programme.

Emil Ruder, which was formed in Zurich, entered the school to give typography class. Defended the balance between form and function and explored the nuances of type and optical contrast by comprehensive and systematic grid structures. Helping students better understand the grid and disseminate it.

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ALEXEY BRODOVITCH 18

American magazine art director, graphic designer, and photographer, worked as a graphic designer in Paris from 1920 until 1930, when he moved to New York City. In 1934 Carmel Snow, editor of Harper’s Bazaar magazine, hired Brodovitch to invigorate the magazine with a modern spirit; it was in this capacity that Brodovitch would leave his greatest legacy. During his tenure at Harper’s Bazaar (1934–58), Brodovitch revolutionized American magazine design. He departed from the static layouts and conventional posed studio photographs prevalent in 1930s editorial design. Instead, he emphasized the double-page spread as a dynamic field upon which exquisite photographs, crisp Bodoni typefaces, and elegant white space were arranged into a total composition. He assigned covers and interior images to modern European artists and designers including Herbert Bayer, Cassandre, and Salvador Dalí, and he commissioned important photographers such as Henri Cartier-Bresson, Martin Munkacsi, and Man Ray to take dynamic location and experimental photographs.

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“ If you know yourself, you are doomed.”

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ALVIN LUSTIG 20

Alvin Lustig’s contributions to the design of books and book jackets, magazines, interiors, and textiles as well as his teachings would have made him a credible candidate for the AIGA Lifetime Achievement award when he was alive. By the time he died at the age of forty in 1955, he had already introduced principles of Modern art to graphic design that have had a long-term influence on contemporary practice.

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“

...remember that design is concerned

with relationships and relationships are always good or bad, never neutral. ”

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CIPE PINELES 22

Cipe Pineles (1908-1991) was one of the most prominent designers of the twentieth century and one of the first female art directors to work at a major magazine. She served in that capacity at Glamour, Seventeen and Charm. The Cipe Pineles collection came to RIT in 1991 and was deposited by Cipe Pineles’s two adopted children: Tom Golden and Carol Burtin Fripp. -- K.H.

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“ We tried to make the prosaic attractive without using the tired clichés of false glamour.”

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CHIP KIDD 24

You know a Chip Kidd book when you see it -- precisely because it’s unexpected, non-formulaic, and perfectly right for the text within.

As a graphic designer for Alfred A. Knopf since 1986, Kidd has designed shelves full of books, including classics you can picture in a snap: Jurassic Park, Naked by David Sedaris, All the Pretty Horses …

His monograph, Chip Kidd: Book One, contains work spanning two decades. As editor of comics for Pantheon, Kidd has commissioned work from graphic novelists like Chris Ware, Art Spiegelman, Dan Clowes and Ben Katchor. He’s a novelist as well, author of The Cheese Monkeys and The Learners.

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“ I am all for the iPad, but trust me — smelling it will get you nowhere. ”

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DAVID CARSON 26

Carson graduated with “honors and distinction” from San Diego state university, where he received a BFA degree in sociology. A former professional surfer, he was ranked #9 in the world during his college days. Numerous groups including the New York Type Directors Club, American Center for Design and I.D. magazine have recognised his studio’s work with a wide range of clients in both the business and arts worlds. Carson and his work have been featured in over 180 magazine and newspaper articles around the world, including a feature in Newsweek magazine, and a front page article in the new york times.

London-based Creative Review magazine dubbed Carson “Art Director of the Era.” The American Center for Design (Chicago) called his work on Ray Gun magazine “the most important work coming out of America.” His work on Beach Culture magazine won “Best Overall Design” and “Cover of the Year” from the Society of Publication Designers in New York.

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“ It’s not about knowing all the gimmicks and photo tricks. If you haven’t got the eye, no program will give it to you.”

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DAVID PELHAM 28

David Pelham was Art Director at Penguin Books from 1968 to 1979 and created some of the publisher’s most celebrated cover art, including his famous cog-eyed droog for Anthony Burgess’s novel A Clockwork Orange in 1972 and his series of paintings for The Drought, The Drowned World, The Terminal Beach and other JG Ballard titles in the mid 1970s.

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“ As an editorial designer I have spent my lifetime not simply reading books but writing, designing and producing them as well”

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ELAINE RAMOS 30

Elaine Ramos is an art director and coordinator of design publications in Cosac Naify 7 years ago. This period has developed more than a hundred books and graphic designs between major awards he has received are the best cover of Tortoise (2006), Aloisio Magalh達es Award of the National Library Foundation (2007) and the Max Feffer Award (2008). Already had also selected by the American Institute of Graphic Arts for the exhibition 50 Books / 50 Covers in 2007, 2008 and 2009 and the Art Directors Club 88th Annual Awards 2009 In parallel to activity in the editor, projects developed in 2008 (with Daniel Trench and Flavia Castanheira) visual identity and design publications of the 28th.

International Biennial of S達o Paulo in 2010 and taught in the course of Editorial Design of post-graduation courses Senac. It is also the newest member of the Alliance Graphique Internationale - AGI, association based in Switzerland that groups the best graphic designers from all over the world, AGI elects its members among professionals responsible for designing the identity of large institutions and corporations, as well as the relevance their publications.

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“I think if the planet has a salvation, surely that salvation depends on designers.”

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ELIOT JAY STOCKS 32

Elliot Jay Stocks is a designer, speaker, and author. He is the Creative Director of Adobe Typekit, co-founder of lifestyle magazine Lagom, founder of typography magazine 8 Faces, and an occasional musician.

As a designer, he’s worked with the likes of Microsoft, Virgin Group, MailChimp, EMI, and Campaign Monitor. He live and work in the countryside just south of Bristol, England.

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“ Impressing is not just done by good design; it’s done by brave design.”

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KATI KRAUSE 34

Kati Krause is an editor, writer and curator based in Berlin. She is specialised in editorial direction, content strategy and publishing. She used to live in London, where she got a degree in International Relations at LSE, and Barcelona, where I started out working in journalism and magazines. Kati have written regularly for Zeit Online, The Wall Street Journal Europe, Etiqueta Negra and Monocle, and irregularly for apartamento, Vice, S端ddeutsche Zeitung Magazin, Dummy and a whole lot of great indie publications. Also have worked at Le Cool Publishing (as an editor), Dailymotion (as content and then country manager) and Etsy (as communications manager), but I prefer to be self-employed.

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“ What I’m arguing is, editorial design should be functional.

This doesn’t mean that there’s no space for aesthetics.”

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LARS MÜLLER 36

Lars Müller was born in Oslo in 1955, and although a Norwegian citizen, has been based in Switzerland since 1963. He started publishing books on typography, design, art, photography, and architecture in 1983 and, as Lars Müller Publishers, has produced some 300 titles to date.

Recently, he has branched out into visually oriented books on social issues, such as human rights and ecology.

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“ And I think I’m right calling Helvetica the perfume of the city. It is just something we don’t notice usually but we would miss very much if it wouldn’t be there.”

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PAUL RAND 38

Peretz Rosenbaum was born in 1914 in Brooklyn, NY. Rosenbaum would later change his name to Paul Rand, and become one of the most famous and influential graphic designers in history. Rand first made a name for himself as an editorial designer, doing work for magazines such as Esquire and Direction. Even though he is also well known for his logo design and corporate branding, creating timeless icons such as the IBM and ABC television logos.

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“ Design can be art. Design can be aesthetics.

Design is so simple, that’s why it is so complicated.”

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STEFAN SAGMEISTER 40

Born in Bregenz, a quiet town in the Austrian Alps, in 1962, Sagmeister studied engineering after high school, but switched to graphic design after working on illustrations and lay-outs for Alphorn, a left-wing magazine. The first of his D-I-Y graphic exercises was a poster publicising Alphorn’s Anarchy issue for which he persuaded fellow students to lie down in the playground in the shape of the letter A and photographed them from the school roof.

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“ Having guts always works out for me.”

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MAGAZINES

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MAGAZINES

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MAGAZINES

Influencia

Magazine

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MAGAZINES

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MAGAZINES

Esquire

Magazine

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MAGAZINES

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MAGAZINES

V

Magazine

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MAGAZINES

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MAGAZINES

The NY Times style Magazine

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MAGAZINES

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MAGAZINES

Blend

Magazine

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MAGAZINES

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MAGAZINES

Anthem

Magazine

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MAGAZINES

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MAGAZINES

Big Up

Magazine

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MAGAZINES

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MAGAZINES

Fallen

Magazine

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MAGAZINES

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MAGAZINES

Colors

Magazine

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MAGAZINES

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MAGAZINES

The Gentle Woman Magazine

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MAGAZINES

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MAGAZINES

Eye

Magazine

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MAGAZINES

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GLOSSARY

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GLOSSARY

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GLOSSARY

GLOSSARY B A

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Banner: The title of a periodical, which appears on the cover of the magazine and on the first page of the newsletter. It contains the name of the publication and serial information, date, volume, number. Bleed: when the image is printed to the very edge of the page.

Alley: the space between columns within a page. Not to be confused with the gutter, which is the combination of the inside margins of two facing pages.

Block quote: A long quotation four or more lines - within body text that is set apart in order to clearly distinguish the author’s words from the words that the author is quoting.

Angle: the approach or focus of a story. This is sometimes known as the peg.

Body or body copy: (typesetting) the main text of the work but not including headlines.

Application Window: the entire application window for LayOut. The Drawing Window contains menus, toolbars, the status bar, and the Drawing Area. See also Drawing Area.

Boost: picture boost (usually front page) pic promoting a feature or story in later pages Strap boost: as above, but with a strapline, not a picture

Ascender: in typography, the parts of lowercase letters that rise above the x-height of the font, e.g. b, d, f, h, k, I, and t. See descender for headline implications of these.

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Buried lede: when the main point of the story is hidden away deep in the text. It should come first.

Byline: a ournalist’s name at the beginning of a story.

GLOSSARY

D Deck: part of the headline which summarises the story. Also known as deck copy or bank. A headline is made up of decks, each set in the same style and size of type.

A multi deck heading is one with several headings each different from the next and should not be confused with the number of lines a heading has. A four line heading is not the same as a four deck heading.

C CAD: see Computer Assisted Design Callout: an explanatory label for an illustration, often drawn with a leader line pointing to a part of the illustration.

Caption: an identification (title) for an illustration, usually a brief phrase. The caption should also support the other content.

Centre of visual interest (CVI): the prominent item on a page usually a headline, picture or graphic.

Chord Length: the distance between the starting point and the ending point of an Arc. Clipping Mask: the use of a shape to ‘mask out’ portions of the model, image, or other entities, underneath the shape.

Column: a regular feature often on a specific topic, written by the same person who is known as a columnist.

Column gutter: the space between columns of type.

Context Menu: a menu of menu items or commands available in a particular context, such as when a line or component is selected.

Copy: main text of a story.

Cropping: the elimination of parts of a photograph or other original that are not required to be printed.

Cropping allows the remaining parts of the image to be enlarged to fill the space.

Cross head: a heading set in the body of the text used to break it into easily readable sections.

Crossing Selection: refers to using the Select tool and clicking to the right-side of entities and dragging to the left to select entities.

Cutlines: explanatory text, usually full sentences, that provides information about illustrations.

Cutlines are sometimes called captions or legends.

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Default Layer: the layer in a presentation on which all entities are initially placed.

Descender: letters that descend below a line (q,p,g, j) Ascenders and descenders can create unused space in large headlines, that is one reason why tabloid front page headlines use capitals, there are no ascenders or descenders in caps, so the lines can be crammed more closely together by adjusting the leading and therefore make better use of the space and add to the impact.

Dialog Stack: dialog boxes arranged such that they form a stack.

Dirty SketchUp Model: amodel whose properties have been changed in LayOut, but has not been rerendered to reflect the Wchanges. Dirty models are indicated by a yellow icon with an exclamation point.

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GLOSSARY

Discretionary hyphen: a hyphen that will occur only if the word appears at the end of a line, not if the word appears in the middle of a line.

F

Document Area: the area where you construct your document.

Feature: a longer, more in-depth article.

Double page spread: magazine design layout that spans across two pages. Usually, the design editor will arrange to spread the layout across the centre pages of the magazine, so as to ensure that the design lines up properly.

Facing pages: in a double-sided document, the two pages that appear as a spread when the publication is opened.

Drawing tool: a software tool used to create shapes from scratch.

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Drop cap: a large initial letter at the start of the text that drops into the line or lines of text below.

Drop shadow: drop shadows are those shadows dropping below text or images which gives the illusion of shadows from lighting and gives a 3D effect to the object.

E Edge: an edge is a line that borders some closed shape such as a rectangle.

Editorialise: to write in an opinionated way.

Entity: the smallest graphical building blocks in LayOut. Entities are combined to create presentations.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

Fill: inside color of a shape.

Filler: extra material used to complete a column or page, usually of little importance.

Flatplan: a page plan that shows where the articles and adverts are laid out.

Flush left: copy aligned along the left margin.

Flush right: copy aligned along the right margin.

GLOSSARY

G Golden ratio: the rule devised to give proportions of height to width when laying out text and illustrations to produce the most optically pleasing result. Traditionally a ratio of 1 to 1.6.

Grid: a layout grid is the non-printing set of guidlines that designers use to align images and text in a document layout.

Grip-and-grin: a photograph of no inherent interest in which a notable and an obscure person shake hands at an occasion of supposed significance.

Group: see Group entity.

Group entity: an entity that contains other entities. Groups are commonly used to combine several entities into a single entity for the purposes of performing a quick operation, such as a copy and paste.

H Headline: the main title of the article. Should be in present or future tense to add to urgency. Must fit the space provided. If it doesn’t, you are using the wrong words.

House style: a publication's guide to style, spelling and use of grammar, designed to help journalists write and present in a consistent way for their target audience.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

J Justify: (typesetting) the alignment of text along a margin or both margins. This is achieved by adjusting the spacing between the words and characters as necessary so that each line of text finishes at the same point.

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GLOSSARY

L

I

Lead or Leading: (typesetting) space added between lines of type to space out text and provide visual separation of the lines. Measured in points or fractions thereof. Named after the strips of lead that used to be inserted between lines of metal type.

Inference: the identification of relationships between entities in the drawing area. These relationships are identified and pointed out to the user by the inferencing engine and can be used as references for drawing in 3D space.

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Inference Engine: functionality built into LayOut to locate or infer points from other points in your model, such as the center of a circle, the midpoint of a line, a point on surface, a point on an edge, and so on. The Inference Engine notifies you of these points by using both color indicators and on-screen messages indicating the location of the cursor as you draw an entity. For example, LayOut displays the string ‘On Line’ when the Pencil tool is on a line.

Leader: a line of dots or dashes to lead the eye across the page to separated copy.

K Kerning: adjustment of horizontal space between two written characters.

Kicker: the first sentence or first few words of a story’s lead, set in a font size larger than the body text of the story.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

Leading: adjustment of vertical space between two lines. lede: the phonetic spelling of lead, the beginning, usually the first paragraph, of an article. The importance of getting the main point of the story in the first sentence is regularly stressed to young journalists by editors. Don’t bury the lede. When we were taught to write stories at school we were urged to save the best for the climax. In journalism, get the climax in first, then give the context.

GLOSSARY

M Master Page: a page-layout term referring to a page that contains entities that you want to appear in all of the pages in your document.

LayOut uses master layers instead of master pages.

Masthead: main title section and name at the front of a publication.

Magazine term referring to the printed list, usually on the editorial page of a newspaper or magazine, that lists the contributors. Typically this would include the owners, publishers, editors, designers and production team. The masthead is often mistakenly used in reference to the flag or nameplate, which actually refers to the designed logo of the publication.

Measurements Field: the ‘Measurements’ field displays dimensional information while you draw. You can also enter values into the ‘Measurements’ field to manipulate the selected entity.

Modal dialog box: a dialog box that temporarily prohibits the user’s interaction with the application.

Modal dialog boxes usually require the user to perform some action prior to returning to normal application use.

Models dialog box: a dialog box that does not prohibit the user’s interaction with the application.

See also Modal dialog box.

Move Point: the point where you click on the entity with the Move tool.

N Negative space (or white space): the area of page without text, image or other elements Noise: a noisy image or noisy scan is one where there are random or extra pixels that have degraded the image quality. Noise in a graphics image can be generated at the scanning stage, by artificially enlarging an image by interpolating the pixels, or by over-sharpening a digital photograph.

Noise can sometimes also be found in photographs taken by some cheaper digital cameras.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

O Origin: the point where the Drawing Axes start or originate.

Orphan: first line of a paragraph appearing on the last line of a column of text. Normally avoided.

Overline: introductory headline in smaller text size above the main headline.

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GLOSSARY

S P Page: similar to a slide in presentation software, a page consists of your model and a series of page-specific settings, such as a specific point of view, shadow, display setting, and section cut. Pages can be combined to form TourGuide presentations in LayOut. Presentation Area: the area where you create your presentation.

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Pull quote: a brief phrase (not necessarily an actual quotation) from the body text, enlarged and set off from the text with rules, a box, and/ or a screen. It is from a part of the text set previously, and is set in the middle of a paragraph, to add emphasis and interest. A quote or exerpt from an article that is used as display text on the same page to entice the reader, highlight a topic or break up linearity Pull-out quote: selected quote from a story highlighted next to the main text. Often used in interviews.

Puff piece: a news story with editorialised, complimentary statements.

Scrapbook: a mechanism for storing and organizing libraries of models, image, shapes, text, and styles that you want to use in all of your presentations

R Rivers: a river is a typographic term for the ugly white gaps that can occur in justified columns of type, when there is too much space between words on concurrent lines of text. Rivers are especially common in narrow columns of text, where the type size is relatively large. Rivers are best avoided by either setting the type as ragged, increasing the width of the columns, decreasing the point size of the text, or by using a condensed typeface. An often overlooked method of avoiding rivers, is the careful use of hyphenation and justification settings in page layout programs such as QuarkXpress or InDesign.

Running head: a title or heading that runs along the top of a printed publication, usually a magazine.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

Shape: a closed series of entities, such as lines forming a box shape or freehand lines forming an irregular shape.

Shared Layer: a special layer that contains any entities that you want to appear in all of the pages in your document.

Serif and Sans serif : plain font type with or without (sans) lines perpendicular to the ends of characters.

Set flush: text set at the full width of the column with no indentation Splash: main front page story.

Standfirst: will usually be written by the sub-editor and is normally around 40-50 words in length. Any longer and it defeats its purpose, any shorter and it becomes difficult to get the necessary information in. Its purpose is to give some background information about the writer of the article, or to give some context to the contents of the article. Usually, it is presented in typesize larger than the story text, but much smaller than the headline.

GLOSSARY

Strapline: similar to a subhead or standfirst, but used more as a marketing term.

Stroke: line or edge style (color, thickness, and so on).

Style: refers to the rendering options on the shape or model. For shape, style refers to the fill within a rectangle, the stroke (line color, width, end styles) of a line, or the shape of a font . If the entity is a SketchUp model, style refers to the rendering options on the model, such as shadow state and face and edge rendering styles. Sell: short sentence promoting an article, often pulling out a quote or a interesting sentence.

Subhead: a secondary phrase usually following a headline. Display line(s) of lesser size and importance than the main headline(s).

T Talkie headline: a quote from one of the people in the story used as a headline

W

Tag line: a short memorable line of cover text that sums up the tone of the publication.

Widow: in a page layout, short last lines of paragraphs - usually unacceptable when separated from the rest of the paragraph by a column break, and always unacceptable when separated by a page break.

Tombstoning: in page layout, to put articles side by side so that the headlines are adjacent. The phenomenon is also referred to as bumping heads.

Window Selection: refers to using the Select tool and clicking to the left-side of entities and dragging to the right to select entities.

Top head: headlines at the top of a column.

Wob: white text on a black or other coloured background.

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

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GLOSSARY

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UEL CIENCE WITHOUT BORDERS SUMMER PROJEC ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS