L A I R O T EDI ESIGN D SVA @
e iev v e en iams G E. W i l l
Much appreciation to my many School of Visual Arts students who contributed to this book, whether represented here by their works or not. You teach me how to teach, keep me constantly learning and updating, and never stop asking me to question myself. Hot damn, you’re good! Special thanks to Ramon Tejada whose tireless effort and great talent brought this book to life. –egw ©2010 by E. Genevieve Williams. All materials presented in this book are protected by United States Copyright Law and may not be reproduced, distributed, transmitted, displayed, published, or broadcast without the prior written permission of the author and designers whose work appears in this book. The work samples shown in these pages were created by students and all efforts have been made to credit accordingly. Creative Direction by E. Genevieve Williams Art Direction and Design by Ramon Tejada Designed using Replica, Berthold Akzidens Grotesk, Find & Replace, and Numbers.
An editorial designer is invested in providing creative ways for the reader to easily access information. For a talented, disciplined, and hard-working designer, editorial design (the design of publications) is a wonderful and rewarding creative challenge. At a minimum, editorial design requires attention to detail and a love of the printed word. A comprehensive education and a broad frame of reference is always helpful.
p r o v i ders .
Along with editors, writers, photographers, and illustrators, we create publications that qualitatively (and sometime quantitatively) relay information to readers. A “good� creative director/art director/designer is a thinking individual who is committed to the content of the publication and who demands and contributes to the highest standards of journalism or literature.
* E d i t o r i al des i gners are c o ntent
A good creative director/art director works in tandem with editors to create a publication that serves the needs of the readership and reports the news/content as objectively as possible.
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In order to begin designing a publication, the editorial designer must have a firm grasp of the target audience. Five demographics are customarily deemed essential in determining the target audience for publication design. These are; age group, gender, education level, income, and locale (rural, suburban, urban). Features are the main stories of the issue. They are generally date sensitive and appear only once in the history of the publication. Usually they are several spreads each with a set of related images. The feature well or feature stories are placed in the center of the publication and are mostly uninterrupted by advertising. Feature stories are often mentioned in the “cover lines” on the cover of the issue. They may also take up more space on the contents page(s), though there may be fewer of them than there are columns and departments. This is because they run with blurbs and bylines and perhaps in a slightly larger type size than the column and department list. Departments and columns are regularly running sections that appear in every (or almost every) issue. For instance, in a fashion magazine, the departments may be “beauty,” “accessories,” “dining out,” and so on. If the regularly running article is an opinion piece or is consistently written by a specific author on a particular subject, it is called a column. A design technique used to distinguish the two is to set the text type of the department justified and the text type of the columns ragged right. Justified copy blocks tends to signify “fact,” whereas ragged right text blocks indicate “opinion.” Departments and columns are often single page stories, a short article, or related short articles paced out over a few pages. Departments can also be single pages or spreads with a set of pictures and long captions. Departments and column are customarily situated in the front and back of the publication. These pages often face advertising. They act as “bookends” to the feature well in a magazine. DEPARTMENT: Designer Brian Murillo.
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It is common for the department template to establish a hang line where the copy (text type, body copy) begins. The hang line can be interrupted by imagery or service material (text), but the body copy of the story does not rise above it.
Sidebar material or service information is often displayed in information graphics or in a bulleted list. Information graphics, that is, charted editorial content is a research and design field in its own right. Have a look at Edward Tufte, Peter Grundy, Nicolas Felton, and John Griswald on this topic. Editorial grids create a foundation for building magazines, newsletters, and books. Based on content, the goal is to create an editorial environment that presents the textual material in a way that is convincing and accessible. Typography is the single most important design consideration for publication design. The size and font choices must clearly direct the reader from the most important information on the page to the least. The typography must be appropriate to the textual and visual content of the publication. The typeface must be readable. The spacing between letter forms, words, text blocks, headlines, subheads, bylines, captions, and photography or illustration credits must create a fluid read of the textual information. The typography choices and mix must be pleasing to the eye. Typography choices are based on an informed idea of what fonts and mix of typefaces best suit the editorial content and the target audience. Text type or body copy provides an even gray (no dramatic thick and thin line weights, no slurpy finishes to the letterforms, and so on) that allows for easy reading and gives the editorial designer an opportunity to showcase design, GRIDS: Designers Michelle Rial, Richard Hall. TABLE OF CONTENTS: Eszter Kapitany TEXT TYPE: Ted Metcalfe
photography, and illustration. Even gray text blocks provide a playing field (like astro turf) for imagery and display typography. Text type choices must be an appropriate size (larger for the 40+ age group) and style for the target audience, publication style, and page size of the publication.
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* T Y PO G R A P H Y i S T H E S I N G L E M O S T I M PO R T A N T des i gn c o ns i derat i o n f o r P U B L I C A T IO N D E S I G N
typography typography is is the the single most important design design consideration consideration for for publication publication design design
Headlines are teasers for the editorial content. They are designed to draw the reader into the story. Headlines are often set in a different typeface from the text face and are generally the largest and boldest typography on the spread. Often they are short—three or four words. If the headline is set in caps and lower case, it is set in “up style,” meaning that all words except articles are set with the first letter in upper case. An exception to this rule occurs if an article is the first word in
By RAUL BARRENECHE Photographed by YUKI KAWANA and MICHAEL WEBER
Creatively fusing retro references and contemporary style, AVROKO's restaurants set the standard for intelligent downtown cool - even uptown
kings queen
OF THE RESTAURANT SCENE
&
a line. An interesting trend is to diminish the size or boldness of the headline making it sometimes as small or nearly as small as the text type. Often these small headlines are set in the text typeface in caps or small caps. Since we are trained to expect a large headline, a small or quiet headline often does the job of grabbing the reader’s attention at least as well as than the expected large one. Subheads modify and explain the headline. Subheads communicate the editorial point of view and the precise content of the story. Subheads are often a variation of the text typeface—a larger size italic for example, or a variation of the headline face. Since headlines and subheads relate to each other, they are often relate to each other spatially on the page. 17
bylineS identify the author of the story. Bylines are credits for the text created by the author. Therefore, the byline and the text blocks are often related spatially on the page. Pull quotes are literally pieces of the text pulled from the story. If the editing is good, they are compelling bits of text that are used to stimulate interest in the text. From a visual perspective, they break up large chunks of text and create visual PULLQUOTES, DROP CAPS, & HEADLINES: Designers Josh Vietze, Michelle Rial, and Fennie Chow.
interest on the spread or page. Drop caps are enlarged first letters of the first word of the first sentence of the story. Sometimes drop caps sit into the text several or many lines deep. In other
* T H E T Y PO R G R A P H Y M U S T B E A PP R OP R I A T E T O T H E T E X T U A L A N D VI S U A L C O N T E N T O F T H E P U B L I C A T IO N .
instances they sit on the baseline of the first line of the story. Drop caps draw the reader’s attention to the beginning of the story. They can also be used to break up large grey blocks of text or to signal a new thought. Every photograph requires a caption. Captions describe the people, places, dates, and events depicted in the photograph. Captions are often a variation of the text type — generally a smaller size in bold or italic or occasionally set in small caps. An innovative option is to pull out a common element such as dates and bold them or set in small caps, a sans serif against a serif, etc. Credit lines identify the person responsible for the photographs or illustrations used in the layout. Credit lines run in the same location on the page or spread in a given publication—often in the lower right hand corner of the image or in the gutter of the spread. Credits can be set in small caps or caps and lower case at five or six-point. The typeface is often a variation of the text face. An exception to this general rule might arise if the images featured are composed by a well-known photographer or illustrator. Another exception might arise if the story is a photo essay or series of illustrations by the same artist. In these instances, the credit line might print with the byline in the same size and typeface. Rubrics are the tag lines for department or column sections. Rubrics provide the reader with a quick way to determine what type of subject matter is contained in the pages under the rubric title. For example, a fashion magazine might offer a regularly running section entitled “accessories” or “makeup.” A literary journal may offer a regular running section of fiction, and so on. If the rubric denotes a column FEATURE SPREAD: Designer Erin Hughes. Next Page COVER: Designer Marteen Allen.
rather than a department, it may contain the name of the author as well as the title of the section.
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* T he l o g o needs t o be i dent i f i able , readable , p leas i ng t o the eye , and un i q ue .
A publication logo can be a flirt, a dance, a rodeo, or a stalwart presence. Publication logos are a world unto themselves. Notice the details of popular and long lasting logos. Each has a peculiarity that distinguishes it from just any typeface. Logo typography often has little relation to the interior text and headline faces. Therefore, the logo typeface does not have to directly relate to the typographic choices made for the interior of the publication. The logo needs to be identifiable, readable, pleasing to the eye, appropriate to the subject matter, and most importantly, unique and interesting. A logo should appear seamless, as if the letters are meant to look exactly the way they do. Serial publications may launch with a logo that becomes outdated over time, particularly if the publication is successful and has a long run. If this is the case, a publication will generally update the design of the logo without making changes that are perceptible to the average reader. Readers identify publications by their logos. It is important to consider that even the least conservative readers may demand a consistent logo. Logo typography choices should be based on an informed idea of how the target audience will respond to the publication name and logo, and whether a serif or sans typeface best suit the editorial content and the target audience. In print media, publications are judged, at least superficially by their covers. Therefore, it’s important to design great looking covers as well as ones that suit the publication. This means determining in what context the cover will be seen. If the publication is non-newsstand, there is more flexibility for concept covers including logos that move from place to place on the cover or change typography from issue to issue. If the publication is newsstand, the cover and it’s logo will need to compete with the many other publications already on the newsstand. This LOGOS: Designers Mayumi Maeda, and Paulo Melo.
means deciding on a steady look, while keeping it interesting from issue to issue.
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\ 2 The LIBRARY
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FEATURE JUMP: Designer Joana Koiller.
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COVERS: Designers Emily Kim, Paulo Melo.
COVERS: Designers Elana Schlenker, Eszter Kapitany.
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COVERS: Designers Michelle Rial, Ramon Tejada.
COVERS: Designers Christopher Sabatini, Diana Sanchez.
editorial design
cap
35 OUR GREENER FUTURE
Š Recompute is a new way of thinking about computers that layers sustainable ideas throughout its lifecycle to make an overall sustainable product that can be easily replicated. Recompute address sustainability along three main points during its life. Manufacturing: Rather than making a large tower constructed from numerous materials (ABS plastic, aluminum, steel, etc.), hundreds of manufacturing processes, and dozens of individual components, the Recompute case is made of corrugated cardboard (recyclable and renewable). There are four low-impact manufacturing processes to assemble Recompute: Die cutting, gluing (with non-toxic white glue), printing and electronic assembly. Recompute uses only three major electronic components: A motherboard with processor & memory, power supply, and a hard drive. Use: Recompute is designed to allow the user to take advantage of existing hardware. For example; use the keyboard from a previous computer. For additional flexibility, external hardware customization is easy via 8 USB ports. Disposal: Electronic components need to be properly recycled as they contain toxic heavy metals. However, this is often skipped because dismantling of computers is difficult. Recompute can be disassembled without tools, so the electronics and case can be easily recycled individually. Oh yes, Recompute is a real working computer. w
FEATURE & DEPARTMENT OPENERS: Designers Emilie Lenglain, Brienne Jones.
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2
Carbon Magazine
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FEATURE OPENER & TYPOGRAPHY: Designer Diana Sanchez.
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TABLE OF CONTENTS: Designers Marteen Allen, David Robinson.
TABLE OF CONTENTS: Designers Elana Schlenker, Richard Hall.
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FEATURE OPENER: Designer Ayca Bayer.
DEPARTMENT: Designer Marteen Allen.
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DEPARTMENT: Designer Diana Sanchez.
JUMP & TYPE ELEMENTS: Designer Diana Sanchez.
editorial design
LOOK FOR THESE ICONS:
PACK IT... The wants, the needs and the must haves to make the most of your road trip.
A free pocket guide to map folding!
MIXTAPE... Nothing says road trip like a rolled down window and some timeless tunes.
...CULTURE DETOUR Roadside attractions are no longer relegated to side show horrors eith Prada Marfa.
...MAPSTORY Fictional and non fictional road trips that have helped to shape American pop culture.
...SLEEP,EAT,BIKE,REPEAT The greenest road trip one can take is on bike. Here is the low down on all of your two wheel needs.
...THE CHEAP TRIP Being cheap does not have to be an insult. Spending savvy can make your next road trip a perfect one.
...FINDER’S , KEEPERS One volkswagen, three city girls and 300 miles of winter roads. The souvenirs we take from the Rock of Ages.
DEPARTMENTS: Designers Diana Sanchez, Gabriel de Moura.
f There s is e a r saYiNG ThaT in Aprilo 2010 i p heard a oNce, s WheN d You t GeT g To HAPPINESS h be j Where k You l are u supposed c To v be b iT Will m be , preTTY ; f s obvious.” TrusT ] ThaT. s f consider...
The Uniqueness of the Theories of Physics Making your Dream Cur-Ridiculum Mystical Adventures
t y u i o p ;la s d f gbmj, ss TABLE OF CONTENTS AND COVER: Designers Nicole Marie Rincon, Casey Courtney.
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editorial design
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FEATURES: Designer Josh Vietze.
FEATURE OPENER: Designer Trevett McCandliss.
editorial design
Bois de Boulogne:
A Tale of Two Parks BY PAUL THEROUX ILLUSTRATED BY LIZA CORBETT
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FEATURE OPENER: Designer Liza Corbett.
Fall
2006
Fall
2006
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FEATURE OPENER: Designer Tom Grunwald.
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FEATURE OPENER: Designer Joana Koiller.
FEATURE OPENER: Designer Jessica Pietrafeso.
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FEATURE OPENER & JUMP: Designer Yutt Wattanapanich.
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FEATURE OPENER & JUMP: Designer David Robinson.
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FEATURE OPENERS: Designer David Robinson.
editorial design
YES NO
comprehensive comprehensive
follo wing
Hot?
toto
Twitter Twitter
IS HE IN THE POSITION TO OFFER YOU A JOB IN THE FIELD OF YOUR CHOICE?
NO
no
Does he he owe owe you you enough enough toto continue continue Does stify any any friendship friendship with with him? him? toto jujustify
yes
yes Yes
Male or
Female
no
yes
Does he seem like a complete and utter tool?
Does he he have have the the tendency tendency Does to tweet tweet movie movie quotes quotes from from to Wes Anderson Anderson movies? movies? Wes
yes
no
YES?
Hell Yes!
NO
NO
no
no
Yes
no yes
Maybe?
NO Is it an ex / distant cousin / creepy next door neighbor?
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FEATURE OPENERS & INFORMATION GRAPHIC: Designers Matthew Abate, Nicole Marie Rincon, Fennie Chow.
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FEATURE OPENERS: Designers Brienne Jones, Risa Kojo, Erin Friedman.
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INFORMATION GRAPHICS: Designer Bryan Farevaag.
WEB MAGAZINE: Designer Louis Liu.
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FEATUREOPENER & JUMP: Designer Eszter Kapitany.
DEPARTMENTS: Designer Brian Murillo.
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FEATURE OPENER: Designer Trevett McCandliss.
FEATURE OPENER: Designer Ted Metcalfe.
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FEATURE SPREAD: Designer Brian Murillo.
COVER: Designer Brian Murillo.
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DEPARTMENTS: Designer Eszter Kapitany.
TABLE OF CONTENTS: Designer Dara Yoon.
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FEATURE JUMP and PULL QUOTE: Designer Hanah Ho. FEATURE OPENER & JUMP: Designer Dara Yoon.
FEATURE OPENER on page 73: Designer Camila Trivelli.
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Covers: Designers Karine Basilio, David Robinson.
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PULL QUOTES: Designer Diana Sanchez.
FEATURES OPENER: Designer Brian Murillo.
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information graphics: Designers Bryan Farevaag, Airene Resurreccion.
editorial design
a
t the heart of the
exhibition is Schwitters’ masterpiece and culmination of his idea of a total art work. The Merzbau Merz building a monumental three-dimensional assemblage progressively created from 1923 onwards in the artist’s studio and home in Hanover. On display is a walk-in reconstruction owned works that are very seldom on public of the original Merzbau, which was entirely destroyed in the by Peter Bissegger. Merz art, which transcends separate genres. They include Merz
With about 150 loans from international museums and many privately
owned works that are very seldom on public display, this exhibition at the Tinguely drawing and Merz paintings from his entire creative life, early as well as selected reliefs, collages and sculptures from the late 1920s, casting Museum is the first opportunity for people in works that are very seldom on public Merz art transcends separate genres. light on the way in which Schwitters was influenced at the time by constructivist display, this Switzerland to see the original works. tendencies. There are further documentary records of the artist’s other three Merzbau projects, now also destroyed, which he created while in exile in Norway and Great Britain. Displays in four more rooms illustrate the artist’s idea of Merz art, which transcends separate genres; they include Merz drawing and Merz paintings from his entire creative life, early lithographs, Kurt Schwitters is among the outstanding artistic pioneers of the first half of as well as selected reliefs, collages and sculptures from the late 1920s, casting light on the way in which Schwitters was influenced at the time by constructivist tendencies. There are further documentary records of the artist’s other three Merzbau projects, now also destroyed, which he created while in exile in Norway and Great Britain. Displays in four more rooms illustrate the artist’s idea of Merz art, which Kurt scHwitters witH His merz sculpture Die Heilige beKummernis, c.1920, vintage gelatin silver print
transcends separate genres; they include Merz drawing and Merz paintings from his entire among the outstanding artistic pioneers of the first. rigHt
left
folio 2 from merz mappe, 1923, pHotolitHograpH
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JUMP & DEPARTMENTS: Designers Hyo Ha, Sylvia Glockengiesser, Michelle Rial.
COVERS: Designers Ayca Bayer, Josh Vietze.
Bike, Eat, editorial design
IF YOU’RE A STRONG CYCLIST
Sleep,Repeat
There is no wrong way to begin. There is no wrong way to end. Let the arrows guide you.
bike eat sleep repeatbike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeatbike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike
-
the most
more tips to
PULL QUOTES: Designer Diana Sanchez.
KEEP ITcheap AND dirty
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FEATURES: Designer Nicole Marie Rincon.
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DEPARTMENT: Designer Trevett McCandliss.
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DEPARTMENT: Designer Richard Hall.
TABLE OF CONTENTS: Designer Christopher Sabatini.
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FEATURE OPENER & COVERS: Designers Caroline Teagle, Lauren Haegerty. Right page FEATURE OPENER: Designer Karine Basilio.
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COVER & FEATURE OPENER: Designer Christine Lange
INFORMATION GRAPHIC: Designer Sarah Macreading.
RESOURCES: Society of Publication Designers (SPD) Society of Newspaper Designers AIGA Art Directors Club Type Directors Club For inspiration, check out the work of these designers and art directors: Fred Woodward Walter Bernard Terry Koppel Clay Felker, Editor Robert Priest Neville Brody Tibor Kalman M/M Paris Jop Van Bennekom Work in Progress, Ezra Petronio David Carson Luke Hayman Non-Format Pentagram Design Homework Design FEATURE OPENER: Designer Justin Leszcynski, Elana Schlenker.
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INFORMATION GRAPHIC: Designer Elizabeth Chan.
TABLE OF CONTENTS: Designer Christine Lange.
E. Genevieve Williams Creative director, owner, Six Sisters Design; art director; sculptor; painter Education: BA, Simmons College; MFA, School of Visual Arts Awards and honors include: Davey Award; Society of Newspaper Designers; Art Directors Club; Print; Communication Arts; Society of Publication Designers; American Photography; American Illustration; Type Directors Club; The One Club; Creativity 34; Graphis; CMYK; STEP Inside Design; HOW; The Great Design Show. Artist residences include: Altos de Chavon, Dominican Republic; Mecatale, Italy Professional experience: Art director, The New York Times, Time, Rolling Stone, Adweek, WBMG, Boston Globe Web site: http://www.sixsistersdesign.com