unravelling design teasing apart the content & design theory of Martha Stewart Living
an analysis of
1
161
well-produced
magazine
full-color
8
primary
photos
sections
159
22
talented
staff
50
scrumptious
recipes
craft(y)
ideas
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table of contents if you seek, this is where you shall find
preface mission statement
02+03 04+05 06+07 08+09 10+11 12+13 14+15 16+17 18+19 20+21
core editorial themes, demographics design treatments ad-to-content ratio histogram histogram (continued) 1-column primary grids 2-column primary grids 3-column primary grids 4-column primary grids combination grids
feature section grids primary typography: the overview
primary typography: heads & subheads primary typography: copy & caption feature typography: bigger & bolder use of color use of photography concluding thoughts truly concluding thoughts
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preface a short introduction to the publication
Martha Stewart Living is a publication with sumptuous imagery and sophisticated style which inspires its readers to live well and with taste. The photo-driven magazine communicates the values of simple but tasteful living through its highly considered design, recipes, craft ideas, and fashion tips. Eight sections provide a host of content, including monthly preview spreads (in this case, regarding the month of November 2014), a section prepared for the reader from Martha herself, and five brief but beautiful features that draw the reader to the back of the magazine. Conceptually and stylistically, the magazine seems to be divided between the main content section and the more artistic feature section, where carefully composed full-page photos shine. Altogether, the magazine is a treat to read and enjoy.
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mission statement cited from the 2014 Martha Stewart Living Media Kit, www.mslomediakit.com
“
As the modern guide for great living,
Martha Stewart Living teaches consumers how to elevate the everyday and special occasions confidently, creatively, and beautifully. With a detailed emphasis on every aspect to today’s well-rounded lifestyles—from food and entertaining, crafting and decoration, to holidays, celebrations, family, and work—the brand remains keenly relevant, authentic, and meaningful by designing innovative solutions to the challenges of living well.
Living uncovers the tastemakers, places, and things that inspire—demystifying the creative process and transforming that inspiration into action for everyone. With a passion for discovery and penchant for the joy in the doing,
Martha Stewart Living’s consumers offer unparalleled engagement across all facets of great living.
”
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core editorial themes cited from the 2014 Martha Stewart Living Media Kit food/entertaining
beauty & style
pets
decorating & home
living beautifully, living well
holiday & crafts
gardening
demographics the publication’s readership statistics
total audience % female
10.111 million 88.9%
median age
49
median HHI
$74,534
own home
76.1%
married
63.6%
employed
58.9%
any college
71.7%
children at home
37.2%
collecting
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design treatments the arrangement of page elements, and how well they work and play together
content treated well
Just like it encourages its readers to do, Living creates a happy and cozy home for each of its design elements. Images, bar rules, and sidebars all have their place, seldom overlapping. Dotted semi-circular eyelines often attach captions to photos, regardless of whether captions are placed inside them. Body copy is concise yet inviting, and idioms feature as craft inspiration titles. Articles, though rare, show perfect amounts of point size, line length, and leading; they are also justified, last line left, and use indents. Caption-style copy, which makes up much of the body content, is either flush left, rag right or is centered and is never indented. In this photo-driven publication, text generally fills less than half of the page, if not a mere third. Page layouts are complex and intricate, consistently sparking interest. The designers and art directors of the magazine play with horizontal and vertical gutters, placement of text, and integration of text on image, as shown in the left page above. All in all, the content is treated quite nicely throughout this hybrid of classical and asymmetrical page treatments, and the page elements work and play together perfectly.
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5
Advertisement
Credits
November Previews
Content: Text & Photo IFC Inside Front Cover
Ad info & Stats
Except for a few pages at the back (which promote vacuums, kitty litter, personal products, and an infotisement), ads are well-designed and contentrelated. Advertisements most often feature food, craft supplies, or services.
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74
70
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IFC 2
Left
Right
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ad-to-content ratio histogram
IBC
157
158
153
154
149
150
145
146
141
142
137
138
133
134
129
130
125
126
121
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109
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105
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102
97
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90
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a comparison of content type and frequency, cover to cover
Martha Stewart Sponsored Ad
Content: Feature Photo
Content: Feature Text & Photo
Recipes
IBC Inside Back Cover
11.0% + 24.2% = 34.2% of left-hand pages are ads
of right-hand pages are ads
of magazine pages are ads
17 2/3 pages
38 2/3 pages
56 1/3 pages
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1-column primary grids primary grids utilized throughout the publication
alternate design
The example above shows just one of the many alternate designs that the graphic designers behind Living have dreamed up for their content pages. In fact, they seem to delight in frequent variation within both text and design treatments. In the above layout, the section kicker is placed inside the photo. It appears that the integration of text and photo is incredibly important in this magazine, and the kicker-inside-photo design option could also have been a possibility in the page to the right, just to Martha's right. a note on living’s layout style
Living uses a hybrid model of classical and asymmetrical page design. The magazine’s classical roots come from title pages like this one, which feature centered one-column page layouts.
the specs on single-column grids
Within Living, one-column grids are reserved exclusively for section title pages. They commonly feature a large photo which dominates the page, filling all but its 5/8-inch margins. Kickers, or small introductory sections of copy, invite the reader to continue on to the rest of the article in the next few pages. These kickers may be found under the large photo or, if photo composition allows, within it.
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2-column primary grids primary grids utilized throughout the publication
color coding: page elements The following set of spreads feature grids that are often used throughout the publication. Color bars and guides are placed on these representative pages at a 50% transparency setting to model formal page layouts. Additional color codes are provided as they occur. running head variables
page number section title section head bar rule section subhead, style 1 (all caps, serif) section subhead, style 2 (upstyle, typewriter font) photo treatments
photo caption treatments
caption head, style 1 (all caps, sans-serif)
the specs on double-column grids
Mere double-column grids are a rare occurrence thoughout the magazine. Indeed, the simple grid structure is repeated on its own only two more times within the 160 pages of the magazine, and in the feature section, at that. The white space on this page is somewhat unusual, as most others throughout the magazine are quite filled. However, the two-column grid structure is used as part of a combination grid seven more times throughout the issue.
caption article treatments
primary article head kicker byline drop cap text boxes footer information
website tag
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3-column primary grids primary grids utilized throughout the publication
alternate design
Above: A second example of a triple-column page layout found within the magazine. However, this one features three columns of unequal width, caption-style text treatment, and images floating in white space. This contrasts with the primary example to the right, which utilizes columns of equal width, a kicker spanning the full page, and images anchored in rectangles.
the specs on triple-column grids
Like its older sister, the two-column grid, the threecolumn grid is largely ignored throughout the course of the magazine. In this example, the grid structure is used to display photos above a second style of article head, noted at right in the color coding sidebar; the previous kicker treatment remains.
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4-column primary grids primary grids utilized throughout the publication
variations on color coding: page elements Page elements not previously seen are identified below. caption treatments
centered captions dashed caption eyeline article treatments
secondary article head in-article lead-ins lead-in and product text bar rules
3/16-inch bar rules quintuple-column grids
Below: The five-column grid is used only twice in the magazine, but the page design is an excellent example of the teamwork between Living photographers and designers, as the width of the five text columns works perfectly with the chairs pictured.
the specs on quadruple-column grids
The baby of the family often receives the most attention, and so it is with four-column grids. As shown above, the structure works well for beauty tips and product reviews. Its narrow columns are also used heavily in the back of the magazine to provide lengthy recipes. Surprisingly, the two-column grid is not used as a framework for four-column pages. This is likely because Living designers prefer to have more side margin space with the quadruple grid structure (1/2� for four columns instead of 5/8� for two columns).
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combination grids sets of grids combined for variety in page layout
alternate designs
Below, top: A page from the Good Things section uses combination two-column, one-column, and sixcolumn grids from top to bottom. Below, bottom: A playful page layout combines text and image cutouts in a bewildering grid.
the specs on COMBO grids
Combination grids are used most often throughout the magazine to ensure a variety of design layouts. They are very visually appealing, although some (like the one at left) have a complex grid structure that is nearly impossible to discern at first glance. Combination grids appear 15 more times throughout the rest of the publication.
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feature section grids simple grid structures from the feature section of Living
variations on color coding: page elements Page elements not previously seen are identified below. caption treatments
caption head, style 2 (upstyle, serif) caption head, style 3 (upstyle, stencil font) caption head, style 4 (upstyle, typewriter font) caption head, style 5 (upstyle, sans serif) feature caption 1 (bold, geometric serif) feature caption 2 (geometric serif) feature caption 3 (narrow, condensed) alternate designs
Two other feature section layouts.
the specs on feature section grids
Feature section grids are much more simple than those embedded in primary content pages. The running head does not appear, and page numbers occur on every few pages rather than on every page. Text often is placed within photos, sometimes with a rectangle behind. Type hierarchyspans only two to three levels and is presented largely caption-style. Decorative text frames also appear for the first time and are used quietly to highlight captions or headers.
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primary typography: the overview this versatile collection of fonts makes anything look good
the truth about martha’s type
Simply speaking, Martha’s graphic designers like to have their cake and eat it too when it comes to typography within the magazine. There are nine separate styles that appear on title pages alone, not to mention the copy and caption styles that are described in the following pages. Each of the typefaces that appear in Living are classy, considered, and can stand on their own two feet, making them great team players when used in combination. There are serifs, sans serifs, and decorative fonts (if typewriting fonts may be termed decorative), and these are used primarily in upstyle and sometimes in small caps. Additionally, type may appear in cyan or, in the feature sections, in orange. The variation in each type’s size and placement can almost certainly be attested to its function. For example, page numbers are put in a simple serif, set at a size that can be read by members of an older demographic, and are centered at the top of each page. Page numbers, section heads, and section subheads are given at the top of every page (except within the feature sections, which give only page numbers). Altogether, these reside in an inch of space and are handy reader reference tools. Article headlines, kickers, and bylines also appear sprinkled throughout body copy in the magazine. These elements are centered in section title spreads, which makes sense within these pages’ one-column grids. Otherwise, they are aligned flush left, rag right with caption-style body copy placed on the page. Body copy is generally short, sweet, and lasts for only a handful of sentences within each text style. Last but not least, a surreptitiously small byline is given on many pages to credit the photographer or copy writer behind all this greatness.
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primary typography: Heads & subheads the plethora of typographic styles used on a page, placed at actual size page number: humanist sans serif
section head options: regular weight typewriter display
| all caps rational serif
fatface
section subhead options: serif old-style
| light typewriter display
article headline options: upstyle rational serif fatface
| all caps humanist sans serif
secondary article head: smallish all caps humanist sans serif
kicker: upstyle serif
byline: small caps humanist sans serif
website tag: a lighter version of the small caps humanist sans serif
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primary typography: copy & caption a continuation of the plethora of typographic styles used on a page, also placed at actual size body copy: rational serif
drop cap: oversized sans serif
in-article lead-in: text-height small caps sans serif
product text: bolded and regular-weight rational serif
caption head, style i: small caps rounded geometric sans serif
caption: rounded geometric sans serif
centered caption: typewriter display
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feature typography: bigger & bolder samples of the other, less extensive plethora of typographic styles
feature type: slightly different, but still good
Typography in the feature sections incorporates most of the primary conventions of the magazine, yet adds a few conventions of its own. Sans serif, serif, and typewriter fonts are retained, although a thin stencil font is used often as a sidebar head, and nearly all captions are displayed in rounded sans serif text instead of alternating frequently between caption styles. A condensed all-caps sans serif is introduced on page 109, which seems a bold move, given that it’s placed opposite floral arrangements. The font is also used in another feature section as a pull quote, bringing an edgier vibe to the layout. Due to space constraints, representative type treatments which are completely new for the feature section are shown below. title kicker, feature i: medium-height thin stencil
title, feature iii: condensed all-caps sans serif
caption title: rounded geometric sans serif
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use of color styling of hue and saturation
color: when and where
Excluding the photography and advertisements, color is used throughout the magazine very sparingly. Within the general content of this issue, 100% cyan may be used for secondary heads, tiny triangles, small in-text icons, text lead-ins, captions, and some copy. Orange may also be used for tiny triangles, secondary heads, and captions within the feature sections near the end of the magazine. It seems that there are not set rules for the use of these highlight colors. However, in both cases, the colors are applied with a gentle hand and with taste to highlight the most important information, gently guiding the reader's eye to notice these things first. This is a smart move on the magazine's part, as it invites readers to see these things while initially flipping through and to revisit details, usually placed in black body copy, later. Indeed, the type treatments and hierarchies found throughout the publication are so well considered and generally beautiful that color is not needed to cover poor content in either design or copy.
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use of photography styling of images
photo treatments
Living consistently shows excellent taste in photographic quality, style, and composition. This is especially highlighted in its feature section, where Thanksgiving-themed imagery reigns. Many of its full-page images are food shots, which tempt readers to find their recipes in the back of the magazine. In general, photos within the same feature sections are given the same color treatments. These likely include boosted saturation levels, as colors resonate against each other and pop off the page. Within the main section of the magazine, warm colors are emphasized for the home, and bright ones are displayed for children's craft ideas. Images of food are almost always photographed from above, whereas product shots and table settings may be seen from the side. Photos of people are shown much less often, but when they are, models are always smiling, adding to the pleasant aura of the magazine. Photos are nearly always displayed in a rectangular shape, although a few other in-shape placements do occur (such as in the circle in the page above and at right). Images are given respect, space, and a proper place to reside in their grid systems.
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concluding thoughts the dismay of necessary advertisements and idealized values
Martha’s magazine is wonderfully
Secondly, the magazine may also be
thoughtful in both content and visual
faulted in its sometimes shockingly
treatment, but it also has three small
high-end taste. This simply cannot
but significant drawbacks that are
be situated within the budget of its
worth mentioning.
primary demographic, this including the paycheck of the average middle-
The first of these few snags is
aged American woman.‡
the magazine’s large number of advertisements. These fill over
Finally, although the majority of
one-third of all magazine pages
Martha’s readers are married,
and occur very often on right-hand
employed, have attended college, and
pages throughout the main section.
own their own home,§ they are not likely
Understandably, a magazine can hardly
to have the time or energy to actually
be faulted for advertisements, except
engage in many of the housewifely
that they draw away from the content
activities that Living promotes. To
of the magazine, which is what the
borrow the colloquialism, it would take
reader is truly wanting to pay for. The
a month of Sundays to accomplish all of
majority of these ads are nearly always
the crafts, recipes, and tips that Martha
well-designed and relate easily to the
suggests.◊
themes of the article - perhaps too easily.* Additionally, one double-spread
Thus, the values and lifestyle that
infotisement on anti-aging serum and
are shown in the magazine are
a gallery of poorly-designed product
perhaps idealized at worst and largely
ads are placed near the back of the
unattainable at best.
†
publication, as if Living gave up on its usual high-class taste and consistency at the last minute and simply corralled them there.
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truly concluding thoughts an overall interpretation of the magazine
Under the surface, determining the true
small qualms
demographic and values of Living is a bit
References to minor issues on the previous page are given here.
perplexing. Is Martha’s magazine catering to the small percentage of American women who live quietly luxurious Martha Stewart-esque lifestyles and have the pocketbooks to match? Or is it aimed toward the modern American housewife who enjoys good taste and seeks inspiration to make a house into a cozy, well-decorated home? The conclusion seems to lie somewhere between these two demographics of American women. These groups are quite likely more similar in the common desire to be homemakers than they are separated by the single demographic of economic status. Altogether, despite the aforementioned caveats described on the opposite page, the overall quality of both content and design from cover to cover is simply superb, and these elements of the magazine are unlikely to be matched by its newsstand peers.
* For example, a McCormick spice advertisement is placed next to a page discussing spiced butters, several of which conveniently call for spices (amongst other ingredients). † Pages 140-141 and 158-159 ‡ As this magazine's demographics fall within the middleclass range, a $205 hairbrush from Neiman Marcus seems a bit far-fetched (shown on page 37). § Martha Stewart Media Kit 2014, page 10 ◊ As delicious as it may look, American women are much more likely to be busy tidying up the house than spending four hours on Chocolate Mousse Pie with Phyllo Crust (pages 116 and 155).
unravelling design created by Rachael Bair for Design Snob Quarterly