Type Setting
Editorial design needs to be based on informed decisions:
Legibility
The typography needs to be clear enough for the audience to read, this can be dependent on the size and typeface chosen. Spiekermann states: 'Legibility is not communication; but in order to communicate type has to be legible'. Personally, I think Spiekermann is saying that even if typography is used, it could be used as a shape instead of something to read. Brian Fassett's theory states that line lengths that contain 45-65 characters is legible, where as anything exceeding this limits its legibility. This is because the type may become daunting and tiring for the audiences eye.
Similar to legibility, readability is the ease with which a reader can understand a written text. It relates to the way in which words and blocks of type are arranged. To achieve good readability, Vignelli states that no one should use no more than two type sizes on a printed page.
For headings and sub-headings use the same size type face, often twice as big as the original font. In some cases there are exceptions as to how many sizes are used but I want to keep designs simple so will begin to use just two sizes. Two different sizes of type on the same page creates contrast which is important when trying to catch the eye of an audience and keep them interested in the text.
Alignment
Most of the time, type is aligned to flush left because we read from left to right and it makes it easier for us to see where the next line begins. Once again, Vignelli suggests the importance of improving the ragged side of the text so that it 'obtains a better profile'.
3 main alignments:
- Flush Left - Usually used in all publications because we naturally read from left to right. It's important to edit the rag to make the block of text easier to read.
- Centred - Due to the inconsistent start and end point, it can become tiring to read as the eye has to constantly keep adjusting position.
- Justified - Type starts and finishes on the same point to create a solid block of type. The consistent typography can cause confusion and risks the chance of rivers.
Rivers:
The risk of using the justified alignment is that the spacing between the words becomes very consistent on each line which creates negative space on the page to make 'rivers'. Particularly for dyslexic people, this very much distracts the eye and makes it harder to read. This technique would only be useful in tasks such as concrete poetry.
A Widow is a very short line, usually one word at the end of a paragraph and as a result, it leaves too much space between paragraphs or at the bottom of a page and also looks messy.
An Orphan is a single word at the beginning of a new page which makes the type disjointed to read and doesn't make the composition feel complete.
Grid Systems
Grid systems allow designers to organise image and typesetting more efficiently and accurately on a page. In Vignelli Canon it states, 'it provides consistency, it gives an orderly look and it projects a level of intellectual elegance'. Grid systems allow editorial designers to produce a high standard of work, using templates to guide them where text and image would work.
Matt Willey is an established designer who's been creative director for a range of successful companies and is currently Art Director for The New York Times Magazine.
Willey's success in editorial design is due to his tight, clean and concise compositions. I really like how he's put 'Independent' down the side vertically because it draws the eye down the page and is efficient as it creates more space.
Reading into Mueller- Brockmann's 'Grid Systems in Graphic Design' educated me as to why designers use grids. The use of grids is seen to be an organised and professional process that aids a designer when mapping out where the title, imagery and text should go systematically. Brockmann advises to sketch out scale grids as possibilities of solving layout problems. This will help plan out the final outcome. It's important to sketch out accurate grids to avoid any complications when finally putting the text and image together. I will also need to think about what printing method is being used and the quality of paper when planning out a publication.
I found this page really useful as it simply shows and explains to process that it takes to fill in a space with type systematically and accurately. I really like 'Grid Systems in Graphic Design' as a source because it's clear, concise and friendly for a designer due to the tone of voice.
Using InDesign, I traced over the Baseline magazine cover to see if I could create the grid system. InDesign was a really useful tool because it allowed me to draw accurate rectangles over the image/type:
Baseline magazine always uses the same grid which reflects consistency. I like how their cover is purely visual as 3/4 of the cover is imagery and the type is restricted to the top of the composition. Having the type at the top is a focal point but it also allows the title to show be visible on the shelf if something is put in front of it.
Looking at current newspapers such as The Metro, I traced over the layout to find the grid systems:
I concentrated on the vertical lines and divided the composition up looking at the type setting and imagery.
I then used another page of The Metro to see if the grid would still work:
The grid system is transferrable onto numerous pages of the newspaper although some of imagery forces the type to move around the grid. I think this grid is used for the right purpose because it groups small blocks of text together which avoids the text becoming overwhelming. There is a lot of information on every page which makes the grid important as it keeps the composition evenly weighted. Grid systems have benefited the Metro because it keeps a consistent and theoretical outcome. I also had a look for any problems with alignment but a large magazine such as the metro don't often make mistakes, however I have seen some orphans and widows in newspapers before and it makes the text look unbalanced and is also unpleasant to read.
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