OUGD405 Studio Brief 3 - Research
ELLE Traveller Magazine 01/2014
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Publication Page Layout Examples
Anatomy of a Magazine Layout
Page elements can be divided into two basic categories: architecture (grid, mar- gins, standing heads, folios, typographical style sheets, etc) which stay consistent issue to issue and content, which changes with each page and each article. This handout looks at both, introducing students to the basic vocabulary of publication design. While much of periodical design concerns style, which may seem trivial by definition, a consistently style is necessary, helping to create a magazine’s brand or identity. Readers rely upon, even when they do not notice the design decisions that make an isolated page function as part of a larger whole.
Grid Research
Anatomy of a Magazine Layout
Page elements can be divided into two basic categories: architecture (grid, mar- gins, standing heads, folios, typographical style sheets, etc) which stay consistent issue to issue and content, which changes with each page and each article. This handout looks at both, introducing students to the basic vocabulary of publication design. While much of periodical design concerns style, which may seem trivial by definition, a consistently style is necessary, helping to create a magazine’s brand or identity. Readers rely upon, even when they do not notice the design decisions that make an isolated page function as part of a larger whole.
Grid Research
Two-column grids:
Two-column grids are mostly used in books, newsletters, or narrow publications where the column width is limited. Although this layout is very simple, you can still achieve variety by allowing some elements—for example, images and headlines—to span both columns on the page.
However, in wide publications, such as magazines or ‘coffee table books,’ the text columns in a two-column grid would generally be too wide for comfortable reading.
Three-column grids:
These offer more flexibility than two-column grids because text and images can span one, two, or all of the columns. Three-column grids work for most layouts, even wide ones, and are particularly suited to publications that do not require complex arrangement of elements.
An alternative to the three-column grid is the three-row grid. This format is great for laying out narrow documents such as the tri-fold brochure.
These offer more flexibility than two-column grids because text and images can span one, two, or all of the columns. Three-column grids work for most layouts, even wide ones, and are particularly suited to publications that do not require complex arrangement of elements.
An alternative to the three-column grid is the three-row grid. This format is great for laying out narrow documents such as the tri-fold brochure.
Four- or more column grids:
If you need to place a variety of elements into your layout—text, images, graphics, and so on—you’ll find that grids with four or more columns offer the most flexibility.
Generally, grids with an uneven number of grid columns work best. Five- and even seven-column grids provide maximum flexibility and also allow for asymmetrical placement of elements, which tends to be more visually appealing than a symmetrical layout.
The examples below illustrate two different ways we can place the same information onto a seven-column grid.
Notice how we have created ‘white space’ by leaving some columns empty. Effective use of white space creates breathing space, especially on a busy page.
4-column grids
4-column grids can be problematic because a single column is often too narrow for comfortable reading or for placing a graphic. Unless you are sure this structure will work for you, you could end up with most layout elements spanning two columns. In this case, the finished layout will appear to be based on two columns rather than four.
If you need to place a variety of elements into your layout—text, images, graphics, and so on—you’ll find that grids with four or more columns offer the most flexibility.
Generally, grids with an uneven number of grid columns work best. Five- and even seven-column grids provide maximum flexibility and also allow for asymmetrical placement of elements, which tends to be more visually appealing than a symmetrical layout.
The examples below illustrate two different ways we can place the same information onto a seven-column grid.
Notice how we have created ‘white space’ by leaving some columns empty. Effective use of white space creates breathing space, especially on a busy page.
4-column grids
4-column grids can be problematic because a single column is often too narrow for comfortable reading or for placing a graphic. Unless you are sure this structure will work for you, you could end up with most layout elements spanning two columns. In this case, the finished layout will appear to be based on two columns rather than four.
2: Asymmetrical grids
One of the most important features of the grid structure is its flexibility. So far, we’ve shown you how to add interest to your pages by leaving a column empty. In this section, we’ll explore this idea further and show you how asymmetrical grids can liven up your layouts.
Basic three-column symmetrical grid:
Our first example—a basic grid consisting of three equally sized columns—displays text columns and images in a pleasing, but conventional arrangement. Note that some elements span multiple columns (marked in red).
Three-column asymmetrical grid:
In this example, we’ve dragged our column guides to make three columns of distinctly different sizes. To provide page-to-page consistency throughout our publication, we’ve created a ‘mirrored’ layout.
Notice again that some elements span multiple columns. The narrow column has been used for a pull quote on the left page but on the right page we have intentionally left the narrow centre column blank (marked in red).
Asymmetrical grid with sidebar:
Our final example is a very popular asymmetrical layout which makes use of a narrow side column, or ‘sidebar’. This sidebar is not used for main body copy, but instead holds related text (headings, pull quotes, notes, and so on), graphics, or simply white space.
The following list describes some common uses of the sidebar:
To display headings—Headings displayed in sidebar columns help to organize a document and allow the reader to quickly scan the page to find the information they are looking for.
To emphasize important information or quote.
To hold information that is relevant to the main subject of the body copy, but not part of the main text flow. For example, a note, suggestion, or warning.
To declutter a complex layout by providing white space.
On the left page of our sample layout, below, the sidebar holds an initial adjacent cap and a note box (marked in red). On the right page, the column is intentionally left blank except for a small quote; this balances the spread and creates an open and airy feel that complements the imagery perfectly.
This second example uses the same grid structure to create a very different look and feel. Here, a single text column is flanked by a narrow sidebar and an image. The ample white space allows the images to dominate the page.
3: Margins and row and column gaps
Besides choosing the number, width, and arrangement of your columns, there are some other important grid elements that you must consider: page margins, and row and column gaps.
Page margins:
No matter what type of document you’re working on, it’s rare that your page margins will all be of equal width. For example, you may want more space at the top or bottom of each page—for page header or page footer information, page numbers, and so on.
For bound publications, you’ll usually find that the inside margins are considerably wider than the outside margins. This prevents text and images that are placed in the centre of a spread from ‘disappearing’ into the spine.
If your document is to be printed professionally, avoid last-minute problems by discussing margins and gutter widths with your printer before you start creating your layout.
Row and column gaps:
Row and column gaps are the spaces between the rows and columns in a grid structure.
There are no strict rules about the width of these spaces, but if you make them too narrow your text columns will be difficult to read. We suggest that you experiment to find the gap width that works best for your particular layout.
4: Mixed grid layouts
We’ve stressed the importance of using a grid to maintain page-to-page consistency throughout a document. However, if certain pages present information that varies greatly from the rest of the document, don’t try to force them to conform to a structure that doesn’t really suit the purpose. Instead, simply use a different grid for these pages.
In our example, the main pages are based on an asymmetrical three-column grid—two wide columns for the main text flow and a narrow sidebar for headings, pull quotes and selected images. Pages displaying images only are based on a basic 3 x 3 grid.
5: Breaking out of the grid
Example 1:
Add impact and visual interest to a layout by extending an element out to the page edge or even across the entire spread.
This works especially well for presenting large images.
Example 2:
Try positioning some elements outside of the grid. On the right page of the newsletter spread below, see how the text frame containing the pull quote is centred on the page, breaking the underlying three-column grid structure.
Example 3:
If you’re feeling adventurous, why not break the grid by rotating some layout objects (marked in red). Be careful not to overdo this though, and make sure that other elements remain within the grid, or your page will appear disorganized.
Example 4:
Diagonal lines can add interest to a grid layout. In this example, we’ve cut through our columns, but have still aligned the images with the grid.
6: Choosing the right grid
When planning your layout, you need to have a clear idea of what your finished document should look like, what format is required, the purpose of the document, who will be reading it, how it will be printed, and so on. Once you’ve answered these questions, you’ll have a better understanding of the type of grid structure required. The following guidelines should help you choose and plan your grid layout.
Content:
The most important question to ask yourself is this: “Is the document predominantly text or images?” For lots of text with few images, try a simple two- or three-column grid.
For lots of graphics, photos, or illustrations, four or more columns will give you more scope to place and size these elements.
Do you want to include notes, pull quotes, or other accent information? Is the document hierarchical, with lots of headings and subheadings? If so, consider an asymmetrical grid with a sidebar column.
Complexity:
For complex documents—for example, a newsletter containing a mix of text and graphics—grids with more columns and/or rows provide more design options. However, avoid making the grid too complex or you’ll lose sight of the underlying structure.
Document type:
Newsletters usually contain more text so simple column-based layouts tend to work best. For more sophisticated publications, such as illustrated books, more columns will provide more design options. Publications with mainly small articles and graphics—a sales brochure or catalogue, for example—are more suited to grids containing both columns and rows.
Summary
Don’t confine page elements to individual grid units. In grids with four or more columns, text and images can span several grid units.
Leave some grid units empty, or use them for accents such as small photos, adjacent caps, headlines, and so on.
Use your gutters and margins. Extending some images and headlines into the bleed area can add interest to a layout.
The Grid made it possible to bring all the elements of design, type, characters, photography, drawing and colour into a formal relationship to each other; that is to say, the grid system is a means of introducing order into design. Designers use modernist grids to create unity among elements in multi-page publications. The grid defines possible sizes for images and text, proportional relationship, and alignment that bring harmony to disparate elements in the same visual space. Consistent placement and hierarchy amongst information components maintains continuity for the reader from spread to spread and from issue to issue of the same publication. Throughout design history, designers have based grids on perceptions of optimal proportions-such as the golden section, in which smaller divisions of space are proportionally identical to the dimensions of the larger space. Document-design software programmes, such as Adobe InDesign, are based on the grid, and therefore embed modernist design principles in their features and functions.' - Meredith Davis: Graphic Design Theory, p.147
Canons
Principles of page layout design used to measure and describe proportions, margins and print area.
Tschichold - Gold Ratio
Van de Graaf
Fibonacci
Fibonacci sequence ratio 8:13 links to Golden & Golden Ratio section. This sequence is not only evident within design but also nature.
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Tschichold - Octavo
Fibonacci sequence ratio 8:13 links to Golden & Golden Ratio section. This sequence is not only evident within design but also nature.
1.62 & 8:13
Forms the basis of paper sizes and its principles can be used as a means of achieving balanced designs. Many ancient cultures from Egyptians to the Greeks used this thinking to gain beautiful designed proportions. *Fibonacci sequence ratio 8:13 links to Golden section
The human face follows the ratio and we find people whose faces are truer to the ratio more attractive?Classic Renaissance masterpieces, architecture from antiquity, and even human body parts are proportioned based on the ratio down to the fingers themselves.
Book & Newspaper Grids
For additional research, I looked at books and magazine and the grid systems in these. One example was comparing the grid systems in Vogue May 1961 and January 2014, and how the grid, layout and compositions were kept traditional and are quite similar. However I would say that the more recent additions of Vogue have new grid systems that allow more text to compact the article to leave more room for advertisements. In addition I found books specifically on grid systems that gave me more of an insight into different grids and compositions.
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