Design & Layout Basics

The Role of the Desktop Designer

• To complement the work started by the writer.
• To add a visual dimension to the text, not draw attention to the design itself.
• To create a design that gets reader attention and projects an image.

Questions to Consider Before you Design

1. What is the purpose of your publication? Why is it needed? (mandatory or pleasure
reading)
2. Who is the target audience? (What age, educational level, what attitudes or opinions)
3. What kind of information will the publication include?
4. What kind of image do you want to project? (classy, serious, formal, informal, etc.)
5. What is the budget?
6. How will the publication be reproduced?
7. How will it be distributed?
8. When is it needed?
9. What kinds of art or photography and how much will be needed?
10. What will the time table be for:
Articles or copy being written
Photography/artwork time requirements
Production or assembling of all information
Printing
Mailing

Conditioning Yourself to Good Design

• Learn the basic rules of design.
• Look for good examples and keep a file of good design ideas or layouts you can use
later for inspiration, or as a starting point for modification.
• Become an observer and learn to think visually.

How to begin? Design the Grid.

Begin every publication by establishing the master grid. The grid, among other
elements, includes these basic details:
• The page size (example: 7 in. x 9 in. or 8.5 in. x 11 in.)
• The margins (outside, inside or gutter, top and bottom)
• The number of columns on a page (2-column, 3-column or more)
• The standard typeface and size for headlines, subheads, body text, captions or other
special text.

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Eight Basic Design Rules
1. Use a grid base design.
Plan it out, then follow it as you plan your publication.

Fig. 1 – Grid (Four-corner composed layout)

2. Control eye movement—pay attention to reading patterns.

In the layout, control the reader's eye movement on a page with placement of
elements. Eye flow and eye dwell describe our natural reading patterns. Using tools
such as placement and emphasis, designers can
choose either to work with or against these patterns.

Optical Center
When scanning, the eye starts at the optical center
of the page (slightly above and to the left of true
center).
Fig. 2
Eye Flow
The eye then sweeps left to right tracing a lazy z
pattern across and down the page.

Terminal Area
Place a strong graphic in the lower right quadrant, or
terminal area, to keep the eye on the page. Fig. 3

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 Eye Dwell 60%
Studies have shown that the eye dwells different
amounts of time in each quadrant of the page 35% 25%
with the lowest reading on the bottom right hand
corner and the longest on the top left hand.
40%

25% 15%
Fig. 4

Eye movement is enhanced in this sample

design (Fig. 5) since the large graphic naturally
pulls the reader from the headline into the
comfortable “ z” pattern.

Fig. 5

3. Balance the Elements on the page

Symmetry and asymmetry are two very different approaches to page layout.

Symmetrical layout elements are mirrored across a vertical, horizontal or diagonal

axis. (Fig. 6 & 7) These types of layouts tend to be more formal and static. If
improperly or over-used, they can be boring.

Fig. 6 – Elements Fig. 7 – Elements

are mirrored are mirrored on
vertically and the diagonal.
horizontally.

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 Asymmetrical layout elements are balanced
using the principle of optical weight. They
tend to be more lively and dynamic. (Fig. 8)

Optical Weight – Refers to the power of an

element to attract the reader's eye. It cannot
be measured, but there are some guidelines:

Large>small
Dark>light
Irregular shape>regular shape Fig. 8 – The two smaller photographs
and larger text block on the right
Color>black & white balance the large photograph and the
smaller text block on the left.
Because a dark element has more optical
weight than a lighter element, a smaller dark
shape can be used to balance a larger, lighter
colored shape.

Fig. 9 – A large element has more opti-

cal weight than a smaller element

Fig. 10 – an example of balance.

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4. Keep elements in proportion
Use varying sizes. Avoid absolute 1 to 2 or 1
to 3 ratios. Split columns occasionally with
artwork. Use a pleasing arrangement of black
(graphics), gray (text) and white. (Fig. 11)

5. Use repetition of elements

Repetition of elements provides movement,
continuity and unity. Elements that can achieve
this are:
• using the same layout grid pattern
• using the same typeface(s) throughout
• using a system of rules (accent lines)
• repeating bands of color Fig. 11 – an example of proportion
• distinctive dingbats or a style of illustration
• positioning a logo consistently on each page

In Figure 12, there is repetition within the

graphic element – the tips of the drawing tools
provide repetitive points and the graphic striping
across the tools adds movement. Using this
graphic in a smaller size throughout the pages
of relating articles would provide unity to the
publication.

6. Provide a dominant element or shape in every layout

Fig. 12 – repetition

Fig. 13 – Use of
dominant shape

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7. Keep the design simple
Avoid cluttering the layout with illustrations or other elements. Reduce the number of
units on the page.

Fig. 12 – Simplicity

8. Use white space as a design element

Don't trap white space between
elements, but let it flow and aid
eye movement. White space has
multiple functions: shaping and
framing content (as with margins
and column space), separating
content, providing balance through
contrast, resting the reader,
relieving the reader and many other
communication effects.

Fig. 13 – Effective use of white space

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Your Design Checklist
Use a checklist to evaluate your page designs:

❏ Use of a grid

❏ Reading patterns

Optical Center

Eye Flow

Terminal Area

Eye dwell

❏ Balance

Symmetry

Asymmetry

Optical Weight

❏ Proportion

❏ Repetition

❏ Dominance

❏ Simplicity

❏ White Space

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Using Type
Understanding Fonts
Typefaces are also called “fonts” on the computer. There are three versions of fonts
that you need to understand. They are:
Postscript—(outlined font) This Adobe creation used to need two pieces of
information, the screen font and printer file, in order to print properly. Now updated to
be one piece of information. Looks good on the printer in any size.
True Type—Apple/Microsoft's answer to outline fonts. They look good on the
screen and print in any size. NOT preferred when printing to an outside printer or
image setter.
Open Type—The newest type of outline font, cross-platform, with more glyphs than
other fonts. Use Open Type or Postscript when sending the job to an outside printer.

Outline fonts
(PostScript
or TrueType)
Bitmapped (screen) mathematically
fonts draw each pixel calculate an out-
on the screen. line from point to

Fig. 14 – Understanding the difference between bitmapped and outlined fonts

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Type Categories
Generally, there are four type categories:
Serif—has embellishments, extensions or “curly queues”. Serif fonts are
sometimes considered to be more formal, and are actually easier to read when
there are large amounts of text. (Times, Bookman, Palatino, etc.)
Sans serif—having no embellishments, no “serifs”.
Decorative—Only meant for a special effect, not always easy to read.
Picture/Symbol—typing gives you pictures or special symbols instead of
characters. For specialized use.

T T T Fig. 15
serif type sans serif decorative

Serif font families

There are three things to look for when differentiating serif font families:
• Stroke width—the width of the letters transition from thick to thin on the curved
strokes (technically called the "thick/thin transition").
• Stress—drawing a straight line through the thinnest parts indicates the direction
of the stress (vertical or horizontal).
• Direction and thickness of serif—serifs can be angled or horizontal, as well as
thick or thin.

Oldstyle fonts Serifs on

lowercase

Oldstyle
Diagonal letters are
Stress slanted

Examples:

Palatino
Times
moderate thick/
thin transition

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 Examples:
Modern
Serifs on lowercase letters Bodoni
are thin and horizontal
Mona Lisa
Bernhard Modern

Modern Vertical stress Radical thick/thin

transition in strokes

Slab Serif
Serifs on lowercase letters
are thick and horizontal
Vertical stress

Slab serif Little or no thick/thin

transition in strokes
Example:
New Century Schoolbook
Lubalin Graph

Sans serif
No serifs anywhere
No stress—

Sans serif
no thick/thin transition

No thick/thin transition Examples:

Arial
Trebuchet
Helvetica
Futura
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Decorative/Script

New Berolina
Party
Old English
Jokerman

Measuring Type
Type is measured in a printer's unit of measurement – points.
12 points = 1 pica
6 picas = 1 inch
72 points = 1 inch

Type size is measured from the top of a capital letter to the bottom of the longest
descender.

Leading refers to the line spacing, or amount of space between lines and is measured
from the baseline of one line to the baseline of the next line. Auto-leading gives you
120% of font size (10/12).

Bybx
leading
Ascender measurement

Cap-height
X-height

Baseline
Type size
Descender
Fig. 16

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Type & Design—Concord, Conflict, Contrast
When there is more than one of any element on a page—whether it be more than one
style of font, or fonts combined with graphics—a relationship is formed.

A concordant relation ship occurs when only one type family is used without much
variety in size, weight, etc., and all the graphical elements are harmonious. The
arrangement is quiet, sedate or formal.

A conflicting relationship occurs when similar typefaces are combined that are
not quite the same. The visual attractions may not quite be the same to make it
concordant, but they are not different enough to make them contrasting.

A contrasting relationship occurs when separate typefaces and elements are

combined that are clearly different from each other. As you look at exciting and
attractive designs, notice that they typically have a lot of contrast built in and the
contrasts are emphasized.

The world of knowl- What the

edge takes a crazy
turn when teach- teachers digest,
ers themselves are
taught to learn.
the pupils eat.

Bertoldt Brecht Karl Kraus

Concordant Conflicting

Jungle
Survivor
Contrasting

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Column Readability
Multiple column layouts on the page may improve readability, since more than 7–12
words per line may be too tedious and slow down the reading pace. Four types of text
justification can change the look of the document and its readability.

Justified text (straight on both sides) can give a dignified look to a publication. It
can even give the feel of stability and uniformity. To look best, justified type must be
evenly spaced between words and may require hyphenation. Justified columns need
ample space between so the reader's eye won't “jump columns”. Caution is advised,
since larger fonts that are justified can produce too much space between words
causing the “rivers of white” effect, diminishing readability. "Rivers of white" are
created when the space between some words exceeds the space between lines.

Unjustified text (ragged right) allows the reader to read quickly and gives the
publication a contemporary appearance. You will have less hyphenation.

Centered text generally is used to set apart a headline or special block of body text.
Centered text is not very readable for large amounts of text.

Right justified (ragged left) is used only for special effect, and can look very
contemporary. (Use with caution – it is not as readable.)

Headline Centered Headline Headline Also Right

You will find on your desktop doesn't not provide emphasis.
Also Left Justified Justified
You will find on your desktop Italic type can provide You will find on your desktop Italic type can provide
system that you will be able It is actually softer, not bolder, system that you will be a subtle contrast to the system that you will be a subtle contrast to the
to choose from many different than roman text, and it is able to choose from many main text, but it doesn't able to choose from many main text, but it doesn't
typestyles. Just because they more difficult to read. Used different typestyles. Just not provide emphasis. It is different typestyles. Just not provide emphasis. It is
are there doesn't mean you for captions, quotes, display because they are there doesn't actually softer, not bolder, because they are there doesn't actually softer, not bolder,
have to use all of them in your type, lead-ins, and other mean you have to use all of than roman text, and it is mean you have to use all of than roman text, and it is
publication! Be conservative and short items. them in your publication! Be more difficult to read. Used them in your publication! Be more difficult to read. Used
consistent. One or two typestyles You will find on your desktop conservative and consistent. for captions, quotes, display conservative and consistent. for captions, quotes, display
applied in a consistent manner system that you will be able to One or two typestyles applied type, lead-ins, and other One or two typestyles applied type, lead-ins, and other
will produce a piece that is choose from many different in a consistent manner short items. in a consistent manner short items.
pleasing to the eye. typestyles. Just because will produce a piece that is You will find on your will produce a piece that is You will find on your
Plain should be used for the main they are there doesn't mean pleasing to the eye. desktop system that you pleasing to the eye. desktop system that you
text of a publication. you have to use all of them Plain should be used for the will be able to choose from Plain should be used for the will be able to choose from
Bold can be used for headlines in your publication! Be main text of a publication. many different typestyles. main text of a publication. many different typestyles.
and subheads. It can also be used conservative and consistent. Bold can be used for Just because they are there Bold can be used for Just because they are there
for captions and occasionally One or two typestyles applied headlines and subheads. It doesn't mean you have headlines and subheads. It doesn't mean you have
for emphasis in the middle of a in a consistent manner will can also be used for captions to use all of them in your can also be used for captions to use all of them in your
line of type. Like anything else produce a piece that is and occasionally for emphasis publication! Be conservative and occasionally for emphasis publication! Be conservative
too much can undermine the pleasing to the eye. in the middle of a line of and consistent. One or in the middle of a line of and consistent. One or
intended look. Plain should be used for the type. Like anything else too two typestyles applied in type. Like anything else too two typestyles applied in
Italic type can provide a subtle main text of a publication. much can undermine the a consistent manner will much can undermine the a consistent manner will
contrast to the main text, but it Bold can be used for intended look. produce a piece that is intended look. produce a piece that is
pleasing to the eye.

Fig. 16 – Justified Fig. 17 – Unjustified Fig. 18 – Right justified

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Guidelines for Type Use:
Although all designers don’t agree on all aspects of type use, there are some general
guidelines you can follow:

1. Use one typeface for the text throughout a publication, although you can vary
styles and sizes in that typeface.
• Variation: use one typeface for text and another for headlines (example: text in
serif with headlines in a sans serif).
• Choose the typeface to match the message of your publication (example:
Avant Garde for contemporary).

2. Keep headlines large, but in general avoid all caps.

3. Set bylines smaller than the headline, but larger than the text.

4. For good readability, choose one of the methods below to designate new para-
graphs. Don't use both!
• Indent the first line of a paragraph.
• Allow one extra line space between paragraphs.

5. Use italic to emphasize a word or phrase in text (softer than bold and hard to read,
so use sparingly).

6. Use bold sparingly for emphasis. But use it for text when it will aid readability
(example: printing on colored paper, or for occasional reversed text).

Selecting Type for Publications

When choosing type for a publication, consider:

1. Typeface:
• its formality or informality (Serif fonts are considered to be more formal, sans
serif are less formal.)
• its readability in the line length you’ll be using.
• whether it will appear typographically pleasing in the size you will use.
• Helvetica for advertising and where poor reproduction is anticipated. Times or
New Century Schoolbook for periodicals.

2. Point size:
• at least 12 point for young and older readers
• 10 or 12 point for high school through 50’s

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 3. Style for text:
• Plain for text
• Italic or bold for emphasis
• Bold for heads and subheads
• Underlining—an old habit used on typewriters for emphasis. Underlining is
not the recommended choice for emphasis, especially if the text has
descenders.

4. Line spacing (leading): Point size plus one or two points in smaller types (10–12
pt.). The larger the type gets, the more leading points you will need to provide
ample white space for readability.

5. Line length: Limit line length to about 65 characters, or seven to twelve words.
More than that is too tedious for the reader and they will lose interest. (Serif type
for body text can handle ten to twelve words per line, where sans serif should be
limited to seven or eight.)

Breaking Up Text Areas

1. Pulled quotations—text that appeared in the article. Pulled quotes are often set in
a larger type than the body text and are separated by rule lines or boxes.

2. Large capital letters (caps)—The large caps can be set into the text or can sit on
the first line. If set into text, the first line of text should be placed closer to the cap
so the reader knows the cap belongs to the first word of the paragraph. Large caps
can also be boxed.

3. Shadowed boxes—can be used as a design element to set off pulled quotes, large
caps or sidebars.

4. Subheads can be used to identify major text breaks.

Pulled Quote Large Drop Caps

You will find on your desktop
system that you will be able
of type. Like anything else
too much can undermine the Y I
ou will find on your
desktop system that you
talic type can provide a
subtle contrast to the main
to choose from many different intended look. will be able to choose from text, but it doesn't not provide
typestyles. Just because they Italic type can provide a many different typestyles. Just emphasis. It is actually softer,
are there doesn't mean you subtle contrast to the main because they are there doesn't not bolder, than roman text,
have to use all text, but mean you have to use all of and it is more difficult to read.
of them in your them in your publication! Be Used for captions, quotes,
Italic type can provide i t d o e s n ' t
publication! Be not provide conservative and consistent. display type, leadins, and
c o n s e r v a t i v e a subtle contrast to emphasis. It One or two typestyles applied other short items.
and consistent. the main text, but it is actually
O n e o r t w o doesn't not provide softer, not
in a consistent manner will
produce a piece that is pleasing Y ou will find on your
desktop system that you
typestyles bolder, than to the eye. will be able to choose from
applied in a roman text, Plain should be used for the many different typestyles.
consistent manner will produce and it is more difficult to read. main text of a publication. Just because they are there
a piece that is pleasing to
the eye.
Used for captions, quotes,
display type, lead-ins, and B old can be used for
headlines and subheads. It
doesn't mean you have to use
all of them in
Plain should be used for the main other short items. can also be used for captions
text of a publication. You will find on your desktop and occasionally for emphasis
Bold can be used for headlines system that you will be able to in the middle of a line of
and subheads. It can also be used choose from many different type. Like anything else too
for captions and occasionally for typestyles. Just because much can undermine the
emphasis in the middle of a line they are there doesn't mean intended look.

Fig. 19—Use of pull-quotes Fig. 20 – Use of large caps.

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Using Illustrations Effectively
1. Use illustrations to control eye movement in a layout. Focus the reader's attention
on the page. (Fig. 21) Never use a graphic that points off the page, or away from
the text.

2. Select illustrations that accurately reflect the

content of the article.

3. Use large illustrations for forcefulness.

4. Use well-drawn illustrations with good detail

and proportion so you don't detract from your
publication. Try to avoid the “jaggies”, unless
that's the effect you want.

5. Use graphics software programs to create

special effects, such as shadowing, tilting, or
shading in intervals. Or scan pen and ink draw-
ings.
Fig. 21
6. Get permission to use illustrations from print
sources, such as magazines, newspapers and books.

7. Use humorous illustrations selectively. Be sure they will be understood by your

readers.

Fig. 22 – The layout on the right is more effective due to the impact of the larger
graphic and use of white space around the headline.

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Choosing Photos and Illustrations
It's important to choose photos or illustrations that relate to the text they go with. You
can use photos and illustrations in several ways in a publication:
• As a hook to draw the reader into the article.
• To summarize the contents of the article.
• To demonstrate how something is done.
• To depict an event, past or future.
• To show the author as a real live person.
• To show the location.
• To set the mood for the text.

More Tips for the Layout

• For body copy, keep the first paragraph of the article flush left. If you are going to
indent paragraphs, indent only the paragraphs after the first.
• The paragraph indentations should only be as wide as an "M dash" (see below).
• Don't use more than three sizes of headline type in one publication.
• Unless you are sending the final copy to a typesetter or use another high reso-
lution printing method (1200 dpi or more), stay away from using text over a
screened (gray) background.
• No more than two hyphens at the end of consecutive lines of body text.

More rules you didn't learn in typing class:

• Only one space between sentences! Typewriters had monospaced fonts (each
letter is the same width) but computers have proportional fonts (each letter is a
different width) and only one space is needed for visual separation.
• Make sure to use smart quotes (“ ”) rather than regular quotes for quotations. The
generic ones look like "inch" and "foot" abbreviations!
• Replace using hyphens or double-dashes (--) from the days of using typewriters
with the typesetter's "N dash" (–) or "M dash" (—). The N dash (or en dash) is
used between words or numbers to indicate a duration of time. The M dash (or em
dash) is twice as long as the en dash—it's about the size of a capital letter M. Use
it in a manner similar to a colon or parentheses, to indicate an abrupt change in
thought, or in a spot where a period is too strong but a comma too weak.
• Take advantage of the special characters available on a computer, like ®, ¢, •, ™,
etc. Research how to do these on your computer.
• Never leave widows and orphans on the page. When a paragraph ends and leaves
less than seven characters on the last line, it is called a widow. When the last line
of a paragraph won't fit at the bottom of a column and ends at the top of the next
column, it is an orphan.

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Mistakes of New Designers
As you study publications, you'll find there are trends. These trends change
constantly. However, there are some designs that are generally recognized as poor
ones—designs you'll want to avoid. Designs to avoid include:

1. Overly symbolic illustrations—be sure symbols you use have a meaning that
won't be misunderstood.

2. Cluttered illustrations.

3. Say-nothing illustrations that are included just to fill space.

4. Unorganized illustrations—elements placed with no particular plan.

5. Attempts to be radically different.

6. Failure to complement the accompanying text.

7. Use of irregular line spacing.

8. Use of uneven columns that don't follow a grid.

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Resources
Books
• The PC (Mac) is not a TypeWriter. Williams, Robin: PeachPit Press, 1992
• Basic Desktop Design & Layout. Collier, David and Cotton, Bob: Quarto Publishing, 1989
• How to understand and use Design and Layout. Swann, Alan: Quarto Publishing, 1987
• How to Create High-Impact Designs. McCleland, Jane K.: Career Track, Inc. 1995
• Looking Good in Print. Parker, Roger C.: Ventana Publishing,1997
• The Makeover Book: 101 Design Solutions for Online and Desktop Publishers. Grossman, Joe:
Ventana Publishing, 1996
• The Non-Designer's Design Book, Williams, Robin: PeachPit Press, 1994
• Roger C. Parker's One-minute Designer, Parker, Roger C: MIS: Press, 1997
• Robin Williams Design Workshop, Williams, Robin & Tollett, John: PeachPit Press, 2001
• Beyond the Mac is not a Typewriter, Williams, Robin: Peachpit Press, 1996

Periodicals
• Publish, International Data Group, P.O. Box 55400, Boulder, CO 80322 (800) 274-5116.
• Step-by-step Electronic Design, Step-by-step Publishing, a division of Dynamic Graphics, Inc.,
6000 N. Forest Park Drive, Peoria, IL 61614-3592, (309) 688-2300.
• Dynamic Graphics, Dynamic Graphics, Inc., 6000 N. Forest Park Drive, Peoria, IL 61614-3592,
http://www.dgusa.com/dgm

Workshops
• The Basics of Design Using Desktop Publishing, Padgett Thompson, Div. of American Manage-
ment Association, P.O. Box 8297, Overland Park. KS 66208 (800) 255-4141
• Desktop Design, Promotional Perspectives, 1955 Pauline Blvd., Suite 100-A, Ann Arbor, MI
48103 (313) 994-0007
• How to design eye-catching brochures, newsletters, ads, reports, CareerTrack Seminars, 3085
Center Green Dr., Boulder, CO 80301-5408, (303) 447-1696

Video Tape Training

• Design and Layout, MacAcademy Video Tape Training Series

World Wide Web site:

• Newsletter Design Clinic, http://desktoppub.about.com/od/newsletters/a/newsletter3c.htm

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