Design basics

Putting together a newspaper is hard work. As an editor, you will be tasked with designing your
publication so it is inviting, easy to read and instantly informative to your readers. The process of
layout and design can feel like putting together a puzzle. You will have to decide on what story takes
precedence, what photographs will be used and how large or small to run them. Following the basic layout
and design techniques in this lesson will help you produce a good product.

There are a few basic elements that make up the majority of all publications. Four elements common to
most publications include headlines, text, art, which includes photos and graphics, and cut lines. Once you
practice using these four elements in different configurations, you will get the hang of design.

Headlines

Headlines are one of the basic element of newspaper design . They attract our attention, get us to read
stories and summarize what stories are about. They also help us make a decision to bypass a story as we
scan a page. Headline design in contemporary newspapers has changed considerably throughout history.

A century ago most newspaper headlines:

 Mixed typeface at random

 Combined all caps and lowercase
 Were centered horizontally
 Stacked layers of narrow decks one another, with rules between decks

Today’s headlines:

 are generally written down style

( that is using normal rule of capitalization)
 run flush left
 are usually wide rather than narrow
 use decks optionally

Ordinary news stories use ordinary headlines. And then there are features. Feature stories let you
sketch beyond the confines of those routine headline types. Using type as a tool, we can make a cultural
statement. Forge a new visual identity or craft a miniature art.

Some newspapers allow designers total freedom to create loud, lively headlines. Others insist that
display headlines follow the same rules and use the same type faces as the rest of the paper ( that is to
keep feature stories from looking too different from the rest of the news).

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How to size headlines on a page

If we had to generalize about headline size, we could say that small headlines range between12 to 24
point; mid-size headlines range from 24 to 48- point; large headlines range upward from 48- point.

Beyond that, it is difficult to generalize about headline sizes. Some papers like them big and bold; others
prefer them small and elegant. Headlines in tabloids are often smaller headlines in broadsheets(though not
always.

Still, this much is true: since bigger stories get bigger headlines, headlines will generally get smaller as
you move down the page

Text

Text is the most important element of publication design. It communicates the bulk of information on a
page. It can be gray and boring, but there are many ways to manipulate text so it is pleasing to the eye and
easy to read. For example, we can make type bold or italic.

We can use indentations to help readers recognize the beginnings of paragraphs. We can also change the
size of text and align it in several different ways. In this example, we first have columns of gray text with
little to give relief to the readers’ eyes.

Then we add paragraph breaks and indentations. In addition we can change the alignment of the columns
of text. Finally, we can add bullets, make certain passages bold or add a large capital letter.

Serif vs. Sans Serif –

There are two basic type families that make up the bulk of our publications – serif and sans serif. Serif
type has tiny strokes at the tips of each letter. We primarily use serif type families, such as Times New
Roman and Bookman, for the large bodies of text in our stories. The tiny strokes at the tips of each letter
help readers connect each letter in a word. Sans serif typefaces have no serifs or strokes on the tips of each
letter. In French, “sans” means without. In modern publications, most editors use sans serif typefaces for
headlines, cut lines and other items in a publication where a typeface needs to contrast with the text of
stories.

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Example:_

Serif
Defense
Information
School
(Times New Roman)

Sans Serif
Defense Information
School
(Arial)
Photos

Today, readers expect dynamic photos. These photos entice them into picking up a publication and
investing their time in it. Not only do they attract the attention of readers, photos help readers comprehend
stories. This also applies to other types of artwork, such as

information graphics, charts and maps. Although it may seem obvious to you, artwork comes in three
primary shapes – horizontal, vertical and square. When looking through a camera lens, most of us hold our
cameras horizontally. This format probably makes up the majority of photos we use in publication design.
It is the most common shape for news photos. On the other hand, readers find vertical photos interesting.

Readers tend to like vertical photos because they are not accustomed to seeing them as frequently as
horizontal photos. As a publication designer, however, vertical photos can give you a headache because
they run deep and may cause readers to question which stories they go with. Finally, there is the square
format. Square photos generally are considered boring but sometimes the content of a photo almost begs
for a square shape.

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Cut lines

As we know, pictures themselves tell stories. But it is the cut line’s job to tell the story behind the picture:
who is involved, what is happening, when and where the event took place. A well written cut line makes
the photo instantly understandable and tells readers why the photo _ and the story_ are important.

Cutline typeface

The typeface used for cut lines depends largely on the typeface used in the story text. Cutline should
contrast with any nearby text. To make sure this difference is clear; most publications use a typeface
opposite that of the text. For example, if a publication uses a serif font for text, such as Times New
Roman, its cut lines may be a sans serif typeface, such as Arial. Some publications use the same typeface
in their cut lines as the story text but make the cut lines bold to show contrast.

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 In this example fromserif
the Fort Detrick Standard,
the cutlines are sans and bold to contrast with
the serif text type.

Cutline placement

Cutlines can rest below the photos and some can rest beside the photos. In some publications you may find
cutlines that rest between photos. However, this should be avoided because it makes readers work too
hard. These are called gang cutlines. In general, each photo should have its own cutline.

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Below the photo

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Beside Photos:

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Between two photos

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Stand alone photos

Stand alones are high quality images that tell a story without an accompanying article. They receive

a full cutline, a small headline called a catch line, and are often boxed to separate them from other
elements on a page. See example below.

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Pulled quotes

Pulled quotes, also known as life-out quotes remain popular. Readers find them interesting and these
quotes attract their attention to a story. A pulled quote is also a great tool to have in your bag when you
need one to help fill space or create an interesting design.

Although they can be designed in a variety of ways, pulled quotes share some basic guidelines. First, they
should be actual quotations found in the story, and they should be attributed. They should also be bigger
and bolder than the text type. Pulled quotes less than 1 inch deep can look trivial. Pulled quotes can also
be combined with photos of the people who said them.

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Pulled quotes less than 1 inch deep can look trivial. Pulled quotes can also be combined with photos of the
people who said them.

Combining a mug shot with a pulled quote.

Bylines

The byline is the name of the reporter and what unit he works for. Every story, except for briefs, should
have a byline. A byline has several functions. First, it gives credit to the author. It also places
responsibility on the author. Its design function is to provide a transition from headline type to text type.
The byline style should be harmonious with the rest of the publication. There are two general guidelines
for bylines. Flush left is best because we read from left to right. Also, bylines are normally larger than the
text type. This provides contrast and eases the transition from headline to text. You can also provide this
contrast in other ways, such as using bold type or using a sans serif.

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A byline provides a transition from the headline to the text. It also places responsibility on the author.

Credit lines

Credit lines are similar to bylines, but give credit to a person who takes a photograph or creates a graphic
design. Credit lines can appear at the end of cutlines, but they generally look better parked at the lower
right corner of photos. When they appear below the photos, they should be smaller than the cutlines.

Rules and boxes

You can use rules, or lines, to organize and separate items on a page or to add contrast and flair. More
specifically, rules are used to build logos and bylines. They can also create boxes and border photos.
Sometimes you can use rules to build charts and graphs and embellish feature and headline designs. Most
commonly, rules are used to separate stories and elements from one another. Most modern newspapers use
rules and boxes sparingly.

Usually these publications reserve the use of rules and boxes for story packages that need special
treatment. Rules and headlines should not be used to fix poor design decisions, such as butting heads and
misplaced photos. Be careful with decorative rules and borders because they can be overdone and may
give your publication an amateurish look.

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Example:-

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Subheads

Subheads are small headlines used to break up long blocks of gray text. They can also be used as
headlines for briefs. When used in long stories, subheads can make an overwhelming story look like a
series of shorter stories. Readers who scan newspapers often start reading a story at a subhead. If they
become interested in the story, they go back to the beginning. Subheads should be larger than the text type
and placed at logical transitions in a story. Just like regular headlines, subheads should be interesting to
help pull readers in.

There should be space above a subhead, but below a subhead there should be less space between the
subhead and the accompanying text.

Example:

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Initial caps

Initial caps can be used to start off a story with a bit of style. And just like subheads, initial caps can be
used to help break up long, gray blocks of text. When using them for this purpose, be careful the initial
caps don’t unintentionally spell out a word. Initial caps come in two basic varieties – drop caps and raised
caps.

Example:-

White space

White space is any space on a page not occupied by text or graphics. Regardless of the color – red, blue or
green – this empty space is called white space. To some it may seem a waste of space, but publication
designers know how to use this space for a purpose. Just as subheads, drop caps and any other items in
black help provide relief to gray pages, so does white space.

White space is especially important on feature and editorial pages. This added white space gives these
pages an informal feel. News pages use less white space than feature and editorial pages, and this gives
news pages a more formal feeling. The lack of white space in a publication becomes tedious to readers.
However, don’t overuse white space. White space should not draw attention to itself.

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Modular design

By definition, a module is a unit or a part of a whole. As applied to page design, it is a rectangular unit.
The four basic elements that make up a module include headlines, text, art and cutlines.

Packaging using modular design By using basic, rectangular shapes, pages look neat and orderly.

Readers like these neat packages because they help them organize their thoughts.

In the not-so-distant past, editors gave little thought to packaging, and text wrapped irregularly around
related or non-related stories and pictures. This practice was supported by the principle that readers can be
led from one story to another by interlocking them like a puzzle. However, the pages looked somewhat
chaotic and often confused readers.

Although modular design helps readers organize their thoughts, it’s important for every page to have
focus.

To do this, each page should have a dominant element. Pages with focus give readers a starting point and
show that you’re not afraid to make decisions. The easiest way to give focus to a page is to use a
dominant photo or graphic element. However, you can also use type effectively to create a dominant
element.

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The dominant module on this example below is clear to the reader (A short life, a great love). If you were
to draw a line around it, it is the largest rectangle, and all of the components related to the story (both
headlines, both photos, and the story itself) fit in that rectangle. The other modules on the page are also
rectangles or squares. Think of the rectangle’s outline as an “invisible fence” that keeps the reader in the
right story before moving on to the next one. The “fence” around the table of contents information (the
bottom right hand corner of the page) is in an acceptable square shape because it is not story content trying
to draw the reader in. It is a short burst of information that the reader is accustomed to looking for and will
either read it or not. Including the bottom advertisement, there are seven modules on this page.

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There is only one module on the example page below. This is because it is an entire page dedicated to one
story. This is often done on inside feature pages of a publication when highlighting a big event. Because
the page itself is a rectangle, and everything on that page relates to the “Summer Bash,” it is modular.

The page below is not modular. If you were to draw a “fence” around the headline, story and photo, it
would not be a rectangle or square. Instead, it resembles a staircase, which is why this is called a “ stair-
stepped” page. While it is easy for the folks who lay out advertising to simply stack ads on top of each
other in this fashion, it makes your job difficult trying to design around it. In addition, it is confusing to
the reader which part is story content and which part is advertising. Most contracts for military
newspapers specifically do not allow this stair-step practice.

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Just like you should not stair-step stories around ads, you should not stair-step them around other
stories. This is not modular design. On this page, the “Sailors injured …” story is stairstepped around a
photo of sailors - which are not related to that story. Stair-stepping stories around other, unrelated
stories is confusing to the reader and looks like amateurish design.

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Two basic shapes of information –

As novice publication designers, there are two basic shapes of information you should master – the U-
shape and the L-shape. Once you understand the “invisible fence” rectangle or square that must go
around your module, you need to know how to shape that information inside the module. Let’s take a look
at each. Both of these shapes do the job well and should be part of your design tool box. In the U-shape, a
banner headline establishes the “fence” of the rectangle, while the story itself is wrapped in a U around the
photo. This is a good thing because the reader’s eye is draw to the photo and then follows the information
from the story in the U around the photo

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Focus

Pages require focus. To do this, each page should have a dominant element. Pages with focus give
readers a starting point and help guide them through the information you present. The easiest way
to give focus to a page is to use a dominant photo or graphic element. However, you can also use type
effectively to create a dominant element.

NOT FOCUSED

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FOCUSED

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NOT FOCUSED

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FOCUSED

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Adding Color to a page:

For decades newspaper editors view color with suspension. Color can be a blessing or a curse. It can
delight your reader or destroy your design. Using color successfully requires tight deadlines. Quality
control, extra money, extra planning. So plan for color; don’t treat it like a surprise gift and above all:_

 Go easy: Resist your initial urge to go overboard. Don’t splash color around the page just to get
your money’s worth. Remember, black and white are colors too and newspapers have managed to
look attractive for centuries without adding extra inks.
 Don’t use color for color sake: Remember, this is a newspaper. Not the Sunday funniest. If you are
deciding whether to run or use a color photo of circus balloons or a black- and white photo of a
bank hold up, choose the image that is meaningful not pretty.
 Beware of colorizing false relationships- color creates connections, even where none actually exist.
Put a red headline, a red chart and a red advertisement on the same page, and that tint may unite
them all in the reader’s mind. That can be misleading (depending upon the layout).
 Colors speak to each other. So if you don’t want to connect unrelated elements, try not to brand
them with the same the color.
 Be consistent: Don’t run a purple flag one day, a consistent graphic identity by standardizing
colors wherever they are appropriate.

Adding color to black and white page is tricky thing. Where should it go? How much is too much?

For best results, remember that a little goes a long way. It would be unrealistic to dictate where color can
or cannot be used.

Color Guidelines:

 Use appropriate colors: colorize a page the way you’d decorate your living room. And unless you live
in a circus tent, that means choosing comfortable hues (blue an tan, for instance) more often than
harsh ones (pinks or bright greens). The integrity of a news story will be damaged if wacky colors
surround it, and the impact of a page will be negative if readers are turned off by the choice of your
colors.
 Colors convey moods “Hot” colors (red, yellow) are aggressive. “Cool” colors (blue, gray) are more
relaxing. So make sure your colors produce the effect you want. And remember, too, that certain
color combinations have unshakable associations.
 Keep background screens as pastel as possible; Whenever you run text in a sidebar, chart, amps keep all
underlying screens as light as you can. Check with your printers to see what the lightest printable
percentages are.). If you must add type to a dark screen, reverse it a font that’s big or bold enough
to remain readable even if the printing registration is poor.
 Don’t overreach your technology. Color production is difficult to do well. It’s costly. It’s time
consuming. So it pays to learn your limits. Drawings that look gorgeous on a computer screen

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often look like mud on newsprint. Color photos look worse than black – and- whites when the
inking is poor or the registration is off ( i.e., the color plates print out of alignment).
So use color conservatively until you’re certain of the results you will get. And beware of small,
detailed graphics or headlines that demand perfect color registration to succeed – or you’’ face
legibility problems.

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