essencial references for editorial designers book
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EDITORIALDESIGNERS
ESSENCIALREFERENCES
FOR
BARBARA STEIN AND GABRIELA PINTO
UEL CIENCE WITHOUT BORDERS
SUMMER PROJEC
03THEORICAL REFERENCES
REFERENCE DESIGNERS
MAGAZINES
GLOSSARY
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WILLIAMMORRIS
William Morris (24 March 1834
to 3 October 1896) was an British
textile designer, poet, novelist,
translator, and socialist activist.
Associated with the British Arts
and Crafts Movement, he was a
major contributor to the revival
of traditional British textile arts and
methods of production. He also was
one of the names that incited the
socialism movement in Britain.
Morris had the desire of creating
nice and beautiful objects with
rinsable prices, so everybody from
different social classes could have
it. Contrasting with what really
happened, just people from the
highest levels could buy it.
In a conference of typology in 1888,
Morris heard from a typology that
the print methods of the XV and XVI
centuries should be adopted to
prevent the lack of quality at the
contemporary books. Some years
later, Morris founded the Kelm-
scott Press, a book publisher. With
the goal of inspiring moral quality
and value to the printed works.“ I began printing books with the
hope of producing some which
would have a definite claim to
beauty, while at the same time
they should be easy to read and
should not dazzle the eye, or
trouble the intellect of the reader
by eccentricity of form in the let-
ters.”- William Morris (1895)Morris defended that the academic
books, although they may have a good
print, unlikely would be adorned as a
book of poems. He also said that a
book which must have illustrations
should have no ornament, since the
ornaments would get in conflict
with the illustrations.
The way that the letters were arranged
also was an issue to Morris. The
letters had to have a blank space
between each other and also the
right size. Also defended the im-
portance and the caution with the
blank spaces between the words
and the lines of text.“ First, the ‘face’ of the letter
should be as nearly conterminous
with the ‘body’ as possible, so as to
avoid undue whites between the
letters. Next, the lateral spaces
between the words should be (a)
no more than is necessary to
distinguish clearly the division
into words, and (b) should be as
nearly equal as possible. Modern
printers, even the best, pay very
little heed to these two essentials
of seemly composition, and the
inferior ones run riot in licentious
spacing, thereby producing, inter
alia, those ugly rivers of lines
running about the page which are
such a blemish to decent printing.
Third, the whites between the lines
should not be excessive; the modern
practice of ‘leading’ should be used
as little as possible, and never
without some definite reason, such
as marking some special piece of
printing ” - William Morris (1895)About the types of typography
Morris also had his thoughts,
some shapes were beautiful but
hard to read. Some others, more
basic, simple designed making
the reading more effortless. The
two pages, the spreads from a
book were the unit and should
be designed as that. The intern
margin where the binding goes,
should be the narrowest, followed
by the superior and the extern, the
bottom margin was suppose to
be the biggest.
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PETER BEHRENS
Peter Behrens ( 14 April 1868 to
27 february 1940) was a german
architecture, artist and a graphic
and industrial designer. Behrens is
considered one of the first designers
in history, along with English
Christopher Dresser.
In 1903 Behrens was in Dusseldorf
to direct the School of Arts and
Crafts in the city. He developed
innovative preparatory courses
mainly for the areas of architecture,
interior and graphic design. Pro-
posing to the students the return
to the basics of form and creative
thinking. This introductory course
was a precursor to the Bauhaus
Preliminary Course.
In 1904. J. L.Mathieu Lauw-
eriks,dutch architect joins the
faculty of the School of Arts and
Crafts in Dusseldorf and there
Lauweriks developed a method
of teaching composition, based
on the dissection of a circle by
squares. His method could be
used to determine proportions,
dimensions and the spatial divi-
sion of the elements from design
to architecture.
Behren decided to apply the Lauw-
eriks method in his work and this
has promoted a great change in
the way designers and architects
thought their projects. Considered
one of the most important changes
of the century. Behren proved
possible to rationally use the
geometry as an underlying system
of visual organisation.
His work in this period can be
summarised by attempts that
were fundamental to the start of
Constructivism in graphic design.
Where both stylised representa-
tions as realistic, will be replaced
by geometric structures.
Lauweriks method of teaching composition,
based on the dissection of a circle by squares.
Logo and poster, project by Peter Behrens to
AEG, a German Industry.
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VILLARDDIAGRAM
Villard de Honnecourt was a
famous French master worker in
the XIII. Learned his craft traveling
along his life, becoming later a
master-builder -at that time the
profession also involved the work
of architect.
The architect Villard developed a
method of geometric division of
space that differs from the scale
of Fibonacci by the fact that any
chosen page shape can be subdi-
vided. This approach, when used
with any form of golden section,
effectively divides the height and
width of the page by nine, creating
81 units, each of which has the
same proportions of both format
as the text box. Margins are deter-
mined by the height and width of
the unit.
This is a moment in which the
boundaries separating graphic de-
sign and architecture were blurred,
showing that the development of
pleasing ratios, shapes and sizes
is not dependent on the medium,
but the mind.
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THEBAUHAUS
The Bauhaus was founded in 1919
in the city of Weimar by German
architect Walter Gropius (1883–
1969). Its first objective was a
radical concept: to reimagine the
material world to reflect the unity
of all the arts. Gropius explained
this vision for a union of art and
design in the Proclamation of the
Bauhaus (1919), which described
a utopian craft guild combining
architecture, sculpture, and
painting into a single creative
expression. Gropius developed a
craft-based curriculum that would
turn out artisans and designers
capable of creating useful and
beautiful objects appropriate to this
new system of living. Was forced
to close its doors, under pressure
from the Nazism, in 1933. The
school favored simplified forms,
rationality, functionality and the
idea that mass production could
live in harmony with the artistic
spirit of individuality.
Along with Gropius, and many
other artists and teachers, both
Laszlo Moholy-Nagy and Herbert
Bayer made significant con-
tributions to the development of
graphic design. Among its many
contributions to the development
of design, the Bauhaus taught
typography as part of its curricu-
lum and was instrumental in the
development of sans-serif typog-
raphy, which they favored for its
simplified geometric forms and
as an alternative to the heavily
ornate German standard of black
letter typography.
The most basic tenet of the Bau-haus was form follows function.
The German architect Walter Gropius.
The Bauhaus school in Germany
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GRIDA grid system is a rigid framework
that is supposed to help graphic
designers in the meaningful,
logical and consistent organisa-
tion of information on a page.
Rudimentary versions of grid
systems existed since the medieval
times, but a group of graphic
designers, mostly inspired in ideas
from typographical literature
started building a more rigid and
coherent system for page layout.
The core of these ideas were first
presented in the book Grid Sys-
tems in Graphic Design by Josef
Müller-Brockmann which helped
to spread the knowledge about the
grids thorough the world.
In the 13th century, the architect
Villard De Honnecourt came up
with a famous diagram used for
producing page layouts with
margins of fixed ratios — what
was considered a “harmonious”
design. This remains a guiding
principle in the design of print
objects such as book covers.
The grid did not enter the graphic
design lexicon until around
World War I, in Switzerland. One
of the only neutral countries in
the war, Switzerland became a
meeting ground for intellectual
refugees from all over Europe.
It was also one of the few places
where printing supplies like paper
and ink weren’t heavily rationed.
These conditions amounted to
a lot of sharp people printing a
lot of multi-lingual documents,
often with columns of French,
Italian, German and English. This
presented a design problem that
typographers like Herbert Bayer
and Jan Tschichold stepped up to
address.
One contribution of these designers
was a turn away from the centred
text positioning to an “asymmetric”
approach meant to feel more
natural for people reading left-
to-right. Such an approach aligns
text flush-left, ragged-right, often
positioning the body of text slightly
further to the left or right to leave
a bigger margin for notes.
Is clear that the gris is really
important to graphic design
and is a bit like magic sets of
intersecting lines that help the
designer decide where to put
things, but that generally no one
else sees. The benefits of using
a grid are multifarious, ranging
from the psychological to the
functional, and, of course, the
aesthetic. There is multiple types
of grid, and you can project yours
as your need, and since you know
how to project it then you can
break it. The grid embodies all
the contradictions that designers
struggle with. This is the designer’s
very own enigma code that can
elevate design discourse to that of
a science.
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ERNSTKELLER
Ernst Keller was born 1891 in
Aarau, Switzerland. Keller was
first trained as a draughtsman
and lithographer in 1906. He
worked in Leipzig, Germany
until 1914. Keller joined Zurich’s
famous Kunstgewerbeschule
(School of Applied Art) in
1918 until he retired in 1956.
As a teacher he was the most
important single influence
on the development of the
Swiss style while teaching
design and typography. Where
he then established several
training programs in design and
typography and was called “the
father of Swiss graphics”. The
economically drawn images and
inventive lettering of his posters
designed in the 1920s and 30s
made an important contribu-
tion to Modernism.
Keller created a design system
characterised by a rigid grid
format, structured layout and
unjustified type. The core of
these ideas were first presented
in the book Grid Systems in
Graphic Design by his student
Josef Muller-Brockmann.
Posters made by Ernst Keller
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KARLGERSTNER
Born in Basel, Switzerland in
1930, Karl Gerstner was a paint-
er and a graphic designer, who
studied design at Allgemeine
Gewerbschule in Basel under the
thoughts of Emil Ruder. In 1959,
he and Markus Kutter confounded
Gerstner & Kutter a design agency.
Later, when the architect Paul
Gredinger joined them they
changed its name to GGK.
Gerstner’s grid for the journal
Capital, designed in 1962, is still
often cited by some as near-perfect
in terms of its mathematical
properties. The smallest unit in
Gerstner’s grid, or matrix as he
called it, is 10pt—the baseline to
baseline measurement of the text.
The main area for text and images
is a square, with an area above
for titles and running heads. The
cleverness lies in the subdivision
of the square into 58 equal units
in both directions. If all inter
column spaces are two units,
then a two-three-four-five-, or
six-column structure is possible
without any leftover units.“ The typographic grid is a
proportional regulator for type–
matter, tables, pictures and so on.
It is a priority programme for a
content as yet unknown. The dif-
ficulty lies in finding the balance
between maximum formality and
maximum freedom, or in other
words, the greatest number of
constant factors combined with
the greatest possible variability.” - Gerstner.There are two aspects of design
process which are central
to Gerstner’s theories. First is
creativity. Gerstner’s evangelism
for introducing programmes
into design process is not to limit
creativity, but to ensure creative
energy is efficiently allocated to
the stages where it most benefits
answering the design problem.
The second fundamental aspect
of Gerstner’s theories is the impor-
tance defining and understanding
of the design problem. Once the
design problem has been carefully
defined, then an appropriate
programme could be developed
to explore solutions. The failure
of a programme comes when it is
not developed comprehensively
enough or does not regard the
design problem adequately.
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THESWISSSTYLE
The Swiss Style or Swiss Graphic
Design was developed in the 1950s
in Switzerland. It remained a major
design movement for more than
2 decades, and still influences
graphic design today.
Also known as the International
style or International Typographic
Style, it emerged in Russia, Germany
and the Netherlands in the 1920s,
and was made famous by talented
Swiss graphic designers.
The Swiss Style emphasised
simplicity, communication
and objectivity. Its hallmarks
are the mathematical grid, sans
serif typefaces arranged in a flush
left and ragged right formation
(asymmetry), black and white
photography, and the elimination
of ornament
The Swiss Style merged elements
of The New Typography, Bauhaus
and De Stijl. The Swiss Style has
its roots in The New Typography,
which was developed in the 1920s
and 1930s as artists and designers
looked to give design a place in
the new industrialised era. They
discarded symmetry, ornament
and drawn illustration for white-
space, plain letterforms and
photographs. As printing became
industrialised a need for plain
letterforms for fast efficient printing
was necessary. Photography was
at the time becoming very popular
and more accessible, and design-
ers embraced this.
Of the many contributions to
develop from the two schools
were the use of, sans-serif typog-
raphy, grids and asymmetrical
layouts. Also stressed was the
combination of typography and
photography as a means of visual
communication. The primary
influential works were developed
as posters, which were seen to
be the most effective means of
communication.
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NEUGRAPHIC
Neue Grafik, it was an influential
magazine on graphic design
published from 1958 to 1965,
seventeen issues, eighteen
numbers – the last issue 17/18
was a double issue. Edited by like
minded Zurich designers LMNV –
Richard Lohse (1902–1988), Josef
Müller-Brockmann (1919–1996),
Hans Neuburg (1904–1983) and
Carlo Vivarelli (1919–1986) – in
English, French and German.
From a historical point of view,
Neue Grafik can be seen as a
programmatic platform and
effective publishing organ of Swiss
graphic design, an international
authority in its field at the time.
Protagonists of the Swiss school
and its rigorous Zurich faction
lead an essential discourse on the
foundations of current commu-
nication and constructive design.
The influence of this movement
cannot be overstated. The Swiss
school, also called “International
Style,” became exemplary for
the conceptual approach to
corporate design of increasingly
globally operating corporations
and an influential precursor in
the design of individual projects,
such as posters, exhibitions, and
publications.
The Neue Grafik grid used to be
based in four columns, and had
three horizontal bands where all
the information, text and images
were arranged.
The complete volumes are now
available in an excellent reprint
from Lars Müller Publishers.
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THEBASELDESIGNSCHOOL
The Basel School of Design and
its students have influenced
the international Graphic
Design community since the
1960’s. Under the direction of
Armin Hofmann and Emil Ruder
courses for Graphic Design and
Typography were developed. They
were outstanding models for a
modernist design education.
The Basel school had a different
approach from that of the de-
signers fromZurich. The director
of the school adopted an intui-
tive method to teach composi-
tion, based on symbolic form and
contrasts between qualities
optical and abstract varying
from: light to dark, curve and
angle, and organic
geometric. Also the kind of
paper and the typography had
an important role in school
programme.
Emil Ruder, which was formed in
Zurich, entered the school to give
typography class. Defended
the balance between form
and function and explored the
nuances of type and optical
contrast by comprehensive and
systematic grid structures. Helping
students better understand the
grid and disseminate it.
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American magazine art director, graphic designer, and photographer,
worked as a graphic designer in Paris from 1920 until 1930, when he
moved to New York City. In 1934 Carmel Snow, editor of Harper’s Bazaar
magazine, hired Brodovitch to invigorate the magazine with a modern
spirit; it was in this capacity that Brodovitch would leave his greatest
legacy. During his tenure at Harper’s Bazaar (1934–58), Brodovitch
revolutionized American magazine design. He departed from the static
layouts and conventional posed studio photographs prevalent in 1930s
editorial design. Instead, he emphasized the double-page spread as
a dynamic field upon which exquisite photographs, crisp Bodoni
typefaces, and elegant white space were arranged into a total
composition. He assigned covers and interior images to modern
European artists and designers including Herbert Bayer, Cassandre,
and Salvador Dalí, and he commissioned important photographers
such as Henri Cartier-Bresson, Martin Munkacsi, and Man Ray to take
dynamic location and experimental photographs.
ALEXEY BRODOVITCH
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“ If you know yourself, you are doomed.”
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Alvin Lustig’s contributions to the design of books and book jackets,
magazines, interiors, and textiles as well as his teachings would
have made him a credible candidate for the AIGA Lifetime
Achievement award when he was alive. By the time he died at
the age of forty in 1955, he had already introduced principles of
Modern art to graphic design that have had a long-term influence
on contemporary practice.
ALVIN LUSTIG
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“ ...remember that design is concerned
with relationships and relationships are
always good or bad, never neutral. ”
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Cipe Pineles (1908-1991) was one of the most prominent designers of
the twentieth century and one of the first female art directors to work
at a major magazine. She served in that capacity at Glamour, Seventeen
and Charm. The Cipe Pineles collection came to RIT in 1991 and was
deposited by Cipe Pineles’s two adopted children: Tom Golden and
Carol Burtin Fripp. -- K.H.
CIPEPINELES
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“ We tried to make the prosaic attractive
without using the tired clichés of
false glamour.”
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You know a Chip Kidd book when you see it -- precisely because it’s
unexpected, non-formulaic, and perfectly right for the text within.
As a graphic designer for Alfred A. Knopf since 1986, Kidd has designed
shelves full of books, including classics you can picture in a snap:
Jurassic Park, Naked by David Sedaris, All the Pretty Horses …
His monograph, Chip Kidd: Book One, contains work spanning two
decades. As editor of comics for Pantheon, Kidd has commissioned
work from graphic novelists like Chris Ware, Art Spiegelman, Dan
Clowes and Ben Katchor. He’s a novelist as well, author of The Cheese
Monkeys and The Learners.
CHIP KIDD
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“ I am all for the iPad, but trust me
— smelling it will get you nowhere. ”
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Carson graduated with “honors and distinction” from San Diego state
university, where he received a BFA degree in sociology. A former
professional surfer, he was ranked #9 in the world during his college
days. Numerous groups including the New York Type Directors Club,
American Center for Design and I.D. magazine have recognised his
studio’s work with a wide range of clients in both the business and arts
worlds. Carson and his work have been featured in over 180
magazine and newspaper articles around the world, including a feature
in Newsweek magazine, and a front page article in the new york times.
London-based Creative Review magazine dubbed Carson “Art Director
of the Era.” The American Center for Design (Chicago) called his work
on Ray Gun magazine “the most important work coming out of
America.” His work on Beach Culture magazine won “Best Overall
Design” and “Cover of the Year” from the Society of Publication
Designers in New York.
DAVID CARSON
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“ It’s not about knowing all the gimmicks
and photo tricks. If you haven’t got the
eye, no program will give it to you.”
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David Pelham was Art Director at Penguin Books from 1968 to 1979
and created some of the publisher’s most celebrated cover art,
including his famous cog-eyed droog for Anthony Burgess’s novel
A Clockwork Orange in 1972 and his series of paintings for The Drought,
The Drowned World, The Terminal Beach and other JG Ballard titles in
the mid 1970s.
DAVID PELHAM
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“ As an editorial designer I have spent my
lifetime not simply reading books but writ-
ing, designing and producing them as well”
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Elaine Ramos is an art director and coordinator of design publications
in Cosac Naify 7 years ago. This period has developed more than a
hundred books and graphic designs between major awards he has
received are the best cover of Tortoise (2006), Aloisio Magalhães Award
of the National Library Foundation (2007) and the Max Feffer Award
(2008). Already had also selected by the American Institute of Graphic
Arts for the exhibition 50 Books / 50 Covers in 2007, 2008 and 2009 and
the Art Directors Club 88th Annual Awards 2009 In parallel to activity
in the editor, projects developed in 2008 (with Daniel Trench and
Flavia Castanheira) visual identity and design publications of the 28th.
International Biennial of São Paulo in 2010 and taught in the course of
Editorial Design of post-graduation courses Senac. It is also the newest
member of the Alliance Graphique Internationale - AGI, association
based in Switzerland that groups the best graphic designers from all
over the world, AGI elects its members among professionals responsible
for designing the identity of large institutions and corporations, as well
as the relevance their publications.
ELAINE RAMOS
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“I think if the planet has a salvation, sure-
ly that salvation depends on designers.”
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Elliot Jay Stocks is a designer, speaker, and author. He is the Creative
Director of Adobe Typekit, co-founder of lifestyle magazine Lagom,
founder of typography magazine 8 Faces, and an occasional musician.
As a designer, he’s worked with the likes of Microsoft, Virgin Group,
MailChimp, EMI, and Campaign Monitor. He live and work in the
countryside just south of Bristol, England.
ELIOT JAY STOCKS
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“ Impressing is not just done by good
design; it’s done by brave design.”
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Kati Krause is an editor, writer and curator based in Berlin. She is
specialised in editorial direction, content strategy and publishing. She
used to live in London, where she got a degree in International Relations
at LSE, and Barcelona, where I started out working in journalism and
magazines. Kati have written regularly for Zeit Online, The Wall Street
Journal Europe, Etiqueta Negra and Monocle, and irregularly for
apartamento, Vice, Süddeutsche Zeitung Magazin, Dummy and a whole
lot of great indie publications. Also have worked at Le Cool Publishing
(as an editor), Dailymotion (as content and then country manager) and
Etsy (as communications manager), but I prefer to be self-employed.
KATIKRAUSE
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“ What I’m arguing is, editorial design should be functional.
This doesn’t mean that there’s no space for aesthetics.”
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Lars Müller was born in Oslo in 1955, and although a Norwegian citizen,
has been based in Switzerland since 1963. He started publishing books
on typography, design, art, photography, and architecture in 1983 and,
as Lars Müller Publishers, has produced some 300 titles to date.
Recently, he has branched out into visually oriented books on social
issues, such as human rights and ecology.
LARSMÜLLER
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“ And I think I’m right calling Helvetica the perfume of the city. It is
just something we don’t notice usually but we would miss very much
if it wouldn’t be there.”
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Peretz Rosenbaum was born in 1914 in Brooklyn, NY. Rosenbaum
would later change his name to Paul Rand, and become one of the most
famous and influential graphic designers in history. Rand first made
a name for himself as an editorial designer, doing work for magazines
such as Esquire and Direction. Even though he is also well known for his
logo design and corporate branding, creating timeless icons such as the
IBM and ABC television logos.
PAULRAND
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“ Design can be art. Design can be aesthetics.
Design is so simple, that’s why it is so
complicated.”
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Born in Bregenz, a quiet town in the Austrian Alps, in 1962, Sagmeister
studied engineering after high school, but switched to graphic design
after working on illustrations and lay-outs for Alphorn, a left-wing
magazine. The first of his D-I-Y graphic exercises was a poster
publicising Alphorn’s Anarchy issue for which he persuaded fellow
students to lie down in the playground in the shape of the letter A and
photographed them from the school roof.
STEFANSAGMEISTER
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“ Having guts always works out for me.”
MAGAZINES
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MAGAZINES
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MAGAZINES
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InfluenciaMagazine
MAGAZINES
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MAGAZINES
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EsquireMagazine
MAGAZINES
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MAGAZINES
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VMagazine
MAGAZINES
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MAGAZINES
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The NY Times styleMagazine
MAGAZINES
ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS
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MAGAZINES
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52
BlendMagazine
MAGAZINES
ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS
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MAGAZINES
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54
AnthemMagazine
MAGAZINES
ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS
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MAGAZINES
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Big UpMagazine
MAGAZINES
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MAGAZINES
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58
FallenMagazine
MAGAZINES
ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS
59
MAGAZINES
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ColorsMagazine
MAGAZINES
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61
MAGAZINES
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The Gentle WomanMagazine
MAGAZINES
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63
MAGAZINES
ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS
64
EyeMagazine
MAGAZINES
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GLOSSARY
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GLOSSARY
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GLOSSARY
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Alley: the space between columns
within a page. Not to be confused
with the gutter, which is the
combination of the inside
margins of two facing pages.
Angle: the approach or focus of
a story. This is sometimes known
as the peg.
Application Window: the entire
application window for LayOut.
The Drawing Window contains
menus, toolbars, the status bar,
and the Drawing Area. See also
Drawing Area.
Ascender: in typography, the
parts of lowercase letters that rise
above the x-height of the font, e.g.
b, d, f, h, k, I, and t. See descender
for headline implications of these.
GLOSSARY
A
BBanner: The title of a periodical,
which appears on the cover of
the magazine and on the first
page of the newsletter. It contains
the name of the publication and
serial information, date, volume,
number. Bleed: when the image
is printed to the very edge of the
page.
Block quote: A long quotation -
four or more lines - within body
text that is set apart in order to
clearly distinguish the author’s
words from the words that the
author is quoting.
Body or body copy: (typesetting)
the main text of the work but not
including headlines.
Boost: picture boost (usually front
page) pic promoting a feature or
story in later pages
Strap boost: as above, but with a
strapline, not a picture
Buried lede: when the main point
of the story is hidden away deep
in the text. It should come first.
Byline: a ournalist’s name at the
beginning of a story.
GLOSSARY
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D
CCAD: see Computer Assisted
Design
Callout: an explanatory label for
an illustration, often drawn with
a leader line pointing to a part of
the illustration.
Caption: an identification (title)
for an illustration, usually a brief
phrase. The caption should also
support the other content.
Centre of visual interest (CVI): the prominent item on a page
usually a headline, picture or
graphic.
Chord Length: the distance
between the starting point and
the ending point of an Arc.
Clipping Mask: the use of a shape
to ‘mask out’ portions of the
model, image, or other entities,
underneath the shape.
Column: a regular feature often
on a specific topic, written by the
same person who is known as a
columnist.
Column gutter: the space
between columns of type.
Context Menu: a menu of menu
items or commands available in a
particular context, such as when a
line or component is selected.
Copy: main text of a story.
Cropping: the elimination of parts
of a photograph or other original
that are not required to be printed.
Cropping allows the remaining
parts of the image to be enlarged
to fill the space.
Cross head: a heading set in the
body of the text used to break it
into easily readable sections.
Crossing Selection: refers to
using the Select tool and clicking
to the right-side of entities and
dragging to the left to select
entities.
Cutlines: explanatory text, usually
full sentences, that provides
information about illustrations.
Cutlines are sometimes called
captions or legends.
Deck: part of the headline which
summarises the story. Also known
as deck copy or bank. A headline
is made up of decks, each set in
the same style and size of type.
A multi deck heading is one with
several headings each different
from the next and should not be
confused with the number of lines
a heading has. A four line heading
is not the same as a four deck
heading.
Default Layer: the layer in a
presentation on which all entities
are initially placed.
Descender: letters that descend
below a line (q,p,g, j) Ascenders
and descenders can create unused
space in large headlines, that is
one reason why tabloid front page
headlines use capitals, there are
no ascenders or descenders in
caps, so the lines can be crammed
more closely together by adjusting
the leading and therefore make
better use of the space and add to
the impact.
Dialog Stack: dialog boxes
arranged such that they form a
stack.
Dirty SketchUp Model: amodel
whose properties have been
changed in LayOut, but has not
been rerendered to reflect the
Wchanges. Dirty models are
indicated by a yellow icon with
an exclamation point.
GLOSSARY
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Discretionary hyphen: a hyphen
that will occur only if the word
appears at the end of a line, not
if the word appears in the middle
of a line.
Document Area: the area where
you construct your document.
Double page spread: magazine
design layout that spans across
two pages. Usually, the design
editor will arrange to spread the
layout across the centre pages of
the magazine, so as to ensure that
the design lines up properly.
Drawing tool: a software tool
used to create shapes from scratch.
Drop cap: a large initial letter at
the start of the text that drops into
the line or lines of text below.
Drop shadow: drop shadows are
those shadows dropping below
text or images which gives the
illusion of shadows from lighting
and gives a 3D effect to the object.
Edge: an edge is a line that
borders some closed shape such
as a rectangle.
Editorialise: to write in an
opinionated way.
Entity: the smallest graphical
building blocks in LayOut.
Entities are combined to create
presentations.
E
Feature: a longer, more in-depth
article.
Facing pages: in a double-sided
document, the two pages that
appear as a spread when the
publication is opened.
Fill: inside color of a shape.
Filler: extra material used to com-
plete a column or page, usually of
little importance.
Flatplan: a page plan that shows
where the articles and adverts are
laid out.
Flush left: copy aligned along the
left margin.
Flush right: copy aligned along
the right margin.
F
GLOSSARY
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Golden ratio: the rule devised
to give proportions of height to
width when laying out text and
illustrations to produce the most
optically pleasing result. Tradi-
tionally a ratio of 1 to 1.6.
Grid: a layout grid is the
non-printing set of guidlines that
designers use to align images and
text in a document layout.
Grip-and-grin: a photograph of
no inherent interest in which a
notable and an obscure person
shake hands at an occasion of
supposed significance.
Group: see Group entity.
Group entity: an entity that
contains other entities. Groups
are commonly used to combine
several entities into a single entity
for the purposes of performing a
quick operation, such as a copy
and paste.
G
Headline: the main title of the
article. Should be in present or fu-
ture tense to add to urgency. Must
fit the space provided. If it doesn’t,
you are using the wrong words.
House style: a publication's
guide to style, spelling and use
of grammar, designed to help
journalists write and present in
a consistent way for their target
audience.
H
Justify: (typesetting) the alignment
of text along a margin or both
margins. This is achieved by
adjusting the spacing between the
words and characters as necessary
so that each line of text finishes at
the same point.
J
GLOSSARY
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IInference: the identification of relationships between entities in the drawing area. These relationships are identified and pointed out to the user by the inferencing engine and can be used as references for drawing in 3D space.
Inference Engine: functionality built into LayOut to locate or infer points from other points in your model, such as the center of a circle, the midpoint of a line, a point on surface, a point on an edge, and so on. The Inference Engine notifies you of these points by using both color indicators and on-screen messages indicating the location of the cursor as you draw an entity. For example, LayOut displays the string ‘On Line’ when the Pencil tool is on a line.
Kerning: adjustment of horizontal space between two written characters.
Kicker: the first sentence or first few words of a story’s lead, set in a font size larger than the body text of the story.
K
Lead or Leading: (typesetting) space added between lines of type to space out text and provide visual sepa-ration of the lines. Measured in points or fractions thereof. Named after the strips of lead that used to be inserted between lines of metal type.
Leader: a line of dots or dashes to lead the eye across the page to separated copy.
Leading: adjustment of vertical space between two lines.
lede: the phonetic spelling of lead, the beginning, usually the first paragraph, of an article. The importance of getting the main point of the story in the first sentence is regularly stressed to young journalists by editors. Don’t bury the lede. When we were taught to write stories at school we were urged to save the best for the climax. In journalism, get the climax in first, then give the context.
L
GLOSSARY
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Master Page: a page-layout term referring to a page that contains entities that you want to appear in all of the pages in your document. LayOut uses master layers instead of master pages.
Masthead: main title section and name at the front of a publication. Magazine term referring to the printed list, usually on the editorial page of a newspaper or magazine, that lists the contributors. Typically this would include the owners, publishers, editors, designers and production team. The masthead is often mistakenly used in reference to the flag or nameplate, which actually refers to the designed logo of the publication.
Measurements Field: the ‘Measurements’ field displays dimensional information while you draw. You can also enter values into the ‘Measurements’ field to manipulate the selected entity.
Modal dialog box: a dialog box that temporarily prohibits the user’s interaction with the application. Modal dialog boxes usually require the user to perform some action prior to returning to normal application use.
Models dialog box: a dialog box that does not prohibit the user’s interaction with the application. See also Modal dialog box.
Move Point: the point where you click on the entity with the Move tool.
M
NONegative space (or white
space): the area of page without text, image or other elements
Noise: a noisy image or noisy scan is one where there are random or extra pixels that have degraded the image quality. Noise in a graphics image can be generated at the scanning stage, by artificially enlarging an image by interpolating the pixels, or by over-sharpening a digital photograph. Noise can sometimes also be found in photographs taken by some cheaper digital cameras.
Origin: the point where the Drawing Axes start or originate.
Orphan: first line of a paragraph appearing on the last line of a column of text. Normally avoided.
Overline: introductory headline in smaller text size above the main headline.
GLOSSARY
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Page: similar to a slide in presentation software, a page consists of your model and a series of page-specific settings, such as a specific point of view, shadow, display setting, and section cut. Pages can be combined to form TourGuide presentations in LayOut.
Presentation Area: the area where you create your presentation.
Pull quote: a brief phrase (not necessarily an actual quotation) from the body text, enlarged and set off from the text with rules, a box, and/or a screen. It is from a part of the text set previously, and is set in the middle of a paragraph, to add emphasis and interest. A quote or exerpt from an article that is used as display text on the same page to entice the reader, highlight a topic or break up linearity
Pull-out quote: selected quote from a story highlighted next to the main text. Often used in interviews.
Puff piece: a news story with editorialised, complimentary statements.
P
Rivers: a river is a typographic term for the ugly white gaps that can occur in justified columns of type, when there is too much space between words on concurrent lines of text. Riv-ers are especially common in narrow columns of text, where the type size is relatively large. Rivers are best avoided by either setting the type as ragged, increasing the width of the columns, decreasing the point size of the text, or by using a condensed typeface. An often overlooked method of avoiding rivers, is the careful use of hyphen-ation and justification settings in page layout programs such as QuarkXpress or InDesign.
Running head: a title or heading that runs along the top of a printed publication, usually a magazine.
R
Scrapbook: a mechanism for storing and organizing libraries of models, image, shapes, text, and styles that you want to use in all of your presentations
Shape: a closed series of entities, such as lines forming a box shape or freehand lines forming an irregular shape.
Shared Layer: a special layer that contains any entities that you want to appear in all of the pages in your document.
Serif and Sans serif : plain font type with or without (sans) lines perpendicular to the ends of characters.
Set flush: text set at the full width of the column with no indentation
Splash: main front page story.
Standfirst: will usually be written by the sub-editor and is normally around 40-50 words in length. Any longer and it defeats its purpose, any shorter and it becomes difficult to get the necessary information in. Its purpose is to give some background information about the writer of the article, or to give some context to the contents of the article. Usually, it is presented in typesize larger than the story text, but much smaller than the headline.
S
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Strapline: similar to a subhead or standfirst, but used more as a market-ing term.
Stroke: line or edge style (color, thickness, and so on).
Style: refers to the rendering options on the shape or model. For shape, style refers to the fill within a rectangle, the stroke (line color, width, end styles) of a line, or the shape of a font . If the entity is a SketchUp model, style refers to the rendering options on the model, such as shadow state and face and edge rendering styles. Sell: short sentence promoting an article, often pulling out a quote or a interesting sentence.
Subhead: a secondary phrase usually following a headline. Display line(s) of lesser size and importance than the main headline(s).
Talkie headline: a quote from one of the people in the story used as a headline
Tag line: a short memorable line of cover text that sums up the tone of the publication.
Tombstoning: in page layout, to put articles side by side so that the head-lines are adjacent. The phenomenon is also referred to as bumping heads.
Top head: headlines at the top of a column.
Widow: in a page layout, short last lines of paragraphs - usually unaccept-able when separated from the rest of the paragraph by a column break, and always unacceptable when separated by a page break.
Window Selection: refers to using the Select tool and clicking to the left-side of entities and dragging to the right to select entities.
Wob: white text on a black or other coloured background.
T W
GLOSSARY
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UEL CIENCE WITHOUT BORDERS
SUMMER PROJEC