Essencial References for Editorial Designers Book

EDITORIALDESIGNERS

ESSENCIALREFERENCES

FOR

BARBARA STEIN AND GABRIELA PINTO

UEL CIENCE WITHOUT BORDERS

SUMMER PROJEC

03THEORICAL REFERENCES

REFERENCE DESIGNERS

MAGAZINES

GLOSSARY

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THEORETICAL REFERENCES

ESSENCIAL REFERENCES FOR EDITORIAL DESIGNERS

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6

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.



7

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.



8

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.



9

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



10

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.



11

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



12

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.



13

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.



14

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.



15

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


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MAGAZINES


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BlendMagazine

MAGAZINES


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MAGAZINES


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AnthemMagazine

MAGAZINES


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MAGAZINES


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Big UpMagazine

MAGAZINES


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MAGAZINES


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FallenMagazine

MAGAZINES


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MAGAZINES


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ColorsMagazine

MAGAZINES


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MAGAZINES


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The Gentle WomanMagazine

MAGAZINES


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MAGAZINES


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EyeMagazine

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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.

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70

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

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71

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

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72

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

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73

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.

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74

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

GLOSSARY


75

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


76

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