Page layout final


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Page layout final

  1. 1. Page DesignFundamentals Ronnie R. Sunggay
  2. 2. What is Page Design or NewspaperMakeup? According to Ceciliano-Jose Cruz, page design is the arrangement of illustrations and types on a page or spreadsheet which is to be reproduced graphically. Makeup is a happy marriage of aesthetics and mechanics.
  3. 3.  Makeup maybe defined as the arrangement of the display elements on a printed page, including headlines, body text, illustrations, photos, white spaces and rule or columns lines. Makeup refers to the page design of a newspaper, while layout is that of a magazine or advertisements. By: Alito Mendoza Journalism for Filipinos
  4. 4.  Newspapers like people have their own personalities. The personality of a newspaper emerges in part through the nature and quality of its makeup. -Dewitt C. Rederick
  5. 5. Effective Makeup may beplanned using two procedures:1. By headline and text arrangement2. By way of text and photo combinations
  6. 6. BASIC QUESTIONS• What size of newspaper format am Igoing to plan? Tabloid size?Newsletter/magazine size?• For what type of readers am Ilaying out the newspaper?Keep in mind your answers to the abovequestions when you lay out the newspaper.
  7. 7. NEWSLETTER TYPE FOR ELEMENTARY ( 3 columns)Bracket A – 9” x 12”Bracket B – 8 ½” x 13”
  8. 8. TABLOID TYPEFOR SECONDARY( 5 columns) Bracket A & B 12” x 18”
  9. 9. Front Page Make up by Headlineand Text arrangement
  10. 10. 1.Perfect Balance or Symmetrical Makeup
  11. 11. Ex. A large headline placed in the upper first two columns of front page is balanced with a corresponding large headline in the 4th and fifth upper columns. Other headlines are similarly arranged.
  12. 12. A one column-cut at theupper 2nd column isbalanced with another onecolumn cut at column 4. Thiskind of makeup gives staticmonotonous appearance tothe paper. It should not bemade from issue to issue.
  13. 13. PerfectBalance or Symmetrical Makeup
  14. 14. 2. Brace or Focus Makeup
  15. 15.  Headlines are diagonally arranged from the upper left to the lower right hand corner or vice-versa just like a brace supporting a house. Balance is obtained by various devices such as two column heads, boxes , and cuts which are used to offset the weight concentrated in the upper right of upper left hand corner.
  16. 16.  This kind of makeup is desirable when one story is more important than any other because the readers attention is directed to the upper right hand corner or occasionally to the upper left.
  17. 17. Brace orFocus Makeup
  18. 18. 3. Broken Column Makeup
  19. 19.  The page is broken into several units to give space to many stories. Symmetry is obtained by carefully arranging the contents so as not to cancel each other by their nearness. Large heads and cuts are placed where they give the page a pleasing pattern.
  20. 20.  This kind of makeup is developed primarily to be able to print as many short stories on page one as possible.
  21. 21. Broken ColumnMakeup
  22. 22. 4. Contrast and Balance Makeup
  23. 23.  This type groups are arranged at varying distances from the center like two boys on a see- saw. It is sometimes called occult or hidden balance because the type groups with its headline may be balanced with a picture, an illustration, or a box., or instead of a type group.
  24. 24.  No attempt is made to achieve perfect balance. This is one of the most popular kinds of front page makeup since it permits great variety from issue to issue.
  25. 25. Contrastand Balance Makeup
  26. 26. 5. Streamlined Makeup
  27. 27.  The format is similar with that of the contrast and balance makeup. However, the nameplate is usually floated, headlines are flushed up in cap or lower case, and large body types are often used. Many closely cropped pictures are also used. Instead of boxing stories in full, the three quarter boxes are resorted to.
  28. 28.  Often bullets, asterisks, and jim dashes are employed to introduce lead stories. This kind of makeup is commonly used by high school papers than by the national dailies.
  29. 29. StreamlinedMakeup
  30. 30. Makeup by way of Textand Photo Combination Layoutfor Front page: The X Format The Curve Format The L Format The J Format The Umbrella Format
  31. 31. Makeup of Inside Pages: While it is true that the front page of the newspaper is its show window, attractive makeup should not be confined to this page alone. The inside and back pages should be given the same tender care, treatment and attention by the layout artist.
  32. 32. For Inside News pages  Inside news pages should be laid out as facing page units rather than as single pages. The principles for contrast and balance used for front page makeup should also be considered.
  33. 33. Editorial Pages These pages should have a distinctive dignified and formal appearance. The masthead which should be relatively small, may anchored on any corner. Traditionally, the main editorial or editorials appear in the fist two columns. Like headlines of news stories, the titles of editorials should be of masculine appearance, not the italic or script type.
  34. 34. Feature / Literary Pages These pages must have a feminine appearance. The columns are often wider. Roman and italic types are used for text. Feminine types like the coronet, mandate and liberty families may be used.
  35. 35. These pages have bolder butlivelier appearance than theothers. Their makeup shouldsuggest action, speed andcolor. Large bold heads areused.
  36. 36. Sports Pages These pages have bolder but livelier appearance than the others. Their makeup should suggest action, speed and color. Large bold heads are used.
  38. 38. Primary optical areaReverse SSweep Terminal optical area
  39. 39. Principle #1Rank your stories. You must know whatthe stories are about and evaluate theirnews value. Dont be lazy; read them. Onceyou have ranked them, generallyplace them in descending order onthe page according to theirimportance. Story placement is anonverbal cue that indicates theirimportance to readers. Don’t sacrificeaccuracy in favor of aesthetics.
  41. 41. Principle #2When you design, start with the art andbuild your page around it. Pages arebuilt around photographs and graphics.Your design options often will becomeclear once you place photographs andgraphics, especially if they go with stories.
  42. 42. Principle #3Have one dominant element (Center ofVisual Impact), usually a photo with astory. You must give the reader a reason tostop and look at the page. Often thedominant element is a story with a photo, butit can have more photos, quotes andgraphics to provide the reader with morepoints of entry onto the page. Your centralpackage must dominate the page so that thereaders eye is drawn to it.
  43. 43. Principle #4If you only have one photo, play it BIG .Eye-Trac research shows most readers enter apage by looking at photos. If you have only onephoto, make it big enough to catch the readersattention. Photos can be smaller if you havemore of them.If you have an open page, the dominant photogenerally should be:• At least 3 columns if it is vertical.• At least 4 columns if it is horizontal.
  44. 44. Principle #5Vary the sizes and shapes of the photosand graphics to add variety and visualappeal to the page. Photos that havesimilar shapes and sizes are dull, giving thereader little reason to sample them. If they arenearly the same, none stands out. Avoidsquare photographs. Never ever cut thephotos to be submitted to the printingpress!
  45. 45. Increasing photo size in layout
  46. 46. Decreasing photo size in layout
  47. 47. Bleedphoto tomaximizepagelayout
  48. 48. Principle #6Use a mixture of vertical andhorizontal elements to add variety tothe page and to move the readerseyes around it. Cross the page at leastonce with type. Dont leave vertical guttersthat run all the way down the page anddivide it visually. Avoid stacking, orpancaking, stories on top of one other. Noneof them will stand out.
  49. 49. `
  50. 50. Principle #7Use photos and other graphic elementsto break up the gray and to avoidtombstoning headlines. Secondary photosand graphics (subheads or pull quotes/stats ordrop caps) are wonderful ways to break upheadlines and to add life to the bottom of yourpages. This is especially true with jumps. Makeyour art work for you.
  51. 51. PullQuote
  52. 52. PullQuote subhead
  53. 53. Table/fact box
  54. 54. Pullstats
  55. 55. Principle #8Honor the hierarchy of type. Generally,headlines should decrease in size asyou go down the page because thestories are less important. Use three-lineheadlines above two-line headlines.
  56. 56. Principle #9Color is more effective when usedsparingly. Use half-tones for boxedstories.No color in your school paper? No problem.You have black, white and 10-15 distinctiveshades of gray.
  57. 57. Half tonered forboxedstory
  58. 58. Half toneblue forboxedstory
  59. 59. Principle #10 Use legible conventional serif/sans serif fonts in front and other pages ; fancy fonts in literary/feature pages .Serif font samples: Times New Roman g y t G Y TSans Serif font sample: Arial g y t G Y TFancy font sample: Jokerman g y t G Y T
  60. 60. Principle #11White space can be your mostpowerful design element. The eye isdrawn to it, and then to the elementsaround it. White space should beadjacent to the outside edges of thepage, not trapped in the middle andsurrounded by photos and type.
  61. 61. Do’s and Don’ts in Page Makeup Avoid tombstoning- Placing two or more headlines on approximately the same level in adjacent columns especially if they are of the same point or types.
  62. 62.  Avoid bad breaks Do not break cut stories to the top of columns. The top of the column should have a headline or a cut.
  63. 63.  Avoid separating related stories and pictures. Avoid gray areas (sea of gray) Break this up with used of subheads, pull quotes or half tones. Keep long columns of 6 points type and tabular material to a minimum especially on front page.
  64. 64.  Avoid using a banner headline unless the story deserves it. Screaming headlines should also not be used. Screaming headline is one that is too big for a short or unimportant story.
  65. 65. THANK YOU!