Practical

I will be producing a body of explorative practical work relating to editorial design, taking influence from the styling of high end fashion publications I want to demonstrate my own findings and show how I can apply the knowledge learned when producing the practical. 

The brief: 

Concept
For the practical response, I want to produce a fashion publication which demonstrates the knowledge and understandings of layout design and the principles used. Instead of replicating a high end fashion publication, focusing on the quality of layout. The publication must show a clear synthesis from the written element, which can be done by investigating the different uses of a grid system.

Considerations

When producing the publication, layout must be one of the key focus’ when designing, content is also highly significant, visuals are one of the main elements that the consumer will notice.

Intentions

Intending to create a fashion look book that applies the rules of layout design to acheive quality, which displays the impact of a succesful layout design.

For the practical brief, creating high end fashion publication allows me to experiment with editorial content, that can rely on just image. For the content, the focus will be on the layout, to keep the publication concise, the focus will be on one particular fashion shoot, giving the publication a direct message and theme. London based designer, Mikey Pearce, needed to showcase his capsule collection he created, in a simple yet elegant format. Using the photographs from a shoot we both participated in, the content for the look book will develop from the original images shot. The concept for the designers collection the desinger has created was inspird by the poem ‘The Raven’ by poet Edgar Alen Poe. Mikeys collection of garments has been influenced by the gothic romance that features in the poem, the designer wanted to create pieces that resemble elegance, but still keep a clean refined silhouette. 

Publication research:

These existing publications keep a clean, minimal yet elegant style of design, which is what I want to replicate. 

Chosen images:

Research

Plan

Josef Muller-Blockmann

What is a Grid?

A grid subdivides a page vertically and horizontally into margins, columns, inter-column spaces, lines of type, and spaces between blocks of type and images. These subdivisions form the basis of a modular and systematic approach to the layout, particularly for multipage documents, making the design process quicker, and ensuring visual consistency between related pages.

At its most basic, the sizes of a grid’s component parts are determined by ease of reading and handling. From the sizes of type to the overall page or sheet size, decision-making is derived from physiology and the psychology of perception as much as by aesthetics. Type sizes are generally determined by hierarchy—captions smaller than body text and so on—column widths by optimum word counts of eight to ten words to the line, and overall layout by the need to group related items. This all sounds rather formulaic, and easy. But designers whose grids produce dynamic or very subtle results take these rules as a starting point only, developing flexible structures in which their sensibility can flourish.

de Stijl, the Bauhaus, and Jan Tschichold

In 1917 Dutch architect, designer, and painter Theo van Doesburg founded de Stijl. The importance of this movement to the grid is that it explored form as determined by function, and placed this in a political context. Arguing that simplicity of form was accessible and democratic, its members advocated minimalism, using only rectilinear forms, and eradicating surface decoration other than as a byproduct of a limited color palette: the primaries plus black and white. The typographers affiliated to de Stijl wanted to apply these ideas in the real world, not just for their artistic cause. Designers like Piet Zwart and Paul Schuitema used these principles to produce commercial advertising and publicity materials.

The Bauhaus opened its doors in Weimar, Germany, in 1919, with the architect Walter Gropius as its Director. His belief that architecture, graphic art, industrial design, painting, sculpture, and so on were all interrelated had a profound impact on the development of typography and graphic design long after the school was forced to close by the Nazis in the 1930s. Within an astonishingly short period of time, graphic artists were marrying analytical skills with abstract form to arrive at mass-produced designs determined as much by political idealism as by a desire for self-expression. In 1925, Herbert Bayer was appointed to run the new printing and advertising work-shop. He paid attention to typographic detail, experimenting with a limited typographic palette in order to achieve greater visual clarity and easily navigable pages.

During the late 1920s and the 1930s, typographer Jan Tschichold set out his typographic principles in two seminal books: The New Typography (1928), and Asymmetric Typography (1935). Tschichold’s work was more refined than much of that which had preceded it. He wrote of typographic consistency as a necessary precursor to understanding, described designers as akin to engineers, and argued compellingly for asymmetry as a central tenet of modernism. It was the logical way to lay out text that is read from left to right, and produced "natural" rather than "formalist" solutions to the new design challenges than classicism, with its enforced central axis. In his work Tschichold explored subtle horizontal and vertical alignments, and used a limited range of fonts, type sizes, and type weights.

The Grid and Swiss Typography

Early modernists had explored layout, space, and scale. They had talked of the democratizing benefits of mass production, and had used the language of science as much as art. They had argued for consistency and minimalism as a mark of design confidence and greater accessibility. During WWII, and in the decades that followed, these ideas coalesced into a coherent design manifesto with a new design device at its core—the grid.

The grid and Swiss typography are synonymous. Switzerland was neutral during the war. Not only did it attract many intellectual refugees, including designers like Jan Tschichold, but also most peacetime activities continued as normal, and supplies of such things as ink and paper weren’t rationed. Added to this, publications had to be set in its three official languages—French, German, and Italian—which called for a modular approach, using multiple column structures.

Several Swiss artist/designers, most notably Max Bill and Richard Paul Lohse, explored systematic forms in their paintings concurrently with graphic design, while the graphic designers Emil Ruder and Josef Müller-Brockmann both wrote educative texts explaining what grids were and how to use them. They approached the subject with great rigor, arguing passionately that "integral design" required structures that would unite all the elements in both 2-D and 3-D design: type, pictures, diagrams, and space itself. Despite their enthusiasm for order and precision, they both understood the value of artistic intuition.

"No system of ratios, however ingenious, can relieve the typographer of deciding how one value should be related to another… He must spare no effort to tutor his feeling for proportion… He must know intuitively when the tension between several things is so great that harmony is endangered. But he must also know how to avoid relationships lacking in tension since these lead to monotony."
Emil Ruder, Typography

The grid and the design philosophy of which it is a part have been criticized for placing the narcissistic designer at the heart of the solution, and generating formulaic solutions that are mechanistic, unyielding, and rigid. But for Ruder, Müller-Brockmann, and many other designers since, the grid was the natural response to a design problem. It was also a metaphor for the human condition, and was found in all areas of human endeavor.

“Just as in nature, systems of order govern the growth and structure of animate and inanimate matter, so human activity itself has, since the earliest times, been distinguished by the quest for order… The desire to bring order to the bewildering confusion of appearances reflects a deep human need.”
Josef Müller-Brockmann, Grid Systems in Graphic Design

The Grid Made Visible

Grids are generally made visible only through use, but some designers have exposed the workings of the graphic design machine to demonstrate that the grid is something not only of utility, but also of beauty. Once visible, the precision of the grid acts as evidence of design credibility, and its purity of form has a mystical draw.

The Dutch designer Wim Crouwel pioneered the application of systematic design in the Netherlands during the 1950s and 1960s. His identity for the Vormgevers exhibition at the Stedelijk Museum in Amsterdam in 1968 used an exposed grid in the layout of posters and catalogs, which was also the basis of the lettering. In 1990, issue 7 of 8vo’s influential journal Octavo ran grids with coordinates, like maps, under each spread. Octavo called their method of working "visual engineering."

"To get things built, you have to be able to describe them… The act of specifying requires one to define the structure of a design very precisely… It places one's design under intense scrutiny in terms of structure and logical process. Very different to the 'drag and drop' computer screen environment, where close enough is often good enough." 

Mark Holt and Hamish Muir, 8vo: On the Outside

source: http://www.graphics.com/article-old/brief-history-grids

Type hierarchy

"Type hierarchy organizes and gives order to the text elements in your design. Just as web designers and developers use header tags – h1, h2, h3 and so on – to organize the importance of text, visual hierarchy uses visual cues. In addition, type hierarchy helps readers scan text, reading bits of type faster in chunks that look alike.

Generally, English language readers start at the top left and read across and down. Type is often organized to mirror this behavior. But what if the biggest and boldest text is midway down the page? Often a reader will start there and then go back to the top of the page and continue with normal reading behavior.

Hierarchy is important because it allows the designer to determine what someone will likely read first, second and so on. Because of this, the designer can create type in such a way that he or she knows what information is likely to be received and in what order."

source: http://designshack.net/articles/typography/creating-visual-hierarchy-with-typography/

Modernism

With the advances of technology Modernism began to break through at the end of the 19th century into the beginning to the 20th century. Western society began to develop new ways to shape human culture and improve the constructed environment.

Modernism covered many creative disciplines from design and art to influencing architecture, music and literature. The power of machines forced artists to strategically re-think their practice, the results were revolutionary and still influences designers to this very day. This new technology provided the opportunity for mass production, and the machine itself became a theme in modernism.

Influential designers of this period range from Walter Gropius from the Bauhaus to the modern architect Le Corbusier, both men were fascinated with all disciplines of design and it reflected greatly in their work.

source: http://www.creativebloq.com/graphic-design/easy-guide-design-movements-modernism-10134971

Online sources:

http://studenttheses.cbs.dk/bitstream/handle/10417/2956/%20astrid_regout.pdf?sequence=1

http://www.eyemagazine.com/feature/article/reputations-josef-muller-brockmann

Interview 

http://www.noupe.com/design/josef-muller-brockmann-principal-of-the-swiss-school.html

http://typophile.com/files/How%20you%20make%20a%20grid.pdf

http://archive.bridgesmathart.org/2012/bridges2012-417.pdf

http://designshack.net/articles/typography/creating-visual-hierarchy-with-typography/

http://www.creativebloq.com/graphic-design/easy-guide-design-movements-modernism-10134971

http://www.citrinitas.com/history_of_viscom/modernists.html

http://www.dhub.org/postmodernism-the-movement-we-love-to-hate/

http://www.dezeen.com/2015/07/23/guide-to-postmodern-architecture-design-glenn-adamson/

http://www.theartstory.org/definition-postmodernism.htm

http://isites.harvard.edu/fs/docs/icb.topic1050153.files/Grids_Rosalind%20Krauss.pdf

http://digitalcommons.calpoly.edu/cgi/viewcontent.cgi?article=1113&context=grcsp

Resolving your research project: Academic conventions

Introduction: In this dissertation..This approach..I will argue..It serves?
Need to map out the logic points of my argument.

Precision, explicit, concise.


Academic conventions are like an institutional framework for your work
They structure and standardise
They aspire to academic honesty

Demonstrate a critical knowledge of practice
Apply theory to practice
Analyse relevant material
Evaluate theory and evidence within the context of study
Reflect - critiquing and critically reflecting on your learning and using this to improve practice

Evaluation
Synthesis
Analysis
Application
Comprehension
Knowledge

Creating
Evaluating
Analysing
Applying
Understanding
Remembering

Compare and contrast different opinions used; be more critical

Deep approach
Independent engagement with material
Critical and thoughtful about idea and information
Relate ideas to own previous experience and knowledge
See the big picture
Relates evidence to conclusions
Examines logic of arguments
Interested in wider reading and thinking
Ongoing preparation and reflection

Academic writing is formal and followed some standard conventions.

Each academic discipline has its own specialist vocabulary which you will be expected to learn and use in your own writing.

The substance if academic writing must be based on solid evidence and logical analysis, and presented as as concise, accurate argument.

Structure

Academic writing can allow you to present your argument and analysis accurately and concisely

Preliminaries: title/ acknowledgements / contents / list of illustrations

Introduction: abstract / statement of the problem / methodological approach

Main body: review of the literature / logically developed argument / chapters / result of investigation / case study

Conclusion: Discussion and conclusion / summary of conclusions
(directly answer the question)

Extras: Bibliography / appendices (interviews, data)

CoP research project

Summary of my research so far for the presentation and what I will talk about:

My research project:
- Identifying the fundamental principles of layout and structure within editorial design and publication, and focusing on the impact of successful layout. 
- Suggesting that grid systems are the foundation/structure of everything
- Really broad subject area, which needs refining. Have a good amount of research so far, but it needs refining into a more direct focus.

What Im looking at currently:
- Roles and significance of layout
- Grid systems - focus?
- Hierarchy of information
- Do features influence the consumer?
- How structure/grid is used as a device/mechanism 

Sources I have looked at so far:
- The Secret Law of Page Harmony

- The Grid Book; Hannah Higgins

- Layout; Amborse and Harris

- Grid Systems; Josef Muller-Brockman

Feedback

When presenting my ideas to the class, the feedback I received was very useful as I had come to a standstill with the research project. 

The research project needs a more refined focus within my subject area of editorial design.

WHAT IS THE TARGET AUDIENCE?

- Look at fashion publications for focus? (main interests when looking at editorial design/publications)
- Analyse and compare different publications, which cater for different consumers (different types of publications, lower end and higher end)
- Carry out a visual study (compare layouts)
- Look art art culture within fashion
- What is the layout used for and why?
- Impact depends on not just the design itself, but where and how it is seen.
- SYSTEMS OF DESIGN
- Practical: redesign? Or analyse redesign
- What impact does the layout have on perception of the publication?

Look at:
Pop
Kaleidoscope
Independent

It is important to take note that the specific rules of layout and functions and structure don't necessarily influence the typical consumer.

Methodologies and Critical Analysis

Evidence the ability to use logic, reasoning, and critical judgement to analyse ideas from a range of primary and secondary sources and employ critical and theoretical methodologies to evaluate examples from the relevant subject discipline. 

Evidence the capacity for undertaking a wide range of independent practical and theoretical research that demonstrates an informed application.

Methodology

• every research project needs to have a methodology 
• every research project will have some sort of methodology, even if it is ill through out, or you don't recognise it as such.

Methodology is

- A logical, systematic and structured way of organising a research project and gathering necessary information. 
- Evidence that you have reflected critically on various research methods and chosen the ones that are most appropriate for your particular research project.
- Set/system of methods, principles, and rules for regulating a given discipline (research).

Offers the theoretical underpinning for understanding which method, set of methods can be applied to a specific case. 

What kind of research methods
Quantitative or qualitative 
What do you think your methods will enable you to discover?
What might they prevent you from discovering?
What kinds of research methods would be best suited to the kind of research you are undertaking and the researc questions you are pursuing?
What sort of problems do you envisage in setting up these methods?
What are their benefits?
What will you need to do to ensure they gather useful data?
- The Postgraduate Research Handbook, Gina Wisker (chapters 13, 14 & 15)

Methodology may include:

• Literature review; libraries, journals, internet
• Questionnaires; sample size, reliability and validity
• Interviews; structured or unstructured?
• Sketchbooks, critical diaries, reflective logs

Outline your methodology at the start of the dissertation

- Evidence the methodological decisions you've made, and strategies for the project 

Critical Analysis

• Critical; to separate or to choose, selecting from a variety of options, informed decision making. 
• The most appropriate/valid answer from the options
• Reasoned thinking; stepping away and using evidence and logic to come to your conclusions

Where was the author/artist/designer/photographer situated?

Try to consider different points of view.

Context is everything

Consider the influence of one or more of the following;

the time, the place, society, politics,economics, technology, philosophy, scientific thought

Argument:

What do I want to say? 

Need a purpose of discussion, finding something out. 

Have i got the evidence to back it up?

Could you find more evidence to support your conclusions?

Where else do I need to look order to find more evidence?

Evidence Triangulation 

Multiple sources to answer question, throwing multiple ideas at one subject to find most appropriate. 
Pitting alternative theories against the same body of data.

Evaluation
You need to show the reader that your are evaluating the evidence for its relevance and reliability.
Looking at and coming to conclusions about the value of your evidence.

Organising Research Project & CoP3 Aims

Deadline: Thursday 14th January, 2-4pm 

Substantial draft submitted by Christmas.

Research books: Judith Bell, Stella Cottrell.

Planning the project:

• write down all questions that you want to investigate
• consider each on their merits and focus on two (primary & secondary)
• write an a4 sheer for each, notes/ideas what I'm looking at and why
• what is the purpose of the study?
• is your question researchable?
• working title

Choose an appropriate title

• ideally the title should provide a thesis or an answerable assertion
• you might opt for a tile and subtitle
• make notes of the key questions that your research raises as you go along, try to encapsulate all of these in the overarching title
• no more than 15-20 words
• choose the appropriate tone
• discuss this with your tutor at the first tutorial

Project Outline

• consider timings
• Think about working title and the different component parts that need researching 
• introduction last
• visits, contact?
• allocate timings to each 
• draw up a project outline based on the above 
• allow generous time for initial reading and writing up

Literature Search

• survey existing material
• who are the specialists 
• which writers and websites are the most important/relevant
• key texts on chosen topic
• focus your reading based on an initial assessment of this survey
• secondary sources/criticisms of key texts (Triangulation)
• use journals (www.jstor.org)

Referencing

• start compiling a bibliography at the beginning (complete as you go)

Structure

• a dissertation should be separated into chapters
• each chapter should ideally evidence a different theoretical/methodological approach
• chapters can be quite different in focus - hopefully the introduction will explain why you have chosen a certain structure 

Module evaluation

Throughout the year, I feel that my skills have developed further with the contextual side of the course, and I feel I have been able to collect my findings and present them successfully in my practical work. The essay has allowed me to explore my area of interest in great detail, and from this I have gained a greater knowledge of editorial design, and the fundamental principles it requires, overall giving me a greater sense of awareness in this field of design. With the module ongoing throughout the whole academic year, it has allowed me the freedom to explore and develop processes and theories without feeling pressured to then rush the finished resolution, and for CoP3 I want to extend my studies in editorial design and build on the knowledge that I have gained from this years CoP practice. Defining our own research questions for the essay has allowed the freedom to research what already interests me, not something that doesn't appeal to me personally which has informed a more honest practical piece, as I have enjoyed creating something self driven. 

The blogging and written element to the module could most definitely be improved, as I need to build on my essay skills for third year as I don't feel confident enough with my writing pieces, the blogging and developmental stages need to be more thorough. 
The practical piece to accompany my essay consists of a magazine stylised publication displaying my essay, and the layout has been formed from the fundamental principles and key elements I have learned about editorial design then applied to the physical piece. It has been stab stitched down the spine, then a cover applied over the top to give the appearance of existing magazines. Even though I feel this communicates and displays what I intended, I could of improved the overall appearance, content and finishes significantly, this was due to my own poor time management. I have identified that not from just this module, but several modules throughout the year my time management needs to improve, and so does the amount of documentation that I include alongside my physical pieces. 

Finished Practical

CoP2: Final Essay

What are the roles of layout and style in leading fashion magazines, and why are they significant?

Layout and style of a magazine play significant roles within the design process, and understanding the layout and arrangement is extremely important. The sizing, spacing, and placing of contents in the design form, is what we call the layout. An effective layout consists of flow, focus, alignment, balance and consistency; the fundamental principles of design must be also applied when considering layout and style. The styling of specific magazines is significant in how the content within the design is displayed. Magazines such as Vogue, GQ, Harpers Bizarre are all recognisable, these iconic magazines all have a particular styling. “Vogue places fashion in the context of culture and the world we live in, how we dress, live and socialise; what we eat, listen to and watch; who leads and inspires us. Thought provoking, relevant and always influential, Vogue defines the culture of fashion.” The elements of the cover design contribute to the success and durability of Vogue magazine; the printed cover of a magazine has a major impact on the consumer’s likelihood of purchasing it. The typography, colure and magazine identity play a significant role in the design of the magazines. “The focus of vogue was on the traditions of high society, and fashion was only mentioned when giving advice on what was appropriate to wear to an occasion” (History of vogue, 2012). Vogues brand identity remains clear and concise even though layout and image placement alter slightly; “over a century ager the magazines auspicious debut, Vogue’s covers continue to compel and influence” (Kazanjian, 2011). This suggests that the durability of the magazine is sustainable and will continue to be a leading trend setter for other magazines. The first issue of vogue was released in 1892 in America, the publishers Conde Naste then acquired the magazine in 1909, the main focus of the magazine was turned on to women; Vogue’s role was not to just reflect fashion trends, but it actually resulted in effectively shaping these trends.

Layout has great significance in magazine design as it communicates to the audience through the use of type, image, and other visual components on a page. The canons of page construction are a set of principles in the field of book design; used to present the ways that page proportions, margins and type areas of books are constructed. In the mid to late twentieth century Jan Tschichold was responsible for the mass appeal of notion of canons, and laws on page construction, based on the work of J.A van de Graaf. The van de Graaf canon is a method used in layout design for books, it allows the designer to divide the page in to pleasing proportions. “Though largely forgotten today, methods and rules upon which it is impossible to improve have been developed for centuries. To produce the perfect books these rules have to be brought to life and applied.” (Jan Tschichold). Looking at the secret law of page harmony, Retinart, it explores how certain stylistic attributes and approaches form the ‘perfect book.’ The method to produce the perfect book existed long before computer technology and the printing press. Jan Tschichold was the one who described the system as ‘the perfect book.’ The secret canon and page harmony illustrates ‘harmoniously’ blocks of text and the pages they were printed on which agree with one another and collectively become a harmonious unit. ‘Faces looking toward the spine create harmony, looking out they cause tension, if two images face in opposite directions even greater tension is created.’ The layout isn’t just a case of making the fundamental elements on the page fit nicely together, the layout has a purpose to communicate effectively to the consumer, “For the commercial world, design has always been a a matter of legitimate concern.” (J.Mckay, 2006) Jenny Mckay discusses all crucial elements relating to magazine design, and emphasise the importance of structure.

“Note the interaction, study how balance has been achieved, pay particular attention to the white space, cut up pages and rearrange them, see how a simple change of position of one element can transform a design.” (Walker, 1992: J.mckay) The role of copy and layout components, and the principle components of a specific layout all influence the design and the design creates pages people want to read therefore the importance of the layout is crucial. The headline, body copy and images all contribute towards the overall layout and style of design. Headlines are important because they create a strong bond between the publication and the reader, the type intends to stimulate curiosity about the feature and encourages the reader to continue, body copy also has a great significance; the study of the way words and images collaborate as symbols is know as semiotics. The images on a page, are the key visual element and their relationship to the story is crucial to the design. When designing, a compelling dialogue between text and where the image is placed is necessary, these elements create a visual narrative for the viewer. The layouts of vogue magazine covers do not exist for their aesthetically pleasing, and decorative design, but they do have a specific role, they make a significant impact on the on the consumers. It could be argued that the popularity of magazine is down to the cover. Consumers and social media also play a part in the overall success of vogue magazine, as they have made the popularity of the magazine increase. The women of Vogue magazine are represented as very empowering, iconic figures however there is always controversy as to whether these icons are being used as a product and selling tool for the consumer “the way we see things is affected by what we know or what we believe” (Berger, 1972). Vogue magazine is considered to be one of the most influential fashion magazines of our time, “Vogue is to our era what the idea of God was, in Voltaire's famous parlance, to his: if it didn't exist, we would have to invent it. Revered for its editorial excellence and its visual panache, the magazine has long functioned as a bible for anyone worshiping at the altar of luxury, celebrity and style. And while we perhaps take for granted the extent to which this trinity dominates consumer culture today, Vogue’s role in catalyzing its rise to pre-eminence cannot be underestimated."

A designer will always apply the use of a grid system to their work particularly when creating layouts; they allow concise placing of key elements and attributes such as columns, margins and repeated rules, devising the grid is the initial stage and most significant when creating layout designs. Grid systems enable the graphic designer to organise whatever content they are working with consistently and precisely onto a page, using any combination of margins, guides, rows and columns. “Devising the grid is probably the single most important stage in determining how a magazine will look, and some commentators give it a heavy weight of significance.” (J.Mckay 2006). Grid systems are commonly seen in magazine layouts with columns of text and images. Grids can also be used across an entire project so that the structure is consistent throughout. The grid will not be noticed once the finished product has been printed, but before print, it enables a consistent design to be produced allowing the designer to organise the content suitably for the layout. There are several types of grid systems a designer can use; the simplest method is to use the rule of thirds. The rule consists of dividing a page into thirds with two equally spaced vertical/horizontal lines so that the important compositional elements can be placed along these lines or intersections. This is commonly used in photography. The golden ratio is another popular method (approximately 1.618) for proportioning. Mathematicians have studied the ratio and architects, artists and book designers for its aesthetically pleasing qualities have used it for centuries.

Within the layout, each page must have a consistent structure; the designer needs to consider the role of copy and layout components. The headline and heading is usually the largest type size on the layout, it aims to stimulate curiosity about the feature, enticing the viewer to read on, and the body copy is also another main feature of the layout. Body copy, can be arranged in multiple ways, the columns of text can be justified, aligned left or aligned right. The designer will adjust the body copy so that it looks as aesthetically pleasing as possible. Editorial design often shows left aligned text, as it slightly more pleasing to the eye when reading a larger quantity of print, the column widths should also be made narrow enough to read easily yet still allowing the right amount of white space. To make the overall readability easier, the more extensive blocks of text can be broken up, which will also make the page much lighter. Drop caps and initial caps indicate where the story/article begins, the drop caps and initial caps can sit within the body copy or outside. When choosing the font for a drop cap or initial cap, the designer must consider how it will compliment the rest of the body copy style. Something else that forms a main focal point on a page can be the quotes, and pull-quotes, and they can sometimes be an interesting addition to the overall page design. Most magazines include the quotes and pull-quotes, they are aesthetically pleasing and break up columns of text effectively, which makes the story/article slightly easier to read, they can be incorporated by running them in a separate column, running them as bands across a whole spread, or using them with images. To give a good structure to the layout, strap lines and section headings are used, they emphasise and identify what the subject matter or feature is about, captions also inform the reader about certain content related to an image. The captions usually appear on the image or near the image; they identify the reason for the images presence and relationship to the story. The images are key visual elements within the layout, and their relationship to the story is crucial to the design. The image illustrates the story, or the text is driven by the image, and it is important to create an interesting dialogue between the text and visuals. There are many different ways to approach image use. The position of the image on the page creates an expression and visual narrative for the viewer, faces looking toward the spine create harmony, looking out they create tension.

Magazine design has always been one of the major determinants of success of any magazine, and when creating a magazine layout it is crucial to keep a good balance between the white space, images, and text. The magazine cover helps sell the magazine first then the content comes second. The cardinal rule in magazine design should be “we always sacrifice design on the alter of content.” (Samar Hushi 2001). The magazine cover is also significant part of the design, and the visuals seen on the cover are also what the reader sees first, this will be recognised more than the title of the magazine; it should combine creative uses of colour and type within an organised layout that is pleasant to read and compliments the art work used to tell its stories. “Vogue has pioneered a host of aesthetic, technological and commercial advances, virtually all of which inform the fashion and media industry” (Weber, 2006). The page layout of the double page spread (fig.1) shows the entire key components discussed. Vogue tends to use a white background for the layouts, which allows a greater focus to the focal points being images, or text columns. The text has been displayed in a three column structure, with the opposing page displaying a full bleed image. The drop caps used segregates the different portions of the story, allowing the reader to have ease when looking at the article; it creates an aesthetically pleasing layout. The body copy has been centre aligned, creating a concise structure for the layout. The pull quote has been used as focal point in-between the second and third column, this creates a nice focal point for the viewer and is an interesting addition to the overall page design as it breaks up the text effectively. A contrasting double page spread (fig.2) shows a very text heavy layout style, allowing only the pull quotes and one subtle text based image as the visuals to accompany the text. The drop caps add an aesthetic touch the page layout, even though it is very text heavy the article still works, as it is very legible and does not strain the eye to read.

Overall I have learned that the role of layouts within magazine design have a significant impact on what the magazine as a whole communicates and how the reader perceives the brand. Structure of a layout consists of much more than meets the eye, the technical processes of determining the most suitable grid system is the basis for any design work, the grid acts as a platform for the content and story making the grid the most significant component. The visual aesthetics of the layout rely on the use of images and arrangement of body copy; it is crucial to keep a good balance between the white space, images and text. The fundamental principles if design must be applied when considering the layout and style, in order for the finished publication to effectively communicate to the reader. The secret law of page harmony has taught extended my knowledge on the principles of editorial design and role of layout within design; type, grid, colour are all important components when constructing the layout. “Faces looking toward the spine create harmony, looking out they cause tension; if two images face in opposite directions even greater tension is caused.” One of the main reasons design is important to a magazine is that it communicates the values and aspirations of a title before the potential consumer has read a single word, the design hierarchy of needs suggests that a design must meet basic needs before it can satisfy higher level needs, in order to be successful. Looking at the De Graaf canon, it has allowed me to identify myself what a successful, aesthetic layout needs to consist of. The styling of the specific magazine is significant in how the content within the design is displayed. To conclude, I have found that the relationship between the fundamental processes of the design and the design itself, have a strong partnership. The finished layout design all stems from the initial technical processes of creating the foundation for the layout, including the grid and content.

References

Berger, J. (1972) Ways of seeing. London: Penguin books

Mckay, J. (2006) The magazines handbook. London: Routledge

Tshichold, J. (1991) The form of the book: Essays on the morality of good design. Aldershiot: Lund Humphries

The secret law of page harmony

King, S. (2001) Magazine design works: Rockport publishers

Zapaterra, Y. (2007 ) Art direction and Editorial Design

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