Visual_Journalism_2014
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This document provides an overview of key terminology and concepts related to print media design and layout. It defines terms like headlines, captions, cutlines, grids, and page furniture. It discusses typography, font choices, and headline sizing. It also covers the importance of visual hierarchy, white space, and using images, graphics, and color effectively on the page. The document emphasizes the importance of considering the reader experience and using design principles to guide them through the content. It promotes an integrated approach between writing, editing, and design according to the WED model.
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Visual_Journalism_2014
- 1. “Design without thinking is like a story with no plot” ta medi s i gn de 401 sign, e sen D t H an Pa nsen at Ha P t i ons LAYOUT, 2014
- 2. Terminology Body copy ( t ype) Capt i on ( onder skr i f ) Capt i on st or i e Col ophon ( r edaksi el ys) Col um ns ( kol om e) m Cr edi t s ( byl i ne/ kr edi et e) Cr oss- head Deck ( dek of r eel ) Dr op cap Ear ( oor t j i es) Font Gut t er Headl i ne I nt r o, bl ur b, l ead, st andf i r st Ki cker Landscape Por t r ai t Lead st or y, page Leadi ng M ugshot Over l i ne Page f ur ni t ur e Panel , box Pl acar ds, newsbi l Poi nt s of ent r y Pul l - quot e Si dehead Sl ug St and- al one St andf i r st ( kassi l ead ls e)
- 4. The big 4 Headl i nes Bodyt ype Pi ct ur es Cut l i nes ( onder skr i f t e)
- 6. Basic typography There are thousands of lettertypes, also called fonts The Helvetica font family has different members: light, medium, bold, extended… Helvetica black Helvetica Condensed Hlve co p sse e tica mre d
- 7. Sans what? This is a serif lettertype This is ‘n sans serif lettertype (sans means without in French) This is a heading set as italic
- 8. LOCATION, LOCATION, LOCATION The st and = t he page The bui l di ng l i ne = t he out l i ne of t he gr i d or pr i nt ar ea The f oundat i on = t he gr i d Fr ont door = m n el em ai ent on page W ndows = pi ct ur es, gr aphi cs i Decor at i ons = wi ndow f r am es, bel l , out si de l i ght s, dr op caps, capt i ons, col our
- 9. The stand The page Pr i nt ar ea Gr i d – hor i zont al and ver t i cal Col um ns Gut t er Edi t or i al and adver t or i al gr i d
- 10. Size matters Br oadsheet Tabl oi d Squar e t ab Ber l i ner ( not a set si ze, depends on pr i nt i ng pr ess)
- 11. What is what? Br oadsheet s, t abl oi d, squar e t abl oi d Em and pi cas and cent i m er s t oo s et Gut t er s ( di e af l ooppype) Col um ns Bast ar d m easur em ent s Text Pi ct ur es Adver t i sem ent s Ful l col our , bl ack and whi t e, spot col our
- 13. Grids and more The top line is a 7 column editorial grid structure for a broadsheet like Die Burger or Beeld. The bottom line is a 10 column advertisement grid structure for a broadsheet.
- 14. Put this on the page The page Tabl oi d, br oadsheet , Ber l i ner , shor t t abl oi d Di m ensi ons Em s, pi cas and cm Gr i d Gut t er Col um ns Bast ar d m easur em ent s Text Pi ct ur es Gr aphi cs Adver t i sem ent s Col our Bl ack and whi t e
- 16. Find a… O verhead Mainhead Subhead Caption/ cutline Box Pull out quote (none) Dropcap (none) Justified headline Bastard measurement
- 17. The building blocks Text ar e t he bui l di ng bl ock s: r em ber t hat t ex t em i s n ’ t one di m ensi onal Headi ngs ar e t he r oof Gr aphi cs , pi ct ur es ar e t he wi ndows But wher e i s t he
- 19. • Di spl ay headl i ne • I nt r o • Dr op cap ( I ni t i al cap) • Jum l i ne ( a l i ne p t el l i ng t he r eader what page t hi s st or y i s j um ng t o) , or pi al so a r ef er i f i t t el l s t he r eader wher e i n t he paper you can r ead m e about t hi s or st or y • I nf o gr aphi c • Cut of f r ul e
- 20. Where is the front door? Ent r y poi nt s Look at t he page i n f r ont of you, what i s t he f i r st t hi ng you see? The pi ct ur es, gr aphi cs, m n ai headl i ne? Pul l out quot es
- 26. Headlines Good headlines have three elements according to Tim Sutton, a top newspaper designer and consultant: Space at the end of each deck (it creates white space, a place for the reader to take a breath between all the copy on the page) Leading: (the space between the decks) If the leading is done correctly, a heading that consists out of more than one deck, will be read as one visual element Spacing of letters (tracking/kerning)
- 27. A heavy affair This is a 10 pt headline in Boomer Condensed Bold This is a 20 pt headline in Boomer Condensed Bold This is a 30 pt headline This is a 40 pt headline This is a 50 pt And a 60 pt And 96 pt
- 28. Headlines Serif of san serif? Ascender Descender Baseline Tracking (decreases or increase spacing between all the letters in a word) Kerning (decreases spacing between two letters) Scaling See Harrower p25
- 29. More about headlines Look at t he page W hat dr aws your at t ent i on? And t hen… Headl i nes ar e t he st r ongest weapon i n you l ayout t ool ki t
- 31. Your st or y can be a pr i ze wi nni ng st or y, t he pi ct ur e t o, but can you see i t f r om 2 m er s away? et Layout er s sel dom wr i t e headl i nes, but i f you want t o cr eat e good l ayout , you need t o know t he i ns and out s of headl i nes, wher e i t needs t o be pl aced, and what t he di f f er ent f ont s ar e and t he si zes t hat ar e avai l abl e Source: Tim Harrower, The Newspaper Designer’s Notebook
- 33. How many decks? 1 col 2col 3col 4col 5col 6col 34decks 2-3 1-2 1-2 1 decks or lines decks or lines decks or lines deck or line 1 deck or line or lines Har r ower page 29
- 34. Well written headlines W rite as people speak Use the present tense; ex. Mbeki vetos arms sales, not Arm sales are vetoed by Mbeki Never break up words If you’ve got an excellent heading, talk to the layouter to enlarge or decrease the size
- 35. Remember Harrowers four functions: Headings sums up the story Headings prioritises stories, because more important stories get bigger headlines It entices readers to read the story It anchors the layout of the story and creates hierarchy on the page
- 36. A 100 years ago many fonts were used in publications Upper and lower case was used All headings were centered Today uppercase headings aren’t used, except in tabloids Flush left is the norm Can be used in many ways
- 39. Captions Check your facts Don’t repeat the same word in the photo heading and the caption If you use a historical picture, use the exact date, September 6, 1997 (the funeral of Diana, Princess of W ales) Source: Poynter
- 40. Captions Identify the people from left to right Include the ages, especially when there are children in the picture Bonus: include a quote Don’t attribute emotions to animals Source: Naomi Halperin; Picture editor at THE MORNING CALL, Allentown, PA
- 41. Pictures There are three basic forms: horizontal, vertical & square Horizontal: this is the most common shape for news pics. We view the world horizontally through our own eyes, and when u pick up a camera, this is the shape you instantly see – though some subjects (like basketball players and space shuttle launches) may demand a vertical composition. Source: Tim Harrower, The Newsdesigner’s Handbook, Fifth Edition
- 42. Pictures Square: S u r sa es m t e q a e r o eim s c n id r dted l s o o s e e h ul t f e tetr es a e . h he h ps R m m e , to g , ta e e br h u h h t tec n e t f p oois h o tn o a h t m r im o tn ta it o e p ra t h n s s a e A c p e c p oo h p . ce t a h h t o it o ntr s a d n s w em , n d s nit n otep g s e ig o t h ae o it a sr n a p sibe– ’s s to g s o s l w ae e it s a e h tv r s h p
- 43. Pictures Vertical: Vertical shapes are often considered more dynamic than either squares or horizontals. Because verticals are often so deep, they often seem related to any story parked alongside – even if they are not. Source: Tim Harrower, The Newspaper Designers Handbook
- 44. Pictures and cutlines W ho, where, when, what and G ood cutlines expand on the content and don’t repeat the obvious in the photograph A crop gone wrong
- 45. Pictures: the windows Original picture Don’t drop type on the pic: unreadable, interferes with the action
- 47. What is WED? W is writing, editing and design ED It ’s a philosophy: become a spesialist in one, but have understanding for the other two corners Each corner is important, if one is more important than the other, there is no integration between the different departments of the newspapers (writers, photographers, subeditors, layouters) Break down the walls and work together for a better product W was developed by Mario G ED arcia and Roy Peter Clarke while they were at the Poynter Institute
- 50. REMEMBER: the reader is the most important person Always ask the question: HOW CAN I HELP THE READER? (put on the hat of writer, editor and designer) Key elements: Plan your stories Teamwork W ork together Respect your audience Source: Ron Reason en Poynter
- 51. Writing Think about the graphical potential of your story: pictures, graphics, pie chart, fever chart, info-box G ive all you background info to the graphic designer or designer W rite visually Talk, talk and talk some more Research
- 52. Editing Break down the walls between the word and the visual artists Talk about the strategy behind a story (the writer, graphic artist, layouter, photographers, content manager) If you have a multi media desk: include them in discussions
- 53. Design There is no W without design, so there can be no ED W without writing and ED Visual artist ask: what is the story? W hat is the point of the story? W is the mood of the story? hat Look for graphical elements Swop hats with the writer and editor Remember: simplicity works best Pictures, graphics, colour, typography
- 54. The reader and WED Readers don’t give a tick for W they just ED: except that the layout must draw them into the page and let them read what is on the page. ‘Grab me through my eyes. Pull me by my neck, and lead me to the text, even if I am not so interested in the story to begin with’
- 55. But where to start? Look at the page in front of you Is it a left hand or a right hand page? How does the advertisements look? Is the style of your newspaper modular? Read the copy! Can you include a mugshot? Can a graphic be included? Rather keep the graphics and pictures away from the ads
- 57. Does everything fit? To much copy for the page? Call the content manager and discuss the stories and page Remember: a page has boundaries Remember the front door: what on the page must catch the attention of the reader FIRST
- 58. So much copy, pictures, and then there’s ads too!
- 59. It does’nt fit! Cut the text (10% is the rule of thumb) Crop the pic (a little at the top, or bottom, otherwise resize) Trim the story at the bottom, next or under the story Can the heading be reduced in size? Can the ad be moved?????
- 60. Too short, what now? Check comments – can what has been cut out, be put back? Enlarge the pic Pull out quote? Mug shot? Enlarge the headline Don’t copyfit, only in extreme circumstances House ads
- 61. Jumping Jack W hen you wrap copy around a pic, leave at least 5-6 lines beneath the pic/ graphic W atch out for narrow copy (6 ems for pic captions, 8 ems for a story) Not to wide = max is 20 ems, and then ragged right the copy
- 63. What draws attention? www.poynter.org Readers like colour on a page, but it ’s not a guarantee that they will read the page A big, dominant picture or other visual element, in FC or BW will draw the attention of the reader FIRST , Readers look first at the right hand page and then at the left hand page
- 64. What draws atttention? Colour washes (screens), in FC or BW also , draws the readers attention The size and where you place the visual element, is more important than if the visual element is in colour or BW Rock the boat: A strong main headline can also be the first element that readers look at
- 65. Look W hat is the focus point? Picture byline Headline Subhead Colour screen
- 66. Colour W are the colours that your newspaper uses? hat According to Mario G arcia the three elements of colour is: 1. movement 2. temperature 3. symbolism Some colours are wall flowers, others are in your face Blue and grey are wall flowers, not as bold as red and yellow that scream ‘READ ME’ Blue and grey also don’t have as much movement as red
- 72. In the subediting office W hen in doubt, ask or put in comment Don’t talk on deadline Leave cellphone chats for later G a notebook et Use your spell check Use your dictionary
- 73. The wise men…. Sutton Kenny Irby Mario Garcia Ron Reason www.poynter.org Tim Harrower Charles Apple Yacek Utko For pdfs - Newseum Tim
- 78. Short tabloids