Magazines, novels, and newspapers have one predominant commonality – what attracts the eyes is sold faster. The proverb “do not judge a book by its cover” is not applicable in the context of journalism, as the exterior is as vital as the interior. Designs and organization, illustration, and fonts and sizes attract the readers, thus, a lousy element of the aforementioned factors will only hinder a newspaper’s success and may even fail to pursue its purpose – to inform and to entertain.
A layout is part of graphic design dealing with the arrangement and organization of visual elements that help in giving the paper a distinct personality. A layout artist/layout editor is responsible for the layout – they collect, assemble, arrange, and decide the best styles and organizations for the illustrations, images, and ideas to be delivered in a very informative and pleasing manner through visual communication to the readers. There are different types of layout which vary from simple to complex. Here are some of them:
Modular Layout – This is designed in a way that the page is divided into a series of rectangles. A four-sided rectangular unit is formed from headlines and related texts and each story is made to fit into a rectangular module separated by white space.
Irregular Layout – This is designed in a way that breaks a page into a series of interlocking shapes or a type of jigsaw. The layout type may change but the format must remain the same.
Vertical Layout – This is the simplest form of page organization. It is the oldest form of layout and it is extremely limited in the range of news values it can express and it also gives a maximum number of stories above the fold. The issue of visual depression can be overcome by using colors along the horizontal lines (black & white) or varying adjacent heads. It can also overcome by the width of column inches. This could be used to overcome the problem of news values.
Horizontal Layout – This is a form of page organization that has more capacity for emphasis. A study's fully designed horizontal layout is modular in shape with text squared up under multi-columns h/L to create several horizontal units. The shape is therefore made up of series of these horizontal units lying on top of each other. It makes long stories appear shorter and headlines are separated from each other by texts.
Quadrant/Diagonal – The quadrant layout divides the page into units or sections using a line at the fold and another down the middle of the page. Each of the four sections will be assigned with attention compeller. This formula reminds the editor that there is more to a page than the top.
Frame Layout – This type offers very little guidance on emphasis or organization. Column 1 and column 8 should be of the solid text so that beneath the paper’s title and eight-column banner head and the rest of the content will form a frame.
Brace Layout – This is also known as focus. The headlines are arranged in steps so that the one at the top of the page is supported by another running parallel. Large headlines dominate the entire page with minor headlines beneath as supporters. The related stories will run parallel to the upper headlines which were arranged in steps.
Symmetrical Layout – In the newspaper term ‘Symmetrical Layout’ is the kind of layout that attempts to produce a page of equal balance and weight around its axis-optical center of the page. Each side of the optical center is a mirror reflection of the other. To achieve this form of layout, the layout editor places the optical center of the mass on the optical center of the unit.
Asymmetrical Layout – This is off-center or created with an odd or mismatched number of disparate elements. Asymmetrical balance is a result of when the left and right sides of the design are unequal, however, it does not necessarily mean unbalanced. A folded piece with distinctly uneven panels has asymmetrical folds, such as the shape of a package where the left and right or top and bottom are not mirrored images is asymmetrical.
Design is as important as the contents and messages themselves. Similar to packaging, it is what appeals to the audience. In every aspect may it be headlines or layout, every publication heeds to different rules and guidelines. Its distinctiveness is what makes the newspaper unique and special. The layout is what attracts and therefore is what sells – through the publication’s layout guidelines, the paper becomes renowned as it is what reflects the standards of the paper and the staff. Regardless of the different standards that every publication follows, the following guidelines are commonalities based on the journalistic way:
Direct the Eye With Leading Lines – Control the viewpoint of the design and direct the readers where they should focus their attention. A common use of leading lines is within flowcharts which use lines to direct the eye from one point to the next in a clear and obvious manner.
Balance the Elements – Balance is important. There are two types: the first is symmetrical balance which balances the design using symmetry by reflecting certain design elements from left to right or top to bottom. The second is asymmetrical balance which is more common and creates balance without symmetry.
Emphasis, Scale, and Hierarchy – This is particularly vital, thus, a slight mistake may direct the readers to a different perspective far from what was intended/meant. Figuring out the focal point of the design will give the eye the guide it requires to structure the composition, as well as organically build hierarchy. Hierarchy is the arrangement and design of elements in order to visually signal importance.
Use Elements That Complement Each Other – Fonts, font styles, colors, pictures, and illustrations should complement and be aligned with each other in order to serve the overall purpose. It does not have to be identical, it just has to be uninformed or complimentary in order to have a clean and beautiful touch in the article/text/magazine – one that is visually appealing.
Don’t Forget the White Space – White space when used strategically can help boost the design’s clarity and overall look by balancing out the more complicated and busy parts of the composition with space that helps the design look free and uncomplicated – simple.
Rule of Thirds – This is a simple and effective fundamental guideline. Divide the design into three rows and three columns. Using the rule of thirds is a great way to kick off the design’s composition as it gives a quick guide to positioning and framing the elements. The points where the vertical and horizontal lines meet form natural guidelines for where the subject and supporting elements should be placed.
The purpose of guidelines is to have a light or roadmap in order to achieve principles and standards. In the layout, layout designers and editors want the best results possible – it is through the objective of efficiency that they strive. Effective layout is a product of heeding to guidelines and making principles the driving force of the publication. Here are the principles of effective layout:
Balance – There must be balance may it be symmetrical or asymmetrical. The elements should be arranged in a way that creates a better sense of harmony, not only for visual appeal but also for the messages/content to be distributed fairly.
Proximity – Elements that are related should be grouped together or must be closer to one another, thus, this principle implies a relationship. By grouping similar elements together, the page becomes more organized and the reader is guided to where he/she should start reading and where to go on next.
Alignment – Everything that is presented and included serves a purpose; it is not placed arbitrarily. The elements should be connected and aligned with one another as it creates a visually and mentally cohesive unit.
Repetition – Repetition can exist in many forms - from design elements to font, color, shapes, and lines, or even spatial relationship. This principle helps in the organization of information and in unifying parts of the design.
Contrast – This principle is powerful as it is a tool that helps attract the attention of readers and helps with adding visual interest to the page. It can be achieved by combining serif and sans-serif fonts, varying boldness, line thickness, colors, shapes, sizes, spacing, images, and so on.
White Space – This is also known as ‘negative space’ and it refers to the absence of text and graphics. It is not necessarily white, it can be any color of the page’s background. White space provides visual breathing room for the eye and keeps things from being too cramped, or overwhelming (or too much).
