EDITORIAL

DESIGN

@SVAE. GEnEviEvE

Williams

Much appreciation to my many School of Visual Arts students who contributed to this book, whether represented here by their works or not. You teach me how to teach, keep me constantly learning and updating, and never stop asking me to question myself. Hot damn, you’re good! Special thanks to Ramon Tejada whose tireless effort and great talent brought this book to life. –egw

©2010 by E. Genevieve Williams. All materials presented in this book are protected by United States Copyright Law and may not be reproduced, distributed, transmitted, displayed, published, or broadcast without the prior written permission of the author and designers whose work appears in this book. The work samples shown in these pages were created by students and all efforts have been made to credit accordingly.

Creative Direction by E. Genevieve WilliamsArt Direction and Design by Ramon Tejada Designed using Replica, Berthold Akzidens Grotesk, Find & Replace, and Numbers.

7

A good creative director/art director works in tandem with

editors to create a publication that serves the needs of the

readership and reports the news/content as objectively as

possible.

Along with editors, writers, photographers, and illustrators,

we create publications that qualitatively (and sometime

quantitatively) relay information to readers. A “good” creative

director/art director/designer is a thinking individual who is

committed to the content of the publication and who demands

and contributes to the highest standards of journalism or

literature.

An editorial designer is invested in providing creative ways for

the reader to easily access information.

For a talented, disciplined, and hard-working designer,

editorial design (the design of publications) is a wonderful and

rewarding creative challenge. At a minimum, editorial design

requires attention to detail and a love of the printed word. A

comprehensive education and a broad frame of reference is

always helpful.

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In order to begin designing a publication, the editorial designer must have a firm

grasp of the target audience. Five demographics are customarily deemed essential

in determining the target audience for publication design. These are; age group,

gender, education level, income, and locale (rural, suburban, urban).

FEaturEs are the main stories of the issue. They are generally date sensitive and

appear only once in the history of the publication. Usually they are several spreads

each with a set of related images. The feature well or feature stories are placed in

the center of the publication and are mostly uninterrupted by advertising.

Feature stories are often mentioned in the “cover lines” on the cover of the issue.

They may also take up more space on the contents page(s), though there may be

fewer of them than there are columns and departments. This is because they run

with blurbs and bylines and perhaps in a slightly larger type size than the column

and department list.

DEpartmEnts anD columns are regularly running sections that appear in

every (or almost every) issue. For instance, in a fashion magazine, the departments

may be “beauty,” “accessories,” “dining out,” and so on. If the regularly running

article is an opinion piece or is consistently written by a specific author on a

particular subject, it is called a column. A design technique used to distinguish

the two is to set the text type of the department justified and the text type of

the columns ragged right. Justified copy blocks tends to signify “fact,” whereas

ragged right text blocks indicate “opinion.” Departments and columns are often

single page stories, a short article, or related short articles paced out over a few

pages. Departments can also be single pages or spreads with a set of pictures

and long captions. Departments and column are customarily situated in the front

and back of the publication. These pages often face advertising. They act as

“bookends” to the feature well in a magazine.DEPARTMENT: Designer Brian

Murillo.

13

GRIDS: Designers Michelle

Rial, Richard Hall.

TABLE OF CONTENTS:

Eszter Kapitany

TEXT TYPE: Ted Metcalfe

It is common for the department template to establish a hanG linE where the

copy (text type, body copy) begins. The hang line can be interrupted by imagery or

service material (text), but the body copy of the story does not rise above it.

siDEbar material or service information is often displayed in information graphics

or in a bulleted list. Information graphics, that is, charted editorial content is a

research and design field in its own right. Have a look at Edward Tufte, Peter

Grundy, Nicolas Felton, and John Griswald on this topic.

EDitorial GriDs create a foundation for building magazines, newsletters,

and books. Based on content, the goal is to create an editorial environment that

presents the textual material in a way that is convincing and accessible.

typoGraphy is the single most important design consideration for publication

design. The size and font choices must clearly direct the reader from the

most important information on the page to the least. The typography must be

appropriate to the textual and visual content of the publication. The typeface must

be readable. The spacing between letter forms, words, text blocks, headlines,

subheads, bylines, captions, and photography or illustration credits must create

a fluid read of the textual information. The typography choices and mix must be

pleasing to the eye. Typography choices are based on an informed idea of what

fonts and mix of typefaces best suit the editorial content and the target audience.

tExt typE or boDy copy provides an even gray (no dramatic thick and

thin line weights, no slurpy finishes to the letterforms, and so on) that allows for

easy reading and gives the editorial designer an opportunity to showcase design,

photography, and illustration. Even gray text blocks provide a playing field (like

astro turf) for imagery and display typography. Text type choices must be an

appropriate size (larger for the 40+ age group) and style for the target audience,

publication style, and page size of the publication.

typography is the single most important design consideration for publication design

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single most important design consideration for publication design

17

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PULLQUOTES, DROP CAPS, &

HEADLINES: Designers Josh Vietze, Michelle Rial, and Fennie

Chow.

hEaDlinEs are teasers for the editorial content. They are designed to draw the

reader into the story. Headlines are often set in a different typeface from the text

face and are generally the largest and boldest typography on the spread. Often

they are short—three or four words. If the headline is set in caps and lower case,

it is set in “up style,” meaning that all words except articles are set with the first

letter in upper case. An exception to this rule occurs if an article is the first word in

a line.

An interesting trend is to diminish the size or boldness of the headline making it

sometimes as small or nearly as small as the text type. Often these small headlines

are set in the text typeface in caps or small caps. Since we are trained to expect a

large headline, a small or quiet headline often does the job of grabbing the reader’s

attention at least as well as than the expected large one.

subhEaDs modify and explain the headline. Subheads communicate the editorial

point of view and the precise content of the story. Subheads are often a variation

of the text typeface—a larger size italic for example, or a variation of the headline

face. Since headlines and subheads relate to each other, they are often relate to

each other spatially on the page.

bylinEs identify the author of the story. Bylines are credits for the text created

by the author. Therefore, the byline and the text blocks are often related spatially

on the page.

pull quotEs are literally pieces of the text pulled from the story. If the editing is

good, they are compelling bits of text that are used to stimulate interest in the text.

From a visual perspective, they break up large chunks of text and create visual

interest on the spread or page.

Drop caps are enlarged first letters of the first word of the first sentence of the

story. Sometimes drop caps sit into the text several or many lines deep. In other

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21

FEATURE SPREAD:

Designer Erin Hughes.

Next Page COVER: Designer

Marteen Allen.

instances they sit on the baseline of the first line of the story. Drop caps draw the

reader’s attention to the beginning of the story. They can also be used to break up

large grey blocks of text or to signal a new thought.

Every photograph requires a caption. captions describe the people, places,

dates, and events depicted in the photograph.

Captions are often a variation of the text type — generally a smaller size in bold or

italic or occasionally set in small caps. An innovative option is to pull out a common

element such as dates and bold them or set in small caps, a sans serif against a

serif, etc.

crEDit linEs identify the person responsible for the photographs or illustrations

used in the layout. Credit lines run in the same location on the page or spread in

a given publication—often in the lower right hand corner of the image or in the

gutter of the spread. Credits can be set in small caps or caps and lower case at

five or six-point. The typeface is often a variation of the text face. An exception to

this general rule might arise if the images featured are composed by a well-known

photographer or illustrator. Another exception might arise if the story is a photo

essay or series of illustrations by the same artist. In these instances, the credit line

might print with the byline in the same size and typeface.

rubrics are the tag lines for department or column sections. Rubrics provide

the reader with a quick way to determine what type of subject matter is contained

in the pages under the rubric title. For example, a fashion magazine might offer a

regularly running section entitled “accessories” or “makeup.” A literary journal may

offer a regular running section of fiction, and so on. If the rubric denotes a column

rather than a department, it may contain the name of the author as well as the title

of the section.

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25

LOGOS: Designers Mayumi Maeda, and Paulo

Melo.

a publication loGo can be a flirt, a dance, a rodeo, or a stalwart presence.

Publication logos are a world unto themselves. Notice the details of popular

and long lasting logos. Each has a peculiarity that distinguishes it from just

any typeface. Logo typography often has little relation to the interior text and

headline faces. Therefore, the logo typeface does not have to directly relate to the

typographic choices made for the interior of the publication. The logo needs to be

identifiable, readable, pleasing to the eye, appropriate to the subject matter, and

most importantly, unique and interesting. A logo should appear seamless, as if the

letters are meant to look exactly the way they do.

Serial publications may launch with a logo that becomes outdated over time,

particularly if the publication is successful and has a long run. If this is the case,

a publication will generally update the design of the logo without making changes

that are perceptible to the average reader. Readers identify publications by their

logos. It is important to consider that even the least conservative readers may

demand a consistent logo.

loGo typoGraphy choices should be based on an informed idea of how the

target audience will respond to the publication name and logo, and whether a serif

or sans typeface best suit the editorial content and the target audience.

In print media, publications are judged, at least superficially by their covers.

Therefore, it’s important to design great looking covers as well as ones that suit

the publication. This means determining in what context the cover will be seen.

If the publication is non-newsstand, there is more flexibility for concept covers

including logos that move from place to place on the cover or change typography

from issue to issue. If the publication is newsstand, the cover and it’s logo will

need to compete with the many other publications already on the newsstand. This

means deciding on a steady look, while keeping it interesting from issue to issue.

\2 thE

library

29

FEATURE JUMP: Designer Joana Koiller.

EDiToRiAL DESiGN

31

EDiToRiAL DESiGN

COVERS: Designers Elana Schlenker, Eszter Kapitany.

COVERS: Designers

Emily Kim, Paulo Melo.

33

COVERS: Designers Michelle

Rial, Ramon Tejada.

COVERS: Designers Christopher Sabatini, Diana Sanchez.

EDiToRiAL DESiGN

35

FEATURE OPENER & TYPOGRAPHY: Designer Diana Sanchez.

EDiToRiAL DESiGN

FEATURE & DEPARTMENT

OPENERS: Designers Emilie

Lenglain, Brienne Jones.

cap

2 2 Carbon Magazine 2 3

© Recompute is a new way of thinking about computers that layers sustainable ideas throughout its lifecycle to make an overall sus-tainable product that can be easily replicated. Recompute address sustainability along three main points during its life.

Manufacturing: Rather than making a large tower constructed from numerous materials (ABS plastic, aluminum, steel, etc.), hundreds of manufacturing processes, and dozens of in-dividual components, the Recompute case is made of corrugated cardboard (recyclable and renewable). There are four low-impact manu-facturing processes to assemble Recompute: Die cutting, gluing (with non-toxic white glue), printing and electronic assembly. Recompute uses only three major electronic components: A motherboard with processor & memory, pow-er supply, and a hard drive.

Use: Recompute is designed to allow the user to take advantage of existing hardware. For example; use the keyboard from a previ-ous computer. For additional flexibility, exter-nal hardware customization is easy via 8 USB ports. Disposal: Electronic components need to be properly recycled as they contain toxic heavy metals. However, this is often skipped because dismantling of computers is difficult. Recompute can be disassembled without tools, so the electronics and case can be easily recy-cled individually. Oh yes, Recompute is a real working computer. w

OUR GREENER FUTURE

37

TABLE OF CONTENTS:

Designers Marteen Allen, David

Robinson.

TABLE OF CONTENTS: Designers Elana Schlenker, Richard Hall.

EDiToRiAL DESiGN

39

DEPARTMENT: Designer Marteen Allen.

EDiToRiAL DESiGN

FEATURE OPENER: Designer Ayca

Bayer.

41

DEPARTMENT: Designer Diana

Sanchez.

JUMP & TYPE ELEMENTS: Designer Diana Sanchez.

EDiToRiAL DESiGN

43

DEPARTMENTS: Designers Diana

Sanchez, Gabriel de Moura.

...CULTURE DETOUR

...MAPSTORY

...SLEEP,EAT,BIKE,REPEAT

...THE CHEAP TRIP

...FINDER’S , KEEPERS

The greenest road trip one can take is on bike. Here is the low down on all of your two wheel needs.

Being cheap does not have to be an insult. Spending savvy can make your next road trip a perfect one.

One volkswagen, three city girls and 300 miles of winter roads. The souvenirs we take from the Rock of Ages.

PACK IT...

MIXTAPE...

The wants, the needs and the must haves to make the most of your road trip.

Nothing says road trip like a rolled down window and some timeless tunes.

Roadside attractions are no longer relegated to side show horrors eith Prada Marfa.

Fictional and non fictional road trips that have helped to shape American pop culture.

A free pocket guide to map folding!

LOOK FOR THESE ICONS:

TABLE OF CONTENTS AND COVER: Designers Nicole Marie Rincon, Casey Courtney.

f There s is e a r saYiNG

ThaT o i p heard a oNce,

s WheN d You t GeT g To

h be j Where k You l are

u supposed c To v be b iT

Will m be , preTTY ; f s

obvious.” TrusT ] ThaT. s f

t y u i o p ; l a

s d f gbmj, ss

The Uniqueness of the Theories of Physics

Making your DreamCur-Ridiculum

Mystical Adventures

in April 2010

consider...

HAPPINESS

EDiToRiAL DESiGN

45

FEATURES:Designer Josh

Vietze.

FEATURE OPENER: Designer Trevett McCandliss.

EDiToRiAL DESiGN

47

EDiToRiAL DESiGN

FEATURE OPENER: Designer Tom Grunwald.

Bois de Boulogne:

A Tale of Two ParksBY PAUL THEROUX

ILLUSTRATED BY LIZA CORBETT

14 Fall 2006 Fall 2006 15

FEATURE OPENER: Designer Liza

Corbett.

49

FEATURE OPENER: Designer Joana

Koiller.

FEATURE OPENER: Designer Jessica Pietrafeso.

EDiToRiAL DESiGN

51

FEATURE OPENER & JUMP: Designer Yutt Wattanapanich.

EDiToRiAL DESiGN

53

FEATURE OPENER & JUMP: Designer David Robinson.

EDiToRiAL DESiGN

55

FEATURE OPENERS:

Designer David Robinson.

EDiToRiAL DESiGN

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FEATURE OPENERS &

INFORMATION GRAPHIC:

Designers Matthew Abate, Nicole Marie

Rincon, Fennie Chow.

Male or

Female

Hot?Hot?

NO

NO

NO

yesno

Yes

Does he seem like a complete and utter tool?

NO

IS HE IN THE POSITION TO OFFER YOU A JOB IN THE FIELD OF YOUR CHOICE?

yesno

no yesNO

YESDoes he owe you enough to continue

to justify any friendship with him?

Hell Yes!

no

yesDoes he have the tendency to tweet movie quotes from

Wes Anderson movies?

Does he have the tendency to tweet movie quotes from

Wes Anderson movies?

yes

no

YES?

Maybe? Is it an ex / distant cousin / creepy next door neighbor?

no

comprehensive

tofollowingTwitter

comprehensive

tofollowingTwitter

Yes

Does he owe you enough to continue to justify any friendship with him?

EDiToRiAL DESiGN

59

FEATURE OPENERS: Designers Brienne Jones, Risa Kojo, Erin Friedman.

EDiToRiAL DESiGN

61

WEB MAGAZINE: Designer Louis Liu.

INFORMATION GRAPHICS:

Designer Bryan Farevaag.

EDiToRiAL DESiGN

63

FEATUREOPENER & JUMP:

Designer Eszter Kapitany.

DEPARTMENTS: Designer Brian Murillo.

EDiToRiAL DESiGN

65

FEATURE OPENER:Designer Trevett

McCandliss.

EDiToRiAL DESiGN

FEATURE OPENER: Designer Ted Metcalfe.

67

FEATURE SPREAD:Designer Brian

Murillo.COVER: Designer Brian Murillo.

EDiToRiAL DESiGN

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DEPARTMENTS:Designer Eszter

Kapitany.

TABLE OF CONTENTS: Designer Dara Yoon.

EDiToRiAL DESiGN

71

FEATURE OPENER & JUMP:

Designer Dara Yoon.

FEATURE JUMP and PULL QUOTE: Designer Hanah Ho.

FEATURE OPENER on page 73:Designer Camila Trivelli.

EDiToRiAL DESiGN

73

EDiToRiAL DESiGN

75

Covers: Designers Karine

Basilio, David Robinson.

EDiToRiAL DESiGN

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PULL QUOTES: Designer Diana

Sanchez.

FEATURES OPENER: Designer Brian Murillo.

EDiToRiAL DESiGN

79

information graphics: Designers Bryan Farevaag, Airene Resurreccion.

EDiToRiAL DESiGN

81

JUMP & DEPARTMENTS:

Designers Hyo Ha, Sylvia

Glockengiesser, Michelle Rial.

as well as selected reliefs, collages and sculptures from the late 1920s, casting

light on the way in which Schwitters was influenced at the time by constructivist

tendencies. There are further documentary records of the artist’s other three

Merzbau projects, now also destroyed, which he created while in exile in Norway

and Great Britain. Displays in four more rooms illustrate the artist’s idea of

Merz art, which transcends separate genres; they include Merz drawing and

Merz paintings from his entire creative life, early lithographs, Kurt Schwitters is

among the outstanding artistic pioneers of the first half of as well as selected

reliefs, collages and sculptures from the late 1920s, casting light on the way in

which Schwitters was influenced at the time by constructivist tendencies. There

are further documentary records of the artist’s other three Merzbau projects,

now also destroyed, which he created while in exile in Norway and Great Britain.

Displays in four more rooms illustrate the artist’s idea of Merz art, which

transcends separate genres; they include Merz drawing and Merz paintings from

his entire among the outstanding artistic pioneers of the first.

t the heart of the

exhibition is Schwitters’ masterpiece and culmination

of his idea of a total art work. The Merzbau Merz building a

monumental three-dimensional assemblage progressively

created from 1923 onwards in the artist’s studio and home

in Hanover. On display is a walk-in reconstruction owned

works that are very seldom on public of the original Merzbau,

which was entirely destroyed in the by Peter Bissegger. Merz

art, which transcends separate genres. They include Merz

drawing and Merz paintings from his entire creative life, early

Merz art transcends separate genres.

a

Kurt scHwitters witH His merz sculpture Die Heilige beKummernis, c.1920, vintage gelatin silver print

rigHtleftfolio 2 from merz mappe, 1923, pHotolitHograpH

With about 150 loans from international museums and many privately

owned works that are very seldom on public display, this exhibition at the Tinguely

Museum is the first opportunity for people in works that are very seldom on public

display, this Switzerland to see the original works.

COVERS: Designers Ayca Bayer, Josh Vietze.

EDiToRiAL DESiGN

83

PULL QUOTES: Designer Diana

Sanchez.

FEATURES:Designer Nicole Marie Rincon.

Bike, Eat, Sleep, Repeat

bike eat sleep repeatbike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep repeat bike eat sleep re-peatbike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeatbike bike eat sleep repeat-

bike bike eat sleep repeatbike bike eat sleep repeatbike

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There is no wrong way to begin. There is no wrong way to end. Let the arrows guide you.

the most

EDiToRiAL DESiGN

85

EDiToRiAL DESiGN

DEPARTMENT: Designer Trevett McCandliss.

87

TABLE OF CONTENTS: Designer Christopher Sabatini.

EDiToRiAL DESiGN

DEPARTMENT: Designer Richard

Hall.

89

FEATURE OPENER & COVERS:

Designers Caroline Teagle, Lauren

Haegerty.

Right page FEATURE OPENER:

Designer Karine Basilio.

EDiToRiAL DESiGN

91

EDiToRiAL DESiGN

COVER & FEATURE OPENER:

Designer christine lange

INFORMATION GRAPHIC: Designer Sarah Macreading.

93

RESOURCES:Society of Publication Designers (SPD) Society of Newspaper Designers

AIGA

Art Directors Club

Type Directors Club

FOR inSpiRatiOn, ChECk OUt thE wORk OF thESE dESignERS and aRt diRECtORS:Fred Woodward

Walter Bernard

Terry Koppel

Clay Felker, Editor

Robert Priest

Neville Brody

Tibor Kalman

M/M Paris

Jop Van Bennekom

Work in Progress, Ezra Petronio

David Carson

Luke Hayman

Non-Format

Pentagram Design

Homework Design

FEATURE OPENER: Designer Justin Leszcynski, Elana Schlenker.

95

INFORMATION GRAPHIC:

Designer Elizabeth Chan.

TABLE OF CONTENTS: Designer Christine Lange.

E. gEnEviEvE williamSCreative director, owner, Six Sisters Design; art director; sculptor; painter

Education: BA, Simmons College; MFA, School of Visual Arts

Awards and honors include: Davey Award; Society of Newspaper Designers; Art Directors Club; Print; Communication Arts; Society of Publication Designers; American Photography; American Illustration; Type Directors Club; The One Club; Creativity 34; Graphis; CMYK; STEP Inside Design; HOW; The Great Design Show. Artist residences include: Altos de Chavon, Dominican Republic; Mecatale, Italy

Professional experience: Art director, The New York Times, Time, Rolling Stone, Adweek, WBMG, Boston Globe

Web site: http://www.sixsistersdesign.com