elements of newspaper design
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Elements of Newspaper Design8/10/2009Sanjay Ranade, HoD,
DCJ , UoM
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Putting Newspaper Design into
Perspective
Content is still the carrying point. Readers want
to be able to look at the paper very quickly andknow what the news of the day is and they don't
want to be scared away.
Randy Stano director, editorial art and design Miami Herald
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No matter how or when news breaks, or how biga story is, the weekly or daily paper serves as amajor source of news in a community and thenation.
How the design editor places elements on thepages guides the reader as to what is the most
important news, and what is not.
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Editors of the 1980s had become more aware of
graphics, that many newspapers had hiredgraphics specialists and that their surveys ofreaders now frequently included questions onappearance as well as on content.
It was found that as results dictated changes,
publishers became increasingly willing to acceptthe importance of appearance and allocateresources to improve it.
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Most editors will not put graphics on apage--especially a news page--
randomly or for the sake of
decoration.
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Graphics must be purposeful.
Form follows function.
Have a reason for every design element you use.
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Because newspaper stylebooks establishguidelines--not rules--graphic journalists arequick to recognize that the standards of oneeditor or designer do not necessarily agree withthose of another.
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Therefore form follows function may not bealways popular in newspapers as in the case ofautomobiles where some of the best designshave not been functional.
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Function does not always have to inform; whenyou take these big reverse letters that featurepages use to kick off chapter headings--as it
were--the big T doesn't inform anything. But itdoes provide contrast or points of interest or a
little salesmanship.
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With reference to fashion sections, where anattempt is sometimes made for a breakthroughin design, the pages sometimes have weird little
borders, or angled bars.
These don't contribute to the information or
understanding but they do serve the purpose of"salesmanship.
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The design editor is faced dailywith the paradox of packaging
content simply but also thoroughlyand even elegantly.
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Every day the design editor is faced with
these circumstances:
Reporters have written their stories;photographers have completed theirassignments, and the best pictures, maps and
charts have been selected for printing by thepage and section editors. After reporters,photographers and artists have created content,then designers are free to work. The questionthen arises: How is the news to be
presented best?
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No matter what the news of the day has been,the reader anticipates an appropriate mix oflocal, national and international news plus newsfeatures-each presented accurately, clearly andfairly. This expectation should be complemented
by design that effectively organizes the display ofnews so the reader will be easily guided throughthe paper.
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Whether design is achieved extraordinarily--byan editor making decisions about momentousnews--or ordinarily--by the operation of routinedesign decisions--newspapers achieveconsistency and flexibility through a complex
network of design principles.
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WHAT THE TOTAL PAGE CONCEPT
IS AND HOW IT WORKS
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Through the Total Page Concept (TPC), editorsorganize a page so that the reader can easilyidentify the importance of the news. The TotalPage Concept encompasses the relationship ofall the parts or elements needed to create a page
in a publication, such as captions for photos,headlines for news stories, the type and even thethin borders used to outline pictures or place a
box around stories and advertising.
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The Total Page Concept articulatesthe fullest concept of design, on
the assumption that designsupports verbal content.
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The front page provides a display of what'simportant of the day's or week's events, withlarger headlines relating to the news that affectsor may be of interest to the greatest number ofpeople.
Newspaper readers are initially attracted to theproduct whose type and words are easiest to
read and whose pictures and other graphicsmost effectively portray the news.
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From the front page, the audience is then luredto a story on an inside page by a short headlinereferral--a "reference note."
Elements in the referral include a statementabout a story and sometimes a small photo or
other illustrative graphic enclosed in a box. In effect, the referral sells the news; it makes theinside pages appear useful enough for the reader
to make a time commitment to them.
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The need for this "selling" function is clear: Ifthe consumer stays only momentarily with thefront or inside pages of a newspaper, then it is
less likely that the advertising--which pays thesalaries of all who are employed at thenewspaper plant--will be read.
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TPC design must help the reader not onlythrough display, but also through the use ofgraphic elements.
These elements become a part of design in theway they are treated.
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Symbols represent something else
by reason of convention that is :agreement among its users.
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Picture, on the other hand, usually show objectsor things as much as they are.
However, on occasion, pictures may also be usedas symbols as in the case of specific days.
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Both picture-symbols and word-symbols are asarbitrary in terms of relating directly to theirreferents and must be learned in the same way
that language is learned.
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Pictures and written language
share a remarkable similarity
although they perform different
functions in graphic
communication
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Visual images make it possible for us toconsider things, be in places where we are
not.We can deal with the imaginary, thingsthat are divorced from reality.
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The receiver of a visual messagewho seeks to understand the
message must readit. Reading may be defined as extracting
information from visual images. This means that both pictures and the words areread.
This reading, however, is different.
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The eye scans along a written line, makingfrequent stops to take in a few words. Only four or five words can be handled at each
stop. In order for a reader to extract information froma picture, which is a larger area compared to the
four or five words of text at a time, the eye of thereader must scan a picture, making frequentstops.
The information taken in at these stops is thensynthesized into a meaningful whole to extractinformation.
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Of the two types of images, word-symbols aremore basic to effective graphic communication.
Language is, after all, the primary means of
human communication, and words play animportant role in thinking and decision making.
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The written word is an extension of the spokenword.
However, transforming written speech intowriting bypasses facial expression, tonalinflection, and gestures.
Therefore, it is necessary in presenting a
written message to make up for this lossby putting words in as effective a visual
form as possible.
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Printing is the means ofreproducing visual images for mass
communication.
Form is inextricably involved withmessage content the meanings orideas being communicated.
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The writer works with a vocabulary of words anda syntax,which refers to the ordering of wordsinto structures that show the word relationships.
The writer has certain ideas in mind andstructures the word codes so that they will giverise to the same thoughts in the readers mind.
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The designer of printed messages also workswith a vocabulary consisting of points, lines,shapes, textures and tones.
Like the writer the designer can organise theseelements into a structure or form to direct thereaders thought processes.
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The effectiveness of a printed
message, then, is the result of thewriter and the designer expressing a
common meaning
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In different ways, the three mostimportant designs-informal, or
contrast and balance; brace orfocused; and modular or quadrant-
manifest TPC principles
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Informal, or Contrast and Balance-
Elements in an informal design are displayedaccording to their importance or reader interest,
beginning at the top right (where the right-
handed majority of readers look first), then topleft, back to and down the right-hand side,across the bottom to bottom left, and then to thecenter of the page. This arrangement follows theorder that most readers will use to look at the
page, before exiting at bottom right.
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The goal is to balance the text and graphics awayfrom the page's center in varying distances.
While an attractive informal page design is an
achievable goal, the difficulty lies in not creating"walls" that would split the page in two or threesections.
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Brace, or Focused
The key aspect of the brace design concept is asingle element used to create immediate focuson the major story. The top story is braced by the
other parts of the page; elements such asheadlines and photos are set much smaller thanthe No. 1 story. On all page designs, the No. 1story should immediately arrest the reader'sattention.
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Brace design does this very well, but problemsarise on a routine news day when there is nostory that warrants a big display. Unless
justified, the top story's use as the dominantelement will give it too much emphasis.
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Modular, or Quadrant
The modular page is broken into mostlyhorizontal shapes with vertical shapes tocomplement the design. A dominant rectangle is
usually located above the page's midpoint, withlarge photos and illustrations adjacent. Whitespace is used to create a breather, especially
around the headlines. Many of today'snewspapers have adopted the modular designbecause it places the stories and graphic
elements in neat rectangular shapes.
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Modular design allows for bold and lightheadlines next to each other, sometimes withone of the stories set in a standard-column width
and one in an adjacent column set in a box. Also,modular design encourages the editor to placerelated stories and graphics adjacent to one
another.
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y In the modern newspaper's effort to have massappeal while also targeting metropolitan andsuburban markets with different editions, a variety ofgraphic elements are being utilized to make a moreattractive product.
y
These include printing special topic pages andsections, printing photos larger, a greater use ofreference boxes atop page one and on inside section
pages, more use of short digests of information,printing small thumbnail photos along with stories,and the use of six wider columns rather than eightnarrow columns per page.
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y Like any other competitive product, newspapersconstantly look for ways to appear similar to theircompetition in that they produce a vehicle to portray
the news, but also dissimilar so they can attract theirown committed readers.
yWhen two newspapers in the same city are produced
by the same management group, the factors thatusually bring readers to one paper or the other arethe work schedules of the population and the
delivery time of the publication.
j yDCJ , UoM
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Therefore, the two newspapers may be differentonly in their use of headline type or captiontype--but seldom text type--while designing their
papers according to similar guidelines. This is aconvenience for the editors and designers
because it obviates having two extremely
different design styles.
DCJ , UoM
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MAKING THE DESIGN SYSTEM WORK
Some newspapers have evolved from a weekly to
a daily. Others remain a weekly, but have grownlarger. On all of these changing publications,adjustments in staff and management
philosophy occur. Each editor of the paper andeach specialized section sets up a design identity,
beginning with the familiar style of page one.
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Day after day, the reader is presented with anorderly package of news, features and stories insuch special-interest areas as sports, business
and life style.
But if the paper's typography and art are to
look like they have indeed been publishedas a single entity, a subtle but unifieddesign philosophy should be obvious to
the reader.
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Design is the deliberate arrangement
of objects to achieve a predetermined
effect.
In graphics, that effect is the two-
dimensional representation of an
abstract idea
DCJ , UoM
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The newspaper fails as a vehicle ofcommunication if the editor places the elements
on any page by fitting them into a preconceiveddesign pattern.
It is neither creative nor responsive to the news
merely to design a page with all elements laidinto a rigid format, then place each day's or
week's pages of text and graphics in locations
where the measurements are exactly the same asthe day or week before.
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The news should be packaged with a
logical sense to the text and graphics
relationships, but the packagingshould be subtle.
DCJ , UoM
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News does change from page to page
and section to section, and the designshould be altered accordingly.
But if the Total Page Concept is to be consistent,standards should be written to guide designersin their placement of heads, stories, photos and
illustrative material.
J
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With one newspaper's editors/designers
numbering as many as 50, there are too manypeople working too many shifts to sit down anddebate how best to maintain consistent design.
Consistency through flexible standardsserves a twofold purpose: The staff is able
to make design decisions, and the readeris likely to see the newspaper as a
uniformly credible product.
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To help the reader in a hurry, an efficient andimaginative newspaper package is vital.Elements must be placed on each page with a
conscious awareness that the newspaper ispublished to convey the news to the reader: localnews in the community weekly; and local,
national and international news in the daily. Theamount of space allotted for national andinternational news will vary for the dailynewspaper, depending quite simply on thenumber of pages available.
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Readers look to their newspapers forinformation and education: to see how their taxdollars are being spent or what their city council
or school board is doing, to follow a sports team,or to read about an event or a celebrity inanother state or another country.
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Designers/editors who comprehend the reasonsbehind a reader's need for putting time aside toread the newspaper and who implement the
Total Page Concept to serve that need are morelikely to encourage the reader to buy the productregularly, and its advertised goods and services
as well.
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The characters of Harold Hill inThe Music Man and Willie
Loman in Death of a Salesman
demonstrated fully thecommandment that all in the
newspaper business mustcomprehend: Know your
territory.
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The territory of each newspaper is
ascertained by looking to see preciselywho its readers are.
The effective application of
demographics and psychographics canassist editors in presenting news that
its readership wants and needs.
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The source knows what is to be said, themeaning that is to be imparted, the ideas thereader is to acquire, has a verbal vocabulary and
a vocabulary composed of visual elements and averbal and a visual syntax.
Syntax means the ordering of the verbal and
visual elements to show their relationships sothat the intended meaning is correctlyinterpreted by the reader.
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The reader must figure out the meaning forhimself, his responses are not passive orautomatic and the reader is engaged in a process
of decision-making deciding what meanings arebeing signalled.
If any of the elements, visual or verbal are
foreign to the readers experience, correctinterpretation will be difficult.
The effect of a properly written and8/10/2009Sanjay Ranade, HoD,
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The effect of a properly written and
properly designed printed message is
synergistic.
Unless you know the meaning of properly
written, properly designed and synergistic youwill not understand the meaning of thestatement although it is an accurate statement.
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One of the major contributions towardunderstanding reading has come from studies ofcommunication systems in the form of a precise
definition of information. Information takes a number of different forms
as it moves through a channel between the
source and receiver.
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The reader is engaged in decision making withrespect to communication.
He has to select from among alternatives.
The relationship between the amount ofinformation received and the number ofalternatives is not direct.
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The relationship between information andalternatives can be expressed as a measurementof information called a bit.Abitis equal to one
half the alternatives at any time.
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One bitresolves the uncertainty between twoalternatives.
Two bits resolve the uncertainty among four
alternatives. Three bits resolve the uncertainty among eight
alternatives.
Therefore, how many bits are needed to resolvethe uncertainty among 64 alternatives?
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Information and Redundancy
Redundancy exists whenever information isavailable to the reader from two or more places.
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A message is redundant if it contains
more information than it needs to.
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In terms of information theory, uncertainty ornumber of alternatives can be reduced in two ormore ways.
This implies that a shorter message coulddeliver the same information.
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The English language in print offers an excellentexample. Sequences of letters are redundant;
some letters show up more frequently thanothers.
The letters e, t, a, i, o and n are most frequentwhereaszand y seldom appear.
Does any letter other than u followq?
It has been estimated that English is more than50 per cent redundant.
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What about redundancy in pictures?
Tests have characterised predictable shapes in thismanner:
They tend to be symmetrical
They involve straight lines or lines changing in aregular manner
They tend to involve few angles
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A major purpose of redundancy is tosave readers time and difficulty in
understanding what they read by
increasing predictability.
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Why do we read?
Because we must.
Humans and animals are programmed to a) seek
out information, b) select from the total and putinto proper form what is potentially useful tomake their way through life, c) organise the
information into a memory store and d) retrieveinformation from memory for use in decisionmaking.
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The organisation of information and experiencein memory is called cognitive structure.
The building of cognitive structure begins with
perceptual learning which is the process bywhich we .
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Determine what the things and events in theworld around us are and
Organise them into our understanding of the
world.
This process is lifelong. This is why our world viewis constantly being changed.
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Therefore, in terms of information
theory, a perception is the reduction
of uncertainty about what things andevents that confront us are.
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However, we cannot perceive the world as itreally is.
Our senses are grossly inadequate.
The world exists as a dynamic whirl of energy ina universe of energy; but the energy form we calllight waves that our eyes can detect gives but
little hint about what things really are.
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To call something a chair is to note
its similarities to other chairs and
ignore any differences.
These similarities are called defining
features.
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Defining features may be visiblefeatures such as size and shape or
they may be semantic.
One can distinguish between a knife and a forkvisually. When both these are categorised astableware we know something of their
interrelationship and we are at a higher level ofabstraction.
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Defining figures serve as information
because they reduce uncertainty.
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Word symbols lie along a continuumfrom the concrete to the highly
abstract. Nandini cow livestock farm assets assets
wealth.
We have moved from a name to a more concrete
cow and from there to an abstract idea ofwealth.
Pi li l i il
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Pictures too lie along a similarcontinuum.
Photographs, especially in colour, would be themost direct refeence to the real world whereasillustrations, paintings, drawings generally tendto be less direct and are rendered in varying
degrees of abstraction.
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By abstraction we mean first the
enhancement of those features of acategory that best identify it (make it
recognisable) and second, thesuppression of those features which
are not generic to that is, not basic
to comprehending it (perceiving its
relationships to other categories)
Th i t f d li t
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The communicator faces delicatechoices in finding the proper level of
abstractedness Will a true-life photograph serve best?
Perhaps the subject can be highlighted and thebackground subdued or eliminated. Can circles or pointing devices be superimposed on
the reproduction of the photograph do drawattention to defining features?
Perhaps a diagram can more effectively deliver acomplicated message that could only be presented
verbally in a dull recitation of facts and figures.
Th H IPS
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The Human IPS
Three basic sub systems characterise anyinformation-processing system (IPS)
Input
Information processing Output
Wh t i h i ?
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What is comprehension?
Understanding the content or meaning of themessage.
But, what is meaning?
The chief ordered the police to stop allgambling. What is the meaning of this
statement? Is the meaning the same toeverybody?
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Meaning in terms of information processing isthe reduction of uncertainty to the point that thereceiver feels satisfied that he or she
understands.
If the so rce did his or her job
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If the source did his or her jobproperly and all uncertainty is reduced
at the receiver end, only onemeaning can result.
The source and the receiver will be ofone mind. This what is envisaged in
the Indian communication theory of
Sadharanikaran.
Information stored in memory
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Information stored in memory
A hypothetical and partial memory network thatrelates the cow to other living organisms canhelp us process information better. For
instance, cow - four-legged - vertebrate -herbivore - mammal - living organism.Information arranged hierarchically in this
manner - from low level to high levelabstraction can be processed faster.
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Are cows four-legged? The answer yes to thisquestion would be far more immediate than thesame answer to the question Are cows
mammals.
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Categories, together with their attendantfeatures seem to be stored in memory. When theprinted images words or pictures are
perceived, there is a reaction within the totalnetwork of knowledge.
STM LTM
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STM-LTM
Short term memory or STM and long termmemory or LTM are not locations or a place inthe brain. These are processes or subsystems of
the total IPS.As soon as information enters the human IPS an
abstraction process begins.
Information enters a subsystem of the STMcalled the Visual STM or Sensory Store where itpersists perhaps for a second or so.
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From the Sensory Story abstracted informationmoves to STM.
Either at the time the information is sensed or
while it is still in sensory stage, visualinformation is transformed into neural codes.
Picture images, it is believed, are normally
transformed into iconic or visual codes. Wordimages are transformed either into auditory orsemantic code or visual or iconic code.
Some situations are easier to resolve if wordb l f d i i i d
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Some situations are easier to resolve if wordsymbols are transformed into an iconic codeallowing the reader to image what is presented
verbally.
Watch the processes in your brain as you answer
this question How many stairs are therebetween the first and the second floor of your
building? Are you using STM or LTM to answerthe question?
Th d ti f i f ti i STM i l ti l
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The duration of information in STM is relativelybrief and the capacity of STM is limited to five to
eight unrelated units such as random letters.When we read words, the eye takes in
information only at stops or fixations. Four or
five meaningfully related words (perhaps 25 to30 letters) can be seen, held in STM, andprocessed that is , be interpreted to be cues for
reducing uncertainty in one second by anefficient reader.
Then the eye jumps to another fixation.
It is during these jumps, called saccades, thatprocessing or match-up with LTM information
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It is during these jumps, called saccades, thatprocessing or match-up with LTM informationoccurs.
Thus, processing of verbal information in auditorycodes proceeds serially.
It is theorised, on the other hand, that pictures,transformed into visual codes, can be handled by
parallel processing.
One has to move ones eyes along lines of type with
words falling within an area of narrow focus.Information from pictures is not limited to this
narrow area. Such visual images can be more
quickly recognised.
Each newspaper is different.
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Each newspaper is different.The staffs for news editorial, advertising, clerical and
pressroom are unlike any other paper, regardless of
the size of the community.Even if the community has the same population asanother, it may have more or fewer newspapersubscribers.
Employment opportunities are different, as well as theages and education of the people, the weather andthe leisure activities available.
All that the newspaper facility has to offer inpersonnel and equipment and all that the circulationarea itself offers mix together as the newspaper aimsto serve its readership.
The balance of news content and
presentation must complement the
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presentation must complement thereaders' needs.
Editors have realized through marketing studiesand the improvement of all media systems that
people are demanding better products for theirmoney. Newspapers are a consumer product. Looking at
newspapers as a product or package has openedmany editors' eyes to the fact that appearanceand content must go hand in hand to compete
for consumer attention and money.
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Newspaper management's goal is to reach thelargest number of households; to effect this,management needs to meet the community's
expectations and to be consistent in a time oftight economy.
The successful newspaper uses the mostsophisticated market methods in
monitoring its readership.
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A reader purchases a particularnewspaper for a variety of reasons,
mostly related to a sensedinformation need or a sense of
identity with the community that thepaper serves.
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The purchase may be one of convenience--thetime of day that the paper is available--orperhaps this is the only newspaper that covers
community news in depth. In addition, thedelivery or newsstand price might be less thanthat of the competition, or the reader may like
the paper's use of color, the stories' lengths orthe amount or quality of photos.
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A newspaper's survival is directly
related to its seeing the value of a
strong product and making a correctmeasurement of the product's
recipients.
If you're going to try to survive withundereducated riters and correspondents ith
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y g g yundereducated writers and correspondents, withlow quality photos, with sloppy graphics, design
and poor press work, you're kidding yourself.You won't make it with ad people who are
merely pickup clerks rather than aggressive,innovative salesmen.
Survival will be difficult with editors and
reporters who aren't tuned in--tuned in not onlyto your community, but to your area, your state,country and the world.
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Editors often make assumptions about readersthat have no basis in fact.
Therefore, research is necessary to establish
what readers want in a paper's particularmarket.
Research that is specially prepared, because
many surveys deal heavily with the paper'scontent rather than appearance.
Three important factors should beestablished from design research
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pestablished from design research
the nature of the market and the lifestyles andattitudes of the people in it;
the nature of the newspaper; and the nature of the competition.
Readers' needs are found through
demographic and psychographic
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g p p y g pcritiques.
Demographics are the statistics kept aboutpopulations related to records of births, deaths,
marriages and diseases. Psychographics are thequantitative data about the activities, interestsand opinions of a population that describe
segments by the individual and collectivelifestyles of their respective members. However,these critiques must be done carefully
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The paper should reflect in content
what the readership wants to read,and in design whatever is appropriate
to the specific audience's interests.
Part of the enticement to read is
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Part of the enticement to read isembodied in the content of the news:the subjects and stories that are
written about, and how well they are
written.
But the news department mustcontend with much more than that.
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To keep the reader engaged, an attractive designutilizing the Total Page Concept must bepresented.
This is why it is crucial that editors know theiraudience, know how to make realistic decisionson what is run, and plan how stories and
graphics will be displayed in the precious spaceavailable.
UNDERSTANDING WHAT NEWS IS
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If news is the paper's central purpose and thereason readers purchase the paper, the newsstaff should do its best to serve that purpose with
well-written and tightly edited stories and theuse of strong, purposeful graphics.
People who read the newspaper frequently take it astheir own personal possession, an extension of the
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p p ,community's personality. Readers make jokes about
the paper--about its name, or the time some (localor outside) personality's name was misspelled or awrong photo identification was made.
However, the local paper is also the first place thatpeople take their wedding announcement, or look
for a "write up" about a family member elected tooffice in a community organization, or a story abouta high school or college team's outcome in a sports
event.
Here are some interesting insights intowhat news is:
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what news is: Local news coverage, no matter how you define
it, must not be shortchanged. Local news needs strong writing and capable
people to report it. It can't be left to clerks and
stringers. Good reporters and good editors areessential.
Readers are becoming more sophisticated every
day. They know when a story is covered andwritten correctly or when it is just left to a non-professional.
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It's more than running the photo of thehomecoming queen.
As the community market and the newspaper's
policy are simultaneously reviewed, muchconsideration must be given to why the publicpurchases the paper. Usually, the reason given
is: "I can't get along without knowing what isgoing on in the community."
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In the 15-20 minutes the averagereader spends with the paper, only 10
percent to 12 percent of the news isread.
Research indicates that readersl if i f ti i th i t
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classify information in the paper into
two areas:
information that is interesting and/or useful;and
information that is not interesting and/or useful.
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Newspaper readers feel that their
purchase of the paper involves anunspoken contract: The newspaper is
the vehicle they have chosen fordiscovering news content, but finding
it should not be a matter of chance.
Interesting pertinent information
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Interesting, pertinent information,
especially "hard news" stories--thestories that readers should know about
to be informed citizens--must becarefully written and creatively
displayed.
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Design purpose must make sense to
the reader even if only subliminally.
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Excellence in writing is no less crucial, but thistoo can be helped by design. If the story'simportant points are made in the lead paragraph
and several that follow, and if subheads areprinted boldly enough with sufficient whitespace around them to provide direction, then the
reader should correctly perceive the story'simportance, catch its main points and besatisfied.
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Whether presenting "hard" or "soft" news, it is vital
that reporters, editors and graphic designers realizethe importance of telling the story completely.
This is because publication is a one-way medium.The reader who does not understand the story is notlikely to pick up a telephone and get into a two-way
conversation with the writer to have the storyclarified--but is likely to buy another newspaper, if it
happens too often.
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Newspapers have tried many experiments ontheir inside pages, on section fronts and on theirsofter features; but, with few exceptions, radical
changes have not been tried on the news pagesthemselves.
This is because most news editors believe that
treating hard news lightly might take away fromthe paper's news integrity.
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Nevertheless, the news pages set thetone for a TPC-designed newspaper.
Since news pages must clearly signalstory importance, they should haveno less vitality to them than the rest
of the paper.
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On all of its pages the newspaper must be
recognized by editors and readers as a visualmedium.
The mosaic of shapes and sizes in a particularpaper will be chosen by the harried reader only if
there is an immediately understood organizationof graphics and words.
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Organization makes the news
accessible, and it clarifies the paper's
sensitivity to readers' needs.
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A newspaper's philosophy regardingits news sections can be determinedby examining how thoroughly itsstories are edited, how its photos andillustrative art are displayed, and the
role that the art department hasplayed in making decisions.
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The important point is the beginning
Integration is achieved when the art and news
departments have both given careful thought tothe final product from its conception tocompletion.
If, from the inception of the story, the designer isinvolved in the process, he might say, "While you'reout getting the story on the water shortage and the
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out getting the story on the water shortage and the
long queues before municipal taps perhaps you'dwant to get details of how water is consumed, howpeoples lives are planned according to when the
water will come and get a map of the city showingwhen there is a water cut and where.
We might decide not to do the traditional story, but
make a list of the suburbs with a map so the readerwould get the kind of information he needs in hisdaily life from the story--rather than writing a story
and simply showing a picture of people in queues.
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This is a structural approach that helps
complement the narrative one.
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Among the graphic design questions
that dynamic, growing newspaperstaffs must address, the most basic
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staffs must address, the most basic
include: Does the newspaper's art department actually serve as
an advertising support department, or are some art
people being integrated into the news department? Is there a plan for training news editors in the use ofgraphics and in working with or as art departmentpeople?
Does the newspaper have a graphics editor or editorialdesigner; and, if so, is this individual part of the newsteam, or news trained enough to provide input when thepaper is on deadline?
For a publication to be successful in thecomputer age, its editorial staff members need to
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p g ,
understand the function of art. Likewise, the art department that trulycomplements the news department has a
department head and staffers who participate innews meetings with the news editors andreporters; this kind of arrangement also serves
well the purpose of the newspaper: to providethe full story, in written and graphic terms.
NEWSPAPER DESIGN AND LAYOUT
Of ll h i d di f i i h
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Of all the printed media of communication, the one
that has placed the least emphasis on formthroughout history has been the newspaper.
The result has been predictable: the development of
a medium whose appearance has paled incomparison with magazines, books and otherprinted literature.
Designers of printed media for years have pointed tonewspapers as the most awkward, least attractiveand least readable of these media!
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Why newspapers have been made up
and not designed
Problems of format
B d h t b t i h id d
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Broadsheets are about 15 inches wide and 23
inches deep. They are of considerable bulk with scores of
pages and several sections being common.
The large size is more an historical accident and theyare still with us because we have invested inequipment that can deal with just these sizes.
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q p j
The British newspapers adopted the broadsheet sizeto circumvent a tax based on the number of pages. The Americans followed suit. The development of the Penny Press in the America
just before the Civil War resurrected a smaller pagesize to attract a new audience of factory labourers.
At about the same some business or politically
oriented newspapers went to extremely largeformats they had pages three feet wide and fivefeet deep and were called blanketpapers.
Heavy investment in steam powered presses and
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Heavy investment in steam powered presses and
related machines such as folders that wereintroduced in those years made it impossible toexperiment with size and we were stuck with thenow standard broadsheet newspapers.
The tabloid, because it is half the size of thebroadsheet, fitted the standard equipment, with
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q p
one additional fold being the only specialrequirement for production.
Unfortunately for newspaper readers, the use ofthe tabloid has been limited because it wastarred with a label of sensationalism when it first
came into use in the US.
Lets look at the reasons why newspapers are not
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Let s look at the reasons why newspapers are not
only awkward but also least attractive or evenunattractive!
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Narrow newspaper columns and the resultantverticalflow of design elements that have been acharacteristic of newspapers for years have also
t b th lt f hi
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not been the result of mere whim. Primary newspaper financial support comes
from advertising and column inches and agatelines have been the basis for space rates toadvertisers.
Thus practical economics has favoured narrowcolumns: narrowing columns results in moreagate lines and column inches per page, and
widening produces fewer agate lines and columninches per page.
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Why have newspapers gotten awaywith it? A simple rule in design is the importance of
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A simple rule in design is the importance of
graphic design varies inversely with the interestof the reader greater the interest the lessimportant the graphics.
This situation is now changing because readers
media consumption is changing.
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Times are Changing So are
Newspapers
Effects of Television A direct impact of television has been that
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A direct impact of television has been that
newspapers have lost their advertising to television. Reader time has been lost too.
There has been an increasing passiveness toward
media the development of watchers rather thanreaders.
Television news is more real time.
Newspapers are forced to redesign, provide greaterdepth of treatment and additional analysis as wellas specialisation and departmentalisation.
Effect of Magazines A resurgence of magazines, including the revival of
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g g , g
some general consumer greats of the past butespecially among the specialised and regional types,also is affecting newspaper design.
Magazines have been joining suburban newspapersand free circulation shoppers in competing withmetropolitan dailies for local, state, and regionaladvertising.
If newspapers are to meet such competitionsuccessfully their appearance must match the highquality of magazines.
Effects of New Production Technology Offset printing is the most commonly used reproduction
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system for all media and has impacted design innewspapers overall. With offset printing, illustrations can be handled more
economically, more efficiently and with much better
results. Arrangement of elements on a page is no longer limitedto the unbending right angles of metal type engravings.
Cold type area composition and perhaps most
spectacularly, pagination by computer and cathode raytube typesetters have forced total rethinking ofnewspaper design and makeup to developing computerassisted page layout systems and templates.
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Designing News Space
The public's appetite for news and information is never
fulfilled. The public wants all the news, the bad and the sad along
with the good and the glad.
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It wants to enjoy the best of the news and learn how tocope with the rest of it.
It wants to look beyond the color to the content, beyondthe cosmetics to the consistency, beyond the promotionto the product, beyond the immediate emotions to thelogical conclusions.
It wants its media to keep up with its needs and adapt to
its lifestyle and it does not buy the old way-we've-always-done-it views of editors and publishers who do not thinkanything should be tried for the first time
Pages are not just brought together by magic--
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g j g g y g
even by a design editor. Sequence, or the placingof elements on the page in a prescribed order, isessential to designing news space.
When advertisements are included on a page,they are placed first, by the advertising
department. Then the news department takesover, placing photos and illustrated art next, andheadline and text type last.
This placement order is the rule
because: advertising sizes must be exactly as they have
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g y y
been sold to clients; photos and headlines can be sized somewhat
smaller or larger, but they cannot be cut orenlarged drastically to fit a space; and
text type can be set to fit a space, or the story can
be tightened or continued on another page.
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NEWS PAGE DESIGN STRATEGIES
News pages particularly need a specialdesign strategy to convey each story
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effectively, which will necessarily berelated to news judgment.
The best story of the day may not have or
need art to accompany it; the best art maynot have sufficient importance to be on
page one or anywhere else among thestraight news pages.
An insignificant news item or photo
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should never receive undue play or beslanted or edited without
consideration for the integrity of thenews.
One of the main difficulties with elevating theimportance of design has been the ever-presentpressure of the deadline. There may be a story
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partially written with its art yet to come, and thepage is on deadline. A beautiful page that impelspeople to read it because of its content and
design is one thing, but every news editor--evendespite the pleas of the strongest graphicseditor--has to go with the graphics that are
present at deadline.
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A reader's response to stories isencouraged or impaired by their "play"
or placement on the page.
Page one is the page by which the remainder of
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the newspaper is measured in terms of storiesand design. It is where the reader initially
becomes acquainted with the paper, and--while
it changes with every edition and every day--itslook is the product's instant identity, positive ornegative.
The close proximity of front-page text and artcan cause them to compete with one another.
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If the design fails to direct the readerthrough the page, his or her interest
will be redirected to other options--including not reading the newspaperat all.
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While having fewer stories sometimes gives us a
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harder decision on which stories we should runon the front, it also gives us a cleaner lookingpage and the opportunity to more visually play
up some of the other potential front page storieson other news pages.
Segmenting a story--breaking it into smaller
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units--makes it less forbidding to the readerthan the same story run as an ashen-gray massof type, and appearing long.
This is especially true for news stories and news
sections.
Segmenting can be accomplished in
any one of several ways
It may be a photo that catches your eye or the
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caption that tells a little bit about it. It may be the quote or splitting the story as three
different phases with a 14-point intro explainingwhat you are doing.
Segmenting gives you more chances tocatch the eye of the reader and get himinterested.
The design editor is given more choices to work
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with when segmenting within a modular makeupis the paper's style.
The more parts you have, the more ways toarrange them, group them. With one long story,
the only option might be to do an L-shape wraparound a picture.
A h l f i i h i
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Another value of segmenting is that itcan save space.
Though the newspaper is a messengerof both good and bad tidings, the
i f i d i ill i
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consistency of its design will improveits chances of being received
favorably, especially if its contents arewell organized and therefore easily
read, right from the start on page one.
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Page one is the entryway through which the
d h th ti
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The front page, in effect, is the
corporate identity, it is the prime
real estate in journalism
reader approaches the entire newspaper.
I d t b th hil t th
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In order to be worthwhile to thereader, page one must provide direct
access to its own content as well as to
the remainder of the newspaper.
Prime content and attractive graphics are a good
b i i b t i b d th t th i t
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beginning; but, going beyond that, the existenceor lack of an easy-to-read index and relatedtypographical elements will either guide the
reader into or steer the reader away from theinside pages.
A quick index should be provided on page oneeven if a more complete index-call it newssummary, briefs, capsules or "What's Inside"--
appears on page t o or three
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appears on page two or three.
Readers will often first take notice of a summary
referring to more details on an inside page; thenthey read through the whole newspaper, andcheck back with the summary to make certainthat nothing of interest has been missed.
Editors who choose to use news summarycolumns and boxes may have the best of both
worlds," Schweitzer reported.
They may increase the reader appeal of the front
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They may increase the reader appeal of the frontpage and keep the story count high at the sametime.
A corollary fact would be that summaries increase
story count and enhance a modern tabloidformat--which is not to be confused with the
sensational tabloid newspapers.
News summary items may be published
on page two or three or on page one
as a two column "chimney "
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as a two-column chimney.
Some items refer readers to fullstories on other pages, and others can
be complete in themselves.
On the day of an important breaking story, it
may be worthwhile to scrap the traditional page
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may be worthwhile to scrap the traditional page-one summaries, and to use the entire page forfull story and art coverage of the big event.
Photographs of individual faces--thumbnail size--are commonly used on the front page and
throughout the paper
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throughout the paper.
An action photo taken during a news event--even
when it shows facial expression alone--willalways have more impact than a photo made ofthe same person at a professional portrait
studio. In every case, the person should still beidentifiable despite the photo reduction.
Clear or open pages are relatively easy to design
if there are enough stories and art to use
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if there are enough stories and art to use.However, whether clear or includingadvertisements, the page design should have one
dominant element--a piece of art or, if this is notpossible, a well-displayed story--to provide aplace for the eye to begin reading.
Elements that anchor the page corners where
there is no advertising are also important for
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there is no advertising are also important forinside pages, especially clear pages, and may bedone by a variety of methods: screening a story,
running a short informational box, or printing astanding feature or column.
While the rest of the newspaper changes its contentdisplay with each issue, the opinions/editorial pageshould provide from day to day (or week to week) asimilar design format including editorials, columns,letters and other features so that the reader can
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letters and other features, so that the reader cancount on at least this one page to look reassuringlypredictable.
The op/ed page might also contain the names of thekey editors and the newspaper's mailing address,phone number and letters policy placed where they
can be easily found by readers wanting to write aletter to the editor or otherwise contact someone atthe newspaper office.
DESIGNING NEWS/ADVERTISING
COMPLEMENTS
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Inside pages are seldom open display pages.
Story lengths and graphic elements must
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Story lengths and graphic elements mustcompete for the balance of space available; thedesigner receives pages after the advertising has
been placed on them. Pages with advertising especially with many ads
or a few very large ones--need to be designed sothe reader will miss neither the stories nor theadvertising.
It follows then that a basic
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It follows, then, that a basicunderstanding of advertising is needed
in order to design news space.
Facing the formidable competitionf t l i i ' l d
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Facing the formidable competitionof television's color and
movement, newspaper advertisingdepartments have had to change
their old ways to attract readers.
Advertisers who once exclusively used
newspapers to sell their products no longer do
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newspapers to sell their products no longer doso.
Today, newspaper advertisements must lure thereader immediately to the ad through design.The reader must notice something in the ad
worth purchasing.
While some pages--such as the frontpage, the opinion/editorial page, a
photo section or a special sectionb d f ill
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photo section or a special sectionpage--may be ad free, most pages will
have one or more advertisements.Size and design are the keys toadvertising readership, not positionon the page.
Ads should always be designed
with the idea that advertising is
news, too.
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A poorly designed ad will not only
have poor readership, but will also
detract the reader from the entire
page.
Based on the ad sizes that have been sold,
advertisements may be placed horizontallyth b tt f th ti ll t k d
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y p yacross the bottom of the page, vertically stackedas a chimney of same-size ads on the left- or
right-hand side, in a vertical pyramid or stair-step manner (also on either the left or right side)or some combination of these.
It is up to the Ad Department to determine if awell or pyramid right layout should be used.
But a News Department layout policy which for
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But a News Department layout policy which, forinstance, has a briefs column down the left side
of each page must be considered.
Horizontal advertising provides the best page-
design possibilities because jagged edges aroundth d id d H h i t l d
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g p j gg gthe ads are avoided. However, horizontal adpages require the most cooperation from the
advertising department since all ads orcombinations of ads do not necessarily fit into aperfectly level horizontal line.
On the other hand, what brings people to an ad
is not its placement on the page, but the contentof the ad itself
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p p gof the ad itself.
Creating horizontal ad lines may result in"burying" an ad--placing it in such a way that nopart of any news story touches it--which isgenerally considered undesirable.
This would happen if you had three two-by-fourads [two columns wide by four inches deep] andtwo two-by-two ads across the bottom of a page.
The two-by-two at the bottom would be"b i d "
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"buried."
This is somewhat of an old fashioned idea, and
no longer seems to be the sign it once was.
After all, the idea assumed that readers only
read ads accidentally as they finished newsstories.
Today, news and advertisements
are treated in terms of design insuch a manner that visually they
appear in synergy.
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appear in synergy.
News and ads are not separate butpart of a composite whole idea
called the newspaper.
Advertisements must not onlyconform to space limitations; they
must be written accurately and clearlyif their message is to reach the reader
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y yif their message is to reach the readerand sell the product or idea. Poorlydesigned ads or those with languageerrors in them or illustrations of poor
quality, take away from news editorialpresentation.
Advertisements are built on the
message that the typography sends
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g yp g p yto readers. As a complement to
the type, illustrations, logos,drawings and photos of the
product may be used in ads.
A newspaper with one or more staff artists whospecialize in advertising art is likely to havesome latitude when it comes to how an
advertisement will be created.The artist works directly with the advertising
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The artist works directly with the advertisingsales department, receives information from the
salespeople, goes to the location of the productto make sketches, or combines advertiser-supplied and original art with type available atthe newspaper.
However, a newspaper with a very small
advertising staff and a part-time or only one full-time artist must work to use effectively the
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time artist must work to use effectively theresources of the artist along with clipbooks and
the materials supplied by the advertiser.
Purists might say that editorialk d 't d t b f
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g yworkers don't need to be aware of
what ads are on a page.
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The news and advertising department
staffs should see themselves as
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working toward a single common
goal: providing the best possiblesource of information for the
readership.
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Designing Tabloid News Space
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It's a mistake to treat a tabloidpage simply as a miniature
broadsheet page. While you can'tfit as much material on it you
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fit as much material on it, you
should create the impression thatjust as much is happening as on a
full-sized page.
Some newspapers have gone to a tabloid orpullout magazine for their entertainment stories,the television listings or special community day
celebrations. Therefore, in discussing tabloidnewspaper design, it is primary to have a clear
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p p g , p yunderstanding that a tabloid is not simply a
miniature or half-size standard broadsheetnewspaper turned sideways.
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Many things that have been said about standardbroadsheet-size papers--for instance, in terms ofthe size of art and headlines, and story count--are not true of the tabloid. The small page sized d thi ki f d i I f t
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demands a rethinking of design. In fact,
regarding design, it can sometimes be easier todevote a full tabloid page to each department--such as business--rather than work the same
material onto half a broadsheet page.
There is a confusion surrounding newspapers
that publish in the tabloid format; many peoplemistakenly classify all tabloids as being like the
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sensational papers available at the supermarket
checkout stands.
It has something of the feel of a
magazine, which is why manybroadsheet papers publish some of
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broadsheet papers publish some of
their feature sections in tabloidformat.
A tabloid is smaller and easier to handle than the
larger format; whether on a subway or at thebreakfast table, it simply consumes less spacewithout having to be folded in halves or quartersto be read.
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The small feel of the tabloid format creates
another design possibility, a feature not seen inthe broadsheet: A story or a section such asb d h b k d
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sports may be started on the back page and
jumped inside. The back page then becomes thebeginning page for a story, or a second coverpage with its own teasers to attract the reader's
attention to the inside.
Tabloids have their antecedents in the large
urban dailies created early in this century, withtheir eye-catching big photos and their emphasisi l ll h di i f
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on a single story to sell the edition--a form
perhaps ideally suited to present the morethoughtful, magazine-style stories today's
weeklies often publish.
DISADVANTAGES/ADVANTAGES
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S V N G S V N G S
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The way around tabloid design problems is
simply to "write tight."
The purpose of writing tight is to keep the reader
with the story. To avoid a drab look, one has gotto run more than one story per tabloid page,unless there is a lot of terrific art to go with that
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unless there is a lot of terrific art to go with that
single story. Go for two or, better, three stories per page-plus
art, of course.
This means editors must restrainreporters' natural tendency to write too
much.
Editors must realize that a 20-inch story may be
routine in a broadsheet, but it's long in a tabloid. Furthermore, jumping stories isn't the answer,
ith th it t
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either; the grayness it prevents on one page
simply gets shoved onto another.
The whole story should be on one pagebecause "readers hate jumps."
The fact that readers hate jumps has now been
accepted by a majority of broadsheetnewspapers too.
N i t d f t j th t i b k
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Now, instead of a story jump, the story is broken
down into smaller stories and placed on theinside pages with pointers on the front page.
While there are distinct
advantages to using a tabloid
format--such as the single-page
f d h
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containment of stories and the
availability of full pages for
advertisers--some headline sizerestrictions are inevitable.
Sizes as large as 72-and 60-point (where 72
points equal one inch) type should be usedsparingly.
The headline should serve as a complement to
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The headline should serve as a complement to
the text. It must be large enough to carry or support the
story's length, but not so large that it is bigger
than the story it heads.
On the other hand, a tabloid newspaper will
often print its largest headline at 30-or 24-point.When the point sizes begin this small, there is
not much farther to go down
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not much farther to go down.
This does not provide much page design varietyand does little to focus readers' interest on therelative importance of the news stories.
Tabloid stories can be packaged differently than
on a broadsheet because the smaller paper canbe held open in both hands, and the two pagesthen viewed almost as one
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then viewed almost as one.
The story flow from page to page makes readingthe tabloid an easy experience.
For publications with fewer pages than a major
metropolitan daily-college newspapers, forexample--a tabloid has the additional subliminaladvantage of giving an impression of more bulk
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advantage of giving an impression of more bulk.
It's twice as thick and has twice as many pages asa broadsheet section containing the sameamount of space.
DESIGNING THE TABLOID
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A poster-cover front page or this, in combination
with the beginning of a single cover story, areeffective design options for the tabloid page one.
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The page might also have "boxcars," or reference
notes keyed to the cover story and other storiesinside.
A front page like this--with large headlines
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A front page like this with large headlines,
inside references and large photos--is seen inseveral newspapers, although competition forthe reader's attention can sometimes be
distracting.
In every case, the designer should "think aboutthe opposite page" when planning out a tabloidsection.
Because tabloid pages are smaller each two-pagespread forms a tighter unit than in a broadsheet.
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