Layout Who Makes the Layout? Some Guidelines in Layouting Principles of Effective Layout Planning the Pages Basic Rules in Headline Typography Cuts Guidelines in Using Photos Using Captions
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A good make-up can help sell Layout the paper. Layout aims to attract the readers and lead them to read the contents. If it is clean-cut and vigorous.” It must make a good first impression through the “packaging” of its content. A newspaper must not only have fresh. it invites reading. It also gives the paper a distinct personality. Some regularity of arrangement makes the different contents easy to find and read. Ho me End . it has “to sell. challenging job.Page make-up can be an interesting. This packaging or arrangement of types and photos on a page is called layout (or make-up). interesting materials.

being a part of the personality of the paper. The make-up man (compositor) merely follows this dummy prepared by the staff. resourceful. He must know the know how to make effective use of photos. Also. he should have a good sense of proportion. He must not merely be able to make the contents fit into the page.Who makes the The layout. to achieve harmony throughout the paper. but he has to place proper emphasis and balance. should not be left entirely in the hands of printer. However. Planning the layout gives the staff members opportunity for creative expression and it enables the paper to reflect the students ideas rather than printer’s. the page editors are supervised by the managing editor. Ho me End . imaginative and careful. The make-up artist (the managing and page editors) should be artistic. Above all. he must know the principle of good layouting. He has to be familiar with the available types. It is often practical to have page editor determine the layout of his page.

1. The area where a news story is placed increased its importance. Know the relative value of each part of the front page. Distribute headlines – Put on the front page only what is important. A cluttered page is Ho me End Next . The order of importance follows the S pattern I this manner: A B C D Build from the top down. 4. Some guidelin es in Avoid tombstoning (placing of two or more heads in the same face type at approximately the same level in adjacent columns) by having heads of more than one column width or by boxing. 2. 3.

Headlines should not have letters that impinge on one another as in fat heads nor should there be a lot of white space between letters as in thin heads. obscene. as they are commonly called. and shorter stories. small. shorter paragraphs. 7. 6. 8. give the feeling of the content not being too difficult to read. Have plenty of breathing space – “Whites”. Use photos but not bad. or firing-squad pictures. Avoid using the same type throughout – The use of more than one type lends variety.5. The label Ho me End Bac k Next . 9. This can be achieved by use of subheads. The use of caps and lower case is better than all caps.

You can avoid this by setting part of a long story two columns and by running the remaining part into the second column under the head which is set in two columns. Break then up with the use Ho me End Bac k Next . 13. Avoid bunching type. 14. whether all dark or all light. 12. 15. 16.11. The top of the every column should have a headline or a cut. Avoid separating related stories and pictures. Avoid jumping stories if all possible. Use the “ears of the paper” found at the upper-right or left hand corner of the front page for ads. announcement etc. Avoid gray areas. Avoid breaking stories to the tops of columns.

Avoid excessive leading. especially on the front page. Avoid placing cuts or boxes where they will be surrounded by body type. Avoid placing a small head on a rather long story. 18. They should be attached to the top or bottom of the pages or display that is itself firmly positioned.17. 21. 20. Ho me End Bac k . Avoid having the top half of a page too heavy. 19. A spread beneath the fold with help prevent this. Keep long columns of six-point and tabular material to minimum.

Harmony Balance Emphasis Proportion Movement Contrast Ho me End . 2. 3. 6. 5. 4.Principles of effective layouting 1.

a.1. The contents of every page and of every doublepage spread should blend into a harmonious unit. harmon y a. Pictures should not distract the eye too much from the type. No one part of the page should overshadow entirely another part of page. a. Ho me End . although there should be one dominant point of interest. Headlines should complement each other. a.

that is. balance a. a. They should not lean to the left or to the right. Ho me End .2. Pages should not seem top or bottom heavy. a. a cut may balance a group of headlines. a. Perfect balance is achieved by having like units balancing each other. a twocolumn-head may balance a box and a singlecolumn head. Occult (hidden) balance is obtained usually by having unlike units balancing each other.

except those in special sections. All stories on page one should be more important than other stories. d. The upper right-hand corner of the first page is usually considered the most important position.3. and the upper left is second. Boldface type gives more prominence than Ho me End . emphas is a. Display news according to its importance. Positions above the fold are more important than below. f. and the size and style of headline it is to have. do not distort the news value of the story by giving it a more important position or a larger headline than it deserves. The news value of every story must determine its page in the newspaper. b. c. its position on a page. e.

proporti on a. The lengths of articles should be considered. Sometimes an unusually long story can ruin the proportion of a page. Pictures must be sized properly so that their shapes will be in keeping with other shapes on the page. narrow cuts s well as square ones are undesirable. Although you should try to avoid jump stories. c. A 12 x 20 inch page is usually set in five columns. a jump story is better than a poorly proportioned page. e. Long. d.4. Banner headlines should be used only when the news really justifies them. Ho me End . The body of a story should occupy at least twice as much space as the headlines. The general format of the paper must be in pleasing proportion. each single column measuring 2 inches (or 12 ems). b.

One of the chief criticisms of perfect balance make-up is that there is no movement. a. Effective make-up should not be stilted or monotonous. Ho me End . a. With occult balance. movem ent a. Everything is balanced on an optical fulcrum slightly above the center of the page.5. a desirable rhythm directs the eye from one part of the page to another – from the most important to the least important.

Contrasting adjacent headlines will help to emphasize the importance of each other. Some newspaper copy. Both light and dark headlines should be used. a. Boxes and pictures between heads sometimes are good devices. contrast a. (There should be 5-6 lines of double column for the opening of news story). Ho me End . a. Every head and cut on a page should contrast with adjoining material. such as features or the head of the important story can be set in double column. a. a.6.

End .Planning the pages 1. The Front Page Inside News Pages Editorial and Features Pages Sports Pages Ho me 1. 1. 1.

The front page The front page is the show window of the paper. Ho me End . it gives the reader his first impression.1.

Inside new 1. Ho me End . Principles of contrast and balance should be applied in planning the make-up of facing pages. particularly in the 5-column (or smaller) pages. Inside news pages generally do not use as large heads as are on the front page.2. 1. Inside news pages should be made up as facingpage units rather than a single pages. 1.

The masthead may be placed in either of the lower corners. 3. Editorials traditionally appear Ho me End . Editorial and 1. or on the upper left hand corner of the left page of the editorial spread. 2. as is often done in streamlined newspapers. These pages must have a distinctive and dignified appearance.3.

speed. If two sports pages are used and they are opposite each other. Their make-up should suggest their content: action. Ho me End . they should be planned as a unit. 3. Use only a small sports nameplate on a one-page sports section. color. 4. Boxes and tabulations should be used frequently to break gray areas and to add interest.4. bold heads. These pages may have a bolder. 2. if possible. 5. even streamers may be used. Many action photos should be used. 6. Sports pages 1. more lively appearance than other pages in the paper. Large. just as are news pages.

The eye can read a combination of letters and spaces totaling 35 in one eye movement. confused appearance. 4. The headline should be read in one glance. Best line length is about twice the point size of the type in picas. 5. On occasion they are effective. Capitalized lines should kept to a minimum.. however. Original art work is expensive. Words and sentences set in caps are hard to read. English-speaking people read from left to right. the line should not be too wide. therefore. i. 6.Basic rules in headline 1.e. 18-point type should be set in lines about 36 picas wide for best results. 3. The layout artist should select the largest type possible that will not give a crowded appearance. 2. not from top to bottom. Ho me End . Headlines should rarely be set vertically. Type set vertically is more expensive and does a poor job of attracting since it is difficult to read. and too much variation in type faces gives a disorganized. Hand lettering should be used sparingly. the effectiveness is drastically curtailed if caps are used frequently. Anything beyond that will not convey the message to the reader in a hurry. Headlines should be limited to fewer than 35 characters.

Cuts are usually made from photos. Less common are diagrams. Cuts make a page attractive and serve as focal around which to plan a page. charts and cartoons. maps.cuts An essential part of layout is the use of cuts. Ho me End .

Have only one point of interest. Crop a picture intelligently. Do not skimp on space for a picture. 8. guidelin es in using Avoid “firing-squad” photos. Leave some space on the side towards which the subject is facing. In a group photo. In portraits. Ho me End Next . 9. c. each face should be no smaller than a 25-centavo piece.1. f. emphasize details such as eyes. Dramatize essentials and eliminate nonessentials d. 10. Look for the point of interest. Use action shots. b. e.

Use proper captioning – by the photographer. Strive for a good photo (or cartoon) on every page. People in pictures should be looking in towards the center of a paper. retouch any details that will make this obvious – watch on the right wrist. 8. Sacrifice the body to play up the face. 7. left-handed salute. Use good. 13. 11. (Give him a credit line. Avoid half-column cuts. 12. Scale pictures properly. Look for photos with sharp details and contrast. etc.5. If the picture is reversed. 10. 9. Ho me End Bac k . large prints for reproduction. Plan photographic needs with the photographer.) Don’t place cuts on the fold. 6. 14.

Write short simple captions. Using caption 5. 6. Use bigger. Have the picture in the front of you when you caption it. Say when or where the picture is made. Avoid opinions. 9. 8. Prefer catchlines to overlines. except for a caption story. Avoid expressions such as “is pictures” Use the present tense to describe action. 3. Ho me End Next . bold types than the usual body type.1. 4. They are more readable. 7. Describe what is happening without being obvious. 2.

In letter press printing.10. (Larger prints and drawing are preferred for photoengraving. cuts are usually made by the photoengraver. check the number of people against the number in the caption. the process of preparing for the printer is basically the same.) Otherwise. In the offset process. Check agreement of verb tense with adverbs of time.   Preparing “cuts” for the printers: Reproducing photographs and other illustrative material differs with the printing process. photos and line-drawings go directly to the printer. Ho me End Bac k . If all persons are identified. Actual size is preferred for the offset process. 11.

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