How to Create a Magazine Spread

For the project these last two weeks, we were asked by LDS.org to take an article and create a three page original layout, including, a spread and cover, using InDesign. We had some specifications on what we needed to include for the article, and because a big part of design in knowing your audience, and making a draft report, I did that first. Once the message and audience were solidified, I made some sketches to get an idea of what I wanted the design to look like. Only after I did all this, I started working on my magazine spread and cover in InDesign.

THE ARTICLE

This had to be the first step because it dictated who the audience was an the message I wanted to convey.  After reading a few, I came across Helvécio Martins’ general conference talk from 1990, “The value of a Testimony.” https://www.lds.org/general-conference/1990/10/the-value-of-a-testimony?lang=eng.  To me, the message was simple but important, something that could really resonate with the youth. I narrowed down my audience to male and female LDS members, 16-20 years of age, who are still young in the gospel, and are questioning how to strengthen their testimonies. My message was to evoke energy as a way to represent the importance of having an active testimony of the gospel. With this in mind, I knew my design had to have bright that would be eye-catching and energetic, but more on that later.

THE SKETCHES AND REQUIREMENTS

With my audience and message in mind, I made 3 sketches of potential covers and spreads. I had a requirement of 3 pages, 8.375” x 10.875”, and had to include a spread. The article with 600+ words and no subheadings, as I had to add at least 3 of them to the article were they would be naturally. The layout had to have at least 2 columns, include a pull quote, two original relevant pictures, and one word wrap. Other important elements of good design I had to incorporate were consistent headings and body copy as well as contrasting typography throughout.  I tried to include as many of these requirements as I could when doing my sketch. Although my design doesn’t necessarily look exactly like just one the sketches, but more of a combination, doing this really helped me think about my requirements and the type of layout that would look best.

THE DRAFT

After the sketches, I went out and took a few pictures. I thought a picture of the temple and one of someone reading the scriptures would be appropriate for this article, since both reaffirm the value of a testimony. Above are the unedited pictures.

Then I thought about what colors would not only look good together, but also would help the overall message and engage the audience. For my main title I thought a warm color would be good because warm colors help the text come forward. I chose a yellow-orange hue because of this and because we tend to think of yellow as an energetic color, inserting that energy into my design. For the subheadings and background of my cover I thought and aqua hue would be good because it’s still very bright but also conveys the calmness that the gospel brings us, but it also makes a nice contrast with the yellow-orange hue. Together, these colors  are part of a secondary triad, but I chose to leave out the violet to make the design more clean and simple.

With all this in mind, the clean and simple yet energetic, design, I played around with different typography. For the body copy, I wanted to use Times New Roman in 12 pt. font (an Oldstyle font), because this is the font I typically think of the Ensign has. For the title and subheadings, I chose a sans serif font, Gill Sans MT, because it’s simple and easy to read. I used a different weight of the font for the title and subheadings as well, to create some contrast.

My draft came out like this:

PDF available at: file:///C:/Users/nelva/Documents/BYU-I/MAGAZINE%20SPREAD%20DRAFT2-NelvaMoran.pdf

Another element I wanted to add was repetition, to connect the cover and spread together, not only with the colors and typography, but also with design elements. I added yellow lines next to the title and author name, and added those line at the top of the spread and the “Continue reading on LDS.org” to bring attention to that piece of information, as well as making that bold. I also decided that my pull quote could be eye-catching if I made it “creep” into the page in the corner. All these design decisions came together for my draft.

REVISIONS AND FINAL PRODUCT

After posting my draft on Facebook to have my work critiqued, getting feedback from my teacher and friends, I changed a few elements of my design:

PDF available at: file:///C:/Users/nelva/Documents/BYU-I/MAGAZINE%20SPREAD%20FINAL-NelvaMoran.pdf

The feedback I received was to make the wraparound the circle as well, make the circle bigger so the text inside had a good border, make the headings closer to the corresponding paragraphs, and add contrast to the cover by making the word “testimony” bolder and adding blue to the author’s name because it got lost on the skin in the picture. I really thought this feedback was helpful and made my design easier to read, and some suggestions were things I hadn’t thought of.

CONCLUSION 

I really think this project helped me understand the design process and how to work with InDesign. Although I had some problems with the program while creating it, I was able to get help or figure things out. I also realized how important the planning process was. Like in film, you don’t just go straight to shoot scenes without a plan. Your audience and message are the things you need to focus on when creating your design, as we want our product to catch the eye and be read. Keeping in mind those things when using colors, fonts, pictures, elements, will help improve design skills in the long run. Being open to criticism is important, since we may get better ideas and input from someone else. Overall, I know this design may not be perfect, but I feel more adequate with the skills i have obtained after doing this project.

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Photography Basics Explained

Introduction

What makes us stop and look at a photograph? What’s sets a part a breathtaking picture from just a decent one? Well, as with any art form there are several principles artist rely on to take their work from ordinary to extraordinary. Three of those principles are the rule of thirds, leading lines, and depth of field.

Rule of Thirds

Description: Western Brier Island Lighthouse

Photographer: Denny Jarvis

https://www.flickr.com/photos/archer10/3844207513/

Analysis

Here we see that the photographer followed the rule of thirds by placing the lighthouse along the right line, as well as well the horizontal lines intersect. This balances the photograph and add visual interest.

Here’s one I took with my smartphone. Although it’s not professional, the same concept is added to instantly make the eye look at the shed.

As with the lighthouse, I tried to have the main elements of the shed, the window and door, be on the right vertical line and have most of the house be in between those intersections. If I had just taken a picture of the shed head on, it would not have shown it’s size relative to other objects and would not be as visually interesting.

Leading Lines

Description: Hallway BW 2001 ISO

Photographer: Shanti Knapp

https://www.flickr.com/photos/ohsknapp/3627595200/

Analysis
 

This photo illustrates the principle of leading lines having all the lines place towards the door. This pulls us in and makes or eye follow through the scene.

Here’s one eye took of a hallway at my school. The same concept is guide the eye, and I also added more black and white contrast for effect.

We can see that all the lines point towards the doors, and pulls us through the whole scene. This hallway in particular is also helped by all the cinder block, making even more leading lines throughout the picture. I only highlighted the main ones to to show how much more visual interested is added with just a few lines.

Depth of Field

Description: f/1.4-1/64sec, ISO 100

Photographer: Alexander J.E. Bradley

https://petapixel.com/2016/05/18/depth-field-explained

Analysis

Choosing a subject and focusing the picture solely on that subject help that subject catch the eye. Depth is important because a picture is mostly flat, but we can give it more of a 3 dimensional feel but blurring objects in the background.

Here’s one I took, focusing on the yellow flower mostly (and using rule of thirds), and blurring out the temple in the background.

This focus helps us see the identifiable structure, but also focus on the flowers at the foreground. I also think it can be visually interesting because most picture of the temple seem to make the temple the central focus. Here we can see that the pictures has “layers,” and it’s not a flat surface. This is why depth can make such a difference in photos.

Summary

There are many tools photographers use to enhance their photographs. We can utilize these same basic concepts of the rule of thirds, leading lines and depth to find interesting ways to capture ordinary things. It’s not just the camera that makes the photographer, but how the photographer uses it to make eye-catching images.

 

Typography: Seeing the Invisible

INTRODUCTION

Cover of “The City Magazine,” February 2016. 

Editor-in-Chief: Shelley Mozelle

Designer: Unknown

https://issuu.com/runwildmedia/docs/city_feb_16

ANALYSIS

Typeface #1: This magazine title falls into the Serif category (as circled in the letter C), specifically into the Modern typeface. At first glance, it may look like the Oldstyle typeface, but there are a few things that set it apart, even in all caps. They both have serifs, but when you take a closer look at the “T” in “CITY” you can see the vertical stress on the letters. The “Y” in the same word shows the radical thin/thick transition. The word “MAGAZINE” shows more of this but because the contrast and size aren’t great it is harder to see.

Typeface #2: This font falls into the Sans Serif category and typeface, meaning there are no serifs. There is no stress on the words, and also no thin/thick transitions. This can be see in all the letter but here, the “O” is circled to illustrate how the thickness is the same all the way around. Notice how all the letters have the same weight, as in the thickness of the strokes are the same. This characteristic is called “monoweight.”

How they contrast: As mentioned earlier, typeface #1 has serifs and typeface #2 does not have serifs (sans serif). This is a contrast of structure. These typefaces also contrast in size, no only is “MAN OF THE MOMENT” only one size, but the magazine title uses different sizes but “CITY” is much larger than the sans serif font. The weight of the typefaces also contrast because the sans serif bottom text is bold, and the magazine title is not. The form of the words are also different, shown here in the word “THE.” In the serif font their is more space in between the letters than in the sans serif font, also illustrated in “MOMENT.” Lastly, the colors are different, with the magazine title being gold and the subtitle being white, which really stands out. All these small differences create a big impact when examined closely.

CONCLUSION

The overall design uses different types of typefaces to contrast the magazine title from the subtitle. in the bottom of the picture, we see the names of several articles in the magazine, and these have the same font as the subtitle, using some repetition to try to tie a somewhat jumbled cover page. Both of these fonts are center-aligned, with the picture also at the center. The proximity of the magazine title to the top of the page, and the emphasis on the word “CITY” let’s us know this is the title of the magazine. The words “MAN OF THE MOMENT” right underneath Leonardo DiCaprio communicates that the words refer to him, and that that is the main article of this issue. Besides the typeface, we can see that the other 4 design principles also play a huge role on what is to be communicated in this magazine cover.

 

Deconstructing a Magazine Ad

HSBC – “Turtle”

Advertising Agency: JWT, Sao Paulo, Brazil

Creative Directors: Mario D’Andrea, Fabio Miraglia, Roberto Fernandez

Art Director: Silvio Medeiros

Copywriter: Leandro Pinheiro

Illustrator: Open The Door

http://adsoftheworld.com/media/print/hsbc_turtle

ANALYSIS

Contrast:  This ad uses contrasts mostly in colors, with a very bold black and white image mostly. Half of the page is white with the images in black, and the other half is black with the images and text in white. The artist uses this to it’s advantage, by changing the image slightly and using the negative space in the second half to reveal the turtle changing into a plastic bag.

Repetition: The artist repeats the turtle image over and the white space (empty space) that turns into the plastic bag with minor alterations. Because the image of the turtle also repeats horizontally, and fills a diamond shape, it is clear to see the turtle (or the plastic bag) even with the minor alterations.

Alignment: Firstly, the images of the turtles and the plastic bags are all right-centered. Due to the image “transforming” I think this is a good choice for us to see it the turtle at the very top directly above the final plastic bag, making the visual connection more evident than if the images where flushed left or flushed right. The text on the right doesn’t have a strong alignment but the words are in italics, and the sentence one the bottom is spaced to the right of the one above it, so it flows in the natural left-to-right way most of us read.

Proximity: The images are all evenly spaced, helping with the illusion that is revealed at the end. All the turtles that have the same features are related to each other, with minor changes only when you go to the next line. Although there are many images in the larger images,  they still become one visual unit.  Another trick the artist used is once you get to the final bag, our eyes fall in the bottom center, and the text is on the right, because we tend to read left to right. If the text were on the right, our eyes wouldn’t naturally go back to the right after looking at the image in the center.

Color: Although the image is mostly black and white, the artist makes certain deliberate choices to make the image stand out. It uses the same hue of red used in the HSBC Insurance logo as a borer to the ad, not only to connect the ad with the company, but also to make the ad come forward and make an impact, even if the inside is purely black and white.

CONCLUSION

The artist used the elements of contrast, repetition, alignment, proximity and color to take a general ad into an extraordinary one with you powerful message that sticks. The whole image is a contrast of black and white, with images of the opposite color from top to bottom. Familiar patterns emerge until the Background’s repeating pattern is revealed to be something we recognize-the plastic bag, with the help of the contrast. Usually, centered alignment can have a boring look, but because the pattern forms a diamond shape and the tip at the top aligns horizontally with the tip at the bottle, the impact of the turtle transforming into a plastic bag is felt more strongly. The equal proximity of the images between each other, and the text guiding moving with the eye to the right make sure the small text is not missed. The eye-catching red on the border helps us pay attention to what seems to be a simple black and white image. The red also helps us looks at the only other red in the picture, HSBC logo and matching tag line. All these elements help the sign not only evoke an emotion, but ensures we will not forget the image.