To download the final word version of this, go to this site:
http://www.et.byu.edu/~cneves2/Designbook/Layout.doc

ASHLEY HADLEY
Editing By Design
Jan V. White

Multi-Page Mediums. e.g. Magazines
Most valuable areas on spread are on the outside edges – Never hide headlines in the gutter! Lefts must be laid out different from rights. Headline on left page should be on top left corner. Headline on right page should be on top right corner, or else it’ll be lost in the gutter.
What is seen on outer halves of spread needs to induce/motivate reader enough to open it all the way and then see the inner hidden half.
Covers need to arouse curiosity
When designing spreads, work from the top down, not bottom upwards.

Ashley Hadley
Jan V. White, Editing By Design

Layout Techniques:
Don’t overfill the page(s) – they’ll be skipped or avoided if they look too stuffed
Use space to separate info into component parts on well-defined zones – helps viewers remember the info
Use Text type considerably– (running text different then text in bulleted list)
Use contrast to help searchers find what they’re looking for
Use same visual techniques throughout entire publication – to serve as language
Substitute visuals for text wherever possible

Comic Design
Seth Warburton

Comic books rely on what we don’t see just as much as they rely on what we see. When we look at a comic frame we see the image, if we see a kitchen sink we automatically think about the whole kitchen. We do this because our minds automatically create “closure.” Closure is what our minds do to fill in the blanks so that we have an understanding of the situation. That’s why we can look at a newspaper and instead of see in millions of little dots we see a picture it is creating. That is also why comic don’t need to go frame by frame like a movie, they can show a part of a scene and our minds are able to fill in the blanks.
Comic’s use’s six ways to portray a story using our own imagination:
1. Movement to movement: showing one movement right after another (a blinking eye)
2. Action to action: We see the preparation of the action then the action (a baseball picture prepping in one frame then throwing in another
3. Subject to subject: Showing two different objects that correlate (a runner and a stop watch)
4. Scene to Scene: Showing a scene in one location then another scene in a different location
5. Aspect to aspect: Showing something that could be applied to something else. (Beer and then a party)
6. Non-sequitur: frames have non-relation

Comics also create time inside their frames. Even though we could technically look at all frames of a comic for the same amount of time we don’t because of how it is laid out. If the frame has more then one-text bubble we read it form left to right assuming that each text is temporally coming after the previous. Also open space in a text causes us to fell like it is taking more time, or if it is a short frame it seems quick and lot as significant.
Other techniques are used to indicate a quick action within the frame. Most often lines are drawn to show a path of motion that we have been conditioned to perceive as is quick. In the end we create our own space and time when reading comics the authors merely guide us through technique but we are creating the situations all on our own.

Jess Carter
Summary 3
Graphic Design Basics
1/21/07

Chapter seven of my book covered the principles of design layout. When considering the layout of a design, two things must be kept in mind. The first is the physical or actual placing of the text and graphics of the design on the page. The other is checking to make sure that your pictures, text, color and font choice all relate to each other so they convey the message you want them to. Another important aspect of layout the author covered was rhythm. When creating your project, you can actually use the size and spacing of text and images to create a lively or solemn feeling to your design.

Good layout design comes from dividing up a page into harmonious parts as demonstrated below.

This is an image by Emil Ruder who worked at bringing a page and its elements into harmony with each other. To him, everything (type sizes, positive and negative space, type and image, etc.) must be proportional and create a harmony and balance with other elements on the page.

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