Whitbread D. The Design Manual (анг.яз.)
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Publications
‘Publication’ is a generic term that describes all printed
information that an organisation or individual puts out.
With all publication design, the aim is to make the infor-
mation easy and enjoyable for the reader to digest. It
should be user friendly.
There is often a great amount of information sadly
disguised as boring, difficult-to-understand text—but this
can be an authoring problem. A designer’s task is to make
the best of whatever text is presented and help the reader to
find that information easily.
One of the main concerns of the publication designer is
headings—the main point of information retrieval for the
reader. Attention should also be given to making the
contents list clear—no matter how complex or how simple.
Equally, indexes require attention, although, as with
references and bibliographies, there are fairly standard ways
of organising them that have been proven to be successful.
For statistical information, a reader looks to graphs and
tables. Both can be dramatically improved by clear typogra-
phy. A graph shows patterns and contrasts in a quickly
identifiable way. A table provides far more specific infor-
mation that only some readers will use for further study
and interpretation.
It helps to have a clear idea of who the target audience
for the publication is likely to be, and design text that will
enable them to find what they are seeking.
Books, reports and annual reports
The book represents pure typography—the shaping and
placement of words to convey the author’s intent with a
subtle style, clarity and appropriateness.
When designing long documents, such as books and
reports, the most important decisions are those which most
affect the readability of the document. Choice of typeface
size and weight will often determine how wide the text
32
Steven Howard in Corporate Image
Management describes the most
important trend as ‘moving from a
need for content to a desire for
context…Today’s problem is that
there is too much raw information
and data available…The need of the
immediate future is to package and
deliver this content in a meaningful
and timely manner.’
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column will need to be and what sort of line spacing is
needed. You may need multiple columns on a wide page.
You might need to create standard ways of incorporating
graphics. You may choose a low-reflective paper to make
the book easier to read. You might suggest to the author or
editor that more headings are needed through the publi-
cation for easier access to information.
Type selection for books tends to favour classic typeface
designs, because they have proven their readability and are
considered anonymous enough not to drag attention to
themselves. Contemporary fonts will sometimes have a
graphic detail that distracts.
Books and reports often have one main column of text
to a page. They may have a side column for margin notes,
like this book.
There is very little you can do to establish a design
‘presence’ in a book’s main text, because, once you have
chosen the typeface, you should follow the decisions that
will maximise its readability, which is paramount. Where a
designer can influence the look of the book is in imagery
selection and the decisions made on headings, titles,
formatting and page furniture.
Report style with numbered paragraphs
You might assume you should use the numbered paragraph
report styling because all the literature you receive is in that
form. Be careful of this assumption—people avoid reading
material that looks daunting. Even highly educated,
articulate and technical audiences find it difficult to keep up
with all the reading they are required to do. Anything that is
a disincentive minimises effective communication.
Don’t let tradition get in the way of communication.
Even in scientific reports and technical manuals, the so-
called report style that uses numbered paragraphs is
appropriate only if the numbered sections, chapters,
headings and paragraphs serve a function. This function is
usually to do with convenience, accuracy and cost savings in
cross-referencing within the document; convenience and
cost-effectiveness for complex indexes; and for ease of
reference that avoids confusion in meetings (‘Please turn to
paragraph 9.1 to compare the definitions’).
If a document meets any of these provisos, it’s best to
number the paragraphs and make the numbering clear for
fast reference. The numbers might be bold or in a different
Publications 33
CHECK LIST
Attention-getting devices
(in roughly descending order from
most to least)
q Photographs
q Drawings and illustrations
q Cartoons
q Collage and montage
q Maps, diagrams and flow charts
q Graphs (line, pie, bar, scatter)
q Pictograms and symbols
q Runarounds/contoured
illustrations
q Captions
q Decorative type treatments
– titles and headings
– drop initials
q Colour
– splashes
– bars and rules
– background tints
q Pull-quotes
q Side-bars and boxed text
q Bullets, arrows and other
dingbats
q Reversed headings
q Texture and pattern
q Decorative borders
q Body copy (main text)
q Space
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typeface. Usually, blocked paragraphs with space between
are used in this styling. For the first line of all headings and
paragraphs, there is also usually a tab set that will accom-
modate the longest number string followed by an em space.
Try to avoid more than three subdivisions within the
numbering. Even paragraph 4.12.97 (chapter 4, heading 12,
paragraph 97) is getting a little extreme. When you add
parts or sections to the front end of this numbering system,
it begins to get too unwieldy for clear understanding and
defeats its own purpose.
Using that same example, the chapter is simply
numbered 4, not 4.0.0. The main heading is numbered
4.12, not 4.12.0. It is also best not to put a full stop after the
paragraph number.
Consider the introduction of alphanumeric coding if it
will help the reader find the references faster. Alpha coding
instead of chapter numbers looks less complex—compare
d12.97 with 4.12.97.
Paragraph numbering should be inserted towards the
end of the writing stage or even when the final manuscript
is approved. If it is done too early, various changes and
paragraph insertions and deletions can create numbering
hassles later.
For technical and training manuals that are revised and
updated regularly—particularly for ring-binder insertion—
the numbering should start with each chapter or discrete
updateable part of the document, otherwise many pages
may need to be reprinted simply to accommodate the
paragraph renumbering.
In all cases where there are no cross-references, or
where cross-references and the index are by page number,
avoid numbered sections, headings and paragraphs. This
will make a more inviting and readable document. Chapter
numbering is traditional, even though it may serve no
useful purpose.
The numbered paragraph form persists in technical
documents. This is due to the assumption that many people
within those areas expect to see this format. There is a
pretentious view that the format identifies a certain type of
reader or expert. It is time for change. Even people in those
technical areas will read better and faster without the
imposition of the numbering system. So break the mould
now in documents where numbering is irrelevant.
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DOING IT SMARTER
Complex indexes
If a complex index is to be indexed
by page number, there can be
considerable production down-time
while the index is prepared after the
page proofs have been finalised. An
indexer obviously cannot complete
the index until the final pagination is
complete.
In the case of a manual or a
report that has a critical schedule,
it might be more appropriate for the
index to be created using paragraph
numbers rather than page numbers.
The index can then be prepared
concurrently with the production
process and depends only on final
manuscript, which is earlier in the
production process than final
pagination.
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Certainly, retain paragraph numbering in documents where
it enhances the usability of the text, but do not confuse
usability with readability.
The problem for readability is that the number inter-
rupts text flow. To partially avoid this imposition on the text,
the numbers can be within a wider margin, rather than in
the body of the text. Keeping numbers and text appropri-
ately linked is achieved with a hanging indent. The point
size of the number can be reduced, as it will have sufficient
space around it to stand out. For layout purposes, it is wise
to increase the size of the right margin and decrease the
size of the left margin, so that the main body of the text
appears centred on the page area.
Series
There are three main considerations for series design:
r accommodation of different titles, subtitles and author
names on covers, spines and title pages
r colour coding for ease of identification (particularly for
staff at an information counter)
r stylistic consistency of illustrations, photograph selection
and text treatment.
If you are designing a series of publications, discuss
with the author all the likely titles and subtitles in the
series so you can accommodate their different lengths.
For example, in a series of pamphlets for a veterinary
hospital, it’s easy to design for the words ‘cat’ and ‘dog’
in the title, but ‘budgerigar’ can create problems. With
author names, always design to accommodate both a long
name and a short one, such as Eva Cox and Oodgeroo
Noonuccal or even a hyphenated surname like Annette
Macarthur-Onslow.
If you intend colour-coding the series—i.e. associating
a particular colour with a particular title—select a palette of
colours for the purpose. Keep this in a file with the series
style sheets. You can even have colour coding within colour
coding, depending on your hierarchy—a series on animals
of the world might divide into domestic and wild animals
and then might subdivide into particular species. Choose a
colour for each division and a palette of colours that work
with that colour for the subdivisions.
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DOING IT SMARTER
Parliamentary Papers series
If your document will be tabled in the
Australian Parliament, it must be in
the B5 portrait format in order to be
rebound into the official record of
Federal Parliament, known as the
Parliamentary Papers. You might
produce two versions of a document,
one for Parliament and one for
general distribution, but this is
usually seen as too extravagant and
deemed unnecessary.
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CHECK LIST
Order of publication
[square brackets indicate option]
The cover
q Front cover
– title, subtitle, author
– publisher’s logo, series title
q Spine (reads from top to bottom)
– title, [subtitle], author
– publisher’s logo, [series title]
q Back cover
– blurb and author biography
– bar code and ISBN/ISSN
– recommended retail price
q Dustjacket flaps
– blurb or teaser copy (front flap)
– author biography and portrait (back flap)
– ISBN/ISSN
– recommended retail price
q Endpaper (or inside front and back covers)
–[Ex libris block on inside front]
The preliminary pages
q Bastard or half title
– title
– testimonials, reviews, author blurb or teaser copy
(roman numerals start numbering here but are not printed)
q Frontispiece (verso of half-title, i.e. left of title page)
– a picture with caption
q Title page
– title, subtitle, series title and author/s
– publisher, place of publication, [date]
A title page should not be too much of a jolt from the cover but should also
ease the reader into the text design. An easy way of achieving this is to use
the title block layout from the cover and add further information in the text
styling.
q Imprint page (verso of title page)
– © copyright owner’s name, year of first publication
– reprint information: number of reprint, date
– ISBN (International Standard Book Number: available from the ISBN
Agency, Thorpe Bibliographic Services, Private Bag 20, Port Melbourne
Vic 3207)
– ISSN (International Standard Series Number: available from the
Australian ISSN Agency, National Library of Australia, Canberra ACT
2600); annual reports may have both an ISSN, because they are a
series, and an ISBN for the individual title
– production details such as the names of the editor, designer, production
manager, printer
– sometimes a colophon appears here with the typographical and
reproduction details, e.g. the paper stock/s used, the typeface/s used,
the printing process used
– cataloguing-in-publication data (CIP available from the National Library
of Australia, Canberra ACT 2600)
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q Dedication and/or appropriate quotation (on any page in the preliminary
pages)
q Foreword (by a guest writer; note ‘Foreword’ not ‘Forward’)
q Contents at a glance (if the full contents list is very detailed)
q Contents list, list of illustrations, list of tables
(roman numerals start appearing on second contents page)
q Preface (author tells why book exists)
q Acknowledgments/Appreciation (author’s and/or publisher’s thanks to
contributors or advisers)
q How to use this book
q Description of activities/objectives
q Organisation chart
q Mission and vision statements
q Financial highlights
q Executive summary
q Conclusions and recommendations
q Chairperson’s statement
q Introduction (usually by author)
q Glossary (sometimes here if short)
q List of abbreviations used in the text
(roman numerals finish here)
The text
q Page 1 (arabic numerals start here)
– parts divide into chapters
Page 1 is always a right-hand page (recto). It might be a part-title. So if
chapters will always start on a recto page, page 3 would be the first
chapter title and first page of actual text. If chapters can start on either a
verso or recto page, page 2 would be the first chapter title and first page of
text. Part-title pages always start on a recto page and often have full-bleed
colour to identify them quickly when the reader is flicking through the book.
The endmatter
q Financial statements
q Supplementary information
q Appendixes
q References (if not at the end of each chapter)
q Illustration sources (if not in acknowledgments or within captions)
q Glossary (optional and more traditional placement)
q Bibliography (if not throughout the text, as in this book)
q Index
q Colophon (describes production details—optional placement)
Publications 37
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READ MORE ABOUT IT
Rob Carter, Working with computer type 1: Books, magazines, newsletters,
RotoVision SA, Crans-Pres-Celigny, Switzerland, 1995, ISBN 2 88046 230 4.
Chris Foges (ed.), Magazine design, RotoVision SA, Crans-Pres-Celigny,
Switzerland, 1999, ISBN 2 88046 450 1.
William Owen, Modern magazine design, Rizzoli, New York, 1991,
ISBN 0 8478 1385 1.
Nick Renton, Public relations, newsletters and internet usage for organisations,
Kangaroo Press, East Roseville, 1997, ISBN 0 86417 893 X.
Covers
Cover design is like designing a miniature poster. An image
needs to attract readers who are browsing in a bookshop,
surfing an on-line bookshop or scanning a catalogue.
Because of the usually severe reduction of the design used
for reproduction in book catalogues, and the lower resolu-
tion when they are reduced and published on-screen in a
Web site, titles are often larger and tracked wider for greater
clarity in reduction. Consider, too, the placement in book
racks—titles are usually in the top half of the cover.
Magazine covers must have general appeal and, if they
are to compete in a newsagency, clarity from a distance.
When considering which models to put on a cover, editors
consider not only who will be attracted when a model is
used, but who will be alienated. A model who has cross-
over appeal, i.e. who appeals to numerous target
audiences—young, old, males and females—will have
a better drawing power for a general title. Note that it is
hard for illustration to compete with photography in
the newsagency!
‘Teaser copy’ is devised to encourage readers to pick up a
copy and find a subject of interest to them if the cover
picture is not sufficient. In books, the ‘teaser’ is often the
back cover blurb but, increasingly, reviewer’s ‘sound-bites’
are appearing on the front cover and some books have the
first paragraph on the front cover to get readers hooked
straight away.
Covers can also have ‘attitude’—they can make a
statement about their subjects or their content or, most
importantly, their readers. They attract their target readers
by appealing to their visual senses—and most markets are
maturing in their visual awareness, so what in the past
would have been considered avant garde or experimental is
now almost mainstream.
Marketing considerations often affect design decision
making in book covers as well. For example, authors may
38 Projects
A book cover that uses allusion to a
past style to convey something of the
book’s content.
Client: AGPS Press
Studio: AGPS Design Studio
Designer: David Whitbread
Illustrator: Mandy Orr
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have their name above the title or larger than the title as a
marketing requirement, where the author’s name is
deemed to be the most saleable information on the cover.
This might also be a contractual arrangement, where the
author’s contract states a particular size and position for
their name in relation to the title. Mass market paperbacks
clearly demonstrate this. Titles and illustrations in many
genres take a back seat to author identification.
With genre titles, there is often a visual coding that
distinguishes, say, a romance from a thriller. Within genres,
there can be sub-genres. The romance genre breaks into
hospital romances, time-travel romances, holiday romances,
historical romances, and so on.
Consider the differences in each of the following
categories: adventure, war, crime, mystery, horror, epic,
romance, future, science fiction, science fantasy, historical,
classics. Each will have distinguishing characteristics that
attract particular readers or, more importantly, purchasers.
Even in annual reports there are the equivalents
of ‘genres’: steady-as-she-goes years, innovative years,
traditional-values years, what-we-do reports, focus-on-our-
staff reports, merger years…
You can go against the genre styling, of course. Many
books that sit in the general reading sections of bookshops
and newsagents could easily find a place in a genre section
if packaged appropriately, but the publisher has chosen to
aim for a general audience rather than a niche audience.
Newsletters, journals and magazines
The typography of newsletters, journals and magazines is
complex—and because they need to be recreated each issue,
a comprehensive typographic style sheet is necessary. Create
templates that establish column width options and include
on the master pages the running heads and folios.
In newsletter and newspaper design, consider the
impact of folding. It may alter where the first article starts
or photographs are placed (say, to avoid folding through the
headline or faces). Also consider the impact of Australia
Post mailing regulations and the inclusion of a mailing
label. Even the weight of the paper stock will have a cost
impact at the distribution end—if Australia Post charges
extra because the weight of each issue takes it up into the
next charge, it can have a significant impact on finances. If
the publication will have international subscribers, consider
international mailing costs as well.
Publications 39
DOING IT SMARTER
Spine titles
The title on a spine reads from top
to bottom. When the book is side
bound or saddle stapled, there is
consequently no spine dimension
on which to print the title. It is
recommended that the spine title
be printed on the back cover, about
5 mm from the spine, again reading
from top to bottom. This enables
people to read the title without
removing the book fully from
the shelf.
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CHECK LIST
Newsletters, journals, magazines
[square brackets indicate option]
Cover/front page
q Masthead/banner
The masthead (called the ‘banner’ in the United States) is the nameplate of
the publication. It encapsulates the character and content of the document.
It must be distinctive so that it immediately identifies the publication from
others. It often needs to work with the company logo or symbol that will be
alongside or within the title. It is often a different typeface from the rest of
the newsletter and usually the largest piece of type in the publication.
It can run vertically in a side column in newsletters and journals, but
there is a danger in this—it is too easy to avoid reading vertical text. In
magazines and newspapers, it should be positioned in the top quarter of
the front page, to work in newsagent racks.
q Volume, number
In a monthly, the volume will contain 12 issues; in a quarterly, the volume
will contain 4 issues. The issues start from the month of first issue (so they
do not necessarily coincide with the months of the year—issue 1 need not
be in January, as a volume need not represent a calendar year). These days,
some people prefer to number their issues sequentially, ignoring the
convention of volumes.
Some designers prefer to make the issue number a feature, finding it
makes a stronger masthead. Ensure your design can accommodate two and
three numerals, as issues will quickly reach 10 and could exceed 99 in just
over 8 years for monthlies and in just under 2 years for weeklies!
q Bar code
q Date, price
Date and price information is usually linked to the masthead with the issue
numbering or it can be placed with the bar code. It is necessary information
but not important to your reader, so it can be small.
q Teaser copy
Teaser copy is a listing of a number of feature article topics and can
incorporate page numbers for easy access. Usually, there is a hierarchy of
teasers; the more popular or important topics are closer to the top, in larger
type and in a more attractive colour.
q Spine (reads from top to bottom)
– name of publication, [positioning line]
– volume, number, date
– publisher’s logo
– [feature article topics]
The preliminary pages
q Contents list
Often divided into the departments of the magazine, the contents list may
not be arranged chronologically through the magazine but by level of
importance to the reader, so cover stories and feature articles are often
listed first, followed by special supplements, regular columns and listings.
There will usually be the title, a brief description of the content, the
author’s name and the page number. Sometimes there will be an illustration
from the story for recognition purposes. That picture will also have a
caption with the page number, in case people are looking at the pictures
and not reading the list.
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