THE

FUNDAMENTALS
OF

NEWS DESIGN

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Alvin Hizon
JUNIOR MEDIA ANALYST, iSentia PH
MEMBER, newspagedesigner.org
EDITOR, Kicker Daily News – Manila (kickerdaily.com)
WRITER, DefinitelyFilipino.com
FOUNDER, Best-Designed Campus Papers in the Philippines™
CERTIFIED VISUAL GRAPHICS DESIGNER
News design
is the process of arranging material on a newspaper page, according to
editorial and graphical guidelines and goals. Main editorial goals include the
ordering of news stories by order of importance, while graphical
considerations include readability and balanced, unobtrusive incorporation
of advertising.

News design incorporates principles of graphic design and is taught as part

of journalism training in schools and colleges. Overlapping and related terms
include layout, makeup (formerly paste up) and pagination.
 Successful News Design
evolves from a mindset:
recognition that
1 willingness to
experiment
2 effective design is a
process, not an event

3 devotion to detail 4 confidence in

perceptions
 DESIGN
CONTENT

Davao SPAs invade reg’ljourntraining

FORM
FUNCTION
CREATINGWINNINGPAGES
Designers work with four elements: copy, art, headlines and white
space
- Copy: the actual text
- Art: Photos, illustrations, maps, graphs, lines, etc; anything that
is not text
- Head: Any header for an article
- White Space: Any space that is not covered by one of the three
components mentioned above
 WHITE SPACE
ART

COPY
HEAD
 “
DESIGNING
is storytelling.
Alvin Hizon
CONTENTMANAGEMENT
Head
Lead
Angle
Style
Conclusion
Coherence
Significance
LAYOUT
Layout is the planning of the position and page that
each piece of copy or art will occupy in your
publication.

This includes your choosing the styles and sizes

of headlines desired, the kinds and sizes of type to be
used and deciding how to use them, and indicating
these plans on the layout sheets.
MAKEUP
Makeup is normally the execution of that layout by
the publisher (the compositor), although sometimes
the terms layout and makeup are used
interchangeably. For instance, the name “makeup
editor” is used on some newspapers instead of
“layout editor.
LAYOUT VERSUS MAKEUP / DESIGN
MAKEUP / DESIGN LAYOUT

What is it? Aesthetics and over Structure of the main

look of the page content of a single
page.
LAYOUT VERSUS MAKEUP / DESIGN
Layout view Layout view is a more
visually-oriented view than Design view.
While viewing a form in Layout view, each
control displays real data.

As a result, this is a very useful view for

setting the size of controls, or performing
many other tasks that affect the visual
appearance and usability of the form.
LAYOUT VERSUS MAKEUP / DESIGN
Design view Design view gives you a more detailed
view of the structure of the form.
You can see the Header, Detail, and Footer sections for
the form.
LAYOUT VIEW DESIGN VIEW
 DESIGN VIEW
LAYOUT VIEW
PREPARING
A DUMMY SHEET
THE DUMMY
Indicating on the layout sheet where each
element will be placed (sometimes called
dummying or roughing in) may be done as each
segment of material is forwarded to the publisher.
Once pre-planning is complete, the next is to create a thumbnail sketch
of your document.

This does not have to be a complicated drawing.

It is a working document that will let you

“think” on paper about what you have in mind.

FLAT PLAN
PAGEDESIGN
TRADITIONALPATTERN
The term traditional pattern refers to the following
front-page design strategies:

Formal balance
Quadrant
Focus (brace)
Circus (razzle-dazzle)
FORMAL BALANCE

QUADRANT

FOCUS (BRACE)

CIRCUS (RAZZLE-DAZZLE)
 In formal balance design, the
page is vertically divided in half.
Each element to be placed on
one side of the vertical center
line is duplicated by the same
treatment of elements at the same
point on the opposite side. In this
type of design, there are two lead
stories; both are usually of
equal importance.
FORMAL BALANCE
Formal balance design forces the news into a formula and does
not distinctly tell the relationships, values and relative worth of the
news. It also creates an artificial look, with the makeup being the
dominant factor on the page.

It is considered “visually boring” by modern editors. Most editors still

using formal balance vary its use often enough to escape the deadening
effect of sameness.
 In quadrant design, the page isdivided
into four quarters, and a dominant,
eye-stopping element (picture or
headline) is placed in each quarter so
that diagonal quarters balance
each other. The diagonal line, then,
is the type of line used In this type of
design, the lead story is placed in the
upper left-hand corner or the upper
right-hand corner depending on
which is being used as the final point
QUADRANT of the page
Quadrant design formalizes quarter-page balance and is
useful for giving equal display to equally important stories.
 In focus (or brace) design, the page is
made up by placing headlines and
pictures on the page to forma
diagonal line from the upper left-hand
corner to the lower right-hand
corner Then a strong typographical
display is used in the upper right-
hand corner for sharp emphasis. The
diagonal line is the type of line used
here. In this type of design, the lead
story is placed in the upper right-hand
FOCUS DESIGN corner
A letter or figure pattern is discernible in the focus design Note,
that the figure “7” is apparent in the pattern. Also note
that attention is “focused” on the comers by the stair-step
arrangement of headlines that appear to “brace up” those
corners.
 In focus (or brace) design, the page is
made up by placing headlines and
pictures on the page to form a
diagonal line from the upper left-hand
corner to the lower right-hand
corner Then a strong typographical
display is used in the upper right-
hand corner for sharp emphasis. The
diagonal line is the type of line used
here. In this type of design, the lead
story is placed in the upper right-hand
CIRCUS DESIGN corner
Circus design is characterized by immense type, large art
masses arrayed in unorthodox shapes and positions, use of
colored ink for headlines, use of white space, movement of the
nameplate to a minor spot on the page, use of widely varying
headline typefaces with emphasis on the boldest weights,
and preference for multicolumn displays.
FUNCTIONALDESIGN
In functional design, the page is made up according to no set
pattern. It is based on presenting the day’s news in the way that
will be most appealing and convenient to the reader.

The vertical line, diagonal line, circular or horizontal line could

be the type of line used in fictional design. In this type of
makeup, the lead story is placed in the upper left-hand corner.
Functional design always lets the news dictate the layout and is
characterized by very few banner headlines.
 HORIZONTAL DESIGN
In horizontal design, the page is made up
by placing elements on the page so the
majority of the elements present a
horizontal display.

In this type of makeup, the lead story is

placed in the upper left-hand corner or
the upper right-hand corner depending
on which one you use as the final point of
the page.
HORIZONTAL DESIGN
Horizontal design provides strong
horizontal units with a few vertical
displays for contrast. It is characterized
by large multicolumn headlines, large
horizontal pictures, white space and
odd-column measures.

This format came about as a result of

readability studies which indicate that
readers estimate their reading time of
horizontal copy blocks to be about half
that of vertical blocks.
MODULAR DESIGN
In modular design , pleasing
blocks (modules) of vertical and
horizontal rectangles are
combined. Irregular story
shapes are avoided to maintain
this modular look.
MODULAR DESIGN
An earmark of a classic modular
format is a strong vertical
chimney (a panel running at least
half the depth of the page) on the
left or right side of the page
MODULAR DESIGN
This chimney may contain news
briefs, a complete story or only
a photograph and cutline.

Highly flexible and uncluttered,

this design gives the editor a
wide range of formats for visual
impact.
 TOTAL PAGE DESIGN
The total page design may contain a
large photograph (or line art) covering the
entire area, a single story and
photograph, or a billboard (dominant
photograph with page reefers to major
stories).
SINGLE-THEMED DESIGN
The single theme page design is
essentially similar, but normally does not
contain stories or reefers. If you use this
design strategy, make sure you stick with
the theme and develop it on subsequent
pages. You might have a single-page
feature, two or three major stories about
various aspects of the theme
throughout the newspaper, a photo
feature or any combination of these
elements.
GRID DESIGN
The grid design consists of a
page of modules of varying sizes
with the grid lines formed by the
spaces between columns and the
spaces separating stories.
GRID DESIGN
A grid design is a pattern of
intersecting lines, forming
rectangles of various shapes and
sizes. The objective of this
concept is to take advantage of
contemporary artistic principles to
give a page the “now look” found
in today’s newspapers.
GRID DESIGN
Lacking the flexibility of other
patterns, the grid design cannot be
combined with other makeups but
must stand alone as a single unit.
GRID DESIGN
Its intersecting lines are highly
structured and carefully placed to
divide a newspaper page into clean-
cut, simple-appearing modules whose
total effect is contemporary.

Stories are squared off and designed

into vertical or horizontal shapes
with the division of space on the
page always arranged in unequal
portions.
GRID DESIGN
The page might be divided (from left to
right) into two and four columns or
one and five columns, but never three
and three.
GRID DESIGN
While story placement is still based
on the importance of giving a
particular story featured treatment,
the grid design allows all other
stories a better chance of being seen,
since they are not buried or lost to the
reader.
 OTHER LAYOUT FORMATS

The X Curve L J Umbrella

Format Format Format Format Format
 The X
Format
 Curve
Format
 L
Format
 J
Format
Umbrella
Format
Graphic design must be relevant. Each
design should be judged on its ability to
help the reader quickly and easily
understand your message.
Form must always follow function.
Think of graphic design as a means of
communication rather than mere
decoration.
“
USE YOUR ARTISTRY
to improve storytelling.
Alvin Hizon
VISUALELEMENTS
• Art
• Photos
• Graphics
• Details
• White Spaces
• Typography
• Colors
Design is detail. And the smallest offending details
can sabotage the appearance of an otherwise
attractive project
 ART
Illustrations and photographs used to convey
meaning and add appeal.

• Graphics must have a specific reason or purpose when used in a printed

piece
• A well-designed page is at least 1/3 art
• Graphics usually serve one of three purposes:
-Unify elements, Separate elements, Call attention to elements
PHOTOS
Sample use of

PHOTO
CARTOONS
 Sample use of

CARTOON
VEC TORS
Sample use of

VECTOR GRAPHIC
INFOGRAPHICS
Sample use of

INFOGRAPHIC
 DETAILS
• Bleed • Sidebar
• Caption • Watermark
• Dropped Cap • Endmark
• Jumpline • Shapes
• Pull Quote • Lines
 CAPTIONS
Brief descriptive text accompanying an image or chart.
 INITIAL
CAPS
Use a display-size initial letter, known in graphic design lingo as an initial
cap, in the first word of a headline, first sentence of an article or new
section of an article

USE A DISPLAY-SIZE initial letter,

known in graphic design lingo as an
initial cap, in the first word of a headline,
first sentence of an article or new section
of an article
 DROPPED
CAP
An enlarged character at the beginning of the paragraph.
 BLEEDING
A print effect in which color, image, or
object appears to run off the page.
 JUMPLINE
Line which tells readers which page to
refer to for the continuation of the
article.
 PULL QUOTE

Quotation directly taken from the body of an article. Used to draw

attention. Often made larger than body text.
WATERMARK

A semi-transparent image in the

background of printed material
ENDMARK

The symbol that indicates

the end of an article or
news item.
White Space
• Publications need white space so
that page does not become
overwhelming to the reader
• Think of white space as breathing
room for the page
• Do not overuse white space, but be
sure every page has some
Copy
• Type is the most basic component of any article
• Keep target audience in mind when choosing type
• Generally, set body type in 9,10,or 11 point type, use 8 point
type for captions, and set headlines in bold
• Headlines should be in a type most appropriate for the style of
document
 TYPOGRAPHY
The art of arranging type elements in
attractive ways.

Typography is the art and technique of arranging type to

make written language legible, readable, and appealing
when displayed. The arrangement of type involves
selecting typefaces, point size, line length, line-spacing
(leading), letter-spacing (tracking), and adjusting the
space within letters pairs (kerning).
HOW
TYPOGRAPHY
IMPACTS
DESIGN
HOW
TYPOGRAPHY
IMPACTS
DESIGN?
HOW
TYPOGRAPHY
IMPACTS
DESIGN
HOW
TYPOGRAPHY
IMPACTS
DESIGN
HOW
TYPOGRAPHY
IMPACTS
design
FONT VS. TYPEFACE
What’s the difference?
 TYPEFACE
A typeface is a design created by a typographer or type designer. It
incorporates the specific letter-forms that include the variations of
stroke weight, the forms of serifs, the counter shapes, the finial
styles, the lengths of ascenders and descenders, and any other
characteristics that differ from one type design to another.
Designers choose typefaces to create their projects. Each typeface is
known by a name, such as Helvetica, Arial, Times New Roman, etc.
The term “typeface” originated from movable type, whose blocks of
wood or metal each contain a relief image of a character on one
surface (the “face”).
 FONT
A font is the digital representation of a typeface. It is a collection of
all the characters of a typeface in one size (12pt/1in) and one style
(bold/italic). For example, Arial in 12pt size is a font, Arial in 18pt size
is a font, and Arial bold in 24pt is also a font. Adobe's type glossary
lists a font as “one weight, width, and style of a typeface.”
 TYPE FAMILY
The complete assembly of all sizes and styles of one typeface forms a
type family. Web designers sometimes refer to it as a “font family”
because that is the name of the CSS declaration. Usually the type
family has the same name as the typeface. A type family may contain
many variations, but all variations are based on common design
characteristics. For example, the Caslon family consists of styles such
as Roman (Regular), Italic, Semibold, Semibold Italic, Bold, and Bold
Italic. Each of the style and weight combinations is a typeface, and
together they form a type family.
SERIF

THEY HAVE A DIAGONAL STRESS (THE THEY ARE BETWEEN OLD STYLE AND THEY HAVE VERY HIGH CONTRAST BETWEEN THEY HAVE VERY LITTLE CONTRAST
THINNEST PARTS OF LETTER FORMS ARE MODERN. THE DIFFERENCES BETWEEN THICK AND THIN LINES. THE SERIFS ARE VERY BETWEEN THICK AND THIN LINES. THE
ON THE ANGLES), THERE IS LESS THCK AND THIN LINES ARE MORE THIN AND STRAIGHT. THEY ARE LESS SERIFS ARE VERY THICK AND STRAIGHT.
DISTINCTION BETWEEN THICK AND THIN PRONOUNCED THAN IN OLD STYLE, BUT READABLE THAN OLD STYLE AND THEY TAKE ON AN ALMOST SANS SERIF
LINES, AND THE READABLITY IS VERY HIGH. HAVE SLIGHTLY LESS CONTRAST THAN TRANSITIONAL TYPEFACES. EXAMPLE: APPEARANCE BECAUSE OF THE LOW
THEIR FORMS ARE PARTLY BASED ON MODERN SERIF TYPEFACES. EXAMPLE: CONTRAST. EXAMPLE
CALLIGRAPHY. EXAMPLE:

Garamond Baskerville Rockwell

Serif typefaces are commonly used for text. Serif type is

categorized by small strokes at the ends of each letterform.
SANS SERIF

THEY ARE FIXED-WIDTH WHERE EVERY

THEY ARE THE MOST CALLIGRAPHIC OF THEY ARE THE MOST COMMON SANS THEY ARE BASED ON GEOMETRIC SHAPES CHARACTER OCCUPIES THE SAME
THE SANS SERIF TYPEFACES, WITH SOME SERIF TYPEFACES, THE LETTER FORMS ARE (THE CIRCLE, SQUARE, TRIANGLE), BUT AMOUNT OF HORIZONTAL SPACE. THIS
VARIATION IN LINE WIDTH AND MORE RELATIVELY STRAIGHT IN APPEARANCE ARE MORE DIFFICULT TO READ IN SMALL ALLOWS FOR LINES OF TEXT TO ALIGN,
LEGIBILITY THAN PTHER SAN SERIF FONTS, AND HAVE LESS LINE WIDTH VARIATION BODY TEXT SETTINGS THAN HUMANIST OR ONE ON TOP OF ANOTHER. EXAMPLE:
EXAMPLE: THAN HUMANIST SANS SERIF TYPEFACES. TRANSITIONAL SANS SERIF TYPEFACES.
EXAMPLE: EXAMPLE:

Gill Sans Courier

Helvetica Futura

Sans-serif type is ideal for display type—headlines, subheads,

pull-quotes, captions, etc.
DECORATIVE

THEY MIMIC CONTEMPORARY MANUSCRIPT THEY ARE A SPECIALTY TYPE WHERE EACH CHARACTER IS
HANDWRITING FROM CENTURIES AGO. DRAMATIC THEY ARE GENERALLY NEAT, FLOWING, AND FORMAL IN THEY ARE LESS FORMAL AND TAKE ON FORMS AS A SMALL GRAPHIC AND CAN BE DECORATIVE OR
ANGLES OR CURVES CHARACTERIZE THESE LETTER APPEARANCE. MANY ARE BASED ON A REFINED, THOUGH CREATED BY HAND AND BRUSH. THEY MAY FUNCTIONAL. EXAMPLE:
FORMS AND CAN FEATURE DECORATIVE ELEMENTS. HANDWRITTEN CALLIGRAPHY AND ARE USUALLY RESEMBLE HANDWRITING IN CURSIVE OR PRINT.
EXAMPLE: SLANTED. EXAMPLE: EXAMPLE:

Choose a decorative or script typefaces for situations in which

type is more ornamental than informative.
 A font choice can
change the message.

A FONT CHOICE CAN

CHANGE THE MESSAGE.
Banner Headline
Regular Headline
Kicker, Deck, Subheads
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The 6 Pri ciples
f Design Principles applied to the elements of
the design that bring them together
into one design. How one applied these
principles determines how successful a
design may be.

Unity / Harmony
•Balance •Hierarchy •Scale / Proportion
•Dominance / Emphasis •Similarity & Contrast
Because there are no absolutes in
graphic design, success is determined by
how well each piece of the puzzle relates to
the pieces around it.
Contrast provides dynamic interest. n
Contrast gives “color” to your
publication by balancing the space
devoted to text, artwork and white space.
When analyzing an attractive publication,
compare “dark” areas – such as large, bold
headlines, dark photographs or blocks of
text – and notice how they’re offset by
lighter areas with little type.
ALL COLORS ARE FRIENDS OF
THEIR NEIGHBORS AND
LOVERS OF THEIR
OPPOSITES.
COLORPALETTES