Newsletter Design Tips. INSTITUTION National Home Study Council, Washington, D.C

DOCUMENT RESUME

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AUTHOR Welch, Sally TITLE Newsletter Design Tips. INSTITUTION National Home Study Council, Washington, D.C. PUB DATE 8 Apr 92 NOTE 30p.; Paper presented at the Annual National Home Study Council Conference (66th, Seattle, WA, April 7-8, 1992). PUB TYPE Guides - Non-Classroom Use (055) -- Speeches/Conference Papors (150)

EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Design; Guidelines; *Newsletters; Writing for Publication IDENTIFIERS *Text Design; Text Organization; Typeface; Visual Design

ABSTRACT This paper presents detailed tips on newsletter design. talmeng an overview, it discusses effective design, anatomy of a page, type, designing tools (organizational tools, text organizers, emphasizing tools, 1.1d graphics, presented with some do's and don'ts), and a list of other items to consider. Three appendixes contain a brief glossary of type, an article by Mark Beach called "Paper in the Short Run: A Simple Guide to Paper Choices for Newsletters, Brochures, and Flyers," and an explanation of 20 trends in newsletter design. (SR)

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-PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN ORANTED BY U S DEPARTMENT OF EDUCATION ()Awe ot Educahonal Research and Impro.s.,ent EDUCATIONAL RESOURCES INFORMATION .k CENTER rERICI /111.1 dOcument has been reproduced as reCerved trOm the perSon or orgamlahon vnat.ng .1 ;- Mmor changes hare peen made to ,mprone Presented by reproductron oughts TO THE EDUCATIONAL RESOURtES INFORMA1 ION GE NIER tERIC) Pornts ot vree or OPrnrons Staled ,n thrsdoc mem dO ot necesSarrh represent Ottrofo Sally Welch OEM oos,ton or poncy Director of Publications National Home Study Council

Wednesday, April 8, 1992

BEST COPY MULE 2. Sa. ICA

Newsletter Design Overview

Every newsletter should have: Nameplate

A nameplate (also called "flag"or 'header") is XYZ School the term used to describe the title of the newsletter or other publication set intype in a Newsletter lims...... /MIINIMILIS1111110 =IN distinctive way and presented consistently Awl 30. 1903 Volum 1. Numtow from issue to issue. Mm=mmswtwln..m.mN.S..NlffN

A nameplate should use 2- 2 1 /2" at the top of the page, and it should contain the:

- name of the publication - name of the publisher - dateline art work (logo) - volume number (optional) What's Inside

You should plan a nameplate that visually communicates the intent ofyour newsletter and sets a design tone for therest of your publication. Use a typeface for the newsletter's name that is appropriate to the publications' content and image. and address of the sponsoring organization, Try to align nameplate elements withtext publication schedule, list of key publication column edges indicatedon your grid. Alloy staff members, subscription costs andordering for sufficient whitespace underneath your information, and copyright information.The nameplate, above the start of each issuecon- masthead is usually locatedon page 2 or the tent. If you provide approximatelya half-inch back page of a newsletter. of white space under the nameplate,your lead stories won't compete with the nameplatefor attention. Effective Design A Table of Contents (if your newsletter is Effective design of your newsletter willhelp to more than four pages). enhance your message. It does this by:

A place for a mailing label ifyour newsletter emphasizing the importance ofa message: is a self-mailer. Effective design createsa hierarchy of information so readers can easily separate major points from And if you sell your newsletteryou should supporting details. include a masthead. organizing information: Effective designbreaks A masthead which is a box of information in a information into manageable, bite-size pieces.It publication that lists items suchas the name makes it easy for readers to locate quicklythe Newsletter Design

elements: Simplicity. important information and helpsreaders concen- Good design includes three basic contrast and structure. trate on one idea at a time. Simplicity in the approach andexecution of the design recognizes guiding the reader Effective layout will communicate the contentfaster to the time a visual ob- that readership declines every reader. This applies whether it be a type arrange- Therefore, it stacle is placed in the reader's way. ment, photo layout or layoutcombining both art leads the reader through thedocument by creating and type. a logical sequenceof ideas which unfold as the reader continues to read.

Byline --e 31..,thcr s iarhe which Anatomy of a Page mav accer atter 'he neadiine br at the er a .7' 3h anic:e Ovedline (also called a kicker Or eyebrow) A brief tag over the headline that categorizes the Story.

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Hadline The title of an article The Headline Goes Here Optional secondary lines folio% Me headline togutde the reader into the story Deck (also called a tag line) A line 11% Onft HAMMON that gives more .nformation about :he story L...... ,...(4.4.. ..., :,... s.4t .. 1 44 4..rat n.314 . ".,...... ,..., 841 114111 a. (.4 11 :ate in Worms,. et min 4 4. Varsitti 81444441 14401.11t. 44 4.4411 W4,4441 41 4, 4 Stick.up cap An enlarged initial IOM's Ave. edra 44.4. nt osaIs.. UP It 441 ards Iva tosewo .114441 414111411.1 4, 404 44 .4.1uns .4 44444 *4.1 441111, iener extending above tne body text ipeosess 4444 0111.11411 *1ST 11411, lull (.1 44481 Paffunsset 441,11148P4 4111.1144144 4m1r $st Warta 1s4t 41 *11.4. 4.114 4111 11114,41 ell II MistNon ps4144Vat Outs yawn% .41 um Irian Bleed art A Cnoto. drawing. or tint 1.14.4 IRAs* Iss 4411% 441411144 4 /64114st it 14.141414 114,31 MO .4444 1s4 n .44.41.1 1111414 11141' .4444 that runs :II the edge of the page - ,,at 14. .1.0 44414 VI 0416i 441141 .44111441 811114 cid 444 ,44,144 41 .144 5114 41 Newman it e tlea.. gee VP 44,5 AGSMS 811144 sullill ale 44..1104 411 6.1044 WWII.% 41144 .1.1.141(4 suIVIPt sstortsa 41111 11,144444m 4,15%0 *4.116400 114* Woe as Vsvit 41 vi Rolle t45k84011 us 14444t ft..1. %past Lire* .4444% DivI WV. 84 104 &VW 444 40144114 ftl .14004 Wel 4444 01 MPH SO444141491 4111,41141 Pt 1144411 004 -foe. .1 84 14.4 411. army .3114 11 (144441 so. 14141' spy (*most 441 .1 &anon 4414,11444a 4, s I Ist s t sit 44411 *Pit 4,4(444 1Ss One 4% leVsonsa ot vow 441.4 1 114111e 4111434,1 1 4, 411. 44 ann.fn ..fnarn I e44 Picture window A rectangle a .n.1.4 .4tn 41.14 114meer4er 41, I 4.444 444 114.44 N4t6411% ... vs 4444.4 4... 4.4144 411 a 'Wu*..111.. 04. WO tit that indicates the position and size 11...1.4.sat Dtee &Wog, ss. 44 nr, .414ser 4 cst .4f1 11,44 4 444/1041 .41111.6.0 .. a 114.114111 ot art to ce stricpeo into the page t 1144410 s1(5%.4441 ... ,i,os 4.4 4444 4.4144.4 14.445% ty ',eft 'vet '4.:ItIt 41 Of PI stall 1I. at .sostfft 4.111 ft ftr44401* ft otta Oita 14(1.11./. 4 st .41441 **OM 141441 sleartsa en t )414C1111.0864t .46414. 1141 . not tat Caption Tl'e text describing a 14 PY.l 1.4.4 4.14 IOW* tit 41410 nv a 4. eIl Z1YY4(448 reePeogyae. .444 tsis AGIN cnotograbn or ,llustrat.on 4? 7; We Cite. 44,4.biff ..41141(41. Moat 44.5 *stet at 411 8444111 4.4.1 .448.441 Inin. 144,411 4 444 %fa.% 411Int11t 'fr. ,.**l0,4V Pu...... 4 Wet* 54. 14184 tot left AY 'a '411.111141 4444% !.eelel4/0 it.10.1eY4 41 *ea 4% one ft Ym.1.11100*.Y0 RtilY 41 Body text The main text. also s 444 4 ,,,0414 ,neant sc as 4...t two* *Art 4111144. HS% t11 called ndnring :ext .6101% ..as vs,* 44 ...0 .1.4 491 4. (44 *col ..41es Limo 3.4.1111 4.4 nu... UMW/Y*4 OFIem 4 '41 44 MP. I 4.444 Of 40.440111 CDPIIPtuft Ossi .... 0444 t` a. 1.0 n Ihnit ' 4 ...futile ent 64.0 wvost4 ON*

Folio The Page nur-ber .-.4 ; Running toot A lire across the bottom ct the page that helps orient Subtu,ad A phrase that :he reader Nitnin a 0Ocument14ere AlleyTne space cet.ree-c:,lurrns' ide-t.ties a suotooic contains me folio and dare Wraparound text Cccv that iv'aCs Inside margin The space aro,,r.0 a ;acrlic net ween Ire binding edgeo.f tne Page and 'ne text

Verso Lett-hand page (literally the reverse wiith :he right-hand page considered (re ?tont) Newsletter Design

* Contrast is needed to give impact to a layout: grouped in easy to grasp arrangements.Structure contrast of size, weight, color or direction. You includes alignment (or position), whitespace, decide what is the most important and whatyou balance, proportion and unity. want your readers to look at. Before we look at toolsyou can use for good Structure gives your newsletter continuity and design, let's look at what makesup a page. consistency. All elements should be organizedor

Sidebar A smaller atm inside Oroakoul (aISC) Called a Pull Quote. larger one, boxed with its Own Top margin The distance from :he blurt, or callout) A sentence or top trim to the top of :he text area headline to Set it apart from the main OasSage excerpted from the body text. (It Can be Positioned anywhere Punning hewn and feet and tilos copy and set in large type. are often positioned in the tCP On the Page ) oottom margin

THE COMPANY BULLETIN Running head A line of !ext across the t011 of the Page Mat helps orient the reader within a document. It mignt include the document's title. This display type is another technique to grab the author. chapter, sublect of Current reader's attention and pull him or her into the article. page. or page number

Callout A label that ,demtif es part of CV Weals 'Os of am illustration. SIdener heading Is centered ever the lst In the sidebar

Leader A 'ule that moves the eye SAY ail% SAM ,/ Sol from a callout to the part of tne Sal eiele Wale a on ale ateeset illustration it describes as IWO MOM UM^ al Or ere awe asseeelisavtat swat I mama Nye warc h. V "INF OR dolh,,,A0 tale eassate *NM O&M A/ 4/0 a Raters.R Dingbat A decorative :r symcdtic swastet alsorase device used to secrete items oh elms.1, Nies awe ea num; the cage or demote .tens in a ,st WI we tem te . OM IMMO% UP" ilt maw gym 1/%014151a111114181110 *A WM, la *owl ,NOIIV atm maws" 0 1111,00 um se owes sambas a wren soi awe thataat east man" oat 044140al :111 WWI AI OM 1 VI ..qm iprwo II "MR .staat. V/01.4 ANANIII ewes tanmeal awl %NNW ittftt UI ttlikiftwars Outside margin T^e sOaCe AP . 11111.1141011101W1 MI% diMANOR al 11, 4141111.11A1111011111 410.111.1111 0.11.111146111N1111/11. NIS WARM RI oerween the oLtside t'rt ano tr'e ~WO OMR es eaa asis soar a artaaraanat pow Inoue WNW art Iwo WM obi art aaaa amalaa. isI text 140. Aa111 lama l'IM 111. Mem ways, %bra sults halms a fole 'amat Mal OM NI Van sin mu U 01 V mile 111110 swersomar atlesurS11. Mar% 41R.IIMI114VI Wanla mewl% Impahon Continued lin (aso called erteee RIM easel us imps 4. 104n so ipartit Melasea awe ewe sr 51W11%101661 IRMO mere de. et iumotine) A line of text indicating the slete ae strAMI, 101 ee Vet al *art. actioama, Wawa. hi. 04 mem swum ast mond tete 1,415 werait 5,101 IPIRSARI %MINNA% Page On which an amcte Continues tseseteresseet raselawse a 'bona Man Nhore sIghot 'Pet 10 1100.0 601fflorollotoromia %Met IA at omml 611 'total% grmini. Ifs counterpart on the continuation 4.4 mitral sten. %UMW% lideffinplior page s a carryover :ire denti!yirg sawed amprta 541 11111111wIp SI pi I re..woair It :me S:Cry that is being ccntinLed VW. CI* OS Bottom margin Tme soace oetween the bottom tr r" aria :he Drop cap An enlarged initial bascine of trie last line 01 text Screen (also called tone) A tint, letter that Crops below ;Me first either a percentage of black or a line of bibby text. second color. behind text or art Page trim The edge of lhe cage Printing rule A rule that traps a In ddmmerciai printing The size or I-- Gutter Thesoace between twO screen Or surrounds a text block or a !he Gage after it is cu, ;luring tne facing pageS piece of art oinaing procesS

Recto Right.hand cage

3 5 Newsletter Design

Width: refers to the width anddensity of the letter. TYpe Widths are condensed, normal andexpanded. 0 Type is the basic building block todesktop pub- Posture: or slant is the angle of a typecharacter, lishing. Type creates words, and words convey eithet vertical or incline& Vertical typeis called your message. For acomplete glossary of terms roman. Inclined typeis called italic or oblique. Use concerning type, see Appendix A. italics for added emphasis. Tipeface Style: refers to type attributes which areindepen- dent of type size or alignment.This refers to Typeface refers to the shape or outline of the whether the type is set in boldface, italics orother letters, numbers and symbols. The type you modifications of a basic typeface. Boldfaceis choose and the way it's placed on the page can generally the most effective way tomake type help your reader understand your message. stand out. Italic type can providesubtle contrast to the main text, but it does notprovide emphasis. Choose a typeface that "speaks" to yourreaders in Italic is used mostly for captions, quotes,and other the tone of voice most appropriate to yourpublica- short items. tion. Family: all of the variations of asingle typeface Typefaces can be formal or informal,old-fashioned the different weights, widths,slants and styles or contemporary,friendly or intimidating. Type- constitute a type family. faces break down into two primary categories: serif and sans-serif. Leading

Serif type: characterized by iny extensions orfeet Leading is the space between lines of type.You at the edges of each letter.These extensions serve can increase the worddensity of your documents both a decorative and a practical purpose. by tightening the leading. Likewise, you can open up your publicationby increasing the leading Sans-serif: is high-impact and very simple in between the lines. appearance. The letters do notinclude any "feet" or decorative extensions. Leading becomes of crucial importancein lz rge headlines. As a rule of thumb, you should add2 to Type also is described in size, weight, width, 4 points of leading to the type sizeof a headline. posture, style and family. For example, if you are using 10point type, use 12 points of leading (written 10/12). Type size: refers to how tall letters andnumbers will be when printed. Type is measured in points, Kerning approximately from the top of the ascendingletter to the bottom of the descending letters.There are Keming refers to adjusting the spacingbetween 72 points to an inch. specific pairs of letters. Kerning is veryimportant when slanted letters, such as A's,V's or W's, Weight: refers to the density of the letters, to the appear next to each otherin headlines and chapter lightness or heaviness of the stokes. It isdescribed heads. Although letter spacing may notbe notice- as: light, regular,book, demi, bold, heavy, black, able in small sizes-12 points orlessthe excess extra bold. Use bold type forauthority or empha- space becomes quitenoticeable in 24 point and all weighs. sis. Not all typefaces are available for larger headlines.

4 Newsletter Design

The most common character combinations that on each line is spread throughout the line, insteadof require kerning are: blocked at the end of each line. To Tr Ta Yo Ya Wo Wa P. TA PAyo we Tabs and indents

Alignment The first line of type ina paragraph is customarily moved to the right of the rest of thelines in the Alignment describes how type is arrangedfrom paragraph. It Is Important that tabs bepropor- left to right ona page or within a column. Alterna- tional to the type size used. An overlydeep tab tives are: can look awkward. A good rule of thumb is touse an em-space tab indent. A one-em indent is stan- Flush left/ragged right: This paragraphis set in dard for most text. flush left/ragged right. This form ofalignment is usually the easiest to read becausethe first letters Paragraphs can be indented to attractattention and of each line appear where thereader's eye expect separate content by surrounding themwith extra to find themat the extreme left ofthe line. The space. pockets of whitespace at text edges also add needed breathingroom on some layouts. This paragraph has a left hand indent.Only the first line of the paragraph Is indented. Flush right/ragged left: Thisparagraph is set in flush right/ragged left. This formof alignment is This paragraph has both the left andthe right useful for aligningpage numbers in columnslike sides indented. the final column ina price list or table of contents. The disadvantage of flush righttype is that it This paragraph hasa hanging indent. The first slows the reader because the reader'seyes have to line of a paragraph extendsto the left of the search for the first words of each line. remaining lines of a paragraph. Theextra white space at the left of the paragraphsets Centered: This paragraph is centered. off the remaining lines. Centered type is often used for headlines. Readershipis slowed Tracking because readers have to search for the beginning of eachline. Tracking refers to adjusting letter andword spac- As a rule of thumb, ing equally throughouta publication. By adding a centered headlines look best slight amount of extraspace between words, fewer when they occupy four linesor less. words will fill a page. By slightlyreducing letter- Beyond four lines, the headlinesbecome spacing, you can increase the numberof words on more difficult to read. a page.

Justified: This paragraphis justified. Justified is Tracking is usually referredto as touching, very characterized by rule-straight columnedges. The tight, tight, normal andopen or in desktop pub- last letter of each line is directly belowthe latter of the lishing it is: line above. In order to achievethis, the space between words increases or decreases. justified type Very Loose Loose Normal creates "grayer" publications becausewhite space Tight 'Very Tight

5 7 0 Newsletter Design

"Ladders" (stacks of hyphens) areunfor- Hints with Typography givable: Too many hyphens in a rowin justified text poses visual problems. The following are some generalsuggestions concerning typography: Conventionalapproach:Most recommend no more than two hyphensin a row. Justified or ragged right: Research now shows that there's not much differencein readabil- Avoid widows at all costs:Depending on who ity between justified andragged right text. More defines it, "widow" (and sometimes"or- interesting, readers don't seem tohave strong plums") refers to a short line,including a last opinions one way or another. Thequestion of line ending a paragraph,particularly if carried whether to justify text is entirely a matterof style over to the top of a page orcolumn, or the first and tasteit has virtually no impact onreadabil- line of a paragraph that falls at thebottom of a spacing helps the ity. It is true that even word page or column. reader, and that setting copy flushleft ensures that all word spaces will be equal.There are a few Conventional approach: A short line atthe end of practical reasons to support justifiedtextit tends a paragraph ismuch more acceptable than one to be slightly more efficientthan ragged type (that at the top of a column. Is, takes up less space on a pageby 10 to 15 percent). Never leave two spaces betweensentences: For two reasons: (1) Wordand letter spacing for Conventional approach: Use justified text should be proportional, and (2)Wide-open fiction, editorial material in magazines,and other word spaces are an invitation torivers, white ragged right "formal" documents. Use flush left, gaps meanderingdown a column of type. text for newsletters,correspondence, business Double-spacing between sentences also causes informal style reports, and anywhere else that an problems with justified text. seems appropriate. approach:Use a single space after Serif type is Conventional Use serif type for running text: each period, colon, question orexclamation shows only easier to read, however research mark. about 15 percent difference in readability the between serif and sans serif type. Choosing Set em dashes "tight" (withoutspaces): wrong type size,setting too wide a measure, Almost every style manual insiststhat em spacing lines too closely together, orother dashes be set tight, with no spaces oneither problems than factors are likely to cause more side. the use of sans serif face. 0 Conventionalapproach:Decide whether to use Conventional approach: Make serif type your then follow the to spaced or unspaced em dashes, first choice for text, unless there is a reason practice consistently (at leastwithin each use a sansif thematerial suggests it or there document), accepting its trade-offs. is a company style that dictatesit, for example. Remember, rules are meant to help, notenslave Allow minimum hyphens in flushleft set- multiple sources, look carefully at approach us. Check ting: Forbidding hyphens is a good examples of well-producedtypography, and for headlines. cultivate your own sense of what'sattractive and what's readable. Conventional approach: There is no unified approach on this.

6 0111.0111 Newsletter Design Designing Tools

Some of the toolsyou may use to incorporate the basic elements of good designare organizational tools, text organizers, and emphasizingtools.

Organizational Tools: Borders

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Columns Newsletter Design

Text Organizers: Headers

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Jumplines Footers

8 LI Newsletter Design

Emphasizing Tools:

-Reverses

The quick 1, The quick

-Screens brown cow ! brown cow jumped. jumped.

-Color Ink or Paper

r -Bleeds J

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ii I. 0 Newsletter Design AWN/

. . .make your column sizes between 35 and 60 Organizational Tools characters per line or an average of seven to ten words. A strong layout creates a cohesive unitof a series of separate, unconnected parts. You shouldbase ...combine different grids to signal distinct your page layout on agrid. parts uf a multi-page publication.The intro- duction and index of a book, for example, may Grids be based on different grids thanbody copy which comprise the majority of the book.The Grids consist of non-printing horizontal and features pages of a magazine may use a con- vertical lines that organize consistent placement of trasting geid from news story pages. However, type, artwork, and graphic accents.Grids are the this contrast is repeated in the same way,issue basic tool for designing attractive, effectivelay- to issue. Be consistent. outs. They define the placement of textand graphics on a page. Don't

The number of columns of content does nothave plan so much page-to-page predictability to equal the number of columnsappearing on a that you bore your readers. Continual left-right grid. For example, a six column grid would permit and top-bottom balance can lead to visual several variations, such as a single column of type, boredom. Look for contrast opportunities in illustrations or photographs six columns wide, or a headlines that vary among one-, two- or more double column of white space and subheads next columns wide in two- and three-line stacks. to a four-column wide expanse of body copy. Photos also can take on multiple column sizes and asymmetrical patterns on page spreads. Here are some do's and don'ts to help you plan It your grids: ... usetoo many grids in a short publication. is permissible to vary column arrangements on Do a page, but theunderlying grid structure should remain the same. ... usemulti-column grids for grea'er layout flexibility. Multi-column layouts make it easier White Space to position varied sizes of headlines,photographs, captions, gt aphs, charts, illustrations, Another major tool used to design good-looking and pull-quotes. effective layoub is white space. Although white space is usually perceived asthe absence of some- considvr using grids that contain columns thing, white space is actually a calculated way to of different widths. A grid that combines a focus attention on important text and graphics. narrow column with a widercolumn or columns permits easy placement ofsubheads, Here are some do's and don'ts for white space. artwork and planned areas of white space. Do ...design your project based on reader spreads. Readers seldom encounter a single ...make white space an integral part of your page at a time. Usuallyreaders will see left and format. Blocks of white space provideneeded right-hand facing pages or panels. Aim for a contrast. pleasing balance of text, white space and visuals on thoc,e adjoining surfaces. plan additional white space at the top and

10 12 Newsletter Design

bottom margins of each pageor panel. A Headlines consistent sink, or block of white space, at the top of each page can be contrasted against The purpose of headlines Is toattract the reader's irregular column endings at the bottom of each attention and to break up the information. page. Here are some do's and don'ts to follow for effective headlines. ...keep internal white space allowances consistent. Column dividers should be the Do same width between the columns throughouta document. Similarly, the space between para- .select a headline type and size that forms graphs, stories or sections of content should be an obvious contrast with your bodycopy. An determined and maintained consistently. effective headline stands out clearlyfrom adjacent copy. The easiestway to achieve Don't contrast is to use a larger and bolder typeface. overcrowd a layout with too muchcontent. . .make one headline ona page dominate by The more elements included ina given area, increasing the point size, column width, the less impact each element is likely or to have make it more thanone line. on the reader. By replacing some typeor visuals with white space, you emphasize those . usewhite space to draw attention to head- that remain. This guideline discourages the use lines. White space can bemore important than of "filler copy," which only dilutes theimpact large, bold type in emphasizing headlines. of more important content. Give each headline sufficient "breathing room," particularly above the headline.The ...leave "holes" or blocks of whitespace in best horizontal spacing around the middle of your layout. Extra, headlines is unexpected twice as much space aboveas below. space in the interior of a layout may emphasize only the fact that you haven't plannedyour content well. . establish a consistent pattern inyour use of upper case type. Use the same style of capital- izing headlines throughouta project. Subheads ...use column dividers that are as wide or and other reader cuescan contrast from your wider than margins. The whitespace between headline pattern, but each of thoseelements columns of text should be subtlejustsuffi- should be consistent. dent to distinguishone column from the next. Wide column dividers appear to alienate text break the lines of a headline logically and areas from one another and impose obvious attractively. Keep related words together ribbons of white down thepage. on the same line whenever possible. Readyour headlines out loud and form breakswhere Text Organizers your voice naturally pauses. ..be consistent in using flush left, centeredor Text orgar.izers help to lead thereader from one flush right headlines. Inconsistencyleads to story to the next. The organizers' size andarrange- visual clutter and a random, disorderlylook. ment point out the order of importance foreach story. ..adjust the leading foryour headline. Letter spacing becomes very criticalas type sizes

11 13 Newsletter Design ....

them increase. You'll probably have tochange the ...tombstone your headlines. Placing confusion for the automatic kerning percent on yourDesktop next to each other causes Publishing program. read er.

Don't Subheads ..choose a headline typeface thatclashes Another text organizer is asubhead. If you need to with other adjacent display type.Be alert to the add some white space tobreak up a lot of copy character of the display type that isused in you can add asubhead. Here are some do'sand your nameplate orschool logo type. don'ts for using subheads: ...set headlines so large andbold that they Do overwhelm surrounding material.Headlines should not "shout" at the reader to get atten- ... usesubheads to break long expanses of tion. Few newsletters need toconsider head- body copy. Subheads add visualinterest and lines as large as 48 point type whenthe text provide clues that reinforce importantinforma- and subheads are substantiallysmaller. tion, show progression of contentdevelopment and help readers quicklylocate desired infor- ... useall caps if you are using longheadlines. mation. They also segment the copyvisually Readers are most comfortable readingcontent into a few, easy-to-read textblocks. composed of both upper and lower caseletters. ...select a typeface for subheadsthat contrasts ...set long headlines in italics.Italicized type sufficiently from the text. You mayelect to use is thinner and more compressed,characteris- the same typeface used for theheadline, but in tics which slow the reader. a smaller type size, or a moreprominent version of the text type. ...set headlines in reverse type.Too many words set in reversed type are hard onthe ...be consistent in your use ofsubheads. If eyes. Reversed type isbetter applied to section subheads are set in bold-faced typeof a certain headings in a publication or a few keywords size in one part of your document,they should in an advercisement. be set that way throughout.Likewise, if they are centered, flush-left,flush-right, or accented ... usea succession oflong, one-line headlines. with white space or horizontalrules, this Varying headline length and configuration can treatment should be consistent. be one of the easiest, importantdesign tools. By stacking some headlines in twoand three- Don't line clusters, you create contrastingvisual patterns of type and white space. ... over-usesubheads. Too many subheads clutter a page and can interfere withthe ...staircase multi-line headlines. Inthree- reader's progress through the text. liners, the middle line should beeither the longest or the shortest. ...squeeze subheads betweensections of text without adding some white space.If subheads . ..center headlines more than threelines. are to segmentbody copy effectively, they Actually, headlines shouldn't be morethan need to be emphasized with at least oneline of include a three lines anyway. white space above them. If possible, little added space below the subheadaim

14 Newsletter Design

..make subheads so large that they compete The best shape for a photo is rectangular, not with headlines or so small they blend with square, because It's the most pleasing shape adjacent body copy. to the eye. Graphics Plan most photos to align with column edges. When you want to emphasize a particular Graphics consist of everything placed on a page photo, consider extending the photo edges other than headlines, subheads, and body copy. beyond the column limitsinto the neq Graphics are illustrations, photographs and column of text, or even into the marginfor graphic accents, including boxes, drop shadows, dramatic effect. indents, lines, rules, screens and symbols such as bullets. Don't place photographs where they could relate to more than one story or topic. Also, Graphics can add impact to your message while at always use a caption with a photo. Consider the same time adding visual appeal by breaking using frames, boxes or shadow accents to up line after line of type. draw more attention to the photo.

Here are some design tips for several types of Captions graphics: Select a typeface for captions that is distinct Photographs from the body copy. However, don't limit your typeface choice to italics. If your captions Be selective in your use of photographs. tend to be several lines, it's best if you chose a Include photos only if they contribute to the non-italic type. Consider a demi-weight or interest or understanding of your story. contrasting light-weight sans-serif style.

Don't leave photograph cropping and sizing Be consistent in your use of captions. Set decisions to your printer. No one else will captions in the same type size and configura- know the importance of each photo. tion for each use. If you place captions below photos in one section of your publication, Strengthen the impact of photographs by place them below photos in all sections of cropping out unnecessary details. Don't your publication unless you choose otherwise always plan a series of equally sized photo- for emphasis. graphs. Most photos are more attractive and easier to view when one photo is sized notice- If some captions extend the full width of the ably larger than the rest. The size of the photo photo, all captions should extend the full should be determined by the importance and width. However, if the photo is so wide that complexity of the message it conveys. Studies the caption would be set in an uncomfortably have shown that readers prefer one dominate long reading line, try setting that caption photo on a page rather than two or three precisely one column width narrower. This smaller ones. arrangement will reinforce the grid structure you use and add a pleasing pocket of white space. When presenting a series of portrait-style photos of people's faces, reproduce them to occupy the same amount of space and with Don't place captions so close to text copy that the reader can't distinguish them. Provide a the actual faces approximately thesame size.

13 15 Newsletter Design

white space break to give captions the room - a cut-in quote canbe used if the margin is they need to be seen readily. And don't justify tight. captions unless the width will permit even word spacing and minimal hyphenations. - a two-column quoteis best placed near the top of the page.

Pull-Quotes - placing a quoteatop the page takes advantage of the top margin's high visibility (but A pull-quote (also referred to as an "out-quote") is it can be mistaken for a heading). a short phrase or sentence whichemphasizes a portion of nearly body copy. Pull-quotes are often thin quote inserted between two placed in boxes or set against a gray background. - a tall, narrow columns is visually striking. Pull-quotes can be placed in a variety of ways and don't necessarily have to be positioned Boxes and Borders consistently. Size the pull-quote area to conform to your grid, however, using incre- Use boxes and simple borders to organize ments of column widths or perhaps just a content for the reader. Just remember that half-column width. random boxing and bordering will confuse the reader and may clutter the document. Select a typeface that contrasts against text type. Use a more prominent version of your Boxes can be used to frame charts and photos text type, such as bold or bold italic in a larger neatly, so they appear to fit more clearly than text type size. Or use a contrasting within the grid structure of a layout. A con- version of your headline type, making sure tent frame of any kind, including tint screen the pull-quote cannot be confused as another blocks, should conform to the column widths story start. on your layout.

Don't make pull-quotes too wordy and Text inside a box looks best when it's set one provide a line or two of white space above point size smaller than the surrounding body and below the quote. A pleasing frame of type, 13th don't set smaller than 9-point type. white space emphasizes the quote and adds enough contrasting breathing room to make Lines and Rules solid text columns look less intimidating. Vertical rules may not be necessary to sepa- While you can place pull-quotes in a variety rate text columns, but can be used as an 0 of ways on a layout, you should use the same attractive pattern. If used on one page, they pattern of typeface, size, line spacing and should be used on all pages, unless you are framing. seeking occasional contrast.

Various placements of pull-quotes: Don't use rules as a cover for a poor layout or text arrangement. If content is squeezed too - staggeredplacement avoids the tombstoning tightly together, or if the sequence of text affect. appears difficult for a reader to follow,the addition of a rule is not going to solve the -right-hand margin placement competes less problem for the reader. with headings.

b Newsletter Design

Don't use thick vertical rules between col- Avoid making the depth of the shadowtoo umns or sections of text. Vertical rules that are prominent. If it gets more than 10or 12 points more than one-point thick distract readers. thick, the accent overwhelms thecontent. If you are using a screen for the shadow, don't Horizontal rules can get as thickas your add a rule line to it. design sense dictates without disrupting reading They can be applied to page or panel Bullets tops to encourage flow through the document and to indicate related columns of content. Bullets are cues to the reader that Horizontal rules can define the bottom edge a sequence of items is provided. Since lists of a publicationor brochure, giving a finished are usually look to ragged bottom column formats. fast and easy to read, bullets help attract And readers to this kind of content. they can define the top and bottom ofa pull- quote used to break solid areas of text. You can use solid boxes or round dots for Finally, when in doubt remember, with rules bullets. There are also arrowheads and bold and boxes, less is more. outline boxes. Asterisks and hyphensare faint, weak forms that don't have enough weight to attract attention effectively.Stars * Screens and other symbols quickly becomega .. ly; and like asterisks, they indicatean out-of-date Tint screens, like boxes,can separate and design. emphasize content attractively. Thescreens can be used alone or applied within an area Initial Caps already boxed. Usually 10%screens are too weak, so when youare placing text on top of a screen, use a sans-serif type with a 20% An enlarged capital letter at the beginning ofa text screen. block encourages the reader to begin readingthe text. The accent cap can be treated ina variety of The quality of the screen also tends ways and sizes. The key is to select one treatment to be and use it consistently. coarse, so heavier densities of 30% and greater can be dizzying when used with overprinted type. Many publications "sink"a cap into the first paragraph of a major story, extend thecap above the first text line, frame the If project quality is critical, consider cap in a box, or reverse having it in a solid or screen box. your commercial printer drop the tintscreens. Then you'll get the density and smoothness you desire. When used to accent content starts and logical divisions of content, these cap treatmentsincrease readership by about 13 percent. If over-used, Drop-Shadow however, the value of contrastcan be lost and so are your readers. The three-dimensional effect of shadowboxes is very popular, butcan be over-used easily. There are three basic types of initials: Reserve their use for content that requires special emphasisor for photo accentsif your Raised, upstanding or stick-up initialsrise document does notuse more than a photo or above the first line. two on a page.

15 17 Newsletter Design

Cut-in or drop-cap initials areinserted into an charts, illustrations, screens or photographs? indented space. How many?

Freestanding or hanging initials are placed How many features will remain constantfrom outside the column. issue to issue? Will graphics be used to establish amood or Color reinforce specific points?

Just a few remarks about color.Readers will not What is the most important idea you want to necessarily remember your message longerif it's impress upon the reader? What is the second provides enhanced by or appears in color. Color most important idea? short-term immediate appeal. Readers will re- in black member a message longer if it's presented What are the printing specifications?Will you and white. use camera-readypages? Will you use more than one color? The younger a publication's audience,the more readers wantcolor. Demand ranges What kind of paper will you use? front 90 percent for those 18-24 to 53 percent for those 65 and older. How does your newsletter relate to existing publications? A tint or screen over type worksbest if you use colors such as beige,yellow or peach and Does your newsletter paint an accuratepic- Also, it should be used only on short stories. ture of your school? Does it present alow- size. you should increase the type budget or a first-class image?

When using more than one color, put the What budget constraints are you working basic message in the darkest color and use under? lighter colors to set a mood or emphasize a point. What hardware and software resourcesdo you have available?What typefaces does your Headlines in color should be in a larger type desktop publishing system currently include? that has a wider stroke than those in black. Do you have access to a laser printer orimage Color heads need more bulk to get the same scanner? contrast as black and white. What time constraints are you working under? Do you have time to design and Other Items to Consider produce a newsletter? Who will writethe copy? When designing your newsletter there are other items, in addition to those already mentioned, you How many copies will you need? should also consider. Such as: Will your newsletter be aself-mailer or will What is the overall format? What will be the you have to insert itinto an envelope? size, the number of pages, the number of columns? How much will it cost to mail your newsletter? What types of visuals are available? Graphs,

16 1 8 Appendix A

A BRIEF GLOSSARYOF TYPE For the desktop typographer,a glance at some Important terms.

BY JOHN D. BERRY

The long history of type has given riseto many12 points wide and 12 point., high). CompareEN. See terms whose meanings areiobvious. Also, as tech- also EM DASH. nology changes, those meanings shift. Here isa guideEm dash. A long dashlike theones around thisFe to some of the major terms, revised and expanded fromphraseused in U.S. practice to marka break in a our March/April 1990 issue. (Cross-references are in sentence. Compare EN DASH. small capitals.) En (or en space). One-halfof an EM. See alsoEN DASH. Fe Ascender. The part of a lowercase letter suchas ii, f, En dash. A dash, longer than a hyphen but shorter than or b that extends above a typeface's X-HEIGHT, an EM DASH, sometimes used to join the ends of a range (e.g., 60-63, or "TokyoLondon flight"),as a minusFe Baseline. The imaginary line on which the letters insign, and in place of a hyphen to join multiwordterms WHEN a line of text rest. (e.g., preCivil War). In Britain, commonly used, with PUTURA Bold (or boldface). A type style with thick(or a WORD SPACE on either side, instead of an EM DASH. (TOP) IS "bold") strokes, which appears dark CONDENSED or black on theExpanded typo. A very wide style oftype; usually a page. Often a variation of a ROMAN design. ON' SQUEEZ- variation of a ROMAN or ITALIC design. Typefaces that ING IT TO Cap height. The height ofthe capital letters above the are designed as expanded (e.g., Univers 75) look better 70% OF ITS BASELINE. In many typefaces, this is less than the heightthan typefaces that have been expanded by stretching WIDTN of the ASCENDERS. the letters uniformly. (MIDDLE), THE Cold type. Originally, PHOTOCOMPOSITION Expert set. A supplementary FONT as opposed or set of fonts, HORIZONTAL to HOT-METAL TYPE. By extension, any form of digital containing extra letters and other charactersnot found AND Or laser COMPOSITION. in the main font package fora digital typeface. Com- VERTICAL Composition. Setting type, composinga page by monly includes SMALL CAPS,OLD-STYLE FIGURES, and STROKES putting letters together into words and lines. Also additional LIGATURES. VARY IN calledtypesetting. Flush left. Set so that the left-hand edge ofa block of WEIGHT, PREVER type is even, orflush, Condensed typo. A very narrowtype style: usually a while the right-hand edge is ABLE IS ragged. Compare FLUSH RIGHT, variation of a ROMAN or ITALIC design. Typefaces that JUSTIFIED. PUTURA are designed as condensed (e.g.. ITC Garamond LightFlush right. Set so that the right-hand edge ofa block CONDENSED Condensed) look better than typefaces that have beenof type is even,or.tiush,while the left-hand edge is (SOTTO/4), DESIGNED oi !:-nsed by squeezing the letters uniformly. ragged. Compare FLUSH LEFT,JUSTIFIED. TO SE Counter. The fully or partly enclosedpart of a letter (asFont. A complete set of characters forone style of one NARROW. in e, c, and o). rYPEFACE (and traditionally, in metal type, in one Descender. The part of a lowercase letter suchas p. q. or y that extends below the BASELINE. size), including upper- and lowercase letters, numer- Display type. Type that isset at a larger size, and often als, punctuation marks, in a different typeface or style, thanTEXT TYPE. Display and spe-.ial characters. type is usually intended to grab attention or tocommu-Ofteh to mean the nicate a single simple message (e.g., headlines, titles)software that renders a rather than for continuous reading. particular typeface. Some- Doi. Dots per inch; indicatesscreen or printer resolu-times used interchange- tion. A single tigure (e.g., 30(1 dpi)means dots perably (and confusingly) linear inch, both horizontally and vertically;two figureswithtypeface. (e.g., 400 x 800) indicate horizontal and vertical Foundry. Traditionally, a maker of FOUNDRYTYPE; resolutions, respectively. now sometimes used to denote a maker of type in any Em (or em space). A unit ofmeasure equal to the technology. point size of the type (e.g.. in 12-pointtype an em isFoundry type.Metal type cast as individual characters March/ April 1992 19 and used tbr wtting type by hand. Foundry type is Ligature.A single. specially designed chanwter made nude of a inure durable alloy than Hoy-ME rm. TYPE. up of two or more letters that would otlwrwisebump since it's intended to be used many times. I n coninier- into each other awkwardly (e.g..tiinstead of fb. CIA typesettmg, largely superwded by Hof -ME TAT TYPE Traditional ligatures iiwlude ti. ti, ft'ffi. and fit (except in i)sPLAY sizo) early in this century. Lining figures.Numerals that are desigiwd to be all Hints.Built-in modifications to the design of a digitalthe same height (usually typeface. which take effect when the typet:we is ren- the ia 111 easthe L dered at low roolution. Hints are built into both HEIGHT) and often the TRUETYPE and POSTSCRIPT Type 1 typefaces. saine width. Also called modern *mei.Compare Hot-metal (or hot-lead or hot) type.Metal type cast as eitlwr Iiiws or individual characters by a typesetting OLD-STYLE FIGURES. machnw (such .1S a Linotype or a Monotype caster) and Multiple Master type- then assembled ("composed") by the machine Mtofaces.A new font tech- words. lines, and pages. Hot-metal type is traditionally nology, created by Adol-e nwlted down again after each use. The prevailing Systems as an extension of technology before the invention of PHOTOCOMPO)ITION. its PosrS(:RIPT Type 1 font Compare (-oil) TYPE. FOUNDRY TYPE. format, that turns one Italic.A type style derived from Italian Renaissaiwe TYPEFACE into a whole handwriting, with a flowing form, a slight slant to the TYPE FAMILY. Instead of a right, and usually slightly narrow letters. Originally asingk typeface design. a Multiple Master typthce separate style of type, italics have been designed as LIGATURES (LIFT) SOLVE THE complenwntary fonts to ROMAN typefaces since the is a design matrix made up of one or more of the PROSLEM OF CHARACTER PAIRS 17th centu7. Typefaces that are designed to be italic THAT TOUCH (RIGI4T). (even if they are only oblique forms of the roman) look variables of weight. width, better than roman typefaces that have been photo-size, and style. The type- graphically slanted. face can be modified along any of these axes (e.g., Justified.Set so that both the left-hand and right- from light to bold) while hand edges of a block of type are even, orfiush. Thisstill keeping the essential is done by expanding or condensing the WORD SPACES, characteristics of the type- and sometimes the spaces between letters. and by face. LINING FIGURES (ABOVE) ARE OF hyphenating words. Compare FLUSH LEFT. FLUSH RIGHT. Old-style figures.Nu- A UNIFORM HEIGHT. WHILE OLD- Kerning.Reducing the horizontal space between nwrals that are designed STYLE FIGURES (BELOW) HAVE characters of type. Originally, casting a letter so that like lowercase letters. with ASCENDERS AND DESCENDERS. part of it (e.g., the top of the 1) extends beyond the ASCENDERS and DEsCEND- body of the letter. into the space occupied by the next ERN. Once standard, these letter. Sonwtimes uwd to mean addingr removing all but disappeared in early space between letters. photocomposition, but Kerning pairs.Pairs of characters that .1r %! automati- are connng back in EX- cally kerned by a software prograni. Many PosTSCRIPT PERT sT I s and some new fonts come with built-in kerning pairs. The program typeface designs. Old- defines which pairs to kern. and by how much (usually s7le figures often va7 inwidth. Compare LINING in thousandths of an Em). Leading.(Pronounced "ledding() Vertical space be-Optical sealing.Subtly adjusting the design of a tween hnes of type, measured in IlOINT S. I n metal type. 1 YPEFACE from size to We, to nnprove readability. In leading is theadditionalspace (from inserting strips ofSII TAL TYPE. cach size was designed to look best at that lead between lines of metal type). In phototype and size. Thissubtkty was mostly lost in PI hr woMPOsITION. digital type. where there is no metal body determiningin which every size was photographically enlarged or the height of tlw type, leading has conw to nw.m the reduced from a single design, but is becoming possible totalspace from one line to tlw next. usuall% measured again in digital type. Usually the snuller sizes are from hAsEt INF. to baselbw. slightly wider, with proportionately taller \ irs and thicker kiirlines, while larger sizes are slightly Letter fit.The overall looseness or tightness of how narrower, with snuller x-heights and more delicate the letters of a tbnt tit togetlwr on a line. with no hairlines. See also TIRE MASTER TYPTIA( Es. tracking, kerning, or letter spacing. Also called set. Ornaments.Clumters that Are not letwrs but deco- Letter spacing.Adding space between letters. Thisrative elements. which can be uwd alone or combined may be done manually (e.g.. to increaw readability ofinto borders or other patterns. small caps). or automatically (to justify a line without breaking any words). The latter is not traditionally Outline font.See i'i. r iiIt.. i. considered good typographic practice. Sometimes used Photocomposition.A nwthod of setnng type directly to nwan addingorremoving space between letters. on light-sensitive paper: the standard that replaced March/ April 1992 21/ HOT-METAL TYPE. Also called phototypeseuing, filmset- small caps. ting, and cold type. !Wash characters. Variant versions of individual Phototypesetting. See PHOTOCOMPOSITION. letters, with flourishes, extended serifi,or other deco- Pica. A standard unit of linear measuretnt it, equal to rative additions, intended for use at the beginningor 12 POINTS, or about V6 of an inch. In POSTSCRIPT, end of a single word. equal to exactly Va of an inch. Text type. Type that is set in long passages, usuallyat Point. A standard unit of linear measurement, equalto a smaller size, intended for continuous reading. Com- Vi2 of a PICA, or about V,2 of an inch. In POSTSCRIPT, pare DISPLAY TYPE. equal to exactly V72 of an inch. Thin space. A fixed horizontal space, smaller thanan PostScript. A page-description language, developed EN SPACE; usually either one-third or one-quarter ofan by Adobe Systems, that converts any computer im- EM SPACE. agewhether text or graphicsto a form that com-Tracking. Uniformly changing thespace between patible output devices can interpret and print. Post- letters over a range of text. Manyprograms have Script typefaces can be printed on any PostScript- several "tracks" or sets ofvalues (usuallypercentages of compatible printer. the unmodified space) for looseningor tightening the Printer font. The software that contains the image of LETTER FIT. a typeface in outline form; used by a laser printer orTrueType. A font format, developed by Apple, that imagesetter to produce the image on paper or film. converts any typeface image to a form that compatible Also called outline font. Compare SCREEN FONT. output devices can interpret and print. Unlike POST- Roman. A type style derived from Roman inscrip-SCRIPT typefaces, TrueType typefaces include both tional capitals and Carolingian handwriting. Used SCREEN FONT and PRINTER FONT as part of the same file. today to mean the "regular" or "normal" style ofmost TrueType typefaces can be printed onany TrueType- typefaces. Compare BOLD, ITALIC. or PostScript-compatible printer. Sans serif. (Of a letter or typeface) Without SERIFSTypeface. The full range ofletters and other charac- (e.g., the typeface Helvetica). ters of a given type design (e.g., Palatino). Usually includes all the weights and styles, but is sometimes Screen font. The software that contains the bit- used to mean just one weight and style (e.g., Palatino mapped images of a particular typeface, at various Bold Italic). Various manufacturers might each supply sizes; used to produce an approximation of the type- FONTS for the same typeface. face on the screen. Also, a particular size of bitmapped image of a typeface. Also called a bitmapfont. Compare Type family. A collection of relatedTYPEFACES, de- PRINTER FONT. signed to work together attractively (e.g., the Stone type family: Stone Serif, Stone Sans, and Stone Infor- Serif. (n.): A short line across the end of a main strokemal). Also used to mean the collection of weights and of a letter. (adj.): (Of a letter or typeface; also senffed) styles of a single typeface (e.g., Stone Serif). With serifi (e.g., the typeface Times Roman). Type manager. A software program (e.g., Adobe Set width. In PHOTOCOMPOSITION, the looseness Or Type Manager, Bitstream Facelift) thatgenerates im- tightness of the LETTER FIT. In PageMaker, the degree ages of a TYPEFACE for the screen or a printer, based on of condensing or expanding of type. the typeface's PRINTER FONT. Sidebearings. Space built into the design ofa letter Word space. The horizontal space between words on in a digital TYPEFACE, on either side of the image of the a line. In digital type, each typeface has its own letter itself, to keep letters from touching each other. predefined word space, usually about the width ofa Small caps. Small capital letters, usually as tallas the narrow letter. See also JUSTIFIED. X-HEIGHT, designed to match the weight of the lower- kheight. The height of a lowercase x in a given case letters of a typeface. Often included in EXPERT TYPEFACE and size.al SETS. Some programs can simulate small caps by shrinking capital letters vertically and stretching themJohn D. Berry is a Seattle-based typographer and book horizontally, but the result never looks as goodas true designer who contributes regularly to Aldus Magazine.

cap height

ascender small caps

x.height . MI1411141.11 on dash pir em clash

baseline 12 pointsIhstendu \counter thin space "IP 1 p4, sans serif typeface I one pke

Aldus Magazine a Appendix B

PAPERIN THE SHORTRUN A simple guide topaper choices for newsletters, brochures,and flyers.

BY MARK BEACH

Has a printer ever stumped you with the question, ,V e, % 1,t e t S "What paper do youwant it on?" The sales rep or clerk el,v,;!,;.. tries to help by handingyou a pile of swatch books and s0sste, samples, and perhaps begins describingsome options. .:". Soon, your head is swimming with technicaljargon , S. 'AN " text, wove, pounds, bond, laid, film coatandyou "t .` tel swamped by toomany choices. Clearly, picking the bestpaper helps you reach your "9:ti''., audience effectively. And, because - . paper represents 30 '4. . ' , . . ' n' to 40 perccnt of the typical invoice for . . :!. :' printing, . . choosing well also controls -.). costs. Here's a quick look e h .; , at the papers suitable for short-run jobs like 5, newslet- .,* .4,,k.. ters. brochures, and flyers. A.a:,.. " -%.. Two choices: coated and offset A . tiZ...:NCL;;;;,..;,st s. Whether you're using acompany printer across the - . ;.. .-.:,!sti -3, " hall or a retail printer down thestreet, the shop deals 'Ns ' A. . with two grades ofpaper suited to short-run publica- NC.... s\.1 tions: one is coated, and the other 6 is uncoated, also 41.14,,.1.;Vt1/24- called "offSet.- (Oddly enough, V; although there are a Ob.. e - 1 .11 k number of papers that ;01.44.g' 4:74...`''341, are not coated, in the world of .S)i% -" ' i ".` paper "uncoated- refers to one specific type.)Other , grades that printers usesuchas bond, text, and 3., " ri 'ee et'. coverare made for other kinds of printed products:,\ ,t..S 4, not discussed in this article. Uncoated or offsetpaper is the versatile stock used . r&' for most commercial printingjobs. Offset comes ina wide variety of colors, weights,and quality levels. " Although it has no coating, offsetpaper comes with rAF.0),"k..:~ either a rough or smooth surface s'c'rVa.,43;,' to the paper itselt. t . = produced by a process called"calendering- (see side- .; bar. page 34). Within thesetwo broad categories are finishes with manynames, but most of the differences are so subtle that few people can tell whichis which. Among the mostconunon names are antique and vellum, whichare relatively rough, and lustre and English, which are smooth. (In fact, off'setpaper with an English surface is smoother than the bond usuallysupplied for photo- copy machines and laser printers, and itcosts less for comparable quality. Trysonierun 50-pound stock thr long documents. 60-poundfor everyday printouts. AI-THOUGH THERE'S NO SUBSTITUTEFOR RUBBING and 7(1-pound for camera-readycopy.) PAPER BETWEEN THUMB AND FOREFINGER,THIS Many printers use white 60-pound, CLOSEUP REVEALS MANY DIFFERENCESAMONG SIX #2 offset as a FAIRLY COMMON WHITE PAPERS. THE "house sheet." Ifyour newsletter is straight text and TOP THREE ARE UNCOATED STOCKS, THE BOTTOM THREECOATED. January/February 1992 2 consumer catalogs are often printed ongloss rated #5; trade magazines (like the one you're reading now) use PUT THIS ON YOUR CALENDER #4 or #3 gloss; annual reports, coffee-table books,and lavish brochures are on #2 or #1 stock. In the world of paper, you may run across theterm °calendar* or Printers that use a coated house sheet typically have *calendering.* No, this doesn't refer to how yourDay-Timer Is a#2 gloss, which is a good choice for apublication made. Calendering Is the process, nearthe end of the manufac- with technical drawings or halftones. turing cycle, when the paper is run between setsof steel rollers Coated paper also comes with a nonglare surface that com-rass and smooth it. This Iswhat gives paper Its called dull or matte, which costsslightly less than gloss. and also 'finish,' texture of its surface: uncalendered paperIs fairly Stock with this surface takes halftones well, rough-si., ed and contains a relatively high amountof alr, while works well for publications whose colors must appear is supercalendered paper is smooth and dense. elegant but understated. Nonglare coated paper is a good In other words, 500 sheets of uncalendered80-pound offset easiei to write on than gloss paper, so using it but in- paper Will weigh the same as 500sheets of calendered 80-pound idea if your publication needs coated paper offset, but will make a considerably tallerstack. cludes an order form or reader survey. Some milk also make paper with a verythin coating called a film coat. The stock is sold under namessuch Calendering as silk and satin, and somemerchmts categorize it as 1/00 uncoated paper. For many publications,film coated paper works as well as mattecoated, but costs about 15 Coated Uncoated Below: Besides Raper paper percent less. You often seethis stock used for business smoothing the paper's reply cards (BRC's) printed in color.When produced r tte vellum surface, calendering, as 105-poundreply card stock, film coat meets U.S. also compresses It. Postal Regulations for BRC thickness.

dull antique Ink holdout Paper varies widely in its ability todry ink on its surface rather than by absorption, a featurecalled ink gloss wove holdout. Stock with good holdout keeps ink onits surface, so that images have clean edges; paperwith uncalendered poor holdout lets inkabsorb quickly, so images be- ultragloss smooth

Above: The number of caledering rollers that calendered paper passes through determines how smooth uncoated coated the finish is. 040 OW /0/10 supercalendered AD 41:0f/.1 woo41100 407

newsprint uncoated line artthat is, no halftonesthisstock gives fine results at minimum cost. Coated stockoften used for catalogs,magazines, 8 and upscale brochurescreates aslicker and higher- 2 end impression than offset. Becauseit is usually printed 8 with color images, it is available mostlyin white and in a few off-whitehues such as cream and ivory. matte coated gloss coated The coated stock you see most often isgloss paper. easily if sometimes called enamel paper orslick paper. It gen- Top: Dots of ink spread out into paper fibers more erally comes with a rating numberfrom 1to 5, the stock is uncoated. Bottom: Papergrade and coating on denoting its surface shine: quality (and price) go up as also affect ink holdout, the extent to which ink stays the rating number goes down.Newsmagazines and the surface. Aldus Magazine 23 come fuzzy as the liquid feathers into film.. Decisions about typefaces and sizes, screen rulings, and ink colors should take ink holdout into consider- PAPER WEIGHT ation. For one thing, ink holdout affects dot gain, the phenomenon of halftone dots printing larger on paper than they are on film or plates. Every printing job involves some clot gain, which can range from 10 percent for sheet-fed printing on premium coated paper to 40 percent for web printing on newsprint (see illustration below, left). If you're printing halftones on uncoated stock, use coarse screen rulings, since the paper absorbs so much ink that dots may touch. If the screen is too fine, highlights plug up, and shadows become gray, hiding the paper that should give them contrast and detail. As holdout improves, you can specify finer screens. Experienced scanner operators can prepare halftones te compensate for dot gain, if they know what paper the job involves and what features of the halftone images you consider critical. For example, dot gain is most noticeable in midtones and shadows, where dots are largest, and least noticeable in highlights, where dots are smallest. Even when there is no halftone, good ink holdout enhances clarity. Narrow rules and fine serifs stay crisp, and edges are clean. Also, ink colors seem more vivid when the liquid dries on the surface instead of among the fibers. Compare the soft tones of a full-color newspaper with the bright hues in a magazine such as National Geographic.

Paper color Printing papers come in hundreds of colors but, unlike inks, have no standard system for names or numbers. "Ivory" at one mill is "cream" at another and "natural" at a third. One gray may seem warm and another cool. And colors go in and out of stylemills add and drop hues every couple of years, following trends in fashion and interior design. Primaries give way to pastels, which in turn give way to earth tones. When choosing paper color, put samples next to each other so you can view two or three at once, instead of relying on memory. The human inemory fc: nuances of color is poor, but the ability to distinguish between hues is exc ellent. Even if all you NN ant is white, you'll find that whites tec h nical manuals that readers study for long periods at vary considerably. Consider four or five pieces of white a time, consider paper that is slightly off-white, such as paper side by side--perhaps a page from this magazine, natural, cream, ivory, eggshell. mellow, or soft white. a business form, a piece of letterhead. a newsletter, andThese shades reduce glare. a page from a book. Try to decide which is "whitest" or When color isn't a critical aspect of a printing job. "truly white." You'll also find that you can buy white take advantage of your latitude to save money on called bright, radiant, colonial, polar, elegant, cloud, paper. Consider using paper that your printer considers pearl, oyster, foam, birch, and many other names. excess inventory. If snappy photos are important to you, choose a very white sheethighlights will be lighter, thus Ink color increasing detail and making dark inks seem darker. Ink is partly transparent. so the color of paper affects On the other hand, if you're printing reports or the color of ink. And paper color affects light ink colors Januar y /February 1992 more than dark ones. Even slight variations in paper color can create dramatic changes in flesh tones or product shots. A color that matched cr.porate stan- RECYCLED PAPERS dards when printed on premium gloss in a calendar may look totally different when printed on #2 Whet in a newsletter. When specifying ink color for a printer, choose a color from a color matching system printed on paper similar to the stock you have in mind, and provide a swatch if possible. Make clear whether you want the printer to "use" the ink color you specify or "match" the sampleusing the color simply requires ordering the proper ink or screen builds, while matching the color involves a precise complement of ink and paper. If your organizational design standards include spe- 1_4 cific ink colors, ask your printer to run some test sheets of many papers using those colors. A press operator can put the test sheets at the end of your next printing job at very low cost. Cutting costs What you pay for the paper used for your printing job depends on quality, weight, and quantity. Offiet paper costs less than coated paper, but the difference is not as great as most people believe: for comparable quality, coated costs about 20 percent more. If you're already paying for #1 offiet, switching to film coat would actually save only about 3 percent. Because paper merchants charge according to weight, not number of sheets, reducing the weight of paper is the quickest way to reduce its cost. Changing from 70- pound stock to 60-pound cuts almost 15 percent off the price; changing from 60-pound to 50-pound trims another 20 percent. Paper has price breaks at various quantity levels. If you publish a newsletter, consider negotiating annual. contracts with your printer. For example, enough #1 offset to print 5,000 eight-page newsletters might cost S291. The same paper purchased one time for 12 issues might cost only $243 per issuean annual saving of S576. Also, paper merchants often have sales, called close- outs. Your printer can show you closeout lists and pass savings along to you. arts consultant at a paper distributor. These experts advise printers and their customersthey are not Keeping track saks reps. The market for printing papers includes almost Remember. no matter how much time and talent 1,000 national brands and at least that many more localyou put into your text and graphics. in a sense the paper and private ones. By working with your printer,you print on is your final product. It's what your however, you can reduce your choices to a manageable readers will hold in their hands: it's what will carry handful. The typical print shop buys 70 percent of itsyour message to them. Examine samples. listen to paper from one supplier. Knowing what papers youraccounts of previous experience, run tests. and watch printer likes to buy means you can have swatch booksyour resultsso that the paper you buy will yield the and samples representing those stocks. results you expect. al Ask your printer to supply samples appropriate to Mark Beach is author olGetting It Printed and Papers the kinds of publications you produce. For more for Printing, guides to graphic arts production published by detailed information, work directly with the graphicCoast to Coast Books in Ponland, Oreon. Aidus Magazine 2 5 A pendix C 20 Tre News1eerDesign If you're looking fora way to freshen theappearance of your newsletter without facing a major redesign, you mightwant to incorporate one ormore of the trends listed here:

1. Heads set flush left, ragged right. the eye visual :elief from blocksof gray Some experts believe that flush left heads text and helps the reader move quickly 15. Large Initial caps.According to are more readable than those thatare through the publication. advertising expert David Ogilvy,the use centered. Whatever the readability, there's of large initialcaps increases readership no doubt that flush left heads appearmore 7. Ragged bottom margins.With this by an average of 13percent. They also contemporary. format, each column oftype ends at a can break up long columns oftext and different level. Frequently, add visual punch 2. Heads set in upper and one of the to the page. Caution: lower columns on a page will extend allthe way Do not use too manyon a page. Too case with minima! caps.With this to the bottom margin or a horizontal rule much visual punch istoo much of a treatment, heads are set the sameway across the page bottom will define the good thing. that body copy is set only the first letter bottom edge. Ragged bottom margins 16. Squares insteao of of the first word and the firstletter of seem to work best with ragged right body bullets in proper nouns are capped. All other words copy. listings,lust becausc round bullets are set entirely in lower case. Because traditionally have been usedto highlight minimal capping approximates thelook of 8. Bold horizontal rules.These are listed items, boxes look fresher.(In 20 text type, most experts agree that it is most often used across the top of each years, after everyone has been using more readable than using full capsor page or above headlines. Caution: When boxes, bullets inevitably willlook capping major words in a head. used below headlines, bold horizontal fresher than boxes.) For examples,see rules tend to visuallysepaiate the headline U.S.A. Today. 3. Body copy set raggedright.Some from the story it accompanies. experts believe that ragged right body 17. End marks.An open square, a copy, because of its even spacing between 9. Thin vertical rules.Ever since solid square or a special symbol(perhaps words, is more readable than iustified Roiling Stone and then Timemagazine your company logo or an element from body copy, which hasuneven spacing revived hairline rules, theirpopularity has it) lets the reader know thestory has between words. But the decisionto use been growing. Caution: when vertical ended. ragged right is usually basedon its rules become too thick, theycause too 18. Bleeding bands great a separation between columns of or blocks of contempora.y image, not on its color.These are used purelyas readability. tYPe. decorative design elementsor to draw 4. Narrower columns wtthmore 10. Nameplate copy that linesup attention to type. with column edges below. columns per page.Many 81/2x11" This 19. Hairline rules betweenlines of newsletters are changingto three- or alignment with copy below is becoming type.This is another decorative device. increasingly popular as centered four-column formats and tabloid%are It may be used for captions,outquotes, changing to a five-columnstructure. The nameplates become less popular. headlines or subheads. narrower columns work well for 11. Typeset or hand-letteredscript newsletters, which usually offer short for nameplates and department 20. "Trendy" typefaces.Top designers are now diverting from the stories and encourage fast reading. More heads.Caution: Be sure that theperson columns add design flexibility,too, for Swiss design conventions, basedon who does the hand lettering hasa graceful, Helvetica type, that photos, art, headlines and graphic flowing style preferablya professional. were so popular in treatments. the 1960s and 10s. Classictext faces are 12. Shadow lettering innameplates now experiencing a revival. Examples 5. Narrow-column/widecolumn and department heads. include Cheltenham, Caslon, formats. This shadow Goudy Many typed as wellas typeset effect seems to add a third dimensionto a and Garamond. Sans-serif revivals newsletters are using this format.The two-dimensional page. Usescreens or include Optima (witha slight serif) and narrow column (usually the left column, second-color forthadows." Futura. More recently designed sometimes the outside column) is typefaces now in vogue include reserved for whitespace, headlines, 13. Wide letterspacing in nameplates and depanent heads. American Typewriter, Lubalin Graph. subheads, outquotes, photos,art and other Eras and Italia. special purposes. The wide column One or two words set with widespacing (sometimes broken into two wide between letters can look fresh and elegant, And finally, here's something thatwe but it's not as readable columns) is reserved fortext. as copy set with would like to see becomea trend: conventional letterspacing. 6. Extra white space at top of 21. Subheads between headlines page. and text. This treatment is especiallyeffective in 14. Photos that break out of their Subheads give you more publications with few illustrations rectangles.This appears manyways, opportunity to involve your readers. and often with a person's head rising lots of text. Thegenerous top margin gives ..liove the They encourage readersto make the main body of the photo. For good iump from headline to bodycopy. For examples, see the "People" section of examples, see Time and featurestories Time and the Sunday New YorkTimes' ,:squire. "Week in Review" section. 4, Promotional Perspecuves 1986 f; Traditional Design

Nameplate and heads set centered with all headline words capitalized. Decembet talilt Body copy set iustified. ,, Volume 1, Number . - 4.1 p . :. ...!:;...... ,bitr,..,. Justified bottom margin...... , ,...... , i ...... ,..._7. t :,...,:. 1; -,, v.4..t....; :,.....;.",. ,...: % --, ..::,. . Th. .. .-v Round bullets in listings. e ..-- -. 4 . .. r...r7,--.., . ...t V..tgei;t7..**e3.:t...?-i). t:4'..-4 > ; '4. ;t:-;.-.4ii.'.1.-"!..." 0, ^ . - .1..* 't 4 ALCOHOUSM WASHTENAW"Air COUNCIL ON r . r :.17'.; ,t; :

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- . w to . Ii . SHERIFF RONALD J.SCHEBIL WRAPS UP1985

This istue s interview looks at the law enforcement perspective On drinking and driving Washtenaw County SheriffRonald J Schebil discusses local enforcementel . toile and their effect dunng the past year WCA Nwslettr Does your department have any special drunk-driving enforcement programs planned for the 15115 holiday season? Sheriff Schoen: NO We will neither les. ten nor increase our enforcement against 111111WPWW11.1 drunk driving during the holidays but we will try to increase public awareness of the problem Enforcement if only onehari of plow, the solution to thts mold seriOus problem which is responsible. year atter year.tor one.hau of all traffic aCCident fatalities Our year.round enforcement program on 411 the road now includes a number Of deputies owe° trained in the use 01 the preliminary breath test This instrument is quite accurate and According to Sheriff Schebd. the combined tomesof alert WtterWsined officers and Wizen* i$ used to supplement the traditional COordi difference. nation test willing to report offenders are making the Enforcement at the retail level party People are becoming Conscious of altema the case Of an accident involving an under. stores bars, and restaurants is equally we* tive tra Isportation methods portant to us Recently we sent under-age age patren Education, responsible selling and con. We re n01 saying people shouldn t drink yOuth intO approximately 80 party stores after dnnking sumption and a senOus attitude towards 60% of the stores sold alcohol without lust that they should not drive drinking and driving is the answer checking 10 We are educating these retail A man tan t less of a man if he can say 'Hey icontinued on page 41 ownert about thew potential Crwl liability in will you drive me home More ana more

WASHTENAW COUNCIL ONALCOHOLISM It's A Fact: SERVES COMMUNITY FOR25 YEARS Teenage gide are drinking almost them, and to develOp arid Improve commu. Last Monday. the Washlenaw Council on as much as teenage toys. Alcoholism observed its silver anniversary nity resources and support FIN example, a malor new programtrks celebration by reflecting on ds growth and Program charting new programs of community year i$ the Adolescent Outpatient Of the 16 3 million heavy drinkers in recognition of the growingproblem of outreach in the Ll.S. 12.1 million have SYmP WCA has grown to a staff of more than tegnage drinking toms of alcoholism. 20 and a budget of nearly VW 000 As The activity report of WCA tor the past public awareness of alcoholism and Sub- year is as fine an indication as anyof this Drunk dronng is the leading single stance abuse has increased, the need for a 253 helping organization has also risen FOr 2$ group S value to the Community 5 cause of death among 15 to 24- individual counseling hours anothe, 2 750 years the WCA has remained true to its year-olds. creed To .ncrease knowledge about .en:s served by alcohol health orientation alcoholism to reduce the stigma attached lectures and 193 ndividuals wno have toil. to treat alcoholics and those close tO been provided with grOup Meiapy

BEST COPY AVAiLARE Current Design Trends

Heads and body copy set flushleft, Volume I. Number 1December 1988 ragged right. if& Heads use minimal caps. Extra white space at top ofpage. Bold horizontal rules and thin vatritrAw comm. vertical rules. Sooetra Nameplate aligns with grid. Script with shadow lettering for Council serves nameplate. community 0641,011411. *litssee Wide letterspacing in department for 28 years IMI( Mane heads. detetsene 44194604 Photo breaks out of rectangle. ast Monday . the U. ashtenan MOM" '41111110 t .u.ini.il tin kkohtilesm Large initial caps. iMserted it er Atm% email t elehrution ht refit% ung on its growth Black squares in Fact listing. and tharfing nen programs of comma not tintreath End marks. %ICA has gross n staff of Bleeding bands of color more than andMidget of nearb S400.0110 As public awareness en "Trendy" typefaces: alcoholism and stihstanc c Aust. Fusin. ITC American Typewriter heads creased. the need fin .1 helping organ. .11010.1.. flat ton has also risen Km 24 cars. the with ITC Garamond text. U. C A has remained true to its creed- To increase km in ledge ahout to reduce thr stigma attached to it. .4cc turtling to 5heritlst hvhd. thr vonthmed urces ot alert to treat alcohohcs and those clime better trained officers Jilt! Cirliert U Wing to report offenders re nulong the difference 14; them. and to des chip and =prose eontmunits resources .md %unpin. For etampk. a maiorncw program interview this t ear is the Atli descent Outpatient Program in recognitum ui thr griming prohlem of teen-age drinking The smolt% report of U. C .4 for the Sheriff Ron Schebil past t ear is flute an indication as am of this group s salue to the community 4 Indic idual counseling hours. an. wraps up 1985 other .1.-60 clients sem ed ht alcohol health orientation lectures and 194 m issues inter...ten looks at the filuals whit ha-ic been pros Wed nith Our Year round enft ncrnwnt group t herarn 's Ian en ncernent perspectit e on program on thr road now includes a %fine than I co climmunut an are drinking and timing Nta.shtenaw number of deputies trained in thr use nets prtigratus hat e been prewnted hs Cmuntt sheriff %Maid I Setehli dIS. of the preliminary breath test This thr U. t A staff 41 a compiled audience cusses local enfincement effi ins and instrument is quite accurate and is their effect during the past sear of 4 0 co school iihol an arenrss used to %supplement thr traditional ethic atUiri programs %%err presented WC4 Newsletter:Does your depart. coordmation test to-4 in students . ment have any special drunk. Enforcement at the retail level driving enforcement programs party stores. bars. and restaurants is planned for the 198S holiday equally important to UN StecyndF season? we sent under.age uiuth into approsi. it's a fact match 80 party stores (stM. of the Sber(ff scbebil:5.0 U. ill neither stores sold alcohol n itht tut checking lessen nor int rease our enf; CITIVitt If) We are educating these retail own. Teenage girls are drinking almost As against drunk dro ing during the holi mut. h as teenage hot s rts about their potential co ii Whitt% dms hut ssv n ill try- to increase puhlic in thr case of an at cident ;molt ing an 01 the 18 4 million heart drinkers an armless of the problem under.age patron in the I5 12 I million hat e st mp 1-nforcement is (nth one half of thr Vie re not sat ing pri ;plc shouldn t Ims lit At itholism sillution tit the. nu ist %colitis problem drink, lust that the% should nun &or a %this. h is responsible seat Ow scar, &ming is the leading single ter drinking A man isn t less of a man if for Ince hall of all iraffic all ident he can sat . ss ill -iou dris e me cause in death among I 4-2 scar oldsfatalities itonvnued on p.u4c. 4

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Heads and body copy set flush left41 ragged right.

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