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INTELLIGENT SOLUTIONS: Case Studies

NEWSLETTER/MAGAZINE

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STEP 5
TYPOGRAPHY: Designing with text

MetaGlyfix employs typography itself as a critical element of design that both unifies and differentiates the articles and features.

But first the text must be prepared for typesetting. MetaGlyfix strips out word-processing styles and formats, eliminates stray characters and spaces, regularizes punctuation, capitalization, and emphasis according to established guidelines of usage and typography, and applies the styles designed for this publication.

(For advice on how clients can maximize the efficiency and accuracy of this process, see the “Guidelines for Submitting Materials and Manuscripts” and the “Top Ten Tips.”)

From article to article, uniform Caslon body text is relieved by
  • sub-heads in the contrasting sans-serif font, Formata
  • the author’s name reversed out of the blue spot color
  • titles or headlines in variant combinations of the font faces and colors.

Sometime the opening lines of an article are set carefully in a larger font size that flows gradually from the headline or title into the smaller body text.

Sometimes the opening lines span one column, sometimes more than one.

Titles and headlines are allowed latitude to complement the subject and content of the articles. They may vary in typeface, size, color, and spacing, as well as in number of columns spanned.


(above: fragment at 2/3 scale)
The conservative blue spot color helps imprint a serious, coherent identity throughout, as with, for example:
  • thin rules (straight lines) that delineate the margins and columns on each page
  • the expressed page number (in Formata) at the top of each page
  • occasional pull-quotes that straddle the column rule with larger Caslon italics …

(above: fragment at 2/3 scale)
… or the “question” in question-and-answer articles:

(above: fragment at 2/3 scale)

Meanwhile, the top of each page expresses the page number and header in color and font motifs derived from the masthead/logotype:

MetaGlyfix develops the textual layout — color, structure, motifs — according to the principles described in Step 3, like variations on a theme.

And like any artful theme and variations, some variations are — well — just exceptions dictated by their subjects, as with this 2-page spread for an article about two-opposing opinions on the politics of New Haven …

click to download PDF
(above: spread at 25% scale. Click here for the dramatic look of this spread at full size in PDF format [868K])
… or opening lines set in the shape of a “bell-curve” in this article about Charles Murray’s controversial interpretation of that theory …
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Last updated 24 April 2012 at 18:42:33 to top

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H.G. Salome at
hgs@metaglyfix.com or
hsalome@aya.yale.edu
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