Layout and Grid Development:
Working from the sketches drawn up, I began digitising layouts.
The supplement has been set to a unique size, allowing for it to fit into any magazine/newspaper whilst not over crowding or being a 'loose article'.
Format: 150mm W x 21cm H
Initially I worked with the layout using placeholder text and image boxes. I used an initial grid of 15 x 11, allowing for consistent squares allowing for any grid structure within it to be used. The outside edge however has a 2 column/row margin allowing for the text and imagery to be clear, concise and in-line with the tone and context of the supplement. I found using this as an initial guide allowed for the grid structure to develop naturally, with the information being contained in one place.
Above: As previously noted, I left a 2 column/row margin, which was then marked off accordingly on the grid allowing for an easier digital working space. This also allowed for the body copy and photography to placed accordingly. This was then ran out across the pages, allowing for a consistent, yet different layout to be created for different spreads and articles depending on content.
At this stage I also began adding in placeholder text to allow for a clearer visual sense of what I was working with. Then I began placing image boxes, allowing for the layout to come together.
Whilst being on placement and working with editorial briefs, I have become much more comfortable with typefaces, combining them and manipulating them, as well as understanding the way the eye reads the page, allowing for appropriate placement of headlines, sub-headers, imagery and body copy. As the reader always starts at the right hand side of the page, this is where the main headline, or information should be, i.e. sub-header, directing the reader to the topic straight away, followed by the title (slightly to the left), then the main body copy (bottom of the page). This rule/structure has been applied as often as possible throughout the development of the layouts.
In regards to type setting, I wanted to portray all the information in a broken down manner, allowing for easy reading and an exciting visual layout. By combining typefaces, point sizes and extra detailing, as shown below, a luxury, up-market, yet clean and smart layout has been developed, showing influence from elements highlighted in both research and the drawn layout scamps.
The top-left of each page highlights the chapter/article. This is placed on the left as the right hand side is the main focus and should only be the main headline/information. This allows for easy reading and clear structure throughout.
Above: Headline using 1 font and 2 different point sizes. Looks smart, classic, simple and luxury in regards to final execution.
Above: Combining luxury type with young, trendy and chic type allows for this header to work well using 2 fonts. This also breaks up the fonts used throughout the supplement, whilst being structured and consistent in aesthetics.
Above: Overlaid type with colour for contrast and depth.
Above: The contents page remains consistent with elements taken from the main pages of the supplement, whilst using the same fonts, layout and visual style. This page should be simple to navigate around and understand, avoiding excessive imagery or type.
Above: Type taken from the front cover - overlaid type/image with 2 fonts forming the lifestyle and culture logo (this needs slight adjustment in regards to kerning and position of the ampersand).
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I have noted the typefaces used below, along with how they are used in form of a hierarchy. I think this really reflects the chosen aesthetic for the supplement, whilst remaining up-market in tone of voice, yet being youthful, fashionable and stylish.