Reflection on double page spread created

Overall the double page spread I created turned out to look okay. Compared to my first mock up, it is now a lot more visual and the text is spread out across more pages.

To make it visual I made some of my images take up the whole size of the pages. However, some pages are just made up of text in three columns to create a formal feel to the editorial. I also made sure there was white space throughout the editorial, so that the pages didn’t look too messy.

I found it very challenging to use colours throughout the editorial piece because of the time period of my chosen story. The images from the Vietnam war are mainly black and white. Therefore, the only colours I had were the images on pages two and three. Although there is a lack in colour, the first few pages draw the readers attention with colour and then once it gets into the story everything is black and white which sets up a serious tone.

I also used a few different types throughout the editorial that were all quite formal and easy to read. The fonts I used were Helvetica, Georgia, Bell, Big Casion and Arial.

 

 

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Artwork created for double page spread

artwork.jpg

The artwork for my double page spread is quite plain and simple. In this piece I have shown the outline of an american soldier holding a gun with women and children. My aim for this artwork was to present innocent civilians cowering. Inside all of the white space I am going to insert pull/key quotes.

The images I used to create this piece on Adobe Photoshop were:

I also merged the American and the Vietnam flags together into one image using Adobe Photoshop.

flags.jpg

How large bodies of text are arranged on a page

Columns and grids are very important to use when you’re dealing with large bodies of text in editorials.

Manuscript and column grids are probably the best type of grids to use to structure large chunks of text. In editorials, columns work well because they allow you to break all of the text up and add media around it to make it more visual.

Alignments are also important because you need to make the text visually easy to read. The different types of alignment are left, right, centre and justified. The easiest one I find to read is the left aligned, because it makes it easier to scan through large chunks of text.

It’s also important to remember that the length of lines should always be kept short. This is because long lines of text tend to put audiences off from reading, because they make your eyes constantly shift to the left and right sides of the page which can be tiring. It’s always best to make your audiences eyes go down the page.

 

 

Creating interesting/creative page layouts

Odic-1-Sounds-spread1-web

In the above page spread there are probably at least six different types of font. The different fonts all create a hierarchy for the content. The title is in a large type, in block capital letters and they are in red which makes it the most eye catching element for readers. Red is the colour that attracts the eye more and even though the page next to the text is made up of an image, my eye is always drawn to read the text first. I particularly like this double page spread because the layout on both pages link with each other. This is because the article is on the same angle as the stage is in the image. I also like how the double page spread looks simple because of the white space that is on the first page around the body.

One thing that is missing on the double page spread is a pull quote. This is because there is only a small block of text. However, if the text was longer it would be valuable to include a pull quote. According to www.magazinedesigning.com: “One of the page elements that brings visual power to the page is the pull-quote. Pull-quote is a display element which is used to attract the reader and to break up long blocks of text.”

 

Hierarchy in design

Hierarchy is one of the most important aspects in editorials because it allows you as the designer to control how the audience views your content.

‘Hierarchy based on type is usually shaped by relationships of visual texture and tone; that is, letterforms, words and lines of type come together to form different tonal values and varying characteristics of patterns or texture’1.

Tonal values, scale, texture, typeface, point size, tint, weight, letter spacing, line spacing and general spatial distribution all affect the density of type which affects how people read things on importance. Size is one of the most obvious aspects because people read larger text first.

Colour also contributes to creating hierarchy within design. Bright and vibrant colors tend to attract people more than softer, paler colours.

‘An excellent way to test prominence and priority created by combinations of color is to view a design in grayscale. Inevitably, if the background’s tone is dark, it will merge with darker shades and throw out lighter colors, and vice versa’1.

1. http://www.smashingmagazine.com/2013/02/creating-visual-hierarchies-typography/