Layout; this name is usually using in print design, printing is start with Woodblock. but I don’t know the Woodblock inventor of printing.
Now we have many type of printing that is. Woodblock printing, Movable type, Printing press, Etching, Mezzotint, Aquatint, Lithography, Chromolithography, Rotary press, Hectograph, Offset printing, Hot metal typesetting, Mimeograph, Photostat and Rectigraph, Screen printing, Spirit duplicator, Xerography, Phototypesetting, Inkjet printing, Dye-sublimation, Dot matrix printing, Laser printing, Thermal printing, 3D printing, Digital press.
Mostly 10 types of layout using in print. Ten Basic Formats Whether you start right off on a comprehensive or try some thumbnails and rough layouts first, you will be trying to put the elements of the ad into a pleasing and useful arrangement. The number of arrangements and patterns you can come up with as a designer are almost endless, but it is possible to fit most print-medium advertisem*nts into ten basic categories or formats, if you interpret them loosely enough. A professional designer might balk at such categorizations, saying that the art is too lively, too full of surprises to pin down so abruptly. And some other writer on design might come up with a different set of categories. But a set like the one that follows may help the beginner see some new possibilities for design.
1. Mondrian Layout
Mondrian Layout. Let us start with one of the most widely. recognized formats: Mondrian layout, named after the Dutch. painter Piet Mondrian. Involved in a lifetime affair with proportion,. Mondrian, using black bars and lines and solid areas of primary. color, divided his canvases into vertical and horizontal rectangles and squares. Mondrian reworked his designs many times before he was. satisfied with the sizes and relationships of each of the rectangles. to be painted. He carried this concern to the decor of his studio: an out-of-place ashtray greatly disturbed him. To Mondrian, beauty. was exclusively geometric. He avoided the color green because it. is too close to nature. “All in all,” he is quoted as saying, “nature. is a damned wretched affair. I can hardly stand it.”.
The advertising designer, while not sharing Mondrian’s intensity,. nevertheless freely applies Mondrian’s principles to the printed page
The designer uses rectangles of type or art much as Mondrian used. solid blocks of color. Sometimes the designer retains the lines or. bars Mondrian used to separate elements; sometimes the designer. leaves them out. Mondrian ads appear everywhere for a few months, then die out,. then come back again. And no wonder the style returns to popularity:
A Mondrian arrangement is an easy, logical, workable, effective way. to display type and art. The designer of Mondrian ads, like the master himself, is more interested in proportion as a design principle than in eye travel or emphasis or any of the other principles. There is nothing wrong with this. For some advertising, proportion deserves chief consideration, if for no other reason than to set the ad apart from other ads whose designers have stressed some other design principle. Designers with newspaper backgrounds take naturally to Mondrian layout because of their experience with column rules and cutoff rules and boxes on the newspaper page. But Mondrian layout is considerably more subtle than newspaper makeup. The idea is -to come up with a fitted set of vertical and horizontal rectangles (with perhaps a square thrown in)-all in different sizes. Lines separating the rectangles can be of even or varying widths; at their thinnest they are bolder than ordinary newspaper column rules. Sometimes the designer uses Ben Day or color.rules in combination with solid black rules. One or two of the rectangles may be filled with halftones; others may contain copy; others may be blank. If the ruled lines are heavy, typefaces should be bolder than normal. Sans serifs or gothics are appropriate types to use. Mondrian layouts are used more frequently in magazines than in newspapers, because the multiplicity of lines and resulting rectangles tend to break the- ad into sections that may be scattered optically when smaller ads are placed alongside, as on a newspaper page. Large reverse L-shape ads (or step ads) in newspapers sponsored by department stores or women’s fashion stores, however, make use of the Mondrian principle with considerable success. In arranging the rectangles, the designer lightly rules a series of horizontal and vertical lines, then eliminates some of them, either entirely or partially, and strengthens others, striving to leave rectangles of varying sizes and dimensions. The balance is almost always informal. Swiss design, with its orderly approach, has some ties to Mondrian layout. But in Swiss design, lines or bars are not shown; they appear only in the mind of the designer. And the design is based often on a grid of squares instead of rectangles.
2. Picture-Window Layout. More popular than Mondrian and especially suited to magazines is the format known in the trade as “Ayer No. I,” after the agency that pioneered its use. We will call it “Picture window. “ Doyle.Dane Bernibach for Volkswagen had particular success with this format, but probably theme and copy brilliance and wit were more important than layout. The least you can say for picturewindow layout is that it does not get in the way of the ad’s message. No “art for art’s sake” here, just generous display of picture and tight editing of copy so it will fit the small space remaining. The designer often bleeds the picture and crops close, almost overpowering the reader. Below the picture is a one-line, centered headline; copy may be broken into two or three short columns. The logo may be worked into the last column of the copy, thereby saving some space. To tie the picture with the copy, the designer may overprint or reverse some of the headline onto the picture. Or the designer may line up the copy with some-axis within the picture. The picture is. usually at the top, but nothing prevents the designer from pushing it down a bit, placing the headline and even the copy above. A smaller picture-or perhaps a line drawing for contrast-can be placed near the copy. The nature of the picture will affect the designer’s decision on placement and type style for the headline. Leading the body copy from 2 to 6 points helps keep the copy from looking as if it is merely fill and also makes it more readable.
3. Copy-Heavy Layout. The advertiser chooses a mostly-copy format for two reasons: (1) What is to be said is too involved, too important, too unique, too dignified to be put in pictures; (2) most other ads in the medium will be picture-window or at least heavily picture- oriented, so a gray, quiet, copy-heavy approach makes a good change of pace. Because copy-heavy advertising takes itself rather more seriously than other advertising, it usually puts its elements into formal balance. Lines of the headlines, set in@roman, are centered; copy begins with a large initial letter and is broken into two or more columns. The logo is centered underneath. But a more interesting arrangement can result from less formal balance, with the ad retaining the dignity it would have in a more formal arrangement. The designer should plan for a blurb or secondary headline as well as a main headline. Even though the copy is voluminous, there may be room for a few quiet illustrations. When copy is long, it must be broken somehow into easy-totake segments. The beginning designer often makes the mistake of marking such copy to be set solid, because it is so long. But long copy, even more than short copy, should be leaded, by at least a point or two. Furthermore, the copy at logical breaks should be refreshed with subheads of one kind or another. Subheads can be flush right, flush left, or centered, in a typeface slightly larger or bolder than the body type, or in all caps. Extra space should frame such subheads. Subheads can also be formed from the first two or three words of a paragraph, set in boldface. Extra space should be provided to separate the bold beginning from the paragraph above.
4. Frame Layout. A photographer can get-a pleasantly composed picture by taking the shot from one of nature’s nooks, with foliage and a rock formation in the foreground, dark and out of focus, framing the heart of the picture. In advertising, the designer easily frames a layout with a border, doing it sometimes with artwork that is drawn to leave room in the middle for headline and copy. Frame layout, used more in newspaper advertising than in magazine advertising, keeps elements within bounds, preventing their being associated with some other ad on the page. There is something cozy about frame layout. But it does tend to decrease the optical size of the ad
Furthermore, the ad, if placed at the edge of a page, loses additional white space between the edge of the ad and. the edge of the page that an unframed ad would pick up. A variation of the frame layout is the one in which kidney-shaped artwork is spread over a large portion of the layout, creating a cul-desac of white in which the headline and copy are placed. Another variation is the layout using a picture a photograph, usually that completely covers the area. Type is either surprinted or reversed in non-patterned or plain-toned areas.
5. Circus Layout. An orderly approach in design is probably more important to the editorial than to the advertising side. The reader is already interested in editorial. The purchase of the newspaper or magazine proves this. Advertising has to work harder for attention. And to set itself apart from the staid editorial material, it takes more liberty with basic design principles. It does not mind standing on its head or wearing a lampshade. Moreover, there is something to be said for some disorder in an ad. It slows down the reader, making things more difficult to take in. And in the process of working through the disorder, the reader may remember more. We can call design of this type “circus layout.” Filled with reverse blocks, oversize type, sunbursts, tilts, and assorted gimmicks, it may not win prizes in art directors’ competitions, but apparently it does sell merchandise-at least a certain kind of merchandise to a certain class of customers. Its apparent disarray (actually, under a good designer its elements are thoughtfully arranged) is sometimes found in advertising for lofty clients. It was this kind of layout, in the capable hands of art director Otto Storch, that helped bring. McCall’s out of its “Togetherness” rut to the number-one position among women’s magazines in the late 1950s. Circus layout takes in a wide range of layout approaches and deals usually with a larger-than-average number of components. The secret of good circus layout lies in the dedication of the designer to basic principles of design. Elements are organized into units, which in turn are organized into a unified pattern. Faced with many elements of equal weight, the designer achieves. a pleasing proportion by bunching some into a particularly heavy unit, to contrast with other units in the ad. Variety is a main concern, and the designer gets it chiefly through size, shape,- and tone changes within the ad. Retail advertisers find circus layout especially useful. Because retail ads are often directed to bargain hunters, prices played up in large sizes become an important element, ranking with headlines and art units. One of the contributions of the underground press of the late 1960s was the attention it gave to the circus approach in graphic design. Thanks Ô to the flexibility of the offset printing process, circus. layout became the predominant format. Often self-conscious and amateurish, it nevertheless influenced the design thinking of the establishment press. In the hands of designers who knew what they were doing, it resulted in some engaging, if complicated, advertising in the 1970s.
6. Multipanel Layout. Breath-purifying toothpaste, body-building iron tablets, and pimple-restricting yeasts started multi-panel layout a couple of generations ago with their ads in Sunday comic sections, made to look just like the regular fare. Today this “comic strip” layout technique is more useful than ever, although it has grown a bit more sophisticated, with photos replacing the drawings, in most cases, and with conversation set in type beneath the pictures rather than ballooned within. The designer often plans for panels of equal size, feeling that the staccato effect keeps the reader moving effortlessly through the ad. A proportional difference is achieved by keeping the block of panels. larger than the block that remains to house the headline, explanatory body type, and signature. The panels can be used to tell a story, or they can be used simply to display a series of products, pretty much in checkerboard fashion.
7. Silhouette Layout. In another kind of layout the designer arranges elements in such a way as to form one imposing and interesting silhouette. Professor Hallie J. Hamilton has explained to students at Northern Illinois University that silhouette layout evolves from the unique shape created by the design of the ad, not by the shape of the elements used
The more irregular the silhouette, the better. To test a silhouette, the designer tries to imagine the elements in the ad blacked in. To illustrate the superiority of an irregular silhouette over a regular one, consider the ancient art of paper-cutting portraiture. The scissors artist always works from a side View, never a front view. Otherwise, no one would recognize the portrait. One portrait would look just like the next. The outline of a front view of a face is never as interesting as the outline of the side view. Silhouette layout is “side view” layout. Just combining a silhouette photograph with some almost touching copy will give you a silhouette ad. But you can use regular square or rectangular photographs, too. The way they are put together Ð staggered rather than stacked-gives the ad its silhouette look. Too much white space separating elements within the silhouette destroys the unity of the ad; so the designer usually pushes white space to the outside, forming a sort of border
In silhouette layout many designers arrange elements so that something in the ad touches each of the ad’s edges, preferably at spots unrelated to each other. This accomplishes two things: (1) It prevents the white frame from turning into an even halo that could diminish, optically, the ad’s size; and (2) it prevents the medium’s encroaching on white space the client has paid for. Another way in a silhouette ad to guarantee that the client gets all the space purchased is for the designer to place dots at all four corners of the pasteup. Checking tear sheets of the ad and finding that both dots at the top, say, are missing, the advertiser is alerted to the possibility that the medium has taken away some of the space.
8. Big-Type Layout. Type manufacturers, typesetting houses, printers, and periodicals all issue type-specimen sheets or books for their clients, so that the clients can look over the selection and marvel at it and pick those types that may be appropriate for a given job or use. In their largest sizes, types hold particular appeal to the artist and the designer, who derive an almost sensual pleasure through study of type’s peculiar curves and corners and serifs and stroke variations. Suspecting that type beauty might also be appreciated by the lay reader, or knowing that big type commands greater attention than small type, designers sometimes turn to a type specimen approach in their layouts. “Second coming” type pushes boldly through the ad, leading to a small amount of body copy; or the body copy itself is set in a type that is well beyond the normal 10- to 12-point sizes used in ordinary ads. Type overpowers art in layouts like this. Art may not even be needed. Ordinarily we associate big-type ads with hard-s-ell retailers; but well-designed or graceful types, used large size, perhaps screened to a percentage of black, serve image-conscious clients as well. Some of the best big-type ads use lowercase letters rather than all caps because lower case is more interesting. If only a few words are involved, the designer takes some liberties with readability. Lines may ride piggyback on each other; they may overlap; they may be doctored to intensify the mood of the ad
9. Rebus Layout. The Beef Industry Council an d Beef Board ad nearby serves as a good example of rebus advertising: advertising with copy broken up into small sections by illustrations. In most rebus advertising, the illustrations-and there are often many of them-take on such importance that the copy is set to wrap around them or to be interrupted by them. Communicators in semi-primitive societies developed rebuses to stand for difficult words or phrases. Rebuses are small, simple drawings inserted at various places in text matter, sort of as visual puns. A puzzle-maker, Sam Loyd, popularized rebuses in America in the nineteenth century, but they found use in many societies before then. They are still used, although not widely, in word-and-picture puzzles for children. A modified rebus is one in which an occasional word or phrase is omitted and a picture substituted. An advertiser will not make a puzzle of an ad-clarity is too important-but may want to amplify the copy by inserting a series of illustrations. They can be all the same size, for a staccato effect; or they can be in various sizes to add variety to the ad. The “copy” in some cases is nothing more than picture captions.
10. Alphabet-Inspired Layout. The beauty of letterform, established by scribes and type designers over a period of several centuries, provides one other source of inspiration for designers. The basic shape of letters, both capitals and lower case, can serve as the basic pattern for the arranging of elements within an ad. An ad designed to approximate the shape of a letter of the alphabet-or a number, for that matter-usually is strong in both unity and eye travel, two important design qualities. The designer, however, should avoid an arrangement that too. closely suggests a particular letter. The letter should serve only as the starting point. The reader ordinarily would not be conscious that the ad took off from a letter or number. It may be helpful to consider each of the ten basic formats described here before beginning your assignment. Choosing one, you will find innumerable variations occurring to you as you doodle. Combining two of them into a single format, you will find your explorations even more fruitful.
--------------------
