Original advertisements on centerfolds of magazines. Feel the Difference: Stars on the Covers and in Real Life Magazine spreads gifts

T3 art editor Luke O'Neill offers ten rules of thumb for improving the design of any publication.

The fundamental skills required to be good designer layout designer, in many ways similar to those needed for any other form graphic design but, like any specialized area, this area requires the application of specific tasks and general rules.

In the next 10 points, I will briefly describe some general rules and approaches to implementation good design publications to help you come up with a new headline or just think about a career as an editor.

1. Define your audience and personal design style

The independent publication Anorak has filled the market niche with a truly creative, sometimes anarchic, children's magazine. This is actually the most important rule, whether you are releasing a new edition or designing an existing one. It is very important that you know your audience and sketch for them accordingly.

In the same way, the reader should identify himself with the style of presentation of the material, the publication format should be addressed to him - both verbally and at a more subtle subconscious level.

2. Cover first

Whether you are a national consumer edition, a small edition with a narrow target audience or an Internet resource, the reality is that the cover is the most important page of a magazine, and most of your time should be devoted to it.

The cover should work on multiple levels - it should be unique enough to grab attention on crowded newsstand shelves without alienating existing readers. It should arouse curiosity and intrigue, tell a story, revealing the content of the materials to the potential reader. Always try to design digital covers ahead of time, as what works with newsstand and print media is unlikely to work on screen or as a small sketch.

3. Choose the right approach to cover

Without the limitations of print, digital covers should still have some impact - as the cover with Scarlett Johansson at Esquire Weekly successfully does. There is no single template for designing the perfect cover (although someone might tell you otherwise). First of all, it is a combination of a great idea and a kind of magic.

A joint approach of the editor and the team to the idea is important. Take advantage of their experience, discuss new idea together and don't be afraid to back down if you think something isn't working, or just ask for some alternative cover ideas. Most importantly, never try to create in a vacuum.

4. Stick to a modular grid (but don't overdo it)

Modular grids are the foundation for all areas of graphic design, but they are most important in editorial design. It is important that you always have a modular grid ready to use, as it will form the basis of your sketch, structuring the pages.

A six-column modular grid with two symmetrical columns of text has a very different look than a seven-column grid with two columns of text and an irregular column. Try to insert your body text first and then build the grid, as the font size and line heights you choose will fill the grid later.

You might think I’m contradicting myself by saying that using a grid is important, but I feel that such limitations can sometimes be avoided. A sketch of a somewhat arbitrary shape can be a welcome indulgence against the background of the overall rigor of the modular grid.

5. Typographic hierarchy

You will find some of the most beautiful and experimental typography in magazines, but that doesn't stop your imagination. All excellent editorial designs need to have a strong typographic structure - from body copy to bold headings - not only does the font size help to make the headline stand out, but it also helps the reader navigate the structure.

There are too many different approaches, it is impossible to describe all of them, but I personally determined for myself that when it comes to choosing a size - the smaller the better. A couple of typefaces (or even typefaces of the same type) can be much more impressive and effective than trying to put everything in the text, plus the kitchen sink to boot. Too many elements - and your sketch can be perceived negatively and give the impression of a mess and lack of a uniform position.

6. Don't be afraid of spaces

Master of Restraint Matt Willie Demonstrates Dexterous Use of Point and Space in the Pages of Independent Magazine While space is a luxury of sorts for many of us, resist the temptation to fill in every inch of extra space you have.

A stunning photograph can have more impact if it is scaled down and framed with white space, or the focus can be on a heading in the middle of the page surrounded by white space - before the body copy begins.

7. Inserts

In the first volume of the Computer Arts Collection, for convenience, we made blank decorative inserts between the tabbed and listing sections. Inserts are incredibly important in any magazine, and a structured, section-breaking flat plan can really help, allowing the publication to breathe freely and the reader to navigate the publications.

Usage different types paper inserts are a great way to tell the reader that they are in a different section and immediately bring a different atmosphere. If you don’t have this option, then simply use a full page borderless image, or position it to the right instead of on a spread, which may be a welcome deviation from the norm.

8. Hierarchy of elements and starting positions

When faced with a number of different elements or stories of different sizes and importance, it is easy to feel overwhelmed. Make it clear which story or element is the most important in the rankings - using placement, title size, and image size. Drop caps, pointers, and simple introductory graphics can help guide the reader.

Be careful with these components in digital publications, as decorative graphics can be thought of as interactive buttons. When designing a layout for iPad, try to think of it as a layout, where each graphic element has its own functional purpose.

9. Always think about cross platform

Magazines have to be truly cross-platform - this is what T3 came to when it made it the best selling iPad magazine in the UK. Whether you're working in print, tablet, or both, it's important that your projects work the same across all platforms without feeling silhouetted in design and visual language.
Good practice is to develop a sketch first for a digital edition in order to achieve ease of use, since it is often much easier to translate a project onto a printed page than vice versa. Also, think about how your illustration might work across different platforms. Is it possible to add some animation for the digital version? Perhaps a print speaker can be animated in the iPad version.

10. Be unique

Net a Porter and Kickstarter-funded The Great Discontent. Both launched groundbreaking projects.

Finally, and perhaps the most important thing is to be unique in ideas and design. Now that everything is in flux in the publishing industry, it is more important than ever to stand out from the crowd.

Evidence of this is the seemingly never-ending stream of new, beautifully designed and well-designed independent publications that continue to flourish. Not to mention companies that were originally digital and blogging, such as Net a Porter, which brings magazines to market — not just digital consumer publications, but a full-blown glossy high-end publication that sits next to Vogue on newsstands. I thought printed editions extinct, no?

Magazine design. Pivot line problem. Part 1

Independent spread in magazine design

One of the biggest design challenges for a magazine is the spreading line between pages. This is especially true for illustrated magazines, which have a lot of images, headings in different fonts, and quite a lot of advertisements. Magazine design, on the one hand, the whole should be subordinate to the general concept, and on the other hand, each spread should follow the rules that will make it readable. When the spread pages are independent, for example, two completely different articles are printed on them, the task is much easier. However, the production of magazines in modern conditions assumes a fairly large size of materials that must be placed on several pages. In addition, almost always, with the exception of literary magazines, materials are provided with a significant number of photographs. In such cases, in order for the reader's eye to move from one page to another within the spread, it is necessary to build a kind of graphic bridge that facilitates this transition.

Binding elements on the centerfold for different designs of the magazine

For these purposes, the article title or illustration can be placed so that one part falls on the left and the other on the right page of the spread. This technique is used quite often in the design of magazines. However, its use must be approached with special care. So if a heading is used as a connecting element, then the division with a spread line should be done not by letters, but by words. Unfortunately, the production of magazines with a deviation from this simple rule still happens and this makes reading the material uncomfortable. When the reversal line crosses the photograph, the separation should not be across the person's face or figure. It is advisable not to split the image in half. It is better to let one part of it be slightly larger than the other. Of course, this does not apply to those cases when it occupies the entire turn. It should also be remembered that during the printing process and the subsequent binding of the pages, slight horizontal displacement may occur. Although most modern printing houses have already practically coped with this problem.

The production of magazines today is impossible without advertising. Most often, it is placed on the left side of the reversal. When on the right side begins new material, it will be very different from advertisements. In such a combination, the reversal is no longer perceived as a whole, but in this case it is quite normal. Here you can draw parallels with a book in which the beginning of the article will be perceived as new chapter... In addition, advertising today is more often pictorial, and the reader's gaze, stopping at it, rests from continuous reading of the text.

- a well-known feminist and body positive activist. She has repeatedly advocated for women to accept their appearance as it is. The pop diva has visited a dozen covers, but in October Vogue one of the most shocking singers of our time appeared almost without makeup. The photo shows a large nose of the star, small moles and even folds in the eyes are noticeable. But the star's chest was clearly smoothed and tightened. It is interesting how Gaga herself reacted to such a "transformation", because she does not hide the stretch marks in this area at all, or even brags about them at all.

Kylie Jenner (Vogue Australia)

But the younger sister from the Kardashian clan on the cover of Australian Vogue is simply unrecognizable. Here she is young, natural and really looks like her 21 years old. But it's a pity that things are completely different in life: numerous plastic surgeries and too bright makeup add an extra 5-10 years to the star. But who knows, maybe after a successful cover, Kylie will change her mind and stop consciously aging herself.

Popular

Monica Bellucci (Esquire)

The main heroine of the August issue of the Spanish Esquire was one of the most beautiful women in history. The picture shows fine wrinkles, pores and other imperfections on the actress's face. After all, Monica is already 54 years old, and it would be just silly to make her skin perfectly smooth. But it's not that simple! The face was not touched in any way, but the actresses did a lot of work on the neck. On the cover, Monica's neck looks smooth and taut, but in real life it is this part of the body that mercilessly betrays Bellucci's true age.

Tess Holliday (Cosmopolitan)

The October cover of the British version of Cosmopolitan sparked a lot of controversy on the web. Someone called it a breakthrough in the world of beauty, while others considered it to be propaganda of an unhealthy lifestyle and obesity. We, in turn, will not enter into the discussion, but only say that appearing on the cover of a leading fashion magazine, revealing all the flaws of our body, is an act that deserves considerable respect. Bravo, Tess!

Alesya Kafelnikova (Tatler)

Believe it or not, this is an example of a cover where the star looks worse than it actually is. Maybe it's the unsuccessful shadow on the face, or maybe the slightly frowned look of the main reliable Russian model business. In any case, no research is needed to understand - in life

One of the most popular and demanded advertisements is advertising in the press.

As you know, the most advantageous placement of information about a product or service is on the first and last pages. To place your advertisement there, you need to pay a lot of money, but manufacturers and firms are ready to do a lot to make their product popular and recognizable.

And the spread of magazines is not only a profitable place for advertising, but also provides a wide field for imagination and action. Centerfold photos can be placed in such a way that they will look very unusual and original. According to research, advertisements in the press affect consumers slightly more positively than advertisements elsewhere. Advertising in the press is unobtrusive and effective at the same time.

We have selected the most original and interesting, in our opinion, ways of placing advertising information on the spreads of glossy magazines.

1. Advertising DHL (postal company).

This ad focuses on how quickly and easily you can receive your package. The "chip" of the advertisement is in a transparent sheet, on which the parcel is depicted. Flipping this sheet back and forth, the drawn parcel seems to pass into the hands of the recipient.

2. Advertising Smuckers (jam maker).

3. Advertising MacBook.

The creators of this ad used two unusual ideas and both have been successful as the ad has become very popular. The image of the ultra-thin MacBook advertised here was printed at near life size. First, the thin magazine pages hint that the laptop is also very thin. Secondly, the images of the display, lid and keyboard are arranged in such a way that everyone can try on how this laptop will look in your lap.

4. Advertising Sul America (insurance).

Insurance Company Sul America makes sure that its clients do not spend money where they can save money, and offers health insurance. Turning over the page with this advertisement, it seems as if you have torn a bill, which is depicted in a certain way, so to speak, piece by piece. The slogan of the company is: "Even if you accidentally tore a dollar, Sul America will not let you go broke."

5. Advertising Thinh Furniture (furniture production).

And this ad will surely appeal to those who love a variety of paper crafts. By expanding the page, you get miniature models of a chair, table or wall shelves. Probably, Thinh Furniture wanted to show by this that making furniture for them is as easy as turning a magazine's page.

6. Adidas advertising (sportswear).

This ad is very simple but also very original. Images of girls in sportswear are located exactly in the center of the spread. Since the athletes are depicted in certain poses, when flipping through, the impression appears that they are doing physical exercises.

7. Advertising Clinique (cosmetics production).

Every woman knows that the main property of a good mascara is the ability to make eyelashes long and thick. Advertisers came up with the idea of ​​simply cutting the page into strips, mimicking beautiful eyelashes. We do not know whether it is convenient to read such a "cut" magazine, but the advertising idea is interesting anyway.

8. Advertising Arcor (chewing gum).

Chewing gum often inflates bubbles during this process. The creators decided in this way to show how big a bubble inflated from Arcor chewing gum can be.

9. Advertising of the solarium.

This advertisement is not placed on a spread, but on two pages following one after the other. This method is also often used when advertising information should not be presented all at once, but in portions. The reader looks at the first page, the information on which is intended to intrigue. Usually, the first page of an advertisement does not include either the company name or the name of the advertised product. You turn the page and see a "clue".

This tanning ad successfully used this concept. The first black and white page reads: "Look at this page - it is directed towards the light of the sun." On the second page, the image is already in color (the poppies are red, the sky is blue, the grass is green), and the inscription: "See how you can benefit from it."

10. Advertising WMF (tableware production).

Every chef in the kitchen knows that for a beautiful cut, you need perfectly even and identical pieces. In the centerfold of the magazine, there are two mirrored photographs that show the precision with which products can be cut with WMF knives.

11. Advertising of the Seat car.

The principle of this ad is based on the same principle as the MacBook ad described above. The reader is invited to try on himself how this or that product will look in his hands. If you come across a magazine containing such an advertisement, you can literally "take the wheel" and feel like driving a car.