Redesign 1
Content
Summer 1997
I N F O R M AT I O N F O R M E D I A
Number 1
Challenging times – and a few winning solutions
hese are challenging times for all of us involved in print media or the newly emerging online market. Content, design and technology all seem to change with breathtaking speed. Decisions need to be made that will have far-ranging consequences. Which are the right decisions? There are, of course, no guaranteed solutions. But some solutions are better than others. This newsletter will help you in your search for the right decisions Ð and the right solutions. It is a newsletter for successful media design. But then design cannot exist in a vacuum. Content and design must go together. One is incomplete, ineffective without the other. Re:Design will give special attention to the topic of typography. Print and online communication is, most of all, typography. And yet, that is very often the weakest component of either media. Read on and learn about the solutions available to you...
T
Re:Design is a newsletter that brings you information and news on media design topics. It is an interactive publication. You can request additional information, pose questions, or simply discuss media matters. Feel free to contact me directly via e-mail: [email protected] or by any conventional means.
R OLF F. R EHE
Read it in print or online – you decide
P
rint communications and online media share many identical components. Clear organization of the information and good legibility are key goals. Their common premise is to bring information as effectively as possible to the consumer, the reader. But there are also distinct differences.
Re:Design is offered online and in print to show that common style – and the differences. Following the concept of interactivity, you decide which output mode to use. If you prefer to read online, simply call up the pages from the Internet. The address is www.rehedesign.com
To print out pages, set your printer to 90% image size, and – off you go! Print in black or in color, whichever you prefer. Re:Design will be updated frequently. To be on our e-mailing list, send your e-mail address to [email protected]
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 1
T
Y
P
O
G
R
A
P
H
Y
Newspaper text type: ten points to consider
1. Type design: The selection is simple Ð serif type faces have better legibility and reader appeal. Sans-serif type, on the other hand, is a good selection as supportive type, for captions, tabular material, and the like. 2. Type flair: What flair is the type face to reflect? Formal, informal, relaxed, conservative, classic, modern? 3. Type weight: Newspaper fonts need to be slightly heavier than ÒnormalÓ type faces to compensate for the weakened contrast caused by the grey paper background.
P
erhaps the most important decision in newspaper design is the selection of the text type. How the newspaper is perceived (quite literally) depends largely on that choice. Here are ten points you need to consider for the selection.
4. x-height: In many cases, a tall x-height* works best for newspaper text type. 5. Type size: That selection depends on the x-height of the font. Readers always welcome a larger text type size. 6. Leading: Type faces with tall x-heights need more leading than those with a low x-height. Long line widths also require extra leading. 7. Letter dimension: Moderately condensed type faces work best. Some can be condensed a bit digitally. DonÕt make them too condensed, as that weakens the legibility. 8. Intra-letterspacing (kerning): This too is a ÒtouchyÓ matter. Often you can reduce the kerning minutely. But make sure the letters do not touch as it will adversely affect legibility. When in doubt, be conservative. 9. Bold and Italic versions: You need Italic and bold for your text type. Look at those versions carefully. Usually all the variations of a type family work well. But Ð it is not always the case. 10. Test print: What looks beautiful and legible on a laser printout may not on a page printed with an old press on greyish newsprint stock. Hence make test prints on news stock.
*x-height? It’s the relationship between lower case letters without upper or lower parts (such as the letter ‘x’) and capital letters.)
Some good newspaper text type faces (shown in 10 point size).
N IMROD : An authoritative type face with a unique flair Ð and a very tall x-height. C ENTURY O LD S TYLE : Relaxed, slightly playful and condensed, and with a high character count. B ASKERVILLE : A warm, traditional type face that requires a slightly larger type size. P LANTIN L IGHT: Elegant, sophisticated and classy Ð the choice for a newspaper of distinction. R OTATION : A safe and good selection Ð itÕs unobtrusive, narrow, and very legible. O LYMPIAN : Slightly heavy, condensed and with a very tall x-height: functional.
PA G E 2
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
L
E
G
I
B
I
L
I
T
Y
aBbCc A EeFf Dd HhIiJ G gk L l M jK
Many studies have been conducted into typographic legibility. But most of them remain buried in scientific journals and are often unknown to the practioner.
Common sense – is that all there is to legibility?
ood legibility: everybody talks about it Ð but what do we do about it? Principles of good legibility simply reinforce common sense. However, there are many legibility rules based on scientific studies. TYPE SET IN ALL CAPS HAS LOWER LEGIBILITY THAN TYPE IN LOWER CASE, AS THIS LITTLE PARAGRAPH AMPLY DEMONSTRATES. Similarly, long blocks of type are best not set completely in Italics (as are these three lines) since Italic type too reduces legibility. Bold type can work well to highlight short text elements. But bold type tires the eyes easily and is not a good choice for longer text segments. Frequent paragraphs and indentions at the beginning of paragraphs make information more ÔdigestibleÕ and create white space. Use both of them frequently for good legibility. Short lines have a more dynamic appeal. Longer line widths create a flair of authority and calmness. (But if they are too long, they become boring.) These are a few of the results from legibility studies. In my book, TYPOGRAPHY: HOW TO MAKE IT MOST LEGIBLE, I have selected and interpreted about 300 of the studies. The book is currently out of print. But the principles of good legibility are as important as ever.
G
C
O
N
T
E
N
T
“Make it interesting,” she said...
Tony Sutton is an editorial and publication design consultant in Toronto. He gives this advice for content selection: omeone, much smarter than I, once said the sole criteria for content, whether it be for a newspaper, magazine or Website, is INTEREST. “Make it interesting,” she said, “and they will come… That’s all there is to it.” Okay, lady, give me details, be specific, I say. “The front page should be captivating, informative and surprising, with news
S
that readers didn’t see on TV the previous day. Tell them things they don’t know about events that affect their lives, nationally and locally. Give ‘em a bit of background with a feature-type story, add a picture that stops them in their tracks and make them smile – humor’s a key part of the mix.” “With local news, don’t bore readers with mindnumbing detail from every council meeting and don’t profile every civic dignitary. Produce stories about ordinary people who’ve done something interesting
or with something worthwhile to say. Be a champion of your readers: take their side in disputes with authority, help them with their problems – show them you care.” “Feature pages? Simple. Make them interesting and indispensable.” “The key to success is to be a reader; ask yourself what you’d like to see if you were a reader. Then you go out and produce that newspaper.”
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 3
N
E
W
M
E
D
I
A
Online design: dynamic, but organized
H
The print version of VORARLBERGER NACHRICHTEN has its own unique design.
ave you ventured onto the Internet lately? Whenever I do, I experience a feeling of mild depression, similar to that when I go to a library or bookstore Ð my God, itÕs impossible to absorb all that information! Everywhere one turns, there are new links to new pages! It has been said the difference between a library and the Internet is that in the library books are organized in an orderly fashion; the Internet too is like a library Ð but all books are thrown into a huge pile in a room. Graphics abound on the Internet. Some of them are poor, some mediocre, and some are good. But good typography is the exception, not the rule. ItÕs frontier time out there. Granted, the new medium has many inherent restrictions that now limit the fine-tuning of design. But a major weakness is the careless, often sloppy use of typography. Compare it to book design: if the cover is lavishly (but not necessarily tastefully) designed, while the inside pages are slapped together carelessly Ð will you read it? For online, legibility and reader-friendliness are as important as they are for newspapers. What is needed is application of the basics. Rules of type size, type face, line width, and background are as important on the Internet as they are for print media.
For the online presentation, the basic ‘flair’ of the newspaper’s design was used.
The color coded logo in the newspaper...
...was repeated in the online version.
F
Second place, after the New York Times, in the online contest.
or the online design of the Austrian newspaper VORARLBERGER NACHRICHTEN, a symbiosis between print and electronic media was the goal. The online version brings the dayÕs news and a wealth of service information to the user. The typical three-dimensional standard heads and the color concept were carried over from the newspaper to achieve a clear presentation of the information. Not only did the public respond positively to the concept; the design also won second place in the ÔBest Online Newspaper Services CompetitionÕ in San Francisco.
I N F O R M AT I O N F O R M E D I A SUMMER 1997
PA G E 4
Re:Design
O
N
L
I
N
E
-
D
E
S
I
G
N
The budget is limited: online typography
Y
ou find good typography on the Internet Ð as easily as you find a four-leaf clover. The fact is, the ÔNet is a graphic jungle, full of wild vegetation types. Good design is the exception. How come? Initially programmers created online graphics. Their design styles set precedents. And as online activities are rarely profitable yet, little money is invested in design. The typographic tools are very limited. Control over the finished product is obfuscated as different browsers and/or different computer platforms (Mac or PC) present online design willfully. Then thereÕs the time element. A page must reconstruct itself quickly or users will go elsewhere. Severe restrictions for good typography Ð and it shows. Still, the show must go on. But how? Here are a few guidelines for online typography:
U
It has been sa id the differen ce between a library and the Internet is th at in the libra ry books are or ganized in an orderly fashio n; the Interne t too is like a library – but all books are thro wn into a hu ge pile in a room .
• Use standard type faces, usually Times Roman and Helvetica or derivatives (see story below). Apply them carefully and yet dynamically. It will save you buildup time. • Vary sizes and weights Ð but not too much. Make the best of the two fonts, but donÕt create havoc. • Restrict the use of GIFs when possible. What you
gain in visual appeal, you may lose you in speed.
Online design must be just as clearly organized and as easily legible as print information. But it must also reconstruct itself quickly on the screen. The acceptance by the user depends on both...
• Work from a vertical grid, at best with three columns, and vary the line widths of your text type. • Apply color to type, but use the bold font versions. Select strong colors or the legibility will suffer. • Use sans-serif for small type. Oddly, online Helvetica is more legible in small sizes than Times. • Don’t despair. ThereÕs a small army of programmers out there looking for improved ways of producing online typography. It can only get better.
New, special type faces for online
T
he default type faces for Web design are Helvetica and Times. Both are good and legible fonts. But: they were originally designed for print, not for the screen. Particularly Times, with hairline features and rather tightly spaced, does not have a superb on-screen presence. Renowned type face
designer Matthew Carter has developed two fonts for Microsoft: Verdana, a sansserif style; and Georgia, a serif design. The new fonts feature a tall x-height, even stroke width, and extra space between letters. The result is improved legibility. The fonts are available free from Microsoft.
Georgia: a serif font for online Verdana: a sansserif font for online
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 5
R
E
S
U
L
T
S
Redesign: wonder drug or just a placebo?
an a successful redesign automatically lead to an increase in circulation? Not necessarily. But when combined with other factors, the possibility for a circulation increase is enhanced. HereÕs what Dan Baumann, CEO of the DAILY HERALD in the Chicago area, had to say about the circulation increases his newspaper experienced after the redesign: ÒHow much did the redesign contribute? We donÕt know. No one knows. But we do know that it played an important role.Ó In my experience, the possibility of a circulation increase is largely enhanced when improvements in content and content structure are made at the same time. Furthermore, a special promotional campaign for the improved product is essential. This combination was used successfully with redesigns for two of my clients: the DAILY HERALD and the Austrian daily DIE PRESSE in Vienna. The DAILY HERALD was redesigned in 1987 and has since maintained its new design concept. It has seen its circulation rise from 73,000 in 1987 to about 135,000 today. Equally impressive is the case of the Viennese daily DIE PRESSE. Keeping up a vigorous promotional campaign since the redesign in 1993, its readership has grown by a whopping 53%. Tempting as it would be to proclaim that a redesign automatically leads to a circulation increase, such a claim would be unrealistic. At the same time, it is certain that a redesign will enhance such chances.
C
“Redesign played important role,” says publisher.
Readership increased by a whopping 53%.
Q
U
A
L
I
T
Y
C
O
N
T
R
O
L
The style book: it’s the ‘Bible’ of a redesign
W
hen a redesign is finished, a major challenge remains: maintaining the new style in every detail. It is very easy – and very tempting – to make changes, to ‘individualize’ a new concept. But it is essential to keep the unified design for the entire paper – and to keep it for good. (‘Updates’ should be made only by agreement with the managing editor.)
That’s why a detailed style book is essential. It shows and explains both the micro and the macro elements of the new design and explains them. Typography, layout, photos, color concept: all are defined thoroughly. When a question about the design arises, the style book has the answer. It also serves as an introduction to the paper’s design for new staff members.
PA G E 6
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
N
E
W
S
P
A
P
E
R
D
E
S
I
G
N
Micro and macro design – say again?
G
od is in the detail. Or is it the devil? Whichever way you look at it, successful newspaper design cannot prevail without attention to the many little, mostly typographical, details Ð the micro design. Compare it to an orchestra: the individual instruments have to be finely tuned and must harmonize with each other. Otherwise even the most appealing Mozart concerto is not music Ð only noise. ThatÕs exactly how it is with newspaper design. The best layout is not convincing if the typographical details do not ÔclickÕ. My book, TYPOGRAPHY AND DESIGN FOR NEWSPAPERS, deals with the little Ð but important Ð design elements as well as with the entire concept Ð the macro design. Successful newspaper design is a highly complex undertaking. The book is an extensive compendium for all aspects of this important process. First published in 1985 by the international newspaper organization IFRA, it is a practical manual that provides timeless and timely principles. It is, in fact, a ÔclassicÕ for all who are interested in newspaper design. TYPOGRAPHY AND DESIGN FOR NEWSPAPERS is also available in French, German, and Spanish editions.
Some of the topics: Text type and headlines Standard typography Rules, borders and screens Photos, other illustrations Information graphics Color concept Page layout and structure Special pages How to approach a redesign
The book costs (U.S.) $25. (includes shipping) and can be ordered from DRI via e-mail, fax, or telephone.
DRI E-mail: [email protected] Fax: 1-941-643-2059 Telephone: 1-941-643-6855 1400 Gulfshore Square Naples, FL 34102 (USA) Re:Design
I N F O R M AT I O N F O R M E D I A PA G E 7
SUMMER 1997
A
B
O
U
T
D
R
I
D ESIGN R ESEARCH I NTERNATIONAL (DRI) offers quality newspaper and online design. Special attention is given to reader-friendly, finely tuned typography and legibility. Rolf F. Rehe, the director of DRI, is trained both as journalist and as designer. He brings a wealth of international experience to any aspect of a redesign and Ð he conducts all consultations personally.
Rolf F. Rehe
PAR TIAL CLIENT LIST :
Argentina: La Nacion Belgium: Het Laatste Nieuws Germany: Braunschweiger Zeitung, Handelsblatt, Lausitzer Rundschau, Ludwigsburger Kreiszeitung, Nordwest-Zeitung, Rheinische Post, Ruhr-Nachrichten, Saarbrücker Zeitung and others Ecuador: Hoy Holland: Agrarisch Dagblad, Technisch Weekblad Austria: Neue Vorarlberger Tageszeitung, Oberösterreichische Nachrichten, Die Presse, Vorarlberger Nachrichten and others Slovenia: Slovenec South Africa: Die Burger, Beeld, Rapport Czchech Republic: Lidove Noviny USA: Miami Herald, Daily Herald, Our Sunday Visitor, New World, Catholic World MAGAZINE DESIGN: APA-Journale, Fair Lady, IU Alumni Magazine, La Nacion Revista ONLINE DESIGN: VN Online, Vienna Online CONSULTATIONS AND SEMINARS IN: Australia, Canada, Chile, Colombia, England, Finland, France, India, Italy, Luxembourg, New Zealand, Panama, Peru, Poland, Sweden, Switzerland, Spain, Turkey.
North America and in Europe
DESIGN RESEARCH INTERNATIONAL maintains offices in
U S A : 1400 Gulfshore Square, Naples, Florida 34102 Telephone 1-941-643-6855, Telefax 1-941-643-2059 E-mail: [email protected] E U R O P E : Wasagasse 6/1/8, A-1090 Vienna/Austria
His background as designer, typographer and journalist give him a unique qualification as media consultant. Offices in the U.S. and in Europe and his worldwide experience enable him to monitor the latest developments in media design. His work has received international awards. He is the author of two books on design. After a training as a typographer in Germany, he studied psychology, design, and journalism at Indiana University and earned a Master of Arts degree. For a decade he served as professor for typography at his alma mater. Since 1981 Rehe has been active as consultant and lecturer on five continents. He now brings his rich professional experience to the design of electronic media.
Telephone 43-1-317-7836, Telefax 43-1-317-7834-5 E-mail: [email protected]
Some of the newspapers redesigned by Rolf F. Rehe
The online address for the newsletter Re:Design is:
www.rehedesign.com
PA G E 8
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
I N F O R M AT I O N F O R M E D I A
Number 1
Challenging times – and a few winning solutions
hese are challenging times for all of us involved in print media or the newly emerging online market. Content, design and technology all seem to change with breathtaking speed. Decisions need to be made that will have far-ranging consequences. Which are the right decisions? There are, of course, no guaranteed solutions. But some solutions are better than others. This newsletter will help you in your search for the right decisions Ð and the right solutions. It is a newsletter for successful media design. But then design cannot exist in a vacuum. Content and design must go together. One is incomplete, ineffective without the other. Re:Design will give special attention to the topic of typography. Print and online communication is, most of all, typography. And yet, that is very often the weakest component of either media. Read on and learn about the solutions available to you...
T
Re:Design is a newsletter that brings you information and news on media design topics. It is an interactive publication. You can request additional information, pose questions, or simply discuss media matters. Feel free to contact me directly via e-mail: [email protected] or by any conventional means.
R OLF F. R EHE
Read it in print or online – you decide
P
rint communications and online media share many identical components. Clear organization of the information and good legibility are key goals. Their common premise is to bring information as effectively as possible to the consumer, the reader. But there are also distinct differences.
Re:Design is offered online and in print to show that common style – and the differences. Following the concept of interactivity, you decide which output mode to use. If you prefer to read online, simply call up the pages from the Internet. The address is www.rehedesign.com
To print out pages, set your printer to 90% image size, and – off you go! Print in black or in color, whichever you prefer. Re:Design will be updated frequently. To be on our e-mailing list, send your e-mail address to [email protected]
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 1
T
Y
P
O
G
R
A
P
H
Y
Newspaper text type: ten points to consider
1. Type design: The selection is simple Ð serif type faces have better legibility and reader appeal. Sans-serif type, on the other hand, is a good selection as supportive type, for captions, tabular material, and the like. 2. Type flair: What flair is the type face to reflect? Formal, informal, relaxed, conservative, classic, modern? 3. Type weight: Newspaper fonts need to be slightly heavier than ÒnormalÓ type faces to compensate for the weakened contrast caused by the grey paper background.
P
erhaps the most important decision in newspaper design is the selection of the text type. How the newspaper is perceived (quite literally) depends largely on that choice. Here are ten points you need to consider for the selection.
4. x-height: In many cases, a tall x-height* works best for newspaper text type. 5. Type size: That selection depends on the x-height of the font. Readers always welcome a larger text type size. 6. Leading: Type faces with tall x-heights need more leading than those with a low x-height. Long line widths also require extra leading. 7. Letter dimension: Moderately condensed type faces work best. Some can be condensed a bit digitally. DonÕt make them too condensed, as that weakens the legibility. 8. Intra-letterspacing (kerning): This too is a ÒtouchyÓ matter. Often you can reduce the kerning minutely. But make sure the letters do not touch as it will adversely affect legibility. When in doubt, be conservative. 9. Bold and Italic versions: You need Italic and bold for your text type. Look at those versions carefully. Usually all the variations of a type family work well. But Ð it is not always the case. 10. Test print: What looks beautiful and legible on a laser printout may not on a page printed with an old press on greyish newsprint stock. Hence make test prints on news stock.
*x-height? It’s the relationship between lower case letters without upper or lower parts (such as the letter ‘x’) and capital letters.)
Some good newspaper text type faces (shown in 10 point size).
N IMROD : An authoritative type face with a unique flair Ð and a very tall x-height. C ENTURY O LD S TYLE : Relaxed, slightly playful and condensed, and with a high character count. B ASKERVILLE : A warm, traditional type face that requires a slightly larger type size. P LANTIN L IGHT: Elegant, sophisticated and classy Ð the choice for a newspaper of distinction. R OTATION : A safe and good selection Ð itÕs unobtrusive, narrow, and very legible. O LYMPIAN : Slightly heavy, condensed and with a very tall x-height: functional.
PA G E 2
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
L
E
G
I
B
I
L
I
T
Y
aBbCc A EeFf Dd HhIiJ G gk L l M jK
Many studies have been conducted into typographic legibility. But most of them remain buried in scientific journals and are often unknown to the practioner.
Common sense – is that all there is to legibility?
ood legibility: everybody talks about it Ð but what do we do about it? Principles of good legibility simply reinforce common sense. However, there are many legibility rules based on scientific studies. TYPE SET IN ALL CAPS HAS LOWER LEGIBILITY THAN TYPE IN LOWER CASE, AS THIS LITTLE PARAGRAPH AMPLY DEMONSTRATES. Similarly, long blocks of type are best not set completely in Italics (as are these three lines) since Italic type too reduces legibility. Bold type can work well to highlight short text elements. But bold type tires the eyes easily and is not a good choice for longer text segments. Frequent paragraphs and indentions at the beginning of paragraphs make information more ÔdigestibleÕ and create white space. Use both of them frequently for good legibility. Short lines have a more dynamic appeal. Longer line widths create a flair of authority and calmness. (But if they are too long, they become boring.) These are a few of the results from legibility studies. In my book, TYPOGRAPHY: HOW TO MAKE IT MOST LEGIBLE, I have selected and interpreted about 300 of the studies. The book is currently out of print. But the principles of good legibility are as important as ever.
G
C
O
N
T
E
N
T
“Make it interesting,” she said...
Tony Sutton is an editorial and publication design consultant in Toronto. He gives this advice for content selection: omeone, much smarter than I, once said the sole criteria for content, whether it be for a newspaper, magazine or Website, is INTEREST. “Make it interesting,” she said, “and they will come… That’s all there is to it.” Okay, lady, give me details, be specific, I say. “The front page should be captivating, informative and surprising, with news
S
that readers didn’t see on TV the previous day. Tell them things they don’t know about events that affect their lives, nationally and locally. Give ‘em a bit of background with a feature-type story, add a picture that stops them in their tracks and make them smile – humor’s a key part of the mix.” “With local news, don’t bore readers with mindnumbing detail from every council meeting and don’t profile every civic dignitary. Produce stories about ordinary people who’ve done something interesting
or with something worthwhile to say. Be a champion of your readers: take their side in disputes with authority, help them with their problems – show them you care.” “Feature pages? Simple. Make them interesting and indispensable.” “The key to success is to be a reader; ask yourself what you’d like to see if you were a reader. Then you go out and produce that newspaper.”
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 3
N
E
W
M
E
D
I
A
Online design: dynamic, but organized
H
The print version of VORARLBERGER NACHRICHTEN has its own unique design.
ave you ventured onto the Internet lately? Whenever I do, I experience a feeling of mild depression, similar to that when I go to a library or bookstore Ð my God, itÕs impossible to absorb all that information! Everywhere one turns, there are new links to new pages! It has been said the difference between a library and the Internet is that in the library books are organized in an orderly fashion; the Internet too is like a library Ð but all books are thrown into a huge pile in a room. Graphics abound on the Internet. Some of them are poor, some mediocre, and some are good. But good typography is the exception, not the rule. ItÕs frontier time out there. Granted, the new medium has many inherent restrictions that now limit the fine-tuning of design. But a major weakness is the careless, often sloppy use of typography. Compare it to book design: if the cover is lavishly (but not necessarily tastefully) designed, while the inside pages are slapped together carelessly Ð will you read it? For online, legibility and reader-friendliness are as important as they are for newspapers. What is needed is application of the basics. Rules of type size, type face, line width, and background are as important on the Internet as they are for print media.
For the online presentation, the basic ‘flair’ of the newspaper’s design was used.
The color coded logo in the newspaper...
...was repeated in the online version.
F
Second place, after the New York Times, in the online contest.
or the online design of the Austrian newspaper VORARLBERGER NACHRICHTEN, a symbiosis between print and electronic media was the goal. The online version brings the dayÕs news and a wealth of service information to the user. The typical three-dimensional standard heads and the color concept were carried over from the newspaper to achieve a clear presentation of the information. Not only did the public respond positively to the concept; the design also won second place in the ÔBest Online Newspaper Services CompetitionÕ in San Francisco.
I N F O R M AT I O N F O R M E D I A SUMMER 1997
PA G E 4
Re:Design
O
N
L
I
N
E
-
D
E
S
I
G
N
The budget is limited: online typography
Y
ou find good typography on the Internet Ð as easily as you find a four-leaf clover. The fact is, the ÔNet is a graphic jungle, full of wild vegetation types. Good design is the exception. How come? Initially programmers created online graphics. Their design styles set precedents. And as online activities are rarely profitable yet, little money is invested in design. The typographic tools are very limited. Control over the finished product is obfuscated as different browsers and/or different computer platforms (Mac or PC) present online design willfully. Then thereÕs the time element. A page must reconstruct itself quickly or users will go elsewhere. Severe restrictions for good typography Ð and it shows. Still, the show must go on. But how? Here are a few guidelines for online typography:
U
It has been sa id the differen ce between a library and the Internet is th at in the libra ry books are or ganized in an orderly fashio n; the Interne t too is like a library – but all books are thro wn into a hu ge pile in a room .
• Use standard type faces, usually Times Roman and Helvetica or derivatives (see story below). Apply them carefully and yet dynamically. It will save you buildup time. • Vary sizes and weights Ð but not too much. Make the best of the two fonts, but donÕt create havoc. • Restrict the use of GIFs when possible. What you
gain in visual appeal, you may lose you in speed.
Online design must be just as clearly organized and as easily legible as print information. But it must also reconstruct itself quickly on the screen. The acceptance by the user depends on both...
• Work from a vertical grid, at best with three columns, and vary the line widths of your text type. • Apply color to type, but use the bold font versions. Select strong colors or the legibility will suffer. • Use sans-serif for small type. Oddly, online Helvetica is more legible in small sizes than Times. • Don’t despair. ThereÕs a small army of programmers out there looking for improved ways of producing online typography. It can only get better.
New, special type faces for online
T
he default type faces for Web design are Helvetica and Times. Both are good and legible fonts. But: they were originally designed for print, not for the screen. Particularly Times, with hairline features and rather tightly spaced, does not have a superb on-screen presence. Renowned type face
designer Matthew Carter has developed two fonts for Microsoft: Verdana, a sansserif style; and Georgia, a serif design. The new fonts feature a tall x-height, even stroke width, and extra space between letters. The result is improved legibility. The fonts are available free from Microsoft.
Georgia: a serif font for online Verdana: a sansserif font for online
SUMMER 1997
Re:Design
I N F O R M AT I O N F O R M E D I A
PA G E 5
R
E
S
U
L
T
S
Redesign: wonder drug or just a placebo?
an a successful redesign automatically lead to an increase in circulation? Not necessarily. But when combined with other factors, the possibility for a circulation increase is enhanced. HereÕs what Dan Baumann, CEO of the DAILY HERALD in the Chicago area, had to say about the circulation increases his newspaper experienced after the redesign: ÒHow much did the redesign contribute? We donÕt know. No one knows. But we do know that it played an important role.Ó In my experience, the possibility of a circulation increase is largely enhanced when improvements in content and content structure are made at the same time. Furthermore, a special promotional campaign for the improved product is essential. This combination was used successfully with redesigns for two of my clients: the DAILY HERALD and the Austrian daily DIE PRESSE in Vienna. The DAILY HERALD was redesigned in 1987 and has since maintained its new design concept. It has seen its circulation rise from 73,000 in 1987 to about 135,000 today. Equally impressive is the case of the Viennese daily DIE PRESSE. Keeping up a vigorous promotional campaign since the redesign in 1993, its readership has grown by a whopping 53%. Tempting as it would be to proclaim that a redesign automatically leads to a circulation increase, such a claim would be unrealistic. At the same time, it is certain that a redesign will enhance such chances.
C
“Redesign played important role,” says publisher.
Readership increased by a whopping 53%.
Q
U
A
L
I
T
Y
C
O
N
T
R
O
L
The style book: it’s the ‘Bible’ of a redesign
W
hen a redesign is finished, a major challenge remains: maintaining the new style in every detail. It is very easy – and very tempting – to make changes, to ‘individualize’ a new concept. But it is essential to keep the unified design for the entire paper – and to keep it for good. (‘Updates’ should be made only by agreement with the managing editor.)
That’s why a detailed style book is essential. It shows and explains both the micro and the macro elements of the new design and explains them. Typography, layout, photos, color concept: all are defined thoroughly. When a question about the design arises, the style book has the answer. It also serves as an introduction to the paper’s design for new staff members.
PA G E 6
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
N
E
W
S
P
A
P
E
R
D
E
S
I
G
N
Micro and macro design – say again?
G
od is in the detail. Or is it the devil? Whichever way you look at it, successful newspaper design cannot prevail without attention to the many little, mostly typographical, details Ð the micro design. Compare it to an orchestra: the individual instruments have to be finely tuned and must harmonize with each other. Otherwise even the most appealing Mozart concerto is not music Ð only noise. ThatÕs exactly how it is with newspaper design. The best layout is not convincing if the typographical details do not ÔclickÕ. My book, TYPOGRAPHY AND DESIGN FOR NEWSPAPERS, deals with the little Ð but important Ð design elements as well as with the entire concept Ð the macro design. Successful newspaper design is a highly complex undertaking. The book is an extensive compendium for all aspects of this important process. First published in 1985 by the international newspaper organization IFRA, it is a practical manual that provides timeless and timely principles. It is, in fact, a ÔclassicÕ for all who are interested in newspaper design. TYPOGRAPHY AND DESIGN FOR NEWSPAPERS is also available in French, German, and Spanish editions.
Some of the topics: Text type and headlines Standard typography Rules, borders and screens Photos, other illustrations Information graphics Color concept Page layout and structure Special pages How to approach a redesign
The book costs (U.S.) $25. (includes shipping) and can be ordered from DRI via e-mail, fax, or telephone.
DRI E-mail: [email protected] Fax: 1-941-643-2059 Telephone: 1-941-643-6855 1400 Gulfshore Square Naples, FL 34102 (USA) Re:Design
I N F O R M AT I O N F O R M E D I A PA G E 7
SUMMER 1997
A
B
O
U
T
D
R
I
D ESIGN R ESEARCH I NTERNATIONAL (DRI) offers quality newspaper and online design. Special attention is given to reader-friendly, finely tuned typography and legibility. Rolf F. Rehe, the director of DRI, is trained both as journalist and as designer. He brings a wealth of international experience to any aspect of a redesign and Ð he conducts all consultations personally.
Rolf F. Rehe
PAR TIAL CLIENT LIST :
Argentina: La Nacion Belgium: Het Laatste Nieuws Germany: Braunschweiger Zeitung, Handelsblatt, Lausitzer Rundschau, Ludwigsburger Kreiszeitung, Nordwest-Zeitung, Rheinische Post, Ruhr-Nachrichten, Saarbrücker Zeitung and others Ecuador: Hoy Holland: Agrarisch Dagblad, Technisch Weekblad Austria: Neue Vorarlberger Tageszeitung, Oberösterreichische Nachrichten, Die Presse, Vorarlberger Nachrichten and others Slovenia: Slovenec South Africa: Die Burger, Beeld, Rapport Czchech Republic: Lidove Noviny USA: Miami Herald, Daily Herald, Our Sunday Visitor, New World, Catholic World MAGAZINE DESIGN: APA-Journale, Fair Lady, IU Alumni Magazine, La Nacion Revista ONLINE DESIGN: VN Online, Vienna Online CONSULTATIONS AND SEMINARS IN: Australia, Canada, Chile, Colombia, England, Finland, France, India, Italy, Luxembourg, New Zealand, Panama, Peru, Poland, Sweden, Switzerland, Spain, Turkey.
North America and in Europe
DESIGN RESEARCH INTERNATIONAL maintains offices in
U S A : 1400 Gulfshore Square, Naples, Florida 34102 Telephone 1-941-643-6855, Telefax 1-941-643-2059 E-mail: [email protected] E U R O P E : Wasagasse 6/1/8, A-1090 Vienna/Austria
His background as designer, typographer and journalist give him a unique qualification as media consultant. Offices in the U.S. and in Europe and his worldwide experience enable him to monitor the latest developments in media design. His work has received international awards. He is the author of two books on design. After a training as a typographer in Germany, he studied psychology, design, and journalism at Indiana University and earned a Master of Arts degree. For a decade he served as professor for typography at his alma mater. Since 1981 Rehe has been active as consultant and lecturer on five continents. He now brings his rich professional experience to the design of electronic media.
Telephone 43-1-317-7836, Telefax 43-1-317-7834-5 E-mail: [email protected]
Some of the newspapers redesigned by Rolf F. Rehe
The online address for the newsletter Re:Design is:
www.rehedesign.com
PA G E 8
Re:Design
I N F O R M AT I O N F O R M E D I A
SUMMER 1997
