Layout

Layout is the process of arranging the
text on the page. Text can be laid out in
different ways. The arrangement, which
makes the text readable and creates for¬
mal qualities, can be achieved by spac¬
ing, by emphasizing certain groups of
letters or words, or by suppressing the
effect of others. Different options are
available, and should be chosen accord¬
ing to the context and aesthetic require¬
ments of the text, never because of
formalistic considerations alone. Avoid
monotony, but be aware that frequent
repetition of the same accents can be
equally boring. "The means have to jus¬
tify the end," Bertolt Brecht said. Be
decisive about the use of your elements;
halfhearted decisions dilute the effect of
the whole.

A common procedure to create empha¬
sis is to use letters of different sizes or
weights. Single lines can be executed in
full-size capitals or in small capitals. In
longer texts it is better to emphasize sec¬
tions by using italic, but, to say it again,
lowercase letters should not be spaced
extra-wide under most circumstances.

Decorative initial capitals, often sev¬
eral times the height of other capitals,
are a favorite way of calling attention to
the beginning of a chapter or paragraph.
Another is to stress headings. In both
cases it is important to find the right re¬
lationship in weight and size. Letter ini¬
tials in different sizes, colors, styles, and
characters, cut them out, and see which
one best serves the purpose. Figures 52
to 57 show several possible arrange¬
ments of initial capital and text block.

It is also important to maintain a con¬
nection between the initial and the rest
of the word of which it is a part. If the
initial is to be freestanding, provide a
connection to the first line of the text; if
it to be incorporated in the middle of the

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text, connect it in some way to the line
that it logically belongs to. If the initial
is inscribed in a rectangle, align the hori¬
zontal stroke at the bottom with the
baseline of the text. The flourishes of or¬
namental initials may extend into the left
margin. Headings are usually conspic¬
uous enough if they are separated from
the body of the text by one or more line
spaces. If extra emphasis is desired, use
the italic that corresponds to the text
lettering or any of the other means that
have been described earlier.

Many variations in the gray values of
a text can be achieved by adjusting sizes
or weights of the letters and by the
spaces between letters, words, and lines.
The introduction of color adds another
important element. Colored letters form
a contrast to black ones and to the gray
that results from the mass of the black
letter. If hues are used sparingly, they
create a jewel-like effect, but a color ele¬
ment can disappear in an overwhelming
text block if it is not strong enough. Too
many small elements of color spread
over the text create a scattered effect—
the eye is unable to distinguish among
the weak contrast pairs and registers an
evenly mixed color.

It is not advisable to use more than
one additional color. Frequent choices
are vermilion with the addition of some
carmine red, a greenish blue, or gold,
mixed from yellow with a touch of red
and blue. Other options are a dark red or
gray with some yellow or green. The ad¬
dition of a little white to these colors will
prevent the formation of spots when
they dry, and it will keep them in the
desired shade of lighmess. The mixing
should not result in dirty-looking or
chalky colors. Mixing different type
styles is discussed at the beginning of
Chapter 4 and the sections on hand¬
written books also deals with ways of
highlighting text.

FORMATS

The graphic artist rarely chooses the
format of his or her work: it is usually
necessary to find a balance between text
and a predetermined format. Letters,
brochures, labels, and posters have to
conform to specific criteria when it
comes to size. In the metric interna¬
tional paper size system, an initial sheet
(АО) is halved repeatedly (Figure 58),
resulting in a sequence of ever smaller
sheets. The digit after the A indicates
how many times the original sheet has
been cut. The most common sizes, with
their equivalents in inches, are:

Millimeters Inches

АО 841 x 1189 33.11 x 46.81

1 594 x 841 23.39 x 33.11

2 420 x 594 16.54 x 23.39

3 297 x 420 11.69 x 16.54

4 210 x 297 8.27 x 11.69

5 148 x 210 5.83 x 8.27

6 105 x 148 4.13 x 5.83

In the United States the standard sizes
of paper vary depending on the type —
bond (writing), book, board, label, etc.
Some common sizes are (in inches):

8V2 x 11 19 x 24

9 x 12 19 x 25

11 x 14 20 x 40

14 x 17 22 x 30

15 x 22 25 x 38

The format of brochures often can be
manipulated through different folds.
The technical restrictions of the given
standard sheet sizes influence book
formats, but many variations can be
encountered.

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