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    "title": "Tanya Sokolovskaya's blog: posts tagged Magazine",
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    "authors": [
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            "name": "Tanya Sokolovskaya",
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            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/images-and-offset-printing\/",
            "title": "How I prepare magazine images for offset printing",
            "content_html": "<iframe width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/AwOpRX2CxQA?si=M8PK34REL1J0s8gA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>This video contains updated and more relevant information on preparing images for offset printing. The post itself needs an update, so make sure to check out the video for the latest tips and techniques.<\/p>\n<p>Images in a multi-page publication must be prepared to look good when printed. Typically, print shops have different requirements for offset printing, but the general principle of preparation is pretty much the same for all of them. I’ll give you an example <a href=\"https:\/\/tsokolovskaya.com\/blog\/tags\/agroinvestor\/\">of my work for Agroinvestor magazine<\/a> so that the print shop accepts the layout for the first time and the images remain high quality.<\/p>\n<p>There are four essential points in image preparation: the resolution (300 dpi), the colour model (CMYK), the colour profile (for our print shop, this is ISO Coated v2 300 % (ECI)) and the sum of the colours (no more than 300 %). At first glance, nothing complicated: take a picture of a suitable resolution, do colour separation in the right profile, and that’s it. However, apart from these points, there is an essential aspect of offset printing that I want to talk about, but let’s go through it one by one.<\/p>\n<h2>layout stage<\/h2>\n<p>During the layout stage, I use low-resolution photos. Most of them even have the watermarks of photobanks, and it doesn’t matter at this stage. This is what the linked files look like in the document:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-3.jpg\" width=\"415\" height=\"565\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The two right-hand columns show the actual resolution (left) and the effective resolution (right)<\/div>\n<\/div>\n<p>As you can see, all the images are in an RGB colour scheme, and most have a resolution of 72 dpi. This resolution is optimal for screens but very low for printing. And the effective resolution, in general, jumps around a lot. Let me explain, the actual resolution is the actual size of the picture, while the effective resolution is the size of the picture in the layout. If the actual resolution is 72 dpi and the effective one is 117, the layout picture is reduced by half. And vice versa, the picture is enlarged if the actual resolution is higher than the effective one. In the finished layout, their values should be the same.<\/p>\n<h2>Exporting images<\/h2>\n<p>I prefer to prepare the images for printing once the layout of the whole issue has been approved. That has its advantages:<\/p>\n<ul>\n<li>Things can change in the process: an article is replaced, strips are removed or added, pictures are sent in differently, ads are unexpectedly up, and so on.<\/li>\n<li>The original images are collected and sent to the photo editor, so it’s more convenient for me to get all the pictures at once rather than after each approved article. Also, if a photo from a photobank is suddenly replaced and has already been bought, then the money is spent for nothing.<\/li>\n<li>At any time, the chief editor can remove or add a piece of text within an article, which means that the size of an image will have to be changed because space on the page is limited. If the images were already ready to be printed, this work would have to be done again.<\/li>\n<\/ul>\n<p>When all the articles are collapsed, I proceed to process the images. As you may remember, the images are of poor quality, and to send them to the photo editor for redemption, I need to gather all the images of the issue into one folder. To do this, I pack the files in print:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-07-31-at-17.38.10.jpg\" width=\"616\" height=\"559\" alt=\"\" \/>\n<\/div>\n<p>Next, check Copy Linked Graphics. No other checkboxes are needed:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-07-31-at-17.39.21-3.jpg\" width=\"841\" height=\"592\" alt=\"\" \/>\n<\/div>\n<p>The result is a Links folder with all the images, which I hand over to the photo editor, who sends me the original high-resolution images.<\/p>\n<p>I also create three additional folders: PSD RGB, TIF Lab, and TIF CMYK.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-11.36.16.png\" width=\"680\" height=\"139\" alt=\"\" \/>\n<\/div>\n<p>Links contain all the images in the issue; Photos — the images to be redeemed; Photos Original — their originals. The PSD RGB, TIF Lab and TIF CMYK folders are needed so that I can return to them at each stage of processing the photo and, if necessary, make changes. I’ll go into more detail about these stages next.<\/p>\n<h2>Resolution<\/h2>\n<p>Next, pay attention to the resolution. There are several sources of images: for example, pictures from photobanks are of high quality, but pictures from agro-companies or their websites are often in low resolution, and it’s almost impossible to get the originals.<\/p>\n<p>Let’s say I was sent a photo at 72 dpi, but the picture itself is quite large 67×38 cm:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-12.39.31.png\" width=\"1079\" height=\"606\" alt=\"\" \/>\n<\/div>\n<p>I unchecked Resample and changed the resolution from 72 to 300. The image size is now considerably smaller — 16×9 cm:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-12.43.20.png\" width=\"1080\" height=\"605\" alt=\"\" \/>\n<\/div>\n<p>Ideally, this picture at 100% should be no larger than 16×9 cm in a layout. But what if I need it in a larger format? In such a situation, I enlarge the image by 15-20%. If an even larger format is required, the photo editor asks for the source, and if it’s not available, we look for a replacement image.<\/p>\n<p>It may also be that an image is sent with a dpi value between 200 and 300. In that case, I increase the dpi value to 300, which will also not appear in the printout. When the dpi is less than 200, it’s not worth enlarging the picture, we will not see pixels in print, but there will be some graininess.<\/p>\n<h2>Colour profile and ink sum<\/h2>\n<p>Our print shop has a requirement to use the ISO Coated v2 300 % (ECI) colour profile. This profile makes my job easier: by running the images through it, the sum of the colours in the overprints automatically becomes less than 300 %. The ink sum is the amount of ink applied to the paper. The image will be pale if the value is less than 300%. If the ink sum exceeds 300%, the sheet risks soaking through and staining the adjacent pages.<\/p>\n<p>You can determine the amount of colour in an image in several ways in Photoshop, but I find it much more convenient to do it through Indesign. Go to Window → Output → Separations Preview:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-14.54.07.jpg\" width=\"462\" height=\"442\" alt=\"\" \/>\n<\/div>\n<p>And in Ink Limit mode, select the desired percentage:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-14.56.58.jpg\" width=\"1141\" height=\"564\" alt=\"\" \/>\n<\/div>\n<p>Red spots in the image indicate that the colour limit has been exceeded in these areas. This way, even at the layout stage, I can quickly check all the images in the article.<\/p>\n<p>I have the required CMYK profile in Photoshop by default. This is done in the settings: Edit → Colour Settings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.02.04.jpg\" width=\"884\" height=\"558\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I downloaded the profile online beforehand<\/div>\n<\/div>\n<h2>From RGB to CMYK<\/h2>\n<p>All images can be divided into simple and complicated.<\/p>\n<p><b>Simple<\/b>— converts from RGB to CMYK with no problems:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/117093432_l-rgb.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/117093432_l-cmyk.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB, and the second one is CMYK. There is practically no difference between them.<\/p>\n<p><b>Complicated<\/b> — includes unprintable colours that are lost in offset printing:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5189873417722\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-rgb.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB, and the second is CMYK. As you can see, the bright green and red are “eaten away” in the second one, and the detail and volume in these areas are lost. You can solve this problem by contaminating the colours.<\/p>\n<p>Open our photo in Photoshop and work in the RGB colour model. To quickly see if there are any unprintable colours in the picture, go to View → Proof Setup and select Working CMYK (you already have the right colour profile for it):<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.26.19-1.jpg\" width=\"624\" height=\"298\" alt=\"\" \/>\n<\/div>\n<p>And with the Proof Colours command, we can switch between modes:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.32.12.jpg\" width=\"1081\" height=\"769\" alt=\"\" \/>\n<\/div>\n<p>Reminder: work in RGB. To get rid of the unprintable colour, create a Selective Colour adjustment layer:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.46.50.jpg\" width=\"280\" height=\"564\" alt=\"\" \/>\n<\/div>\n<p>We have two unprintable colours — red and green, so it’s these that we will “pollute”. And we do it with opposite colours — for red, we raise Cyan, and in green, we increase Magenta:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.52.31.jpg\" width=\"587\" height=\"308\" alt=\"\" \/>\n<\/div>\n<p>Let’s compare the three pictures now:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5189873417722\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-rgb.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk2.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB.<br \/>\nThe second is direct conversion to CMYK.<br \/>\nThe third one is converted to CMYK with an adjustment layer Selective Colour. Our picture is a bit darker, you can fix it if you want, but the tomatoes are still rich, and the leaves show details.<\/p>\n<p>Let’s look at another example:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.7777777777778\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/sea-ocean-horizon-light-cloud-sky-795494-pxhere.com.jpg\" width=\"1200\" height=\"675\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.54.15.jpg\" width=\"1200\" height=\"676\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/sea-ocean-horizon-light-cloud-sky-795494-pxhere.com_2.jpg\" width=\"1200\" height=\"675\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>This is where I contaminated yellow and red:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-17.38.39.jpg\" width=\"583\" height=\"319\" alt=\"\" \/>\n<\/div>\n<p>The first picture is the original.<br \/>\nThe second picture is the Proof Colours view. You can see how the brightest areas get soapy, and the smallest details disappear.<br \/>\nThe third picture is corrected. It’s not as colourful and bright now, but printing such colours is impossible. I think it’s more critical to preserve details.<\/p>\n<h2>Feature of offset printing<\/h2>\n<p>The sharpness of offset printing decreases quite dramatically, which means it should be compensated technically. This is done in Photoshop with Unsharp Mask and must be done in several steps — separately in the Lab Lightness and CMYK Black channels.<\/p>\n<p>I’ve taken a rather dark picture with a black object to show the impact of the sharpening more clearly.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-14.jpg\" width=\"2539\" height=\"1693\" alt=\"\" \/>\n<\/div>\n<p>So, open the picture in Photoshop and create two duplicate layers:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.32.03.jpg\" width=\"277\" height=\"237\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I renamed them Lab and CMYK to make it clearer<\/div>\n<\/div>\n<p>Convert the image from RGB to Lab without merging layers. Go to the Lightness channel, apply the Unsharp Mask filter with an impact strength of 100, radius 3 px:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.11.57.jpg\" width=\"683\" height=\"484\" alt=\"\" \/>\n<\/div>\n<p>This is what we see:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.20.51.jpg\" width=\"1373\" height=\"967\" alt=\"\" \/>\n<\/div>\n<p>Next, convert the image from Lab to CMYK without merging the layers again. Go to the Black channel and apply the Unsharp Mask filter with a value of 300% and a radius of 1 px:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.13.21.jpg\" width=\"691\" height=\"492\" alt=\"\" \/>\n<\/div>\n<p>The values for Unsharp Mask in the Lightness and Black channels may differ. I have taken the average as an example.<\/p>\n<p>The picture looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.20.58.jpg\" width=\"1370\" height=\"1005\" alt=\"\" \/>\n<\/div>\n<p>A bright white border surrounds the black details, but you don’t have to be afraid to sharpen the black channel. The triad colours will underlie this white border, and the result will be a soft glow that will accentuate the darker objects:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1363\" data-ratio=\"1.4183142559834\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.48.30.jpg\" width=\"1363\" height=\"961\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1working-sand-sunset-tractor-night-morning-793868-pxhere.com.jpg\" width=\"1363\" height=\"961\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>You can optionally enable the display for Lab layers in triad only and CMYK in black only:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.28.30.jpg\" width=\"1063\" height=\"482\" alt=\"\" \/>\n<div class=\"e2-text-caption\">You can add a little transparency to this layer to soften the sharp effect<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.28.41.jpg\" width=\"1063\" height=\"484\" alt=\"\" \/>\n<\/div>\n<p>You may think the picture is heavily sharpened, but in offset printing, the sharpness will drop a lot, and this sharpening will make the picture clear. Also, remember that on the screen, we see an image at 300 dpi, in reality, it will be three times smaller. You can move away from the screen by 1.5–2 metres and look at the image. Everything will be okay in print if it looks good from a distance.<\/p>\n<p>I’ll show you an example of a magazine photo that I processed. Here’s a sharpened photo:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.00.12.jpg\" width=\"1031\" height=\"1160\" alt=\"\" \/>\n<\/div>\n<p>And this is the photo in the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_3498.JPG\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<\/div>\n<p>As another example, I’ll show you a piece of advertising that was sent in ready to print, and I can’t intrude on it:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.16.32.jpg\" width=\"962\" height=\"609\" alt=\"\" \/>\n<\/div>\n<p>On the left is a fragment of advertising layout, and on the right is a photo from a magazine. As you can see, the layout was not sharpened, and the output was blurred.<\/p>\n<p>Do not sharpen an RGB image. Otherwise, you risk having white ghosting around dark objects, which will not disappear when printed because there is no triadic backing:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.34.54.jpg\" width=\"1200\" height=\"848\" alt=\"\" \/>\n<div class=\"e2-text-caption\">So please don’t do it<\/div>\n<\/div>\n<p>Another thing I want to point out is the exposure. The printed image will always be darker than what we see on the screen. So if the picture seems dark, you need to lighten it up a bit. Otherwise, it might turn out to be a completely black nothing. For example, I sent the picture above to print like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-20.09.55.jpg\" width=\"1478\" height=\"1064\" alt=\"\" \/>\n<\/div>\n<p>It’s darker in the magazine, but the grasses are still visible:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_3498.JPG\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<\/div>\n<p>This is all about the basics of image preparation. There are nuances in converting monochrome images from RGB to CMYK, but we don’t see those in our magazine, so I’ve written about that <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/black-and-white-printing\/\">separate post<\/a>.<\/p>\n<h2>Stages of work and their automation<\/h2>\n<p>Now, point by point, what and in which order I do when I get the original photos from the photo editor, and the layout is approved.<\/p>\n<h3>1. Resolution and processing<\/h3>\n<p>I open my first image in Photoshop, check its resolution, correct it if needed and start processing. Processing can include anything: clipping, cleaning of unnecessary elements, sometimes I make a collage of several photos or changing the background, somewhere you want to pull the black point and correct the ragged horizon — in general, there are all the necessary aesthetics.<\/p>\n<h3>2. Unprintable Colours and Exposure<\/h3>\n<p>I use Proof Colours to check my image for unprintable colours and correct it with Selective Colours if necessary. I lighten the image a little. In my experience with our print shop, I prefer to lighten almost all images. Otherwise, even light images in print come out darker than the screen.<\/p>\n<p>I save the Photoshop file in a PSD RGB folder when I am visually happy with everything. Now I have a finished image in full size that I can return to at any time.<\/p>\n<h3>3. Image size<\/h3>\n<p>In Indesign, I look at the actual size of the previously processed image within the layout:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-14.30.22.jpg\" width=\"496\" height=\"520\" alt=\"\" \/>\n<\/div>\n<p>I go to Photoshop, crop the image and resize it according to the layout:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-14.56.11.jpg\" width=\"1000\" height=\"751\" alt=\"\" \/>\n<\/div>\n<p>All the images in the print-ready file must be at 100% scale, and the effective resolution is 300 dpi. Right now, the effective resolution of my picture in Indesign is twice as high:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.06.42.jpg\" width=\"419\" height=\"90\" alt=\"\" \/>\n<div class=\"e2-text-caption\">It shouldn’t be like this<\/div>\n<\/div>\n<p>If you skip that step and leave the images at their original size, the resulting file will weigh a lot. It will be hard to work with, and the print shop will scold you :-)<\/p>\n<p>And here is an important point, when the image size fits the layout, I create a new action in Photoshop and call it Sharp:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.13.57.jpg\" width=\"398\" height=\"158\" alt=\"\" \/>\n<\/div>\n<p>Now all my actions are recorded. I converted the picture from RGB to Lab, merged all the layers, and saved the file in TIF format in the TIF Lab folder.<\/p>\n<h3>4. Sharpness<\/h3>\n<p>I go to the Lab Lightness channel and sharpen the picture. Convert from Lab to CMYK, sharpen the black channel, and save the image in TIF format to the TIF CMYK folder. I closed the file and stopped the action recording. Now I have action, which I apply to all further images after their initial processing.<\/p>\n<p>When all the images are ready, I go to Indesign and replace all the images with those in the TIF CMYK folder. At this stage, I review each image, and if I don’t like something, I can always go back to any stage of its processing and correct it. That’s why I save files separately in additional folders.<\/p>\n<p>And this is what the linked files look like after their preparation for printing:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-4.jpg\" width=\"419\" height=\"548\" alt=\"\" \/>\n<\/div>\n<p>If you have any questions, let me know, I’ll try to help :-)<\/p>\n",
            "date_published": "2022-09-13T11:26:00+01:00",
            "date_modified": "2024-09-12T12:10:34+01:00",
            "tags": [
                "Advice",
                "Agroinvestor",
                "Layout Design",
                "Magazine",
                "Printing"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/18-3.jpg",
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        {
            "id": "4",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-spread\/",
            "title": "Magazine layout. Spread",
            "content_html": "<p>The magazine spread is a single entity. Even if the left and right pages are very different in content, it’s essential to “connect’ them visually. This can be achieved by repeating a font, colour or some graphic element. For example, yellow bars are on this spread’s left and right pages. They are the ones who give the impression of cohesion:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2cffb4745ba9ca973f9ff52ce889945f.jpg\" width=\"1494\" height=\"897\" alt=\"\" \/>\n<\/div>\n<p>Today I will talk about the elements found in a magazine spread. Three main elements in the centrefold influence the reader’s attention: the image, the composition of the layout, and the headline. In addition, there may be a kicker, an intro, an author line, an article body and, of course, a header. Let’s look at each of these elements in more detail.<\/p>\n<h3>Image<\/h3>\n<p>The main image usually occupies an entire page or almost a whole page. It’s the first thing that catches the reader’s eye and hints at what the article is about.<\/p>\n<h3>Header<\/h3>\n<p>The header is the largest text element. It can be located anywhere in the spread. It makes sense to use the left-hand page, as we are used to reading from left to right, but not necessarily so. In the example above, the image occupies the left-hand page, while the header and everything else are on the right. The header must stand out from the rest of the elements. You can do this by using a larger size, a different font, a different colour, or even expanding it vertically.<\/p>\n<h3>Kicker<\/h3>\n<p>The kicker is the header. It’s not always used. It’s usually printed in smaller font sizes. It can point to a heading or directly relate to the article’s subject.<\/p>\n<h3>Intro<\/h3>\n<p>An intro is an introductory paragraph connecting the title and the article. It’s usually typed in a different typeface and\/or font than the main text.<\/p>\n<h3>Article body<\/h3>\n<p>A two or three-column layout is most common in magazines, depending on the format. I’ve written about the optimum line length <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/better-typography\/\">in a typography tip for the layout<\/a>.<\/p>\n<h3>Subheadings<\/h3>\n<p>Subheadings are used in the body of the article, and there can be several subheadings. They control the reader’s attention and help them find the information they want.<\/p>\n<h3>Quotes<\/h3>\n<p>Like subheadings, quotes control the reader’s attention. Typically, quotations highlight some exciting fact or meaningful phrase that can ‘get’ the reader to explore the article.<\/p>\n<h3>Page header<\/h3>\n<p>A header is an information block that is attached to some edge of the spread. It may include the title of the section, the heading, the name of the magazine, the issue number and the page numbering.<\/p>\n",
            "date_published": "2021-06-29T18:11:00+01:00",
            "date_modified": "2023-12-13T12:35:26+01:00",
            "tags": [
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-12.jpg",
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        {
            "id": "5",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/optimizing-magazine-process\/",
            "title": "How to optimise work on a magazine",
            "content_html": "<p>I recently told you <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/agroinvestor-test\/\">how I completed a test assignment and got a job<\/a> at a publishing house, and today I’m going to tell you about preparing my first issue of the magazine.<\/p>\n<p>I looked at the previous designer’s source files and realised this format would be awkward. This is what a folder of one issue looks like:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-11.jpg\" width=\"256\" height=\"576\" alt=\"\" \/>\n<\/div>\n<p>Each magazine article is in a separate folder, and inside each folder are subfolders with images and fonts and a file with some instructions. It so happened that I was not handed the files correctly. I could not communicate with the ex-designer to clarify anything and could only guess at his processes.<\/p>\n<p>So the first thing I did before starting work was to optimise everything as much as possible.<\/p>\n<p>To do this, I created one InDesign file (ai_temp.indd) in which I configured the following:<\/p>\n<ul>\n<li>page header templates,<\/li>\n<li>paragraph styles,<\/li>\n<li>GREP styles,<\/li>\n<li>all the necessary graphics.<\/li>\n<\/ul>\n<p>Let me explain each of these points in detail.<\/p>\n<h3>Page header templates<\/h3>\n<p>The periodical has two dynamic elements on all pages and needs to be changed in each issue — the issue number and the headings. These elements are located in the header and footer:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-5.jpg\" width=\"1200\" height=\"890\" alt=\"\" \/>\n<\/div>\n<p>I saved the header in the A-master template, in which I will change the month and publication number. And based on this A-master, I created templates with a header in which I prescribed the possible headings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-11.jpg\" width=\"240\" height=\"636\" alt=\"\" \/>\n<\/div>\n<p>So, when starting a new issue, I copy my ai_temp.indd file and change the month and number in the A-Master template. Next, I assign the header template to the pages when starting the new article.<\/p>\n<h3>Paragraph styles<\/h3>\n<p>To make it easy to work with the text and avoid confusing its layout, I have created all the possible styles in the magazine in the file ai_temp.indd. It looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-8.jpg\" width=\"239\" height=\"523\" alt=\"\" \/>\n<\/div>\n<p>Absolutely all styles are based on Basic Paragraph, in which GREP styles are prescribed for correct hyphenation within the text.<\/p>\n<h3>GREP styles<\/h3>\n<p>To remove dangling characters at the end of a line, I created five hyphenation rules:<\/p>\n<ul>\n<li><b>for prepositions with a lowercase letter:<\/b> (?<= )((в|во|без|до|из|к|ко|на|по|о|от|перед|при|через|с|у|не|за|над|для|об|под|про|и|а|но|да|или|ли|бы|то|что|как|я|он|мы|они|ни)( |\\. |, ))+<\/li>\n<li><b>for prepositions with a capital letter:<\/b> ((?<= )|(?<=^))((В|Во|Без|До|Из|К|Ко|На|По|О|От|Перед|При|Через|С|У|Нет|За|Над|Для|Об|Под|Про|И|А|Но|Да|Или|Ли|Бы|То|Что|Как|Я|Он|Мы|Они|Ни) )+<\/li>\n<li><b>for numerical values:<\/b> (?<=\\d)(.)<\/li>\n<li><b>for the dash:<\/b> (?<=) (—)<\/li>\n<li><b>for units of measure:<\/b> (?<= )((га|гг.|дм|долл|др.|же|кг|мг|мл|млн|млрд|мм|нм|с.|см|стр.|руб.|тыс.)( |\\. |, ))+<\/li>\n<\/ul>\n<p>It looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-9.jpg\" width=\"917\" height=\"709\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I add new values as needed<\/div>\n<\/div>\n<h3>Graphics<\/h3>\n<p>In CC Libraries, I have kept the colour palette and graphic elements that are most common in articles:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-8.jpg\" width=\"245\" height=\"658\" alt=\"\" \/>\n<\/div>\n<p>There are also icons inside some of the headings. I’ve put them in a separate Illustrator file so that I can edit them:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-11.jpg\" width=\"732\" height=\"811\" alt=\"\" \/>\n<\/div>\n<p>This way, all the elements are at your fingertips, and you don’t have to search for them every time in old releases and go to the source files to copy them.<\/p>\n<p><hr\/><\/p>\n<p>Next, I created a new book (New Book) in InDesign for the magazine’s new issue and named it AI_June-07.indb. I copy my file ai_temp.indd and give it the name ai_6-13_sobitiya.indd, where “ai” is agroinvestor, “6-13” — page numbers for a particular article, “sobitiya” — rubric. I added this file to the book and gave it the correct page numbering.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-10.jpg\" width=\"613\" height=\"509\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-6.jpg\" width=\"446\" height=\"467\" alt=\"\" \/>\n<\/div>\n<p>Then I assign the pages a template with the required header and proceed with the layout.<\/p>\n<p>The book format is helpful for multi-page publications if they have chapters or headings. I will discuss this in more detail in a separate post.<\/p>\n",
            "date_published": "2021-06-10T14:56:00+01:00",
            "date_modified": "2023-06-06T11:30:03+01:00",
            "tags": [
                "Advice",
                "Agroinvestor",
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-11.jpg",
            "_date_published_rfc2822": "Thu, 10 Jun 2021 14:56:00 +0100",
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            "id": "6",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/agroinvestor-test\/",
            "title": "Completed a test assignment for a publisher and got the job",
            "content_html": "<p>I decided that the best way to understand the workings of periodicals was to look at the process from the inside, so since May, I have been working as a layout designer for a business magazine <a href=\"https:\/\/www.agroinvestor.ru\">Agroinvestor<\/a>. This is now my main activity, and the blog posts will focus on it. I will show you how the processes of publishing a magazine are arranged, what is essential in the layout and preparation of the publication for printing, and how to optimise your work from issue to issue.<\/p>\n<h2>How I got into publishing<\/h2>\n<p>I want to give some confidence to newcomers who wish to work on a periodical. At the time of my job search, I had no experience in this field. Orders for multi-page layouts were, of course, but still, periodicals work differently. After two months of searching, I was interviewed by the chief editor, who gave me a test assignment. To my surprise, even just getting a test assignment proved problematic if you didn’t have the necessary experience. So anything is possible, as long as you keep at it :-)<\/p>\n<h3>Test Assignment<\/h3>\n<p>The essence of the test assignment is to repeat the current layout. The chief editor sent me a text to be layout and some magazine pages:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1191\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-10.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-10.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-4.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Agroinvestor, May 2021<\/div>\n<\/div>\n<p>Before starting work, I “deconstructed” the layout and identified the grid, fonts, styles, and bad points I could already correct.<\/p>\n<p><b>A five-column grid<\/b> in the body of the article, with the speaker box at the bottom of the page taking on a life of its own and defying any logic:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-8.jpg\" width=\"597\" height=\"794\" alt=\"\" \/>\n<\/div>\n<p><b>I recognised the fonts<\/b> in Adobe Acrobat. I was lucky because they sent me a pdf file, but they could have also sent me a jpeg. This is how I identified all the fonts in the document:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-10.jpg\" width=\"1114\" height=\"1758\" alt=\"\" \/>\n<\/div>\n<p><b>The styles<\/b> include a three-line drop cap, colour palette, font size and styles for body text, headings, headers, text within illustrations with tables, and line widths in the design.<\/p>\n<p>The <b>unfortunate points<\/b> caught my eye immediately — the lack of optical alignment and block alignment in general, the holes within the text canvas and, of course, the dangling prepositions. The thinned lowercase also caught my eye, but there’s nothing I can do about them (yet) — they’re design elements:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-7.jpg\" width=\"800\" height=\"1051\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Highlighted some points<\/div>\n<\/div>\n<p>In this post, I won’t describe the layout of the test job itself. I’ll talk about the layout and the nuances at another time. Below are a couple of spreadsheets of my layout:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1191\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-8.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-5.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I sent the final work to the chief editor and told him about the design improvements. A couple of days later, I received an invitation :-)<\/p>\n<h3>What else do you need to know about working on a periodical<\/h3>\n<p>In addition to being able to layout InDesign, you need to understand the principles of offset printing, prepare images for offset printing, and upload a file for the print shop to meet their requirements. I’ll go on to cover all of this in detail over time.<\/p>\n",
            "date_published": "2021-05-26T13:24:00+01:00",
            "date_modified": "2023-06-06T11:23:21+01:00",
            "tags": [
                "Agroinvestor",
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-10.jpg",
            "_date_published_rfc2822": "Wed, 26 May 2021 13:24:00 +0100",
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        {
            "id": "7",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-rhythm\/",
            "title": "Magazine layout. Rhythm",
            "content_html": "<p>Continuing <a href=\"http:\/\/tsokolovskaya.com\/blog\/tags\/magazine\/\">magazine theme<\/a> :-) I first discovered rhythmic layout in 2016 in the book “Editing by Design” by Jan V. White. It was a revelation because I wasn’t familiar with multi-page layouts. Now I look through the magazines and realise how the rhythm makes the publication interesting and contributes to the study of the magazine.<\/p>\n<p>Composing a publication is like making a movie storyboard — the dynamics and changes of plans are important. The magazine should not be seen as separate pages but as a single organism. If you take a magazine and hang its pages on the wall, preferably in a single line, stand back and look at that line, you can see the overall dynamics.<\/p>\n<h2>Elements that influence dynamics<\/h2>\n<p>A good dynamic is when the illustrations alternate with text blocks when large elements alternate with small, dark elements alternate with light, and so on. This creates a contrast that prevents the reader from getting bored. Here are some of the elements:<\/p>\n<h3>Speed<\/h3>\n<p>Movement in the left-to-right direction is faster than in the opposite direction. This is because, as children, we learn to read from left to right. You can control the speed of the movement by alignment and spacing. The closer the elements are to each other, the faster the flow of these elements moves. If the elements overlap each other, the movement becomes even faster and easier:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-9.jpg\" width=\"600\" height=\"439\" alt=\"\" \/>\n<\/div>\n<h3>Shade<\/h3>\n<p>Shades allow you to manipulate the distance, how close or far away the objects are. The darker the element, the closer it appears, and vice versa:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-9.jpg\" width=\"600\" height=\"166\" alt=\"\" \/>\n<\/div>\n<h3>Shape<\/h3>\n<p>The shapes of the repeating elements can be changed slightly and shifted up or down — this will add dynamics and enhance the impression:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-3.jpg\" width=\"600\" height=\"224\" alt=\"\" \/>\n<\/div>\n<h3>Size<\/h3>\n<p>Manipulating size can lead to a decline or, conversely, to growth, to show decay and improvement:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-6.jpg\" width=\"600\" height=\"83\" alt=\"\" \/>\n<\/div>\n<h3>Repetition<\/h3>\n<p>The frequency of repetition of elements indicates acceleration or deceleration:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-7.jpg\" width=\"600\" height=\"259\" alt=\"\" \/>\n<\/div>\n<h3>Direction<\/h3>\n<p>Upwards direction means improvement and downward direction means decline:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-9.jpg\" width=\"500\" height=\"330\" alt=\"\" \/>\n<\/div>\n<h3>How and where to apply<\/h3>\n<p>Dynamic elements can be used in magazines and any publication with more than two pages. They also fit perfectly into web design — websites and applications will become more dynamic and exciting. You can use a single element or several elements at once. The combinations create an amplified rhythmic effect.<\/p>\n<h2>Parsing the magazine<\/h2>\n<p>I became interested in tracing the rhythm of a real magazine. I chose to research National Geographic magazine and paged it:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/psy-rhythm.jpg\" width=\"2000\" height=\"1102\" alt=\"\" \/>\n<\/div>\n<p>The main elements of dynamism in this magazine were shade and size.<\/p>\n<p><b>Shades<\/b>. The shades set the main dynamic of the magazine. Light and dark pages alternate throughout the publication. Text pages alternate with photographs and vice versa. This quick change of contrasts keeps the reader interested.<\/p>\n<p><b>Size<\/b>. Close-up photos of birds alternate with medium and long-range shots of birds in full size or with more than one bird in the photo. The type of people’s photos changes — large portraits alternate with full-length silhouettes. The photos of buildings also alternate — from afar and inside details of the building.<\/p>\n<p><hr\/><\/p>\n<p>I’m so passionate about magazine layout that I got a job at a publishing house and designed my first magazine. I’ll tell you and show you all about it soon! :-)<\/p>\n",
            "date_published": "2021-05-21T12:32:00+01:00",
            "date_modified": "2023-06-07T21:31:08+01:00",
            "tags": [
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-9.jpg",
            "_date_published_rfc2822": "Fri, 21 May 2021 12:32:00 +0100",
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        {
            "id": "8",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-drop-cap\/",
            "title": "Magazine layout. Initial",
            "content_html": "<p>Continuing <a href=\"http:\/\/tsokolovskaya.com\/blog\/tags\/magazine\/\">the theme of journals<\/a>, I will tell you about the initials. An initial is the large first letter of a chapter or section of a book. It originally appeared in books. At that time, they were handwritten and decorated with different ornaments and miniatures:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-8.jpg\" width=\"1000\" height=\"470\" alt=\"\" \/>\n<\/div>\n<p>Today the chance of finding a drop cap in a book tends to be zero, but you can see them in magazines and newspapers. A drop cap in an article grabs the reader’s attention and invites them to study the material. Externally modern initial, of course, differs from its predecessor. I looked through different magazines and identified five types of lettering in the design of articles — I will talk about them.<\/p>\n<h3>Enlarged letter size<\/h3>\n<p>An enlarged first letter is probably the most common variant. It’s usually the same font as the typesetting but can be different. The letter can remain inside the text block and seem to shift a few lines to the side:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-8.jpg\" width=\"1200\" height=\"958\" alt=\"\" \/>\n<\/div>\n<p>Or it can extend beyond the text block:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-2.jpg\" width=\"1805\" height=\"1537\" alt=\"\" \/>\n<\/div>\n<h3>Overlapped letter<\/h3>\n<p>The first letter of an article is duplicated and enlarged, and the text overlaps it. The letter is usually a bright accent colour:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-4.jpg\" width=\"1200\" height=\"851\" alt=\"\" \/>\n<\/div>\n<h3>Text envelopes the letter<\/h3>\n<p>The first letter of an article is enlarged, most often to the full height of the page, and the text canvas envelopes it in shape:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-6.jpg\" width=\"1200\" height=\"1386\" alt=\"\" \/>\n<\/div>\n<h3>Large initial<\/h3>\n<p>The first letter is duplicated and greatly enlarged, positioned beside or above the text block:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-7.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<p>In my opinion, large initial looks quite effective. It can be classic lettering or combined with an illustration. I like these ideas:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-8.jpg\" width=\"1200\" height=\"1142\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-6.jpg\" width=\"1000\" height=\"1388\" alt=\"\" \/>\n<\/div>\n<h3>Letter-shaped text<\/h3>\n<p>The first letter is duplicated and enlarged as much as possible. The text is aligned to it and follows the shape of one of its strokes:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-4.jpg\" width=\"736\" height=\"1081\" alt=\"\" \/>\n<\/div>\n<p>This is a creative layout option, but not all publications can afford to waste space like that. Speaking of page layout, I found some pretty interesting variations. I’ll show them next time  :-)<\/p>\n",
            "date_published": "2021-03-21T15:53:00+01:00",
            "date_modified": "2023-06-08T10:52:35+01:00",
            "tags": [
                "Magazine",
                "Typography"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-8.jpg",
            "_date_published_rfc2822": "Sun, 21 Mar 2021 15:53:00 +0100",
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            "id": "9",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-cover\/",
            "title": "Magazine layout. Cover page",
            "content_html": "<p>I’m exploring a new direction in layout for me — magazines. My love for them was sparked by the book “Editing by Design” by Ian V. White, which I read in one breath back in 2016.<\/p>\n<p>At that time, I was working more on web projects and identity, so the book settled on the shelf, and I had never read any magazines. Now I realise that the magazine layout appeals to me the most. And I will begin my journey by drawing up a structure using examples from real magazines.<\/p>\n<p>I have studied the covers of 27 different publications and identified the 16 elements that are most often found in them. I do not claim to be correct — these are my observations. I will go into more detail about each element.<\/p>\n<h3>Journal name<\/h3>\n<p>The name is always at the top and occupies either the full width of the format or the left-hand corner if it’s short. Let’s look at some examples:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"680\" data-ratio=\"0.69035532994924\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-5.jpg\" width=\"680\" height=\"985\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-1.jpg\" width=\"960\" height=\"1265\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-7.jpg\" width=\"1006\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-3.jpg\" width=\"960\" height=\"1305\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-7.jpg\" width=\"800\" height=\"1122\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The magazine name’s font and style do not change from issue to issue like the classic logo. However, the layout in the header area or the colour may change slightly to match the style of the main image. For example:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-6.jpg\" width=\"2000\" height=\"655\" alt=\"\" \/>\n<\/div>\n<h3>Slogan<\/h3>\n<p>Not all magazines have a slogan, but if one is present, it’s next to the magazine name:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.76628352490421\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-3.jpg\" width=\"800\" height=\"1044\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-5.jpg\" width=\"1000\" height=\"1381\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-6.jpg\" width=\"1000\" height=\"1365\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Issue information<\/h3>\n<p>The issue information includes the date, price and issue number. All information may be present at once, but most often, only the date or date and cost are given. It’s usually located next to the name of the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-4.jpg\" width=\"1200\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<p>Sometimes they are indicated in the barcode area:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14-3.jpg\" width=\"900\" height=\"1241\" alt=\"\" \/>\n<\/div>\n<p>Or separate — for example, the date stays near the name and the price in the barcode area:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15-2.jpg\" width=\"900\" height=\"1173\" alt=\"\" \/>\n<\/div>\n<p>This information may also be at the bottom of the page:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-3.jpg\" width=\"1497\" height=\"671\" alt=\"\" \/>\n<\/div>\n<p>And vertically near the left or right edge:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-2.jpg\" width=\"900\" height=\"1188\" alt=\"\" \/>\n<\/div>\n<h3>Barcode<\/h3>\n<p>There may or may not be a barcode on the cover. Usually located somewhere on the bottom horizontally or vertically:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-1.jpg\" width=\"1200\" height=\"726\" alt=\"\" \/>\n<\/div>\n<h3>Link to the publication’s website<\/h3>\n<p>The link is not present in all magazines. It’s usually located next to the title but can also be at the bottom of the page or vertically on the side:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-1.jpg\" width=\"1200\" height=\"526\" alt=\"\" \/>\n<\/div>\n<h3>Banner<\/h3>\n<p>A banner briefly explains what the magazine is about, something similar to the content. The banner, like the slogan, is not always present. It may include the magazine’s main themes or the theme of a particular issue. It’s usually placed at the top or bottom of the page:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"788\" data-ratio=\"0.76953125\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-3.jpg\" width=\"788\" height=\"1024\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-3.jpg\" width=\"1000\" height=\"1302\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-2.png\" width=\"800\" height=\"1059\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Label<\/h3>\n<p>The label is a contrasting rectangle designed to attract attention and stand out from the background. It’s usually placed in the upper left-hand corner. This element indicates some features of the magazine. For example, it may indicate that the magazine is free:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20-1.jpg\" width=\"1200\" height=\"745\" alt=\"\" \/>\n<\/div>\n<p>Or the magazine issue includes the juiciest of the past year:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21-1.jpg\" width=\"900\" height=\"1190\" alt=\"\" \/>\n<\/div>\n<p>The tag can also be attached to the main heading:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/27.jpg\" width=\"1200\" height=\"776\" alt=\"\" \/>\n<\/div>\n<h3>Sticker<\/h3>\n<p>The sticker has about the same function as the plaque. Practically never used in expensive editions, but if so, it’s used in a single copy:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22-1.jpg\" width=\"800\" height=\"1053\" alt=\"\" \/>\n<\/div>\n<p>The sticker can also be in the form of a simple text block with an asterisk (*). It looks more elegant this way:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23.jpg\" width=\"800\" height=\"1088\" alt=\"\" \/>\n<\/div>\n<h3>Main theme of the issue<\/h3>\n<p>The block with the issue’s main theme includes a header and a small intro. If it is about a person, the block will include their name:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25-1.jpg\" width=\"800\" height=\"1048\" alt=\"\" \/>\n<\/div>\n<h3>Authorship<\/h3>\n<p>This may include the article’s author or the cover photo’s photographer. Authorship is not always indicated.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/26.jpg\" width=\"800\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<h3>Bonus<\/h3>\n<p>A bonus block is usually unrelated to the magazine’s general theme. It may include some exclusive, special reportage or just something interesting:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/28.jpg\" width=\"1200\" height=\"746\" alt=\"\" \/>\n<\/div>\n<h3>Main image<\/h3>\n<p>The main image can be a photo:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.73529411764706\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/29.jpg\" width=\"800\" height=\"1088\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/30.jpg\" width=\"800\" height=\"1060\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/31.jpeg\" width=\"800\" height=\"1067\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Illustration:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.69991251093613\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/32.jpg\" width=\"800\" height=\"1143\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/33.jpg\" width=\"800\" height=\"1081\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/34.jpg\" width=\"800\" height=\"1036\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Typography:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.74976569821931\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/35.jpg\" width=\"800\" height=\"1067\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/36.jpg\" width=\"800\" height=\"1045\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/37.jpg\" width=\"800\" height=\"1163\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Air<\/h3>\n<p>Air is the kind of empty space that reinforces the main theme, putting even more focus on it. You don’t often see empty space on the cover of a magazine — there’s not much space, but quite a lot of information. Let’s look at some examples:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/38.jpg\" width=\"1206\" height=\"1550\" alt=\"\" \/>\n<\/div>\n<h3>Additional images<\/h3>\n<p>Additional images are pretty rare, at least amongst respected publications.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/39.jpg\" width=\"1200\" height=\"779\" alt=\"\" \/>\n<\/div>\n<p>The more images on the cover, the cheaper the magazine looks:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/40.jpg\" width=\"1200\" height=\"799\" alt=\"\" \/>\n<\/div>\n<h3>Frame<\/h3>\n<p>Sometimes a frame is present in the design, which surrounds the cover. It highlights the content while making it slightly smaller:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/42.jpg\" width=\"1200\" height=\"816\" alt=\"\" \/>\n<\/div>\n<p>The frame helps to make the magazine stand out when it is on the same shelf as the others as if to cover each other:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/43.jpg\" width=\"459\" height=\"612\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Did you quickly find the magazine I inserted in the picture? :-)<br \/>\nOriginal photo: iStockphoto<\/div>\n<\/div>\n<h3>Country<\/h3>\n<p>If the magazine is published in different countries, the cover indicates which country the particular edition belongs to. It is usually located somewhere near the name of the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.75471698113208\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/44.png\" width=\"800\" height=\"1060\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/45.png\" width=\"800\" height=\"1073\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/46.jpg\" width=\"800\" height=\"1036\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/47.jpg\" width=\"800\" height=\"1044\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/48.jpeg\" width=\"800\" height=\"1051\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>In conclusion, I would like to say that I have madly enjoyed exploring the journals. Many new topics for posts have matured in the process. It will be interesting :-)<\/p>\n",
            "date_published": "2021-03-07T23:43:00+01:00",
            "date_modified": "2023-06-08T11:11:58+01:00",
            "tags": [
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                "Typography"
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