Relevant bibliographies by topics / Newspaper layout and typography

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  2. Dissertations / Theses
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Academic literature on the topic 'Newspaper layout and typography'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Newspaper layout and typography"

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Schindler, Johanna, and Philipp Müller. "Design follows politics? The visualization of political orientation in newspaper page layout." Visual Communication 17, no. 2 (December 12, 2017): 141–61. http://dx.doi.org/10.1177/1470357217746812.

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This article explores how the political orientation of newspapers is reflected in their page layout. The authors compare the layouts of five German national quality newspapers exemplarily and exploratively in a combination of quantitative and qualitative analyses. Dimensions of comparison are typography, size, colouration, quantity and arrangement of elements. Results show systematic differences between the page layouts of left-wing and right-wing newspapers. These differences are reflected in the contrast of traditional and contemporary styles and also in the use of ideologically charged typography and colours. In addition, the size of headlines seems to be dependent on political extremity. Graphic design seems to work as an ideological symbol system with different layout styles quite consistently representing partisan positions. If media users could come to learn and recognize such visual patterns, layout could function as a visual frame for political messages.
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Sa-Ah, Miss Aminah. "Pola Reka Bentuk Surat Kabar Thailand dan Surat Kabar Indonesia." Communicatus: Jurnal Ilmu komunikasi 3, no. 2 (December 8, 2019): 1–24. http://dx.doi.org/10.15575/cjik.v3i2.6518.

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Newspaper forms are the process of organizing and decorating the front page. The two design elements consist of appearance and layout, both of which have functions to decorate, beautify and arrange the front page so that it is interesting. Thairath and Tribun Jabar newspapers in arranging the front page of the newspaper using graphic design elements to make it interesting. This research uses the descriptive qualitative method. The purpose of this research is to get a picture of the second form of newspaper, namely the color, typography, and layout format. The results showed that the application of the design of print media of the Thairath newspaper and the West Java Tribune so that it would not be rigid and attract attention. The color that dominates the Thairath newspaper is green, while the Tribun Jabar newspaper is blue. The typography used in each section on the second page of the newspaper is carried out consistently in accordance with the visual hierarchy. The layout format arrangement has an impact on attracting newspapers to be read by readers.Reka bentuk surat kabar merupakan proses menata dan menghias halaman muka. Dua unsur reka bentuk terdiri dari perwajahan dan tata letak, kedua-duanya memiliki fungsi untuk menghias, memperindah dan menata halaman muka sehingga menarik. Surat kabar Thairath dan Tribun Jabar dalam menata halaman muka surat kabarnya menggunakan elemen desain grafis supaya menarik. Penelitian ini menggunakan meode deskriptif kualitatif. Tujuan penelitian ini adalah untuk mendapatkan gambaran tentang reka bentuk kedua surat kabar, yaitu mengenai warna, tipografi dan format layout. Hasil penelitian menunjukkan bahwa penerapan reka bentuk media cetak surat kabar Thairath dan Tribun Jabar, supaya tidak kaku dan menarik perhatian. Warna yang menjadi dominasi pada surat kabar Thairath adalah warna hijau, sementara pada surat kabar Tribun Jabar adalah warna biru. Tipografi yang digunakan pada setiap bagian pada halaman muka kedua surat kabar, dilakukan secara konsisten sesuai dengan hierarki visual. Penataan format layout berimbas pada menariknya surat kabar untuk dibaca oleh pembaca.
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Akangbe, Clement Adeniyi. "The Form and Content of Ọbasa’s Weekly Newspaper: The Yorùbá News." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–27. http://dx.doi.org/10.32473/ysr.v5i1.130069.

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The Yorubà News, published by Obasa ̣ , co-pioneered journalism, nay publishing, in Yorùbá language in southwestern Nigeria. Based in Ìbàdan and ̀ published by Ìlarè Printers, ̣́ The Yorùbá News, a bi-lingual serial in English and Yorùbá languages, remarkably had varying contents and wide circulation covering its locale, Íbàdan significantly; the southern protectorate, particularly Yorùbá land appreciably; and the entire nation, Nigeria marginally. Published weekly, Obasa – the Editor and Proprietor – successfully edited ̣ The Yorubà News ́ for over two decades from 1924 – 1945 when he died. Adopting the Diffusion of Innovations theory, this study examines the form and content of the newspaper. The form examines the structure and layout of the newspaper while the content discusses and evaluates issues covered in the publication. The form of The Yorùbá News is discussed in the context of the print media as a periodical by taking technical cognizance of its physical features: format, design and layout, typography, columns, paper, size and production quality. Content-wise, the paper exhaustively describes the subject matters of The Yorubà News ́ by dwelling critically on the issues raised, examining in details and critiquing its recurrent subject matters notably: the news stories, editorials, cover, advertorials, news and notes, etc. The inter-dependence of form and content is also examined to bring to the fore the social, cultural, political, and economic values of the maiden Yorùbá Newspaper: The Yorùbá News.
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Bolarinwa, Abidemi. "The Yoruba News as a Political Tool and Avenue for Cultural Revival." Yoruba Studies Review 5, no. 1 (December 21, 2021): 1–16. http://dx.doi.org/10.32473/ysr.v5i1.130070.

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The Yorubà News, published by Obasa ̣, co-pioneered journalism, nay publishing, in Yorùbá language in southwestern Nigeria. Based in Ìbàdan and ̀ published by Ìlarè Printers, ̣́ The Yorùbá News, a bi-lingual serial in English and Yorùbá languages, remarkably had varying contents and wide circulation covering its locale, Íbàdan significantly; the southern protectorate, particularly Yorùbá land appreciably; and the entire nation, Nigeria marginally. Published weekly, Obasa – the Editor and Proprietor – successfully edited ̣ The Yorubà News ́ for over two decades from 1924 – 1945 when he died. Adopting the Diffusion of Innovations theory, this study examines the form and content of the newspaper. The form examines the structure and layout of the newspaper while the content discusses and evaluates issues covered in the publication. The form of The Yorùbá News is discussed in the context of the print media as a periodical by taking technical cognizance of its physical features: format, design and layout, typography, columns, paper, size and production quality. Content-wise, the paper exhaustively describes the subject matters of The Yorubà News ́ by dwelling critically on the issues raised, examining in details and critiquing its recurrent subject matters notably: the news stories, editorials, cover, advertorials, news and notes, etc. The inter-dependence of form and content is also examined to bring to the fore the social, cultural, political, and economic values of the maiden Yorùbá Newspaper: The Yorùbá News.
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Abreu, Giovanna Figueiredo de, and Maíra Evangelista de Sousa. "QUANDO O JORNAL SE TORNA MULTIPLATAFORMA: análise das capas de O Liberal no impresso e no digital." Aturá - Revista Pan-Amazônica de Comunicação 4, no. 1 (January 3, 2020): 80–97. http://dx.doi.org/10.20873/uft.2526-8031.2020v4n1p80.

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Este artigo tem o objetivo de analisar as características pertinentes à capa do jornal O Liberal no impresso e no digital, com foco na apresentação visual. A pesquisa de caráter exploratório combinou as seguintes técnicas qualitativas: pesquisa bibliográfica, coleta de dados e análise. A análise foi realizada tendo como base a edição do dia três de julho de 2019 dos jornais impresso e digital, com base nas seguintes categorias: nome do jornal, diagramação, editorias, manchetes, disposição das notícias, imagens estáticas e em movimento, cores, tipografia, links e publicidade. Concluiu-se que há um diálogo entre os dois produtos, embora eles demonstrem independência na apresentação visual. PALAVRAS-CHAVE: Jornalismo impresso; Jornalismo Digital; Multiplataforma; Capas; O Liberal. ABSTRACT This article aims to analyze the main characteristics related to the cover of the newspaper O Liberal in its print and digital versions, focusing on visual presentation. The exploratory research combined the following qualitative techniques: bibliographic research, data collection and analysis. The analysis was conducted based on the print and digital edition of the newspaper in July 3, 2019, regarding the following categories: newspaper name, layout, editorials, headlines, news layout, still and moving images, colors, typography , links and advertising. It was concluded that there is a dialogue between the two products, although they demonstrate independence in the visual presentation. KEYWORDS: Printed journalism; Digital journalism; Multiplataform; Covers; O Liberal. RESUMEN Este artículo tiene como objetivo analizar las características relacionadas a la portada del periódico O Liberal en forma impresa y digital, con un enfoque en la presentación visual. La investigación exploratoria combinó las siguientes técnicas cualitativas: investigación bibliográfica, recopilación y análisis de datos. El análisis se realizó basada en la edición del 3 de julio de 2019 de los periódicos impresos y digitales, basados en las siguientes categorías: nombre del periódico, diagramación, editoriales, titulares, diseño de noticias, imágenes fijas y en movimiento, colores, tipografía, enlaces y publicidad. Se concluyó que existe un diálogo entre los dos productos, aunque demuestren independencia en la presentación visual. PALABRAS CLAVE: Periodismo impreso; Periodismo digital; Multiplataforma; Portadas; O Liberal..
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Grossman, Efrat. "INNOVATORY CONSERVATISM IN ULTRA-ORTHODOX TYPOGRAPHY IN ISRAEL." CULTURE AND ARTS IN THE MODERN WORLD, no. 23 (June 30, 2022): 164–83. http://dx.doi.org/10.31866/2410-1915.23.2022.261012.

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The purpose of the article is to explore the differences in perceptions and approaches to typographic design among the various communities that make up Haredi society. In general, the shape of the letter will be affected by the division between religious and non-religious genres, as well as by the intra-Haredi social division between “Hasidim” and “Lithuanians”, the two dominant groups that make up the Haredi society, whose lifestyles differ in several areas. The proposed article is an additional tier to previous studies and investigates the Hebrew letter and its role in the world of journalism as conveying a message in the social-educationalideological context, even without referring to what is actually written. The study reveals and deciphers the power struggles and relations that exist in the ultra-Orthodox world through the images and through the mechanisms activated through them and their results, as part of the visual culture. The research methodology is based on the integrated use of general scientific methods: analytical, systematic, historical, and comparative. Conclusions. The daily and weekly Haredi press is considered as something that “under the circumstances” is needed and yet is a major player in the Haredi visual world. The Ashkenazi Haredi press is divided into defined sectors. The newspapers of the Hassidic communities preserve a long-standing typographic, advertising, intra-community tradition, based on the design style of Jewish newspapers from early twentieth-century Europe. The newspapers of the Lithuanian communities reflect the character of the public who read them, who are more modern in their lifestyle. Even though there is strict control over the content, these newspapers reflect modernism in their typographic layout and letter style selection. The newspapers in both groups undergo strict editing in both content and form, and their respective rabbinical councils work hard to adapt them to their respective readership. The choice of letter, colour, and composition are borrowed, among other things, from the world of clothing, which has many rules, and reflects what is happening within the community. The differences between the Hasidic and Lithuanian groups are evident in their attitude to the visual elements in the various types of printing and advertising. The Haredi public are proficient readers and are aware of the subtleties of the shape and size of the letter from an early age. Therefore, the letter serves both as content and form, and its use in the visual world is varied. In addition to being a tool for content, the letter will be used for an image, a Hebrew date, gematria and to create an atmosphere of sacred or secular, depending on the typographic choice.
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Guzewicz, Wojciech. "„WSPÓLNOTA. ABY STANOWILI JEDNO!” JAKO ORGAN PRASOWY KOŚCIOŁA ELBLĄSKIEGO W LATACH 1992–2002." Civitas et Lex 2, no. 2 (June 30, 2014): 7–17. http://dx.doi.org/10.31648/cetl.1885.

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Diocese of Elbląg is one of the few newly established in 1992 dioceses in Poland, whereimmediately after its establishment began to issued their own authority newspaper − „Community.To be one!”. Magazine appeared to until 2002. This letter played a key role in informing about thelife of the Diocese of Elblag, including its many pastoral initiatives. The article presents, amongothers, genesis, editors, publisher, publishing formula, layout and typographic journal.
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Langonné, Joël. "L’impossible « dernier mot ». La maquette du journal : un outil partagé." Sur le journalisme, About journalism, Sobre jornalismo 3, no. 1 (April 15, 2014): 18–29. http://dx.doi.org/10.25200/slj.v3.n1.2014.127.

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La maquette du journal occupe une place particulière dans le continuum de fabrication de l’information. Elle est située à l’interface de la matérialité du journal entre la salle de rédaction et le secteur du prépresse. Les discours et les prérogatives dont elle est capable de se charger font qu’elle porte en elle un potentiel stratégique organisationnel important. La maquette du journal demeure pourtant un acteur méconnu de la sociologie des médias. Cette étude, qui se situe au carrefour de la sociologie interactionniste et de la théorie de l’acteur-réseau, propose de donner toute sa place à la maquette et à ceux qui la construisent et l’utilisent au quotidien dans le journal. Nous montrons que c’est entre deux acteurs particuliers et leurs manières différenciées d’être à ce qu’ils font que la maquette est susceptible de révéler tout son potentiel : les journalistes secrétaires de rédaction (SR) et les ouvriers typographes. Nous tentons tout d’abord de saisir pourquoi ces trois acteurs (maquette, SR et typographes) sont demeurés invisibles au sein du journal. Il s’agit donc de repenser leur place et leur rôle, de les révéler au prisme d’une grille d’observation renouvelée, agrandie. Nous sommes ensuite en mesure d’observer la manière dont ces trois acteurs peuvent interagir, peuvent s’attacher au sein du processus de fabrication de l’information. Pour cela, nous développons trois exemples issus d’un travail de terrain au sein d’un titre de presse quotidienne régionale (PQR). Il s’agit en fait de comprendre les manières dont les journalistes SR et les ouvriers typographes sont plus ou moins parvenus — selon les époques retenues, et de manière non linéaire — à se saisir de l’objet maquette, pour faire ce qui est à faire — le journal — au plus près de la manière dont ils souhaitent le faire. The newspaper layout has a special place in the continuum of news production. It is located at the interface between conception and materiality - between newsroom and pre-press area. The discourses and prerogatives for which in can be responsible confer it an important strategic organizational potential. And yet, the newspaper layout remains a little-understood element in the sociology of media. This study, which finds itself at the intersection of interactionist sociology and actor-network theory, is dedicated to the layout and those who construct it and use it daily in the newspaper. We show that it is through their differentiated roles that two agents in particular make it possible for the layout to realize its full potential: editorial secretaries (SR) and typographers. We try first to understand why these three actors (the layout, SR and typographers) have remained invisible within the newspaper. It is therefore a question of rethinking their place and role – of renewing and widening the observation matrix. We can then observe how these three actors interact at the core of the news-production process. To do this, we develop three examples from fieldwork carried out in a regional daily newspaper. In fact, it is an attempt to understand the ways in which copy-editing journalists and typographers were more or less able (depending on the eras selected; and in a non-linear way) to seize control of the layout and create what was necessary – the newspaper – as closely as possible to their vision of how it should be done. A diagramação do jornal ocupa um lugar particular no continuum da produção da informação. Ela está situada na interface da materialidade do jornal, entre a redação e o setor de pré-impressão. Os discursos e as prerrogativas sob a responsabilidade da diagramação garantem a ela um importante potencial estratégico e organizacional. Contudo, a diagramação do jornal continua sendo um ator desconhecido do ponto de vista da sociologia da mídia. Este estudo, que se situa na interseção entre a sociologia interacionista e a teoria do ator-rede, dedica-se ao estudo da diagramação e dos atores que trabalham na construção e na utilização dessa prática no cotidiano do jornal. Destacamos dois atores em particular: os copidesques (em francês: secrétaires de rédaction, SR) e os gráficos. Eles possuem maneiras distintas de ser, o que permite à diagramação revelar todo o seu potencial. Num primeiro momento, buscamos entender em que sentido os três atores (diagramação, copidesques e gráficos) permanecem invisíveis no interior do jornal. Trata-se, portanto, de repensar o seu lugar e o seu papel, de revelá-los ao prisma de uma grelha de observação renovada e ampliada. Em seguida, observamos a forma como esses três atores podem interagir, podem se agrupar em torno do processo de produção da informação. Para isso, desenvolvemos três exemplos oriundos de uma pesquisa de campo realizada no interior de um veículo da impressa regional na França. Trata-se de compreender o modo como os copidesques e os gráficos se utilizam – em momentos específicos e de uma forma não linear – do projeto gráfico para darem conta de suas obrigações – a produção do jornal –, mas buscando aproximar esse processo da forma como eles acreditam que isso deve ser feito.
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Auji, Hala. "Marketing Views of Modernity, Evangelism and Print Specialization in the American Mission Press Catalogs (1884–1896)." Middle East Journal of Culture and Communication 11, no. 3 (November 23, 2018): 316–54. http://dx.doi.org/10.1163/18739865-01103005.

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Abstract Taking up an analysis of the materiality of the American Mission Press (AMP) bilingual catalogs printed from 1884 to 1896 in Ottoman Beirut, in this article I identify these booklets as publications that circulated among broad networks of books, journals and newspapers during the period of the Arab nahda. By examining these catalogs in terms of the wider historical significance of their materiality, specifically their organization, layout, typography and illustrations, in this essay I show how these booklets promoted the AMP and its mission’s entangled messages in an increasingly competitive publishing industry. On the one hand, the catalogs highlighted the AMP’s ‘western’ qualifications and strove to engage local readers’ interests in ‘modern’ culture, science and technology. On the other hand, these works marketed the mission’s universalist evangelical views. Thus, in this study I show how such ephemeral publications, when studied for their dynamic content, make evident nineteenth-century Arabic print commerce at work and also illustrate early examples of nascent advertising practices.
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Tri Widadijo, Wahju. "TIPOGRAFI KINETIK PADA JUDUL FILM PEMENANG FFI KATEGORI ANIMASI TAHUN 2013-2018." AKSA: Jurnal Desain Komunikasi Visual 3, no. 2 (June 29, 2020): 507–19. http://dx.doi.org/10.37505/aksa.v3i2.38.

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Kinetic typography is widely applied to media such as Film Title,Television Program Title, presentation media, motion graphic media,and others. Motion design elements added to the kinetic typographydesign can strengthen the character of letters, strengthen themeaning of the message, give more emphasis and intonation, andadd aesthetic value. This article explores the analysis of the use ofkinetic typography in 6 (six) research samples of the winners of theAnimation Category of Indonesia Film Festival - FFI (2013 - 2018).The study was conducted referring to the temporal typographicclassification model developed by Barbara Brownie (2007). Wherein general kinetic typography is divided into two types, namely Typein Motion and Fluid Typography. Type in Motion itself is dividedinto Scrolling Typography and Dynamic Layout. The researchmethod used is descriptive qualitative. This research was identifyingand describing the use of kinetic typography types in the film title. Asa result, 2 (two) samples have not used kinetic typography optimally(F2 and F4), 2 (two) samples use Scrolling Typography (F1 and F3),1 (one) sample uses Fluid Typography (F5), and 1 (one) sample usesDynamic Layout (F6).
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Dissertations / Theses on the topic "Newspaper layout and typography"

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Jones, Sarah. "Graphic intervention interrogating newspaper design as a site of social construction /." Swinburne Research Bank, 2009. http://hdl.handle.net/1959.3/55170.

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Thesis (MDes) - National School of Design, Swinburne University of Technology, 2009.
A thesis submitted in fulfillment of the requirements for the degree of Masters of Design by Research, [Swinburne University of Technology], 2009. Typescript. Bibliography: p. [89]-91.
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De, Lisle Linda B. "Structuralism pluralism and editorial page representation." Online access for everyone, 2006. http://www.dissertations.wsu.edu/Thesis/Spring2006/l%5Fdelisle%5F050106.pdf.

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Brantley, Rachel Alison. "A study of 'USA Today's' influence on the style and content of selected newspapers in five Midwest states." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1221285.

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In 1990, George Gladney looked at 230 of the nation's largest dailies to see the influence of USA Today. He determined a score for each paper by looking at five categories: color; pictures and graphics; trivia and fluff; brevity, capsulization and promotion; and complexity and depth. After he determined scores for each paper, he ranked them and divided them into adopters and non-adopters. Even though two papers scored above USA Today, he found that most newspapers had a long way to go before they would look like USA Today. He also found that chain-owned papers tended more to be adopters than non-adopters.This researcher duplicated his study using 34 papers with more than 50,000 daily circulation in Illinois, Indiana, Kentucky, Michigan and Ohio. Using Gladney's scoring system, the papers were given scores according to certain criteria. Some categories were further divided. The trivia and fluff category was divided into celebrity coverage, sports coverage and weather. The brevity, complexity and depth category was subdivided into text six inches or less and summaries, indices and promotions. The complexity and depth category was divided into lead sentence length and the length of the longest page 1 stories.Newspapers were divided into groups: "adopters" and "non-adopters" of the USA Today style. This study found that eight of the 34 papers were non-adopters and five were adopters.Eight papers scored above USA Today. This study showed that neither the adopter nor the non-adopter group had the majority of the newspapers. USA Today fell in between these groups making it part of the norm.There was a correlation between chain-owned newspapers and adopting the USA Today style. This study did not support Gladney's original conclusion that smallercirculation newspapers tended to be more adopting of the USA Today style. As newspaper circulations decreased, newspaper scores did not increase. Larger newspapers were not more resistant to the USA Today style.
Department of Journalism
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Schulte, William. "An attitudinal study of Gannett newspaper editors about journalism graphics." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1260626.

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The purpose of the research was to look at how editors at Gannett, America's largest newspaper chain, perceive the role of journalism graphics and graphic artists in the newsroom.Nineteen editors from newspapers of various circulation sizes, participated from across the country. They sorted Q statements that covered areas related to journalism graphics as: use of color, balancing graphics with other content, graphics relationship with design, reader needs, and how graphics serve literacy.An analysis of the Q statements collected for this study showed two distinct factor types. They were identified by this researcher as the Communitarians and the Zealots.The Communitarians were characterized as trying to balance graphics with other aspects of journalism such as story, photo and design in an attempt to put the reader first. They were unwilling to elevate graphics to a necessity in presenting a story. The Communitarians saw graphics as one tool among many to conveyinformation.The Zealots saw graphics as an absolute necessity for any worthy journalistic endeavor. They saw graphics as the answer to attracting young readers, to serving a population with literacy issues, and to enhancing any work the newspaper is doing. The Zealots rejected statements that did not show graphics in the most positive way.Two camps emerged within the Gannett ranks regarding journalism graphics. The Zealots hold on to the allure of color and graphics made popular by USA Today in the 1980s and early 1990s. Communitarians acknowledged that graphics are an effective tool, but considered the practice of similar importance with other methods of conveying information.
Department of Journalism
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Schmitt, Charmaine Elieth. "A protocol analysis study on the process of designing a newspaper front page." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/958775.

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This thesis was a descriptive study of the process of designing a newspaper front page by three journalists. The newspaper industry has placed increased importance on journalistic design. However, little research had been completed on the mental processes of designers.This study was concerned with the processes that occur as professional journalists designed a front page of a newspaper as determined by protocol analysis. Three Indiana newspapers,The Evansville Courier, The South Bend Tribune and The Times from Munster, Ind., were selected. The individual who designed the front page on a regular basis participated in the protocol sessions.The conclusions showed that these designers spent the majority of the design process planning and analyzing materials to be used. The majority of all decisions made by the designers were based on past design knowledge. The journalists applied their skills in a rapid and confident way as they designed separate portions of the page until all elements were used and the page was complete.
Department of Journalism
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Smith, Kathryn J. "A Q study of newsroom attitudes toward the roles of newspaper designers." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1305453.

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Newspapers have increased their emphasis on page design and presentation due to modern design styles, competition, and changes in technology. While newspaper designers have taken on increasingly important roles in newsrooms, professional and academic literature points to a divide between "word" journalists and "visual" journalists. This researcher examined current attitudes toward this divide using Q methodology.Forty-one journalists at four Midwestern newspapers comprised the sample. The journalists sorted 50 Q statements concerning attitudes about the responsibilities of designers and the value of design to the newspaper and its readers.Upon analysis of results, respondents were divided into three factor groups: the Collaborators, the Progressives, and the Traditionalists. Respondents in all three factors agreed that design elements serve readers and cooperation between designers and other journalists benefits readers. Collaborators had the most advanced point of view on the ability of designers and other journalists to effectively work together. Progressives were highly correlated with Collaborators, but placed a heavier emphasis on the product rather than the process, expressing positive attitudes toward the ability of design elements to aid readers and add to the quality of the newspaper. Traditionalists represented a less-advanced point of view, expressing negative feelings toward collaboration and the ability of designers to contribute as journalists. Newspaper policies and philosophies appeared to dictate attitudes toward the role of design, rather than demographic characteristics or job responsibilities.
Department of Journalism
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Barth, Laura J. Stone Sara J. "Two of a kind comparing photographic media coverage for Hurricanes Katrina and Ike /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5360.

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George-Palilonis, Jennifer. "Bridging the gap between visual rhetoric and newspaper graphic design : a case study." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293515.

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A gap exists between the fields of visual rhetoric and newspaper graphic design caused by three factors: the historic division between words as communication tools and design as artistic effect, the relative youth of visual rhetoric, and the recent evolution of newspaper design as a visual language. This thesis establishes one bridge between visual rhetoric and newspaper graphic design by defining the rhetorical function of newspaper graphic design. Using case study methodology, this report focuses on the rhetorical role of newspaper design in an attempt to further understand how people extract meaning from the newspapers they read. By engaging readers with various newspaper pages and requiring them to comment on their direct interaction with the content, this research illuminates the role of newspapers' visual elements by exploring the following questions: What role do visual elements (i.e. pictures, graphics, color) play in a newspaper reader's meaning making processes? How do page layout and the presentation of story packages affect a reader's understanding and opinions of the information at hand?
Department of English
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Schoon, Benjamin Durant. "Fishpaper : automatic personalized newspaper layout." Thesis, Massachusetts Institute of Technology, 1994. http://hdl.handle.net/1721.1/34336.

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Thesis (B.S.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 1994.
Includes bibliographical references (leaf 48).
by Benjamin Durant Schoon.
B.S.
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Fisher, David B. "Expert systems in typography /." Online version of thesis, 1990. http://hdl.handle.net/1850/10583.

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Books on the topic "Newspaper layout and typography"

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Moen, Daryl R. Newspaper layout and design. 2nd ed. Ames: Iowa State University Press, 1989.

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Harrower, Tim. The newspaper designer's handbook. 2nd ed. Dubuque, IA: Wm. C. Brown Publishers, 1992.

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M, Elman Julie, ed. The newspaper designer's handbook. New York, NY: McGraw-Hill, 2013.

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Harrower, Tim. The newspaper designer's handbook. 3rd ed. Madison, Wis: W.C.B., Brown & Benchmark Publishers, 1995.

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Harrower, Tim. The newspaper designer's handbook. 5th ed. Boston: McGraw-Hill, 2002.

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Harrower, Tim. The newspaper designer's handbook. Portland, Or: Oregonian Pub. Co., 1989.

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Moen, Daryl R. Newspaper layout and design: Workbook. 2nd ed. Ames, Iowa: Iowa State University Press, 1989.

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1950-, Berry John D., ed. Contemporary newspaper design. West New York, N.J: Mark Batty, 2003.

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Ṣāliḥ, Ashraf Maḥmūd. Ikhrāj al-ṣuḥuf al-ʻUmānīyah: Dirāsah muqāranah. [Cairo]: Dār al-Wazzān, 1990.

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Ṣāliḥ, Ashraf Maḥmūd. Ikhrāj al-ṣuḥuf al-ʻUmānīyah: Dirāsah muqāranah. [Cairo]: Dār al-Wazzān lil-Ṭibāʻah wa-al-Nashr, 1990.

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Book chapters on the topic "Newspaper layout and typography"

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Simmonds, Doig, and Linda Reynolds. "Principles of Typography and Layout." In Computer Presentation of Data in Science, 31–58. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-015-7844-8_5.

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González, J., J. J. Merelo, P. A. Castillo, V. Rivas, and G. Romero. "Optimizing web newspaper layout using simulated annealing." In Lecture Notes in Computer Science, 759–68. Berlin, Heidelberg: Springer Berlin Heidelberg, 1999. http://dx.doi.org/10.1007/bfb0100543.

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Dyson, Mary C., and Gary J. Kipping. "Exploring the effect of layout on reading from screen." In Electronic Publishing, Artistic Imaging, and Digital Typography, 294–304. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/bfb0053278.

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Fu, Lin-Chao, Ming-Hsin Lu, Hsin-Ying Wu, Weijane Lin, and Hsiu-Ping Yueh. "College Students’ Attitudes and Preferences of Mobile Newspaper Reading: A Comparison Between Printed and Web Page Layout." In Emerging Issues in Smart Learning, 105–6. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44188-6_14.

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Tschichold, Jan. "THE NEWSPAPER." In The New Typography, 212–15. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8501368.29.

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"The newspaper." In The New Typography, 212–15. University of California Press, 2006. http://dx.doi.org/10.1525/9780520355019-030.

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"Layout and design." In Modern Newspaper Practice, 94–119. Routledge, 1996. http://dx.doi.org/10.4324/9780080885728-12.

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"Text, Typography & Layout." In Atlas of Digital Architecture, 327–50. Birkhäuser, 2020. http://dx.doi.org/10.1515/9783035620115-013.

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Krysinski, Mary Jo. "Layout and Structure." In The Art of Type and Typography, 150–70. Routledge, 2017. http://dx.doi.org/10.4324/9781315301556-8.

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Luna, Paul. "4. Genre and layout." In Typography: A Very Short Introduction, 65–77. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199211296.003.0004.

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Layout is the arrangement of material on a page or screen that articulates the text we are reading. The earliest forms of the book provided a linear visual presentation, with little if any spacing between words and paragraphs, which was close to the continuous linear quality of speech. ‘Genre and layout’ explains that the use of different sizes of different scripts, different coloured initials, and different columnar arrangements became essential to the articulation of increasingly complex documents. It describes different typographic genres and analyses layout. The details of layout and typography have a considerable effect on the way the whole of a publication is perceived.
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Conference papers on the topic "Newspaper layout and typography"

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Hermanto, Yon Ade Lose, Pujiyanto, and Andreas Syah Pahlevi. "Lateral Thinking in Typography Layout System." In 4th International Conference on Innovation in Engineering and Vocational Education (ICIEVE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220305.050.

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Antonacopoulos, A., C. Clausner, C. Papadopoulos, and S. Pletschacher. "ICDAR 2013 Competition on Historical Newspaper Layout Analysis (HNLA 2013)." In 2013 12th International Conference on Document Analysis and Recognition (ICDAR). IEEE, 2013. http://dx.doi.org/10.1109/icdar.2013.293.

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Ming Chen, Xiaoqing Ding, and Jian Liang. "Analysis, understanding and representation of Chinese newspaper with complex layout." In Proceedings of 7th IEEE International Conference on Image Processing. IEEE, 2000. http://dx.doi.org/10.1109/icip.2000.899500.

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Koryakina, G. M., and S. A. Bondarchuk. "FEATURES OF TEACHING TYPOGRAPHY DESIGN STUDENTS (ON THE EXAMPLE OF THE LAYOUT OF THE ALBUM OF GRAPHIC WORKS T.I. BERBASH «TRISTAN AND ISOLDE»)." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.40.

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This article discusses the basic features and key points of teaching typography to design students on the example of the layout of a multi-page publication, which is an art album of graphic works by T. I. Berbes «Tristan and Isolde».
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F. Yogananti, Auria, Noor Hasyim, and Ali Muqoddas. "User Success Rate to Measure Usability in Responsive Website Layout Changes (Case Study: Indonesian Newspaper Website)." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.69.

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Elkilany, Elsayed Abdelwahed. "Arabic Language Topics in Al Arab Qatari Newspaper: A Study in Journalistic Treatment Patterns." In Qatar University Annual Research Forum & Exhibition. Qatar University Press, 2020. http://dx.doi.org/10.29117/quarfe.2020.0252.

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The purpose of this research is to explore the patterns of journalistic treatments for issues of Arab Language in Al Arab Qatari newspaper during the year of 2017. It also seeks to understand the degree to which this journalistic behavior enhances Qatar National identity. The importance of this research, which is funded by Qatar National Research Fund, No. UREP21-095-5-009 is to test the relationship between journalistic practices in relation to coverage of Arabic language issues and national identity. As interdisciplinary research combining Arabic language and journalism studies, its data were gathered by students of Arabic and Mass Communication Departments. The study adopted the descriptive and analytical approach to explore a sample of 841 publications that covered 10 linguistic forms including folk literature, translation, sermon, thought, novel, narration, poetry, story, drama and others as well as 6 editorial forms including investigative report, news report, dialogue, news, article, feature story and others. We analyze both the editorial content and the layout treatment. The results showed a statistical significance in the use of different editorial forms to demonstrate the Arabic language topics in Al Arab Qatari newspaper as well as the use of different layout techniques such as positioning, size, headline style and the accompanying visual elements. Future studies can compare the influence of different journalistic practices on national identity.
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Alley, Michael, and Harry Robertshaw. "Rethinking the Design of Presentation Slides: Creating Slides That Are Readily Comprehended." In ASME 2004 International Mechanical Engineering Congress and Exposition. ASMEDC, 2004. http://dx.doi.org/10.1115/imece2004-61889.

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Presentation slides, when designed well, can significantly increase the amount of information that the audience comprehends. However, when the slide has type that can not be quickly read, the audience often gives up on the slide. Moreover, when the slide does not orient well, when the slide has too much information, or when the order of information on the slide is unclear, the audience can easily become confused. Given that these mistakes can prevent the audience from comprehending the presentation’s content, presenters should strive to format slides that can be quickly read, that effectively orient, that have a reasonable amount of information, and that have a clear order of information. Unfortunately, the slide formats that many engineering presenters use do not meet these goals. Presented in this paper are recommendations for the format of presentation slides—specifically, the typography, color, and layout of presentation slides (or overheads). An assumption for these recommendations is that the purpose of the presentation is to communicate technical information efficiently to the audience. Given that assumption, the goal of a slide’s typography is to have type that can be read as quickly as possible. To obtain that goal, this paper recommends a bold sans serif typestyle such as Arial that is at least 18 points. In regard to color, the most important goal is to have colors that can be clearly distinguished from each other. To obtain that goal, this paper recommends either a dark color against a light background or a light color against a dark background. In regard to layout, the goal is to have a slide design for which the audience can quickly discern the point of the slide and then can divide attention between the presenter and the slide as the presenter discusses the slide. To obtain that goal, this paper recommends the national laboratory design of a short sentence headline supported primarily by images. Other reasons exist for choosing this national lab design. Although this paper focuses on how readily that slides following this national lab design can be comprehended, the paper does direct the reader to references that discuss two other reasons for using this national laboratory design: (1) how well the slide design helps the audience remember details, and (2) how persuasive the slide design is.
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Devendorf, Margaret, and Kemper Lewis. "Designing a Product Package Platform." In ASME 2010 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2010. http://dx.doi.org/10.1115/detc2010-28888.

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An essential part of designing a successful product family is establishing a recognizable, familiar, product family identity. It is very often the case that consumers first identify products based on their physical embodiment. The Apple iPod, DeWalt power tools, and KitchenAid appliances are all examples of product families that have successfully branded themselves based on physical principles. While physical branding is often the first trait apparent to designers, there are some products that cannot be differentiated based on physical appearance. This is especially common for consumable products. For example, it is impossible to differentiate between diet Coke, Classic Coke, and Pepsi when each is poured into separate glasses. When differentiation is difficult to achieve from a product’s physical characteristics, the product’s package becomes a vital part of establishing branding and communicating membership to a product family while maintaining individual product identity. In this paper, product packaging is investigated with a focus on the graphic packaging components that identify product families. These components include: color, shape, typography, and imagery. Through the application of tools used in facilities layout planning, graph theory, social network theory, and display design theory an approach to determine an optimal arrangement of graphic components is achieved. This approach is validated using a web based survey that tracks user-package interactions across a range of commonly used cereal boxes.
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GUNAWARDHANA, SUPUN, and SUMANTHRI SAMARAWICKRAMA. "ANALYSIS OF HISTORICAL DATA TO DETERMINE EARLY SRI LANKAN PRINT TECHNOLOGIES." In 13th International Research Conference - FARU 2020. Faculty of Architecture Research Unit (FARU), University of Moratuwa, 2020. http://dx.doi.org/10.31705/faru.2020.30.

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This research discusses the importance of historical research as it serves to determine ideas and helps to group historical facts into explanatory scientific systems. Thus, by systematically documenting this knowledge contributes to develop and improve the theory and practice of education. Since design education in Sri Lankan is nearly two decades old, subject areas such as Graphic design lacks the needed literature on early Sri Lankan graphic practices that determine and contribute towards clarifying current and future trends built on historical research. The historical data that contributes to these subject areas are found at archival locations, and the preservation process in such locations limits us from the opportunity to observe historical data (primary data); that is required to establish new knowledge; in this case graphic design. Thus, this research aims towards documenting historical data towards building new knowledge. To achieve this, the historical data: specific to early book cover prints are compared with a literature survey on early printing technologies and on how they are identified. For this, the primary data (early book covers) from archival locations, were documented and visually observed with the use of a linen-prover magnifying glass with x4 enlarging capacity. The findings were compared with literature on different print technologies used during this era with the knowledge on how to identify them. The findings were compiled into stimuli for the analysis purpose. And finally, the gathered data was chronologically compiled as new knowledge. In conclusion, we were able to determine the technology used in early prints, more specific to print technology used during the early book publishing and printing industry of Sri Lanka. Since the data is chronologically (1870-1920) compiled we were able to identify patterns that help build new knowledge into other subject areas. It opens up discussion on historical trends in book cover designs, parameters of each technology used in Sri Lanka that influence book layout, its typography and letter composition for further research.
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Fuster pérez, Jaime. "La edición fotográfica en Ramón Masats." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.7055.

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Resumen-Abstract El Premio Nacional de fotografía 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), ha sido considerado como un fotógrafo intuitivo. Sin embargo, un detenido estudio de sus fotolibros y ensayos fotográficos publicados en las revistas ilustradas, permiten revindicar otra faceta completamente desconocida: su labor como maquetador. A lo largo de su carrera Masats toma conciencia de la edición fotográfica. Desde la solitaria imagen de la noticia de un periódico, al ensayo fotográfico, entendido desde el punto de vista de E. Smith como un conjunto mayor de imágenes que profundizan y trascienden, permitiendo un reflexión más detenida de la historia que se cuenta; hasta llegar al foto libro, considerado como una unidad expresiva, un todo con significación completa: el formato más complejo de todos... Un Masats sofisticado y erudito se nos muestra consciente del montaje, del ritmo, del diálogo entre imágenes, de modo que la suma altera la percepción del conjunto. Un lenguaje que le llevará finalmente a explorar en el mundo del montaje cinematográfico y la dirección de documentales audiovisuales. En una época de auténtica explosión del fotolibro español como la que vivimos, conviene reconocer, recordar y aprender de nuestros antecedentes, de aquellos maestros en el arte de contar historias. The National Photography Prize 2004, Ramón Masats Tartera (Caldes de Montbui, 1931), has traditionally been considered an intuitive photographer. However, a careful study of his photographs and photographic essays published in illustrated magazines unveils another aspect of his craft completely unknown until now: his work as a layout artist. Throughout his career Masats pays great attention to photographic edition: from the lonely image published besides the news in a newspaper, to the photographic essay, understood from E. Smith’s point of view as “a greater set of images that deepen and transcend leading the viewers to a more detailed reflection of the story that is being told; until reaching the photo book, which is considered an expressive unit, a whole with a complete meaning: definitely the most complex format of all. A sophisticated and academic Masats reveals a whole new aspect of his personality, showing his awareness of the layout, the rhythm and the dialogue between images, so that the sum and disposition of the images alter the perception of the whole. A language that will finally lead him to explore the world of filmmaking and the direction of audiovisual documentaries. In an age in which the Spanish photobook is at its peak, it is good to look back and give credit, remember and learn from our background, from those teachers in the art of storytelling. Palabras clave: Fotolibro, narración, edición, diseño, coherencia, autoría, comunicación, ritmo, análisis. Keywords: Photobook, narration, edition, design, coherence, authorship, communication, rhythm, analysis
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