Personality Matters

How does one not fall prey to this disappearing act? Of course, content justifies our existence, but for now, let’s assume our content is perfect. Instead, let us concentrate on form, which is perhaps even more important than content in helping a publication find its audience. What is the use in assembling all that marvelous content if nobody notices you? And the more competitors tempt our targets, the more vital it becomes for our publications to stand out from the crowd.

This is where the value of “design” clearly affects the success of the venture and its ultimate bottom line. It all boils down to creating an immediately recognizable product that has its own unique character and personality. In practical terms, this publishing strategy implies two parallel disciplines: simplification of the image and repetition.

Both of these essential techniques demand self-control and, therefore, are unpopular with editors and especially designers. Editors believe that “variety keeps the reader interested,” and so it does, if it is variety of intellectual subject rather than visual form. Designers pride themselves on their professional “creativity,” which inevitably results in visual innovations. Those eye-catching surprises may well startle the reader’s attention, but the price paid is the disintegration of personality and character of the book as a whole. The more abundant the superficial visual variety, the more the product looks like every other product, as well as the ads. Consistency of look from page to page is the foundation of successful publishing today. Artificial variety is the kiss of death.

In this industry, we manufacture repetitive products for sale. Obviously it takes less effort to sell a renewal than a new subscription, so it’s vital that the next issue be recognized as related to the current one. If those readers appreciate the current issue, they’ll welcome the next one—but only if they recognize it. That’s where the need for simplification comes in. The simpler the visual mix, the easier the magazine is to recognize. In this case, less really is more.

KISS: Keep It Simple, Stupid
Imagine for a moment that all of the non-ad spaces are tinted pale purple; all the type is set in Times Bold font and printed in green; and all the pictures are printed in sepia. Of course that sounds repulsive; but imagine what impact such a hypothetical horror would have: A package where everything works together and accumulates because each segment is not only noticed, but is also seen as clearly belonging to something big and all-encompassing. Such powerful integration is the result of obviously noticeable characteristics—purple-tinted pages with green type and sepia images. The fewer of those recognizable characteristics, the more powerful their effect. Hence, KISS.

However, as with everything, there is an if. This overall idea works if graphic materials are chosen to blend well, logically and uniquely. That means that you (i.e., the team of publisher, editor and designer) have to decide on a style for your product by picking one that fulfills your unique needs, and that is a difficult process.

Beware: Just as even the most skilled surgeon can’t see well enough to take out his own appendix, so the attempt at do-it-yourself publication design is shortsighted. It may be cheaper, but how will it work in the long run? An outside consultant who is experienced in the ins-and-outs of magazine-making is likely to be the best investment you ever make. Be warned, however: Magazine-making is a specialized skill demanding experience. Recent art-school graduates may have stunning portfolios and may be less expensive, but they need hands-on apprenticeship performing the boring bits of their professions. Only then can they understand what the product entails as a whole, rather than just in its most flamboyant accents. Styling is exactly about that basic, boring, repetitive stuff.
In the box, “12 Design Elements That Demand Your Attention” (below), is a list of some factors on which to base your design decisions. Like facets of a well-cut diamond, each individual decision is connected to all of the others. None can be extracted and emphasized over the others because you or someone else “likes it” or because “Magazine X is doing it, and they’re No. 1.”

The goal is to assemble a balanced blend of all the little things that must congeal into a sense-making product with the individuality that will work for your subject and your target audience. On the surface, we seem to be discussing appearance, commonly known as “design,” but this is emphatically not an “artistic” process. It is a coldly calculated set of business-oriented decisions that you can’t just bunt to a designer. It affects who you are and who you need to be recognized as out in the marketplace.

The box lists the most obvious elements that need to be defined when designing a publication. These elements should be enough to illustrate the variety of vital issues that a well-thought-through “styling” must address. If addressed well, the publication will stand out as unique.

Indeed, it is a huge investment of time and effort, and No. 12 on the list is the most difficult: guarding the styling against erosion. After about six issues, editors typically will want to add something special here or there. The designers will become frustrated and bored by the style restrictions. So, wouldn’t it be a good idea “for variety” to make a squiggle over here or a weird drop-cap initial over there? No! That is precisely how erosion begins, and soon you’ll look like everybody else all over again. PE

Jan V. White, author of the book “Editing by Design,” lectures worldwide on the relationship of graphic design to editing. After 13 years with architectural magazines at Time Inc., he established his own publication-design firm in 1964. He has written dozens of books on editing and design techniques.