Feel the difference: stars on the covers and in real life. Feel the difference: stars on the covers and in real life Spreads in car magazines

- “U Turn” program of the radio station “Echo of Moscow” “Turn” or “U Turn” (eng. U Turn) film, 1997, USA, director Oliver Stone U-turn (printing) two adjacent pages of an open publication, left and right See also Turn Links... Wikipedia

Positive, normal and negative tracking This term has other meanings, see Tracking (meanings). Tracking (from English tracking) changing letter spaces. Unlike kerning, which regulates the distance between characters in ... ... Wikipedia

Wiktionary has an article “abrégé” Abrégé (from the French abrégé summary; possibly from ... Wikipedia

- “Moskovsky Komsomolets” “Young Communard” ... Wikipedia

Binding is a hard, durable covering of a book, containing a number of its output information and intended to connect the sheets of a book together and protect the book block. Also, binding is an element of decoration and thus... ... Wikipedia

Microtypography is a set of techniques for improving readability and appearance texts, especially justified ones. These methods reduce the amount of space between words that is too wide and shift some lines... ... Wikipedia

This is a device for typographic printing with a cylindrical working body. The rotary machine is designed for reproducing printed products in large volumes and has a high printing speed. On a rotary printing press... ... Wikipedia

Books

• Game of Thrones. A 3D map of Westeros and Essos, the rising Castles of the great houses, and a brief history of the Seven Kingdoms. Unique edition! Limited edition! 3 D book from the creators of the popular series GAME OF THRONES. Officially licensed by HBO. Each spread of the book is a three-dimensional model of the world...
• Snow White and the Seven Dwarfs (illustrations by Charles Santore), Grimm Jacob and Wilhelm. The most beautiful illustrated version of the Brothers Grimm fairy tale to date, which has become one of the most popular fairy tales in the world. Luxurious illustrations by Charles Santore (18 huge…

is a well-known feminist and body positivity activist. She has repeatedly advocated for women to accept their appearance as it is. The pop diva has been on a dozen covers, but in the October Vogue, one of the most outrageous singers of our time appeared almost without makeup. The photo shows the star’s large nose, small moles and even folds in the eyes. But the star’s chest was clearly smoothed out and tightened. It’s interesting how Gaga herself reacted to such a “transformation”, because she does not hide the stretch marks in this area at all, and even boasts of them.

Kylie Jenner(Vogue Australia)

But the younger sister from the Kardashian clan on the cover of Australian Vogue is simply unrecognizable. Here she is young, natural and really looks 21 years old. It’s just a pity that in life things are completely different: numerous plastic surgeries and overly bright makeup add an extra 5-10 years to the star. But who knows, maybe after a successful cover Kylie will come to her senses and stop deliberately aging herself.

Popular

Monica Bellucci(Esquire)

The main character of the August issue of Spanish Esquire was one of the most beautiful women in history. The photo shows small wrinkles, pores and other imperfections on the actress’s face. After all, Monica is already 54 years old, and making her skin perfectly smooth would be simply stupid. But it's not that simple! They didn’t touch the face at all, but they did a fair amount of work on the actress’s neck. On the cover, Monica's neck looks smooth and toned, but in real life it is this part of the body that mercilessly reveals Bellucci’s true age.

Tess Holliday(Cosmopolitan)

The October cover of the British version of Cosmopolitan caused a lot of controversy on the Internet. Some called it a breakthrough in the world of beauty, while others considered it propaganda of an unhealthy lifestyle and obesity. We, in turn, will not enter into a discussion, but will only say that appearing on the cover of a leading fashion magazine, exposing all the flaws of your body, is an act that deserves considerable respect. Bravo, Tess!

Alesya Kafelnikova(Tatler)

Believe it or not, this is an example of a cover where the star looks worse than he really is. Maybe it’s the unfortunate shadow on the face, or maybe it’s the slightly frowning look of the main reliable Russian modeling business. In any case, you don’t need to do research to understand - in life

T3 art editor Luke O'Neill offers ten rules of thumb for improving the design of any publication.

The fundamental skills required to be a good layout designer are much the same as those required for any other form of graphic design, but like any specialized field, it requires the application of specific tasks and general rules.

In the next 10 points I will briefly describe some general rules and approaches to good publication design that will help you come up with a new title or just consider a career in editing.

1. Define your audience and personal design style

Independent publication Anorak has filled a gap in the market with a truly creative, sometimes anarchic children's magazine. This is actually the most important rule, regardless of whether you are releasing a new publication or developing the design of an existing one. It is very important that you know your audience and sketch for them accordingly.

In the same way, the reader must identify himself with the style of presentation of the material, the publication format must be addressed to him - both verbally and on a more subtle subconscious level.

2. Cover first

Whether you're a national consumer publication, a smaller publication with a niche audience, or an online outlet, the reality is that the cover is the most important page of the magazine and the majority of your time should be devoted to it.

The cover needs to work on multiple levels - it needs to be unique enough to grab attention on crowded newsstand shelves without alienating existing readers. It should arouse curiosity and intrigue, tell a story, revealing the content of the materials to the potential reader. Always try to design covers in advance for digital publications, as what works on newsstand and print is unlikely to work on screen or as a small thumbnail.

3. Choose the right cover approach

Without the limitations of print, digital covers should still have some impact - as Esquire Weekly's Scarlett Johansson cover successfully does. There is no one-size-fits-all template for designing the perfect cover (even though someone may tell you otherwise). First of all, it is a combination of an excellent, proven idea and a kind of magic.

A collaborative approach between the editor and the team to the idea is important. Take advantage of their experience, brainstorm a new idea together, and don't be afraid to backtrack if you don't think something is working, or simply ask them to come up with some alternative cover ideas. Most importantly, never try to create in a vacuum.

4. Stick to a modular grid (but don't go overboard)

Modular grids are the basis for all areas of graphic design, but they are most important in editorial design. It is important that you always have a modular grid ready to use, since it will form the basis of your sketch, structuring the pages.

A modular six-column grid with two symmetrical columns of text has a very different look than a seven-column grid with two columns of text and an irregularly shaped column. Try inserting your body text first and then building the grid, since the font size and line height you choose will fill the grid later.

You may think I'm contradicting myself when I say that using a grid is important, but I think such restrictions can sometimes be avoided. A somewhat free-form sketch can be a welcome relief from the overall rigor of the modular grid.

5. Typographic hierarchy

You'll find the most beautiful and experimental examples of typography in magazines, but that doesn't limit your imagination. All excellent editorial design should have a strong typographic structure - from the body copy to the bold headings - the choice of point size will not only help the headline stand out beautifully, but will also help guide the reader through the structure.

There are too many different approaches to describe them all, but I personally have found that when it comes to choosing a pin size, smaller is better. A couple of fonts (or even the same type of font) can be much more impressive and effective than trying to fit everything into the text, plus the kitchen sink to boot. Too many elements and your sketch may be perceived negatively and create the impression of confusion and lack of cohesion.

6. Don't be afraid of spaces

Master of restraint Matt Wyllie demonstrates his deft use of point and spacing in the pages of Independent Magazine While space is something of a luxury for many of us, resist the temptation to fill every inch of extra space you have.

A stunning photograph can have more impact if it's scaled down and framed with white space, or the focus can be on a headline positioned in the middle of the page surrounded by white space - before the body of the text begins.

7. Inserts

In the first volume of the Computer Arts Collection, for convenience, we included empty decorative inserts between the sections with bookmarks and the list. Inserts are incredibly important in any magazine; a structured flat plan with section breaks can really help, allowing the publication to breathe freely and the reader to navigate the publications.

Usage various types Paper inserts are a great way to let the reader know that they are in a different section and it will immediately add a different atmosphere. If you don't have that option, then simply use a full-page borderless shot or place it on the right rather than on the spread, which can be a welcome departure from the norm.

8. Hierarchy of elements and starting positions

When faced with a number of different elements or stories of varying size and importance, it's easy to feel overwhelmed. Make it clear which story or item ranks most—using placement, headline size, and image size. Drop caps, indexes, and simple introductory graphics can help orient the reader.

Be careful with these components in digital editions, as decorative graphics may be considered interactive buttons. When designing a layout for the iPad, try to think of it as a layout where each graphic element has its own functional purpose.

9. Always think cross-platform

Magazines need to be truly cross-platform - that's the conclusion T3 came to when they made their publication the best-selling iPad magazine in the UK. Whether you're working on print, tablet, or both, it's important to ensure that your designs work equally across all platforms without your design and visual language feeling disjointed.
It's good practice to design the digital edition first to ensure ease of use, as it's often much easier to translate a design onto the printed page than the other way around. Also, think about how your illustration might work on different platforms. Is it possible to add some animation for the digital version? Perhaps the speaker in the print edition could become animated in the iPad version.

10. Be unique

"Net a Porter" and the Kickstarter-funded "The Great Discontent". Both launched innovative projects.

Finally, and perhaps the most important- is to be unique in ideas and design. With everything in flux in the publishing industry, it's more important than ever to stand out from the crowd.

Evidence of this is the seemingly never-ending stream of new, beautifully designed and well-designed independent titles that continue to thrive. Not to mention digital-first companies and blogs like Net a Porter, which brings magazines to market - and not just the digital consumer editions, but the full-blown, glossy, high-end publication that sits next to Vogue on newsstands. I thought print media was extinct, no?

Modern glossy magazines are literally crammed with advertising. However, over time, we become so accustomed to annoying advertisements that we automatically turn the pages without noticing the efforts of the advertisers. And for their part, they do everything possible to catch our attention. For example, they design such unusual spreads, which will be discussed in our article today on the top best website

Spreads from Adidas: Sport forever.

Greenpeace

Deforestation continues with every new page

Macbook Pro

Super thin laptop Macbook Pro.

Wonderbra

Effective advertising for Wonderbra push-up bras. Just pull the string!

DHL

Creative spread from the international courier service DHL. Timely delivery guaranteed.

Arcor

Arcor chewing gum - the best bubbles in the world.

EPILDOU

EPILDOU depilatory strips - just peel off the pages and make sure they are 100% effective.

SulAmerica

U-turn from the insurance company SulAmerica: “Our insurance will not allow you to repeat this with the resources of your company”

Hawaiian Tropic

Hawaiian Tropic sunscreen advertisement. Just bring the spread to your face and “enjoy the sun.”

Clinique

Spread from the cosmetics company Clinique. You can have the same eyelashes!

Ikea

Wardrobe concept on the spread

Repromed

Creative spread from Repromed in support of the campaign to attract sperm donors. The magazines were handed out to potential donor candidates, who found that some of the pages were stuck tightly together. When the pages were torn, the boys' gaze revealed beautiful girl wearing underwear with the words "Don't waste your sperm" written on it.

Garmastan

Advertising spread in a magazine about motherhood. As soon as you separate the glued pages, the baby's mouth tears off a piece from the mother's nipple. Such advertising demonstrates the negative consequences of breastfeeding, from which Garmastan lotion helps.

Styx

Styx men's underwear features a unique design that ensures you don't have to worry about the fabric cutting between your buttocks. The card reads: "This is the only time Styx hits your ass."

Hombre Magazine

You can see the advertisement only by tearing apart the glued pages. Men's magazine Hombre: This is us.

WMF knives

MiraDENT

Creative advertising for Miradent dental floss from the German advertising agency Philipp und Keuntje

Bikini advertisement

Thin, like this ribbon. It's almost impossible not to pay attention.

McDonald's

Extra large coffee at McDonald's

Subaru

Sunsilk

The difference between the two double page spreads is striking. The slogan reads: “Without Sunsilk, you only do half the job.”

Viasat

An advertisement for the television show “I’ll Do Anything for Money,” in which pain brings cash.

Seat cars

This advert makes you feel like you're driving a new Seat car.

Furniture from NHA

The spread shows that NHA furniture can be assembled in seconds!

Magazine design. Turning line problem. Part 1

Independent spread in magazine design

One of the biggest challenges in magazine design is the fold line between pages. This is especially true for illustrated magazines, which contain a lot of images, headlines in different fonts, and quite a lot of advertising. The design of the magazine, on the one hand, as a whole should be subordinated to the general concept, and on the other hand, each spread should follow the rules that will make it readable. When the facing pages are independent, for example, two completely different articles are printed on them, the task is greatly simplified. However, the production of magazines in modern conditions involves fairly large sizes of materials that need to be placed on several pages. In addition, almost always, with the exception of literary magazines, materials are supplied with a significant number of photographs. In such cases, in order for the reader’s eye to move from one page to another within the spread, it is necessary to build a kind of graphic bridge to facilitate this transition.

Connecting elements on the spread for different magazine designs

For these purposes, the article title or illustration can be placed so that one part falls on the left and the other on the right page of the spread. This technique is used quite often in magazine design. However, its use must be approached with special care. So, if a heading is used as a connecting element, then the division with a spread line should be done not by letters, but by words. The production of magazines that deviate from this simple rule, unfortunately, still happens and this makes reading the material uncomfortable. When the spread line crosses the photograph, the separation should not be based on the person's face or figure. It is advisable not to divide the image in half. It is better to let one part of it be slightly larger than the other. Of course, this does not apply to those cases when it occupies the entire spread. It must also be remembered that during the printing process and subsequent binding of pages, slight horizontal movement may occur. Although most modern printing houses have already practically dealt with this problem.

It is impossible to produce magazines today without advertising. Most often it is placed on the left side of the spread. When new material starts on the right side, it will be dramatically different from the advertisement. In such a combination, the reversal is no longer perceived as a single whole, but in in this case this is quite normal. Here we can draw parallels with a book, in which the beginning of the article will be perceived as new chapter. In addition, advertising today is more often visual, and the reader’s gaze, stopping at it, takes a break from continuous reading of the text.