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DIPLOMA PROJECT Outlook Magazine Design Guideline Book

2016

Advance Diploma Programme in Visual Communication

SRISHTI INSTITUTE OF ART, DESIGN AND TECHNOLOGY


Copyright c 2016 Student documentment for Private Circulation only. All rights reserved. Advance Diploma Programme in Visual Communication Sristi Institute of Art, Design and Technology. No part of this document book may be reproduced in any form or used in any manner whatersoever without the express written permission of the publisher except for the use of brief quotation in a book review. This book is not for publication purpose. All the design in this book has been produced by Rupali Arora for the diploma project February-May 2016. Designed by: Rupali Arora E-mail- Rupali1.arora@gmail.com Printed at: KOLOR KODE Bangalore 560064 Karnataka, India www.srishti.ac.in Printed digitally in Bangalore, India May 2016


“CREATIVITY IS NOT A TALENT. IT IS A WAY OF OPERATION” Jhon Cleese

Srishti Institute of Art, Design and Technology is a non-residential institution founded in 1996 by the Ujwal Trust with the objective of providing art and design education in an environment of creativity to maximize the individual’s potential.The Ujwal Trust also manages Srishti’s sister institution, the prestigious Mallya Aditi International School. Srishti’s mission is facilitated by its organizational structure – a “community of learners” comprising industry-experienced faculty and energetic students who continually explore and experiment with art and design pedagogies, aesthetics, values and innovative practices. Education is beyond instruction and skill; that knowledge is inherently integrated and complex and, hence, learning must be embedded in real-world problems and situations. Srishti believe in looking beyond the origins of references and citations from scholarly texts and peer-reviewed journals; the references of artists and practitioners of the unschooled also contribute to learning. Extending education beyond the “gated” and the “preserved”; it should be “permeable” and “porous” allowing students to work at the level of the street and the bazaar, and to explore and experiment with the textures of the rural and the urban. Srishti’s culture encourages thinking, questioning and experimenting to harness the artistic and intellectual potential of each individual and place the institution at the leading edge of contemporary art and design discourse. A multi-disciplinary approach inculcates self-initiated learning and independent thinking and expands perceptual perspectives. Regular interaction with design studios, production and distribution centers, community projects, retail establishments and industry forms a vital bridge between Srishti and the world.

srishti institiute of

art, design, and technology

Srishti has a strong indigenous cultural grounding in the teaching of the visual arts and also provides a liberal arts curriculum comparable to reputed institutions in the West. Srishti is interfacing with institutions across the world with a vision for and commitment to quality education through new technologies and pedagogies.


“SOME LEARNINGS JUST DISAPPEAR WITH TIME AND OTHERS STAY FOREVER. I GOT INTO THIS WITH A BIG HEART AND A BROKEN KNEE. AT THE END IT FELT GOOD”

Mukund VR graduated in visual communication design from Srishti School of art, design and technology in the year 2006. He has spent last 10 years in the field of branding and communication. He has developed the bandwidth to cover budgets / costing, creative art direction, brand positioning, brand naming, campaign copy writing, brand Identity conceptualization and creation, team management, print advertisement campaigns, print production, client interaction and illustration. While most of his work experience is in the commercial field some of his core interests also reside in social, environmental, human and animal issues which he address through the means of visual communication, activation or public art. Mukund believes that if the entrepreneurial aspects of the creative space were intelligently addressed, much of today’s young design talent in India can flourish in a more creative and contextually relavent ambience and contribute to the creation of a more socially aware public culture where in personal and intellectual growth of young designers may organically evolve.

mentor

mukund vr

Taking a break from the industry and coming back to the place were he learned the core values of design and mentoring us was a very thoughtful decision. Mukund’s constant dialogue gave me a direction to do this project.


acknowledgement

I would like to express great gratitude towards Srishti Institute of Art, Design and Technology and Geetha Narayan, Director for providing the space and culture and endless teaching that helped me complete this project. Mukund VR, My Mentor throughout this journey who encouraged me to on every step and pursue my goals. A Great share of completion of this project goes to my peers Jayati Sood, Kritima Arora, Ragini Dutta, Rajalakshmi Raja Gopal and Swati Khaitan for their immense feedback and support throughout the project.


table of content Diploma Project

01 _ RESEARCH 02 _ INSIGHTS 03 _ FOCUSED RESEARCH 04 _ IDEATION & ITERATION 05 _ VISUAL STYLE GUIDE 06 _ MOCKUPS 07 _ CONCLUSION 08 _ REFLECTION 09 _ BIBLOGRAPHY

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Outlook Magazine Design Guidline Book


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Background On 1st October 1995, bold and Informative, the OUTLOOK magazine had a simple design layout focusing upon processing information to its consumers. Started in 1995, under the leadership of Vinod Mehta, the Outlook Magazine was an investment from the Raheja Group which while expanding wanted to enter the information Industry at a point where the world was on its path to be weaved into the well connected network system that we all see and live in today. Now when we say simple it doesn’t mean it wasn’t bold and stylish, it was apt for its time and era and became an icon in itself. Outlook quickly carved a niche for itself among discerning readers who value its in-depth investigative reporting. It was a bold magazine that was fierce and righteous playing an important role in shaking the pillars of houses at that time thought to be invincible, with a simple yet the most powerful weapon of all time Information.

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The Outlook Group, a leading Indian media house, has launched various leading publications such as Outlook Money, Outlook Business, Outlook Traveller, Outlook Profit and Outlook Lounge. It has also entered into international alliances and now publishes licensed editions of Marie Claire, Geo and People in India, besides handling the marketing, distribution and advertising of Newsweek magazine as well as the distribution of Business week.

Target Audiance Target Audience, In other words consumers of the magazine play a very important role in its life without which the existence of any written material would simply cease to exist. For Outlook, it covers a vast array fields ranging from politics to business to cricket followed by travel and entertainment as well. By this we can judge that not only is it targeting simple weekly knowledge seekers but segments of consumers each looking for a separate piece of information tailored to his or her requirements be it the entrepreneurs, office goers, the travel enthusiast , a sports fan even the stay at home mom wanting to gain some all around general knowledge .

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Competition and Difference

Offshoots/ Online Presence

The major competition that I see today for the outlook magazine are - India Today, The Week, Business India and the growing internet and social media. Competition is fierce specially when you have to wait and recharge your weapon before you fire, in the hope that not another hit is on the way. But then even on the same battle ground the fights are not always in a straight line. Outlook may not be the oldest but is the strongest. Where it stands without the influence of politically oriented bodies it is a bold channel for information delivery and has acted many times in the past to prove to its consumers that even information can make a difference. More of an edge that it can have is with its parent company which not only is in the Media industry but many to be omnipresent.

Again like the TV, the online presence is a game changer and with time it has even taken a lead ahead of the television when it comes to the channel of information providing. What do you do when you need to know something? we Google it, there are millions of sites, more the apps that are there to solve all our queries, doubts even that little curious cat in corner of our minds. It is a channel of personalized information that is available on demand and at the exact time we want it. Certainly there is an edge here which needs to be tapped in before the competition take up all the space.

TV vs. Magazine The Television is a more interactive information channel that engages the audience or its consumers with audio and visuals that have a more intriguing effect on the recipient. Here the magazine does not have its edge, but that does not mean it has no head to head battle. A book when we read opens our minds to endless possibilities and ideas in our head which more than being our own are responsible for the growth of information processing capabilities i.e. we learn better with time. But so is not the case when we are showcased a movie based on the book where the stories are fabricated as per the screen writer of director, where we are forced to accept information as it is without putting any thought to the other side of it?

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Brand Attributes A Magazine without value is a failure at start, but as is not the case with Outlook. With its vast information systems covering various topics such as - Business, politics, sports, world affairs etc it provides a one pit stop solution where its consumers are getting everything that they would need along with their first cup of tea or that afternoon coffee break. Information provided by the Outlook is not only published with the facts but with an opinion of the writer which acts as an avenue where the reader can be brought in on the story and have their own set of ideas or thinking. Uniqueness - As a brand at that time, Outlook was one of the first to cater to such vast consumers with the Information that it provided in different fields. Credibility - It’s important for any Information channel to be reliable, without it there is no sustainable way of reaching and then retaining viewers and that’s what

Outlook Magazine Design Guidline Book


exactly Outlook is all about. Appeal - The Magazine has various sections and design elements which are simplistic to say the least, keeping the viewers intrigued for all these years. Inspiration - Over the years Outlook has hit the right spot at the right time, proving the people how information can and has changed the world, simple words that affected millions and called out to a billion, if that is not to Inspire then what is.

Wishlist/ Application The outlook magazine brand has evolved processing more information and passing it along to its customers but yet the design language remains the same. Defiantly printed versions needs a redesign. With digitalization at its peak, opening doors to visual elements that intrigue consumers attracting them to newer avenues and information channels. In today’s digital world mobile application is the most handy thing to be up-to-date all the time. Mobile application will be a huge plus to outlook.

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Establishing my Position Srishti came with a lot of apprehension and excitement. The school had its own ways of teaching and learning, which are very different . Importance is given to the final output but also to the design process involved in arriving at the output. A lot of refining and fine-tuning though discussions, readings and feedback takes place during the research and ideation stage itself. Documenting the overall process is also very importing thing that I learnt here. My process typically begins with mind maps to narrow down areas of focus and draw keywords. My common thread I understood and practiced in Srishti is typography. Most of the projects I have done have an underline of typography, layout and grids. A key interest towards editorial and print design made me explore opportunities. Exploring grids, typography and many more in my work, I still feel there is allot more to be learned. I am still trying to discover my position on my own artwork and hopefully I will be able to articulate my position as a visual communicator with this final project in Srishti. There are few designers who have inspired me every time. One Of my Benchmark in the idustry of magazine design is Alexey Liberman. Alexey took charge of the magazines and invented what we recognise today as magazine art direction. Magazines then had a tradition of illustrated front covers and close relationships with leading artists and writers of the day, but design as a distinct discipline was unrecognised. Creativity of presentation, and layouts based on the modernism of their homelands was reflected in the

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Outlook Magazine Design Guidline Book


work done by him. Liberman set the scene for the 60s boom in magazine publishing, driven by the baby boom era of consumerism and advertising. Colour printing improved and became more affordable, and publishers and editors allowed designers more input into the pages. Neville Brody Is known for his work on The Face magazine (1981–1986) and Arena magazine. Brody has pushed the boundaries of visual communication in all media through his experimental and challenging work, and continues to extend the visual languages we use through his exploratory creative expression. He changed up the “basic” and “structural” rules that existed in the British culture into a more artsy and vibrant aesthetic. His designs provoked some form of emotion to the extent that people would stick to one page instead of turning pages like they would normally do when reading a novel. Figures such as George Lois (US Esquire) Willy Fleckhaus (Twen), Ruth Ansell (US Harper’s Bazaar), David Hillman Neville Brody and Harry Peccinnoti (Nova) took advantage and placed editorial design at the forefront of contemporary graphics. These titles provide a unique graphic record of their era, matched only by record sleeve design.

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Research Question Brands become a part of people’s lifestyle. They represent value and spirit of people. Outlook has been around since a long now. How people relate to it is very personal. It has created a strong identity in itself from 1995. With all this said, the magazine has issues of its own with the biggest one being - consistency. It lacks a structure or a pattern that is followed throughout its own design language. Now this is a huge problem, as a student of design I can relate to a brand with its design language but where there is no stability it can be easy for any one of the competition to easily replace the existing brand viewership. The best magazines maintain the role of visual, almost by default – the temporary nature of a single issue permits the evolution of design elements in a way that corporate design – so often constrained by branding guidelines – may struggle to replicate. Meanwhile, the quick turnaround in production means decisions have to be taken fast. Producing a magazine is an organic process, relying on templates and style sheets not as absolute parameters but instead as guides to take advantage of or battle against as the situation demands. It’s an endless struggle between respecting structure and trying to break it. Cluttered? Confusing? Old-fashioned? Boring? There are so many clichés about the look of a publication, and “redesign” is seen as their panacea. Unfortunately, redesigning a magazine is a very difficult process, because every publication is unique unto itself. Its problems are peculiar to its subject, its target

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audience, its established personality, its writing, and the expectations it evokes. A “design” is merely the outward skin that covers the a multitude Changing it may achieve nothing but a temporary camouflage, if what is inside continues rotting. Great magazines apply visual hierarchy throughout their departments. The layout design should be organized to naturally direct readers to the articles and information they’re hunting. If they can’t find what they’re looking for quickly, you’ve probably lost them forever. Speed and ease-of-use are critical elements of organization that should be reflected in each layout design. The goal of design guidelines is to protect the strength of the brand so that it continues to create value for your company. Style and word usage are what most people think of in regard to editorial style. To build a strong visual identity the brand should be consistent, which only comes with set of guidelines. How well can we communicate the vision and the principles of Outlook? How my understanding of typography, branding and structure helps in making outlook a better brand?

Approach/ Process The Design process is a series of steps that as a designer I take when working on any project. The details of each stage differs depending on the type of design but the approach is always the same. It is vital to stick to the process during a design as skipping a stage, completing stages out of order of not using the process at all which lower the quality outcome. I have divided my process in few steps as bellow:

Why was there a change required in the brand identity and the logotype?

Define

Who designed the new identity? Has it benefitted Outlook?

Design Audit

The international design is completely different. Why?

Design Development

Context Building Visual Exploration

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“DESIGN IS THINKING MADE VISUAL” Saul Bass

insights Diploma Project

Using Layout and grids effectively Grid structures are significant for design. Being a visual designer grids help me understand my structure at various ways and elements—text, images, graphic objects, and so on—can work together to produce effective design. It makes a clear vision to create rhythm, define proportions and a balance to the whole layout. Working on the grids, creates a structure to align elements and organized layout. The main idea behind grid-based designs is a solid visual and structural balance of the design. Structured layout offers more flexibility and enhance the visual experience. It creates a follow in the page in a consistent way.

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“WHEN TYPOGRAPHY IS ON POINT, WORDS BECOME IMAGES.” Shawn Lukas

Creating type hierarchy A strong typographic structure, from headline display faces to body copy and everything in-between, the type choices that as a visual designer, will not only help me give the layout a visual voice but will also act as a guide for the reader to navigate through the layouts. In the current issue of outlook, there are more that 7 typeface used on one page which is disturbing to the eye as a reader. The layouts are cluttered with lack of voice. When it comes to type choices, I personally feel ‘less is more’ effective. A handful typefaces will be effective. The key to creating hierarchy is contrast, which can come from simple changes in font, weight, scale, positioning, color, and tone. This might sound easy, it can be complex. For example, altering line spacing or inter-character spacing can certainly add character, but it could also increase or decrease the tone of the type. Combining serif font with sans-serf font brings great contrast in the hierarchy. Fonts with multiple weights Also helps in defining impactful hierarchy. Image source: http://www.designscene.net/2010/11/charlotte-rampling-willy-vanderperre-v68.html

“READERS NEED TO BE TOLD CLEARLY AND IMMEDIATELY WHAT’S IN IT FOR THEM IN EVERY OF OUR MESSAGE” Alexander W. White

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Thinking from reader’s view In the age of devastating data, every visual message has to reveal content and communicate value. Being a visual designer, It becomes my responsibility to understand the reader’s perspective. The flow of layout should be distinctive and clear. Every design has three major elements—text, images, space. Adding value to the content by making it engaging. The layouts have to be balanced, clear and impactful. Giving a direction to the layout by playing with image and text in itself brings a difference. Outlook Magazine Design Guidline Book


“CREATE YOUR OWN VISTUAL STYLE. LET IT BE UNIQUE FOR YOURSELF YET IDENTIFIABLE FOR OTHERS” Orson Welles

Creating exclusive visual identity for outlook Brands become a part of people’s lifestyle. They represent value and spirit of people. Outlook has been around since a long now. How people relate to it is very personal. With the new look outlook has lost its visual identity. A positive influence of design is very impactful on the readers. It is important to stand apart from competitors visually. It is not just few design elements that stand out. How does outlook interact with their readers also matters. Outlook being on social media defines it. Outlook’s Instagram and facebook pages shows the level of interest they take to interact with their honest followers. The meaning of each visual element may be interpreted in more than one way. The consumer perception of design is influenced by its visual presentation. An effective visual identity can be achieved by using visual elements to create distinction. These internal and external elements together create a brand strategy. For example, magazine cover is the most important design page to express the brand identity, because that’s the first thing consumer looks at before buying.

http://www.mestudio.info/tag/infographics/page/7/ Diploma Project

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03 01

Outlook Magazine Design Guidline Book


Exploring magazine design and grid system ‘Content Informs Design; Design Yields To Content.’ Taking up redesigning a well established news magazine as the final project was not an easy decision. Understanding the value of the magazine was important too and taking on this role was anything but a passive stance. Designs come from using the content to inspire, inform, and improve design. When a grid system is followed and content with concept is framed under the guidelines, design automatically comes out well. Design is the third element after words and image. Magzine is more than just the written element, it should be now intgrated with design. As text is what it is a simple design in itself and without the visual appeal would not be that appealing. Magazines are—usually and primarily—meant to be read and as a designers I have little or no say over what’s being written. Design can make overall experience of reading the magazine much more pleasurable. Focusing on what design can do, design can embrace the content into visual content, create an aesthetic value for the reader. Design and visual elements together set the mood and the tone of the magazine.

focused research Diploma Project

The popularity of any magazine can be goggled, it will give you a subtle calculation of the sales that were made by that particular magazine but what

it tells you is nothing more than its profit. Its not important that a magazine bought by or ordered by an individual is only restricted to that particular individual. One magazine can cater to a whole family, an office or even passed down to others. Magazine design has many sections—Cover design, advertisement, Front of the book, cover stories, Back of the book. On Decoding OUTLOOK, the current issue has around 12 sections in total. The visual structure of the magazine went further weak after its new design in October 2015. Columns are essential tools to standardize the layout. They help in getting order and structure, but do resist to imprison the format. Exploring different column width and shapes helps in breaking the monotony. Treating each story as a separate unit and mixing the number of columns helps in figuring what number of columns works for a heavy content article. While exploring grids, next are few of my understandings for grids.

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Diiferent coulmn grids explored with wireframes 15

Outlook Magazine Design Guidline Book


Article from the magazine done on 6 coulmn grid

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Understanding the structure of outlook Current structure

Redesigned structure

Cover

Cover

Content | Leaders | Letters Content | Leaders | Letters

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Seven Days

Seven Days

Deep Throat | Track2

National Affairs

Bistro | Eat,Pray, Live

Spotlight

The Sked

Eat, Pray, Live | Mixed

Books | The Reviews

Books and Reviews

Trending | Diary

Trending | Diary

Cover

Cover

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Redesigned content structure and mapping

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Competition As a reader I have not been much of a participant but rather a medium for passing time, the sheer word count would have me at awe never the less I had put on my designer eyesight to critically analyse and scrutinise as to where it could be bettered. Initially it was a simple matter of comparison but more over it is the perspective of the reader that had to be kept in mind. My approach was like reverse engineering, in order to broaden my perspective this was the best way and with that I needed to look towards the successful stories of current magazines available along with a few that failed, In order to learn from the mistakes of others a betterment towards the future. A closer look at magazines like India Today, The Week, The New Yorker, Open, Business India and many more from the same segment establishes that they focus more on their content and writing style which gets centre stage without much of the visual elements intervening with it, and on the other hand magazines like the Atlantic, The Times, Caravan and Outpost focus upon its bold visual language and authentic reporting. Among the cluster of magazines available OPEN and India Today were something that caught my attention. The nature of content and journalistic voicing gives them an edge among the preceding entries flooding the market. But when it comes to the theme and idea there quite a few that have been entangled in the war of sales and choice. For a better insight of the Indian readers India Today has a significant political reporting and what majorly interests the readers aid in the study towards visual appeal and design. A deeper study will reveal numerous subtle hints incorporated within the magazines helping me better to understand as a designer among those as a reader.

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Outlook Magazine Design Guidline Book


These are few examples of magazines that I had studied among mentioned which in great detail gave a broader perspective over the global existence of design in magazines. Where Outlook cannot be compared among the international giants, be it in terms of reach or financial funding but handling the complexity of handling varied readers segments around the world each with their own absolutely different pattern of readership, intriguingly difficult for a first timer to ascertain magazine design but curious enough to provoke a thought bubble. A text, word or a paragraph is more over an essential tool in visual design for magazines, as a book of images is still called a coffee table book and not a magazine. As I was welcomed by a clutter of organised magazines my eyes wandered among the many varieties that the vendor housed, from the old and new to the up and happening. The reader in me quickly grabbed the latest issue of cosmopolitan it hit me, I was now on the other side having a bit of clarity of what in my mind I had a wanting for, curiously I related the visual design with experience that I have had in the past connecting what I had read to that made me buy the latest published version of that particular magazine. It’s a strong connection and the visual design though remaining similar in the basic appeal had something new un every edition. Buying a magazine for something as simple as that could sound absurd but it is not. Readers loyal or casual are searching for something that is being provided by the magazine but what it is could be difficult to judge only based on sales and thus focusing upon the visual design plays an important role. Even though I have had a detailed study of many magazines available, the focus is only limited in a few. The ones that were best among the common or even the ones that clicked in one go. It varies for each segment.

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INDIA TODAY INDIA TODAY is an Indian English-language weeklymagazine published by the India Today Group. The group also runs a television news channel by the same name. It was established in 1975 by Vidya Vilas Purie (owner of Thompson Press), with his daughter Madhu Trehan as its editor and his son Aroon Purie as its publisher. At present, India Today is also published in Hindi, Tamil, Malayalam and Telugu. The India Today news channel was launched on 22 May 2015. Frequency- Weekly Format- 200*275 mm Price- INR 40 Binding- Center Pinned No. of Pages- 122 (approx) Publisher: India Today Group | Editor-in-chief: Aroon Purie | Website: www.indiatoday.in 21

Outlook Magazine Design Guidline Book


Hierarchy created with the color and fonts Bold a big imagery infuences the visual language in a possitive manner

Pull quotes

Section division well defined

INDIA TODAY is one of the most popular among its competitors. It is simple yet thought provoking on mass level. India Today has a very prominent use of imagery, photography, illustration and info graphics. The magazine incorporates a wide range of colours which is also reflected in their typography. When talking about typography, the magazine uses a 12 column grid in form of 2,3 or 4 column text. A visual hierarchy is created with the use of type in sizes rather than weights which is distinctively noticeable. Key elements are also highlighted with typography and permissive use of info graphics. Imagery is bold throughout the magazine which creates a unique visual identity for the magazine. Saying all this INDIA TODAY lacks a format for usage of visual elements, rather I would say some sections are cluttered with too many elements which can be avoided. Magazine cannot just depend on imagery to go further more. A hierarchy needs to be developed for visual elements.

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BUSINESS INDIA BUSINESS INDIA is a business news magazine founded by brothers Ashok Hotchand Advani, Hiroo Advani and Rajkumar Advani in 1978 and published in Mumbai, India. In 2001, the magazine had a circulation of 88,100 and it increased to 526,000 in 2006. The magazine is considered pioneer of Indian business magazines. The magazine started publication in English but is now also available in other Indian languages. Frequency- Fortnight Format- 198*260 mm Price- INR 40 Binding- Section Bound No. of Pages- 92 (approx) Publisher: Ashok H Advani | Editor-in-chief: Parthasarathi Swami | Website: www.businessindiagroup.com 23

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Chunk of text with no visual elements put in three column in most of the articles Inconsistent size of the drop cap minimal use of visual elements on header and footer

BUSINESS INDIA is the country’s first contemporary, mainstream business publication to provide the most authoritative source of news, with minimal visual language among the competitors. The color scheme used by the magazine is in style with nominal colours black, white and red. The reliable and relevant content is not supported with pleasing imagery. Lack of Visual elements is the major setback of the magazine. The ridged structure of putting articles in three columns with no eye soothing visuals makes it very monotonous. No doubt that the magazine has carried that minimal white space well, but at the same time the section have no different treatment that other pages makes the reader crave for more tonal change. Typography is constrained to a limit and not much have been played with. Less Advertisement makes the magazine specific for the purpose for what its published , which makes easy for the reader to grasp the content without distraction.

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THE WEEK THE WEEK is an Indian newsmagazine published by The Malayala Manorama Co. Ltd.The magazine is published from Kochi and is currently printed in Delhi, Mumbai, Bangalore and Kottayam. According to the Audit Bureau of Circulations, it is the largest circulated English newsmagazine in India. Frequency- Weekly Format- 185*260 mm Price- INR 35 Binding- Center Pinned No. of Pages- 100 (approx) Publisher: Jacob Mathew | Editor-in-chief: T R Gopaalakrishnan | Website: www.theweek.in 25

Outlook Magazine Design Guidline Book


inappropriate tratment of infographics

The bold use of types with inconsistent graphic elements

minimal use of visual elements on header and footer

THE WEEK magazine offers a spectrum of offshoots, content diversifies from devoted political sections to special features, leisure and lifestyle. At the design front the magazine follows visual elements with varied treatment. Small photographs. Graphics with no bells and whistles which takes off the show of the magazine. It is very closely designed to what Outlook was in October issues. The Cover of the magazines are usually and mostly illustrated. The bold use of types with inconsistent graphic elements takes away the pleasure of reading. The treatment given to the sections is odd to look. It merges with the heading. A better vision to the visual identity and elements can bring a huge difference in the look of the magazine. Info graphics and illustrations used in the magazine do bring a change in the view, but they are lost when looked at the magazine overall.

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01

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outlook in depth Diploma Project

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OUTLOOK OUTLOOK is a weekly general interest English news magazine owned by the Raheja group and published in India.It features contents from politics, sports, cinema, and stories of broad interests. It was first issued in October, 1995 with Vinod Mehta as the Editor in Chief. Frequency- Weekly Format- 195*270 mm Price- INR 40 Binding- Center Pinned No. of Pages- 80 (approx) Publisher: Outlook Publishing(India) | Editor-in-chief: Krishna Prasad | Website: www.outlookindia.com 29

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Image caption

Using colors, other that black and red, brings a nice visual contrast.

Visual elements used for section naming

Small section related to the article displayed

Headline and sub headline Fotter elements in black and red

OUTLOOK magazine has a very informal visual language. The magazine has a very classic feel to it which comes across with the use of simple colours and typography style. OUTLOOK magazine follows the basic 12 column grid structure with is further varied into 2,3,4 column text. Another interesting point noted was that the magazine has too many advertisements. It breaks the continuity of the reader and makes it uncomfortable. As the magazine has huge chunk of text, use of type has not been given emphasis on. The magazine uses very different fonts for each sections. Consistency is something which is missing majorly. With all this said another major part of the magazine that need changes are imagery, photography and illustrations. As with the recent change the word count per page has increased and the white space required to make the spreads clear has gone out. With this good photography when well played, changes the feel of the magazine.

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Pull out quotes

Irregular slug

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Section treatment

Irregular typography and design elements

Inappropriate Imagery

Outlook Magazine Design Guidline Book


Justified text in all sections and articles

Inappropriate Imagery

Inappropriate tratment for highlighting text

Inappropriate use of space by placing half adds

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ideation and iterations Diploma Project

Ideation is a crucial step in design process. It is about brainstorming and gathering new ideas, it is about generating ideas and making them tangible which helped while Iterations. On the level of iteration, it was all about continual experimentation on the feedbacks. After all the research and study it was time to put things into a structure. In this phase all the opportunities where broken down to several questions like number of grids, what type family to choose, kind of imagery. The main aim of the application of the content to the structure helped me figure out which way to head.

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working on type and grid 35

Outlook Magazine Design Guidline Book


It got little uneasy for me when it came to typography. I have always been afraid of dealing with a lot of text together. It is said “if you are afraid of it, deal with it first�. I started with some dummy text to get a gist how the chunk of text will look. On studding why to use serif font for body copy and how to combine fonts to give the layout a hierarchy gave me a better picture of how to go about it. Exploring and trying different versions with different grids opened thing more clearing.

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Starting with one spread made sense initially when i sarted. Putting things into grid, with a type hierarchy, leading, imagery and design elements gave me a gist of starting magazine design. But a lot of things needed decision making. I was working in the air with no definate line.

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Outlook Magazine Design Guidline Book


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Outlook Magazine Design Guidline Book


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Outlook Magazine Design Guidline Book


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Outlook Magazine Design Guidline Book


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Outlook Magazine Design Guidline Book


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Outlook Magazine Design Guidline Book


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When it comes to an editorial project, first thing to decide is the paper on which the project will be printed. It helps in getting the estimate cost of the project. In my project, magazine printing is done through offset printing, as they are printed in bulk. That’s the reason these weekly magazines cost between Rs 35 to Rs45. As this was an individual project with no industrial guidance of printing, I decided to take a field visit. I created few samples of spreads for test printing. I visited few places like Kolor Kode —One of the best place for digital printing, Print Express, Printo and Judge Press— a well established offset printing press. With all this few observation were made. * Magazines like outlook are printed only on offset printing, * Magazine cover is of maximum 80 gsm gloss paper, * Inside pages of the magazine are of maximum 65 gsm gloss paper, * And for digital printing, a minimum of 100 gsm is required. With all this discussed with the peers, mentors and few faculty in college, we came to the conclusion that at this level of project, such thing can be avoided. We will be judged on the content. Such unavoidable situations should not become restrictions in the completion of the project. Below are few paper prototype that I collected.

paper testing Diploma Project

100 gsm gloss paper

130 gsm gloss paper

130 gsm matt paper

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visual style guide Diploma Project

Visual style guide are set of rules as defined by the magazine. They ensure brand consistency throughout any collateral produced – no matter who created it. In the style guides all the necessary information to create the magazine have been laid down with specifics where ever required. From how and where the logo can be used to what font, font size, graphic elements, all these little things make the magazine a piece together. Setting guidlines for the elements ensures us the continuty through out the magazine.

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the logo 53

Redesigns are tricky and risky affairs. It is like being nudged from our comfort zone. It is asking to step into a new pair of shoes which are otherwise a perfect fit or that little strange feeling you get when you change your toothbrush. With the new look outlook changed its logo too. The new logo is bold and heavy, with a tagline that goes along what actually outlook means —Fully Loaded magazine. The new design has fresh colours, with added aroma. The closest font to the new logo was Archivo Black, we tried tweeking it a bit to get the exact look, as we were not provided with the open file. When nothing worked, we finally traced the original logo.

Outlook Magazine Design Guidline Book


MASTER HEAD SIZE: 160 mm x 28 mm

MINIMUM SIZE: 40 mm x 7 mm

This size is to be used ONLY for the master head page, that is the cover of the magazine. The color can varry as per the imagery used.

minimum size is exact 4 times less the master head size. Where ever to be used, should be in the specific red color.

CLEAR SPACE: 9 mm x 9 mm

CLEAR SPACE: 5 mm x 5 mm

No other element should be placed within the clear space mention.

The clear space in this case is of the size of the gutter of the magazine, that is 5mm.

Diploma Project

C 0 | M 95 | Y 85 | K 0

C 0 | M 0 | Y 0 | K 100

C 0 | M 0 | Y 0 | K 70

R 229 | G 35 | B 41

R0|G0|B0

R 112 | G 111 | B 111

HEX #e52228

HEX #000000

HEX #6f6f6e

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type and grid 55

After working on few spreads with different type, fonts, grids elements, it was time to finalize on thing on apply them on big sections of the magazine. Currently the magazine structure is a basic 12 column. I decided on a 8 column grid. It gives me variation to work on 1/2 column grid which is intresting and gives the layout a different feel. It acted as a visual element. On the right are the final dimensions and grid details.

Outlook Magazine Design Guidline Book


WIDTH - 195 mm HEIGHT - 270 mm MARGINS - TOP 30 mm | BOTTOM 15 mm | INSIDE 14 mm | OUTSIDE 13 mm COLUMNS - 8 GUTTER - 5mm

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Image source: Depositphotos


SEGOE UI BLACK 28pt

ROBOTO BOLD 11pt/13.2

FRANKLIN GOTHIC HEAVY 38pt/35

ROBOTO MEDIUM 7pt/8.4

Giving significance to the project typography was the most crucial part. Good type is the backbone of any design. When coming to a magazine design it acts like a visual identity. And when it comes to print it should be tested by printing only. I explored a dozen of fonts to set visual tone for the magazine.

PROFORMA BOOK 8pt/10

ROBOTO LIGHT 7pt/8.4 FRANKLIN GOTHIC MEDIUM 30pt/ 36


SECTION TYPE: This type face is ONLY USED for defining the section like LEADER, LETTERS, NATIONAL AFFAIRS and rest. I have finalized SEGOE UI BLACK. Segoe was designed by Steve Matteson during his employment at Agfa Monotype. The font was designed to be friendly and legible. Matteson created a range of weights and italics with a humanist feel.

SEGOE UI BLACK 28pt

IT IS A LONG ESTABLISHED FACT 0123456789!@#$%^&*() PRIMARY FONT: FRANKLIN GOTHIC HEAVY AND MEDIUM is ONLY USED for heading of the articIe. Sans-serif typefaces originated by Morris Fuller Benton (1872–1948) in 1902. Franklin Gothic has been used in many advertisements and headlines in newspapers. The typeface continues to maintain a high profile, appearing in a variety of media from books to billboards. Franklin Gothic itself is an extra-bold sans-serif type.

FRANKLIN GOTHIC 38pt/35

IT IS A LONG ESTABLISHED FACT 0123456789!@#$%^&*() FRANKLIN GOTHIC MEDIUM 30pt/ 36

IT IS A LONG ESTABLISHED FACT 0123456789!@#$%^&*() 59

Outlook Magazine Design Guidline Book


SECONDARY FONT: I have taken ROBOTO FAMILY as my secondary font. As it offers different weights which can be used for many purposes. Roboto Bold is used for subheadline, at the same time ROBOTO MEDIUM is used for image captions and pull out quotes and ROBOTO LIGHT is used for headder and footer elements. The font is designed entirely in-house at Google by Christian Robertson. Roboto is a neo-grotesque sans-serif typeface family. The font is modern, yet approachable.

ROBOTO BOLD 11pt/13.2

IT IS A LONG ESTABLISHED FACT It is a long established fact 0123456789!@#$%^&*() ROBOTO MEDIUM 7pt/8.4

IT IS A LONG ESTABLISHED FACT It is a long established fact 0123456789!@#$%^&*() ROBOTO LIGHT 7pt/8.4 IT IS A LONG ESTABLISHED FACT It is a long established fact 0123456789!@#$%^&*()

BODY COPY FONT: Proforma book was designed by Petr van Blokland in mid 80’s. Oldstyle structures provide economic copyfit and enhanced legibility, but are simplified in shape for easy printing and screen representation, giving Proforma an edged charm in display sizes. The six weights are comparably close to each other to enable adjustment for colored or inverted text, or on screens of different resolution.

PROFORMA BOOK 8pt/10 IT IS A LONG ESTABLISHED FACT It is a long established fact 0123456789!@#$%^&*()

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color palette 61

Outlook had a very inconsistent color palette. I have chosen vibgyor spectrum as it offers all the range of colors and with the number of sections in outlook it enhances the section division and variation at the same time. These colors can be used in the section with the design elements with a contrast of any one of white, red or black.

Outlook Magazine Design Guidline Book


COLOR PALETTE

C 0 | M 100 | Y 50 | K 0

C 0 | M 95 | Y 85 | K 0

C 0 | M 55 | Y 90 | K 0

C 0 | M 25 | Y 90 | K 0

C 30 | M 0 | Y 100 | K 5

R 229 | G 0 | B 81

R 229 | G 35 | B 41

R 241 | G 135 | B 37

R 253 | G 196 | B 31

R 193 | G 204 | B 0

HEX #e50050

HEX #e52228

HEX #f18725

HEX #fcc41e

HEX #c0cb00

C 60 | M 0 | Y 100 | K 5

C 80 | M 5 | Y 60 | K 0

C 60 | M 5 | Y 30 | K 0

C 100 | M 85 | Y 40 | K 50

C 50 | M 65 | Y 70 | K 75

R 114 | G 117 | B 41

R 0 | G 163 | B 129

R 105 | G 187 | B 187

R 23 | G 37 | B 66

R 60 | G 40 | B 29

HEX #72b128

HEX #00a482

HEX #68bbbb

HEX #172442

HEX #3b271c

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paragraph styling 63

Visual style guide are set of rules as defined by the magazine. They ensure brand consistency throughout any collateral produced – no matter who created it. In the style guides all the necessary information to create the magazine have been laid down with specifics where ever required.

Outlook Magazine Design Guidline Book


10 pt

6 pt ROBOTO LIGHT

10 pt 20 pt

G

3 pt space to start a new paragraph

HEADLINE FRANKLIN GOTHIC HEAVY 38pt/35

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SUBHEAD LINE ROBOTO BOLD 11 pt

BY LINE ROBOTO BOLD 8 pt

DROP CAP ROBOTO BLACK 48 pt

BODY COPY PROFORMA BOOK 8pt/10

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ROBOTO MEDIUM 11 pt

0.5 thikness line to be constant every where

20 pt

20 pt ROBOTO MEDIUM 7 pt


ROBOTO LIGHT 7 pt 0.5 thickness line

10 pt 10 pt 20 pt

3 pt space to start a new paragraph

10 pt


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final

mockups

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conclusion Diploma Project

This project contains many areas of expansion and in depth research. In the journey of these four month the amount of learning’s and facts I came across has no comparison. Working on a editorial project like this gave me chance to express my design sense in a structure. Knowledge is never less, throughout the project exploring, ideation, self reflection and again iterating became a circle. Taking with what I have learned, I would like to take this project further and complete all the section. My ability to express my ideas, thoughts have grown stronger each semester. I have struggled at many places to bring this project at the level it is. Since my guidelines are ready, I would like to see how they look when applied in the publication design.

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reflection Diploma Project

This reflection is based on my experience and learning during the final project of ADP programme in Srishti Institute of Art, Design and technology. The in-class discussions contributed to a greater understanding of working as a team and as competent. While writing this statement, I can critically examine my milestones in the development and how the experience gained from those moments is important for development as a designer. Personally this project was a great experience. It made me face my own fears, helped me explore my strengths and weaknesses. Today at the end I can make connections to what I started and the process I followed. Apart from this, this opportunity opened my mind, my thoughts and my way of understanding an editorial design.

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bibliography Diploma Project

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http://www.fusionplate.com/4013/37-free-psd-magazine-book-cover-brochure-mockups/ http://www.pentagram.com/#/home www.malikafavre.com/ https://www.facebook.com/turmericdesignstudio https://www.facebook.com/turmericdesign?fref=ts https://www.google.co.in/searchq=kriti+monga+design&tbm=isch&tbo=u&source=univ&sa=X&ved=0ahUKEwiwytq0y_vKAhWNCI4KHZaQC3MQsAQIPQ&biw=1459&bih=807#tbm=isch&q=turmeric+design http://www.shwetamalhotra.in/ABOUT http://www.masalachai.in/ https://amrutapatil.wordpress.com/ https://www.kultureshop.in/all-our-artists http://www.pentagram.com/#/projects/117812?our_works=none,all,rel http://www.pentagram.com/#/projects/118579?our_works=none,all,rel http://www.pentagram.com/#/projects/113456?our_works=none,all,rel http://www.pentagram.com/#/blog/60376 http://www.freepik.com/free-psd/magazine-mockup-with-photos_708316.htm http://www.pentagram.com/#/projects/109742 http://www.pentagram.com/#/projects/89589 https://nomdemode.com/blogs/projects/93265670-ndm-spotlight-shweta-malhotra http://www.hindustantimes.com/education/success-by-design/story-iobhNoGniMsHMwR5cYM8zH. http://guity-novin.blogspot.in/2013/03/a-history-of-magazine-covers.html http://layersmagazine.com/whats-the-right-typeface-for-text.html http://www.fonts.com/content/learning/fontology/level-1/type-anatomy/serif-vs-sans-for-text-in-print http://create.adobe.com/2013/12/1/eight_tips_for_combining_typefaces.html http://www.magazinedesigning.com/setting-body-text-for-comfortable-reading/ http://www.dtelepathy.com/blog/design/21-stunning-serif-fonts-websites http://fontsinuse.com/in/2/formats/11/magazines http://www.fastcodesign.com/3035381/how-the-new-yorker-finally-figured-out-the-internet-3-lessons-from-its-web-redesign http://www.magazinedesigning.com/magazine-columns/ http://www.magazinedesigning.com/magazine-page-elements/ https://in.pinterest.com/kjnewton/gridlayoutmagazine/ http://www.magazinedesigning.com/irving-penn-maestro-of-magazine-photography/ http://type.method.ac/# https://in.pinterest.com/pin/11751649004209493/ https://in.pinterest.com/pin/70720656625468694/ https://in.pinterest.com/pin/513128951269030294/ http://www.magazinedesigning.com/how-to-kern-type/ http://depositphotos.com/home.html

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https://www.behance.net/gallery/28045147/Updated-Magazine-Mock-Up-(FREE) http://www.cathyholfeld.com/TYPOGRAPHY-BOOK-DESIGN https://in.pinterest.com/explore/typography-magazine/ https://in.pinterest.com/pin/471189179743992376/ http://www.magazinedesigning.com/category/typography/ http://www.magazinedesigning.com/category/typography/ https://www.quora.com/What-is-the-best-typography-magazine http://www.baselinemagazine.com/ http://www.eyemagazine.com/feature/article/beyond-typography http://fontsinuse.com/in/2/formats/11/magazines http://www.typo.cz/en/ http://www.printmag.com/typography/ https://dribbble.com/shots/1755788-Outlook-Magazine-Logo https://www.smashingmagazine.com/2013/09/5-step-process-conducting-user-research/ http://www.indesignskills.com/tutorials/best-magazine-fonts/ http://www.printmag.com/imprint/26-articles-to-feed-your-love-of-typography/ https://www.scribd.com/doc/6709218/Outlook-Magazine-Details#scribd https://yougov.co.uk/news/2013/05/28/magazines-people-still-prefer-print/ http://www.bdtips.com/read/?article=why-do-people-read-books-newspaper-and-magazines http://www.pubexec.com/article/the-answer-question-why-do-we-read-magazines-could-help-heal-plagues-our-industry-408651/ http://www.howdesign.com/ https://www.good.is/ http://www.designishistory.com/1980/neville-brody/ http://outlookmag.org/tag/design/ http://www.thinkingwithtype.com/misc/Experimental_Typography.pdf https://www.google.co.in/search?q=magazine+section+grids&espv=2&biw=1366&bih=584&tbm=isch&tbo=u&source=univ http://viscomm-design-carla.blogspot.in/2012/09/week-5-influential-designers-in.html http://www.magazinedesigning.com/magazine-columns/ http://www.magazinedesigning.com/irving-penn-maestro-of-magazine-photography/ https://www.behance.net/gallery/11342629/Artworks-Journal-02-Editorial-Design-Art-Direction https://www.behance.net/gallery/16159413/Artworks-Journal-04-Editorial-Design-Art-Direction https://www.behance.net/gallery/11342629/Artworks-Journal-02-Editorial-Design-Art-Direction https://www.behance.net/gallery/25348677/Teft-Magasin https://in.pinterest.com/pin/233765036880383025/ https://in.pinterest.com/pin/70720656626686367/ http://graphicburger.com/ https://in.pinterest.com/pin/576320083543858632/

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DIPLOMA PROJECT 2016 rupali arora Outlook Magazine Design Guidline Book Srishti Instittute of Art, Design and Technology

Mentor: Mukund Vr | HOD: Kumkum Nadig | Printed at Kolor Kode | January- May 2016

Outlook Magazine Redesign Documentation  

Cluttered? Confusing? Old-fashioned? Boring? There are so many clichés about the look of a publication, and “redesign” is seen as their pana...

Outlook Magazine Redesign Documentation  

Cluttered? Confusing? Old-fashioned? Boring? There are so many clichés about the look of a publication, and “redesign” is seen as their pana...

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