Join Nigel French for an in-depth discussion in this video Balancing consistency and variation, part of InDesign: Layout and Composition.
As I mentioned in the previous movie, we need to balance consistency and variation. I'll begin with consistency. I'm going to move now to the second page in the document which contains the Raw, unformatted text. I currently have my hidden characters shown so that we can see where the paragraph marks. And the right indent tabs occur. If you don't see those, that's where you can turn them off. I'll select all of this text, and apply the body style to it.
The style is nine points with a leading value of 11 points. All the type in the frame, with the exception of the department heads, will be nine points. Even though there are four distinct variations at this size. Let me find that, just now switch back to page one. Those variations are the article head, the body text, the number and the cover story and special report's logs. To achieve consistency and variation, it helps to use a typeface family with a variety of whites.
I'm using Museo Sans Condensed, available on Typekit. If you don't have access to Typekit or to this typeface family and you're following along. You can use Mariette Pro, which is similar. When combining weights, I'm making sure there's at least two weights difference. Museo Sans uses numbers for its weights, rather than the more conventional, regular, semibold, bold. I'm combining 300 for the body text with 700 for the bold. Combing 500 with 700 for example, wouldn't look different enough.
For text and the page numbers, as well as being differentiated by weight, are differentiated by spacing. The page numbers are flushed to the right edge of the frame with a right indent tab. The number automatically become bold and flush right when the style is applied. Because the body style is a nested style. Let's just take a look at that. We see that no character style is applied up to a right indent tab. Now a right indent tab is not found on this list, so you have to know that the code for it.
Is this carrot Y. Thereafter the bold character style is applied through one word, and that's what takes care of the page number. Having applied the body style to everything I can now apply the exceptions. The department head is differentiated in four ways, by size, by weight, by casing and by the addition of a rule above. I'm using hairline rules throughout to subtly break up the text. The cover story and special report heads clearly stand out by reversing from solid bars, which are incorporated as paragraph rules into the style definition.
As I apply the styles, especially the article style, the text quickly takes on a structure. We don't have to change much to clearly achieve visual distinction. With the article style, there are two things that are different, the weight and the paragraph rule above. But the size and the leading are the same as the body text. It takes awhile to set up these paragraph styles, but once they're established, it's quick and easy to bring hierarchy and structure to your document. If you'd like a refresher on paragraph and character styles please visit my InDesign Typography course here on lynda.com.
In the next movie we'll see how to introduce more variation on a theme. When applying the formats to the other text elements of the page.
- Creating visual relationships with alignment and repetition
- Exploring different configurations
- Using scaling and white space
- Organizing a page with rules
- Working with flexible column grids
- Establishing hierarchies
- Working with symmetry and asymmetry
- Integrating text and images in your layouts