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Remember:

You'll need to start by converting all your images to CMYK colour mode in Photoshop. Save them as flat tiff files at a minimum of 200dpi. You can only place them at 100% in InDesign.

You can do a full-sized test output in N206 (The Agency). I'll want to see your progress.

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Sources:

Information for this page was gleaned from: about.com and The Newsletter Sourcebook

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You will submit thumbnails like these below with your project.

Newsletter Design

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Required InDesign Skills:

• Place page spreads in order 4-1 and 2-3
• Design on a grid
• Use of Master Pages: Place all repeating elements on Master Pages.
• Style Sheets for titles, sub-titles and body copy (all text must be associated to a Style Sheet)
• Typesetting: Proper hyphenation and type treatment, as taught by Andrea
• Apply text wraps around images and other objects.
• Columns in text frames. Don't make separate text frames for columns. Put columns in your frames instead.
• Use coloured text wisely. Limit the number of colours you use in your document.
• Caption text for photos (you'll have to make some up.)
• Go back to Photoshop once you are done your newsletter to make all your images the same side as in InDesign.
• Use of InDesign Layers. You can use layers to organize your work.
• Import raster and vector graphics. You can place photos. You can either place vector art as .eps files or copy and paste them from Illustrator.
• You need to have at least one image with Photoshop clipping path
• All images are CMYK tiff files at a minimum of 200dpi. Of course, except for images with clipping paths, which would be EPS files.
• InDesign graphics (key-lines, frames, rules, etc...)
• If your content touches the edge of the pages, make it exceed the page edge by 1/8th inch.

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We will design a newsletter in InDesign. Many of the skills are similar to those in the "Volkswagen Layout" project. The big difference is that this document will have multiple pages. You'll need to create a new document, with multiple pages.

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Nameplates

Information: name, subtitle, date, edition.

Impact: colour, size, typeface

Simplicity: Don't make it too complex. The message should get across quickly and clearly.

Image: The image should suit the message being conveyed. Remember to repeat your theme throughout the publication.

Building Pages

Build a grid with margins. You will need to flow your text into text frames with columns which fit your grid. Some articles will require "story jumps" which overflow their pages.

You will also create consistent titles. You could have two story importance levels. More important stories will have more prominent titles, while others will figure less obvious.

Type

Select only two type families. One serif and one sans.

Colour

Your newsletter will be in full colour. You still need a colour scheme. You will be allowed to use full colour photos. However, all other art must only include two colours.

Graphics

You may create graphics such as frames and rules to help delineate the different regions on the page.

Photos & Illustrations

I will provide graphics to import into your InDesign document. If you provide your own photographs, they must be professional looking. I suggest iStockPhoto. You will create a clipping path with one of your images. Your photos must be a minimum of 200 dpi. They need to be placed at 100% in InDesign.

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Consistency, Conservation, Contrast

The first lesson of good newsletter design is to practice the 3Cs: Consistency, Conservation, Contrast. As with any design, these are not hard and fast rules. There is rarely only one way to do something. But follow these guidelines and you can turn a bad or so-so newsletter design into a more eye-pleasing publication.

Consistency organizes and unifies

A newsletter doesn't have to be boring. It can have little surprises pop up. But consistency aids the reader by organizing your words and eliminating distracting clutter. Consistency unifies the many different elements -- headlines, text, photos, captions, short stories, long stories, fillers, etc. -- and doesn't distract the reader from the message.

So what would be inconsistent?

• Different margins on each page.
• A different typestyle for every headline.
• Not using the same basic layout on each page or changing the 'look' every issue.
• Graphics that don't relate to the newsletter contents.

How do you maintain consistency?

• Design around a grid.
• Use templates and styles.
• Use repeating elements (ex. the same header on each inside page; the same ending on all articles; the same standing header for all recurring columns).

Cut the clutter, let the message shine through

A common mistake of new designers is to overload documents with fancy fonts and clip art in the mistaken belief that it adds interest and makes it less boring. Use fonts and artwork only to lead the reader through your publication and illustrate your words.

Conserve valuable newsletter real estate by not filling it up with unnecessary and distracting visual elements. Conserve your readers time and eyesight by choosing type for its readability not its 'gee whizziness.'

How do you cut the clutter and practice conservation in design?

• Use no more than three typefaces.
• Use frames and boxes sparingly.
• Limit clip art, photos, graphic accents to one or two per page.

Mix big and small, black and white...

Once you've found consistency and eliminated clutter, it is contrast that provides the visual interest for your newsletter. The key is to create true contrast not conflict.

A headline set in the same typeface as the body text has no contrast. Make the headline 2 points larger and it just looks timid -- not sure if it's a headline or not. Make it bold, make it double the point size of the body text, change the typestyle, and you have contrast. Now it looks like a headline. Now it grabs your attention, says read me, and entices you to read the rest of the story.

Achieve contrast through size, alignment, colour, shape, etc. Don't be timid. Type reversed out of a pale blue box has no contrast. Make the box dark blue with that white type and things start to pop.

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