CONTENTS
1. Size and Length, Frequency
2. Nameplate
3. The Masthead
4. Division of Space
5. Type
6. Color
7. PaperTHE ANATOMY OF A CHURCH NEWSLETTER
DESIGN DECISIONS
The consistency of design and format distinguishes your newsletter from others
and helps build a strong image for you and your organization.
1. Size and Length, Frequency
The first decision you need to make concerns the size, length, and frequency of the newsletter. More than 80 percent of all newsletters are 8 1/2 x 11, finished size. They are printed on 11 x 17 paper and folded, or photocopied on letter-size paper and stapled. About 10 percent are printed on legal-size paper, which is 8 ~ x 14; about five percent are tabloids, 11 x 17; and the last five percent are "other ."
The 8 1/2 x 11 newsletter fits into in-baskets at work, fits on top of kitchen counters at home, and is easy to hold and read. It's also the least expensive option, since it is the standard size in business and home.
Most newsletters are between four and eight pages in length. Longer newsletters are acceptable, but you should keep the length
2. Nameplate
The nameplate is usually the first thing readers see on page one. Because it provides an identity and sets the tone for the rest of your publication, it's important to take a little extra time to develop an appropriate and effective design. It can include a graphic that best represents the church, its mission, or a picture of its people which is more appealing than a picture of a church building.
The nameplate should include the name of your publication and the date. It might also include the name of the church. Other information is called "clutter" and is best included elsewhere in the newsletter.
3. The Masthead
It is important that every newsletter have a masthead, because it lets the readers know who publishes the newsletter and how to get in touch with them should they want to.
There are six pieces of information which should be in the masthead:
- The name and mailing address of the publisher (including postal codes, phone numbers, email address and Internet information, as appropriate)
- Your name and title
- A list of the members of the editorial staff (if you have one)
- Copyright and reprint information
- Subscription information (or information on how to get on or off the mailing list)
- Any necessary disclaimers.
List in the masthead all the information readers need in order to get in touch with you. Whether it is simple or complex in design and content, always include a masthead in your newsletter.
4. Division of Space
Almost all newsletters use a columnar division of space, and almost all of them use a one-, two-, or three-column grid.
A one-column grid suggests a newsy and informational tone. It is also the easiest grid to design because you have the fewest design decisions to make.
A two-column grid is perceived by your readers as formal, conselVative, and technical. It is the most dignified and stately grid alternative and is an effective way to convey a sense of tradition.
A three-column grid creates the opposite image. It's perceived as relaxed, friendly, accessible, and casual. Use a three-column grid to convey a sense of neighborliness, imply ease of access, or suggest, "We're here to help."
White Space: Just how important is white space? Even though we may not want to hear it when end- of-production pressure is on, the answer is, "Important, Very Important!" In fact, white space may be the single mpst significant element in a layout. That may seem odd, considering white space is the absence oftext and graphics. But if you've ever seen a layout in which seemingly every available space is filled with text, photos, clip-art, boxes or other graphic elements, then you know how conspicuous the lack ofwhite space can be. Such designs are visually intimidating. Busy and cluttered, they discourage reading.
Proper use of white space, on the other hand, encourages reading by giving your pages an open, inviting look, breaking the contents into manageable, "bite-size" sections. Since white space draws attention to other items on the page, it's also the perfect device for showcasing a beautiful photo or another exceptional graphic element.
To use white space appropriately, it's important to understand that it isn't always white. A more accurate, and perhaps easier, approach is to think in terms of positive and negative space. Your text and graphics are the positive space and the blank areas are the negative. You should strive to balance the positive space and negative space in your layout. A reliable way to judge whether or not you have enough white space on a page or spread is to hold the layout at arm's length and squint at it. If it looks dark and cramped, you need more white space. If it looks open and inviting, you probably have the balance right.
5. Type
Type is the most important design element, because it directly affects the newsletter's
readability .Adhering to the rules of readability is important, but you do not have to follow them all rigidly .
Remember: Every time you break a rule, you are making your newsletter a little less readable. The topic of readability has been thoroughly researched. Follow the rules and your newsletter will be readable.
- There are two broad categories of type: serif and sans serif
Letters in a serif font seem to be standing on platforms, and some parts of the letters are thinner than other parts.
Letters in a sans serif font have no thick or thin parts and there are no platforms.
People read sans serif type faster than they read serif, but with less accuracy because
the hooks and feet of a serif font serife as a kind of "picket fence" that guides the eye.
A serif font should be used in body text, because its picket fence effect makes it easy to read. When someone makes the commitment to read the body of the text, they need the enhanced readability that comes from a serif font.
Your headline fonts should be sans serif. They need to be read quickly and easily. Whatever you select for your nameplate or your standing heads doesn't count, as the nameplate and standing heads are graphic elements.
Nameplate or Standing Heads: Select standing head fonts to create a strong image.
- B. Point Size: Type is measured by point size, as it has been since type was set by hand. One point is equal to 1m of an inch. Body text should be set between 9 and 12 points, but keep in mind that fonts are individually designed elements, the same copy set in the same size in different fonts will take up different amounts of space.
A good choice for general audiences is 11 or 12 points. People who read well and see
well can read 10-point type. But if the majority of your readers are over 35, you should stick with 11/12 point type.
Never use anything smaller than 9 points, no matter how well your readers read and see. The only exceptions to this rule would be when you have so much extra copy that even after adjusting the leading, alleys, margins and gutters, there is not enough space to print it, or when you want to convey a sense of depth of content or technical sophistication.
A church newsletter broke the nine-point rule for another reason. The newsletter was sent to the entire congregation, but the singles group wanted to sponsor a series of events targeting only those under age 35. Concerned about issues of age discrimination, the group ran the articles announcing the singles events in the newsletter set in 8-point type, which could be easily deciphered only by the age group they were targeting. (I am not recommending this approach as it is very age discriminating).
Sub-headings should be two to four points larger than the body text. Headlines need to be at least twice the size of the sub-heads. Example: If you are using a 12-point body type, the subheads should be 14-point and the headings should be 28-points.
Don't be inconsistent in the size of body type within an article or within your newsletter. Point size is sometimes reduced for copyfitting purposes, but there are better ways to handle this problem.
- Margins: Decisions about right margin justification should be based on the image you want to create. Ajustified right margin seems formal and conservative where a ragged margin seems friendly I relaxed and casual. However, if you have a lot of body content you may chose to use a right-justified margin. Be sure that if you do use a right-justified margin you leave enough white space in other places. Otherwise your newsletter will not read easily.
Mixing and matching these two elements is rarely a good idea. Choose one and stick to that style for the entire newsletter. Start out with a ragged right margin and only make it justified if you have a problem with space.
- Indent paragraphs in your newsletter for maximum readability. An indentation offour to five characters increases readability by seven percent. If space allows it, add a little extra space between paragraphs as well.
- Italics are hard to read. You should assume that ten words or more set in italics won't be read. So use sparingly and only to emphasize a word or two, or to highlight a
certain category of content.
- Headlines: Setting headlines in all caps conveys a powerful image, but it is hard to
read. Be cautious, also, about using decorative, ornate, or specialty fonts in either body text or headlines. They can be used effectively in standing heads or to highlight a few
key words. For example, for an upcoming "Renaissance Fair" you could set the R and F of those two words in a Gothic face such as Percival for an interesting and dramatic effect.
- Graphic Devices: Graphic devices are symbols that signal things to your reader such as:
- Drop caps
- A rule
- Reversed text
- Tinted backgrounds, graduated screens.
- Boxes
They serve multiple purposes:
- to help organize the layout,
- keep the content accessible; and
- help readers keep their place.
In a newsletter, it is best to limit yourself to two or three graphic devices and then to apply them consistently throughout the newsletter, and in every issue of the newsletter.
Keep the device simple. Too many graphic devices look fussy and may distract the reader . Remember that simplicity is a virtue in design.
When using boxes, please limit their use to one per page. Two many boxes make the newsletter look cluttered and makes it harder to read.
- Graphic designs are powerful - so powerful that it is better to under design rather than over design. Keep your design simple by choosing no more than three graphic devices and using them consistently throughout the newsletter
6. Color
There is no right or wrong color, so long as it is consistent. If you choose to change the color with each issue, that's okay, because change is expected and therefore consistent with the principle ofstatic design. just as if you choose one color and stick to it, that is expected and is consistent.
Most newsletters are one - or two-color publication. Your readers want to read black on white, or near black on near white, so be careful before you get too wild with color. In order to succeed, your newsletter must be read, and therefore your use of color should never interfere with readability.
On the other hand, research does clearly indicate that color gets attention and helps create an image.
7. Paper
Paper is very expensive. Decisions about paper are complex because there are many variables to consider:
- Opacity,
- Runnability
- Basis weight
Since the primary objective for any newsletter is readability, glossy paper is not an appropriate choice. If you have no photos in your newsletter, the decision becomes easier: use uncoated paper such as a 60- or 70-pound offset. If, however, you do run photographs, they will not produce well on uncoated paper. Choose a coated paper with a matte or dull finish so that the photos are crisp but the text is easy to read.
Color of paper is another decision you need to make. Remember READABlLITY.
The easiest to read is white paper with black ink, the second is yellow paper with black ink.
- Articles too long. A reader's comprehension decreases as word count increases.
As a general rule, keep sentences under 15-20 words, paragraphs under four-five
sentences and articles under 200 words (two paragraphs).
- Failure to proofread. Grammar and spell checkers do not recognize all
spelling, grammar and punctuation mistakes. Nor do they pick up errors in
names and dates. Review with care and have someone else proofread your newsletter.
- Failure to use journalistic style. Most journalists write in an inverted
pyramid style, beginning with the most important information and working
down to the least. Be sure to answer the questions who, what, where, why
and how early in the article. Capture reader interest by including answers
to the question, "What does this mean to me?" (The reader).
- Lack of personal appeal. Church members like to know what's happening
with other church members. Keep your articles people-oriented where possible.
- Failure to convey a sense of congregation. It wouldn't be very exciting
or interesting if there
were only one or two voices in our church choir each week, would it? The same is true of our newsletters. Even if articles are run without bylines, readers can tell if only one or two writers are contributing. Let the newsletter convey the personality of the congregation by inviting articles from children, youth, lay speakers and other church members.
- Use of passive voice. Active voice, with the subject as the actor, is direct, vivid and interesting - The ushers collected the offering, for example. Passive voice, where the subject is acted upon, slows the reader down - The offering was collected by the ushers. While the passive voice has its uses, be sure that the majority of your sentences are active.
Clip Art
Clip art can make or break your newsletter. How you use clip-art in your newsletter can determine whether or not your articles get read. You want to use it effectively, which often means using it sparingly. In other words, don't overuse it.
We've all seen newsletter jam-packed with pictures the size of postage stamps. Instead of helping your eye move from stoty to stoty, this approach chops up the newsletter making it more difficult to read. When all the art is the same size, we can't tell which article to read first, because it all competes for our attention equally.
Lackluster pages turn readers off and increase the chance that your newsletter will be set aside for more attractive and readable material. Transforming dull pages into compelling ones is easy if you follow a few basic guidelines:
1. Use one -or at most two -large images per page. Evety page needs a dominant element, a focal point to catch and keep the reader's attention. Balance the large graphic element(s) with one or two smaller, subordinate images on the page.
2. Match the size of the clip-art to the importance of the article. Of course you want readers to see the announcement about your upcoming spaghetti dinner, but a news stoty recapping your entire fund-raising strategy contains more important information. It deserves a more striking graphic treatment.
3. Don't forget the facing page. Most pages are one-half of a two-page spread. Make sure the images on one page don't compete with those on the other page. Consider the entire spread in your design.
Six-Quick Tips for using Clip-Art
Photographs
Another category of art appropriate for newsletters is photographs. They are extremely effective because they add visual interest and serve to illustrate and explain the copy. It creates empathy and helps readers forge a connection to the newsletter. It also pleases people to see themselves in print. Be sure that your method of copying the newsletter lends itself to copying photographs clearly or they will not be effective.
Before you do anything else, consider the message of the stoty you want to illustrate and how much room your layout has for photos. Then examine your supply of existing photos. look for those that best enhance or complement your text. From those, choose the one that is the best technically - focus, exposure, composition, etc.
Creative cropping will add to the impact of the photo(s) you have chosen. Crop all extraneous visual information from the photo, but don't think of the technique merely as a band-aid for bad images. It is a technique that will strengthen the message of any photo.
Conclusion
Once you make these decisions, you will have created a design unique to your newsletter. If you make your decisions thoughtfully, your design will not only be unique, but will support the content
and enhance the probability of your newsletter achieving its objective.Changing the Newsletter
Change your newsletter's design only when you have a good reason -and designer's boredom is never a good reason. Some reasons to change would be:
- You have a new minister who would like a new look
- If your church or organization shifts it's strategy or changes its objectives
- If you decide that your newsletter is not readable enough for your audience.
If you want to be sure a potential redesign is on the mark, consider making incremental changes and building in tests at every step of the process. Change is always a risk. When a newsletter looks the same issue after issue, it becomes a familiar friend to your readers. If it suddenly looks sharply different -it's no longer a familiar friend. Make sure that change is necessary and then stick with the change.
If you decide that change is needed, go to the eight static design decisions and revieweach. If you change just a couple of them, your newsletter will look "the same, but different."THE ANATOMY OF A CHURCH NEWSLETTER
You can't work on producing church publications very long before you encounter a number of unfamiliar words - or familiar words used in unfamiliar ways. The world of publishing has its own vocabulary, and you can benefit by knowing the jargon. Also, some of these terms suggest techniques you can use to make your layouts look better.
- Nameplate: Displays your publication's name in graphic design and often includes an identif)ting subtitle and logo. Sometimes mistakenly called a masthead.
- Subheads: Used to break up the text and to identify the subject of the subdivision that follows it.
- Scholar's margin: Wider than other margins on the page and used for displaying artwork, subheads, photos, captions or boxed material.
- Table of Contents: Lets readers know at a glance what is inside the issue.
- Half-tone: A photo that has been converted to a pattern of dots for printing purposes.
- Pull-quote: A sentence or phrase copied from the article it accompanies. It serves as a teaser to draw readers into the article.
- Alley: Vertical white space separating columns of text. Also called a gutter.
- Deck: A single line of headline type. Headlines are often stacked into two or three decks. This example is a three-deck head.
- Lead-in: The beginning text of an article set in larger type to capture the attention of readers and draw them into the article.
- Leading: The amount of space between lines of type.
- Masthead: Usts the publication's staff, its address, phone number, email address, etc. and other publishing information.
- Standing Head: A departmental title or headline that appears unchanged and in the same location of each issue.
- Caption: Identifies or supplements a graphic or photo, is often set in italics or bold version of the font used in the text.
Books
How To Create High-Impact Newsletters. Cleland, Jane K. Career Track Publications, Boulder, CO. 1996.
The Congregational Handbook. Peers, Lawrence X. Unitarian Universalist Association, Boston, MA, Third Edition, 1995. p. 217-219.
The NEWSLETTER Newsletter. A newsletter for church newsletter editors from Communication Resources, PO Box 2625, N. Canton, OH 44720.
Look Great In Print - Desktop Publishing Techniques That Work, Success Systems, Inc.,
13004 Pratt Road, Lee's Summit, MO 64086.Other Books Available
Design for Desktop Publishing. Miles, John. Chronicle Books. 1987.
Editing Your Newsletter. Beach, Mark. Coast to Coast Books. Portland, OR. 1988.
Quick and Easy Newsletters on a Shoestring Budget. Floyd, Elaine. EF Communications. St. Louis. 1994.
Outstanding Newsletter Designs. Partisan, Polly, et al. Coast to Coast Books, Portland, OR. 1990.
The Newsletter Source book. Beach, Mark. North Light Books. Portland, OR 1988.Web Sites
- Creating Better Newsletters: http://www.ces.ncsu.edu/depts/it/itaids/online/cbn/
- Put It In Writing: www.put-it-in-writing.com
- Cartoons: www.glasbergen.com
Clip Art Resources
"Click Art, Graphics Workshop" by Broderbund, 500 Redwood Blvd, Novato, CA 94948-6121 - 415-382-4400
"Chalice Clip Art" by Uni-Uniques, PO Box 101 , Webster, NY 14580 -716-383-4822
(Can be found at the Uni-Uniques display in the Exhibit Hall during General Assembly at "That Booth with Great Stuff')
The Newsletter Newsletter by Communication Resources, 4150 Belden Village St., 4th Floor 1 Canton, OH 44718. Web site: www.NewsletterNewsletter.com. Monthly subscription. Art work includes standard Christian art work plus much, much more (pick and choose). Plus a newsletter to give you tips on improving your newsletter .
Check your local Office Supply stores for inexpensive clip art packages.
Evaluate your newsletter
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Everything we do in the church is strengthened by periodic evaluation. The newsletters we publish are no exception. Use the list below to evaluate your own newsletter. You may want to
evaluate several issues to get a |
Try to be as objective as you can. You may wish to assign the evaluation to an existing committee or recruit some individuals who will be kind, yet honest. Begin to improve those areas in which you rank a 2 or lower. |  |
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