Figure 1-7.—Picture Layout.
With leading lines and other elements in a layout,
you can suggest to the reader’s subconscious mind
that the eyes follow a desired course through the page.
For example, a photograph placed in the primary
optical area should have leading lines that direct the
eyes of the reader into a page or story. These lines
must not direct the reader’s attention away from or
out of the story.
DIRECTIONAL LINES OF FORCE
The two weakest points on the page are known as
fallow corners (upper right and lower left). An
element placed in the fallow comers must be strong
enough to attract and hold the eye of the reader.
Directional lines of force, whether real or implied,
are what causes the eye to move from the primary
optical area through both fallow comers and finally
end up at the terminal area.
When laying out pictures, you must locate the
directional lines of force and use them to build reader
interest. Then you must force the eye of the reader to
flow with the story. Lines of force may be
established by picture direction, or they may be
formed by other elements, such as a headline, a copy,
or the shape and size of a photograph. The most
important thing to remember is that the directional
lines of force should direct the reader from one area
to another. (See figure 1-7.)
COMPOSITION
Composition in layout may have several patterns.
For example, the elements of layout can be arranged
in the form of pyramids, inverted pyramids, Ss, or
reversed Ss.
When the layout consists of two or more pages,
you should establish unity between pages. This can
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