This second semester working in print design for To An Unknown God is proving to be more enjoyable than last. Last semester, we came out with a design for the first issue. Individually the spreads looked classy, but after the fifth article that looked almost the same, and after the headline that absolutely had to be cut to fit on one line, and after the awkward look of one of the article headlines, something had to change for the next issue.
So we now have a more flexible grid and a less restrictive template that affords freedom with headlines – freedom to (gasp!) exceed one line – for every article.
Although submissions are still in draft mode, changes in the way the publication is looking are obvious. We also have a page spread of poetry that looks very distinct from a spread of an essay. Headlines vary according to the content demands of each article, but without being a circus assortment of typefaces with no coherence: the internal pages in the InDesign file have thus far used only the variations of Arno, Myriad and Chaparral.
At the same time as variation, then, restraint is still there. Commitment to restraint is helped by the financial necessity of not printing in full colour (there is funding enough only for black ink): for this magazine I prefer no more than black and sepia ink even if we get more money. I like a tone that eschews garish colours in exchange for the simplicity of – well, for now, only black and white. A far cry from my primary school days, when I acceded to whims with abandon.
I’m anticipating seeing this issue out in print as pleasing to the eye as Solomon’s words to the ear:
Besides being wise, the Preacher also taught the people knowledge, weighing and studying and arranging many proverbs with great care. The Preacher sought to find words of delight, and uprightly he wrote words of truth. (Ecc. 12.9–10)
May the Lord bless the arrangement of words to delight the soul.