For example, the title should be prominent have some punch to it to grab the reader. This isn't a matter of having some predetermined formula, yet as we have said, there must be a hierarchy in the appearance. Your job as designer is to determine these various attributes. What you will find is that each of these categories has certain typographic characteristics. If you look at various publications at your disposal, you should see many of these in action. While it's not so likely to use all of these in any given design, typically a number of these will be used. Here we are not going to make a case for some particular pattern or choices, but rather discuss the various choices you have available to you within Scribus.īelow is a list of various choices which might occur in publications. This doesn't mean there is a static structure that you use every time, but the designer nonetheless creates some sort of order in the way that the text is handled and presented. This is why there is a certain hierarchy to text.

Loss of interest means you have lost the message you were trying to transmit.

If organization is lacking, if there is no cohesive idea to the layout, the reader has trouble grasping the content and quickly loses interest. First, you wish to capture the eye of your reader, then guide him through the page in an organized way. Text as a processĬonsider that page layout is a carefully arranged display or staging of your content. The ability to handle advanced features of typography is an absolute essential requirement of professional-quality DTP, and an area where Scribus excels.įirst of all, we would point out that you will find an array of settings available in the Properties palette, and some additional features elsewhere, such as in the Styles Editor, and you should consider these complementary to each other for your needs.

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