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 *pers like the New York Sun, the New York ''Evening Post, the Chicago Daily News'', and the Springfield (Mass.) Republican, follow a very simple plan of placing large heads at the top of alternate columns, and of having small heads on all the other stories on the front page, so that the four top heads in the first, third, fifth, and last columns are the only ones that stand out prominently. Other papers, like the Chicago Tribune, put a three-column cartoon in the fourth, fifth, and sixth columns, an arrangement which makes possible large heads in the first, third and last columns and somewhat smaller heads of several decks in the fourth and sixth columns under the cartoon. Still other papers, keeping to the general scheme of alternate columns for large heads, use one-, two-, three-, or four-column cuts of people, places, or events that figure in the news, at the top of the columns and then use slightly smaller heads under these cuts. Two-column heads in the first and second columns are often balanced with two-column heads in the sixth and seventh columns. Some newspapers have practically abandoned the symmetrical arrangement of the front page, and spread headlines in black, red, or green ink, and cuts over the front page in a way that seems to have no other purpose than to produce as bizarre an effect as possible.

Principle of Contrast. The two general principles that underlie the make-up are those of contrast and symmetry. Large heads are alternated at the top of the column with smaller heads so that the large heads will stand out in contrast with the other columns of less prominence. Two or more large heads side by side at the top of the columns do not stand out with as marked effect as when they alternate with smaller heads or no heads at all at the tops of the columns. The same is true when cuts or cartoons serve to furnish the con