Good Magazine Page Layout Design Tips: White Space (Interview)
I decided to make a podcast about the 3 most common mistakes in magazine design and how to solve them. In order to find these mistakes and give you more value, we needed to find somebody who is a real geek in magazine layout design and typography, someone with an almost scientific approach. Luckily, we found Eugen. He’s from Luxemburg and he’s just the person we were looking for.
Here’s what you can expect: practical insights into common magazine design mistakes, expert advice on how to fix them, and real-world examples to help you improve your own layouts.
Feel free to read at your pace or watch the YouTube video just below. And be sure to grab your free downloads at the end of the page afterward!
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Vee: Eugen, it’s nice to have you here. How are you? Tell use a bit about yourself!
Eugen: Hello everyone! I’m Eugen Coman. I’ve been an editorial designer since 2007 or so. My life and career path in the creative industry have deeply influenced my approach to magazine layout design, shaping my priorities and design choices over the years. I first started working in this field in a small local publishing house where I was creating layouts in Microsoft Word for student books. Soon enough, I discovered that Word simply wasn’t flexible enough to deal with issues like orphans and widows, so I began to research workarounds. It was during this time that I bumped into Lynda.com and some very passionate trainers that caused me to fall in love with InDesign and the field of typography as an art form, one that serves to ease a reader’s experience with copy. I learned and worked with InDesign daily until 2014, when I decided to take the Adobe certification exam in order to officially become an expert. I succeeded in the first shot. Since then, I have been working with local magazines. My job is generally to redesign these magazines from scratch, reworking what the ex-designers created, including typography issues, in order to make them easier to read.
Vee: Cool. I can totally relate with you here on fixing the messes other designers leave. I’ve seen so many various niche and general magazine designs that suffer from bad design. It’s quite shocking to me that even in 2018, when designers have so many resources and information available to them, that there are still so many poor design decisions being made. Why do you think this happens, Eugen?
Introduction to Magazine Design
Magazine design is at the heart of every successful publication, shaping how stories are told and how readers experience each page. Creating engaging magazine layouts and magazine spreads involves more than just arranging text and images—it’s about crafting a visual journey that draws the reader in and keeps them turning the pages. Every element, from bold headlines to carefully chosen body text and striking images, plays a role in building a cohesive style that reflects the magazine’s unique voice.
When designing a magazine, attention to detail is crucial. The way you position images, the flow of body text, and the use of white space all contribute to the overall readability and appeal of the publication. A well-designed magazine layout not only makes the content more accessible but also enhances the story you want to tell. Whether you’re creating a feature article, a cover story, or a photo spread, understanding the fundamentals of magazine design will help you create layouts that are both visually stunning and easy to read. Ultimately, great magazine design is about balancing all the elements—text, images, white space, and style—to create a publication that stands out and connects with its audience.
Principles of Good Design
The foundation of any effective magazine layout lies in applying solid design principles. Balance ensures that every page feels stable and harmonious, whether you’re working with a single image or a complex magazine spread. Contrast brings energy to your layouts, using differences in color, size, or texture to highlight key elements and guide the reader’s eye. Alignment is essential for creating a clean, organized look—using a grid system helps keep headlines, body text, and images consistently positioned across the publication.
Proximity is another key principle, grouping related elements together so readers can easily follow the story. For example, captions should be close to their images, and pull quotes should stand out but remain connected to the body copy. A great magazine layout example will showcase these principles in action, with a consistent style that runs through every page and spread. Don’t underestimate the power of white space, either—it’s not just empty background, but a vital design tool that gives your layouts room to breathe and makes your content more engaging. By mastering these principles, you’ll be able to create magazine layouts and magazine spreads that are visually appealing, easy to navigate, and memorable for your readers.
Page layout mistakes
Eugen: I think those designers are missing the big picture when it comes to page layout design. To make a good publication, you need to take into consideration many aspects before you can place any content on the page, including core layout features such as how many columns you’ll need per page, what margins and alignment will guide the content, how imagery will sit with the copy, what aspect ratio is required, or what typeface will be most legible given the size and positioning of the copy.
Vee: Do you think there are universal core principles on how to make a really good print magazine design? What are the top 3 mistakes that you, as a professional magazine designer, see today?
Eugen: I see quite a lot of flaws, lately. For instance, I see the use of typefaces that weren’t designed for body copy being used for the body, which is just wrong in magazine layout. Then there’s the generally poor understanding of how to use white space to make content more appealing and readable. I should also mention that inconsistent alignment and ignoring grid structure are frequent issues. Sometimes, it turns into a terrible layout that requires a full redesign to fix all the mistakes.
Whitespace and Negative Space
Vee: White space! I think this is the biggest one! So many people are afraid of white space. I think the biggest question is how to use white space so that the design looks crisp and professional instead of empty and unfurnished.
Eugen: If we could draw a parallel between interior design and layout design, white space is very similar to the empty space that an interior designer uses to make our homes look ample and spacious. It’s more likely that adding more white space will improve a design than adding more elements to clutter the page. White space doesn’t refer to a space that is literally white, but to any space that a designer chooses to leave empty as part of a conscious design decision. This empty area around content and along the edges improves structure and readability. I believe that white space is a real challenge for any beginner designer. They’ll feel almost compelled to fill any empty space on the page with extra elements. White space is essential for organizing and separating different blocks of content, helping break up big blocks of text, images, or other design elements, making the magazine layout more readable and visually balanced.
Vee: Actually, we had a client recently who was so afraid of white space that he insisted we fill all of it. Every space we left open, he commented and insisted that we fill it with something. The end result was overly busy and barely readable. This is why I love talking about this and, hopefully, educating people. So now that we’ve talked about what white space is, can you tell us about the different types?
“White space can be divided into micro and macro space.”
Eugen: White space can be divided into micro and macro space. Micro spacing refers to letters and word spacing, leading, gutters, and text indents. Macro spacing, on the other hand, includes page margins, the space between paragraphs, white columns, the space around graphics, and other areas of negative space around major elements. Proper use of white space is essential for improving the reading experience, as it helps guide the reader’s eye and makes the content more accessible.
Vee: Okay, let’s say somebody wants to fix everything related to white space in their magazine: are there magic numbers they can use? I understand that numbers aren’t everything and you need to feel the layout, but can numbers help when starting with the basics? Eugen: Unfortunately, there is no one size fits all. I would be more than happy if there were some magic numbers that I could always use to achieve good results, but that’s not the case, whether you’re working with page margins, paragraph spacing, or a single column layout where open space supports focus and readability.
Typography white space
I know that there are some common values that we often hear for body copy, like 10/12 (10 pt on 12 pt) for font. But oftentimes those are based on auto leading, which by default is 120% of the type size. It can work well for some typefaces, but that’s definitely not the way the professional designers go. If, for example, in your paragraph, there’s just one character that’s larger than the rest, auto leading will base that 120% off of that larger value, rather than the smaller characters that make up the majority of the paragraph. [Leading is the space between lines of type, i.e. the distance from one baseline to the next.] Loose leading will make the page layout feel too relaxed, while tight leading will increase the type density, making the content feel more authoritative. However, going too tight or too loose with your leading values will compromise text readability. Fine adjustments in leading and spacing often make the difference between readable and strained body copy. Achieving good results in typography is impossible if the values are extreme.
Typography is the art where the operative word is medium.
Vee: Okay, so what’s the impact of grid layout when it comes to body copy?
Eugen: Leading should be synchronized with the baseline grid of the page. For example, if the designer decides to use a baseline grid that increments every 12 points, the leading of the body copy should also be 12 points. Then there’s the space between columns (the gutter), which should either have the same value as the leading or a multiple of it (i.e. if 12 points of leading, then maybe 18 points for the gutter). And, again, remember that extreme gutter values can break up the readability. Gutter sizes that are too tight can cause the reader to read across columns, while gutters that are too loose compromise the visual relationship between columns, causing the reader to interpret them as being from different stories.
Vee: It turns, poorly implemented white space can mess up content really badly. To quickly summarize so far, you’re saying weak white space design can ruin even great content. Please, keep going, this is amazing.
Eugen: Typography is also the space between letters and words. These space values ought to be consistent, or at least vary so little that the naked eye can’t distinguish the differences.This concept helps to increase text readability, especially if your paragraph is justified aligned. In InDesign, the adjustments for word and letter spacing are made in the justification dialog box, and letter spacing doesn’t take into consideration the shape of the letterforms. The body matter must remain easy to read regardless of typographic adjustments.
Page layout and Letter spacing
What is considered good letter spacing?
A good rule of thumb is to try to achieve a space that’s equivalent to the width of the letter “i,” which is the narrowest letter in the alphabet. This is a perfectly balanced amount of space: not so close that it’s going to compromise readability, and not so widely spaced that your words begin to look broken up and disassociated. The space between words should also be as even as possible across the line, and smaller than the leading value, so as to discourage the reader from moving their eyes from the top to the bottom of the column.
Paragraph layout rules
Vee: What about paragraphs? What’s the best method to differentiate them?
Eugen: A common method to differentiate paragraphs is to add a first line indent. It also plays an important role in text’s readability. It signals the end of one paragraph and the beginning of a new one. Psychologically, it serves as a visual pause that makes the block of text look less intimidating to read. A common method is to make it the same size as the typeface. So for example, if the point size of your body copy is 10 points, the width of the first line indent is also 10 points.
Vee: Thank you, so many important details to keep in mind. I guess this covers micro spacing. What about macro spacing? This creates the overall feeling, right? You mentioned that macro spacing covers page margins, spaces between paragraphs, white columns, and the space around graphics.
Eugen: White space at a macro level makes the layout more appealing. White space is the space between the major elements of a page layout and it can be used functionally. Visually, it establishes the hierarchy of the page’s elements and makes it clear which elements belong together and which are separate.
Vee: So what’s the right size for margins and why do we need them?
Leading
Eugen: A common method to differentiate paragraphs is to add a first line indent. It also plays an important role in text’s readability. It signals the end of one paragraph and the beginning of a new one. Psychologically, it serves as a visual pause that makes the block of text look less intimidating to read. A common method is to make it the same size as the typeface. So for example, if the point size of your body copy is 10 points, the width of the first line indent is also 10 points.
Vee: Thank you, so many important details to keep in mind. I guess this covers micro spacing. What about macro spacing? This creates the overall feeling, right? You mentioned that macro spacing covers page margins, spaces between paragraphs, white columns, and the space around graphics.
Eugen: White space at a macro level makes the layout more appealing. White space is the space between the major elements of a page layout and it can be used functionally. Visually, it establishes the hierarchy of the page’s elements and makes it clear which elements belong together and which are separate.
Vee: So what’s the right size for margins and why do we need them?
Page layout margins
Eugen: Historically, margins were places where the reader could write their notes. Nowadays, however, they simply provide a place for the thumbs to hold the publication without covering the content. They’re also the white space that frames the page, separates the content from the edge of the paper, and define the live area (i.e. the space where most of our content goes). Even a familiar layout feels more polished when the margin proportions are handled consistently. Margins are not always symmetrical. Usually the bottom margin is bigger because it is used to place additional information useful for the reader’s navigation, such as the folio and page number, but they can also accommodate other type elements, like drop caps, short captions, and possibly small pictures. If this technique is used sparingly, it can help prevent the layout from looking boxy. It also helps to have a larger bottom margin so that your pages don’t take on a bottom heavy look. The inner margin it is the smallest one, usually at least 10 mm, but this size generally depends on how many pages are in the publication. The top margin is 1.25 to 1.5 times bigger than the inner margin, while the bottom one is 2 to 2.5 times bigger.
It is important to pay close attention to margin details, as they can significantly impact the readability and overall visual appeal of your magazine layout.
In conclusion, margins are an important design element that usually don’t get the attention they deserve. They are the first thing the reader notices on a page, which helps them to form a first impression about the publication.
White columns
When the publication is based on a grid layout that consists of an uneven number of columns, unlike a newspaper style that uses several columns for dense content, one column can be left empty or used to place captions and pictures to improve scanning. The advantage is that an empty column reduces crowding and gives the eye a place to rest.
Using white columns in this way enhances the visual balance and readability of magazine page layouts, making them more attractive and easier to navigate for readers.
Space around graphics
This space is obtained by using text wraps, which give photography and other imagery the breathing room they need. It can be used as a design opportunity to add more visual interest to the page. Text wrapping has the power to transform a boring picture into an interesting shape, or a boxy layout into a more organic one. But using high contrast images as backgrounds can make text unreadable. Designers can also use a circle—such as circular frames or shapes—to highlight images or pull quotes, drawing attention and breaking up the text within the layout.
Vee: Wow, thank you! So much great information Eugen! …I really wanted to cover the 3 most common mistakes in this podcast, but there’s simply too much left to discuss…Eugen, do you think we can get some design cheat sheets ready for our listeners to make it easier for them to incorporate these tips into their own work?…
Eugen: Sure! I’ll send them over!
Vee: Thank you, Eugen. Have a good one!
Eugen: My pleasure. You, too! #END OF INTERVIEW
Solving Design Problems
Every magazine designer faces challenges, from awkward spacing to images that just don’t seem to fit. The key to creating effective magazine layouts is knowing how to spot and solve these design problems before they impact the reader’s experience. For instance, if your page layout feels cramped, introducing more white space can instantly make the design feel cleaner and more inviting. Overusing colors can make content unappealing and distract from that fix. If the body text is hard to read, adjusting the font size or line spacing can make a world of difference.
Images are another common pain point—make sure they’re positioned thoughtfully, with enough space around them to avoid a cluttered look. Margins and spacing should be consistent throughout the magazine, helping to create a unified style and making it easier for readers to follow the story from page to page. When in doubt, look at successful magazine layout examples for inspiration, and don’t be afraid to experiment with different solutions until you find what works best for your publication. A designer’s opinion matters when judging solutions, but readability should guide the final choice. By addressing these design issues head-on, you’ll create layouts that not only look great but also keep your audience engaged from cover to cover.
Design Trends and Standards
Staying current with design trends and standards is essential for any magazine looking to make an impact. Today’s magazine layouts often feature bold typography, vibrant colors, and creative use of images to capture the reader’s attention. Too many colors can weaken visual consistency, so use them with restraint. But trends are only part of the equation—following established design standards ensures your publication remains professional and easy to navigate. This means using a consistent grid system, maintaining uniform typography, and applying clear, readable headings and thoughtful title treatment throughout your magazine spreads.
A strong visual identity is built on consistency, so choose a font and color palette that reflect your magazine’s brand and stick with them across all pages and articles. Look to leading publications for examples of how to balance trend-driven elements with timeless design principles. Online resources and design communities are great places to stay up-to-date with the latest in magazine design, and templates can help you test directions quickly, especially as some trends are shaped by how layouts perform on screen. By blending current trends with proven standards, you’ll ensure your magazine layouts are both eye-catching and effective in telling your story. Even an abstract approach works best when the visual hierarchy stays clear.
Eugen Coman
Graphic Designer
Luxembourg, Luxembourg
Eugen is a graphic designer living in Luxembourg since early 2009. Eugen is a passionate designer who creates beautiful editorial layout projects based on grid layout systems developed on the aspect ratio of the paper and targeted specifically for the projects he works on. He has experience with magazine cover design, focusing on the strategic placement and visual impact of logos as key elements in effective branding. He also understands how school publications and other niche magazines require different layout priorities.
Ways to take action on this post:
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- Download the white space cheat-sheet!
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- Get in touch with Eugen Coman!
We hope these resources help you feel confident and inspired to improve your magazine layouts.
I drive results for magazine publishers.
Experienced professional with a demonstrated history of working in the information technology and services industry. Skilled in internet engineering, marketing, business development and digital publishing.
