Crannóg acknowledges the assistance of:
Arts Council of Ireland and Galway City Council.
Site design: www.wordsonthestreet.com
Ireland's premier fiction and poetry magazine since 2002
Fiction and poetry
Since its inception in 2002 Crannóg has been an A5 format magazine and up to issue 14 had a stitched spine, the traditional size and binding of literary magazines for generations. From issue 14 we changed to perfect binding so that spine text could be included and from issue 31 we almost doubled the extent from 64 to the over 100 pages it is today.
Over the years we made small and subtle improvements to the layout -
We have now made a grander change. We have redesigned several aspects of the magazine all at once. In the redesign we had to pay attention to the tradition and identity of the magazine while improving the look and making the magazine more readable, and also ensure the new design reflected the strong quality of the content.
The A5 format is gone. The new size is Pinched Crown, or in millimetres 170 X 244. This larger page size allows for bigger margins, more white space for the poems to breathe, a larger leading for fiction, opening it out and making it easier on the reader’s eye.
Type is speech made visible, with all the nuances, inflections, tonalities and even dialects of the human voice. It is one of humanity's most precious possessions."
Jan White, author of Editing by Design
We tested several typefaces before eventually deciding on Georgia. It is a slightly more compact face, avoiding that stretched look that some typefaces can have, and again being a serif type is easier on the eye. The serifs, or tails, draw the eye along the line of text as it reads. We read word by word or phrase by phrase not letter by letter. The compact nature of Georgia unifies the text into word units.
Gone too are the drop caps. They are replaced by lead-
We have given the headings more space as well, much more. Titles and authors’ names are important. They should stand out, have their own area of operation. We have not only given generous space to these but we have given them an attractive typeface as well.
Open Sans has a neutral, yet friendly appearance and is optimized for legibility across print, web, and mobile interfaces.
The Italian designer Massimo Vignelli once stated that Bodoni is one of the most elegant typefaces ever designed. Bodoni is slightly condensed with flat, unbracketed serifs, good contrast between thick and thin strokes, and has an overall geometric construction.
We have chosen this typeface for our masthead, or nameplate, to complement the beautiful cover images that our partner artists produce for every issue. Finally we have centred the masthead and issue date top and bottom, adding to the symmetry of the overall cover design
The redesign has given the magazine a stronger visual identity in its careful combination of headings and body-