TANUKI MAGAZINE:JAPANESE CULTURE WORLDWIDEby
KATHRYN RUTH ORTLAND

A THESIS
Presented to the School of Journalism and Communication,
the Department of East Asian Languages and Literature,and the Honors College of the University of Oregon
in partial fulfillment of the requirements
for the degree of
Bachelor of Arts
June 2005

Copyright 2005 Kathryn Ruth Ortland

An Abstract of the Thesis ofKathryn Ruth Ortland

for the degree of

Bachelor of Artsin the School of Journalism and Communication
and Department of East Asian Languages and Literature

to be taken June 2005

Title: TANUKI MAGAZINE: JAPANESE CULTURE WORLDWIDE

Approved: _________________________________________________Tom Wheeler

Approved: _________________________________________________
Steven T. Brown

Rich with tradition and ripe with nostalgic imagery, Japan captivates the Westernmind. Japanese culture was almost unknown two hundred years ago, yet its influences
today permeate entertainment media worldwide. Though the popularity of Japanesemusic, movies, and animation is increasing cultural exposure to Japan, few resources
exist to provide honest and educational information on Japanese ways of life. The
unfortunate result is that the average American is far better acquainted with Hollywood
stereotypes of Japan than with the real thing. Tanuki is a magazine that fills the deficit incoverage of Japanese popular and traditional culture outside of the entertainment market.
It is designed as a travel-centric cultural interest magazine for readers who seek thehidden influences, new trends, and lingering traditions of Japan.

ACKNOWLEDGEMENTS

The author would like to express sincere appreciation to the faculty thesis committee thatassisted with this project: Tom Wheeler, Steven Brown, and Sharon Schuman. Special
thanks are due to the writers and illustrators who contributed to Tanuki, as well as friends
and family who donated time and/or money to sponsor the magazine. I owe my heartfelt
gratitude to Beverly Magley, editor of Montana Magazine for providing the leadershipinitiative to inspire me on this project. Finally, I am eternally indebted to the Ito family in
Nakano-ku, Tokyo, for hosting my journey in Japan.



TABLE OF CONTENTS

ChapterPage

I.

INTRODUCTION.................................................................................

1

II.

MARKET AND DEMOGRAPHIC PROPOSAL.................................

3

The Entertainment Niche........................................................................
Cultural Interest Among Students..........................................................
Asian Media: An Untapped Market.......................................................

3
3
4

COMPETING PUBLICATIONS..........................................................

6

Entertainment versus Cultural Magazines..............................................
For Pop Culture Fans: Giant Robot........................................................
For the Upper Crust: Kateigaho International Edition..........................
For Tourists: Nipponia...........................................................................

6
7
8
8

THE MAGAZINE’S MISSION............................................................

10

III.

IV.

The History and Evolution of the Magazine.......................................... 10
Mission Statement................................................................................. 11
Establishing a Connection with Readers through the Tanuki................ 12
V.

VI.

VII.

VIII.

EDITORIAL FORMULA....................................................................

15

Writer’s Guidelines...............................................................................
Influences on Tone and Style................................................................

16
16

LAYOUT AND DESIGN.....................................................................

17

Elements of Design in Giant Robot.......................................................
Elements of Design in Kateigaho International Edition.......................
Tanuki’s Theory of Design....................................................................

18
19
19

ANALYSIS OF TANUKI’S MAIN FEATURES.................................

22

Culture Shock 101.................................................................................
Inner Sanctum........................................................................................
When Anime Attacks.............................................................................
Light as a Dragonfly...............................................................................
Front Cover.............................................................................................

22
24
25
26
27

CONCLUSION......................................................................................

28

APPENDIX

Page

A.

MISSION STATEMENT....................................................................... 35

B.

WRITER’S GUIDELINES..................................................................... 36

C.

DEPARTMENTAL REQUIREMENTS................................................ 37

D.

STYLE SHEET...................................................................................... 39

E.

PRINTING SPECIFICATIONS............................................................ 40

F.

BIBLIOGRAPHY OF GENERAL REFERENCES.............................. 41

LIST OF ILLUSTRATIONS

FigurePage
1.

Giant Robot feature spread..................................................................... 30

2.

Giant Robot departmental layout............................................................ 30

3.

Kateigaho International Edition feature spread...................................... 31

4.

Kateigaho International Edition “How to” layout.................................. 31

5.

Wired department layout......................................................................... 32

6.

National Geographic photo essay spread............................................... 32

7.

Tanuki “On the Go” spread, before......................................................... 33

8.

Tanuki “On the Go” spread, after........................................................... 33

9.

Lay of the Book, Tanuki magazine......................................................... 34

1

TANUKI MAGAZINE:JAPANESE CULTURE WORLDWIDE

Rich with tradition and ripe with nostalgic imagery, Japan captivates the Westernmind. But the country that invented samurai, cat girls, sushi and cyberpunk is still a
relatively new purveyor of cultural exports. Japanese culture was almost unknown two
hundred years ago, yet its influences today permeate entertainment media worldwide.
Though the popularity of Japanese music, movies, and animation is increasing cultural
exposure to Japan, few resources exist to provide honest and educational information on
Japanese ways of life. The unfortunate result is that the average American is far better
acquainted with Hollywood stereotypes of Japan than with the real thing.
Publications concerning Japanese culture almost exclusively cater to fans ofJapanese comics (manga) and animation (anime), or video games. For travel or cultural
information on Asia, readers must look to travel guides or web sites, where information isoften presented in unpalatable bulk. Tanuki is a magazine that fills the deficit in coverageof Japanese popular and traditional culture outside of the entertainment market. It is
intended as a cultural interest magazine for Japan buffs, international travelers, andlanguage students, as well as a supplement for a growing audience of “anime addicts”(otaku) and hobbyists. Magazine coverage includes travel tips, photo essays, and guides
to popular culture. Tanuki also caters to Japanese Americans by addressing the influencesof Japanese culture in America and worldwide.
The magazine’s title, Tanuki, is inspired by a quick-witted, shape-changing,badger-like character from Japanese folklore. Tanuki magazine, like its namesake, aspires

2
to be playful and evolutionary. The tanuki also poses as an interesting metaphor forJapanese culture. Japanese traditions have persevered by metamorphosis and remain,even today, deeply embedded in modern trends. Tanuki magazine strives to explore thecontrast and contradictions between old and new social traditions, while providing its
readership with an honest portrayal of Japan.
The following sections of this paper will define the market and audiencedemographic for Tanuki, outline the magazine’s editorial principles and design standards,
and detail the premier issue in contrast with its competitors to reveal how Tanuki can best
serve its audience.

3
MARKET AND DEMOGRAPHIC PROPOSAL

The Entertainment Niche:
It’s no surprise that for millions of Americans anime and manga are the gateway
to Japan.1 Anime already makes up nearly 60 percent of all broadcast animationworldwide.2 The Japanese government estimates the American anime business, including
merchandise and box-office revenue, at over $4 billion a year.3 These days, anime is soprevalent that DVDs of popular series are even sold at Best Buy. Three anime features,
Pokemon Heroes, Millennium Actress, and Tokyo Godfathers qualified for Oscars in
2003.4
With the worldwide saturation of Japanese-made entertainment increasing,
American movie and animation firms have begun to capitalize on the trends. No longer isHollywood satisfied with Blade Runner-esque hat tips, but is now creating its own
renditions of Japanese tradition (The Last Samurai) and anime-like bubblegum violence(Kill Bill). Even animation giants like Nickelodeon and Disney are trying to compete bycreating their own anime-style cartoons.5

Cultural Interest Among Students:
Anime and manga are not just economic exports from Japan, they’re also cultural
products that “sell” an image of Japan. And Americans are eating it up. The growing

1

Annie Naoko, “Pop Goes Japanese Culture,” San Francisco Chronicle, 6 Feb 2005: M1.
“Anime and Manga Sales Growing Around the World,” ICV2.com, 24 June 2003. 28 Dec. 2004.
<http://icv2.com/articles/news/2953.html>
3
Yuri Kageyama, “Japanese Animation Catching on in U.S.,” Associated Press, 9 Dec. 2004.
4“Three Anime Features Qualify for Oscars,” ICV2.com, 21 Nov. 2003. 28 Dec 2004.
<http://icv2.com/articles/news/3919.html>
5“New Shows: Deep or broad comedy,” USA Today, 14 Dec. 2004: 3D.
2

4
popularity of entertainment from Japan is giving Japanese culture a trendy allure. As aresult, the rate of Japanese language study is increasing. Before Japan’s economic
downturn, many who studied Japanese did so because they intended to become linguistic
experts. Now fans of anime, particularly young people, are turning their fascination withJapanese pop culture into a reason to learn the language.6
According to a study by the Japan Foundation, more than 2.35 million people
around the world were studying Japanese in 2003, an increase of 12.1 percent from asimilar survey conducted five years earlier.7 Research by the Modern Language Instituteindicates that the United States experienced a 21 percent increase in Japanese language
study from 1998 to 2002, when the number of students learning Japanese in U.S. higher
education institutions was 52,238.8
The number of American students who participate in international exchange has
also increased with the rise of language study. During the 2002-2003 school year,
America sent 3,457 students to Japan, a 9.1 percent increase from the previous year.
Japan is fourth on the list of leading countries to send students to the United States andaccounts for over 7 percent of total international students attending school in America.9

Asian Media- An Untapped Market:
Even so, the market for Asian cultural media in America still remains
underserved. Of total magazine content, cultural coverage accounts for 6.4 percent and
6Toru Fujioka, “Anime: A Driving Force Behind Fervor for Japanese Culture,” The Daily
Nebraskan, 27 Sept. 2004.
7“World Hasn’t Lost Interest in Japanese,” The Daily Yomiuri, 21 Sept. 2004. 4 Jan. 2005.
<http://de.ad.umuc.edu/www/article.cfm?areaID=20&SID=217>
8
Fujioka
9Institute of International Education, “Open Doors Fast Facts 2004,” 12 Mar. 2005.
<http://opendoors.iienetwork.org/?p=53867>

5
travel for 5.7 percent. But despite the rising interest in Asian culture among the general
10

population, magazines providing coverage of it are rare. There are only 135 “AsianInterest Magazines” out of 17,254 titles available in the United States.11
Furthermore, titles catering to specific Asian nationalities are few and far between,
an oversight that is a huge shortcoming for Asian American readers. There are nearly 12
million Asian Americans living in the U.S. who command over $110 billion in spending
power.12 Yet only 17 percent of marketers target Asian Americans, while 78 percent
target blacks and 65 percent target Hispanics.13
At a May 2003 panel on the survival of Asian publications in today’s market,
experts suggested that Asian magazines could gain visibility by employing two marketingstrategies: First, to remove the general label of “Asian,” which encompasses many
languages and cultures and focus editorial content to target a specific nationality (i.e.
Chinese, Taiwanese, Japanese, etc.); second, to gain crossover appeal among non-Asian
readers interested in Asian culture.14
Tanuki structures its editorial content in such a way as to maximize both of thesestrategies. The magazine will remain focused on Japanese culture, entertainment, andtravel, so as not to lose direction. Tanuki will avoid all stereotypes and endeavor toprovide high-quality writing that will create a cultural bridge between Asian and nonAsian readers.

10Ibid. 8.
Magazine Publishers of America, “The Magazine Handbook 2004-2005,” 25.
12
Sammye Johnson and Patricia Prijatel, Magazine Publishing (Lincolnwood, IL: NTC
Contemporary Publishing Group: 2000) 100-101.
13
Ibid. 100.
14
Kevin Y. Kim, “Magazine Think-tankers Unite!” Generationrice, 12 Mar. 2003.
< http://generationrice.com/index.phtml?mywords=thinktankers_1>
11

6
COMPETING PUBLICATIONSEntertainment versus Cultural Magazines:
A survey of current Japan-themed periodicals indicates that the most prevalently
successful publications are anime and manga oriented.15 Magazines of the genre
including crafts, games, and hobbies were popular in the last year, accounting for 440
publications introduced in 2003, the highest-ranking category of new magazines.16 For a
newly popular market, coverage of Japanese entertainment does remarkably well.
Animerica and Animerica Extra, magazines that cover news and reviews of the latest
Japanese releases, have been in existence since 1992 and have a circulation of over
25,000 each. Other more recent anime and manga-zines like Newtype USA and Shonen
Jump are faring equally well.17
However, outside of the established success of the entertainment niche there is aglaring need for cultural interest publications. Several of the biggest Asian magazines in
America recently ceased publication, leaving an unfilled void for their readership. In
2001, A. Magazine: Inside Asian America, one of the most successful Asian American
magazines, ended its 11-year publishing run with a circulation of 125,000.18 Yolk
Magazine ran from 1994 to 2003 and was a bi-monthly pop-culture ‘zine that targeted“GenerAsian Next.” Its demise spawned a series of cultural-interest web ‘zines that still
live on today.

15

Ulrich’s Periodical Directory, Bowker, University of Oregon Lib., Eugene, OR, 3 Feb 2005.
<http://www.ulrichsweb.com/>
16
Magazine Publishers of America. 7.
17
Ulrich’s Periodical Directory
18
Ibid.

7
At present, there are no American publications that focus on Japanese culture
outside of anime, manga, and video games. The following is a list of Tanuki’s closest
competitors, one Asian American pop-culture ‘zine and two Japan-made cultural interest
periodicals.

For Pop Culture Fans- Giant Robot:
Giant Robot is an offbeat film/pop-culture/travel magazine with an American
circulation topping 50,000.19 Co-creator Martin Wong says that the magazine’s
underground success can be attributed to its independent roots. It was created in 1994
following Wong and business partner Eric Nakamura’s stint at various ‘zines in the San
Francisco Bay area. But while GR has passion, it lacks purpose. The content of themagazine varies wildly, but is mostly comprised of pseudo-celebrity interviews in Q&A
format. In fact, Wong admits that he and co-creator Eric Nakamura still just publish“whatever we feel like”.20 Giant Robot is a lot of fun, but that’s it. The magazine doesn’t
serve to educate or enlighten as much as it does to entertain with random trivia. GR has,
however, set up a very successful store franchise in California selling merchandise
covered in the content.
The audience of Giant Robot is young and “indie,” likely to lead an active andalternative lifestyle, and maintains an interest in offbeat Asian pop-culture and products.
GR has a flashy yet gritty visual style that reflects its humble beginnings as a ‘zine. The
language of editorial content is somewhat slangy and contains vocabulary like “whack,”

19
20

Ibid.
Martin Wong, Co-editor, Giant Robot Magazine, Telephone interview, 20 Jan. 2005.

8“fruity,” and “killer” that only younger audiences are likely to understand and appreciate.
The combination makes GR trendy because it appears to be “punk” or “underground.”For the Upper Crust- Kateigaho International Edition:
Kateigaho International Edition is a high-gloss, large format quarterly magazine
produced in Tokyo by Sekai Bunka Publishing, Inc. Katiegaho’s Japanese edition is moreof a home journal, while the international edition promotes highbrow cultural interest
through arts, travel, and photography.
Kateigaho International Edition is aesthetically pleasing and well-written but
caters to a middle-aged and notably well-to-do audience. Visuals are sweeping, colorful,and majestic, while language is lofty and intellectual. The magazine is released only
quarterly but packs the staggering price tag of $50 for a year’s subscription in America.
National/international circulation statistics for Kateigaho were unavailable.

For Tourists- Nipponia:
Nipponia is a travel-oriented magazine produced quarterly by the Japanese
Ministry of Foreign affairs. The printed version of the magazine is available only at
Japanese embassies and consulates or by ordering individual copies from the Internet.
Nipponia’s intended audience is travelers and tourists but the content of the magazine issolid and educational, so it’s a possible resource for students and Japanophiles as well.
Because it is widely unavailable, Nipponia is less of a competitor with Tanuki than GR or
Kateigaho.
In general, Tanuki’s coverage does not overlap with the entertainment market, but
still pays homage to the greatest popular trends in Japanese pop culture, including anime

9and manga, when appropriate. Tanuki is made more accessible than Giant Robot by
providing investigative but utilitarian content to a mainstream audience. Unlike
Kateigaho International Edition, Tanuki addresses a youthful, educated, and travel-readyaudience through engaging and understandable dialogue.
Tanuki magazine has no direct competitors and can therefore easily fill thedemand for an accessible resource on the cultural exploration of Japan. Tanuki can reacha wide audience, including Asian Americans, students, sojourners, and Japan hobbyists toprovide an honest, exciting, and educational monthly publication at an affordable rate.

10
THE MAGAZINE’S MISSION

The History and Evolution of the Magazine:
Magazines, created in the 17th century, were originally called periodicals. The
term “magazine” was first associated with the ammunition clip of a gun and eventually
migrated to a catchall definition of “storehouse.” When paper periodicals were born, they
were seen as a “storehouse” of ideas, opinions, and information and thus became known
as magazines. 21
Benjamin Franklin founded the first American magazine in 1741; unfortunately,
The General Magazine failed after just six issues.22 Early magazines were slow to gain afoothold in America. Fewer than 100 existed in 1825, but by 1850 the magazine fad hadtaken off and the number of American periodicals blossomed to 600.23 After turn-of-thecentury technological innovations revolutionized the printing process, magazines became
mass-market productions, and gained visibility and popularity. Though the definition of amagazine has changed drastically over the last hundred years as far as what is expected ofdesign and content, forty-three turn-of-the-century publications still exist, including
Harpers, The Atlantic, and Cosmopolitan. This goes to show that the most importantsurvival trait a magazine can possess is the flexibility to change with the times and adapt
to market demands.
What constitutes a magazine, however, is surprisingly ambiguous andincreasingly variable. A magazine is loosely defined as a multi-paged printed publication
21

Johnson and Prijatel 4.
Ibid. 45.
23
Leonard Mogel, The Magazine: Everything You Need to Know to Make it In the Magazine
Business (Pittsburgh, PA: GATF Press, 1998) 6.
22

11
with a specific audience. A magazine does not need subscribers; it can be soldexclusively on newsstands or given away. It can be printed on many kinds of paper, withgraphics and writing of any quality. Magazines are printed at a variable frequency—fromonce in a lifetime to once a week. A magazine doesn’t need to run advertising. It alsodoesn’t need an agenda; it can exist simply for the sake of entertainment.
Yet magazines clearly must have a focus. According to magazine consultant
James Kobak, the primary reason for the failure of most magazines is a lack of reader
interest and a loss of editorial focus.24 When a lack of direction is combined withchanging reader interests over time, it amounts to a disastrous formula. Over half of all
consumer magazines fail before their first anniversary and only two in ten survive thefirst four years.25
In order to survive, a magazine must target a defined audience within either aconsumer or trade (specialized business) classification. Tanuki, for example, is aconsumer magazine aimed at young, educated readers with an interest in Japanese culture.
Then, in order to successfully communicate with the defined audience, a magazine must
perform one or more clear function. Magazines can inform, interpret, entertain, advocate,and provide service.26 Many provide a combination thereof.

Mission Statement:
A mission statement is a concise paraphrasing of a magazine’s goals and purpose.
It is directed at readers, writers, and advertisers who wish to gain an understanding of

24

Johnson and Prijatel 109.
Charles P. Daly et. al., The Magazine Publishing Industry (Needham Heights, MA: Allyn andBacon, 1997) 29.
26
Johnson and Prijatel 111.
25

12
what a magazine “stands for” and to whom it is targeted. The statement itself may or may
not be printed in the magazine, but ought to be reflected at all times in the content of the
publication.
Tanuki’s mission statement clearly outlines why the magazine was created, towhom the publication is targeted, and what Tanuki stands for:TANUKI magazine’s mission is to provide cultural resources for an audience thatseeks the hidden places, the new trends, and the lingering tradition of Japan. Tanuki
was created for anyone with a love of Japanese language and lifestyles who wishes
to look beyond the stereotypes of popular entertainment at the real Japan. Like theprankster tanuki who is the magazine’s namesake, Tanuki strives to be entertaining
and evolutionary, a touch of fun and a touch of class. With stories for everyone fromthe seasoned insider to the curious outsider, Tanuki investigates the influences ofJapanese culture worldwide. Tanuki gives travelers tips for pre-departure preparation,
Asia aficionados a savory taste of Japanese life, and Japanese Americans a way toconnect with their culture at home and abroad. Tanuki is dedicated to furtheringinternational communication by creating connections through cultural education.

Establishing a Connection with Readers through the Tanuki:
Establishing a clear focus through a mission statement is one way a magazine canform a connection with readers. Another method is to create a rapport with readers
through a perceived heart-to-heart connection, either by editorial tone or metaphor andsymbolism. Most magazines employ a certain voice that speaks to their audience. Giant
Robot, for example, often uses slang and first- and third-person references. Kateigaho
International Edition complements its audience with intellectual vocabulary andsophisticated imagery.

13
Tanuki establishes this rapport through the use of the magazine’s namesake. The
tanuki is one of several shape-changing animal tricksters called henge (hen-gay) fromJapanese folk stories. He is modeled after a real woodland animal by the same name. The
mythical Tanuki is a trickster who thrives on playing pranks on woodsmen and hunters,
thereby ensuring his survival while amusing himself. A tanuki shape changes by placing
a leaf upon its head and chanting, though more skilled tanuki need not use this focus.27 A
favorite prank of the tanuki includes transforming into a traveling monk to spook passers
by. In one famous tale, a tanuki whose life is saved by a peasant changes himself into a
fancy teakettle in repayment, so the peasant can sell him to make money. Of course, thetanuki is unhappy as a kettle (because being put on a fire really hurts!) and he runs away,frightening the monks who purchased him in the process.28
Tanuki are also able to cast powerful illusions, changing leaves into money andhorse excrement into a tasty-looking dinner. One of the tanuki’s weaknesses is sake,
which he swindles by making blank promissory notes from leaves or bark.
These days, tales of the trickster tanuki are rare and his real-life brethren havebecome a threatened species. Yet the legacy of the tanuki lives on throughout Japan. It’s
nearly impossible to walk down a side street without spotting a statue of tanuki’s likenessin a restaurant or shop door. The rotund effigies feature the tanuki wearing the straw hatof a traveling monk, and carrying a jug of sake in one hand and a (fake) promissory notein the other. These statues are considered lucky, and made markedly so by the tanuki’s

27
28

Heisei Tanuki Gassen Ponpoko, prod. Studio Ghibli, dir. Isao Takahata, 1994.
Mark Schumacher, “Tanuki- Japanese God of Restauranteers,” Onmark Productions, 19952005, 24 Dec. 2004 <http://www.onmarkproductions.com/html/tanuki.shtml>

14large testicles, called kin-tama, which the Japanese believe to bring fortune to theirbusinesses. The bigger the balls, the greater the luck.29
The tanuki is a visually alluring mascot that provides a catchy and cute title for
Tanuki magazine. Readers will appreciate his curious ethnic and aesthetic appeal.
Secondly, the tanuki has a history, and therefore succeeds in promoting the culturalvalues for which Tanuki magazine stands. The tanuki even crosses over into modern
popular culture: in Super Mario Brothers 3 the “Tanooki Suit” grants Mario temporary
invincibility by allowing him to turn into a statue.
Finally, the clever and mischievous tanuki also embodies the persona of themagazine and represents the fun yet enlightening tone of Tanuki’s content. Furthermore,
the transformation of the tanuki—from real animal to folk legend to modern figurine—
serves as a metaphor for the evolution of Japanese tradition to modern culture. The tanuki
embodies the elements of classic culture that are embedded in the popular trends of today,
like the transformation of kimono fabrics into Tokyo street fashion30 and the revival of
traditional music by underground pop artists.31

29

Ibid.
Ayako Hirayama and Naoko Yaezu, “Of Japanese, By Japanese, For Japanese,” Kateigaho
International Edition, Fall 2004: 86-95.
31
Toshii, “Angura-Kei: Revolution Through the Looking Glass,” Tokidoki Journal, 2 Feb. 05,
14 May 05, <http://www.tokidokijournal.com/journal/2-feb05/music.php#a1>
30

15
EDITORIAL FORMULA

Tanuki magazine is a 32-page publication divided into departments and features.
Departments are reoccurring columns placed in the front and back of each issue, a thirdof a page to two pages in length. Twelve pages of the magazine are dedicated to eightindividual departments. The remaining twenty pages of the magazine, excluding front
and back covers and the table of contents, are feature content (Figure 9).
Departments are not simply filler, but supporting content integral to the main
body of Tanuki magazine. Departmental content is equally important as feature content
and every department should contribute to the publication’s flavor, variety, and overall
cohesion. From “Hajimemasho” to “Cuisine,” each department is created to strengthen
the magazine as a whole. Tanuki encourages creativity in departmental subject, tone, andcontent. For descriptions of departmental contents and requirements, see Appendix C.
Feature articles must be well-written, fact-checked, and polished with superiorcare. There is no formula for article content in Tanuki magazine, except that featuresreflect the mission statement. A good feature story will be one that is appropriate to themagazine’s subject and audience, timely, fresh, and exciting. Tanuki encourages wouldbe writers to seek subjects off the beaten path. For example, a feature on Japanese shibari(rope bondage) was conceived but not written for the premier issue.

Writer’s Guidelines:
All departmental and feature content should be composed following the set ofwriters guidelines outlined in Appendix B. As the editor and primary writer for Tanuki’s
first issue, it was my goal to design and adhere to an editorial formula while using

16
variations on tone and style throughout the magazine. The biggest challenge I faced wasto produce enough content to fill a 32-page publication while keeping the stories freshand engaging. I originally considered supervising a “staff” of my classmates and peers towrite some of the major pieces in the magazine. In the end I concluded that the best way
for me to display my personal abilities was to tackle the project largely solo.

Influences on Tone and Style:I began research for ideas by looking at other Asian cultural interest magazines
including Giant Robot and Kateigaho International Edition to determine what mycompetitors deemed worthy of publication. I discovered that apart from entertainment
content, travel pieces ranked second in popularity. Thus Tanuki evolved into a cultural
publication with a travel-oriented twist. For guidance on voice and style I referenced
National Geographic, one of my favorite travel publications. I then contrasted theacademic tone of National Geographic with the trendy, gritty voice of Giant Robot, andthe flowery, verbose vocabulary of Kateigaho International Editions. For Tanuki, I chosea style that I felt was a hybrid between casual and intellectual, a friendly tone ofdiscussion that could both entertain and educate readers without making them feel
patronized.

17
LAYOUT AND DESIGNMagazines create visually interesting layouts to draw readers into what would
otherwise be a blank page of text. But design also serves to give a publication a sense of
self and a character than is recognizable and unique. This character is defined by anunderlying system of visual and typographic specifications.
One function of design is to express change and continuity. A magazine shouldmake deliberate use of pacing, planning a consistent flow interspersed with unexpected“surprises” like graphics, illustrations, and pull-quotes to grab readers’ attention. Readers
are hesitant when confronted with text-heavy pages. Breaking up dense text makes it
more readable and can help hook the page-skimmers in the audience.32
Similarly, design should notify the reader whether they are looking at a feature,
photo-essay, or department. A clear use of consistent design elements streamlines apublication’s visual aesthetic while still allowing for graphic experimentation. Eachelement of design should have a first-glance value for the reader, from the biggest
headline to the tiniest block or bar graphic. In the case of headlines, fonts (and creative
typography) speak as loudly as words. Title text should tell what the story is about, using
as many words as necessary to secure the promise of a good read. Typographic design
ought to lend a style to the text that when coupled with title content, gives the piece a
distinct and appropriate flavor.33

32

William Ryan and Theodore Connover, Graphic Communications Today (Clifton
Park, NY: Delmar Learning, 2004) 125.
33
Jan White, “Self Test: Do You Design For Your Readers?” The Handbook of Magazine
Publishing, ed. Folio Magazine (Stamford, CT: Cowles Media, Inc., 1996) 324.

18
For a budding magazine, perhaps the best place to look for design guidance andinspiration is competing publications. Tanuki draws upon visual elements from Giant
Robot and Kateigaho, as well as other modern pop culture and travel publications such as
Wired and National Geographic. The following section outlines the design formula of
Tanuki’s two closest competitors:

Elements of Design in Giant Robot:
Giant Robot contains eight “compartments” (departments) and a number offeatures/interviews. Giant Robot succeeds in pairing design fairly well with its writing
style and tone to create an “underground” flavor. But in general, layout in GR is clutteredand visually uninspiring. Feature stories follow a two-column formula with little variationin design. Straight-edged photographs are positioned to fit into one or over both columns.
In some instances layouts switch from color to black-and-white with no pattern (Figure 1).
In GR, a blue title bar distinguishes departmental content from feature articles(Figure 2). The bar provides an easy first-page visual reference, but is absent on all
subsequent pages. This makes it difficult to follow the continuity of departments that are
split by ads. Most departmental pages in Giant Robot are overcrowded, as if the goal wasto cram as much as possible into a small amount of space. Too much can be just as bad as
too little—and even worse, distracting. Flagrantly bold and excessive layouts impedereadability and accessibility. And flaunting them can give a visually excessive
publication the reputation of being inconsiderate of its readers.

19
Elements of Design in Kateigaho International Edition:
Contrarily, Kateigaho International Edition is full of unique layouts bursting withcolorful, full-bleed images and creative design techniques. Kateigaho employs several
designers (versus Giant Robot’s one) and their different approaches to layout techniqueare apparent in the publication’s many pages. The magazine’s design commonly featureslarge full-bleed images and wide margins around text, a technique that promotesreadability and visual intensity. In order to guide the eyes of the magazine’s audience,
Kateigaho’s designers use exploded text on headlines, captions, and blurbs, coupled withlong, narrow illustrative graphics (Figure 3).
Kateigaho International Edition doesn’t visually distinguish its “Regular
Features” from its new-each-issue features except in the table-of-contents. However, for
its shorter blurb content, Kateigaho uses black slugs to separate text, similar to Giant
Robot’s utilization of dotted lines to break apart departmental columns.

Tanuki’s Theory of Design:
Tanuki faces the same challenges as any new publication, the biggest of which isrecognition. Even though Tanuki does not have many direct competitors, it must still
distinguish itself from other magazines. Applying simple colorless layouts page after
page is uninteresting to readers and can mean the death of a new periodical. While eyecatching, bright layouts will grab audience attention, doing too much is also dangerous.
Tanuki’s design formula is simple and readable but also colorful and diverse.

201) Departments: The departments in Tanuki apply a combination of techniques from
Kateigaho, Giant Robot, and other publications. Originally, a border of crossing blacklines distinguished every page of reoccurring content (Figure 7). While this clearly
denoted departments, it was far too visibly intense and seriously limited the space anddiversity of layouts. This style was discarded for a more space-efficient and less visually
dominant departmental design. In the current layout, a red box containing thedepartment’s title is placed in the upper right or left corner of the department’s first page
(Figure 8). This simple design was inspired by Wired magazine’s departmental layout(Figure 5). It provides an instantaneous identifier as well as an immediate point-of-entry
that denotes columnar content.
Departmental design also integrates black lines that act as dividers between elementsof the content or as page borders. The length, width, and placement of the bars varies
from layout to layout, yet is clearly identifiable as a visual aspect of a department. This
achieves the same effect as the original borders without taking up as much space.
Illustrated instructional columns in Kateigaho influenced the design and content for
Tanuki’s “How To (Pray at a Shinto Shrine)” column (Figure 4). “How To” borrows
heavily from the vertically aligned enumerated graphics in Kateugaho’s layout, addingcolor and additional background text to give the piece flavor.

2) Photo Essays: National Geographic inspired the design for Tanuki’s photo essay.
National Geographic’s own photo features are vibrant, bold, and beautiful, but thelayouts are often very simple and straightforward, letting the color of photos and text
speak for itself without imposing other external elements (Figure 6). The “Mount Koya”

21photo essay pairs detailed captions with each photo and includes general (scenic,
historical, etc.) information about the area for travel purposes. The descriptive text is
placed at the beginning of the photo essay to serve both as a mini-article and caption for
the first two photos. On subsequent pages the layout is open, with wide margins andwhite space around photos and copy. This boosts the impact of the photographs andcreates easy reference for caption text.

3) Features: Tanuki’s main features were each designed with easy access textual andvisual access points for readers. Large-point headlines, half- or full-page images, pullquotes, and Times body font are all visually distinct design elements of feature stories.
Features may include sidebars with important supplementary content. Each piece ismeant to stand alone as an example of unique design, but also to contribute to the overall
flavor of the magazine. Layout schemes for features reflect the article’s tone and color, as
playful or serious as the content within.

4) Overall: Tanuki’s style sheet (Appendix C) links design with content to provide a
valuable set of guidelines on design and formatting. With a concrete style sheet applied,
Tanuki magazine can contain many different design elements and yet remain a visuallycohesive publication.

22
ANALYSIS OF TANUKI’S MAIN FEATURES

Writing the four primary features in Tanuki magazine was a project that required
extensive research, commitment, and creativity. I gathered story ideas while living
overseas in Tokyo during the 2003 school year and was further inspired by issues ofcultural crossover I unearthed upon my return. For each piece, I referenced the most
reputable primary and secondary sources available, and followed-up with a fact check.
What follows is a summary of my goals in content and design for each piece:

Culture Shock 101:
When I studied abroad in 2003, I hoped to gain perspective and ultimately learn
to better understand my place in a changing world. I went with few expectations andthought my open mind would gift me with positive insights. Yet I was still cynical, bitter,and angry at a culture I didn’t understand. The more I talked to my peers, the clearer it
became that everyone was experiencing their own version culture shock.
After I returned home, I became interested in contrasting the experiences of theJapanese exchange students at the University of Oregon with my peers’ experiences inTokyo. I interviewed five Japanese students in their sixth month overseas, and three
American students who had participated in study abroad previous year. The result is“Culture Shock 101,” a story I hope will educate students interested in participating inuniversity exchange to Japan, America, or any other nation.
When I first began design for “Culture Shock 101,” I had several ideas for sidebar
content and info-graphics but little inspiration for how to visually illustrate the main body.

23
I had no appropriate photographs for the story and felt it would look best illustrated. So I
asked permission from the designer of the South Park character generator atplanearium.de to use his flash animation studio to illustrate my story.34
I felt that South Park-like characters were uniquely appropriate for this design
because they possess a unique range of emotion, particularly frustration and anger. These
characters should also be immediately recognizable to the average reader in Tanuki’s
audience.
I created one character in the likeness of an American exchange student andanother in the likeness of a Japanese exchange student. These primary figures are notmeant to be exact portrayals of Anne and Chiharu, the story’s protagonists, but rather
representations of their overall mindset at two times, when they were experiencing
culture shock and when they overcame it. The four mini-portraits at the end of the story,
however, are intended as direct caricatures of the people quoted.
To carry a tone of immediacy and frustration throughout the design, I chose
Impact (a narrow, bold typeface) as the font for the story’s headline, deck, and pullquotes. The glyphs in the background of the main spread (in Arial) represent curse words.
Similarly, I exploded some pieces of copy from pull quotes and minimized others both toemphasize words and visually imply irritation.

34

Planearium.de, South Park Character Generator, English Version, Apr. 2005,<http://www.planearium2.de/flash/sp-studio-e.html>

24
Inner Sanctum:
The most difficult aspect of designing a photo essay for Tanuki was deciding
which location to feature. When I returned from ten months in Japan, I had over three
thousand digital photographs stored on my hard disk. I looked through images from
Kyoto, Hakkone, Sapporo, Nikko, downtown Tokyo and more, before choosing Mount
Koya. Though I had only a handful of photos from Koya compared to some otherlocations, almost all of them were beautiful and compelling. The memory of visiting
Mount Koya also spoke to me as a representative example of a truly Japanese experience.
My images of Koya convey what I felt while I was there—serenity, history, beauty, andtradition.
The biggest problem I encountered was one of scale. When I traveled to Koya, I
was pressed to save space on my camera and took photographs at medium resolution. The
images were therefore only 6.67” by 8.89” at 180 dpi (dots per inch), while 300 dpi isrecommended for laser printing. After several test prints, I decided that the overall qualityof the large images was not severely degraded by the low resolution. I ran thephotographs with the strongest compositions large and bled them over the page edge for
maximum effect. The others, I ran smaller with side captions. All pictures were shot on a
Canon G3 digital camera.
I chose a simple font and little color in the text in order to let the images speak forthemselves. I ran the most visually engaging photographs on the magazine’s center pageand divided the caption references with black slugs for clarity.

25
When Anime Attacks:
Ask most Americans what first comes to mind when they think of Japan and theiranswer is likely to be one of two things: anime or sushi. “When Anime Attacks”
addresses what makes anime so popular and chronicles the tremendous growth of theJapanese animation industry in America during recent years. It is a brief and entertaining
overview of anime trends that is intended for everyone from beginners to super fans.
To gather background for the story, I browsed books on the history of animationand searched countless articles detailing the growing popularity of everything from the
Pokemon phenomenon to anime film societies at universities nationwide. I also
conducted phone and email interviews with Antonia Levi, Oregon’s resident expert on
anime and manga. Though professor Levi’s interest is in gender representation in
Japanese cartoons and comics, she was pleased to contribute her opinion on the increased
saturation (and homogenization) of anime in America.
I originally envisioned the layout for this two-page spread as a crossovercompilation of popular anime characters bursting from a brightly colored background.
But due to a deficit in high-resolution anime images and my own lack of illustration skills,
I designed a simpler layout with several characters in “action” stances looking out at thereader. The headline font, “Akira,” contains elements of classic Asian brush-strokes in abold, angled typeface. The visual and textual design of the title and the active stance ofthe character illustrations, makes the layout active and lively, almost aggressive.

26
Light as a Dragonfly:
The samurai sword or katana is one of the most widely appreciated traditional
cultural properties of Japan. But I had never considered that Americans might be making
quality Japanese swords that were prized among collectors. A friend who is an avid
connoisseur of swords introduced me to America’s “Japanese” sword smiths. When I
reviewed the blades these smiths were producing, I was surprised at their quality andauthenticity.

Originally, I considered a feature article on the general phenomenon ofAmerican smiths of Japanese swords. But when I learned that one of the most renowned
American Nihon-to craftsmen lived in Oregon, I changed my goal to writing a profile
specifically on this smith, Michael Bell. Bell good-naturedly agreed to meet andshowcase his work during an interview and photo shoot. So, on Saturday, February 5th,
my friend and I made the three-hour drive to Coquille, Oregon and spent the afternoon at
Dragonfly Forge. We learned about Bell’s past and present, as well as his product.
I took over 200 photographs of Bell’s studio and forge with my Canon G3 and a
Fuji FinePix S1 digital SLR camera. I selected mellow but colorful shots for the layout toexpress the feeling of the Oregon countryside where Bell lives and works. I created thedragonfly graphic in PhotoShop and used throughout the story’s design to visuallyreference the name of Bell’s forge. The cursive script of the title (Zapfino) provides anelegant interplay between the dragonfly and the opening photograph, while the deck font
(Lilith) is a subtler, slightly gritty transition to the body font (Times). In contrast to thedesigns for “Culture Shock 101” and “When Anime Attacks,” this layout is soothing andsophisticated, like the aura of samurai culture to which it alludes.

27
Front Cover:
The front cover of Tanuki magazine is a composite image made of two separate
digital illustrations. The foreground is a rendition of the mythical tanuki by Stephanie
Bajema. In classic style, this tanuki wears a monk’s straw hat, but he also carries alantern ascribed with the kanji character for his name (). Bajema portrays the tanukiwith a leaf upon his head, as if he is about to change shape.
To size the image to the magazine cover, I removed the tanuki from his original
forest background. Then, I overlaid him on a digitally filtered photograph of myneighbor’s bushes. Finally, I added grass in front of his feet to blend him with hissurroundings. The result is a surprisingly natural composition. The tanuki’s neutral poseand inquisitive expression showcase the magazine’s slightly playful tone, while the wellplaced kanji and brush-stroke font of the title suggest its ethnic flavor.

28
CONCLUSION

Tanuki magazine is the culmination of five years’ study of the principles, ethics,
and aesthetics of journalism, coupled with four years’ study of Japanese language andculture. It not only defines what I learned at the University of Oregon but alsocharacterizes my life and career goals of experimentation, exploration and education.
Creating Tanuki allowed me to synthesize my love for travel into a comprehensive
booklet that represents the guide I wished I had before I went to Japan and the link toJapanese culture that I longed for upon my return.
Magazines serve many functions but their ultimate purpose, like all writing
fictional or factual, is to relay stories. As a journalist, I felt I could share the perspective I
gained from experiencing life in Japan. So I created Tanuki to expose readers to new
narratives and inspire them to compose their own through travel and multicultural
exploration.
Furthermore, Tanuki outlines the glaring need for publications like it that focus
upon individual Asian cultures. Both Asian and non-Asian audiences will benefit fromthe creation of magazines that broaden multi-cultural connections within American media.
Tanuki is one-of-a-kind, the only American periodical outside of anime and manga
magazines to provide exhaustive coverage on Japanese culture to a growing demographicof Japanophiles.
Tanuki is a valuable prototype off of which I hope to someday base the creation ofa real cultural interest magazine. If current trends continue, Japanese influences will
become increasingly prevalent in food, fashion and entertainment. But without a resource

29
to provide an honest and educational guide to Japanese ways of life, Japanese culture willremain foreign, exotic, and ultimately framed by stereotypes. A publication like Tanuki
will provide a forum for discussion of popular culture, increase awareness of unseen
aspects of Japanese tradition, and open the door for greater cultural communication
between America and Japan.

FIGURE 2
Giant Robot departmental layout

FIGURE 1
Giant Robot feature spread

30

FIGURE 4
Kateigaho International Edition“How to” layout

FIGURE 3

Kateigaho International Edition feature spread

31

FIGURE 6
National Geographic photo essay spread

FIGURE 5

Wired department layout

32

33

FIGURE 7
Tanuki “On the Go” spread, before

FIGURE 8
Tanuki “On the Go” spread, afterLay of the Book, Tanuki magazine

FIGURE 934

35
APPENDIX AMISSION STATEMENTTANUKI magazine’s mission is to provide cultural resources for an audience that seeks
the hidden places, the new trends, and the lingering tradition of Japan. Tanuki wascreated for anyone with a love of Japanese language and lifestyles who wishes to lookbeyond the stereotypes of popular entertainment at the real Japan. Like the prankster
tanuki who is the magazine’s namesake, Tanuki strives to be entertaining andevolutionary, a touch of fun and a touch of class. With stories for everyone from theseasoned insider to the curious outsider, Tanuki investigates the influences of Japaneseculture worldwide. Tanuki gives travelers tips for pre-departure preparation, Asia
aficionados a savory taste of Japanese life, and Japanese Americans a way to connect
with their culture at home and abroad. Tanuki is dedicated to furthering international
communication by creating connections through cultural education.

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APPENDIX B
WRITER’S GUIDELINES
Writers for Tanuki magazine should share the same passion for Japanese culture
as the magazine’s audience and demonstrate a clear knowledge of one of more cultural or
linguistic facets, preferably with inside experience either abroad or in the field.
Professional credentials and expertise are not required, as we encourage our readers
themselves to become writers. The audience of Tanuki Magazine runs the gamut fromcurious onlookers to serious travelers and from casual fans to cultural connoisseurs.
Readers are all ages, but primarily young (18-34 years of age) students and professionals
whose interest in travel or culture has sparked a love of Japan. Therefore, articles that are
accepted for publication will be those that are written in a style readable by an audience
with a beginning to intermediate knowledge of subject matter.
Appropriate subjects for Tanuki include but are not limited to travel tips, location
pieces, cultural crossover, cultural conventions, culture shock, trends, sports, spoofs,
entertainment, and recreation. Because the magazine encompasses such a wide range of
topics, writers must be careful that columns and features focus closely on Japaneseculture and are not too loosely written. The tone should be casual and friendly, as if thewriter is a good friend of the reader with inside advice to share. However, writers should
avoid first-person or third-person references unless appropriate for the style of the piece,
as with how-to columns and some travel features. Tanuki writers may experiment withvoice but should maintain a balance somewhere between intellectual and vernacularvocabulary. New foreign or technical terms should be italicized, defined, and then may
appear in plain text for subsequent usages. The first time any person is mention in text, heor she must be clearly identified by first and last name unless he or she is an artist or
cultural icon clearly identifiable by a single name.
Tanuki’s primary goal is to promote cultural education and inspire cultural
crossover. Therefore, all submissions, no matter how clever or fun, must avoid
stereotyping Asian or Western cultures, or further exoticizing Orientalism. Lighthearted
parody is acceptable. DO have fun. DO burn bridges. But DON’T attempt to make any
cultural practice appear “wrong” or “right.” Writers should remember that even the mostflabbergasting tradition might appear completely normal in the proper context.
Finally, writers should familiarize themselves with magazine content, tone, andstyle. The 2004 Edition of The Associated Press Stylebook and Briefing on Media Law(Cambridge: Perseus Press, 2004) should be consulted when any questions arise
regarding punctuation, capitalization, spelling, and distinctive treatment of words, names
and terms, numbers, references, and acronyms.

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APPENDIX CDEPARTMENTAL REQUIREMENTS
1. From the Editor (300-500 words)
This one-page department is featured each issue opposite the masthead. It contains acasual column by the magazine’s Editor, typically a collection of thoughts in relation to aparticular theme or feature of the current issue. The Editor’s letter serves to reinforce themission statement of the magazine, and as lends a face and voice to the administrative
staff of Tanuki.
2. Hajimemasho (Five to eight blurbs of 50 to 300 words in length)
Japanese for “let’s begin” or “let’s get started,” “Hajimemasho” contains brief news,
tidbits, and entertainment copy that is relevant to Japanese cultural happenings in
America or in Japan. Most often, the content for “Hajimemasho” fits into one of three
categories. It may be blurb or feature content that was published in another source but isinteresting enough to merit summary or reprinting. It may be an entertaining factoid or
news piece that is too brief to warrant its own feature story. Or it may be off-the-wall lists,
photographs, or other short pieces about Japanese culture, entertainment, or technology.
The main purpose of this department is to provide an amusing and lighthearted lead-in todenser content and departments while bringing together an eclectic collection of news.
3. How To (300 to 500 words)
Tanuki’s “How To” column details the proper execution of Japanese mannerisms,
traditions, everyday tasks, and other cultural acts that may be unknown to the average
American or even those with an interest in Japanese culture. The content should be clear
and concise descriptions of how to do something (i.e. use chopsticks, wear a kimono,decipher a Japanese toilet, pray at a Shinto shrine, etc.) outlined in easy to follow steps.
Each one-page “How-to” is illustrated in colorful pictures following the step-by-stepdetails outlined in the column.
4. Clothe Yourself (300 to 600 words)
If ever you’ve wondered about Japanese fashion trends, whether it be an American spin
on Japanese couture or vice versa, “Clothe Yourself” is the column for you. This onepage department features dynamic trends each month, from pointed shoes in Harajuku tokanji T’s in New York boutiques. Content ranges from street-side “seen and heard” tophotographs and even fashion reviews. The subject matter is strictly clothing based but
may be as outrageous as can be found—if they’ll wear it, we’ll feature it in “ClotheYourself.”

38
5. On the Go + Useful Travel Phrases (600 to 800 words plus various phrases)“On the Go” is Tanuki’s travel tips department and contains practical survival advice forreaders planning trips to Japan. Advice in this column should be written in the tone of anexperienced sojourner. It may be in the first person but ought to always feature detailed
guidance that will help readers survive the most unknown, complex, and stressful
experiences that they may encounter as tourists, backpackers, businesspeople, students,and ex-pats. The two-page “On the Go” spread also contains a collection of five to ten
Japanese phrases and vocabulary that relate to the theme of the travel advice column.
These “Useful Travel Phrases” are outlined in English, Romanized Japanese, andJapanese kanji + kana characters and accompanied by relevant vocabulary definitions.
6. Reviews (300 to 400 words)
In each issue, Tanuki features reviews for one book, movie, and music CD with style orcontent relative to Japanese culture. Each 300-to-500-word review should follow
traditional review format and may be written in limited first-person.
7. Cuisine (500 to 800 words)
At Tanuki, we believe that food is an important cultural asset. That’s why we created ourcuisine column, to reflect the most interesting aspects of Japanese cooking. “Cuisine”
details both contemporary and traditional dishes with Japanese flair. Whether it’s fun or
fancy, there’s a place for it in “Cuisine.” A cuisine column may be as simple as a recipe,
as detailed as a full restaurant review, or may include the best of both worlds. Writers
should attempt to place the subject of their “Cuisine” column into some sort of social or
historical context.
8. Odds & Ends (variable length, 2 pages total)
At the close of each issue the two-page spread “Final Cut” contains a translation ofclassic Japanese literature or original fiction and a comic.

39
APPENDIX DSTYLE SHEETTanuki Magazine uses the 2004 Edition of The Associated Press Stylebook and Briefing
on Media Law (Cambridge: Perseus Press, 2004). This style sheet is intended to pointout the basic key components of text preparation and design. Therefore, The AP
Stylebook should be consulted when any questions arise regarding punctuation,
capitalization, spelling, and distinctive treatment of words, names and terms, numbers,
references, and acronyms.
Tanuki Magazine relies upon simplicity and creativity in design, and incorporates thefollowing standards and guidelines. Rules may be broken (within reason), but featuresand departments must remain distinguishable, and all text should be a legible font size
unless otherwise intended.
A. COVER
Title: Brush Art, 132 pt.
Cover Lines: Legible sans-serif font, 16 pt. or above
Date and Price: Arial, 10- 16 pt.
B. DEPARTMENTS
Names: Impact, 20 pt. (except “Sore mo jinsei”; Impact, 15 pt.)
Headlines: Impact or appropriate “novelty” font, 18 pt. or above
Body: Arial/Helvetica, 6- 8 pt., depending on copy size
Kerning: Auto, or 2-3 pt. larger than font size; 0p11 baseline grid may be used
C. FEATURES
Headlines: No formal font specification, large point size
Decks and Pull Quotes: Complimentary font to headline or body
Body: Times, 9 pt.
Kerning: On body text 11p0 kerning, snap to 0p11 baseline grid.
End Bullet: Mark the end of each article with a 0p5 x 0p6 (w x h) black square
D. GENERAL
Pagination: Arial 8 pt., page numbers bold, month and magazine name regular
Asian Fonts: Osaka
Indent: 1p0 for feature stories and 0p5, or 1p0 for columns depending on font size
Margin: .25 inches or more for body text, less for deck and headlines
Bleed: .2 inches or more on outside pages; .125 or more for inside pages
Gutters: standard 1p0 for departments or 2p0 for 2-column features; 1p0 for 3-column
features

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APPENDIX EPRINTING SPECIFICATIONSTanuki was produced by Salem Printing & Blueprint, Inc. The magazine was laser
printed on sheets of 12” by 18” 60-lb. bond paper. Pages were trimmed, folded, andstapled to create the final product.
Though large-scale web presses offer a much better price per book, they often
require a thousand copies or more per job. For small-scale publication projects, Salem
Blue is an affordable alternative to companies like Kinkos. Final price was $480 for 35
full-color, full-bleed copies on 60 lb. bond paper (33 at full size and 2 at a reduced size),plus proofs and shipping.

41
APPENDIX FBIBLIOGRAPHY OF GENERAL REFERENCES
Cohen, Sandee. InDesign for Macintosh and Windows. Berkeley, CA: Peachpit
Press, 2002.
Folio Magazine, ed. The Handbook of Magazine Publishing. Stamford, CT: Cowles
Media, Inc., 1996.
Goldstein, Norm, ed. The Associated Press Stylebook and Briefing on Media Law.
Cambridge, MA: Perseus Press, 2004.
Johnson, Sammye and Patricia Prijatel. Magazine Publishing. Lincolnwood, IL: NTC
Contemporary Publishing Group, 2000.
Mogel, Leonard. The Magazine (4th Edition): Everything You Need to Know to make it in
the Magazine Business. Pittsburgh, PA: GATF Press, 1998.
Ryan, William. Graphic Communications Today. Clifton Park, NY: Thomas/
Delmar Learning, 2004.
Wheeler, Tom. Syllabus for J474, The Magazine Editor. The University of Oregon
School of Journalism and Communication, Fall 2004.