THE

CLASSIC
EXPLORER
TEMPLATE

DESIGN

WRITING

EDITING

ART

Clayton Notestine

Copyright © 2023 Company. All rights reserved.

[Link]
TABLE OF CONTENTS

INTRODUCTION 3 MAKING SPREADS 12

Explorers Values 3 The Classic Option 12

GETTING STARTED 4 Alternative Options 12

Reading the Template 4 MAKING MAPS 14

MAKING IT YOURS 5 Map Best-Practices 14

Using the Template 5 Big Map Spreads 16

Modifying the Template 5 CONCLUDING NOTES 18

WORKSPACE SETUP 6 Beyond this Document 18

GRID SYSTEM SETUP 7 Sharing your Work 18

Using Styles 7 INDEX 20

MAKING LAYOUTS 8

Creating Lists 8

Creating Sub-Columns 8

Visuals 9

MAKING TABLES 10

Getting Started 10
 INTRODUCTION

T
his A5 template is for roleplaying games and modules with
minimal art, mechanics, and systems. In other words, good
ideas with spartan presentation. Good examples include Into
the Odd, Whitehack, Powered by the Apocalypse, and adventures like
The Isle and Silent Titans.

Layout is a craft. More specifically, it’s a craft about problem-solving.

You’ll get to solve all manner of problems, riddles, and puzzles.
Dodge traps. Slay dragons. The problems can be simple, like placing
art, or complicated, like text setting. This template doesn’t stop
problem-solving. It encourages it. Every template must be explored
for its gold. This template is no different.

If you’re ever stumped, I recommend turning to the internet. You

can learn everything through your favorite search engine.

Check out Explorers Design for the fundamentals. It’s where I teach
graphic design through a roleplaying lens. It’s the same information
from a textbook but with twice as many kobolds and ray guns.

EXPLORERS’ VALUES

Design is meaningful. What designers do matters. It has the power to

influence others, help or hinder, heal or hurt, excite or incite.

Design is for everyone. If you’re passionate, kind, and

compassionate, you have something to bring to the table. Design has
no entry fee.

Design is human. The best designs have fingerprints. Sometimes

that’s what makes them art. The designer cannot be excised.

Design is exploration. We become better designers (and people)

when we challenge ourselves with new perspectives, work, and ideas.
Never stop exploring, learning, and discovering.

2 Name of Book | Name of Chapter Name of Book

Name | Name
of Book | NameofofChapter
Chapter 3
II GETTING STARTED III MAKING IT YOURS

READING THE TEMPLATE USING THE TEMPLATE

About sidebars This template is for manuscript layouts (also known as single- The best templates are made to be destroyed. Don’t treat anything
column layouts). If you’re reading this in your design software, your as off-limits. Rearrange pages, duplicate spreads, and change
This is what one looks view is more intricate. The layout is what the reader sees, and the Know your grid everything. The grid system exists to make that easier.
like in this template. It grid system is what the designer sees. This grid system was built to
can be a foe’s stats, give you comprehensive options. Knowing your layout Your layout will be consistent so long as you use the grid. Think of
designer commentary, basics and design this template as a toolbox. Every element is a building block. What
treasure, or optional Every spread follows that core conceit or pushes it to its limits. This principles will serve you’re doing is arranging them to serve your game, story, and rules.
rules. Keep it short. template has three layers to guide you on your journey. you well. Check them
out on Explorers! The grid system gives these pieces a standard unit of measurement,
Grid system: The deepest layer of information is the built-in grid of rhythm, and proportion. If you ever want to “break the grid,” do it for
baselines, columns, and margins. You can modify all of these good reasons. When in doubt, trust your eye.
through menus. Clicking and dragging them isn’t possible. That’s a
blessing for me and my clumsy fingers. Want more? You can Remember: When rearranging, spacing is always in 12 pt
make guidelines by increments. Text boxes should have 12 pt vertical padding. 24 pt
Use this sidebar for Guidelines: The second, less entrenched layer is guidelines, which clicking and dragging padding if it’s a new section. If you made your baseline grid visible,
adding flavor text. I’ve added as suggestions. They’re blue dotted lines and can be from the rulers. this will be easier to adjust on the fly.
dragged or deleted. They organize and subdivide your grid. This
document’s guidelines can be found in the “master pages” group of
the pages window.
MODIFYING THE TEMPLATE
Commentary: Typically in templates like these, text boxes and tables
are besotted with “lorem ipsum” text, a nonsense language made to Here be dragons! Most users should copy, paste, and drag pieces around. If you’re
stand in for real information. The problem is that this filler text is Handle with care. hungry for more, you can make sweeping changes using the minimal
often insufficient. First, because it doesn’t mimic the cadence of paragraph and character styles provided. Some details, like page
modern language. Second, because it’s a missed opportunity for numbers, can be found on parent pages in the pages window.
education, expression, and more.
Be careful about changing anything that has other elements
In this template, I’ve opted for something different. dependent on it. For example, if you change the body text, you’ll
probably have to tweak everything else.
Until you replace them, the stand-in text here serves as guidelines,
notes, thought-starters, and designer and rpg in-jokes.

4 Name of Book | Name of Chapter Name of Book | Name of Chapter 5

IV WORKSPACE SETUP V GRID SYSTEM SETUP

Can’t find a thing? Half the battle of layout is workspace and workflow. As you design, Layouts live and die This template stems from a technique I call the “typography-first
you’ll hammer together your version. Until then, I recommend by their typefaces. approach.” Everything, from the margins to the alleys, is based on
You can toggle most starting with the same digital workspace. this document’s body text, PT Serif, and its leading (rhymes with
windows and tools in “sledding” and referred to by many as “line-height”).
the window and view A digital workspace configures your program’s windows, panels, and
menu at the top of view settings. Nearly everything you need starts by being hidden Therefore, the base unit of measurement for this template is 12 pt.
your screen. away. We’re going to fix that. In this template, The same height as PT Serif’s leading.
columns are not
Units & Measurements: Your format or “page size” is measured in measured in 12 pt The baseline grid is divided into 12 pt segments. The alleys are
traditional units of measurement like the millimeter and inch. We increments, but exactly 12 pt wide. The outer margin is 36, the inner 48, and the top
want to organize everything by points, a unit of measure in type defined by them. 36. The only exception is the bottom margin which is 43.5 pt tall.
design. (Points give us precision without using fractions.) (The A5 format cannot be evenly divided into multiples of 12 pt.)

• Go to: File > Document Setup > Document

• Change Document Units to points Styles will be your USING STYLES
worst best friend.
In Affinity, you can Baseline Grid: Everything in this template is built on the baseline A layout tool called “styles” reinforces consistency. Every major
apply two different grid, a typographic grid used in tandem with other grid systems. piece of layout, like individual levels of type, is grouped into styles in
kinds of baseline grids. their corresponding window. In this template, look in the Text Styles
• Go to: Baseline Grid Manager (A visual button near the top.) window. (I recommend changing the view to Show Hierarchy only.)
For our purposes, only • Toggle Use Baseline Grid so it’s active If you stay organized,
use document-wide • Set Start Position to 12 pt and Relative To Top of Page styles allow you to • Click on a style to apply it to whatever you have selected.
baseline grids. • Set Grid Spacing to 12 pt make changes quickly • Styled elements highlight their applied styles when selected.
• Toggle Show Baseline Grid so it’s active and efficiently. • If a style has a (+) that means the selection has variables.
• Change Display Threshold to your preference (Mine is 25%) • Modifying a style will modify all elements with that style.

Ctrl + W toggles View Settings: Now that we’ve confirmed our baseline grid works,
between normal and
preview view modes.
it’s important we make it and all our guides visible in the document. The first number is
always the font’s size.
HEADING ONE
• Go to: View (Found in the top navigation window) The second number is Amarante 20 pt / 12 pt
• Toggle Show Baseline Grid so it’s visible its leading.
• Toggle Margins, Guides, Column Guides, and Rulers HEADING TWO
• Avoid activating Show Grid which is different Amarante 12 pt / 24 pt

Body Text
PT Serif Regular 8.5 pt / 12 pt

6 Name of Book | Name of Chapter Name of Book | Name of Chapter 7

VI MAKING LAYOUTS

CREATING LISTS PLACING VISUALS

Not every rpg needs lists. The key is making lists do something Use the grid system and its baseline grid to plug in your visuals. By
sentences and paragraphs cannot. For that, you need consistency spacing your visuals in 12 pt intervals, you can create an invisible
and style. You can find more details in the paragraph styles window. rhythm and pattern to your work. The visual placeholders on this
page are precisely 12 pt apart.
Bullet point are always • Make sure lists have 12 pt of padding from other elements.
better when limited to • You can modify the spacing between lines in the styles.
one line. • Some layouts use a typeface just for bullets. Not this one.
• There’s a rule that you never punctuate bullet points. TWEAKING VISUALS
• That rule is outdated and can be ignored.
In some layouts, you can “fudge” the exact placement of visuals and
Numbered lists are 1. Numbers and bullets are not interchangeable. hang their edges in the alleys. Do this carefully. The alleys are
even more prescriptive 2. Order always matters, but in a numbered list, it’s explicit. narrow in this grid system and don’t give you much room to spare.
than bullet points. 3. Use a numbered list when you want the reader to follow it. It’s often better to have your visuals terminate somewhere between
Use them wisely. 4. The number indicates importance, dependence, or usage. alleys in the columns.

CREATING SUB-COLUMNS WHAT ARE FRAMES?

The optimal line width You may want multiple columns in your document. Thanks to the Frames are boxes you put your visuals into. It automatically crops
for columns is between grid system, that’s relatively easy. With current divisions, you can your visuals to the frame’s boundaries. It may seem like an extra
45 and 75 characters. make symmetrical two-column layouts or asymmetrical layouts with step, but it’ll save you time if you need to rearrange the layout or
This template’s accompanying images and whitespace. replace images. I recommend using the layers window to do this.
average is around 65.
Remember: Line width is essential. If you make your columns too
long, your writing will exhaust the reader. Make them too narrow,
and the prose will be choppy. PLACEHOLDERS
You can find examples of multi-column layouts on the following Frames only show up in the normal view mode. So, to make the
pages. There are no hard rules—only best practices. The only structure of this template more visible, I’ve laid boxes over the
fundamental truth to adhere to is your message and what you’re frames. You can hide them by going to the layers panel and selecting
trying to convey. the placeholder layer.

8 Name of Book | Name of Chapter Name of Book | Name of Chapter 9

VII MAKING TABLES

GETTING STARTED WITH TABLES 1d4 Types of roleplaying game products

When in doubt, Something about tables confounds even the most advanced layout 1 Roleplaying game system. New system. New genre. New everything.

watch tutorials. software. It’s a level of complexity stacked on top of complexity. 2 Adventure module. Perilous foes. Harrowing places. Limitless treasure.
3 Supplemental rules. Sub-systems. Mini-games. Bonus content.

Take your time with it. Don’t be afraid to experiment. 4 Play aids. Tools. Cheat sheets. References.

Forget the baseline grid: Normally, we respect baselines, but that

adds too much complexity right now. When using a table, click on it, 1d6 1 2 3 4 5 6
and confirm that its text is separate from the baseline grid. The table
will have its own logic; we don’t want it to conflict with the 1 Rand Cooper Lubalin Lupen Bierut Tanaka

underlying baseline grid. 2 Carson Brockmann Maeda Glaser Rodchenko Lustig

3 Vignelli Davidson Barnbrook Scher Samara Ansel

Paragraph Panel > Do not align to baseline grid 4 Fili Hische Trochut Janoff Awazu Millman
5 Chwast Games Pineles Davidson Brody Brodovitch

Using Styles: Styles are almost impossible to ignore when it comes 6 Moross Sagmeister Kare Greiman Lois Müller

Command keys! to tables. This template’s tables use the same set in different
arrangements (with exception to the shaded table).
While in a table you 1d4 Header Typeface 1d4 Body Typeface
can Cmd + Click to Clicking on a cell, row, or column highlights its style in the 1 Oldstyle serif
select an entire cell appropriate style panel. This template uses a combination of 1 Oldstyle serif
2 Modern serif
rather than just its paragraph styles and cell styles. Clicking on a different style while 2 Modern serif
3 Humanist san serif
contents. selecting a row, column, or cell will change it to whatever you click, 3 Humanist san serif
4 Grotesque san serif
so be careful. 4 Grotesque san serif

Small details: The first row under the header is always slightly taller
than the remaining “body rows.” This creates a more pronounced 1d4 Conditions 1d4 Layout Project
divide between the results of a table and its labels above. Therefore,
a “top cell” inset has been added to the taller row to keep the text in 1 Concepted 1 Manuscript layout. Clean, approachable, and timeless.

pleasing symmetry with the other body rows. 2 Drafted 2 Column layout. Robust, functional, and familiar.
3 Proofread 3 Modular layout. Dense, orderly, and experimental.
4 Published 4 Hierarchical layout. Intuitive, engaging, and exciting.

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VIII MAKING SPREADS

THE CLASSIC OPTION

The classic option is A common way to start a section or chapter is with a spread like this;
classic for a reason. one full-page image opposite another with type. If you choose this
Resist the urge to toss option, I recommend setting a pattern.
it out when there’s a
world of opportunity in Always use the same sides on every chapter.
the details.
The purpose of these spreads is to telegraph a new chapter to the
reader. Similarities in your section breaks reinforce that relationship.
If a full-page image is on the right side, the reader can use that for
quick navigation at the table (assuming table usage is a goal).

ALTERNATIVE OPTIONS

Look at your favorite There are countless variations you can make with this template. One
books for examples. approach is to change the size and hierarchy of type on a page. Many
You’ll probably find great rpgs, for example, like to start their sections with extra large
commonalities. headers that act like art all on their own.

Another method is by changing the size and placement of images.

On pages 1 and 2, you’ll notice that the image spreads across the
gutter onto the opposite page. This is a great way to showcase strong
visuals and writing. By condensing type down to a smaller footprint,
we draw attention to it.

Drop caps. Features like drop caps (the oversized letter in the introduction
Dazzling readers chapter) can also indicate significance. The trick to their execution is
since 400 CE showing restraint on when and why you use them. It would lose its
power if we used a drop cap on every page. And if we used multiple
drop caps on a page, it wouldn’t just become powerless but tiresome.

12 Name of Book | Name of Chapter Name of Book | Name of Chapter 13

IX MAKING MAPS
Monster name.

Every designer comes

upon the dreaded
Horror Vacui. Slay it or
MAP BEST-PRACTICES be slain.

Treat your maps like Great maps succeed on multiple fronts. They inspire, entertain,
any other image and educate, guide, and often serve as a visual table of contents. The 1d4 Loot
you can build a layout trick is knowing how to represent your game’s map best.
that’s tailored 1 compass

specifically for them. If you don’t deploy maps in your game, this spread can be ignored or 2 scale

retrofitted for a different purpose. For everyone else, let’s talk about 3 legend

best practices. 4 title

“Chunking” is a UX Chunking: If your map is large, like a mega-dungeon, break it into

term for breaking large smaller digestible chunks after showing its entirety. The easiest way
ideas into smaller, to do that is to create a spread that showcases the larger map with
bite-sized pieces. an abbreviated summary of its features. Then, on later pages, you
can show smaller portions of the map with a great depth of detail.

Labeling: Obscuring a room’s overall purpose and function at the LOCATION NAME
table can inspire players to explore it proactively. However, if your
goal is to make a functional map for the GM, labeling your maps Map representation has many permutations. This template assumes
inside the document can help. you might depict a larger map and then break it into pieces.

Map parts: A scale, legend, and compass separate functional maps This is an example of what that smaller map chunk might look like.
from decorative ones. The more tactical or lethal the gameplay, the Notice how it still adheres to the same pattern as the rest of the
more valuable a tool like a scale becomes. document. The only real difference is what the additional white
space is for.
It’s a book. Not a Orientation: Unless you have a good reason, it’s often better if the
steering wheel. Most reader doesn’t have to rotate the book to read it. Always plan. If you
of the time, anyway. know the map will be wide, it’s better to simplify it so it’s legible • Be smart about bulleted lists.
when you shrink it. In some cases, you can extend the image across • Readers often recall first and last.
the spread. Just remember to plan for the gutter. • Consider ordering by priority.
• Or, consider ordering for effect.
• Kobolds!

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 BIG MAP SPREADS SUB-LOCATION 1d10 TABLE ENCOUNTERS

Want to show off a map in a big way? This is an example of what Some maps have divisions or territories. A 1 LOCATION-BASED LOOT

that looks like. Don’t be afraid to experiment. spread like this could show them off. 2 WANDERING MONSTERS
3 RANDOM ENCOUNTERS

A spread like this can be an overview of a location, a tool for the GM 4 SETTING ESCALATION

at the table, or an evocative introduction to a setting. Whatever you LOCATION FACTIONS 5 WEATHER CONDITIONS

choose to showcase, remember to: 6 DUNGEON ECOLOGY

Pig-headed orcs, rival adventurers, or 7 GRID-BREAKING ZOMBIES

skeletons with a great sense of rhythm. 8 LICHES SEEKING THRILLS

• Maintain consistent spacing. 9 POLITICALLY ORGANIZED BEES

• Keep writing out of the margins. 10 PUSHY SALESFOLK

• Never warp or compromise the map. LOCATION THREATS

• Don’t overfill. Maintain whitespace.
Telegraph location-wide threats, like
plagues, fires, or clowns.

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X CONCLUDING NOTES

BEYOND THIS DOCUMENT

The best way to There’s a treasure trove of design techniques lying in wait. Toggle
discover new design is layers. Hyperlinks. HTML tagging. Alt-text. Interactive features.
to keep reading, Running headers. Line composition. Anything and everything.
playing, and exploring
other designs. This document scratches the surface.

Further Reading: Explorers Design—this document’s source and

home—endeavors to be the first stop in your rpg design journey.
There you will find deep dives into other games, links to design
textbooks, and articles that teach the conceptual ideas of design.

After that, things get more interesting. Every designer owes it to

themselves to set aside software-specific knowledge so they can
focus on conceptual ideas. Tools change but theory lasts forever.

If you must buy, Here are a few books you should check out at your local library:
please buy from my
bookshop. • Making and Breaking the Grid by Timothy Samara
• Thinking with Type by Ellen Lupton
• The Elements of Typographic Style by Robert Bringhurst
• Universal Principles of Design by Lidwell and Holden

SHARING YOUR WORK

Made something with this template? I’d love to hear about it. Share
your work on social media with the hashtag #explorersdesign and
link me. I’ll showcase your work, give thoughts, and maybe feature it
on the template’s product page with links.

The teaching goes both ways. I’m excited to learn from you!

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