How To
Achieve Success
with your Publication
�
• Reporting & Writing •
• Layout & Design •
• Yearbook •
• Editorial •
• Visuals •
with thanks to the
2005-06 Publication Underclassmen
1
to
write
Preparing
the story
by Heidi Adams
1
Familuarize Yourself with the Topic
2
• Read a newspaper article or
handout(SNP)
• Talk to Friends/Peers
• Find out dates for important
events(play times, schedules, etc.)
3
4
Pick A Unique Angle
• Creative and unique
• Speciﬁc
• Different than last year
Create a list of Interview Questions
• Open ended questions
• Questions require interviewees to
respond thoughtfully
Interview
• Coverage
• Be prepared
• Be professional
5
6
&
Review Interviews
Pick Quotes
2
7
Begin Drafting
•
•
•
•
Compelling opening
Nut Graf
Body
Solid conclusion
by Heidi Adams
Increasing Your Pub’s Coverage
1.Use an equal number of
boys and girls
2. If the topic allows, get at
least one person per grade
3.Take photos of
people that are not in
your story
4. Interview someone who
has been involved the the
activity for awhile
6. Make sure people that
you use are not featured
in another spread
5.Never use the same
person twice
7. Don’t just interview
the leader or president
of a group/ club
8.Do not use all of your
friends
9. Include people that
aren’t involved in the event
or activity
3
by Elaine Disbro
Digital Recording:
The Things You Need to Know
Tips and Tricks!
• On the front of the recorder are three buttons that are
the play, stop, and erase buttons that you can use when
listening to recordings of your interviews.
• When doing an interview make sure that the button on
the side is switched “conf ” not “dict” so that when you
listen to the recording again, you can actually hear both
you and your subject.
•While recording an interview, if you need to, although
you normally shouldn’t have interuptions during your
interview, you can press the stop button to basically pause
the recording and press the red “rec” button on the side to
resume recording.
•To turn your recorder on you click the “hold” button on
the side the opposite way, and you do the same to turn it
oﬀ. On the vertically opposite part of the recorder is the
volume button that is really only necessary when listening
to the interviews
•Make sure that everytime you do a new interview you
press the “new” button on the side so that you don’t record
over another interview.
•Next to the record button, to the left is the “FF” and
“REW” buttons and you can use these to fast forward and
rewind while listening to an interview.
•If you want to save the interviews from each topic you can
keep them in the diﬀerent folders A,B,C,D and E just by
pressing the “Folder/Menu” key.
4
by Olivia Wilson
Telling the Story
with
Captions
Standard Bland
Caption
2 sentences:
-1st sentence explains the action of the photo in present tense
-2nd sentence relates to the 1st in past tense
Make sure to:
-Identify all distinguishable people in the photo
-Use Apple symbol glyph arrows to point to the correct photo
-Have the same number of lines for each caption on the spread (5 lines)
lame
Standard Bland Example:
▶Juniors Sarah Hulls, Heidi
Adams and Maeve Maher think
at their computers. These girls
often thought about pressing
issues in the news during class.
Spicy Caption
Spicy Caption Example:
▶Contemplating the dire eﬀects of
obesity, juniors Sarah Hulls, Heidi
Adams, and Maeve Maher plan to
take action. They then established an
energetic exercise program for girls.
-All the same “rules” above
PLUS:
-Give insight to the story
-Add varied sentence structures
-Use vivid descriptions and strong word choice
-Capture the emotion of the photo with words
OTHER IDEAS:
-Use a quote from a person in the photo for the second sentence
5
by Sarah Hulls
Sidebar Ideas
Fast-Fact
framed
facts
A fast-fact
box
introduces
the reader to
the basic facts
of the story
without
slowing
down the text.
It includes the
who-what-whenwhere-why
of a story. A fast-fact
box can deliver
statistics,
history,
deﬁnitions,
schedules,
and trivia.
Senior April Reiﬀ wears her *NSYNC
T-shirt for Concert T-shirt Day. Reiﬀ recalled the concert as one of her favorite.
STUDENT POLL: Which was
the best Spirit Week Day?
37
29
16
12
percent of students said
Concert T-shirt Day was
the best day of Spirit Week.
First Person
Account
A ﬁrst person account
oﬀers a diﬀerent point
of view into the story.
It is a good way to
documents how an
individual remembers
the feature of the story,
how he or she felt about
it, or the impression it
had left. A ﬁrst person
account is in the form of
a side story and oﬀers the
insight of someone from
the publication’s target
audience.
percent of students said
Black & Gold Day was
the best day of Spirit Week.
Pulled Quote
percent of students said
Jersey Day was the best
day of Spirit Week.
A pulled quote sidebar is similar to a quote
collection. However, a pulled quote sidebar
consists of only one quote from an interview
subject, does not include a mug shot of the
person, and is usually a quote that is already
in the story. Using a pulled quote as a sidebar
adds graphic variety to the spread and lures
the reader into the story.
percent of students said
Neon Day was the best day
of Spirit Week.
SOURCE: NORWESTER POLL OF 51 STUDENTS
top five
300
280
260
Excitement in the middle of the dance
floor quickly turned into a mosh pit frenzy
when the screams of junior Christine Hunter
turned from screeches of enjoyment to cries
of pain. The cause: a sharp high-heeled shoe
that dug into the top of her foot, breaking a
few bones on the top part of the foot.
“I don’t know what song came on, but
everyone started screaming and jumping,
and that’s when it turned into a mosh pit
instead of a dance,” Hunter said. “Someone’s
high heel came down and stabbed me in the
top of my foot.”
Later in the evening, Hunter also ripped
her dress down the back during the “ChaCha slide.” It was then that Hunter noticed
the new black and blue tinge to her foot.
Hunter continued her night despite the
unfortunate events at the dance. She went
bowling afterwards but had to wear a size
11 for her swollen size 9 foot.
Although she broke her foot and her
Jessica McClintock dress was ripped, Hunter
still managed to have an amazing time. From
dinner with her friends, to nursing her swollen
foot at the bowling alley, the events of
the night made for an unforgettable
homecoming experience.
Source: U.S. Department of Energy
what a time
240
14
15
We
ek
12
13
ek
We
ek
We
10
ek
11
We
ek
We
We
ek
ek
8
We
ek
9
We
6
5
4
We
ek
7
We
ek
We
ek
We
ek
2
We
ek
3
We
ek
We
ek
1
200
, 20
Student gets foot crushed
at homecoming dance
Senior Yudian Zhang shares his ideas for
what a student should do after learning rather
or not they had been accepted to college.
220
05
Average Price of Gas/Gallon (Cents)
320
04
Gas prices
experience upward
climb beginning in
July, prices peak in
early school year
Average Gas Prices in Ohio: July
04, 2005 - Oct. 17, 2005
July
the
counting
gallon$
homecoming
hurts
Weeks after July 04, 2005
Fever Chart
A fever chart, or line graph, works best when documenting one statistic over a period
of time-such as climbing gas prices.
Quote Collection
Quote collections consist of a series of comments regarding the topic
of the story. The ideal quote collection has three quotes: one for, one
against, and one funny. This kind of sidebar is reader-friendly because
it voices the opinions of the general audience.
6
What is your favorite
elective class after
four years at UA ?
“I really like
Physiology
because you get
to look at cool
stuff, like the
human skeleton.”
Senior
Peter Hardymon
Koltak
by Tracy
“I enjoy
Orchestra and
surveys
surviving
making the survey
what were the most
popular spring break
destinations in 2006?
43% - Upper Arlington
Don’t be too broad
Stick to the angle
Keep the questions simple
Limit survey to one or two questions
implementing the survey
26% - Florida
14% - Mexico/South America
10% - South Carolina
7% - Other
Get adviser’s signature
Make copies of the questionnaire
Distribute randomly to all four grade levels
(three or four homerooms per grade)
Collect and tally results
STUDENT POLL: Which was
the best Spirit Week Day?
finishing the job
37
29
16
12
percent of students said Concert
T-shirt Day was the best day of
Spirit Week.
Gather percentages or ratios
Create graph?
Place in story
Denote source
7
percent of students said Black &
Gold Day was the best day of
Spirit Week.
percent of students said Jersey Day
was the best day of Spirit Week.
percent of students said Neon Day
was the best day of Spirit Week.
by Andrew Mikac
percent of students said Denim Day
was the best day of Spirit Week.
SOURCE: NORWESTER POLL OF 51 STUDENTS
InDesign Character Palette
- use the character palette to control the appearance of the text
- Command-T to view the palette or look at the top of the screen at the tool bar and select the A icon in the top left
corner of the computer screen; the character palette includes all the buttons across the screen
1. Font Family
1. Font Style
3. Leading
5. Tracking
2. Size
4. Kerning
6. Horizontal Scaling
6. Vertical Scaling
7. Baseline Shift
8. Slant Scaling
1. Font Family and Font Style
a. font family is a text with a common look
b. the font is a font family plus the font style
c. font styles are bold, italic, regular, bold italic; you have to select a font family and a font type
d. font families don’t have all font types
Example:
2. Size
maximo (font family) + bold (font style) = maximo bold (font)
a. can specify point size in .001 increments or just select a size from the list
b. 12 points = 1 pica
Example:
Size = 12 times new roman
Size =
18 times new roman
3. Leading
a. leading is the distance from the bottom of one line of text to the bottom of the next line of text
b. “10 on 12” means 10 point text on 12 point leading
c. by increasing the leading you increase the distance between two lines of text
d. leading is typically 120% of the font size
e. use extra leading for sans serif or bold type
Leading = 10 on 12
Leading is the distance from the bottom of one line of
text to the bottom of the next line of text.
16.8 pts.
12 pts.
Example:
8
Leading = 14 on 16.8
Leading is the distance from the bottom
of one line of text to the bottom of the
next line of text.
by Maeve Maher
4. Kerning
a. this adjusts the spacing between characters
b. pairing kerning = adjustment of space between adjacent characters
c. tracking = range kerning = adjustment of all the inter-character spaces in a series of characters
d. InDesign applies the total of the pair kerning and tracking values
e. place your cursor between two adjacent characters and pick the kerning value; you do not need to
select any text
f. positive kerning values increase the distance between characters and negative kerning values decrease
the distance
200
Example:
K e r ning adjusts the spacing between adjacent characters.
300
100
5. Tracking
a. tracking applies the same kerning value to every character in a selected range of text
b. select a range of text and then apply the tracking to change the spacing
Example:
Tracking adjusts the spacing between a range of text.
50 (applies to all 4 words)
-50 (applies to all 5 words)
6. Horizontal and Vertical Scaling
a. the scaling button changes the size of the selected text and when the horizontal and vertical
components are not equal then a distorted version of the text will result; the largest scaling component
will make the text the largest in that scaled direction
b. these values are changed using percents
Example:
150% horizontal scaling
110% vertical scaling
Scaling stretches the text.
7. Baseline Shift
a. this is used when you need to raise or lower the baseline of a character above or below the baseline of
the surrounding text; don’t use leading for this because the largest leading in each line dominates
so the desired result will not be achieved
b. positive values move the character up and negative move it below the baseline
c. don’t use this button to raise or lower numbers in formulas, registered trademarks symbols, or similar
instances because it is better to use the Superscript and Subscript buttons
Example:
eS
Baselin hift
original baseline
8. Slant Shifting
a. this adjusts the angle of the text in correlation with the line perpendicular to the baseline
b. degrees are the units and the values must be between -85° and 85°
Example:
Slant shifting italicizes the text to diﬀerent degrees.
S
35°
-35°
S
9
by Maeve Maher
a
p
r
h
g
a
P
r
a
a
l
P
ette
e
h
T
The Paragraph Palette
The paragraph palette (shown above) is located at the
top of the InDesign page and can be brought up by clicking on the
paragraph formatting controls button (shown right). The paragraph
palette is different from the character palette in that it affects entire
paragraphs instead of just speciﬁc characters within a paragraph.
Alignment and Justiﬁcation
The alignment and justiﬁcation buttons (shown right), are found on the left
side of the paragraph palette. The top
line, from left to right, consists of the align left, align center, and align
right buttons. The bottom line, from left to right, consists of the justify
with last line aligned center, justify with last line aligned right, and
justify all lines buttons. If you forget what the buttons are, just place
your cursor over the button and its name will pop up.
Aligning text does not affect character spacing and is aligned
with one or both edges of the text frame. Justifying paragraphs of
text, on the other hand, adjusts character spacing when necessary
so that the line of text lines up with the edges of the text frame.
Align left aligns paragraphs so that the text lines up with the left
margin of the text frame.
Align center aligns paragraphs so that the text is centered in the
text frame.
Align right aligns paragraphs so that the text lines up with the
right margin of the text frame.
Justify with last line aligned left justiﬁes paragraphs so that the
text lines up with both the left and right margins of the text frame
except for the last line, which lines up with the left margin.
Justify with last line aligned center justiﬁes paragraphs so that
the text lines up with both the left and right margins of the text frame
except for the last line, which is centered in the text frame.
Justify all lines justiﬁes paragraphs so that the
text lines up with both the left and right margins.
Indentation
The indentation buttons
(shown right) are
located towards the left of the paragraph palette, after the alignment
and justiﬁcation buttons. In the top line, from left to right, are the
left indent and right indent buttons, and in the bottom line is the
ﬁrst line left indent button.
The left indent option indents the entire left side of a paragraph. You can enter in how many picas away you want the
paragraph to be from the text frame. In this paragraph, the left
indent is one pica.
The right indent option indents the entire right side of a paragraph. You can enter in how many picas away you want the
paragraph to be from the text frame. In this paragraph, the right
indent is one pica.
The ﬁrst line left indent option indents only the ﬁrst line of a
paragraph to the left. You can enter the number of picas you want
the ﬁrst line to be from the text frame, but the other lines are unaffected. In this paragraph, the ﬁrst line left indent is one pica.
The indent options can be used by themselves or with each
other. For example, in this paragraph, the left indent is a pica and
the ﬁrst line left indent is a pica.
Paragraph Spacing
The paragraph
spacing buttons (shown above) are located in the center of paragraph palette, above the drop cap buttons. From left to right, there
are the space before and the space after options.
The space before option adds space above a paragraph. You can
enter in how many picas you want this space to be. In this case,
there is a pica above the paragraph.
The space after option adds space below a paragraph. You can
enter in how many picas you want this space to be.
Drop Caps
The drop cap
options (shown above) are located in the center of the paragraph
palette, below the paragraph spacing buttons. From left to right,
there are the drop cap number of lines and the drop cap one or
more characters options.
y entering a number into the drop cap number of lines option, you
choose how many lines the drop cap will go over. In this paragraph,
the drop cap goes over two lines, as is common for Arlingtonian.
entering a number into the drop cap one or more characters,
you choose the number of characters that are in drop caps. In
this paragraph, the number two was entered into both the drop cap
number of lines and the drop cap one or more characters boxes.
B
By
Hyphenate
The hyphen box (shown above) is
located towards the right of the paragraph palette, below the paragraph style drop-down box. The hyphenate box is automatically
checked on unless you check it off. When on, it adds hyphens into
words that do not ﬁt on the end of a line, which is why the word
“paragraph” in this paragraph has a hyphen in it.
This is a paragraph with the hyphenation box clicked on;
therefore there is no hyphen in the word “therefore.”
Paragraph Style
The paragraph style
drop-down box (shown above) is located at the far right of
the paragraph palette, above the hyphen box. It is possible to
choose a paragraph style from this drop-down box by highlighting paragraphs of text and applying a specific style, such as
“Arlingtonian body copy.” Paragraph styles affect indentation,
font, etc. of the text.
10
by Renee Ogaki
InDesign Text Wrap Palette
Basic use of the text wrap palette
When you’re working with images, the text wrap palette is your best friend. To adjust how text wraps around an
image or other object, select one of the ﬁve large buttons on the top of the menu.
 alt w
Allows text to run straight through the object with no text wrap
Wraps text in a tight square around the object. Best when you need a tight text wrap.
Wraps text closely around the object. Use this with an irregularly-shaped object.
Arranges text so that there is no text horizontal with the object. This option is rarely used.
Places text only above the object. Also used rarely.
You can also set your own text wrap, like this:
This is called the clipping path. To set the clipping path,
select Clipping Path under the Object menu. Under Type,
choose detect edges, and toggle the threshold (the lightest
or darkest shades that will be left in the object) and the
tolerance (how close to the threshold a pixel can be before
it is removed) to set the clipping path.
Once you have your clipping path set, go to the Text
Wrap Palette, select the third
button from the left, and under Contour Options choose
“Same as clipping” to set your
clipping path as the text wrap. Be careful not to cut too much of the object oﬀ when setting the clipping path, though. You should avoid using it when the image is similar to its
background, or it will cut oﬀ part of the image.
You can also manually set a text wrap. To create your own text wrap, select the object or image with the selection tool (the black pointer on the
left menu), select the object, then go back to the left
menu and choose the “Add Anchor Point Tool.” Click
along the border of the object to add anchor points.
Then choose the direct selection tool (the white pointer)
and drag the anchor points around to create a custom
shape. To set this shape as your text wrap, choose
Anchor points
“same as clipping” under Contour Options in the
Select the image with the selection tool,
Text Wrap Palette (make sure the third box on the
choose the pen tool and add anchor points.
top of the palette is selected).
Then use the direct selection tool to move
the anchor points around and create a
shape.
Both of these methods can be extremely
helpful when dealing with irregularly shaped
objects, where a square text wrap would look
awkward. But don’t use it too often, and make sure not to wrap text too closely.
11
by Sam Underwood
Planning the Spread
1. Research Topic:
participated and who you are comfortable talking to, and
a. Old yearbooks - provide information about event that
might be necessary for interviewing and show previous
topics so that you do not do the same one
b. Internet - possible source of background information
go ask them general questions about the event - it is not
an interview, just a way to generate ideas for what topic
you want to cover with your spread
4. Pictures:
a. After picking topic, think of interesting ways to
for the topic
describe topic visually; choose a weird aspect of your
topic and attempt to get a picture of it; try to pick
something so strange that your viewer is forced to read
your spread; ﬁnd something that would attract your
attention
Ex.- Website for Governor’s Art Contest
2. Find Names:
a. Athletic Oﬃce - for sports stories to get team members’
names and grades
b. Main Oﬃce - to ﬁnd out names of advisors for clubs and
Ex.- Spirit Week Dominant for Denim Day
groups; once you have name, go to advisor for complete
list of student names
c. Attendance Oﬃce - for schedules of students who
participated in event
3. Informal Interview:
a. Once you have list of names, pick a person who
12
Ex.- Governor’s Art Contest Dominant
by Sarah Carney
Yearbook Photo Selection
Photos are one of the most important elements in an outstanding yearbook. In order to select
the best and most appropriate yearbook photos, there are some general guidelines to follow.
Good yearbook photos contain:
--A variety of diﬀerent subjects in action who are not posed for the camera
--Unique angles that capture unique viewpoints
--A variety of close-up shots and shots that are a little farther away
--Balance in each photo, with subjects not directly in the center and not oﬀ to the edge of the
photo
◀Good: shows subjects in action, subjects are close-up and not
photographed straight-on. Bad:
we can’t see who the subjects are
smiling at.
▶Good: captures a unique angle,
shows subject in action. Bad: cuts
oﬀ the head of a subject
◀Good: nothing,
Bad: subject is posed for camera.
▶Good: three subjects. Bad: bad
angle, posed subjects.
Yearbook Photo Placement
When placing a selected yearbook photo, there are several things to keep in mind:
--The subjects should not be facing oﬀ the page. For example, if a picture is placed on the right
side of the spread, the subjects should either be facing forward or to the left toward the gutter.
--If a picture crosses the gutter, none of the subjects’ faces should be positioned in it.
--The dominant photo of any spread should relate directly to the title and angle of the copy.
--Do not place similar photos on a single spread, because this takes away from its variety and
visual appeal.
13
by Julia Neuman
Organizing the People Section
• Begin with a blank InDesign spread and by using color blocks decide where
your mugs, proﬁle, photos, quotes, bio boxes, ect. will go. Whether you want to
have bio boxes, or surveys, or quotes from students is completely up to you. So
make a couple different designs to run by the editors.
• Once a spread design has been approved now
you can really begin working on the people section.
First, you need to copy and paste your design onto
the ofﬁcial people pages. Also, you need to dertemine the number of pages for each section, by dertemining the number of school mugs on each page.
• You will be responsible for ﬁve sections: Freshman, Sophomore, Junior, Senior
and Faculty. The Freshman, Sophomore, and Junior sections will all the same design.
However, the Senior and Faculty section will be different.
• For the senior photos you will need to de-
cide how large you want the pictures to be.
Normally they are larger then the rest of the
school mugs to showcase the senior photos. As
well as the photos you will need to decide if
you want senior superlatives in the people section or would rather do something different.
14
by Claudia Henning
• The faculty section is the smallest section of all five. So the placing of the mugs will
be different, but the rest of your design will remian the same. Depending on the rows
of mugs that you have decided to go over the gutter, you will have to re-design the
facultry mugs so that they fit onto the pages approximatly.
• Now that your ﬁve sections have been designed, the real fun can begin! First
take into consideration the assignments that you need to start. There are the proﬁle
photos, and proﬁle stories, and any other special additions you have added. Begin
with the proﬁle stories. I suggest making a spreadsheet, for each grade and what
writer will be assigned to each topic. Decide whether or not you want to assign
each proﬁle person or if you want to leave it up to the staff writers . But no matter
what, make sure that you are very clear to the writers want you want from each
story. ( I will warn you that it is very difﬁcult to ﬁnd around 35 students to write
interesting people proﬁles on, so prepare!!)
• Once your proﬁle stories have been assigned
and are being wrriten make sure to get an early
start on communicating with the photographers
about what you want from the proﬁle pictures.
Set deadlines for when they will be do and make
sure to do constant check-ins with them. Take into
consideration your design for the proﬁle photos
and how the phtograhers will be able to get them
15
by Claudia Henning
• Now that the proﬁle stories and photos have been assigned, you can begin to
work on the details of the people section. You will be responsible for the students who
aren’t pictured boxes, you can use the student names list for that. Also you will need
to work on bio boxes or senior superlatives, whether or not you have chosen to have
those in the section.
• You have assigned and designed the majority of the people section, congrats!
Now you need to use your time well and make sure that you are placing photos,
editing stories and ﬁxing any ﬂaw. Try to set deadlines for yourself like when you
will have a certain section done or when you will have all the photos in a section
placed. This will be very helpful and avoid end of the year anxiety! Now just a
few more tricks of the trade that you may ﬁnd useful when desiging the people
section.....
• When designing the senior section make sure to FLOW the names, it will make
your life much easier as overlooked names need to be added. For help with this
just ask HemmDogg she always knows what to do!
• Also the people section can seem detached from the rest of the yearbook at
times. So make sure you speak with the editors so that the people section can be
uniform with the rest of the yearbook.
• Make sure to take it section by section, a year can ﬂy by fast, so its best to
get everything placed and perfected because you will have to make many changes before the year is up! Good Luck.
16
by Claudia Henning
Taking a Mug Shot
-PURPOSE: The mug shot is an important aspect of any publication; it introduces a person
and is usually accompanied by a thought or an opinion. Deﬁned as a photograph of someone’s
face, a mug shot appears to be a simple task, but without the knowledge of how to take one, it
can prove to be quite frustrating. The keys to taking a good mug shot are preparation, timing and
location.
-PLANNING: When you are ﬁrst assigned a story that may require a mug shot it is important to remember whom you will be interviewing and if a mug shot will be needed. If you set off
to interview your source and forget to take your camera a long, you may have to end up tracking
them down again to obtain the photo. Anyone can take a mug shot, and it is that simple!
-TIMING: The correct timing in this process will make it a lot less painless. One tip that is
guaranteed you will never be caught off guard is to always bring your camera with you when you
go to interview. Take a picture of EVERYONE you interview; this way if you happen to need a mug
shot of someone at the last second, you already have it. Also, it will spare you the embarrassment of having to track down and bother your interviewee again.
-LOCATION: this will also play a vital role in the quality of your
mug shot. Although the background does not have to be anything special, it is important to establish a location that is consistent but at the
same time, not distracting. Lighting will also contribute to the quality.
Take the mug in a neutral lighted location. For example you would not
want to take one outside on a sunny day or in a dungeon. Some good
examples of good locations would be:
- Several feet in front of a wall
-In front of a door
- Or any other similar surfaces, preferably indoors
- These locations are easy to ﬁnd, consistent and have adequate
lighting. Finally, the camera actually comes into play. First make sure
the lens cap is off, turn your camera on and put the camera on the indoor setting and ﬂash should not be needed.
- Take as many as needed to obtain a good clear picture of your
subject. If your subject asks to see the picture (they may make you
take it again and again until they are satisﬁed), politely assure them
that you will choose the best picture
-PLACING: After you have taken your pictures, import them on to
your computer using iphoto or photo shop.
- Edit image if needed. (Reduce redeye, etc...)
- BAD MUG SHOTS
-
17
by Harry Schoﬁeld
organize the yearbook
how to
Brainstorm General Changes:
1
2
3
4
5
No two years are alike and neither are any two yearbooks. Start your
year (preferrably before the previous year ends) by pinpointing any large
problems with the previous yearbook. There are always things that can
be improved. Whether it be classroom organization or simply design
styles you did not like, pinpoint these components and change them.
Also, brainstorm new ideas and things you want to implement during
your time as editor. Try to come up with fun and interesting activities
that will make the staﬀ feel appreciated. Tip: never underestimate the
power of food when it comes to motivating your staﬀ.
During the summer, your main responsilibility is to come up with a
concept for your book. Try to think of something that sets your year apart
and see if this can be transformed into a concept. If there is nothing blatantly obvious, take an interesting “evergreen” theme and try to think of a
diﬀerent way of representing it diﬀerently. Tip: Try designing during this
stage. Designing while brainstorming will stimulate your creativity, help
you think of spread integration, and jumpstart spread design. Try to think
of how your concept can alter the way the book is organized. It is also a
good idea to get your staﬀ manuals made during this time.
With your theme in place and your likes and dislikes decided upon, start
designing your ideas. “Look Books” oﬀer great starting ideas but avoid
complete copying. The best way to come up with a solid design is to do
just that, design. Follow an idea to the end tweeking and altering as you
go. Try to save all of your ideas (even if you don’t think you will ever use
them) because as you design you will may want to go back and reference
your past ideas. Try to think of creative ways to incorporate your theme
and just go. Now is your chance to try all the crazy ideas you have been
told are bad...so have fun with it!
Get friendly with your computer! Once you have settled on a general idea
concept, it is time to start making the actual book. First step: Plan what is
going to be covered in your book. When planning your book you have your
general spreads (such as Football or International Day) but try to brainstorm
spread ideas which are truly unique to your year. Having new topics is fun for
writers, readers, and gives your book a more unique feeling It would also be a
good idea to make the actual pages during this time. Although it isnt a huge
job, its beneﬁcial to get it done before school starts. Try to anticipate when the
activities will be occuring and try to assign the writer that subject accordingly.
Design, Design, Design...:
Follow Through:
Start “Theme-ing”:
Make the Darn Thing!:
None of your hardwork during the summertime will mean anything
if you don’t implement it during the year. Always remembering your
theme, getting it on the spread, and producing a uniﬁed, comprehensive
book is a huge task. Always remember what you want your yearbook to
say and how you have planned to go about saying it. Most likely, you
will only be editor once and what you make of that time is completely
up to you. I recommend reviewing your progress after every single rotation. This will keep you on task, realistic as to how much work you need
to do, and help you stay motivated throughout the year. Good Luck!
18
by Craig Mangum
Copy Editing: First-to-Final Drafts
When copy editing, you should consider these focus areas and ask yourself these questions. The answers should all be ‘yes.’
Planning
Thoroughness
Are the sheets completely ﬁlled out? Is it obvious
that the staffer put effort into the planning process?
Interest of Information
Content
Does the information seem accurate and interesting?
Does the content appropriately relate to the angle
Would you want to read about the brainstormed topof the copy? Is it interesting? Is the story speciﬁc to
a particular event, time, idea, etc. of the topic?
ics?
Organization
Variety
Is the information organized logically? Are there
Has the writer provided a number of options (at
smooth transitions between writers’ words and the
least 2) in case topics don’t work out? Do all of the
supporting quotes?
ideas have a unique aspect to them?
Coverage
Intended Sources
Does the writer use a variety of students or faculty
Do the intended sources vary in grade and gender?
Are they appropriate sources for the given topics? If
members in the copy?
it is a topic that anyone could be interviewed for, are
people that are quoted people that might not get to
be in the yearbook otherwise.
First Draft
Final Draft
Accuracy
Is the information correct? Is it supported by sources’ quotes?
Spelling, Grammatically Errors, etc.
Did the writer spell check?! Are words used correctly?
Journalistic Style
Are sources introduced before quoted? Is AP style
used correctly?
Intriguing Openings
Does the opening grab your interest? Is it clear what
the copy will be about? Is a source used in the opening (optional, but makes the copy unique)?
Solid Closings
Does the conclusion wrap up the story? Does it relate
back to the beginning paragraph?
19
by Alex Edmonds
Preparing for
Submission
Hooray, you’re signed off! The hard part is over, but you still have one vital step to complete—packaging. This is probably the most important part of the process (after all, you’ve spent all that time perfecting
your layout, so you’ll probably want to make sure it’s printed the way you have it).
Packaging groups all of the fonts, photos, graphics and your layout into a convenient little folder. This
ensures that everything in your layout stays the way it is when it’s transferred over to the editor’s computer
(Bernstein) at the end of ﬁnal layout.
When you are signed off, you should go back to your computer and SAVE. Then, go to “File” + “Package.” If this window pops up, DO
NOT IGNORE IT! You should always
press VIEW INFO because this gives
you a detailed summary of your layout. The summary will tell you what
errors (if any) you need to ﬁx.
THINGS TO CHECK
Fonts
If the summary indicates that a font
is missing, select “Fonts” (from the
options on the left side of the summary window) and click “Find Font.” This will allow you to link the font folder.
Links and Images
If you have any missing images, select “Links and Images.” Press “Relink” to ﬁnd the image.
RGB vs. CMYK
RGB and CMYK refer to the format of the colors you used in your layout (if you don’t have color on your
page, just make sure everything is in grayscale). Arlingtonian is printed in CMYK, so if the summary
shows that any of
your images are
in RGB, you will
need to have a
photographer or
a graphics artist
convert the image using Photoshop.
When
you get the new
CMYK
image,
simply relink it to
replace the old
RBG image.
Repackaging
When you have relinked everything, close the summary and go to “File” + “Package” again. Hopefully, the
summary will say that nothing is missing (if not, relink anything you didn’t get the ﬁrst time). If everything is
intact, press “Package.” Name your folder “Issue [#] [Your Section]” (i.e. Issue3Focus) and save. When the
packaged folder appears on your desktop, appleshare to Bernstein and transfer the folder. You’re done!
20
by Inyoung Kang
Generating new yearbook spreads:
the process simplified
Go to page wizard on Jostens toolbar
- click process color � ok
- enter page number in designated slot
- click ok on error message
- continue to click ok until the blank spread appears
On New Spread
- go to layout � numbering and section options
- reenter the starting page number
- click on lower left folio and rename
- click on the lower right folio and rename
- double check the spelling in each folio
- open swatch palette
- click on the arrow in the upper left corner of
swatch box � load swatches
- load all swatches from the designated divider
page
- change the folio colors and tints appropriately
- close swatch palette
- save spread with new title
• 011-012NameofSpread
21
by Molly Kiefaber
Successfully Scan Photos & Graphics
8 Steps to Success...
1. Place your photo / graphic into the
scanner as straight as possible in upper
lefthand corner. Close scanner lid.
3. Scroll down the list
of options & select
Preview Scan. (Now
the scanner will begin
scanning your photo.)
2. Find the HP Director scanner
on your dock & cliuck in once.
4. HP PrecisionScan Pro
will open itself & show you a
preview of the photo you wish
to scan.
6. Now a screen will appear
asking you to select where
you wish to scan your phtot
to. Select Adobe Photoshop
CS & click scan.
5. Next select the scan menu in
HP PrecisionScan Pro & select
scan to...
7. A screen will appear asking if
you want to scan another page.
Click done.
8. Your photo will appear
in Photoshop & now you
should refer to the HowTo-Format a Digital Print in
Photoshop manual & make any
adjustments to your photo.
22
by Andrea Dappen
Handling The Photoshoot
There are two main parts to consider when it comes to
a photoshoot; contacting the subject of the photoshoot,
and then meeting with the subject/the shoot.
Contacting the Subject
• If you know the subject, approach them at school
about getting together.
• If you don’t know the subject very well, or even if you
do know them, it’s best to look up their schedule in the
attendance oﬃce.
• Look for the subject’s lunch
and studyhall periods to get an idea of when you might
be able to do the shoot during school hours.
• If you decide to contact them during school, it’s normally easiest to write them a note and have it delivered
to the subject through the attendence oﬃce.
• Another contact method is looking up the subject’s
home phone number and giving them a call. Be sure to
call at a convienent time (Usually around 4ish or 7ish).
Once you get ahold of them you can discuss the shoot
and details.
• When you discuss details with the subject be sure to
specify any props you want them to bring or if you want
them to wear something in particular.
Meeting With the Subject/
The Shoot
• Once you’re with your subject, make sure you have all
the proper lighting set up before you begin, and then
advise the subject where you want them to stand in correspondence to the lighting.
• Once you have the subject where you want them, it’s
likely that they might feel a little awkward to be doing
the shoot if you don’t know them.
• Make eye contact with the subject when insturcting/talking to them.
• It’s a good idea to ask them questions or to
spark up a small conversation to loosen the subject up
and make them a little bit more comfortable.
• It’s also respectful to ask the subject be
fore you begin shooting if there’s anything
they want to do (i.e. poses, faces, etc).
Possible ice breakers/conversation starters:
• Are you in any clubs?
• Do you have any siblings at the high
school?
• Do you play any sports?
• What do you usually do on the week
ends?
• What teachers do you have this year?
• Once you start talking to your subject a little more, go
ahead and start the shoot!
23
by Ali Ball
Communicating with Photographers
knowledge
Organization of deadlines, expectations, and assignments. In order for communication to ﬂow with
ease, its extremely helpful to know where things are. Physically posting deadlines and expectations on the
board, along with verbal communication of these things, minimizes miscommunication and misunderstanding.
Organization also eases the annoying nature of repeating expectations over and over again.
Knowledge, you have to know what your talking about for those your giving directions to or advise,
to believe you. This includes anything from photography techniques to Norwester/Arlingtonian procedures.
Why should anyone take your word if you yourself have no clue, or are unsure of what your saying. Being well
informed and knowledgeable makes you credible and others will trust your word.
Eﬀort shows that your doing as much, if not more, than your asking. This is a form of nonverbal
communication. Those who you work with will pick up on not only what you tell them or show them but the
actions you display. If what you expect doesn’t match up equally with what you do or the amount eﬀort you
exhibit, why should they give the results you yourself are not showing. Eﬀort shows not only you care but that
you are more than willing to work yourself. Its human nature for one to follow by example.
understanding
organization
Separation of friends and work is crucial. You should leave all the drama outside of the classroom. Also
its equally important that you leave biases and favoritisms out of your work. This provides a fairer work place
and equal opportunities.
effort
separation
According to Webster’s dictionary, communication is an “act or instance of transmitting.” Also its
“the exchange of thoughts, messages, or information, by speech, signals, writing, or behavior.” Eﬃcient and
eﬀective communication is vital for a successful production. Communication is what links several people to
create a uniformed and united production that ﬂows together. The following are ﬁve separate aspects that make
communication on the Norwester/Arlingtonian staﬀs eﬀective and easy.
Understanding the needs, knowledge, and availability of those your working with is also important. An
understanding makes it possible for you to know how people learn best and how to get the best possible results
from them. Being aware of their knowledge helps you ﬁgure out what you need to explain in further detail
and what areas you can skip over so that you avoid boredom or wasting time. Understanding their availability
avoids schedule conﬂicts. An example of this you be giving a photographer who plays softball the responsibility
of taking baseball photos. Their games are at the same time and obviously this creates a problem that has to be
later worked out.
eﬃcient and eﬀective communication is vital to a successful production.
24
by Lauren Bevilaqua
How to Format a Digital File
for Print in Photoshop
1) Put in your CF card to the card reader and bring up your ﬁle on the computer
2) Pick the picture that you want to use and open it in Photoshop
3) First you have to rename the photo by going to File, Save As, and then you will reach this screen
4) You also need to remember to save it as a JPEG,
which you can ﬁnd in the Save As box under Format.
Then save it to the highest resolution
4) After saving it and renaming it to something that you will be able to identify, it is
time to start working with it the picture. First,
you have to change it to CMYK color, even if
you are doing a black and white picture. To
do that, you go to Image, Mode, then CMYK
color, like this...
5) If the writer who needed you to take the picture asks for it in
black and white, you need to change it to Grayscale but going
to Image, Mode, and then Grayscale.
6)If the picture looks a little dull, especially if black and white,
you will need to adjust the contrast and brightness by going to
Image, Adjustments, and then Brightness/Contrast. Then move it
side to side according to your pictures needs.
7) You need to make sure that your picture is the right size. To
check that, go to Image, and then Image size. If printing, make
sure that it will ﬁt on the 8 1/2 by 11 paper or simply just press
the “ﬁt to scale” button.
Final Product!
A digital ﬁle ready to print has been
1) Sized to ﬁt the print
2) Cropped and in CMYK color
3) Renamed and adjusted the contrast and brightness
4) Saved as a JPEG ﬁle
Final Step!
Contact the writer who gave you the assignment and
arrange to have it tranfered to their computer!
25
by Emily Mead
Graphics Staﬀ
and
ies Communication
t
i
s
s
ece
N
e
h
T
1
2
Writers: Make sure you get your assignments in early
Artists: If no one give you an assignment, go around to the writers and ask about
the visuals on their spread. Sometimes they forget to get the assignments in!
Artists: Talk to the writer in person before you start the graphic! It isn’t enough to
just communicate through the assignment form - you have to be sure that your visions for the graphic and layout are the same. IT IS CRUCIAL that you take the entire
layout into consideration when the graphic is assigned. It is not enought to just
think about a text-wrapped box - the graphic should have its own visual interest and
must work well with the entire layout. After all, the graphic is really just a component of a larger work - it is not meant to sit by itself. Before anything is drawn, you
must be clear on the following points:
or
3
Artists: When the ﬁrst draft of your graphic is completed, keep your writer updated!
Show them where you’re going with the assignment and make sure it’s what they
need. This is crucial if you want to prevent a last minute graphic on ﬁnal layout
night because you didn’t do the assignment correctly the ﬁrst time. Also, make sure
you’re clear on the date they need the graphic. It’s crucial for their layout that you
get the graphic in on time.
4
Artists: You’re done! Show the writer your graphic and scan it in. Once on the computer, consult your writer to see if they want you to enhance it with Photoshop. The
computer is a wonderful tool, and processing the graphic often times makes it look
much more professional. When you’re done, save the graphic to the desktop of the
writer (or whoever is in charge of that layout), and let them know it’s there.
The N
el
v
e
L
ext
It’s always better for the publication if staﬀers incorporate new ideas, so go above
and beyond! Writers and graphics artists should talk about using the graphics that
go beyond a text-wrapped box. The following are some ideas to improve a layout using graphics:
- Titles
- Cartoons
- Full-Sized
Graphics
- Icons
5icon
5cartoon
26
by Chrissy Hummel
how to organize photo assignments
1. Provide photo assignment forms for
section editors (place on artists’ corner
bulletin board).
2. Collect photo assignments from section
editors.
3. The photo editor will place completed
forms on the bulletin board next to the
name of a photographer & notify him/
her of the new photo assignment.
4. The photographer should look over
the assignment & be sure to completely
understand the section editor’s expectations.
5. Once an assignment is completed,
take the CF card out of the camera & put
it into the card reader (connected to the
computer).
27
6. Transfer the images from the
icon on the desktop to a folder.
Organize the folder into subfolders,
labeled by issue or topic.
by Molly Everett
Handling The Sports Photo Shoot
Before The Shoot
� Have your press pass
� Have camera out when you go
to the ticket booth
� Ask for program
� Dress Appropriately
� Be prepared for weather
� Set your camera
Indoor: 1600
Outdoor: action setting
During the Shoot
� Move around
� Just keep shooting
� Focus on an area you know where
they will be
� Use big lens
� Don’t be shy (get right by the ﬁeld, on
court, behind the goal if it is not too dangerous; close enough to get good photos)
� Don’t leave until you know you have
AT LEAST FOUR good shots
� Get the 5 W’s and H of the subjects
you’ve been photographing BEFORE
you leave the event
After the shoot
� Upload photos by selecting the ones you want
and draging them into a folder
� Name the pictures with who is in the photos
� Organize the photos with another folder of the
best pictures
� Choose the dominant that is clear and intersting, goes with the headline and is not facing of
the page
28
by Amy Wheaton
How to Produce an End-of-Year Video
Step One: The ﬁrst step in producing an end-of-year video is to plan the movie. What footage do you want
to include? Do you want to include pictures in the video? Normally in the video there are a few sections,
these sections include:
•Final Layout Night
•Senior Tributes
•Arlingtonian Work Days
Tip: Also, I think that a small picture slideshow section is a good idea. You can use pictures that
other staffers have from ﬁnal layout, the JEA conference, or other Arlingtonian gatherings.
Senior Tribute Section: The senior tribute section needs a lot of planning. You need to plan
which staff member will talk about each senior (by the way, you can have more than
one person talk about a senior).You should also include a picture or footage of the
senior.
Step Two: Next, you willl need to get all of your supplies. You can use a video
camera from home or you can rent one from the Multi-Media Center.
Tip: If you rent one from the school you must ﬁll out a form before you rent the
camera (make sure you plan ahead because you will need a parent signiture).
However, once you ﬁll out the form, you will not need to ﬁll it out again. Also,
make sure you bring your school ID when you rent the camera.
Step Three: Action time!
Film your movie! Also, as a tip,
make sure that the staffers talking
about a senior are aware that they
are talking about that person.
Tip: To be in camera
mode drag the blue dot
to the left side where
the camera icon is.
Step Four: Now
that you have ﬁnished taping, it is
time to create the video.
•You need to rent a ﬁre wire from the
Multi-Media Lab (follow the same steps as renting a
video camera, but remember that you do not need to
ﬁll out a form)
•Hook the ﬁre wire up to the computer and the
camera. Open iMovie and import the footage into iMovie. You
must be in camera mode to do this.
Step Five: Working in iMovie is fairly simple once
you get the hang of it. Here are some of the basics:
-To add a clip to the movie click the ”Clips”
tab. Then drag your desired clip onto the video bar
below.
-To add text to the ﬁlm click the “Titles”
tab. Pick any entry and font for the text. Then
type the text into the space provided. Finally grab
the icon next to the entry type of the text and
drag it onto the video bar.
-To add a transition from one clip to another click the “Transitions” tab. Then, grab the
transition you want and drag it to the video bar
below. You can preview the transition by pressing
“Preview”.
“Clips” Tab
Drag clips and
transistions here
Type desired text
in this space
29
by Foster Newcombe