Theme development mac
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theme development
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Theme development mac
- 1. THEME The Device That Binds the Book Together DEVELOPMENT
- 6. Type / Color Theme / Logo Year / Book Name Shape / Pattern ubiquity 2011
- 7. Theme Statement/Logo School Name/City/State Year/Book Name/Volume Number 2011
- 9. Theme Statement/Logo Table of Contents
- 12. School Contact Information Student/Staff Population Optional Information Theme Statement/Logo Consistent Visual Theme Elements 2011 Year/Book Name/Volume #
- 13. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 14. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 16. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 17. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 19. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 21. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 23. Colophon Theme/Logo Index Letters
- 24. Consistent Visual Theme Elements Consistent Visual Theme Elements
- 68. TEST YOUR THEME Recognizable? Repeatable? Relevant? Refreshing? Realistic? Is It
- 69. Recognizable Repeatable Relevant Refreshing Realistic IF IT’S NOT
- 70. RETHINK IT IT’S TIME TO
- 71. THEME DEVELOPMENT created in conjunction with Paul Ender Herff Jones Special Consultant
Notas del editor
- The theme is the main idea around which the yearbook is based.
- To achieve the highest impact, the theme should meet the following criteria: --In addition to having a distinctive visual look, there should be a memorable verbal phrase. --It should fit the school. The students need to be able to identify with the theme. --The theme should also relate to the year. You might use concrete details in your copy and reporting captions to make it fit the coverage year. -- And, most important, it needs to easily identified by the readers.
- When you are creating a “look” for the theme, there are a number of different decisions you’ll make. There should be a specific font family that is used on all theme pages. It’s wise to choose a family that has many variations or weights (like light, medium, bold and black). The other option would be to select a very distinctive font that is the “essence” of the theme. Then, you would only use the theme font for headlines on theme pages. In addition, you’ll want to choose logical colors, shapes, patterns and textures to help make the theme package identifiable. Most importantly, your choices need to make sense. If you are using six colors to make the sections distinctive, all six should appear on the cover. If you intend to use packages of two vertical elements to support your theme statement, it would be crazy to have a bar with three horizontal photos on the cover and a cluster of five square photos on the endsheet. Your decisions regarding your theme look should be made after careful consideration and should be maintained throughout the book.
- You will see those visual identifiers repeat every time the theme is presented. Each presentation may be a little different, but it should be clear when the readers come to “another one of those pages.” The theme will first be shown on the cover and again right away on the endsheets and title page. On the opening, you’ll be able to provide some details about how and why the theme fits your school and the coverage year. The dividers tie the content of each section to the main theme and the closing brings the main idea full circle. You might use both the verbal and visual aspects of the theme to develop secondary and tertiary coverage packages for your yearbook. The visuals will often repeat themselves in the folios and the letters that divide the index.
- In addition to the visuals for the theme, there are guidelines about the information that should appear on the cover of the yearbook. On the front flap, the name of the book and the year should be present with the statement of the theme. The spine of the book should list the name of the school (with city and state), the name of the book, the year, the volume number and either the theme statement or the logo which identifies it visually. Even if you have a small book with a thin spine, you should try to fit all required elements on the spine; 14 or 16 point type is fine…
- The cover introduces both the theme and its identifiers, establishing visual patterns which will continue inside. Look how easy it is to identify the type, color, shape and patterns the staff has selected.
- The same logo, colors, font and patterns of contrast established on the front flap are used to list the information on the spine.
- If you print on your endsheets, they should include both the table of contents and repetition of the theme statement or logo. If your endsheets are not printed, you should choose a color that coordinates with your theme or leave them plain white; don’t introduce different graphics here.
- There should be no doubt that the endsheets are part of the same visual and conceptual package. A couple of quick notes about the table of contents: First, there’s no reason to label it as such; it will be clear that’s what it is even without a label. Also, while many schools will rename the sections to go with the theme, it is important that the traditional section names appear in the listing so there is no chance the readers will be confused. While it might be clear to you as staffers that, obviously, Unique would be the People section, that might be a stretch for some of your readers and you never want them to have to wonder where the clubs section is… Last (and this is pretty picky), feel free to list only the first page in each section. Anyone can figure out that if the people section starts on page 68, then 66-67 is the last spread of student life.
- All of the information that appears on the title page is there so that anyone can, at any time, know how to reach the school and obtain certain facts about that school year. The theme, the book name, the publication year and the volume number are there as a matter of record. The contact information for the school should provide complete street address (with city, state and ZIP) and 10-digit phone and fax numbers. Don’t forget the school’s Web address and population counts for both students and staff.
- Believing that more of a good thing is better, some staffs add other details as a matter of reference. They name the principal, break the student population down by grades and include the name of the athletic league in which school teams compete.
- Don’t forget the rules of design when you’re worrying about fitting all of these “required items” on the page. Because there IS lots of content, it becomes even more important to have a strong visual hierarchy. The visuals which tie to the theme will be dominant and the other information will get physically smaller in size as it decreases in importance.
- There’s no one answer for how many spreads your opening should contain. While a single spread might be fine for most themes, two spreads make most sense for then & now and comparison & contrast concepts or themes like Twice as Good. By like token, a three-part theme like Before, During and After or Yours, Mine and Ours would really call for three spreads of opening. But no matter how many pages you decide to use, the opening needs to continue the use of the theme’s visual elements, adding specific copy details that tie it to both the school and the year. The photos should be action shots packed with motion, emotion, action or reaction. And they need to be accompanied by thorough captions that answer all questions and provide additional information that was obtained by interviewing the subjects of the photo. On this single opening spread, the designers added the secondary quote package to remind readers that the five sections are “all about u” while providing IDs for the cover photos (they NEED to be somewhere).
- The dividers should once again repeat the theme graphics introduced on the cover and they should look like, but not be exactly the same as, the opening. Notice how the headline treatment and caption starter have been altered to include the name of the section. The series of five quotes continues with reactions not representing the five sections, but from coverage within the section. To cover more people, these small shots will not be repeated inside the section. But because the tightly cropped action shots are more interesting than five similar shots of people lined up against a brick wall or with their back in the bushes, that’s the way these informal portraits were taken. The shape of the dominant photo has changed and the first photo from the series of five on the endsheet finally has a caption and complete ID.
- The content pages should look like they come from the same book as the theme pages but will not repeat all of the theme identifiers. In this case, it’s a single-font book so that IS the same. But the overwhelming U is gone except for the heading on the secondary copy package. Instead of repeating the theme colors, the designers have incorporated pick-up colors, taking cues for the pair of colors used from the photos on each spread. The headline style will remain consistent inside the student life section as will the use of a single group caption for all candids and secondary coverage which varies in format according to the spread and the way each story can best be told.
- The next divider means a headline change, repetition of the theme art and another package of five sectional quotes. Because the subject of the dominant photo would have been looking off the page, the layout was flopped so his eyes would lead the readers into the theme logo instead.
- Another divider carries the theme through the book, adding specific details about how that section is tied to the theme.
- The font’s the same, the structure of grids and internal or external margins is the same and, since it’s another content section, the headline and secondary headline and copy starter have a new format. As in other sections, only the heading on the secondary coverage package ties back to the theme visuals.
- Another divider…
- … another section. The consistency of the dividers holds the book together and the flexibility and variety of the sectional designs keeps it interesting and compelling. The consistent attention to detail, use of many student quotes and group captions with the candids are supplemented by yet another distinctive headline design and additional options for secondary coverage package incorporating the U from the theme.
- The final divider points out a couple more places where the staff achieved highest impact because of attention to detail. From the minute they selected the words for each section, they knew there was disparity. Any design that used the section titles needed to accommodate both the 13 characters in Unforgettable and Understanding and the 6 in Unique. As a result, the size of the type was always determined by the longest word– from the start. All too often, when we look back at the dividers of a book as a package, we see fluctuation in heading size due to the failure to plan. If every divider has a different sized headline because that’s the biggest that fits, the impact is less than when they are all the same size. And remember when the format of the second divider was flipped because of the direction the subject in the dominant was facing? If possible, it’s best to have that happen more than once so it doesn’t look like a mistake.
- The final content section presents another visually connected, yet clearly different, sectional plan. Notice how the screened numbers in the main headline influence the design of all other display type in the section.
- Even the letters that separate the index entries alphabetically take their form from the theme visuals introduced on the cover. Notice all of the things the staff did to make the index easy to use. They’ve coded the entries (seniors are heavy, topics are medium italic and others are light) and a hanging indent means that only names hit the left margin. Anyone whose index entry requires a second line will find that line starting a pica to the right of the lefthand margin.
- The closing is the opening, flopped. The starters to the five quotes are once again the names of the five sections and the copy, which began with a U on the opening has been written so that the last printed words in the book are, you guessed it: it’s all about U. Visually, verbally and conceptually, the closing brings the theme full circle.
- Let’s take a look at four books that did a great job of developing their themes. Beginning on the cover, the staff of the View established those visual identifiers that set the book apart. The combination of the two fonts, the horizontal bar and the pattern of five photos will appear every time you hit a theme page. When you are creating a “look” for the theme, there are a number of different decisions you’ll make. There should be a specific font family that is used on all theme pages. It’s wise to choose a family that has many variations or weights (like light, medium, bold and black). The other option would be to select a very distinctive font that is the “essence” of the theme. Then, you would only use the theme font for headlines on theme pages. In addition, you’ll want to choose logical colors, shapes, patterns and textures to help make the theme package identifiable. Most importantly, your choices need to make sense. If you are using six colors to make the sections distinctive, all six should appear on the cover. If you intend to use packages of two vertical elements to support your theme statement, it would be crazy to have a bar with three horizontal photos on the cover and a cluster of five square photos on the endsheet. Your decisions regarding your theme look should be made after careful consideration and should be maintained throughout the book.
- First, a book from a middle school… It’s a textbook perfect example of theme development.
- On the endsheet, the photo pattern is repeated and each photo represents one of the book’s five sections. In addition to the tradition section, each theme header plays off the word “In” from the theme. Independence, Individuality, Intensity, Insight and Inclusion appeared in the same handwritten font as the word “In.” And the connection between the sections and colors is established as well.
- The color, the fonts, the bar and the photo pattern repeat on the title page. And, since the cover photos have already appeared twice, there’s new content in those shapes. Clearly, it’s all part of the same package.
- The opening’s blue background sets it apart while using the established visuals.
- By NOT using the heavier background on the dividers, the opening and closing were clearly different than the dividers. The colors established on the endsheets returned on the dividers and the bar moved lower as readers progressed through the book. In addition, a large dominant was added to the design and the photo package decreased a bit in size…
- The pattern was continued as each new divider appeared. Consistency is key.
- The closing, like the opening, repeats all of the key elements to bring the theme full circle.
- School colors and swirling graphic loops set the tone for Osborn Park’s In the Loop, which allowed them to connect the year and their school initials to create the word loop.
- The curve of the short-trimmed endsheet reveals some of the title page, but really strengthens the theme visuals. UV gloss coating brings the cover’s looping graphics inside in a more subtle fashion, and we learn that the staff has elected to use traditional spin-offs (In the Mix, In the Know, In the Game, In the Hood) paired with names of the sections
- The staff opened the book with a single photo that screams the theme, down to repeating the school colors. All essential copy has been packaged together (and distinguished by variations in type size).
- The opening repeats the font, the colors, the loops…
- The dividers presented the same elements with a twist. The dominant changed in orientation and the placement of the body copy changes according to the content of the photos. But the type remains very similar and the swirls (while screened back) are large in scale.
- Later in the book when the dividers were printed in black ink only, it was still easy to identify the theme pages.
- The dividers provided consistency as the readers worked through the book…
- On most content pages, readers saw hints of the theme, but the connection was subtle as some (but not all) of the visual identifiers were repeated.
- In the portraits section, a couple of loops make the visual connection.
- Even the index is visually linked to the theme package.
- And the closing spread looks much like the opening.
- The visual identifiers of color, type, patterns and shapes make the next book immediately identifiable, as a bold bar of colored rectangles – each featuring a pair of words or phrases exemplifies the theme “Choose.”
- In addition to the word pairs representing the major sections, the endsheet repeats all visual identifiers and includes other necessary references as well.
- Rather than one photo that screams the theme, the staff’s collection of images ties right into the choices students have to make every day. Note, though, that every photo has its own complete caption and that all essentials have been packaged together (and distinguished by variations in type size).
- The opening repeats the font, the colored rectangles and bar and the use of the black background, and (again) lots of possibilities.
- The dividers presented the same elements with a twist. While a full-bleed image covers each spread, the black bar is the same size, in the same position as on other theme pages. Colored bars and the theme statement in the same font and size added to the impact of the package.
- Each divider showcased different photo content and a different colored headline bar, but everything else remained very much the same, so it was easy to identify the theme pages.
- The dividers provided consistency as the readers worked through the book…
- On most content pages, readers saw hints of the theme, but the connection was subtle as some (but not all) of the visual identifiers were repeated.
- In the portraits section, the choices echoed the cover bar and became interactive. In each of the choice pairs appears a student’s name and one of the options has been selected. So 13 people got to make choices for the bar on this spread of underclassmen
- Even the index is visually linked to the theme package.
- The closing repeats all of the identifiers from the cover and opening and brings the theme full circle visually. Those who read carefully, will also note that the theme switched into past tense (Choose. became Chose.)
- As you look at the cover, you can see many of the theme identifiers immediately. The partially silhouetted photo, the font, the blue…
- When you are creating a “look” for the theme, there are a number of different decisions you’ll make. There should be a specific font family that is used on all theme pages. It’s wise to choose a family that has many variations or weights (like light, medium, bold and black). The other option would be to select a very distinctive font that is the “essence” of the theme. Then, you would only use the theme font for headlines on theme pages. In addition, you’ll want to choose logical colors, shapes, patterns and textures to help make the theme package identifiable. Most importantly, your choices need to make sense. If you are using six colors to make the sections distinctive, all six should appear on the cover. If you intend to use packages of two vertical elements to support your theme statement, it would be crazy to have a bar with three horizontal photos on the cover and a cluster of five square photos on the endsheet. Your decisions regarding your theme look should be made after careful consideration and should be maintained throughout the book.
- The endsheet is an obvious display of the same identifiers. Notice how each section is a different attribute of the school.
- The title page also repeats the font, the offset type alignment, the partial COB, the six rectangular boxes, the specific shade of blue.
- The visual links are all repeated again on the opening spread, and the verbal connection begins. The play on the school name lends itself well to the casual comfortable tone of the copy… and the playful ending of each copy block in Spanish (…but leave your shoes at the door por favor)
- The blue transparency bar on the dividers is larger than on the opening and the photoshopped fade becomes more apparent, but everything else is clearly part of the package. (And we’ve been known to go loco)
- When the content of the photo made more sense facing the opposite direction, the design team faded left and bled the bar right rather than forcing the image into a prescribed template. (…we’re en fuego)
- No doubt that we’re on another one of “those pages.” When all of the elements work well together on the dividers and they provide a visual break to let the readers know the content is about to change, the consistency in design and concept strengthens the package. (And it’s here that we’ve become muy intelligente.)
- And we don’t do good just to hear gracias.
- It’s inclusion. If you don’t think you’re in this libro, think again.
- The closing brought both the visual and the verbal full circle. The campus, now dark, includes a lighted greeting on the marquee. The copy, which begins adios to our house, ends with hasta la vista, baby.
- We’ve covered the traits of great themes, learned the components required in various locations, and walked through the development of a hypothetical theme from cover clear to the closing. Then we saw three books and examined the ways they developed their themes. When you have an idea and you’ve imagined all the ways you could make it work, it’s time to test your theme. Can you answer yes to each of these questions:
- If your theme is not recognizable, repeatable, relevant, refreshing and reaslistic…
- It truly is, probably time to rethink it!