The Roar Stylebook by The Roar

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Table of Contents 1. Mock Page 1 2. Writing 2 a. News 2 b. Editorials 2 c. Editorial Long Byline 2 d. Snapshots 3 e. Features 3 f. Reviews 3 g. Sports 3 h. Sports Photostory/ List 4 i. Story Checklist 4 j. General Details About Writing 6 k. Headlines 6 l. Cutlines 7 3. Photography 8 a. Key Words 8 b. Camera Diagrams 8 c. Photos: In the Field 9 d. Rules of Composition 9 e. Photo Selection Checklist 10 f. Photos: On the Page 10 g. Photos: In Photoshop 11 h. 9 Steps to Great Editing 12 4. Design 13 a. Text Rules 13 b. Fontology Basics 14 c. Layout 15 d. Sidebars 16 e. Color 18 f. Graphs 19 g. How to Draw 23 5. Saving and PDFing 24 a. How to PDF 24 b. Saving Photos 24 c. Saving Pages 24 6. Notes 25

Mock Page [headlines: page 4, page 5]

[pulled quotes, page 6]

18 | entertainment | the roar

[bylines: page 5]

friday, oct. 8, 2010

Hispanic teen witnessed smuggling Fig Newtons across border BY DINI SUSANTO

editor-in-chief

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[photos: page 8]

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SIDEBAR

While smuggling Fig Newtons, Olive ran into a small child and possible tattletale. She kidnapped him. BECCA GAMACHE

Mi, quistrum eossim sequam hil ium, nonectem. Nam, culpa simagni mporro quis nianist volorem faccum fugiate susdandusa ditate nonsernatur magnam aribusa periae.

Mi, quistrum eossim sequam hil ium, nonectem. Nam, culpa simagni mporro quis nianist volorem faccum fugiate susdandusa ditate nonsernatur magnam aribusa periae. design by alejandra oliva

[sidebars: page 8]

[copy: page 1, page 5,]

[cutline: page 4, page 5,]

Writing opinions with someone else’s. Don’t feel the need to quote anyone directly; a paraphrasing is good Angle: remember to begin with the most future enough for this. No need to include a works cited angle first (yes, the school board voted. What does though (duh). that mean for next year?), or the angle that affects the most students (yes, two students were caught Length: an editorial should be between 1 ½ to 2 cheating and suspended. What does it mean for all pages, double-spaced. the other test takers at school?) Your Editorial Email: before the publication of Sources: you need at least 3 sources, all of who your first editorial, be sure that you have an email should be part of making the news, or directly af- in the following format: the.roar.yourlastname@ fected by it, not simply random students with opin- gmail.com. (e.g. the.roar.oliva@gmail.com) If that ions. A good rule of thumb for every story is to al- email isn’t available try the.roar.yourfirstinitialyways interview at least two students and one adult. ourlastname@gmail.com (e.g. the.roar.enelson@ gmail.com). This email is a creeper deterrent. It Length: front page should be between 3 to 4 pag- will also ensure that you get lots of lovely feedback es, double-spaced. All other news stories should be from your readers. Mainly people griping about your grammar, but it’s nice to know you have an 1 ½ to 2 pages, double-spaced. audience.

News

Editorials

Editorial long bylines

Angle: should be widely applicable to other students. Don’t make it super super personal. That makes it awkward. You can use personal anecdotes, or explain your personal connection to a national or world issue, but expand beyond those to make it about a wider issue, or to make your audience agree with a certain viewpoint. Think of the editorial as a cross between the personal narrative and the persuasive essay. Don’t choose controversial topics for the sake of being controversial. Also, satires are fun, and “against the assault of laughter, nothing can stand.” (Yes, that quote was included expressly for the benefit of Mr. Williams. You’re welcome.)

Angle: the first sentence should read like this: [Firstname] is the/a [position] for the Roar. The second sentence should be relatively quirky if that matches the editorial and more serious for a lesshumorous topic. It should end like this. ... contact [him/her] at the.roar.theirlastname@gmail.com. Be sure to ask and make sure that they don’t have any email variations. Here’s a full example in case that was a little confusing: Dini is Editor-in-Chief for the Roar. If you would like to talk to Dini about your nude photos, contact her at the.roar.susanto@gmail.com. This usually ends up being a co-writing effort between the editor and the writer of the editorial, so if Sources: try to backup your facts like you would you need help, always ask. in a research paper, otherwise, don’t clutter your

Length: 2 sentences. These are listed at the end of the editorial to give a little more information about the writer.

Snapshots/ other photo stories Angle: provide the background collectively for all the photos on the page, talk a little bit about the event. However, your focus should be on brevity, given that the story will mainly be explored, not through the text, but through the photos and cutlines. Sources: talk to the main people involved (obviously), but also some of the people in the photos, as this provides a nice reference for those reading the story. These should ideally be the same people though. Length: should be between 3/4 to 1 page long, double-spaced. Cutlines: don’t repeat information in the cutlines from the article. Ask the reporter/ photographer to gather additional facts or background on each photo in order to write the best cutlines possible. In fact, the photographer should have an active role in writing the cutlines. Remeber to always stick to the cutline rules (see page 7), but feel free to go above and beyond the length requirements if the topic seems to require it.

the focus is on the student. Also, the main difference between a feature article and a news story is the creativity. Your words should set the tone for the story. Sources: you need at least 3 sources. Again, people who actually know what’s going on, not just random students. Especially for a feature story, the longer you stay with any given source, the better your article will be. Try to shadow for a day, or an afternoon. The more time and energy you invest, the better you’ll get to know your source, the better rapport you’ll get, and the better quotes and insights you’ll end up getting. A good rule of thumb for every story is to always interview at least two students and one adult. Length: should be between 1 ½ to 2 ½ pages long, double-spaced. Speak to your designer. If they have a clear vision, listen to them. If not, tell your designer what you’re feeling for the page.

Reviews Length: should be between ½ to 3/4 of a page, double-spaced. Point of View: A review should not be written in the first person. An audience doesn’t care if you liked it, they care whether or not its enjoyable, so they need details about the subject with opinions about these details to determine their own views.

Sports

Features Feature articles are included on Student Life, People, Entertainment and Etc. Angle: pick the angle closest to the students. If a student and a teacher are doing something together,

Angle: we write athlete profiles or sports features, however, yourself by only covering the team’s star athlete. If there’s a really great story about a player and their parent, or a recent game that the team played in honor of someone else, don’t stick with the usual formula and cover that instead. If the

game is meaningful enough, it won’t really matter Length: should be between 3/4 to 1 page long, double-spaced. that they played it a month ago. Don’t feel contained by the number 10. You can Length: should be between 1 ½ to 2 ½ pages long, have more numbers than that. Or less. It’s up to you. Do try to make the number meaningful to the double-spaced. sport though (11 for football, 9 for baseball, 14 for Statistic Gathering: as the writer of a sports story, the number of winning games this season, etc.) it is also your responsibility to gather facts and statistics. Not the page designer’s. So keep track of Story Checklist the coach, keep track of the games. The goal of sports stats is to cover sub-varsity When you are first assigned the story: sports (freshmen and JV), in addition to providing Familiarize yourself with the topic. Read a the varsity team stats since these aren’t in the story. wikipedia article, or do a pre-interview with In doing this, we want to include as many names as someone who knows a lot about your subject. possible to recognize athletes. Also include team You will make fewer mistakes in your article. win/ loss record and upcoming games. Try to pick a sort of pre-angle. This doesn’t have to be your final angle, but it’ll give you a good idea to begin your questions, and who you want to talk to.

Sports Photostory Angle: there are things other than the team’s pregame event/ritual and team nicknames that you can cover. Every single team and player on the face of the earth has both pre-game rituals and nicknames. What makes our girls golf team unique? Surely, it’s not that they call their 4-foot star “Shawty.”

Decide who your sources will be, either through your own knowledge or by talking to other staffers and/ or coaches. It’s probably a good idea to have extra sources just in case a few aren’t available. Try to avoid Friends of the Roar and Roar Staffers. Having a paper populated solely by our own friends helps pretty much no one except our friends, and makes us seem like a middle school yearbook.

Sources: you need at least 6 sources, including coach, and several players. Also, if parents are heavily involved, talk to them too. The first person you need to talk to, even if it’s just informally at first, is the coach. The coach will basically tell you whom he thinks should be featured, Writing the Interview: although don’t be afraid to come prepared with Write 10 to 20 questions for each source, desome suggestions. However, Do always ask for the pending on how central they are to the articoach’s go-ahead, he or she is the expert on his or cle, how much information they can provide, her team. Make sure that there’s no internal issues or how long your article needs to be. Don’t with the angle you’re planning on covering, or if be afraid to recycle questions from source to they feel there’s something better you could be dosource, or even from article to article. ing.

Write questions that will provide basic information, but your main focus should be on story questions. In fact, some questions shouldn’t be questions at all, they should be requests “Tell me a story about...” Ask questions about stereotypes, about tough times. Ask questions that you don’t and can’t know the answers to. You’ll probably get your lead and your angle from the answers for these questions.

versation (try not to reveal too much about yourself though, to avoid influencing the source). According to the great Scott Winters, interviews should be one hour or more, and while conducting interviews that long will mean that you and your subject will be late to class, try for at least 30 to 45 minutes. Five minutes isn’t enough. Try your best to get into your subject’s head, see the world the way they do. Don’t be afraid to ask them if you can follow them around for an afternoon or a Saturday morning as they hang out with friends/ whatever. The longer you spend, the better.

Set up interview. Contact the source by email, a note in a teacher’s box, in person, by phone. Remember to start early (as soon as you know that you need to interview them,) and be persistent (contact them each day, and vary your method of contact). Don’t come back the day of the story is due and say “my sources never After the Interview(s): returned my email. Give the whole interview a re-listen. Type out During the Interview: the interesting quotes you marked earlier, as well as any other background information you Remember to both take notes and record. If think might come in handy. you haven’t invested in a good tape recorder yet, its probably a great idea to do so. In doing Remember that a good quote isn’t about facts, both, you will have backups in case of either but rather about feelings, and the best quotes failure. are about unexpected feelings. These are the quotes you should not only pull out of your inMark interesting quotes with either symbols in terview and put into the article, but could also your notes, or by marking down the time sigbe pulled out and put into a pulled quote. nature on your recorder. Some recorders also come with “mark” buttons that allow you to Solidify your angle. You should have an idea skip back and forth to the good bits. of what it is already, but since you usually need some idea of what’s going on, by the time you Don’t be afraid to deviate off your script. Your are ready to write, you need your angle. Leave questions are not the Titanic, they’re your life no questions for the reader unanswered. vest/boats. If you stick to your questions, you might drown. Or something like that. Figure Writing the Story: out the metaphor yourself. Just write, and try to hit your length requirements the first time around, because adding Try to forget that you’re in an interview, and and removing text is not fun. At all. start asking questions like you’re in a real con-

Try to turn in the best story you can. Other- General Details about wise, you might feel dumb. HOWEVER: far writing better a stinky story than a late one. So please, deadlines are sort of non-negotiable, and you Oxford Commas: we don’t use them. I recently have more than enough time to edit during learned (via Vampire Weekend) that an oxford that time period. comma is the correct and appropriate name for the comma you put before the and in a series (They are In short, remember what the great Amanda red, white, and blue). And hey, if Ezra doesn’t give Martin said: “First, I meditate for one hour a fudge about an oxford comma, neither will we! then I summon the ghost of Walter Cronkite, and I use my Ouija board to help me channel Numbers: written out unless they’re more than his words. Just kidding. I just write.” There’s one word, then just put include the digits. Examreally no right way to do this. ples: ten, 25. And the Editing Process:

Quote Attribution: follow the pattern of perversion: “That’s what,” she said. PG version: “quote,” First, give it to the person who has it on their noun verb. page. MAKE THE CHANGES THEY TELL YOU TO. I can’t stress how important that is. Leads: the lead should hood the reader and compel The person editing your article is not an idiot, them to read the entire story. To that end, avoid and they have a far more objective view of scene-setters. These are far too common in all of your article. Chances are, they’re right. our writing, including editorials, reviews, news AND sports stories. Try to only do one each seAnd even if they’re wrong, Mrs. Wellmann mester and challenge yourself to find other ways to will fix it. Make all the changes she says, and begin an article. then it will be perfect. Don’t be afraid to drastically change your article between one edit Big Words: everyone at the school should be able and another if you suddenly become inspired. to read and enjoy The Roar. Leave the SAT vocabulary words for another time. After Publication: Send a thank-you note and a copy of the paper, nicely wrapped up to your main source/ sources, especially if they aren’t affiliated with Consol. This will help you and The Roar build rapport. This is also a good idea to do for anyone who bought an ad from you, again, rapport is money in the bank. And we like that.

Headline Basically, summarize the article in one sentence. You MUST have a subject and a verb in the present tense. Words to Avoid: Articles such as a, an, or the, and conjunctions like and, and or. Words Ms. Wellmann hates, like student(s), CHS, Consol. (Seri-

ously. Don’t even think about using student(s) in a headline.) When writing editorial headlines, avoid words like teen, inspire, passion. Don’t be insipid, especially for editorial headline writing. Also avoid big words. There is nothing quite so offputting as when you don’t even understand the title of the article. Grammar to Avoid: things I have recently learned are called zeugmas. As in “Avoid using zeugmas in your titles, writing.” Sometimes they’re inevitable, but just do your best. A zeugma, for whatever may remain unclear, is the substitution for and as a comma in your headline-sentence, thereby making it all awkward and choppy sounding. (example 2: Students, teachers unite to promote peace, change. That had 2 zeugmas in it.) Also avoid crashblossoms. A crash blossom is a headline similar to this one: Shark Attacks Puzzle Expert. Will Shortz is perfectly safe, it’s just that there are more shark attacks than usual, and its con-

fusing the experts. Make sure that your headlines are legible and understandable, regardless of where you put the sentence stress. Ask someone else to read it if you’re not sure.

Cutline Length: two sentences. Angle: answer the five W’s. The first sentence should be in present tense and describe what’s going on in the photo. The second sentence should be in past tense and provide a little background. See Snapshots (page 3) for some other things to do with those cutlines. Photo Attribution: Depending on whether or not a Roar staffer took the photo, we’re looking for either “photo by Dini Susanto” or “photo provided by Dini Susanto. See the Mock page (page 1) or Text Rules (page XX) for those rules.

Photography Key words

Camera Diagrams

Shutter Speed: how fast the shutter moves inside the camera, and therefore, how much light is let in, or how blurry your photo is. Generally speaking, the faster the better here, however, playing around with slower speeds can create some interesting effects.

b a c

Flash: try not to use the flash unless you absolutely have to, it’ll make your photos look super washed out. White Balance: White balance is the camera’s way to adjust for the color of the light outside. Auto is the best for many occasions, but if you need to adjust for something in the environment, use one of the more specific ones. Flourescent is good for classrooms and such, the vast majority of indoor settings. Cloudy is for overcast days, and will make your photos a little yellowy to compensate for the bluish tint the light takes on on cloudy days. T ungsten does the opposite, adds a bluish tint for photos taken with parking lot lighting (try to avoid these, period). Daylight/ Shade white balance looks a lot like flourescent and cloudy. ISO: is the film speed you are using, or the film’s sensitivity to light. We’re obviously not using film anymore, so it’s really the camera’s sensitivity for that particular shot. The higher the ISO, the less sensitive to light the film is, and typically, the better quality of photo you’ll get (crisper, etc.). Use the highest ISO you can without getting blurry pictures, and use a combination of this and the shutter speed to get the right brightness.

a. The shutter. To take pictures, press here. b. To set shutter speed. Move the dial from left to right to change the speed. c. Lens removal button. Press here to take the lens off.

e d

d. This button, and the button on the camera itself must be aligned before the lens is considered “safely in place.” e. Press this button to turn the flash on. If the flash is up, its on. If its down, its not (to turn it off, push it down.

Photos: In the Field k

Faces: should be visible and relatively large (at least the size of a dime when printed full-size). You need to be able to I. D. the people in the photo. Preferably, no backs should be turned to the camera.

i g h

f. This tells you what your shutter speed is (see b.) g. Press this button to see all the photos on the camera. h. Use this to adjust the white balance, depending on what your lighting is. It will take you to a menu. i. To adjust the ISO. It will take you to a menu. j. Lets you change the shooting mode: Autotimer, series of photos (by holding down the shutter), single shots, etc. k. Zoom. Lets you zoom in on the photo as you’re flipping through those stored in the camera’s memory.

Photojournalism: always try to talk to the subject a little bit about what’s going on in that picture, get a few quotes, whatever. This is especially important for a snapshots page Identification: always, always, always, know who you’re shooting. Get a name, maybe a grade. See above for more information. Assignment Length: your job is not to get in there, get something printable, and get out. Your job is to get great, truthful photos. So stick around. The longer you stay with your subject, the more chance there is that you’ll get a more relaxed subject and a more honest moment.

Rules of Composition Rule of Thirds: the basic idea is that if you superimpose a grid onto your photo like this one:

l. The battery/ memory card hatch. It’s important to always empty the camera after you use it (for more information on that, see page XX), and to refill the battery with the charger in the camera bag. m. Shooting mode dial. Auto is recommended unless you really know what you’re doing. n. The lens. Depending on the lens, your photos will change, so be sure you’re using the right lens for what you need.

that the main elements of your photo will fall

along the lines or their intersecting points.

Leading Lines: natural lines created in the photograph that lead the eye to the main subject of the photo.

Repetition: the repeated elements throughout a shot such as bookshelves, arches, etc. that provide a sense of cohesion throughout the shot.

Every major person in the photo should be identifiable by their faces. Exceptions are basically football players.

Framing the Photo: believe it or not, this doesn’t mean an actual picture frame (although in terms of home design, that is quite important. This does mean that you provide a natural frame for the shot, if this is an archway or a bunch of bushes or a sunflare behind the subject’s head, the key is to arrange the subject into a natural frame of elements.

Is there interaction between the subjects of the photo? This provides more intimacy in the shot, and creates a better story. Is there a reaction to the action in your photo? The photo should be technically proficient (no overexposure, no graininess, etc. )

Fill the Frame: basically, don’t waste the photo. Fill the entire shot with your subject, get up close and personal.

Does the photo tell a story? The photo should not be pixellated on the page, be sure its the right resolution (see page 11 for the correct resolution).

Unique Angle: don’t take plain vanilla shots, straight on from chest height. Get on a chair, get on a flight of stairs, lay down on the floor. Also play with putting the focus on an unexpected part of the photo, etc.

Is the photo engaging? Is it not only pleasant to look at but involves the reader? IS THE LIGHTING ADEQUATE? You should be looking for side or back lighting. Head on lighting, if ever used, should be diffuse.

Foreground/ Background: you ought to know what these are already, the important thing about them though, are the things in them. Avoid antennae. Avoid random faces between legs (although as far as a framed shot of Mr. Falk’s face went, that was GREAT). Avoid other awkward crotchrelated things.

Photos: On the page

Selection: if youre having trouble finding a picture you'd like to use, ask the person who took the series of photos. Tehy should be able to direct you to Photo Selection some of their favorite ones. HOWEVER: this does Checklist not mean that you get to foist all your photo selection duties on them. Before you start editing and Make sure that there are no blurry faces or ex- placing phtos, run them by the photography editor. tremities in the subject of the photo. The sub- Photographers: Have your favorite photos handy or ject should be in focus. recommend some straight off the bat. The photo should have good composition and be generally aesthetically pleasing.

Stretching: don’t do it. Ever. Under no circumstance or pain of death shall you endure if you stretch a photograph. By all means practice yoga.

Photos: in Photoshop

Photo Placement: always run a photo so that its focus is toward the main body of text. HOWEVER, never flip a photo, especially a sports photo. A surprisingly large number of people know who’s a southpaw and who isn’t, so flopping photos might confuse many. Photo Identification: always ask the photographer to identify the people in any given photo. If they don’t know, print out the photo and take it to someone who might know... a club sponsor, one of your sources, etc. Be sure to do this with plenty of time to avoid errors. How to Add a Drop Shadow: photos that are entirely cut out should be placed on the page with a drop shadow. To add one, after placing the photo, right click> Effects>Drop Shadow, and play with the options to find the right shadow to use. NOTE: when adding it to a person, be sure to edit it so that the shadow is not below their feet, otherwise they will look like they are floating. Separate shadows on a page should all also be going in the same direction. How to Size Editorial Photos Adequately: after opening the already cut-out and edited photo in InDesign and placing it imperfectly on your page, re-place the Editorial byline from the Journalism>Templates>Editorial Templates document, and size your photo so that the head of the photo you are using and the head of the original photo are approximately the same size. When this is done, move the new photo off of the byline, ungroup and delete the original photo, and replace with the new. Editorial photos should be all about the same size across pages.

Cropping: do not crop out outlying body parts. Regardless of how piddly they might seem (yes. Fingers. Toes. We’re talking about you), they’re important, and their absence will make your photo look weird. If you’re going to crop photos, don’t do it at joints, do it slightly above or below. If a photo has body parts outside of the frame, (tops of heads, etc.), don’t use it. Sorry. BEFORE CROPPING: Check with The Photography editor, editor-in-chief or senior editor. The crop should not stretch the photo or make it pixillated. It must stick to the rule of thirds (unless going for an artistic straight on feel), and the subjects shouldn’t crowd the frame. While cropping can be done in Photoshop, you should remember to crop while you are taking photos. This will get rid of any pixillation or blur when resizing and editing your photo. Photo Sizing: every photo must be sized to 160 pixels/in. This is done in Photoshop. Image>Image Size>Uncheck the Resample Image box> resolution:160. How to Grayscale: open desired photo in Photoshop. Go to Image>Mode>Desaturate. Then look at the RGB channels (next to layers and paths) and click on the Red, Green, and Blue channels separately. Decide which of the channels looks best and delete the remaining. If you would like a combination of the channels, press Shift while clicking on the channels to view this combination. How to Make A Photo Lighter For Printing: open desired photo in Photoshop. Go to Image>Adjustments> Brightness/ Contrast and play with the Brightness slider until the photo is

the way you want it. This is not a fix-all for dark, 9 Steps to good editing grainy photos, and will typically be used to lighten editorial photos and the like to make sure faces 1. Do this for all photos: Download, Delete, aren’t too dark. and Rename Go to tools > batch rename > fill in photo info. How to Cut Out a Photo: open desired photo in (For this info, see page 24) Photoshop. Find the layers menu. Double click on the layer that says “background” When the win2. Caption into metadata dow comes up, press OK. Begin selecting with the (Bridge: metadata, Photoshop: file > info) magic wand tool. When you think you’ve selected enough (I recommend going in large-ish chunks so 3. Level, Rotate, and Crop. as to not accidentally amputate body parts) press To level, click and hold eye drop tool > select ruler delete. You’re looking for the magical grey/ white tool > find the horizon of your photo and trace > checkerboard pattern in the background. This click on Image > Image rotation > arbitrary > OK. means there’s nothing there. When you’ve got a fairly good outline done with no missing bits, use 4. Set the image size. the eraser tool to soften the edges and make them Image > Image size > Resolution 160pix/in > less choppy. An alternative to the full-cutout is the uncheck resample image partial cutout, in which extremities are freed of their background, but some sense of location still 5. Adjust brightness, contrast, and color remains. Use the same method to achieve this, balance using LEVELS. perhaps using the angle lasso tool to achieve your Image > adjustments > levels > channel (select red, original box-shape. This method works best for green, or blue) > drag black and white points to the sports photos or other action-filled shots, or just beginning and end of graphs for all channels. plain boring profile portraits. How to Use the Clone Stamp Tool: if a tiny amputation has gotten past you, use the clone stamp tool to make it better. It also is good for removing unwanted body hair from cheerleader’s armpits, facial blemishes, and other icky-nos. This is a tool that gets easier to use with time, but basically, press Alt to select the area from which you want the paintbrush to begin selecting, and start to paint in the missing area. Be careful to watch for shadows and gradations, generally the best idea is to select from the area closest to what you want to fill in. The better you get, the more invisible your work will be.

6. Clean it up. Check for red eye, deep shadows, and high exposure. Image > adjustments > shadows and highlights > toggle levels. 7. Unsharp mask. Filter > unsharp mask > 50 - 70% 8. Decide mode (CMYK or grayscale). Switch to CMYK: Image > mode > CMYK. Switch to grayscale: Image > adjustments > grayscale > look at channels and decide which one looks best > delete extra channels using trashcan button > then Image > mode > grayscale. 9. Save! File > save as > jpeg > max quality. FOR CUTOUTS: file > save as > photoshop.

Design Text Rules

Cutlines: size 9, leading 10, Kozuka Gothic, bold, black, regular caps.

Headlines: size 20 to 40, Kozuka Mincho, Heavy, black, regular caps.

Cutlines look like this.

Headlines look like this.

Photocredit: size 9 leading 10 Kozuka Gothic, bold, 50% black, all caps.

Regular Byline: name is size 10, Kozuka Gothic, heavy, paper, all caps. Title is size 10, Kozuka Gothic, heavy, paper, all lowercase. BYLINES

look like this

PHOTOCREDITS LOOK LIKE THIS.

Pulled Quotes: size 12 to 19 Kozuka Mincho, bold, black, regular caps. Pulled quotes look like this.

Editorial Byline: first name is size 16, linotype, regular, black, regular caps. last name is size 16, Linotype, regular, 50% black, regular caps.

Pulled Quote Attribution: size 10, Kozuka Gothic, heavy, 50% black, all caps.

Editorial Extended Byline: size 10, leading 11, Times New Roman, italic, black, regular caps.

Page Byline: size 8 Kozuka Gothic Pro, heavy, black, all lowercase

Editorial extended bylines look like this.

Copy: size 10, leading 11, Times New Roman, regular, black, regular caps. Copy looks like this.

Copy font should also have tabs of 0.25 inches, and be right justified, with the hyphenate box checked. Subheads: size 14, Kozuka Gothic, heavy, accent color/ black, regular caps.

PULLED QUOTE ATTRIBUTIONS LOOK LIKE THIS.

page bylines look like this.

Folios: you should just be copy/pasting these from your previous page, or not deleting them at all, but just in case anything happens to them, hereâ&#x20AC;&#x2122;s the breakdown: Number + lines : size 10, Kozuka Mincho Pro, heavy, black Page title: size 10, Kozuka Mincho Pro, heavy, 50% black, all lowercase The Roar: size 8, Kozuka Gothic Pro, Medium, black, all lowercase Date: size 10, Kozuka Gothic Pro, Heavy, black, all lowercase 2 | the folio | looks like this

Subheads look like this They can also be the pageâ&#x20AC;&#x2122;s accent font (see page 15 for decorative fonts).

12, date, 2010

Display Heads: can look like anything. (See page 15 for decorative fonts).

Drop caps: in a plain story, do a nice big Times New Roman, that descends 3 lines. Anything else, Text Legibility: when placing text over a backdo a decorative font (see page 15). ground that varies from light to dark, the easiest way to adjust for legibility is to either make the Font Size Decrease: headline/ sidebar title/ pulled font white with a black stroke around it, for an quote font sizes MUST DECREASE DOWN THE overall darker background, or black with a white PAGE! This is an important, often overlooked rule. stroke around it, for an overall lighter background. Fonts Per Page: do not use more than 2-3 font families in each page. A plethora of fonts is not a good thing. It looks sloppy and schizophrenic rather than creative. [NOTE: a font family is all the variations possible with one font, as below with Times New Roman.]

regular italic bold bold italic

Filling the Page: There should not be any awkward blank spaces anywhere on your page. The text should entirely fill the text box and run all the way to the bottom of the page.

Fontology Basics

Font Types: there are four basic types of font: serIf your font does not come with an included “bold” if, sans-serif, script and decorative. font, or you want to make it thicker, add a stroke Serifs: they are characterized by the “feet” coming around it. Typically, the smaller sizes work best. off the letters. Serif fonts are usually the easiest to Headline Sizing: headlines need to go all the way read, and as a result are often used for copy (like across the page, and display heads should be orga- in The Roar). They can be divided into three addinized as to not leave bits of white space at the top tional groups: modern, oldstyle, and slab. of each page. Add art or anything else you need to Modern fonts include Didot and are characterized by the horizontal serifs on lowercase letters, drastic to fill this space. thick/thin changes, thin serifs and vertical stresses Orphans and Widows: other than being the tragic (the thicker parts in each letter move up and down). consequence of war, orphans and widows happen These are less legible than oldstyle serif fonts, and when laying out the article on a page, and a single as a result, typically look best in a larger font and line, or a few words, remain isolated from the rest can provide a slightly cleaner, more modern look. of the paragraph in another column or page. Try to Oldstyle fonts include Times New Roman and avoid them. This holds true for both the first and are characterized by diagonal stresses (the thickest parts in each letter are diagonal to each other), the last lines of paragraphs. drastic thick/thin changes and thicker, diagonal serSkewing: when incorporating a graphic that re- ifs. These are the easiest to read, and as a result, are quires skewing (alpha channel text wrapping), try most used in copy, although can also look exceedyour best to incorporate it on the RIGHT side of ingly elegant and clean in a larger setting. any column. This makes it easier to keep reading Slab serifs include Rockwell and are characterized around it. Also, watch out for mini-orphans with by horizontal serifs, no thick/ thin changes, and no this, small pieces of text caught in the crevices of stresses. Slab serifs are more typically used as decartwork.

Font Combining: the combination that works best, overall, is a sans-serif font and a decorative font, although some serifed fonts when paired with script fonts can work well. Basically, try not to over-ornament, and use your best judgement. You slab modern oldstyle are looking for contrast between your font choices: Sans Serif: they are characterized by a lack of ser- They should be different enough that you can easifs, (duh), and no thick/ thin variation. Sans-serif ily tell them apart, and you can also create this artifonts often serve best to bestow an air of moder- ficially with different versions of the same font by nity or organization and include Helvetica. Note playing with color/ weight differences, directional the details of the font below (my personal favorite contrast and other arrangement techniques. sans-serif, Century Gothic) orative fonts due to their reduced legibility in copy. Note the changes in each font type below.

alt

Layout

alt Script: are fonts that look like cursive. The letters may be connected or not, but the category is basically characterized by more handwritten fonts. These look best large, and add either an air of elegance, sweetness or kitsch, but always a more feminine choice. These should be used as decorative fonts, but can always be combined effectively with serifed fonts something most other decorative fonts cannot. Below are some examples of script fonts.

Page Dummying: before starting a page design, it may be useful to help begin planning. On a page dummy, you can pick out fonts, choose a theme, and begin to know what kind of art or sidebar you will need in order to make the page of your dreams. Graph paper is good for this, or the tabloid size dummies we have in the lab. Look at the idea binder for inspiration, or better yet, start your own.

Picas: are 0.167 inches. And they are everywhere. Really. All the spaces on your page need to be a pica: No larger, no smaller. Sometimes this is difficult, but do your best. It may be helpful to make pica bars or pica boxes and keep them to the margins of Decorative: includes everything else. Above are your page. Pica boxes are boxes that have the disome typical examples, although really, these are mensions of exactly one pica on all four sides, but limitless. Decorative fonts should not be used in have the irritating tendency of getting lost among large quantities, and font cliches should be avoid- the other boxes on your page. Really long pica bars ed. Also be sure to match the type of font youâ&#x20AC;&#x2122;re work best (they only have pica dimensions on one using with the mood that you want to create. Some side, the other is long. If you do that, be sure to decorative fonts may include elements of any of have both a vertical and a horizontal pica bar.)Pica the three other types of fonts included, but gener- box pictured here: ally, any embellishment will serve to characterize it as a decorative font. Cutlines: between the cutline and the photo, in-

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clude a small 50% black triangle pointing to the photo. Feel free to also use a 50% shade of your pageâ&#x20AC;&#x2122;s accent color instead.

Gray: is all 50% black. Feel free to vary for design’s sake, but for everything that is standard set on the formatting, it’s 50%. Templates: can all be found in the Templates folder in the J: Drive. Standard are for non-viewpoints pages. Viewpoints are the ones you’ll be using for editorial pages. Boxes: everything you put on your page should be able to fit within a rectangle. Avoid L-shapes whenever possible. All your boxes should have a 1 point black line around them, and this includes photo boxes. Feel free, however, with sidebars, to experiment with different types of strokes, including weight and pattern. Don’t be afraid to bevel or round the edges, either.

pica, and under the Contour Options, select whichever option provides the best wrap with the shape. Typically, this will be the “Alpha Channel” option. If you need to insert an art credit or something else near to the text, or insert a byline into text wrapped copy, create a new box with the art credit or byline, then press CTRL+B, and check the “Ignore Text Wrap” box. That being said, try not to text wrap anything that does not need it (, to keep your page building as simple as possible.

Box Placement: boxes should also not cross halfway into any columns, resize or crop to make these work. The only thing that is allowed to cut across is a pulled quote. Sidebars should run (preferably) all the way across a page, however, its really important to separate it from ads so that its not confused for one, in which case, do whatever you have to in order to give it Alignment: if the align tool is not already in the some geographic difference. toolbar on the right of your InDesign menu, get it there (Window> Pathfinder and drag the box that Sidebars opens into the sidebar). This tool is essential to achieve an organized effect in any design. To use, At The Roar, we often treat sidebars as a requireselect all of the elements you wish to align, and ment for our pages, without ever bothering to eipress the option that provides the alignment you ther design them well, or without making sure need. For sidebar text boxes of varying length, Top that the information in them is good or relevant. While there is a wide variety of sidebars, be sure Align provides the neatest profile. to pick something that is interesting, or that you Text Wrap: another tool that is used with suffi- think makes a good complement to the article. Ancient frequency as to merit its own spot in the tool other strategy is to pick out some of the harder data sidebar. Follow the steps above to get it there. For in the article and represent it visually (see page 12 most boxes, you will be using the box option for for more on graphs.) Remember though, that the layouts. However, for any art you may have cut sidebar is one of your best bets for drawing readers out, including editorial art or other segments for in, so make it INTERESTING. Following are the feature, should use the round, or contour wrap. To major categories of sidebars and infographics, aluse this, be sure the element has been cut out (there though these are not the only ones that can be used is no white background remaining around it, see in any given page. (Anyone remember the scavenpage 6 for directions on how to do this.), place it on ger hunt? EPIC) the page, and then press the third text wrap button from the left. Be sure that the settings are set at one

Fast Fact Box: this works best for multi-faceted, complicated news stories, and serves as a miniature summary of the article. In a larger news package, you can also direct readers to an editorial or another article on the same issue in another place in the paper.

article, or a way to answer hypothetical questions the article might leave unclear, or that needs to be quickly and clearly addressed.

Public Opinion Poll: especially fun when we’re covering something rather controversial, such as new grading policies or teen drinking/ general Bio Box: brief profile of the person you’re fea- misbehavior. Accompany this type of sidebar with turing, works best for features that center on one some nice, creative graphs. person. These can be actual biographical information (date, place of birth, accomplishments, etc.) Quote Collection: a nice accompaniment to the or more like a middle-school slam book (favorite above sidebar, these should be mainly from students and teachers rather than famous people. You food, favorite color, sounds he loves). can always look those up on wikiquote. Try to List: um. Duh. Don’t get too obvious with this one, package these with some nice mugshots or another lists don’t make the best sidebars, try instead do- visual representation.

ing like a receipt type of sidebar with the costs of a particular event or something else. Try to avoid Table: again, another way to organize a story with massive amounts of factoids, you can also organize them if you can. a lot of other types of sidebars within the bounds Glossary: define the weird vocab. Don’t use this of a table. one unless there’s seriously a lot of weird words in the field that you’re covering (read: cricket, sailing, Ratings: a table or list of different activities, sports skateboarding), and try to spice it up with commen- teams, movies, whatever that an expert can then go through and rate. We don’t use this a lot, but it tary from one of the sources. might work well for an article about, say, TAKS Checklist: this is for your readers rather than about test scores, and organize it like a report card. the story. If you’re covering something like college preparations, this might be the perfect sidebar (2 Timeline: again, something we don’t use a lot, but SAT tests, 2-3 AP Tests, the FAFSA form filled out, could work well for the more complicated news stories with a lot of causes and effects. Applications, Transcripts). Quiz: this is one of the most fun and engaging sidebar ideas. You can either test their knowledge of the topic you’re covering or make it more like a teen mag quiz (What kind of kisser are you? except more serious). Either way, these are fun.

Step-By-Step Guide: great for crafts stories, perhaps even sports stories, this can be either a very serious, literal sidebar, or kind of a goofy one.

Diagram: great for athletes bodies (wow, that’s awkward), or for something like a really technical Q&A: a way to showcase a particularly interesting sport with different tools. Has a lot of graphic apbit of the interview that maybe didn’t fit into the peal.

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Maps: don’t use these very often either, although there are certain circumstances in which they would Basic Color Theory: goes a little bit like this: From work. elementary school art class, most of us know what primary, secondary, and perhaps even tertiary colInteractive: these are your scavenger hunts, your ors are (yes, red-orange, we’re talking about you.) competitions, the things that encourage readers to Most of us also know the difference between warm write in or to come check you out in the newspa- colors (red, yellow, orange) and cool colors (green, per lab. These are only really feasible with a spe- blue, violet). cific kind of article, but if you can pull it off, by Complementary colors are those located directly all means do. Be sure to have prizes, there ain’t no across the color wheel from each other, and yes, go motivator like $5 for Sonic. best with each other. Analogous colors are those next to each other on the color wheel (can be 2 to 3 colors). Color Triads are the colors equidistant to each other on Color Palette Types: there’s RGB (Red Green the color wheel (red yellow blue). Blue) and CMYK (Cyan Yellow Magenta Key Shades and tints are created by adding black or (usually black)). RGB is for on-screen viewing- white, respectively, to a hue (a pure color). Always the internet, TV, etc. CMYK is for printing. Be use a variety of tints and shades to get the most vissure the color settings under your swatches are ible combination of colors and to change the entire CMYK (you’ll be able to tell because on the far mood of a palette. right, there’ll be a square divided into 4 triangles with the 4 colors). If a color you need to use isn’t, Color Basics in Design: warm colors appear to double click on its swatch and under Color Mode, come forward on the page, while cool colors apswitch the color to CMYK. pear to go back. (Think about it, this is why 3-D pictures work). As a result: keep backgrounds light, red cool colors to avoid overwhelming the text, and d or red re let an make what you want attention grabbing a warmer ge vio color. (NOTE: yellow does not work well unless in a more golden shade or when surrounded by a thick black stroke.) In designing with color, attracting attention will (and probably should) take a backseat to creating a specific mood. It’s one of those Field of Dreams moments: if you make a mood, the attention will come. Certain color combinations will always evoke a certain mood or event (think red + green; red, white + blue; turquoise, grey + white; red, black, green + yellow), and each color has its own cultural and emotional meaning which comes intrinsically attached. In order to create a mood, you must take hold of the appropriate color traditions blue violet

yellow orange

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ye ll

w llo ye een gr

green

bl gre ue en

The Color Wheel

and bend them to your will. This is not as hard as it seems. If you design a pink page for a ValentinesDay theme, few people will think of breast cancer. However, using the culture of color does not always mean using color cliches. Are there any colors other than red and green that can symbolize the holiday season? Another strategy is to find artwork or an existing design with color choices or a mood you like, and try to match them. An easy way to do this is the color magnifying glass with the eyedropper tool, this allows you to direct select any color (or formatting style) on the document and apply it elsewhere, . If this is something you really really love, go out and buy yourself An Eye For Color by Olga Gutierrez de la Roza. Its a pretty pricey buy for a book ($32,) but worth every cent. In addition to creating a mood, also join together similar topics with similar colors within a page, and remember to always have a main color for each page, along with a few accent colors, so that each page looks coherent and put together.

Bar graphs- intended to track a number or percentage that perhaps does not add up to 100 and compare it to another number or percentage. For example, to compare the number of freshmen, juniors and seniors who reported drinking at parties in a survey, or to compare the number of people that are in each grade. Pie Charts- to chart percents of different things out of a whole- who answered yes, no, or maybe, and to compare the survey results of just one question. There are other kinds of graph, of course, but these are the main ones you’ll use, and most graphs are variations of these.

How to Make Them or How to Make Them Look Really Cool and Not Made In Excel: This is in Illustrator, and to simplify things, I’m going to make a list rather than just write it out. Pie Chart 1. Open a new Illustrator document, then click on the Graph tool on the left sidebar, select the pie graph, and size it on your page. 2. An Excel type window should come up, inGraphs put your values in cells in a ROW, not a column, When to Use Them: use graphs when there is a and when you are done, press the check mark in the lot of data that would complement your article, or upper right corner of the window, then feel free to make a point clearer, but would not work well in a close it. This will show you your completed graph. text format or would overwhelm the material. Statistics are difficult reading, and don’t make as great an impact when in written form. However, when pulled out into graphs, they make much more of a statement and are more visually appealing. You should have a pretty good idea of what kind of 3. The graph you have just completed is a very graphs to use for what situation thanks to science basic one, and in order to further manipulate it, go class, but here’s a quick recap. to Object> Ungroup. A warning will come up, igLine graphs-intended to track a situation over a long nore it. period of time, like the stock market, or the average 4. From here, you can manipulate the graph number of yawns per period over the school year. any way you wish to, from rotation to reflection to color changes. HOWEVER: be extremely careful NOT to resize unless both pieces are selected and/ or you have regrouped.

5. In order to give the graph a slightly more grown-up look, and be easier to read, replace each hash mark with a dotted line running behind the graph in a 50% black stroke. To do this, hold down the Shift key as you draw a line directly out from the first hash mark to the end of the graph. Then go to the stroke menu, and check the Dashed Line box. From this menu, you can alter the length of each stroke, which will remain the same, regardless 22% of how you resize it. After that, copy and paste the line you have just created to all the has marks, then 78% group them, and send them to the back. 6. In order to make your graph clearer, add the numbers directly above or on each bar. Create text boxes, and place them accordingly. Group everyBar Graph 1. Open a new Illustrator document, then click thing, and drag to your page. There is your finished on the Graph tool on the left sidebar, select the bar bar graph. graph, and size it on your page. 2. An Excel type window should come up, input your value in cells in a ROW, and when you are done, press the check mark in the upper right corner of the window, then feel free to close it. This will show you your completed graph. The scale on the left is automatically generated based on the values you input (so if you want it to be percentiles, be sure to enter the percentages, and not the raw data). Line Graph 1. Open a new Illustrator document, then click on the Graph tool on the left sidebar, select the line graph, and size it on your page. 2. An Excel type window should come up, input your value in cells in a COLUMN, and when you are done, press the check mark in the upper right corner of the window, then feel free to close 3. Again, the graph youâ&#x20AC;&#x2122;ve just created is a it. This will show you your completed graph. The fairly basic model, so in order to further manipulate scale on the left is automatically generated based it, go to Object>Ungroup. A warning will come up, on the values you input. ignore it. 4. From here, you can manipulate the graph any way you wish to, from rotation to reflection to color. HOWEVER: be extremely careful not to resize unless all pieces are selected and/ or you have regrouped. 5. In order to make your graph clearer, add the percent totals over the graph itself. Create two text boxes with the percentages and place them over each portion of the circle. If a slice is too small, simply create a box with a line pointing to the slice needed. Group everything and drag to your page. There is your finished pie chart:

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3. The graph youâ&#x20AC;&#x2122;ve just created is a fairly basic one, so in order to further manipulate it, go to Object>Ungroup. A warning will come up, ignore it. 4. From here, you can manipulate the graph any way you wish to, from rotation to reflection to color. HOWEVER: be extremely careful not to resize unless all pieces are selected and/ or you have regrouped. 5. In order to give the graph a slightly more grown-up look, and be easier to read, we will be replacing each hash mark with a dotted line running behind the graph in a 50% black stroke. To do this, hold down the Shift key as you draw a line directly out from the first hash mark to the end of the graph. Then go to the stroke menu, and check the Dashed Line box. From this menu, you can alter the length of each stroke, which will remain the same, regardless of how you resize it. After that, copy and paste the line you have just created to all the has marks, then group them, and send them to the back. 6. In order to make your graph clearer, we will add numbers to each data point. Create text boxes and move them to the appropriate spots. 7. If you also wish to show when each plot point is occurring, create a path slanted at about 45o and then use the type along a path tool to write the month/ minute/ period. Group everything, and then drag to your page. There is your finished bar graph. 125

37 l.

Now for a few bonus graphs with a little bit more graphic appeal. Stacked Bar Graph with Graphic. For this one, Iâ&#x20AC;&#x2122;ll be working with the shape of a man, but really, it can be any sort of hand-drawn shape, or even some sort of clip art you can have in illustrator. I recommend using sort of dark, thick, basic symbols for this though. 1. Open a new Illustrator document, then begin to draw your shape. To make the man shape, use a series of rounded-edge rectangles, controlling the curve of the corners with the up and down keys as you create the rectangles. CAUTION: You may have some severe difficulties resizing this graph, so make it approximately the size you need for your page. 2. Select all the shapes that comprise your figure, then use Pathfinder>Unite (yes, it does sound like something a Power Ranger would say) to create one figure.

3. Select the Stacked Bar Graph tool if your figure is more horizontal, and the Stacked Column tool if your figure is more vertical, trace a window about the size of your figure, and enter your data onto the Excel type window that comes up. When you are finished, select the checkmark tool, and be sure that all your data is in one bar, not several. If it is incorrect, there is no need to re-enter all of it, instead simply press the key showing a rotating bar in the upper right of the window. 4. Ungroup the graph and get rid of any extra numbers or lines. Then select both the object, and what is left of the graph, and select Pathfinder>Divide (Power Rangers, ATTACK!) Your object is now divided into several proportional pieces. 5. Erase the grey bars behind the figure. You can then separate the man by either taking each piece and moving it up or down and creating actual

space between the pieces, or, as is easier, taking the school on a flashdrive, etc, or you can make a phogroup and adding a 1 pt. white stroke around it. tograph a vector using LiveTrace on Illustrator. Be sure to select art that matched the design or shape And there is your graph: you need: i.e. vertical for a vertical graph and horizontal for a horizontal graph. This is the vector I’ll be using to create the graph:

6. However, while this graph is creative, right now it looks like simply a magician’s sword trick gone horribly, horribly wrong. In order to add actual meaning to your graph, you need to add numbers, or just a key. Make a text box next to it, and add the information, along with numbers.

School Population Breakdown Freshmen 25% Sophomores 12% Juniors 5% Seniors 3% Faculty 2% Administrative1% Custodial 1%

3. Draw a rectangle that encompasses whatever vector art you may have, and send it to the back. Then, selecting both, go to Object>Graph>Design, and click New Design on the window that will come up. Click Rename to change the name, and click OK. 4. Triple click on one of the columns, and go to Object>Graph>Column. Your design from earlier will appear as a choice for column graph design. Select it and click OK. The bat design will be as tall or short as the columns you’ve added, although it will rescale, and make some wider. Below is your finished graph, although feel free to add any of the other things from the previous graphs. This particular vector did not make for the most sophisticated or attractive graph, do try to pick a vector that is conducive to the graph. Below is the result. See what I mean? 15

Bar Graph with Vector Bars For this I’ll be working with some vectors I make myself, this is NOT always appropriate, if you have a more serious survey, the best thing to do is just use the bars. 1. Open a new Illustrator document, and create your bar graph based on the directions on page 20. 2. You can now replace your bars on your page with any vector. There are a lot of vector packages online that you can download at home and bring to

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Basics in Graph Organizations: so now that we know how to make really cool, classy graphs, its important to know how to make them legible. The main point of graphs lies in their abilities to be read, and if no one can read your graph, or has trouble doing so, there’s really no point in pulling out your data if it isn’t coherent. So in order to make graphs that make sense, there are a few rules to keep in mind: 1. Organize your graphs by the data. Don’t put Consol in front if its got midrange scores, put the highest number first and the lowest number last. 2. If you’re doing a series of graphs, always keep them in the same order. Consol will always come first and Westlake will always come last in every graph (and in real life too). 3. Always also keep the same colors for each thing throughout the graphs. Consol will always be white, and Westlake will always be black (except in terms of demographics... lol) throughout all your graphics, from bar graphs to pie graphs to EVERYTHING. This will help with your coherence, and your spacing. If everything’s the same, then hey, you only need one key. 4. Keep it free of extra lines and arrows and junk. Most people find graphs pretty easy to understand, and the more “helpful” things you put in, the harder it might be to understand. A good rule of thumb is to ask someone else to read it for you, if they’re confused, add more or take away, depending on what they tell you.

To use the pen tool, first select it, and create an anchor point by clicking. To create a line, or another anchor point, click again, some distance away.

You can make a rough outline using only straight lines, although its recommended to alter them as you go. Be sure that the pen is on “draw” mode by pressing “P” on the keyboard. In order to edit the line you have just made, press Shift+C. This will bring you to the Convert Direction Point tool. In order to use it, click on one of the anchor points that you have made, and move the handles until the line looks the way you want it to.

However, with the pen tool, you can not only create curved lines, but also entire shapes. For circles/ ellipses, and other sort of “obvious” shapes, do use the ShapeMaker tool (I have no idea what its real name is, in case you were wondering about that, ) but if you’re tracing a larger object, this is perfect. I recommend always closing a figure with a straight line, because if two lines emanate from an anchor point, both will be altered by the Convert Direction Point Tool, which complicates matters unnecessarily, so try to end with at least a super short straight segment. Also, try and use as few points as possible for the most streamlined, smooth look. You How To Draw can put fill and stroke on things, and when you’re done, add texture and such. Its a fun tool to use, and The pen tool is one of the most important tools to worth your time to learn. Below is a shape created creating fun, exciting pages. Using it is pretty easy, with the pen tool. and the results are typically pretty spectacular. In order to practice, I recommend taking a fairly complex piece of clip art and trying to replicate its outline using the pen tool.

Saving and PDFING How to PDF 1. Save your page one last time. 2. Go to File>Export, and be sure the settings are for PDF exporting. 3. Make sure the page is going to save into the folder you need it to, usually sometimes like EAGLE MONTH, or PDF’d or something like that. 4. Change the page title to Page##MONTH. 5. Press Save/ Export. 6. Be sure its on High Quality Print, and export it. 7. Once you’re done, open it again and make sure everything’s in place the way you want it. Things have an occasionally irritating habit of disappearing on the PDFs, which is why its good to get that done as early as possible. If it doesn’t work, try again, call someone else over, whatever.

How to save a photo 1. Download the photos onto the computer. 2. If you’re lucky enough to have gotten a download in which only one event is present, go ahead and skip down to step 5. 3. If not, which is way more likely, after you’ve got all of them onto the computer, split them up by events. Do, however, try to download right after an event, it makes things easier (see how many steps they’re skipping?)

4. Find out the date each event was taken, and figure out the photographer. If its a sports photo set, figure out the team we were playing against, and whether we were home or away. 5. Put each non-sports photo into the Photos folder with this photo title: YY/MM/DD-photographerslastname-oneworddescriptionofevent. 6. Save sports photos into the Sports Photos subfolder within the Photos folder with this title: YY/ MM/DD-photographerslastname-opposingteamh/a 7. See page 12 for where to go from here

How to Save a Page 1. Open your page from the previous issue, or the page with the same number/ layout as yours. 2. File>Save As, save it as MONTHpage##. NO CUTE NAMES LIKE “my NEWS page!!.” Save it into Pages>Current Issue #> Drafts 3. Never save a page draft to your own personal drive, if we need to fix something on it after you leave, etc., that makes it difficult to access it and we will have to call you at a ridiculous hour of the evening. 4. Delete everything on your page except for the folio and start funsing around! (Remember to update the folio though).

Notes