Les livres sont arrivés en bon état et sont magnifiques. Ils sont bien reçus et les gens me demandent qui est mon imprimeur. Je leur réponds que Friesens est une entreprise exceptionnelle et que c’était un plaisir de travailler avec vous tous.
Merci pour tout!
Lisa et Leslie Jones, Grant Morris Associates Ltd
Nous voulons simplement remercier Friesens de ses efforts en vue d’accommoder Grant Morris et l’équipe de rédaction responsable de la production du livre. L’équipe de rédaction a consacré énormément de temps et d’énergie à ce projet et, en tant que graphistes du projet, nous en sommes les témoins directs. Obtenir ces livres à temps pour le lancement était pour nous de la plus haute importance.
Votre entreprise nous avait déjà été fortement recommandée et comme nous participions aussi au processus de comparaison des imprimantes et des tarifs proposés, dès le premier entretien de Lisa avec vous, elle a pressenti que Friesens était l’entreprise qu’il nous fallait. Merci encore à votre équipe!
Nous voulons simplement remercier Friesens de ses efforts en vue d’accommoder Grant Morris et l’équipe de rédaction responsable de la production du livre. L’équipe de rédaction a consacré énormément de temps et d’énergie à ce projet et, en tant que graphistes du projet, nous en sommes les témoins directs.
Terry et Angelo Corrao, Colfax Press
Merci infiniment à Friesens d’avoir fait de notre album de photos FATHER DAUGHTER une première expérience d’impression inoubliable. Nous avons été impressionnés par tant d’aspects que nous avons dû les énumérer :
l’excellente communication du début à la fin;
le respect de l’échéancier;
une équipe d’impression très talentueuse et compétente;
une usine extrêmement propre et respectueuse de l’environnement;
une grande attention aux clients, notamment en prévoyant tous leurs besoins, tant techniques
un hébergement agréable offrant le confort d’un foyer.
Lila Strand, Luminescence Publishing
The Star Children
Je tiens à exprimer ma gratitude envers votre entreprise et les gens merveilleux qui offrent un service aussi fantastique. Merci de votre service à la clientèle exceptionnel : votre patience, votre courtoisie et votre serviabilité, sans oublier vos merveilleuses compétences techniques! Je vous remercie infiniment de votre volonté de redoubler d’efforts jusqu’à ce que tout soit parfait! En fait, je suis ravie du livre, de son apparence et de sa texture. Je ne pense pas que je pourrais en être plus heureuse. Je vous remercie tous du fond du cœur!
Milenda Lee, Columbia University Press
Man of Peace
Je viens d’avoir des nouvelles des personnes ayant reçu les exemplaires de prépublication. Steve Buccellato dit : « Noël est arrivé plus tôt que prévu, je viens de recevoir un exemplaire de Man of Peace! Je le trouve magnifique. » Une autre personne a dit : « Je pleurais littéralement de joie lorsque j’ai tenu le livre entre mes mains. »
Merci beaucoup, ce fut un plaisir pour nous aussi. Vous avez fait le bonheur de plusieurs personnes aujourd’hui.
Linda Hensellek, Winchester Galleries Ltd.
Nous venons de recevoir nos catalogues, merci beaucoup! Le catalogue est superbe! Encore une fois, nous vous remercions de votre aide et de votre attention. C’est un bonheur de travailler avec vous tous.
Elisa Gutierrez, Tradewind Books Ltd
Nous voulions vous faire savoir que nous sommes très satisfaits de la qualité du livre! Les couleurs, la garde (nous ADORONS le papier utilisé et la brillance des couleurs imprimées!), la finition, etc. Veuillez féliciter et remercier l’équipe de Friesens en notre nom pour ses efforts et son bon travail! Merci. Nous sommes impatients de collaborer de nouveau à d’autres projets.
Dan Johnson, High-Fishtrap-Rush Lake Association
Heaven on the Headwaters
Je voulais simplement vous dire que nous sommes ravis du produit final. Jusqu’à présent, pour ce qui est de la distribution limitée aux membres de l’Association, nous n’avons eu que des commentaires élogieux sur le contenu et la qualité du produit. Mon épouse, Jeffrey et moi-même recommandons Friesens sans hésitation à tout client éventuel. Nous avons tous beaucoup appris et si c’était à refaire, le processus serait beaucoup plus facile de notre côté. Scott était un excellent représentant à la clientèle, et il a été très serviable et réceptif.
Ben Bosah, Ben Boash Books
The Art of Nigerian Women
Je tiens à remercier chaleureusement la famille Friesens pour le travail qu’elle a fait pour mon dernier livre. Je suis très reconnaissant et je remercie les 500 employés de votre entreprise. Je suis amoureux de mon dernier bébé. J’ai le sourire aux lèvres. Merci à Glenda, à Paul, à Brad, à Scott, à Ralph et à tout le personnel chez Friesens. Je vous aime.
CREATING A YEARBOOK STYLE GUIDE
The yearbook is a collaboration of many different people, so without guidelines you run the risk of having your book become unorganized and inconsistent. If set up and used correctly, a style guide will set standards for staff working on different sections, to create a finished yearbook that is cohesive and consistent. By creating a style guide, you allow the staff to focus their creativity on the content of the book.
Here’s what you need to know about creating and working with a style guide.
1) Design a sample page before creating your style guide. This can be done as a collaboration among the students. Figure out what works and what doesn’t.
2) Include all possible details of your design, including but not limited to, margins, element spacing, headlines, subheading, fonts, colours, design elements and writing styles.
3) Don’t let staff alter or adjust styles on an individual basis. Ensure your guide is being followed.
4) Promote your style guide as much as you can, once created, post it where everyone can see it or print out a copy for everyone to have.
A yearbook style guide provides direction on the design of the book and the way copy content is written. Let’s work our way through some of the areas where we can set up guides to follow.
Layout: Layout is a broad category. It can include the margin measurements. Whether or not you will use columns and if you are, how many will be used. The spacing between photos and other elements. Will you space photos 1 pica apart, 2 picas apart or have only a small space in-between? You can also include where certain elements will be placed. For example; the headline is to be placed, top left, down 2 picas, in 3 picas. Another way to help your staff, is to create a page template with both your style choices and specific element placement. Consistent spacing across your pages will create a sense of uniformity and balance.
Fonts: Readability of your fonts should be your focus. When choosing fonts for your book there are three areas to cover. The font itself, the size of the font and the colour.
Let’s start with picking fonts. A good rule of thumb is to pick between 3-5 fonts. You might be thinking, out of the all the fonts available I can only pick 3?! By sticking to a few fonts, you allow your text to be legible, and 3-5 fonts provides clarity and consistency through all the pages. When picking your fonts, you need to define how they will be used. Your primary font should be used for headlines, subheadings or page numbers. Your secondary font should be used for copy elements, like body text, captions and quotes. If you do want to add more fonts, you can use them for subheadings, captions, quotes, page numbers or on special pages, like dividers. Remember if you choose a font for a specific text element, keep it consistent throughout the book.
Second, choosing the size of the fonts. This can also include weight, line-height and letter spacing. The size you choose for each font depends on how you have defined them.
And lastly, the colour of the fonts. When it comes to the colour of fonts, focus on readability, not on how the colour will work with your theme.
Colour Palette: Like the fonts, we want to choose a pallet that consists of 3-5 colours with the addition of black and white. We want to pick colours that cause the least amount of strain on the reader’s eyes. After that, choose colours that align best with your theme or design. By limiting you colour choices you are allowing the content of the book to stand out. To aid you in finding the best colour choices, try using a colour wheel or searching on the internet for premade colour pallets.
Writing: Now that we have covered the design selections it’s time to focus on the writing. Writing also needs a set of guidelines to keep the text in your book consistent. Work with your writing team and come up with a basic understanding as to what the tone, lingo and voice you’ll integrate into your book.
In addition to your writing style you will want to create some rules on how the layout of your copy is set up. When students are identified in photos, given photo credit, listed as an author, or provided a quote, how will their names be listed as “Jane Smith” or “J. Smith”? Will it include the grade (“Jane Smith, 10”)? Other choices to consider: will your text be aligned left, centered, fully justified? Review all the writing and make sure it follows the set of guidelines your team decided on.
In summary by creating a yearbook style guide you are providing your staff with a document that will keep the elements of your book consistent and free up time to focus on the content.
Did you know that the smell that emanates when you open a book has a name?
Oliver Tearle, a lecturer in English at Loughborough University coined the term Bibliosmia in 2014 by combining the Greek words for ‘book’ and ‘smell’.
Why do books smell the way they do? Science tells us that old books have a sweet smell with notes of vanilla flowers and almonds, which is caused by the breakdown of chemical compounds in the paper. Chemical reactions spanning a considerable amount of time produce these sweet odors.
New books smell like they do because of the chemicals used when they are manufactured. The smell of new books can be attributed to three factors: the paper itself (and how it is manufactured), the inks used to print the book and the adhesives used in the process of bookbinding.
While we don’t buy books for the smell alone, Bibliosmia certainly adds to the overall experience.
You have been working on your theme and have brainstormed some ideas, now comes the time to start finalizing your page design. One way to streamline this process while creating a consistent look throughout your book is to create a yearbook style sheet. To take the layout portion of your style guide to the next level you can create a page template.
It is a good idea to begin with your colours and fonts already selected.
To jump start both your yearbook style sheet and template building process follow the 8 steps below. Once the spreads are completed, have the whole yearbook team vote and use the winning spreads as the template base for the book.
1) Start with a column grid and make sure all exterior margins are established.
2) Place a dominant photo that is a least 2 to 2 ½ times the size of all other elements.
3) With the second photo, start an eyeline from which other elements can be set on or hang down from.
4) Add additional photos of varying sizes and shapes. If possible, repeat some of the same sizes in odd numbers.
5) Keep inner spacing consistent between elements. 1 or 2 picas is standard.
6) Place headline and copy blocks, remember to use the fonts you have chosen.
7) Add captions so that they are close to their corresponding photos, avoid placing them between elements.
8) Add graphic elements that will further your theme.
These are basic guidelines to building a template. You can include more elements if you wish and have a fully finished page or you can build individual element templates that can be layered on top of one another. For example; a page number template, a headline template, background template and so on. By building page templates, you can eliminate looking at a blank white spread in panic and thinking to yourself “Where do I even start?”. Like a style guide, templates keep your yearbook consistent and allows your staff to focus their attention on the content.
As the old saying goes, you can’t judge a book by its cover. While this proverb is good advice to follow when judging people, your yearbook is another matter entirely. The cover of your yearbook is the first thing people see. It needs to attract attention while engaging people to pick up the book and look inside.
Remember a great cover design with an impactful and well-chosen complementary cover treatment can go a long way in boosting the appeal of the yearbook, build up your yearbook culture in your school and increase your yearbook sales.
At this stage you should have your theme chosen and an idea on how that theme will translate onto the cover. Do you have someone elected or delegated to design this year’s cover? Are you opening your cover design up to the yearbook class or other classes (i.e. art or photography)? Or are you having a school wide cover contest? Make sure that whoever is designing it has detailed instructions about the cover measurements and information you would like included.
Keep the following in mind when building your cover. Your front cover should include the school name, logo or motto. The book name, like a newspaper or magazine may have a publication name. Include a phrase or design that introduces and conveys your theme. Don’t forget the year!
The spine should have the year as well, but may also have the volume number, the school name and the book name.
The back cover often gets overlooked but by adding something to the back cover you give your book a finished look. Make use of this space for the school logo or motto. Maybe the design on the cover wraps around or use the space to wrap up the theme.
One final thought, your cover sets the tone for the yearbook. It speaks for the rest of the book and should give your reader insight as to what the pages have in store for them.
Having worked at Friesens since the beginning of the desktop publishing era, I have seen many changes develop. An area that has always fascinated me is the variety of software packages that I have had the opportunity to work with.
PageMaker 4 was my first exposure to desktop publishing software. Then came the drawing program turf wars between Aldus Freehand and Adobe Illustrator. I still enjoy a discussion on the rise and fall of titans in the industry as I think back to the sheer dominance of QuarkXPress version 4 and how Adobe was able to wrestle away the bulk of the market share with a new player in this space in the form of InDesign. Today, having the luxury of looking back through history, I do not think it was the feature set of InDesign that brought about the migration away from QuarkXPress. Rather, it was the licensing and pricing model of the Creative Suite that was the driving factor. The perfect combination of Photoshop, Illustrator, and InDesign at an irresistible price point proved to be too much to maintain the dominance of QuarkXPress. Since Adobe has moved to the subscription model, I now see Adobe in much the same light as Quark when InDesign first came to market. To shake up the market today, a new program would need to compete in the combined photo, illustration, and page layout space at an exceptional price point. I believe a new player has emerged with a great suite of tools that uses a purchase pricing model rather than the subscription model that has become so pervasive today. The Affinity Suite, which includes Affinity Designer, Affinity Photo, and Affinity Publisher, is uniquely positioned to change the desktop publishing landscape.
Serif released Affinity Designer in October of 2014. Here are features of Affinity Designer that I think are necessary to be considered as a contender in the illustration space. For illustration, the basic toolset begins with drawing and shape tools. As with other programs, Designer includes a pencil tool for freehand drawing. Along with the pencil tool, the Designer includes a selection of basic shapes to get started. Rectangles, ovals, boxes with rounded corners, along with more complicated shapes like starbursts, pies, polygons, and even donuts. These shapes can all be combined in unique ways using the various Geometry tools. These tools allow for shapes to be combined to make more complicated shapes. Use the Subtract tool to minus one shape from another, or to cut holes in or slice off portions of an object to create a new shape.
With a little experimentation, while drawing shapes, it was easy to see that the drawing experience had been well thought out. Holding the command key immediately sets the orientation of the object to the centre. Holding the shift constrained the proportions. This makes it simple to create a rectangle or constrain for a square. Using the control key, the shape was rotated 45 degrees. Using these keys in combination, the object can be centred, constrained, and rotated seamlessly, all while drawing the object. Precise measurements are also an important element when creating objects. It is great to freehand objects, but often precision is needed to make sure objects are the same size. I found the Transform panel to be useful for this. X and Y coordinates can be entered for exact locations. The width and height can also be specified, along with rotation and skew values. I was pleasantly surprised that the fields accepted basic math such as /2 to divide the width in half, or using the plus, minus, and multiply operators as an effective way to control the shape of the object.
Any vector illustration program will also come with a robust set of bézier tools for precision drawing of shapes. Designer does include a pen tool. The pen tool feels quite intuitive to use compared with other vector illustration programs. After drawing a point with the pen tool, it is very simple to use the handles to modify the curve of the line. Using modifier keys, the points can easily be transformed from curves to sharp corners, or a straight line extending into a curve.
There are many options for controlling strokes, including selecting the weight and colour of the line. There are more precise controls, such as determining the cap, join, and align settings. The lines can even be set to scale with the object so that the strokes change line weight as the artwork size is enlarged or reduced. Strokes would not be complete without the option to create arrowheads. Once paths have been created, text can be made to follow the path. It is a simple process to slide text along the path for precise positioning. The path can also be altered after it has text flowing along with it.
Transparency has also become a standard for any modern drawing or design program. Affinity Designer sports a healthy set of options here, providing special effects like Outer Shadow, Inner Glow, and Bevel/Emboss with precision opacity and radius controls. Each object is automatically created as an individual layer. Object layers can be organized in groups. Transparency effects can then be applied to individual layers or grouped layers. There is even a dedicated transparency tool for applying advanced transparency blends. There is a Guides Manager to assist with document construction. This tool allows for precise placement of multiple guides in both a horizontal and vertical configuration. The use of guides, along with object snapping, is really helpful when creating precise shapes or sizes. Affinity also has support for multiple colour models. These include options for RGB, CMYK, LAB and Grayscale. There is also support for the various PANTONE colours for spot colour selection. Another feature that I really appreciate is the History panel. History is presented as a slider, so you can easily scrub backward to perform multiple undo, or slide forward to redo the previous undo. The history can even be saved with the document so that undos can be performed on a previously saved drawing. Some tools that are not present in the current version and leave room for further development include some type of blending tool. Blending tools allow the selection of two objects, creating a series of steps to form the intermediate objects that will morph one shape into the other. This is useful for unique gradients and also for creating a series of transforming objects. One tool that I thought might be available but I was unable to find was the ability to select the same stroke weight or same-fill colour.
Renewed competition in the desktop publishing space is sure to raise the bar for all applications and improve the book design tools we use on a daily basis.