VIEWS: 104 PAGES: 6 CATEGORY: Business POSTED ON: 11/19/2010
Quarkxpress Free Newsletter Template document sample
Quarkxpress Free Newsletter Template document sample
. l I M P R OV E YO U R C OV E R l DIGITAL PHOTOGRAPHY SPECS lF R E E QU A R K 6 X T S lS P R I N G A U R A S M A S T E R C L A S S E S dıence ISSUE 4 O WINTER 2005 O W W W. A U R A S . C O M AURAS Keeps Growing — In Lots of Different Ways Cover Charge othing defines the personality of a publication like the cover, SOMETIMES THERE ARE MORE IMPORTANT THINGS which explains why there is so much angst about what goes onto it THAN DESIGN Giving priority to a life-event as signiﬁcant as each month. “Cover gurus” explore the nuances of cover lines and their the birth of one’s ﬁrst child is important at AURAS. Recently, effect on newsstand sales—trying to deﬁne what cover elements are two of our staff took the begin- ning of that long roller coaster responsible for their monthly variations. Put a dozen of ’em in a room ride called parenthood. Now we are just as proud as the and you’ll probably come up with twelve different “expert” opinions on how your parents to add to our extended family by welcoming respec- covers could be improved. Maybe it’s time to take a more sensible approach. tively Marco Alemán—son of Maureen Gregory and All magazine covers have three inter- of Real Simple are just that. Men’s Rick Alemán—and Maxwell locked priorities: 1) to communicate Health has created a distinctive look Roberts—son of Jeff Roberts the personality or tone of the maga- with monochromatic models on a and Amanda Cameron. While it zine’s content; 2) to provide unique white background. Imagine O without wasn’t nearly as exciting watch- branding for the product, and 3) to Oprah on the cover. ing Jeff come closer and closer clearly categorize the publication’s Many designers have the misguided to the due date as Maureen, we archetype and promote its mission. impression that a cover ought to be a still take our parenting seriously It goes without saying that the cover special opportunity for Art Directors at AURAS. Maternity and pater- should promote the content inside, to really show their chops; a platform nity leave up to three months but it’s not so much what it communi- for creative visual metaphors and are part of our philosophy as cates as how it does it. striking imagery. Referring to the well as liberal leave to take care Magazines are built on theme and work of George Lois at Esquire in of the kids, no matter how old variation, and covers are no exception. the ’60s, Milton Glaser at New York they are. Family Your cover needs to look like your Magazine in the ’70s, or more recently, comes ﬁrst. cover; creating a sophisticated tem- the covers of Texas Monthly in the plate is the theme that allows endless ’90s under the direction of DJ Stout, creative variation. designers often lament the sorry state of current magazine covers. Build a Template... This not-undeserved criticism There are some givens—most maga- misses the point—not all magazines zines have nameplates, cover lines, need, or even ﬁnd appropriate, Maureen images, periodical info; others add those kind of high-concept editorial & Marco taglines, inset secondary images, cover treatments—and even fewer content ﬂags and banners and have magazines have the budget to really Jeff & Max dedicated ornamentation. The best execute them with style. So if the cover designs use these chosen ele- editorial decision is made to go in that ments deliberately and consistently to direction, the appropriate budget and We are going to have another enhance the branding and the mission talent needs to be available to pull off kind of addition in a few of the publication. professional-caliber covers. Nothing is months. Construction is sched- Consider the red border of Time so obvious to readers as overreaching uled to begin soon on a new or the yellow border of National on your cover. plaza in front of the AURAS Geographic—a simple ornament so BUILDING. It’s a little “pocket visually powerful it serves as the logo ...and Covers Are park” created in conjunction of the organization. Easier and Better with Montgomery County A sustainable cover template is more Another less-obvious beneﬁt of that will feature a commis- than just graphics, it should include perfecting your cover template is the sioned sculpture and add a a viable editorial direction—one you easing of angst that often accompa- strong artisitic ﬂair to the can actually produce—that creates a nies the creative process each issue. front of our studio. Watch distictive combination of image and Eliminating the need to reinvent the this space for pictures. a typography for your title. The covers CONTINUES ON BACK l THE NE W MAG AZ INE FO R JEWI SH TEENS w w w. J V ENDnotes ibe.co m What’s New on auras.com: QUARKXPRESS 6 FREE Advice Fr FEBRU om An ARY/M EX-Misﬁt ARCH 2 005 • VOL.1, NO.2 XTENSIONS. We’ve scoured How “S the web to ﬁnd useful urvivor Ethan Z Winner ” IS JUDA AISM A Used Jew ohn XTensions to add to your CLIQUE? is h Leave A Values to fr a Millio ica With n Bucks new Quark 6.5. Like the ones for the earlier versions, these SHOW T ! XTensions give you valu- ’RentsD H HE O L NEW TR able capability that’s not ICKS part of Quark out-of-the-box. The Cost of Considering the mess that March MADNESS Quark’s made of their “big- deal” QuarkVistas and PSD Import, it’s nice to have some XTensions that really do work, even if they only are one-trick ponies. PHOTOGRAPHER GUIDELINES 1.0 This pdf document explains the PLUS l A basics of digital photography Stranger in France l Meet MC Se speciﬁcally as it relates to rch l QUIZ: How Outgoing A taking photographs for print re You? reproduction. Useful charts l “COVER CHARGE” FROM FRONT show how much resolution is needed and why white cover “wheel” every time a new cover magazine is for. While cleverness is an asset, balance is important, and concept comes due lets you focus subtlety isn’t real helpful. AURAS produced the real story behind JPEG a short-lived men’s magazine a few years ago on ﬁnding a better variation to your compression, color space and called ADAM; it had a neat tagline: “For the theme—and ultimately produces a Original Man.” On the other hand, another RAW ﬁles. cover that extends your publication’s magazine for the Jewish market called Moment personality, branding and mission. had a tagline “The Jewish Magazine for the TWO NEW FONTS More ’90s.” We used to joke that it described the than 2,000 people have Deconstructing a age of the average reader. When redesigned, downloaded our exclusive Cover Template Moment changed its tagline to “A Conversation fonts. Check out two new on Jewish Culture, Politics and Religion.” THE ARCHETYPE J-Vibe probably won’t fonts for your pleasure: be on a newsstand near you anytime soon, COVER LINES Emphasizing buzzwords and AuRoyale and AuGold. but that doesn’t mean it shouldn’t follow the creating a lively interplay between font size, teen-magazine archetype. Splashy blurbs, face and color is the strategy behind the celebrity portraits, bright colors and trendy cover blurbs. The fonts randomly transition Questions, among the three families that are central to typography are all part of the mix that the interior type, but items remain visually Comments, readers associate with publications in this connected through color. Blurbs are grouped Criticisms? category. Following the archetype provides direction for the cover design, and just like newsstand-style up left on the page, despite Do you have a question about any other branding project, the success of the fact that the title isn’t actually sold on design and production you’d the cover depends on how well it hews to newsstands—it just has to look as if it is. like answered in AuDience? the tropes of the genre while still establish- COVER CAPTION Distinguishing the cover Next issue is “Big Questions— ing its own visual vocabulary. caption from the other cutlines makes possi- Better Pubs.” Send your Qs or THEME Like many teen publications, ble a different tone and a chance to promote Cs to firstname.lastname@example.org. celebrity images or teen models are standard more broadly the magazine’s mission. fodder. Availability of high quality promo- INSET IMAGE Adding an inset provides a tional photography from actors, musicians visual opportunity to expose an important If you liked this, and other fashionistas make them excellent choices for JVibe’s limited art budget. story. In this case, the basketball story was check out www. chosen for an inset to add something of interest to guys. The inset on this template auras.com for NAMEPLATE Funky and deliberately can ﬂoat in the cover blurbs, but other cover back issues. chunky, the JVibe nameplate distances itself from VIBE magazine and emphasizes templates work better when the inset has a AuDience is AURAS’s quar- the J (for Jewish) to promote the mission. ﬁxed position on the cover. terly newsletter full of ideas, Magazine nameplates don’t always have to SECONDARY LINES Secondary lines can opinions and inspiration for be the equivalent of logotypes, but even the promote departments or regular features improving your publication. simplest usage should have a visual distinc- that build reader loyalty or promote story Back issues of AuDience are tiveness that raises the nameplate above a types as well as speciﬁc content. These short downloadable from our web- simple typographic sample. lines are a “second effort” at getting readers site, along with free fonts, TAG LINE Maybe “The New Magazine for into the magazine. a workforms, design and produc- Jewish Teens” lacks a little, uh, pizzazz. But tion presentations and session at least it tells a potential reader whom the notes. If you want to keep getting AuDience, or make a comment or suggestion, email email@example.com! a A U R A S D E S I G N CREATES AURAS AND PRODUCES magazines, DESIGN 8435 GEORGIA AVENUE marketing materials, and corporate identity programs. We believe great SILVER SPRING, MD 20910 design depends on both close client interaction and a mastery of production tools. We are just as proud of the way we work as of what we make. StudioTalk How to Avoid a GI-GOplex Your Photographers Need Guidelines to Shoot Better Digital Pictures digital photography has begun ting with the least compression when over or under-shooting the graph to elbow out ﬁlm-based imaging even saving JPEG ﬁles. Sure, they take up will create an image that can be most in higher-end publications. Just as we more space, but memory cards are effectively corrected. bid adieu to our imagesetter a year ago, now so inexpensive that recording it won’t be long before our expensive space should be the last concern. ❏ Use a color calibration ﬁlm scanners are gathering dust. The card in the test image for current generation of pro cameras can ❏ Use the RAW setting if each set up as a reference easily capture enough resolution for it is an available option. for later color correction double-page images. Even consumer Some cameras—especially higher-end Inexpensive color cards, like these cameras can produce satisfactory models—have the ability to save from Kodak, placed in a few frames images for smaller size use. the raw data right from the sensor. are invaluable when color-correcting The simplest of these cameras This data has a higher bit-depth and images in prepress. has extensive control over how the avoids the pitfalls of lossy com- picture is recorded. If the camera pression and processing artifacts, isn’t set up for capturing images and gives the production artist suitable for print reproduction, the the best images to manipulate. maxim “garbage in-garbage out” really applies. It’s easy to misconﬁgure the ❏ Use auto white balance camera, and images saved with the on consumer cameras. wrong settings, are difﬁcult, if not Digital camera sensors need to impossible, to ﬁx. be calibrated to show correct Here is a quick guide for optimiz- color using white balance. It’s ing camera settings to produce the all very technical, but there are only best print images. two things to know: auto white bal- ❏ Set ISO settings for ance usually works better than other automatic or between 50-200 Digital Photography scene-speciﬁc settings, and the white Raising the ISO setting may seem to Checklist balance is corrected by processing make the camera more sensitive, but in-camera the sensor’s data—so if you it’s similar to turning up the gain on ❏ Use the highest are using the RAW setting it’s usually a microphone—you get louder sound resolution setting. not important (see below.) but also lots more noise. This seems like a no-brainer, but many casual users don’t realize what ❏ Set white balance manually ❏ Use minimal processing their setting is, or why it matters. for set-ups and studio shots. settings in the camera menus. Here’s a quick rule of thumb: You At a more professional level, white You may like the way pictures look need at least 5 megapixels to come balance can be adjusted manually when adding saturation, sharpness even close to having enough data for using a white card and the camera’s and contrast in the camera, but these a full-page image. manual white balance controls. This is are tweaks best left to production the most accurate way to correct the technicians using your images. The ❏ Use highest-quality JPEG color, but it rates high in PITA factor. less the data is manipulated by the setting on consumer cameras. The newest pro cameras adjust white simple camera ﬁrmware, the more While many users get the idea of balance before it becomes digitized, so natural the image will look when resolution, some don’t realize that adjusting for the best color captures ﬁnally corrected by far more sophisti- saving data as JPEGs can have a del- the most data even in RAW format. cated controls available in a powerful eterious effect on images depending image-manipulation program on a on the amount of lossy compression. ❏ Bracket photos one stop computer workstation. Camera manufacturers do a poor job above and below meter setting. of explaining this, using settings Most cameras can be set to automati- ❏ Don’t post-process the like “ﬁne,” “standard” or “basic” to cally ﬁre off three or four bracketed images; deliver the original describe increasingly larger amounts exposures. Capturing a few exposure ﬁles from the camera. of compression. High-compression variations insures that you have not It isn’t beneﬁcial to try to “ﬁx” images JPEG artifacts are more destructive lost data in shadows or blown it out yourself, or (aak!) convert the native than low resolution, so use the set- of the highlights. And, with digital RGB to CMYK. The unaltered images data, if it’s not there, it’s not there. from your camera are always preferred. ❏ Shoot an ideal AURAS has produced a detailed histogram exposure. explanation of the way digital Some of the “pro-sumer” cameras cameras work and why carefully will display a histogram—a chart setting up the camera is critical for of the data captured by the sensor. best results. You can download our Regardless of what the exposure Digital Camera Guidelines 1.0 from looks like in the viewﬁnder (a notori- our web site, and use them to help ously inaccurate gauge anyway) or your photographers understand Lossy leader. These enlarged images show how an uncompressed TIFF ﬁle (left) what the metering measures, making what kind of pictures will—at holds up better than a highly-compressed an exposure that captures the widest least technically—make the best JPEG (right) at the same resolution. amount of histogram width without printed images. a AURASworks COVER STORY We’ve chosen some favorites from magazines we have produced to show how visual consistency and a clear editorial direction make interesting covers that exude brand identity and establish the personality of the publication. None of these magazines has a large art budget, but creativity and a tight template make it possible to produce compelling product. MOMENT After a redesign aimed at lowering the readership age, we opted for edgy, provocative covers that would cause controversy and rufﬂe some feathers—a perhaps too- successful approach. The high-concept covers were expensive to produce and difﬁcult to greenlight, causing no ROUNDTABLE A simple idea end of tsuris. Later, when we switched works here—technical stuff is more to newsy, journalistic covers, readers accessible if you use humor. These thought we’d gone dull. covers deal with thorny technology issues for small telephone compa- nies; they’re made more accessible by funny metaphors. FOOD MANAGEMENT B-to-B pubs usually don’t have a lot of money to lavish on covers, so, staying true to the magazine’s mission, FM covers rotated among expensive high-concept metaphors, less expensive location portraits and free promotional food shots. l REINVIGORATE YOUR PUBLICATION lENERGIZE STAFF l G E T A F R E E C R I T I Q U E l S U P E R C H A R G E WO R K F L OW AURAS Ma◊er ster Regi nd a Early ve Classes o n M agaz i n e i Rece E C r e at i v i t y, D e s i g n a FRE ion icat Publ que & Production Criti Your publication will beneﬁt from Master Classes if you want to: AURAS Ma◊er l Produce a livelier, more engaging magazine Classes Give l Increase reader loyalty and satisfaction Maximum Value l Save money on production Busy magazine pros have a hard l Have a happier, more productive staff time ﬁnding the time or money to take professional enrichment Two-Day Intensive Workshop sessions. AURAS Master Classes are designed to be convenient to attend l Four classes/two days: June 9 & 10, 2005 and a clearly justiﬁable investment: l In Washington, DC, the Nation’s Capital COMPLETE TRANSFERABILITY & FLEXIBILITY. Full-session attendees can share their registration, so the most appropriate person can attend ‘‘Clear, engaginghow to solve them...Good life problems and presentations of real- each class. (See the reverse for a examples of before-and-after. I really enjoyed full description of the classes) the sessions, and got a lot out of them. Excellent ’’ MULTIPLE DISCOUNTS FOR STAFF ATTENDANCE. Additional registra- from both a design and production standpoint. tions from the same company are — R I C H A R D Z O E H R E R , C R E AT I V E D I R E C TO R , P R I M E D I A BU S I N E S S M AG A Z I N E S & M E D I A discounted a generous 40 percent. LIMITED SIZE FOR UNLIMITED ACCESS. Only 40 registrants will be accepted (ﬁrst come, ﬁrst served!) Do You Know. . . Each class also includes a catered lunch, as well as plenty of time for l What’s the WEAKEST PART If you don’t know the answers of your publication—and to these questions—or worse— questions and conversation. didn’t even know to ask them, how you can improve it? SIX MONTHS OF “TECH SUPPORT.” AURAS Master Classes could The entire staff of AURAS will be l What are the FOUR be the best investment your available to help with your design DIMENSIONS of design? publication has ever made. and production issues. Seasoned publishers, editors and A FREE CRITIQUE. Register for a l How ARCHETYPES can give designers who work in associations, your pub more credibility? full session by April 15th and corporate communications, or you’ll save money AND be eli- l Why “TENT POLES” make small publication companies gible for a great opportunity: A your title more interesting? can beneﬁt from sessions with magazine critique from AURAS. Robert Sugar, whose company— Over 50 publications have received l How you can SAVE AURAS Design—has designed critiques from auras in the last THOUSANDS without over 70 publications of all types three years. Those critiques, nor- compromising quality? over the past two decades. mally incurring a $2K fee, cover Rob has taught thousands every aspect of the publication’s l What you should DEMAND of publication professionals design and even answers speciﬁc from any ﬁrm doing a at conferences such as Folio: questions posed by staff. Early reg- REDESIGN? Show. His unique perspective on istrants will get similar treatment— magazine design and production plus a face-to-face “debrieﬁng” l How you can INCREASE was developed through the on- during the session dates. Go to your publication’s “Q”? going design and production of www.auras.com/masterclass for full details. l What your readership hundreds of magazine issues. REALLY WANTS? AURAS Master Classes have For more information been expanded with longer or to register, go to l How come it’s so dang sessions, more interactivity, www.auras.com hard getting every issue and free critiques for early OUT THE DOOR? registrants. SIGN UP TODAY! ABOUT Rob Sugar Four Insightful Classes CLASS ONE CLASS TWO CLASS THREE CLASS FOUR Robert Sugar conducts the Master Classes. As princi- Magazine The Ten-Step Essential Trade and pal and creative director of Design: What Magazine Production Association AURAS, Rob has designed or redesigned over 70 titles Works & Why Self-Critique Techniques Publications in nearly twenty years. From MD:WW&W is only Evaluating your own Discover design and B-to-B and Association its building in downtown available here this year. publication can be an production tips and titles have their own Silver Spring, Md., his studio currently provides on-going It has excited thousands impossible task. Day-to- tricks learned through unique editorial and design and production sup- of industry profession- day production and get- 14 years of digital design issues. Producing port for a dozen publica- als for more than a ting the latest issue out design at AURAS. a quality publication in tions, as well as producing decade at conferences the door get in the way QuarkXPress, Microsoft an environment of con- corporate identity, market- such as Folio:Show. of “big picture” thinking Word and Adobe trolled expenditures and ing and collateral materials Not just for designers, for you and your staff. Photoshop have been competing with titles for a variety of businesses. but an excellent way for This class provides the defacto industry-standards produced by larger pub- Rob taught Publication everyone who works on resources and process to for every magazine pub- lishers present formidable Design at The American a magazine to see how conduct a critique that lisher. Learn how to use challenges to these niche University for nine years, design and editorial work analyzes every major these programs to maxi- magazines. and is a sought-after speaker together. This class can aspect of your title, from mize the productivity and for corporate and industry help your entire staff design to editorial con- creativity of your staff, Explore techniques that audiences at conferences “get on the same page.” tent to production values. and what new choices— make your magazine a around the country. A pio- like Adobe InDesign— stronger asset for your neer in Digital Workﬂow, MD:WW&W presents During the class, we will organization and an Rob was a founding member could mean for you. new fundamentals of go through a sample information vehicle that of the International Design magazine design that critique demonstrating This class will explore becomes a necessity for by Electronics Association (IDEA) in the early ’90s—one lead to sophisticated the evaluation criteria workﬂow techniques your readership. Review of the ﬁrst designer-origi- techniques for improving and the focus of each to maximize efﬁciency, redesigns of these types nated associations work- the look, content, and step. Following a break, maintain quality and of titles and the philoso- ing to improve process and process of your maga- we will conduct short consistency, and improve phies behind their edito- product in the emerging zine. Review dozens of exercises using your own the creativity of editors, rial structure and design desktop publishing industry. examples of redesign, and publications to prepare designers and production priorities. AURAS started using an put everything together for a fuller, in-house cri- artists. We might even Your publication will all-digital workﬂow in during a group wrap-up tique that you will then ﬁnd ways to eliminate beneﬁt from these areas: 1992. Beyond excellent where your own publi- be qualiﬁed to conduct your worst production design, AURAS became cation problems can be yourself. bottlenecks and cut costs! l Design counts: easy ways to make your publication one of the few design evaluated and discussed. The critique can answer These topics will improve more interesting, your studios to incorporate ﬁlm Examine these critical issues: these questions: your productivity: readership excited output and color separa- and your management tion in-house. Through 15 l The three types of l Is your mission l Create a “Standard happier. years AURAS has become design and why each is statement well-formed Operating Procedure” expert in both design important and reﬂected in your l Quark or InDesign? l Examine the calendar: and digital production. magazine’s content? make the year special l The “basics” of design, l OSX Migration issues why they are often l How effective is your l Ten editorial and design ‘‘ is good at I love this guy! Sugar ignored and why getting them right is crucial for success template? l Is your editorial l Valuable XTensions that increase productivity and creativity strategies for improving your publication calendar improving l Covers, contents pages breaking a large l Mission statements and your publication? l Optimize your Mac for and issue ﬂow: the keys business plans as the greatest productivity and to reader interest. fundamentals for design l Do the navigational reliability subject into bite- elements in your l Celebrate the esoteric for l Use “archetypes” to magazine help readers? l Get the most from maximum beneﬁt size and deﬁnable engage the reader l Do your contents page Acrobat and Distiller l Become the 800-pound pieces. [He] has a l Prioritization and and cover work as hard l Prooﬁng strategies gorilla in your industry navigation ideas help as they should? your reader “get it” l In-house ad trafﬁcking l Politics and value: true understanding l Are your production strategies positioning your l Leverage the competition standards high enough? l Photoshop as the publication as an of the art and editor- l The Four Dimensions l How can you ﬁne-tune ultimate prepress tool essential value-added beneﬁt in your your redesign? ’’ of Design ial relationship. l Improve in-house organization beyond scanning quality l Get the most from covers the bottom line F ROM FOLIO : SHOW and contents EVA LUATION SHEETS R E G I S T R AT I O N P L E A S E F I L L O U T A S E PA R AT E R E G I S T R AT I O N F O R E AC H AT T E N D E E I N F O R M AT I O N A Four-Class Session Pass is Y E S ! I W A N T T O AT T E N D. . . only $1100. Individual Classes FULL SESSION JUNE 9&10 2005: are $350. Each class is four FEE EARLY REGISTRATION S AV E ❏ Four-Class Session Pass 15 % T hours long, including a network- $1,100 $900 BY 4/15/05 OO! ing lunch. A second registrant ❏ Additional Pass from same company $600 $500 BY 4/15/05 Regis te for the entire session from the April 1 r by same company is only $600. INDIVIDUAL CLASSES: 5th Registration is fully transferable. ❏ JUNE 9 Magazine Design: What Works & Why $350 $275 BY 4/15/05 to be E A R LY R E G I S T E R ❏ JUNE 9 The Ten-Step Magazine Self-Critique $350 $275 BY 4/15/05 eligib Paid session registrations by ❏ JUNE 10 Essential Production Techniques $350 $275 BY 4/15/05 for a F le R .critiq EE April 15 are only $900. Save 15% ❏ JUNE 10 Trade and Association Publications $350 $275 BY 4/15/05 over the regular registration fee. Additional registrations are only ue. $500. Individual classes are $275 TOTAL CLASS FEES _______________ by April 15. L O CAT I O N MARYLAND REEGISTRANTS MUST ADD 5% TAX _______________ All classes will be held at the AURAS Conference Facility, TOTAL ENCLOSED (Make check payable to AURAS) _______________ 8435 Georgia Avenue, Silver Spring, Maryland, Second Floor. Convenient lodging is located NAME nearby. Call Ted Bonar at 301- 587-4300 for help arranging a TITLE reservation. FOR MORE INFO C O M PA N Y ON THE WEB: Go to www.auras. com/masterclass for additional ADDRESS information, downloadable study sheets or to sign up online. C I T Y/ S TAT E / Z I P VIA EMAIL: You can always send questions via e-mail to PHONE EMAIL Robsugar@auras.com. Mail paid registrations to: BY PHONE: Call AURAS at 301-587-4300 and ask for Ted AURAS MASTER CLASSES • 8435 Georgia Avenue, Third Floor • Silver Spring, MD 20910 Bonar for help with any or fax registration to 301-587-6836 questions or phone registration.
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