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VOLUME 14 ISSUE 01 EDITOR-IN-CHIEF

Kimberly D. Hanzo

LAYOUT EDITOR Matt Leighton

COPY EDITOR

Ann Akers

DESIGNERS

Nathan Atwood, Evan Modesto, Jeff Por taro, Colleen Tunis

CONTRIBUTING WRITERS

Barb Page, yearbook adviser Aberdeen (WA) HS

Kathy Daly, Herff Jones Special Consultant Mike Simons, yearbook adviser Corning Painted Post West HS, Painted Post, NY

02 06 08

SO MANY CHOICES

2009 books offer a wide range of styles, with diversity in look and concept

Adviser’s Desk

Seeing spreads through different eyes is a great exercise

DESIGN CONCEPTS BY Barb Page A tone that fits sends a strong message that works both visually and verbally

downl oad

DISCO @ YEAVRERIES spreads BOO

TODAY!

KS.BIZ

Resources >Yearboo k Discoveri es > Log in

Brian Cole, George Walton Academy, Monroe, GA; Margie DiCesare, Corona del Sol HS, Tempe, AZ; Cindy Hopkins, Pleasant Valley HS, Chico, CA; Carrie Land, San Dieguito Academy, San Diego, CA; Julie Mancini, Dunnellon (FL) HS; Chad Rummel, Oakton HS, Vienna, VA; Steve Slagle, San Gabriel (CA) HS; Nancy Y. Smith, Lafayette HS, Ballwin, MO; Sandra Strall, Carlson HS, Gibraltar, MI

HJ LOCATIONS

Charlotte, NORTH CAROLINA charlotte@her ffjones.com Gettysburg, PENNSYLVANIA gettysburg@her ffjones.com Kansas City, KANSAS kansascity@her ffjones.com Logan, UTAH logan@her ffjones.com

PAGE

Marceline, MISSOURI marceline@her ffjones.com Montgomer y, AL ABAMA montgomer y@her ffjones.com Winnipeg, CANADA winnipeg@her ffjones.com Herff Jones Yearbook Discoveries Volume 14 Issue 1 was produced electronically using Adobe® InDesign CS4, Adobe Illustrator® CS4 and Adobe Photoshop® CS4. This magazine was created on a iMac Intel Core Duo, 2 GHz with 2 GB of RAM and printed by Herff Jones, Inc., at its Charlotte, NC printing facility. The cover was printed on CCN-1 White Colortext Endsheet stock using four-color process. The magazine pages were printed on 100# Premier stock using four-color process inks. The fonts used in Yearbook Discoveries Volume 14 Issue 1 were AHJ Unitus Condensed Light, AHJ Unitus Condensed Bold and AHJ Baskerville. Herff Jones and the Herff Jones logo are registered trademarks of Herff Jones, Inc. Apple and Macintosh are registered trademarks of Apple Computer, Inc. Adobe and Photoshop are registered trademarks of Adobe Systems, Inc.

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Writer’s Block By Kathy Daly

Start your book off right with powerful theme copy

AWARD WINNERS

Once again, Herff Jones award winners lead the pack

YBK ETC.

Same difference: Summer workshop tales

Calling All Advisers! Yearbook Discoveries is looking for advisers who are eager to share their yearbook experiences with other advisers and staffs. If you have a tip, or a specific area of expertise that you’d like to share with our readers, please send your submission via e-mail to agakers@ herffjones.com. If your piece is selected for publication in Yearbook Discoveries, you will receive a gift card and complimentary copies of the issue in which you’re featured. We look forward to hearing from you!


VALKYRIE, PLEASANT VALLEY HS, Chico, CA This spread delivers layer after layer of coverage with the intent of including as many people as possible in the story of the year. With 23 photos and six copy packages, there are options for all kinds of readers.

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SUMMIT, SMOKY HILL HS, Aurora, CO One way to make the spreads in the concept package distinctive is to create a literal break in the flow of the book. While the content packages feature an array photos and lots of kinds of coverage, the single-photo dividers provide a respite.

www.yearbooks.biz


For many years, there were prescribed guidelines that made yearbooks from around the land look very similar. In those days, there was little variation in coverage from book to book. Not only did the majority of books have the same sections in the same order, they often had the same spread topics year after year. When it came to design, there were lots of rules and restrictions. From the space between elements and the number of photos on a spread to placement of the headline, copy and captions, designers lived in the world of “should” and “must.” Today’s books display much more diversity. In fact, in terms of coverage, concept and design, there are books at both extremes and they run the full gamut in between. It’s obvious that staffs of today believe there’s

more than one way

(and whether or not something furthers the book’s concept plays a huge role in what they do).

CONTINUED

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HAIDA, RIVERSIDE HS Auburn, WA To make the seasonal approach completely clear, a series of full-color icons graced the concept pages. As readers worked through the book, each section showcased a lone colored icon (the others were screened back in gray). In addition, all spreads in each section featured a color bar footer in the hue of the seasonal icon. On the concept pages, that bar was charcoal. CARPE DIEM, NORTH FORSYTH HS, Cumming, GA In another spin on a chronological book, events were simply covered as they happened. Student life, academics, organizations and sports coverage was combined on spreads linked only by time. Each month was allotted several spreads of coverage (sometimes as many as 10 — and a date- and timestamp identified each separate module of coverage.

Guardian , Westfield HS, Chantilly, VA In today’s yearbooks, there is no one standard copy format. In addition to the long-form narrative, weekly timelines, quote bars, first-person profiles and more provide layers of coverage featuring both visual variety and verbal intrigue.

With more staffs striving to include as many students in the book as possible, there’s been a dramatic increase in the photographic and verbal coverage on each spread. It hasn’t been all that long since beginning designers were instructed that 5-7 photos per spread would lead to a successful design. But today’s best books are more likely to showcase 12-15 photos or more. In contrast, some staffs will set the theme/concept pages apart by using fewer photos (sometimes only one) so that when the readers reach the end of any section, there’s an obvious visual break between the layers and layers of coverage on the content pages and the simplicity of the

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dividers which link each new section to the theme. For many years, there was a single main story on most spreads. Then, sidebar stories were added and, in years since, layers of coverage proliferated. Most contemporary books feature three or more layers of verbal coverage, and some will include as many as eight different kinds of coverage. There are other obvious changes in yearbook copy as well. In addition to the long-form narrative stories that have been used for decades, current books feature quizzes, time lines, quote bars and more. Short snippets of copy like those found in

many magazines present the Q & A format, he said/she said, definitions, slang and top 10 lists. It’s no longer true that a “sidebar” is simply another typical yearbook story. In some books, alternative copy formats have replaced the traditional story altogether. And it used to be a given that a good yearbook included five sections, six if the book had ads. Student life typically appeared immediately after the opening since it was event-based and high in reader interest. Some books today aren’t divided into sections; others have as many as 10. In 2009, it was not uncommon for books to use a conceptual strategy other than the traditional sections (student life, academics,

www.yearbooks.biz


HURRICANE, GAINESVILLE (FL) HS The nine-photo cluster on the cover held several conceptual meanings. In addition to the tie to the year, each photo box introduced a color that would reappear on the divider and run through the section. Plus, the photographic hints from the cover gained context (and caption details) as the divider dominants.

ODYSSEY, CHANTILLY (VA) HS You might expect a two-spread opening for a two-section book, but here’s proof that wouldn’t always be necessary. Because the opening copy read out of one word and into the other, a single opener did the trick. The opening was followed by two sections (can and did) containing topical spreads that combined to tell the story of the year. The book concluded with a massive reference section.

sports, organizations and people). Chantilly (VA) HS had just two sections (can & did) in addition to a 216-page reference section. At the other extreme, the nine-photo package on the cover of Gainesville (FL) HS’s 2009 Hurricane tied the book to the year and represented each of the sections in the book. Detail shots from the cover later appeared and were captioned on each divider. Riverside HS in Auburn, WA divided coverage into sections represented by four colors and seasonal icons. Others used more of a time line approach to create chronological books. North Forsyth HS in Cumming, GA used a time-and datestamp on each coverage package to calendar

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events in the order they occurred. The single section of chronological coverage spanned 158 pages. A unifying device is important, and today’s best books present an interesting mix of themes and concepts. In its truest sense, a theme is the verbal phrase that holds a book together. A themed book usually has traditional sections and the titles of each division would likely be theme-related. On the other hand, a concept would often be less literal. It may be an idea or thought that can be used to dictate coverage; the concept might suggest fewer sections or more. It could also be

a graphic look or a voice that holds the book together. In recent years, there seems to have been a morphing of themes and concepts. Some staffs have taken to developing a theme conceptually or working a concept thematically — and both of those can be powerful as well. While there are fewer “musts” than existed in the past, the guidelines have not really changed. Whether a staff uses a theme or concept, the goal is to unify the book. A clear strategy for coverage will divide content into logical units. And design is all about arranging the content on the page so that it’s easy for the readers to consume.

Y e a r b o o k DISCOVERIES

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nexus, inland lakes hs Indian River, MI

from different folks Design is personal; depending on your background and your taste, you may have completely different opinions about a piece than your peers. That’s true when it comes to assessing art of all kinds: paintings, sculptures, music, interior or publication design. So it’s interesting to hear what long-time, award-winning advisers have to say when they view the same spreads. You’ll also find this diversity in opinions when you critique spreads during class or staff meetings. It’s helpful to consider the many views your readers might have as you prepare to finalize design decisions.

It’s all in the details. They did a great job of leading the reader around the page. I love the way the angled eyeline in the photo package leads right to the headline. And the implied motion of the dominant photo does the same thing. It was so smart to bring the caption toward the top of the dominant photo so they could use the line as another device guiding the reader to the headline. The number of people they’ve covered on this spread is phenomenal. I like the way they justified the captions to the inside, realizing that they could get greater impact by having the two at the bottom flush to the seam where the photos meet. Most impressive! Brian Cole, adviser, George Walton Academy, Monroe, GA

I love the energy of the spread. It is vibrant and modern. The graphics are strong but subtle; they don’t overpower the spread. I like the angle of the story, but I would have like to have heard from a few more people in the copy. I really like the unique crop on the mugs in the sidebars. I do wonder if there is one too many “Digs” big and bolded on the spread. I think three would have been just right. As a photo teacher, I want more photos. That’s just me. I love photos... but I think most readers do, too. Cindy Hopkins, adviser, Pleasant Valley High School, Chico, CA

This spread has great lines and great use of color. The color comes straight from the images, but it is not overpowering. The yearbook staff really went far beyond your typical “volleyball page.” There are two other stories on the page that use the “dig” topic from the headline, and then there are numerous quotes from students about “what they dig.” Good thinking! As a yearbook adviser who likes to make sure I can pay the bill at the end of the year, coverage that sells books is important to me. Those 15 extra quotes gave 15 more students a voice in the book. If I had to change anything, I’d try and add a few more photos. The “urban splatter” design is currently a huge trend. It is easy to overdo it. I think this spread’s decoration does not distract the reader from the content, but does a good job at providing an entry point for the reader and leading the reader through the content. Anyone wishing to use this type of design should make sure to do the same. Julie Mancini, adviser, Dunnellon High School, Dunnellon, FL

www.yearbooks.biz


ADVISER’SDESK

westwind, west henderson hs Hendersonville, NC

rampages, Casa Roble hs Orangevale, CA

Lots of things about this layout really work. The photos are cropped well; they’ve cropped out the extraneous field that was likely in some of the original images. All lower case display type provides a contemporary look and the echoed spot colors create a unified look. The main copy block is isolated wisely and there’s a good balance of white space both internally and surrounding the spread. There’s a great hierarchy sizewise in the headlines on the supporting copy, but repeating the serif type, the “woven” placement and the black/blue styles would have made the visual tie an even stronger echo of the main headline. Margie DiCesare, adviser, Corona Del Sol High School, Tempe, AZ

Clean typography. Nice contrast in the two versions of the font, yet they still flow together. Good use of pick-up color. Good, strong dominant — and the dominant photo also has nice repetition of elements, which is very eye-catching. Love the alternative copy treatment, rather than the traditional copy format. There’s a great visual/verbal (mind “blowing”), but the design is text-heavy on the left side of the spread. Maybe switch the secondary package to right side? And some of the photos are cropped so tight that I can’t really tell what’s going on; while lots of empty space is not desirable, context for the story is important. Chad Rummel, adviser, Oakton High School, Vienna, VA

There are so many things I really like about this spread. I think it’s beautiful. I like the blue vertical color bar behind the main story, and the obvious echo of the colors from the soccer uniform. I love the use of white space and the generous external margins. The layout doesn’t feel cramped. I really like the font used in the headline and the headline treatment itself. I also like that they tell the reader where to find the scoreboard and group photo. The blue vertical line that’s between the photo and the caption works for me. I like how they separate the captions with all caps kickers. Very nice. You just have to be careful that the reader can tell which caption goes with which photo, so that they read them in the right order. This isn’t a problem if there’s a lot of variation from photo to photo, but in some spreads it might be confusing if the photos are pretty similar in content. Carrie Land, adviser, San Dieguito Academy, San Diego, CA

This is a very clean spread with plenty of information for the reader. I especially like that the effect of the black bar with reversed type was repeated in three places (three-peats rock!) and the use of the golden color pulled from the dominant pic. The three levels of white space contribute even more to the sophistication of the design. I love the use of the cutouts at the top but wish some people could have been included. I also really like the secondary coverage at the bottom of the spread. I think a quiz is another great way to involve the readers. Nancy Y. Smith, adviser, Lafayette High School, Wildwood, MO

I like the balance of this spread. The photo package overlapped on the screen is a neat effect that gives the page some (but not too much) color. The designers obviously worked with type alignment on the headline and all type packages. Taking the extra time to create powerful interactions between ascenders and descenders paid off. Effective use of rails isolating the layers of coverage makes it easy for the readers to navigate the page. I might challenge the photographers to include a different number of players in some photos (which is hard when you’re also suggesting that they shoot as close as possible). Steve Slagle, adviser, San Gabriel High School, San Gabriel, CA

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This design is tight; there’s an obvious control of internal spacing so it’s clear how the designers want the readers to consume the information they’ve provided. I love that all of the action photos are of people doing different things. Variety is good, and the varied formats used for copy take this to the next level. So much impact when there’s that visual/verbal link between the dominant and the headline. The descender in the main head makes the secondary harder to read, but using the colored text helps some with readability. Sandra Strall, adviser, Carlson High School, Gibraltar, MI

Y e a r b o o k D IS C OVERIES

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Pi 1

12

Pica

the

L

Shape

Im 9

Imag es

TyLine Typograph Cr L y 83

26

of tone

83

7

by BARB PAGE

Color

Line

The Clan, McLean HS McLean, VA

Why does a publication look and feel the way it does? Why is a

magazine about classical music visually different from one that is about hip-hop? How does an advertisement for an insurance company convey stability and reserve while one for a sporting goods store communicates energy and fun? The answer is simple. The content of each is distinct, so the voice must be different as well. In order for a publication to have a consistent voice, writers and designers do much more than simply assemble, order or even edit. They convey value and meaning through a visual/verbal package that ties the theme of a yearbook together from the beginning to the end. The voice of the writers comes through in vocabulary, but also from the tone and tempo of the copy written. While long, flowing sentences would be appropriate for some concepts, others call for a more conversational approach. Some ideas can best be conveyed through staccato statements delivered in rapid progression. Visually, through the use of images, layout composition, negative space, colors, shapes, typography and words themselves, designers can collaboratively convey an intended message. Take, for instance, the concept of chaos. As designers we’re taught that too many typefaces on a page can lead to visual chaos (true enough). But what if we want to create a message that is visually chaotic? All of a sudden, mixing typefaces seems like a viable solution. In addition to the visual elements, the coverage further reinforces a book’s voice. At Aberdeen, we are bouncing around the idea of “change” for our theme. Our bell schedule has changed, enrollment has changed and graduation requirements have changed — even family life around the harbor has changed due to the closure of our industries’ largest employer. In that sense, the conceptual idea and coverage will be the driving force behind the design. As you start planning your theme, strive for thematic agreement between what your readers see and what they read, yet keep it lively enough to continually engage them. This will help to ensure your book has a single clear, yet interesting voice.

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MCLEAN HS There’s such a strong verbal/visual link here. Themed ‘To the point,” the 2009 Clan featured clean graphics and type with leading lines and literal points. From blackgrounds on dividers clear through the book, the consistent tone allowed for a distinctive look in each section.

www.yearbooks.biz


m

DESIGNCONCEPTS Titanian, San Marino HS San Marino, CA

Fm Sp 26

4

Form

Space

SAN MARINO HS While the dividers do a great job of screaming the visual theme, it’s clear that the concept graphics could quickly become overwhelming. The staff did a great job of using the distinctive brushes subtly on content pages to create unity without going overboard.

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09


getting it

by Mike simons

Yearbook photographers don’t often hear, “Lights! Camera! Action!,” but the old Hollywood catchphrase still holds true in this era of megapixels and memory cards. To improve composition and develop skills, consider starting where those Hollywood directors did — with light. Light’s quality varies. Harsh, bright light creates strong shadows and highlights and typically comes from one direction. A more diffuse, “soft” light balances the extremes, wrapping the subject more evenly. Overcast conditions produce cooler, blue light, while sunlight produces warmer tones. To practice, experiment photographing a subject at various points during the day with a consistent subject-camera arrangement. Note the harsh directionality of mid-day light with the sun directly overhead, and the beautiful, warm hues of the “Golden Hour,” the last hour of sunlight before sundown, which lends itself to beautiful portraiture opportunities. Also, use of a camera’s white balance settings can help you overcome, emphasize or complement the tone or ‘temperature’ of the light in which you’re working. With light’s quality in mind, consider its position in your composition.

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Typically, a photographer is in one of three main arrangements: front lighting, side lighting or backlighting. In a front-lit situation, the light source is behind the camera, and the photographer works in a lower contrast, near shadowless area where the light often appears flat. Side lighting – with the light to the left or right of the camera – produces more definition and shadow with greater overall contrast, adding drama and depth to an image’s composition. Finally, back-lit situations arise when the light source is directly in front of the camera. This often puts the subject in low light or silhouette, and can lead to incorrect exposure. However, with even a little practice and knowledge of their camera, a staff photographer can use backlighting to great creative impact. www.yearbooks.biz


PHOTOCORNER CLOCKWISE FROM TOP LEFT: AMBIENT LIGHTING – Shot from the press box using the stadium lighting, this shot of the marching band includes lots of real estate and some interesting shadows. Because of the color cast of stadium lighting, it would be important to watch the white balance to ensure realistic color. Photo by Mike Simons, Corning Painted Post West HS, Painted Post, NY. OVERHEAD LIGHTING – Snapped just before the curtain closed on Act One of the musical, silhouttes this striking image of the two leads in an overhead spotlight. Image shot with a Nikon D50, f/2.8, 200mm, 1/160 sec. exposure, ISO unknown. Photo by Ryan Miller, Corning Painted Post West HS, Painted Post, NY. OVERHEAD LIGHTING – This photograph makes quite a splash with its strong overhead lighting! The bright sunlight might force the photographer to underexpose the image to preserve details in highlight areas; it also enables a fast shutter speed that freezes the water just before impact. Photo by Lauren Staggers, Hoover HS, North Canton, OH. SIDE LIGHTING – Shadows and drama make this lacrosse shot more interesting. Photo by Brandon Courtright, Corning Painted Post West HS, Painted Post, NY. BACK LIGHTING – The photographer metered for the subject’s face, and the high sun provided a beautiful rim lighting accent on her hair, left shoulder and legs. Photo by Victoria Dunbar, Brooke Point HS, Stafford, VA. FRONT LIGHTING – The school’s majorettes twirled fire batons at the fall pep rally. This ½ second, handheld shot (f/2.8, 70mm, ISO 800) used a hot-shoe flash to freeze the image of the twirler with a front-curtain sync while the remainder of the exposure captured the path of her baton. Photo by Mike Simons.

Photographers wanting to explore lighting and other more advanced photographic topics can find a wealth of information, examples and tutorials online. Here are a few sites and blogs to bookmark for your staff or follow via RSS feeds: www.strobist.com — The Strobist, aka David Hobby, writes a blog for photographers using hotshoe strobes like Canon’s 580EX and Nikon’s SB600 and 800. Excellent solutions, tips and advice for photographers on a budget, including the “Poor Student Lighting Kit.” www.photo.net — A wealth of information with instruction, critique and ‘how-to’ articles, as well as active discussion boards with an incredibly helpful community of imaging hobbyists and professionals.

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www.digital-photography-school.com — A community of digital photographers with online forums, tutorials, tips and tricks for photographers of all skill levels. www.photoshopuser.com — Home of NAPP, the National Association of Photoshop Professionals. NAPP offers a variety of tutorials and resources for post-processing and manipulation of your digital images. To see what in-demand and up and coming photographers are doing with their craft, follow the blogs and sites of: Keaton Andrew (he’s 19!), Joey Lawrence (he’s 20!), Joe McNally, Chase Jarvis and Scott Kelby, among others.

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When you think of theme copy for your 2010 book, think of Twitter. While you certainly do not want to be limited to 140 characters, you do want to keep in mind that specific, clear examples are better than flowery generalities. Seriously, if anyone could substitute another school name into your theme copy and the words would still fit, you have just taken up space. Instead fill that space with examples your students will recognize and relate to. And always keep your audience in mind. Is your theme reflective? Is it edgy? Is it double edged? Whatever your theme is, your copy must reflect its tone. Two schools on opposite sides of the country took dramatically different approaches to their themes by allowing their concepts to drive their theme coverage. At Casa Roble HS in Orangevale, CA, the staff used the theme “our better (is better than your better).” To set the tone for their 14-page opening, their copy began, “In Orangevale there’s an area that spans from Chestnut to Filbert and runs along Oak. In this stretch of 57 acres lies a family 1,824 strong. They have their own customs. Their own fight song.” Specific examples of excellence follow before the copy proclaims that “WE ARE CR And when you hear that…PRAY.” On the other hand, Hayfield HS in Alexandria, VA, developed “sub/urban,” a double-edged theme exploring their identity as a suburban school just outside Washington, D.C. Instead of the traditional sections, they organized their book into three: attitude, places and life. Because this theme was introspective, their opening copy’s tone fit perfectly. The final paragraph of the opening reads, “We are urban — no, we are suburban. Urban is the attitude we carry. The life we think we live. Suburban is the place around us. The life we actually live.” These words incorporated the three divisions subtly and thoughtfully. One last point: Longer copy is not better copy. Write your opening copy. Then cut it in half. Seriously. Then keep tweaking until every specific, every example, every memory is your school’s alone.

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harvester, Hayfield HS Alexandria, VA Just 10 sentences established the double-edged theme of “sub/urban.” The opening copy also subtly references the three non-traditional divisions for the book: attitude, places and life. On each division spread, the copy specifically explores the suburban/urban dichotomy of being a suburban school so near an urban center. Their closing copy continues to reflect this identity search before concluding, “We think the places we go define us, but they don’t. We aren’t urban. We are suburban.”

www.yearbooks.biz


WRITER’SBLOCK

by Kathy Daly

Rampages, Casa Roble HS Orangevale, CA Using under 200 words in their opening copy, the staff was still able to explain six specific examples of “better” achievements by their students. The opening spread also foreshadows the following six spreads that explore their excellence, involvement, artistry, charity, opportunity and home. Division pages are one spread each, with a paragraph of copy that highlights just one word off the list running down each division spread. Even their magazine “6°” brags about Casa’s ties to international superstars and gold medalists (sort of). Finally, their closing copy brings the “better” theme to a close as they proudly proclaim that “Our better…IS ALWAYS BETTER (watch out world!)”

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Each year, yearbook staffs from coast to coast await the announcement of Finalist lists from CPSA’s Crown competition and NSPA’s Pacemaker awards. As in the past, when 2008 books were honored, more Herff Jones customers were on the lists than books printed by any other company. When the Columbia Scholastic Press Association lists were posted in December, 14 Herff Jones schools (32%) were named. A couple of months later, the National Scholastic Press Association/Associated Collegiate Press Pacemaker Finalists were announced, including 27 Herff Jones schools (38%). Most impressive are the figures that include all books on either list. In that compilation Herff Jones tallies 33 volumes which comprises 39% of the list, with the next closest total at just 20. Of the 33, eight books printed by Herff Jones appear on both the Crown and Pacemaker lists. Visit yearbooks.biz for more information about the books shown here.

Herff Jones is proud to work with more

than any other company

acp pacemaker finalists*

nspa pacemakers

selah, liberty university Lynchburg, VA

chieftain, west HS Torrance, CA

Royal Purple, Kansas state university Manhattan, KS

rampages, casa roble HS Orangevale, CA

legenda, wellesley college Wellesley, MA

aerie, Brentwood school Los Angeles, CA

arbutus, indiana university Bloomington, IN

el camino real, san gabriel HS San Gabriel, CA

tower, northwest missouri state university Maryville, MO

the prowl, powell Middle Littleton, CO

* ACP Pacemakers will be announced for the first time on Oct. 31 in Austin, TX at the ACP/CMA National College Media Convention.

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odyssey, chantilly HS Chantilly, VA hawk, pleasant grove HS Texarkana, TX

www.yearbooks.biz


nspa pacemaker finalists

cspa gold crown

cspa silver crown (cont.)

sentry, robinson Middle Fairfax, VA

magician, Muncie central HS Muncie, IN

the lariat, del webb Middle Henderson, NV

pilot, redondo union HS Redondo Beach, CA

nexus, inland lakes HS Indian River, MI

log, columbus north HS Columbus, IN

royal purple, kansas state university Manhattan, KS

chieftain, west HS Torrance, CA

The buzzer, brookville HS Lynchburg, VA

roughneck, white oak HS White Oak, TX

sentry, robinson Middle Fairfax, VA

summit, smoky hill HS Aurora, CO

Tiger, texas HS Texarkana, TX

ebb tide, carlson HS Gibraltar, MI

nexus, inland lakes HS Indian River, MI

hartbeat, thomas hart Middle Pleasanton, CA

the jag, mill valley HS Shawnee, KS

paragon, munster HS Munster, IN

cspa silver crown

westwind, west henderson HS Hendersonville, NC

Ash a wut, gabrielino HS San Gabriel, CA

pilot, redondo union HS Redondo Beach, CA

arbutus, indiana university Bloomington, IN

teresian, st. Teresa’s academy Kansas City, MO

valkyrie, pleasant valley HS Chico, CA

the clan, mclean HS McLean, VA

selah, liberty university Lynchburg, VA

the eye, evergreen valley HS San Jose, CA

hawk, pleasant grove HS Texarkana, TX

cayuse, walnut HS Walnut, CA

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YEARBOOKS ETC.

no problem! It’s not uncommon for a school to select and begin developing their theme only to find out another staff has had the same inspiration. But if each staff conceptualizes with regards to the needs of their readers, it’s likely that a similar idea can be executed in different ways. In the end, both staffs have a theme that they love and that works for them. It’s as true for a yearbook workshop as it is for the yearbooks themselves. Orlando-area Herff Jones rep Jean Henry knew she wanted something different after her workshop Yearbookpalooza’s disco theme in 2008. Her idea for 2009 came from a tee shirt she’d seen as a new rep in the early ’90s. While the original read, “Peace Love Mickey Mouse,” Henry immediately imagined the power of “Peace Love Yearbook” and tucked the possibility away. When school started last fall, she resurrected the idea and created a “Save the Date” postcard for the 2009 workshop. A number of Florida reps collaborate on materials, so the theme was used at several other summer and fall workshops and will be visible in lots of schools this year. In roughly the same time frame, about 809 miles to the north and east, GYE (Gettysburg Yearbook Experience) co-Directors Maria Richardson and Vicky Wolfe were perusing 2008 evaluations. The forms included quotes to be used for promotion of the workshop and covered everything from the schedule and course offerings to rating the dance and optional tours. Several workshoppers suggested “tie dyed” as a desired color for the 2009 camp shirt. Someone listed the theme “Peace Love Yearbook” as a possibility. Richardson and Wolfe linked the two and went to work. HJ Rep Steven Wallace took the theme a step further at the Yearbook Connection workshop in Gainesville. Each staff attending rewrote a song from the ‘60s or ‘70s using lyrics about yearbook or the workshop. The Tiger staff from Dunnellon chronicled a series of travel woes in the YouTube video “We Couldn’t Believe It” (http:// tiny.cc/HBLid) to the tune of the Monkees’ 1966 hit “I’m a Believer.” Other workshop songs included “Come on, Baby, Buy a Yearbook” (instead of “Light My Fire”), “50 Ways to Make Your Deadline” and “Yearbuck Writer” (to the tune of “Paperback Writer”). That same month on the West Coast, workshoppers at California Yearbook Academy sang along to “Pica Face” as six Herff Jones reps (including Jaclyn Lardieri) channeled Lady GaGa and the TAs were the back-up dancing Mega Pixels. The lyrics are posted at picapower.com > Yearbook Academy > Pica Face. You will need to scroll down to get to the button that brings up the lyrics.

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Y e a r b o o k DISCOVERIES

It was not until nearly six months later, at the Herff Jones International Sales Meeting in Tucson in January that anyone realized the truth behind the saying “Great minds think alike.” Without knowing that it happened, several workshops were using the same theme in the same year. Even though the workshops are very different, the same theme could be adapted for a perfect fit. There was never any discussion of change on the part of either workshop and directors reported that reps, advisers and students enjoyed their tie dyed souvenirs. A yerd is a common blend of the words yearbook and nerd; editors and passionate staffers from coast to coast have long referred to themselves using this term. But when it’s capitalized, it means that and more. The first meetings of the Yerds, a Herff Jones discussion group for yearbook editors, took place at the 2009 spring CSPA and JEA/NSPA conventions. We’re looking forward to meeting with more Yerds this fall and in the future!

www.yearbooks.biz


DISCOVERIES VOL.14 ISSUE 1  

discoveries vol.14 issue 1

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