ALA Library Clip Art

Compiled by the ALA Public Information Office

Designed by Natalie Wargin

Dedicated to greater appreciation and support for

libraries . . . and librarians!

Amerioan Library Association, Chicago, 1983

Copyright @ 1983 by the American Library Association. The content herein is intended solely for unrestricted use by individuals, libraries, library systems and consortia. Reproduction for resale in any form of any portion of ALA Librar Ciip Art by others in c i p art - -+ services, publications or books is- strictly prohibited without written permission o f the publisher.

Contents

I... Introduction Caution ... 4

4.. .What is design? What is good design? Help wanted? How to hire a designer.. .5

6. Printing primer ... How to use this book 9

... 11 How to do a basic paste-up ... More sources of art and inspiration 14

A Programs.. .n ..........

(r Occasions.. . 5 7

62.. Ready To Go

Introduction We live in a time when access to information has become more widespread than ever before. For many people, this access may be limited to only what is seen on TV or read in the newspaper. For a few others, it may also include the library. How many access channels people will rely upon may well depend on how accessible those channels appear to be.

We also live in a time when all kinds of special interests clamor for public attention. Manufacturers want us to buy their products, politicians want to sell us their platforms, networks want us to watch their programs, and all of them want a piece of our mind. These special interests use a variety of very sophisticated advertising techniques to get their messages across. As a qraphic designer with a background in commercial advertising, I have witnessed how successful a good promotion can be. Unfor- tunately, many libraries today have yet to meet this challenge. Against so much heated competition to capture public attention, libraries are often left standing at the starting line.

I think it is vital that libraries face this challenge squarely. We must realize how strong a threat TV, movies, and other media pose to the future of American libraries. I do not mean to suggest that these other media are somehow inferior (although some may disagree) , but rather that the infor-

mation they provide is more or less directed and their viewpoints limited, whereas the library offers unlimited scope and is more open- ended. Because so much other media is available, people may tend to rely on them entirely, without realizing how much more is available to them at the library.

I believe that libraries must present themselves in ways to compete effectively with these other interests, no matter how difficult this may be. Ultimately, this means that libraries must adopt many promotion techniques that professional advertisers use. Printed matter, tele- vision, radio, the newspaper, and other media should all be considered and used whenever possible.

Unfortunately, most libraries by themselves have neither the funding nor staff available for developing publicity. Organizations like the American Library Association have done a great deal to promote libraries in general and larger libraries have been doing some self-promotion, but the effort shouldn't stop there. This is precisely where cooperative regional library systems can help. Library systems are beginning to realize the need to hire graphic designers, public relations people, and other professionals to help promote the libraries in their area.

Frankly, when I was hired by the library system I was suprised to learn how little l i b r a r i e s were promoting

themselves. However, it soon became c l e a r t h a t most l i b r a r i a n s , whi le being very e n t h u s i a s t i c , have l i t t l e o r no knowledge o f a d v e r t i s i n g o r g r a p h i c techniques and simply d o n ' t know where t o begin. Most of t h e l i b r a r i e s r e l i e d on e i t h e r roughly- ske tched mimeographed f l y e r s o r nothing a t a l l . A few l i b r a r i e s had weekly columns i n t h e i r newspapers, b u t t h i s was no t common. I n g e n e r a l , l i b r a r i e s were n o t making anything a v a i l a b l e t o people o u t s i d e t h e l i b r a r y . A l l t h i s is changing f a s t . Working t o g e t h e r , we have produced a wide v a r i e t y of bookmarks, f l y e r s , p o s t e r s , c a t a l o g covers , m a i l - s t u f f e r s and o t h e r m a t e r i a l s . These m a t e r i a l s have proven t o be a g r e a t success .

There were a few l i b r a r i a n s who were producing an unusual volume of p r i n t e d p u b l i c i t y themselves. I n those c a s e s , I was a b l e t o h e l p i r o n o u t a few bugs i n t h e i r approach. One l i b r a r y was us ing an 8-1/2" x 11" handout t h a t crammed v i r t u a l l y every th ing from b a s k e t b a l l s t o Beethoven i n an u n d i f f e r e n t i a t e d l is t o f t h e i r o f f e r i n g s . The handout s u f f e r e d from a kind of l i t e r a r y "horror vacu i" t h a t tended t o overwhelm t h e reader wi th t oo much i n f o r - mation a t once. W e re-wrote t h e f l y e r , employing a more ca t ago r i zed s t r u c t u r e wi th i n c i d e n t a l s l e f t o u t , and I revamped t h e format us ing s imple g r a p h i c s and eas i e r - to - r ead typography. The r e s u l t was a f l y e r t h a t al lowed t h e reader t o select h i s o r he r i n t e r e s t q u i c k l y and d i g e s t t h e informat ion wi th ease .

I n g e n e r a l , w e have had marked success i n proving the

va lue o f l i b r a r y p u b l i c i t y i n our system, and more people a r e opening t h e i r eyes t o it. Br igh te r c o l o r s and eye-catching g raph ic s , a l e s s formal w r i t i n g s t y l e , and c l e a r p r e s e n t a t i o n can r e a l l y sweep t h e d u s t away. I th ink it is no co inc idence t h a t t h e l i b r a r i e s t h a t reques ted our h e l p t o promote t h e i r summer read ing programs l a s t year had by f a r t h e l a r g e r t u r n o u t compared t o l i b r a r i e s us ing no p u b l i c i t y a t a l l .

A b ig p a r t of any p u b l i c i t y e f f o r t h a s t o do with changing peop le ' s a t t i t u d e about t h e l i b r a r y . I have found t h a t t h e l i b r a r y ' s image o f t e n s u f f e r s a g r e a t d e a l from old-fashioned concepts . When I ask people I meet what they th ink of t h e l i b r a r y , they con t inue t o r e p l y t h a t l i b r a r i e s a r e d u l l and oppres s ive , s t u f f y , f i l l e d w i t h musty o l d books--in s h o r t , a l l t h e o l d s t e r e o t y p e s . Many people do n o t seem t o know about f i l m s , records , c h i l d r e n ' s s t o r y - t ime, ou t reach programs f o r t h e deaf and homebound, and o t h e r s p e c i a l programs and s e r v i c e s l i b r a r i e s o f f e r today. I f i r m l y b e l i e v e t h a t many of t h e s e people would use t h e l i b r a r y i f they could on ly be reached. Hence, I have tended t o downplay t h e f a c t t h a t l i b r a r i e s have books, and t o emphasize a l l k inds of o t h e r m a t e r i a l s and programs. Rather than r e i n f o r c i n g t h e s t e r e o t y p e , I t r y t o c r e a t e t h e impression t h a t t h e l i b r a r y is dynamic and a l i v e wi th a c t i v i t y .

We have found t h a t a good p u b l i c i t y program should be p rog res s ive and continuous. A g e n e r a l f l y e r t h a t i n t roduces t h e l i b r a r y i n a f r e s h , a t t r a c t i v e way can

make a good beginning. As time goes on, publicity promoting specific services and programs can be devel- oped. Of course, once the process is started, people may begin to look forward to getting new information about the library, and it becomes the library's responsibility to see that they do.

to keep them informed, and most people can sense this. If people feel they have a personal relationship with the library--that they're a part of it, libraries will become a bigger part of their 1 ives .

In the long run, publicity really means better com- munication. A library that cares about the people it serves will make every effort

Richard Page Art Director Indianhead Federated Library System Eau Claire, Wisconsin

Librarians have a better opportunity than most to know a little (or a lot) about a lot. But that doesn't mean you can do everything. Before use the clip art in this book, think about this:

Your library's image is reflected in every printed piece you produce.

No matter how small or large the library, the printed materials should represent a consistent and planned communi- cation strategy. You should have a graphic image.

There's nothing wrong with getting help, and it doesn't have to cost a fortune. Are you an artist? Do you have a good "eye' for design?

If not, you may spend more time and money trying to do it your- self, and the finished product may not ade- quately reflect your effort.

Effective printed materials do not have to be intricate, fancy or expensive.

The most important rule is KEEP IT SIMPLE.

The following few.pages will give you some basic guide- lines for producing good printed materials, finding and hiring a designer, buying printing and doing simple layouts.

Good luck. Enjoy. And send us your suggestions for future supplements to ALA - Library Clip Art.

What is design? What is good design? Design is simply the graphic expression of a piece of written copy. It's the last step in the editorial process. Its purpose is to catapult the ideas off the page and into the reader's mind. Good design enhances written copy, and the tech- niques used should be chosen for editorial and not artistic reasons. Writers and designers must work together, because their creative goal is a printed

piece that grabs the reader's attention and transmits some interesting information.

Graphic art is not fine art. It must be functional. While beauty and originality are not ends in themselves, a good designer can contribute the ingenuity, imagination, courage, time and effort to ensure that even a moderately interesting piece of writing will be read.

Help wanted? How to hire a designer :>!f?;:>*e<$ <, g .2~T*<s

Even if you're not in a position to add a graphic artist to the library staff, every library that produces printed materials should consider hiring a free-lance designer to get you started toward a consistent graphic image. A good designer can develop a logo and letterhead for the library, and help you develop a "style book'' of decisions about typefaces, colors and format for all printed materials. We're not talking about frills; we're talking about a sound manage- ment decision, a wise investment.

How do you find a good designer? You can begin by collecting local materials that you think are effec- tive. Spend some time comparing the brochures and newsletters from banks and other local businesses. Find out who did the best ones and ask them if they'll do some work for the library. Often fully employed designers will take on a moonlighting assignment for the library, or a local business may be flattered by your inquiry and donate their artist's time. You should be aware that a library is a challenging and prestigious account for most designers, and they'll be interested in working for you in order to enhance their portfolios.

If your local search doesn't turn up a skilled graphic artist, ask the graphics art department at a local college for suggestions (inexper- ienced students may not be the answer). Contact graphic arts studios in nearby larger cities, or consider laci ins

an ad in a metropolitan newspaper.

ALA's Public Information Office has hired many designers over the past ten years to produce National Library Week posters and scores of other printed pieces, and we're eager to share some advice based on learning the hard way. THERE IS NO FREE LUNCH. DON'T EXPECT TO GET GOOD DESIGN FOR NOTHING. DON'T JUST LOOK FOR FREEBIES. While there's no way ALA or most libraries will ever pay "real world" design prices, we can't afford to exist on hand-outs. We have found that when you rely on contributed talent it's possible to lose control. ~t's much easier to ask someone to do it over again if you're paying them (even a token amount) than if they're contributing their time and talent.

When you interview a designer ask to see his/her portfolio, and consider whether you like what you see. Check to see if it's neat, clean and nicely arranged. Clean and neat come right after simplicity in graphic arts rules. If the portfolio is covered with cat hair, your printed pieces probably will be just as fuzzy.

Finally, when you've found the person you want and have a specific job in mind, here are a few hints for starting off right:

. Have your copy written and be able to describe what you want. This will take longer the first t ime

around. You need to describe the library, your communications program and its rationale in a basic sales job that will set the tone for the designer 's work. About the specific piece, be clear about its purpose and audience, but don't do the designer's work or limit creativity by specifying color, typeface, etc.

Settle on a price, and agree on what the price includes. We've found that it's best to pay only a design fee and be billed directly for other expenses such as typesetting, photography or printing. Most design studios and advertising agencies buy the collateral services, then add a percentage to the bills before forwarding them to the client--a practice we like to bypass.

Printing primer* *Reprinted from the Library symbol Clip Art Book, a collection of layouts for specific printed pieces--stationery, business cards, etc.--using the national library symbol. ALA Public Information Office, $5.00.

The art work in this kit can be easily reproduced for different purposes. The art is all line art (black and white with no shading) so that your reproductions will be clean, striking, and economical to produce--no matter what kind of printer you use.

Ask to see a rough to get an idea of what the designer has in mind before time and money are spent on developing the final art work. And be prepared to make suggestions and ask questions if you don't understand or don't like it. Remember, you're the client and the piece you're investins in has to work for you.

. .

When you receive and review the camera-ready art, make sure the designer also provides specifications for the printer (type of paper, ink, folding instructions, etc.) . The printer will return the art boards with the finished product. Save them.

Some libraries have their own offset equipment so they can produce many printed materials themselves. For those of you without the equipment, here's some basic information about printing and working with printers.

There are essentially two kinds of printers, instant printers and commercial printers. Experience is the best way to learn about printing and what kind of job to take to a particular kind of printer. Take the time to see samples of the printer's work and get estimates from both kinds of printers on the same job until you develop your own "printing sense."

PRINTERS

I n s t a n t P r i n t e r s .

There seems t o be one i n every town s o c o n s u l t your yellow pages. You w i l l have t o go t o t h e i n s t a n t p r i n t e r s f o r s e r v i c e . They a r e a b l e t o do jobs t h e same day, overn ight o r i n a few days.

I n s t a n t p r i n t e r s o f t e n p r i n t from p l a s t i c p l a t e s , which may be economical b u t can make your f i n i s h e d p i ece look a s though it was p r i n t e d with a po ta to . For important jobs , i t ' s worth spending a l i t t l e e x t r a money (approximately $15) and ask ing t h e p r i n t e r t o use a metal p l a t e . Q u i c k p r i n t e r s a l s o keep a supply of paper on hand. They can s p e c i a l o rde r paper f o r you, b u t i t ' s cheaper and f a s t e r t o use what t hey have on t h e f l o o r .

When you want t o use an i n s t a n t p r i n t e r , show him or her t h e job you want p r i n t e d and a l s o have a sample of a f i n i s h e d p i ece t h a t shows t h e q u a l i t y you ' re looking f o r . Good i n s t a n t p r i n t e r s know t h e i r l i m i t a t i o n s .

Why use i n s t a n t p r i n t e r s ? They a r e o f t e n inexpensive, f a s t and good f o r s imple , smal l jobs.

Commercial P r i n t e r s .

One way t o f i n d a good commercial p r i n t e r is t o t a l k with l o c a l bus inesses whose p r i n t e d work you admire. A s k who d i d t h e p r i n t i n g . I f t h e r e is no commercial p r i n t e r i n town, one is probably nearby. Again, c o n s u l t your yellow pages.

You w i l l do b e s t c a l l i n g t h i s k i n d of printer and asking

f o r a s a l e spe r son t o c a l l on you. There a r e no charges f o r a v i s i t o r f o r e s t ima tes . A s k t h e sa l e spe r son t o b r ing samples of t h e company's work.

Give t h e salesman an o u t l i n e of t h e k inds of m a t e r i a l s you need p r i n t e d and your budget r e s t r i c t i o n s , and ask f o r recommendations. For example, you may want some s t a t i o n e r y p r i n t e d with t h e d i r e c t o r ' s name and some without . You're n o t s u r e what kind of paper t o use, o r what you can a f f o r d . Your p r i n t e r w i l l be a b l e t o h e l p you s o l v e t h e s e problems. I f p o s s i b l e , t a l k with t h r e e p r i n t e r s i n i t i a l l y , and always t r y t o g e t two e s t i m a t e s on any job.

Why use commercial p r i n t e r s ? They can produce a h igh-qua l i ty product. The l a r g e r t h e q u a n t i t y of your o r d e r , t h e more economical i t becomes t o use t h e commercial p r i n t e r s . A s we mentioned be fo re , commercial p r i n t e r s a r e a l s o e q u i p p e d t o handle smal l t y p e s e t t i n g jobs and w i l l do your pas teup too. You would be wise t o t ake advantage of t h i s s p e c i a l s e r v i c e t o make t h e b e s t use of t h e c l i p a r t i n t h i s book.

Other P r i n t e r s :

You may f i n d t h e r e a r e a few s p e c i a l i t y p r i n t e r s i n town--pr inters who p r i n t l a b e l s exc lus ive ly , o r who s p e c i a l i z e i n complete correspondence o r who p r i n t bumper s t ickers and bus iness c a r d s , b u t n o t s t a t i o n e r y .

Why use a s p e c i a l i t y p r i n t e r ?

Many can o f f e r you a good p r i c e on t h e p a r t i c u l a r jobs t hey are set up t o do.

Again, check the yellow pages for names.

PRINTING ECONOMICS

In the long run, it is cheaper to print more of an item than just the amount you might initially need, particularly if the quantity is small.

There are setup charges for any printing job in addition to presstime and paper costs. It doesn't take much longer to print 1000 of an item than it takes to print 500, and printing more will lower your unit cost considerably. Whenever you ask for an estimate, always ask for estimates for several quantity increments.

WHAT TO LOOK FOR IN A PRINTER'S SAMPLE

Does anything look crooked? Sounds kind of funny, but not when you're paying for it. Also look for:

dust uneven color broken type does anything look fuzzy? if the piece is folded, do the ends meet? is the crease sharp?

ELEVEN QUESTIONS A PRINTER WILL ASK YOU

What kind of information does the printer need to know about a job?

2. Size of piece. Standard sizes (8-1/2" x 11" or half or double that size) are more economical than custom sizes.

3. Quantity. Remember to ask for estimates of several increments.

4. Color. This refers to the number of inks used. Specify number from a PMS (Pantone Matching System) color book, a standard reference your printer will have. The price goes up with the number of colors used.

5. Paper stock. Ask the printer for suggestions and ask to see samples.

6. Any folds? If so, it's a good idea to provide a "dummy" to show the printer exactly what you want.

7. Any halftones (photo- graphs)?

8. Any bleeds (lines of art work or color that run off the page)?

9. Any reverses (white type on black background)? You always give the printer black type on white background; he or she will do the switch.

10. How is the job to be packed and shipped?

11. When do you need it? Most commercial printers ask for 10 working days on most jobs.

1. What's being printed?

BEFORE A J O B GOES TO THE broken type , d u s t , e tc . A t PRINTER--A WORD TO WISE t h i s p o i n t any th ing you

dec ide t o change t h a t is n o t

f l Make sure everyone who needs t h e p r i n t e r ' s f a u l t w i l l c o s t L

t o see t h e copy on a job has you. P l a t e s can g e t seen it and approved it. expensive. I f you want La te r changes i n p roo f s can changes i n t h e p roo f , a new cost t i m e and money. p l a t e must be made.

WHAT HAPPENS ONCE THE PRINTER GETS THE JOB?

A p r i n t e r photographs t h e a r t work t o make a p l a t e . Through an e t ch ing process , t h e image is f i x e d t o t h e p l a t e s o t h a t i n k w i l l adhere t o t h e image a r e a s , n o t t h e background. From t h i s p l a t e t h e p r i n t e r w i l l make a proof .

Next, t h e p r i n t e r sends you t h e proof. This is t h e t i m e t o check f o r s t r a i g h t l i n e s , even c o l o r on t h e symbol and b a r s , s t r a y marks, fuzzy l e t t e r s , crooked l i n e s ,

n

After t h e p r i n t e r g e t s your okay, he o r s h e sets up t h e p l a t e and paper on t h e p r e s s and s t a r t s p r i n t i n g . P r i n t e r ' s c o s t s may va ry depending on t h e s i z e o f machines they use. Once t h e p r e s s g e t s going, t h e p r i c e d i f f e r e n c e between 100 c o p i e s and a 1000 cop ie s is u s u a l l y paper cost. The more you p r i n t , t h e lower t h e u n i t p r i c e w i l l be. Af te r t h e ink has d r i e d , t h e p i e c e w i l l be c u t , f o lded and packed.

How to use this book C a r e f u l l y . This book i n g r e d i e n t s p l u s some provides many camera-ready op in ions and advice: i l l u s t r a t i o n s and head l ines . We've f e a t u r e d t h e work of 1. COPY s e v e r a l d e s i g n e r s and a r t i s t s and have shown you some of I n a book about des ign , we t h e i r f i n i s h e d products . But won't a t t empt t o t e l l you how a s i d e from t h e s e c t i o n o f t o write copy, b u t w e can bookmarks and c o l o r i n g sugges t t h a t you prepare s h e e t s , you ' re g e t t i n g head l ines and sub-heads f o r nothing more than pieces.. . i n t e r e s t and c l a r i t y . And t h a t w i l l hope fu l ly be d o n ' t ever f o r g e t t o p u t t h e e lements o f e f f e c t i v e name, add res s and phone design. The b e s t is up t o number of t h e l i b r a r y you (or your d e s i g n e r ) . somewhere on t h e p iece . A

d a t e is a l s o e s s e n t i a l . A s you p lan a bookmark, f l y e r , n e w s l e t t e r , annual 2. TYPE r e p o r t o r whatever, y o u ' l l have l o t s of cho ices t o Don't use l o t s of typefaces ; make. Here a re t h e one o r two a r e enough. S e r i f

type is more readable than sans serif. Serifs are the little feet on the letters. T h i s i s s a n s s e r i f . This is serif. The goal is legibility so avoid fancy gothic, italic or other intricate typefaces. There's nothing wrong with type- written copy. If you don't know how to spec. type for a typesetter or if you want to save money, it's the best alternative. Use an IBM typewriter and a carbon ribbon.

Press type is another alternative to typeset or typewritten copy. Pressure sensitive or press down lettering is widely available in art stores and sometimes in office supply shops. Popular brand names include Presstype, Letraset and Zipatone. It comes in a variety of typefaces and is sold in sheets that usually include a full alphabet, numbers, punctuation and other symbols in a parti- cular typeface and size. Borders and other design elements are also available. TO get the characters off, place the sheet on your art work and rub with a dull pencil or burnisher (see p. 11, "Tools of the Trade"). To correct mistakes--broken letters, misspelled words--take a piece of adhesive tape, place it on the letter and gently lift it off.

Beware. Presstype is hard to use. It takes a seasoned pro to get each letter straight and aligned, and the seasoned pros know better than to use it for more than brief headlines.

Kroy Lettering machines provide yet another alter-

native to typesetting head- lines. They're easier to use than presstype, but don't produce a very sharp image. Letters are dialed on the Kroy machine and punched out on a piece of transparent tape that can be laid down on your art work. Be careful. The letters can smear easily and the tape will attract dust, dirt and other foreign matter that will make a mess of your finished product. We're not too crazy about Kroy machines either.

3. LAYOUT--Illustrations, Photos

Keep it SIMPLE. Remember you're trying to attract the reader's attention. Use a headline or illustration as a focal point. Be consistent about margins. If you scatter copy and headlines all over the page, your point will he lost.

Don't be afraid of white space. It highlights your message. You don't have to fill up the whole page.

A good photo enhances the copy and tells a story in itself. Photos (half-tones) should be screened first. Ask your printer about this.

Illustrations also must enhance the copy. Don't use several styles of art on one piece and don't use any illustration if it's only for decoration.

We've given you a choice of sizes for many of the illus- trations but if they're not the size you need you can have them reduced or enlarqed by a photostat service (see the yellow pages or ask your printer to help you) .

4 . PAPER AND I N K

P a r t o f t h e j o y o f d e s i g n is p i c k i n g c o l o r s , b u t d o n ' t g e t c a r r i e d away. T h e r e ' s n o t h i n g more l e g i b l e t h a n 100% c o n t r a s t - - b l a c k ink on w h i t e p a p e r . I f you want t o be more c o l o r f u l , s t i c k t o d a r k ink on l i g h t p a p e r . Again, l e g i b i l i t y is t h e g o a l .

Don ' t p r i n t p h o t o s i n c o l o r s . S e p i a is okay b u t a n y t h i n g m o r e e x o t i c c a n spo i l a good pho tograph .

C o n s i d e r p h o t o s o f p e o p l e p r i n t e d i n b l u e o r g r e e n i n k - - i s t h a t t h e way you 'd want t o l o o k ?

A s you know, p a p e r s come i n many w e i g h t s , c o l o r s and t e x t u r e s . Think a b o u t o p a c i t y . I f your piece w i l l have p r i n t on b o t h s i d e s , t h e pape r s h o u l d be heavy enough s o t h e copy won ' t show th rough . U s u a l l y a 70 l b . o f f s e t s t o c k i s s u f f i c i e n t , b u t a s k your p r i n t e r t o h e l p you make a s e l e c t i o n .

How to do a basic paste-up To a v o i d g e t t i n g l o s t i n a l l Most o f t h e s e i t e m s a r e t h e t h e o r i e s , t e c h n i q u e s and a v a i l a b l e f rom a n a r t s u p p l y p r a c t i c e s o f g r a p h i c a r t s , s t o r e . we 've d e c i d e d t o s i m p l y walk t h r o u a h t h e stews r e a u i r e d t o < - produce a f l y e r , u s i n g t y p e w r i t t e n copy , a r t and h e a d l i n e s from t h i s book.

Here's a l i s t o f m a t e r i a l s y o u ' l l need f o r d o i n g t h e j o b l i k e a p r o . But w e warn you , i t ' s a l o t h a r d e r t h a n it l o o k s .

TOOLS OF THE TRADE

e x a c t o k n i f e w i t h r a z o r s s t r a i g h t edge ( r u l e r ) b l u e p e n c i l (nonphoto) s p r a y a d h e s i v e T- squa re b u r n i s h e r t r a c i n g paper ( o r parchment p a p e r ) t a p e (masking)

Our Demonstration Project: a flyer to announce a program on micro-computers. Here's the copy:

Does your 14-year-old have a better grasp of computers than you do?

The Green City Public Library is presenting a series of Library programs to help you catch up. Three hour-long workshops will provide: . a basic introduction to micro-computers--how they work and how they can work for you...with some hands-on time to see for yourself.

a consumer's guide to the latest in home computer systems.

Professor of Computer Science, Floral Valley College

Wednesday evenings, 7:30- 8:30 p.m., September 7, 14, 21, 1983 (plan to attend all three sessions)

First Street Branch of the Green City Public Library 1st and Mission. Green City, Nevada 473-2995

The programs are free but limited to 25 participants, and advance registration is required. Call or stop by the library to register before September 1.

(we've reduced its size to fit it on this page) Here's a finished flyer made with a typewriter and clip art from this book.

Featuring--Robert Jones,

b

Terrnina,l Happiness Computer

Know-

* v ---------- 1

IIIIIIIIII d DOC. F o r 147-.r--16 hawe a WlteL. grasp 01 sapltcrs than you $07

me =re- C'tl N b l l c &lbr.ry is Presanrlng . .c.,c. .t LLb...Y P W X U to hasp yeu catoh UP. Three hour-lonp wor(i.hope "'I1 pr0.ld.i

. a b..,c inlroduslton to .icro-c.np"t.r.--".u tncy "or, ans nor tney can r0r1 <oz W . . . " l t b .- hand.-*" ti.. t o ..a eo. you...lf.

. . son.urr'a guide to LbL l....t i n horn conpvrer sy.t.n..

r..tYrln9--soWrt Jones. Fr*l...o. or cDlpvier SCi."".. P l 0 l . i "alley c0114a

*.MeadaY eoeniq. . 7,1P.I,lO p.m. r 7 , 4 , 2 , 9 , ,p..n t o .t+ena all ..l.,Q".,

I'r.C St...L .r.nQh or t". Crc." cir. P"alrs wi7r.r" 1st ma *...,on Cr- CLtY. ".".a. 471-2995

h r P q r - are Ire. but linitod Lo 2 1 P r L I c I W n I s . 8.d sdmncc rcgi.tr.e,on 1. r.su*..a. Call or nt.3. by *he L'b...r ko regiare. bllorl mQbmbr 1.

our graphic artist has provided the following summary of her steps toward the finished design:

1. First I looked at the amount of copy and decided on a size for the flyer. I chose 8-1/2" x 11" because there couldn't be a more standard size sheet, and because the copy will all fit with room to spare. Some wide open space can make even a budget production look impressive.

2. Since I'm always thinking about how to "keep it simple," I flipped through the clip art collection to find a headline and illustration that seemed the most straight-forward match for a program about computers for beginners. I chose the computer terminal, and decided to use it as a frame for the headline. I measured the width of the art. Since there isn't a lot of copy, I decided to make it the same width as the computer terminal, so I asked the library staff to retype it in 7-1/4 inch lines.

3. To put all the pieces together for camera-ready copy:

I first washed my hands (fingerprints will print), cleared off my drawing board and grabbed the T-square. If you don't have a drawing board, any table with a straight side will do. The "T" in the T-square catches on the side of the table to create a right angle to insure that your lines are straight.

Next I made sure my page

was straight on the table (using the T-square) and I taped the edges to the table.

Then I cut out the illustration, removed the self-stick backing and centered it on the page, and centered the headline art on the terminal screen. Having juggled the elements around on the page before getting out the spray mount, I decided to keep the space between the top of the page and the top of the art equal to the bottom of the page (a) and the last line of copy (b). Then I also decided to make the space between the art and the c ~ p y (c) the same as the top and bottom margins.

I trimmed the typewritten copy, applied spray mount to the back, and put it down on the page, using the T-square to line it up and get it straight. After you spray a piece of copy or illustration with adhesive, allow 30 seconds or so for it to dry a bit. If it's "tacky" instead of wet, it will be easier to position or reposition using the T-square--i.e., you can

move it around without making a mess.

Next I burnished the copy and illustration (smoothed them down), rubbing the large end of the burnisher gently over the pieces.

Finally, I removed the tape, and covered the finished art work with a piece of tissue to protect it. On the tissue I penciled the specifi- cations for the printer, i.e. type and color paper, ink color, quantity.

A lot of the decisions come more easily with experience, but we think you'll find the self-stick art will help you feel more free to move pieces around until you get it right. Here are a few more general tips:

a. If you decide on a size less standard than 8-1/2" x ll", use "crop marks" to let the printer know the exact outside edges of your piece. To see crop marks, turn back to the "Ready to Go" section and

you'll find them on the pages with bookmarks. The crop marks should be drawn with black ink.

b. If you make any other marks on your art to align the copy or illustration, use non-reproducible blue pencil so your marks won't show on the finished piece

c. If your piece is 8 1/2" x 11'' you can do the layout on a plain white 8 1/2" x 11" sheet. For any other size, use a larger sheet and crop marks. If you will be using the art again, use white illus- tration board or poster board (available at art supply stores).

d. We suggest that you add some pages to this binder to save illustrations or headlines from the kleen-stick pages so you can use them again. use a paper with a very hard (smooth) surface so they'll be easy to pull up again. Tracing paper or waxed paper will do the

More sources of art and inspiration The Library Imagination Paper! is a quarterly publication of clip art and public relations information produced by Carol Bryan (see some of Carol's work in the section titled "Ready to Go"). Subscriptions are $14 per year. Contact Carol Bryan, 1000 Byus Drive, Charleston, WV 25311.

PR Info Bank. High-interest loans of

printed library publicity materials are available from ALA Headquarters Library. This service loans public relations information packets on specific subjects via interlibrary loan. Packets available are: annual reports, booklists (bibliographies), newsletters, programming flyers, information brochures, promotion pieces on information and referral, and calendars.

Use a standard interlibrary loan form to secure a packet from PR Info Bank, Headquarters Library, ALA. Be sure to name the packet you want to borrow.

If you find pieces that appeal to you, ask if you can copy them. Each deposit slip in the PR Info Bank includes the name of a person to contact .' Dover Books, Dover Publications, Inc., produces many books of non-copyrighted art for artists and designers. Most are paperbacks and much less expensive than commercial clip art services. The examples shown here are from Dover's unabridged facsimile of Montgomery Ward & Co. Catalogue and Buyer's Guide, no. 57, Spring and Summer 1895 ($10.00). In addition t o h e antique illustrations, Dover books incrude borders, backgrounds, alphabets, etc. For a list of available titles on graphic arts and printing, write

Dover Publications, Inc. 180 Varick Street New York, NY 10014.

ubber stamps C. provide a wonderfully versatile way to illustrate a printed piece. They can be used (and used and used) to create borders and patterns, or just to add a bit of whimsy. A growing number of companies are producing rubber stamp illustrations, or you can have your own rubber stamps made. For custom stamps, illustrations or logos cost more than standard lettering. or example, this Banned Books Week stamp, created from art work we provided, cost $22.00. You can find a stamp maker in the yellow pages under "Rubber Stamps," or write for the catalogs of the producers of pre-made "art" stamps. Here are a few of our favorites.

$

liidsramps--a capsny created c. Cxaphloramp and owned by ilbrallana. Imprints Graphic Studio, 1°C. Their rubber sranp include P.0. BOX 3656 work by favorire illustcakors c e m e ~ - ~ y - ~ h e - s e a . C A 93921 sac,, as m.ie DeP.ola and oata1ag $2.00 mina Schart mymen.

d. A l l Ul.ht Media a aiastrmp BOX 227

1585 Xaple .Wad Yozest Knolls. C1 94913 Cleveland Heights. OH 11121 oatalog I 2 . 0 0 sar.109 '1.00

b. Tr".t"~.thy Rubber Goods Lcavenrorlh Jackson 175 ~e1vede.e st reet San Prandsoo. CA 94117 catalog $1.25

- -

Richard Page is a graphic designer and has been Art Director at the Indianhead Federated Library System since 1978. IFLS represents 10 counties and nearly 60 public libraries in west-central Wisconsin.

In general, the System's Art Department provides assistance in two ways: materials created specifi- cally for individual member libraries (usually by request), and more general materials developed to promote library services system-wide. Althouqh most of these materials are pr int-media (posters, bookmarks, flyers, etc.), the Art Department has also created a number of press releases and public service announcements for radio.

When time permits, Richard will consider free-lance assignments. Contact:

Richard Page Indianhead Federated Library System 400 Eau Claire Street Eau Claire, WI 54701.

- - . LARGE . . . . . . . . . . . . . . PRINT . BOOKS

. . . 0 . . . . . .

How Mon. Tues. Wed. -

Thm - -

hi. Sat.

PUBLIC

' TECHNICAL

SCHOOL

MEDICAL

ACADEMIC

; ', ;: . . . .

Gloria Kishton graduated with honors from Pratt Institute. Her design work has ranged

5 ;'widely from advertising to : exhibits for the New York

State Museum, and includes graphics for the New York State Library and, since 1974, Mohawk Valley Library Association. She considers library graphics exciting and creative, tapping a world of ideas and images available at the library. She is particularly interested in promoting public usage and libraries as enjoyable places to learn.

Graphic design is available on a free-lance basis.

Gloria Kishton Graphics 207 Union Street

Basic Training Computer lnformation

Bits & Bytes Computer lnformation

Basic Training Computer lnformation

Bits & Bytes Computer lnformation

Libraries are User Friendly

Put On a Happy

Interface

Terminal Happiness Computer

30 Know-How

N a t a l i e Wargin is a number one, ace , f r ee - l ance g raph ic a r t i s t on whom ALA has come t o depend. She does l o t s o f work f o r t h e P u b l i c In format ion O f f i c e and many ALA d i v i s i o n s . She des igns Openers and produces our g r a p h i c s c a t a l o g (and u s u a l l y s e v e r a l p o s t e r s i n i t ) , and s h e even designed and s t i t c h e d on t h e q u i l t t h e s t a f f made l a s t s p r i n g t o r a i s e money f o r t h e ALA b u i l d i n s fund ( i t 's on t h e cover 02 ~ m e r i can L i b r a r i e s , June 1983) . She 's a good des igner who has l ea rned a l o t about l i b r a r i e s . I f you'd l i k e her adv ice o r have a p r o j e c t i n mind, c o n t a c t :

N a t a l i e Wargin 3830 N. Avers Chicago, I L 60618 (312) 588-8692

3 Need to know. Ask your librarian.

Get your fatcs straight. Ask your librarian.

Telephone Reference Service

0 3 Have a question.

Call the library!

1 go for it! use your library

be superperson use your library

-

at your library

a word to the wise

Can't find what you're looking for? Ask about an interlibrary loan.

Lights! Camera! Action! Borrow a movie from the library.

Current Events

Biography

Genealogy

Cook Books

Business Publications

Special Collections

0 Library News

3 6 - Consumer Information -

History

Literature

Languages

Ed Schickell is graphic artist for the San Francisco Public Library. His whimsical cartoons are the perfect examples of how simple line drawings can catch the eye even in San Francisco, where there's lots of competition: Ed's advice for library program announcements, brochures, etc.: KEEP IT SIMPLE.

Ed Schickell may be reachea for free-lance projects c/o San Francisco Public Library Civic Center San Francisco, CA 94102 (415) 558-4010

Friends of the Library

0 Friends of the Library

Be a Friend i%e only way to have a friend is to be one.

Ralph Waldo Emerson

An invitation to join the Friends of the Zibra y. .

Voter Registration

fl After School Special Book Sale Lecture Series The Lively Arts!

Travelogue Get the Picture Bicycle Spoken Here

0 Tax Assistance Parenting How to Use the Library

Term Paper Clinic

Voter Registration After School Special

0 Book Sale

4 6 Lecture Series

D I S C O V E R A M E R I C A

Lisa Cinelli is an illustrator who lives in Winnetka, Illinois. She has done graphics and illustration for the Children's Reading Round Table, Northwestern University, Family Focus Inc., to name only a few. Her two children, six and eight, are regulars at the Winnetka Public Library and advised Lisa on the illustrations she created for ALA Library Clip Art.

She's available on a free-lance basis.

& Peck, whose sporty I :,:::-::g . J

-:of Rav Gosue school 02

Chicaqo8s Downtown Court Club E*;;~ . ~ '.

. . ,Z.*,~. *., &... ,.:. . (where he probably found the

. . . .~ *-' models for the out-of-shape .+.> .... ..~ enthusiasts). He currently

&$ works at the Chicago Board of Trade, but is ready and gx!? willing to take on free-lance

.,., ~. . . 1 > . 1 . . . . ., . . . .... .

commercial art jobs. . . '.. ,

Clay Peck 2608 W. Eastwood Chicago, IL 60625 (312) 539-0950

Exercise Your Mind

Keep your Mind In Shape

Go for it! Use your library!

Libraries are for everyone!

Exercise Your Mind

Keep your Mind in Shape

Go for it! Use your library!

Libraries are for everyone!

8 . .G

I

. i I

C

J A N U A R Y

I Anwriaggreatest bargain the library I

@a @9

I

kJ N O V E M B E R D E C E M B E R

J A N U A R Y

A P R I L

O C T O B E R

F E B R U A R Y - I M A R C H 7

A U G U S T S E P T E M B E R

N O V E M B E R D E C E M B E R

Happy ' .

59 Birthday

New Year's Resolution #I -READ! Cheers! Celebrate Happy New Year

It's National Library Week! School's Out Children's Book Week Valentine's Day Love is Here to Stay

CI Back to School

BOO!

Scary Stuff

Beach Blanket Books

We Gather Together

Homemade for the Holidays

hanksgiving Holiday Hints . - -

6 I Seasons' Greetings from your Library ? '

p~~

Carol Bryan is a graphic designer and writer whose

. work for the West Virginia Library Commission helped win

.'. four consecutive John Cotton Dana awards. She is editor of the award-winning pr quarterly, The ~ibrary Imagination Paper!, which features reproducible clip art for use in library promotionals, and in-depth articles on library pr topics by field experts.

or subscription information contact:

Carol Bryan 1000 ~ y u s Drive Charleston, WV 25311.

THIS IS A book mock? book moccasin? book maker? book murk? book muck? book mackerel? book macaroon? book macaroni? book Marconi? book marquee? book Marc Antony? book Marc Chagall? book Mark Twain? book market? Ah-h-h-h-h-h-h-h-h-h-h-h-h-h-h-h-h-h-h-hh B W K M ' R K f

This is a

u ~t is a nifty litS\e inention which replaces pencils, gum wrappers, paper clips, combs,ticket stubs and +he relia ble,oid dog eat-.

-

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m an 63 - ,

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I

Mona Garvey is a l i b r a r i a n who has w r i t t e n t h r e e books

f-' f o r l i b r a r i a n s . The l a t e s t , L ib ra ry P u b l i c Re la t ions , was publ i shed by t h e H.W. wi' lson Company. But beyond her u s e f u l books, Mona is famous f o r t h e l i v e l y , e n t e r t a i n i n g and p r a c t i c a l programs she has p re sen ted on l i b r a r y pr and d i s p l a y . She ' s now a t work on a dynamic new d i s p l a y system t h a t w i l l soon be a v a i l a b l e t o l i b r a r i e s . For more informat ion c o n t a c t

Mona Garvey 251 Peach t r ee Way, N.E. A t l a n t a , GA 30305 (404) 233-2637

\ E

Bookmobile

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T A K E A N I N F O T R I P -- - - "- - -

W E ' V E G O T I N F O TO G O - . - .

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With You.

From the Library

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