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WORK IN PROGRESS:
Milestones of Evolution |
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Milestones
of Vertebrate Evolution is by far the most complex poster that we
have attempted. Preparation was greatly aided by the layer
capability of Adobe InDesign, which we use to create all our posters.
In short, different elements can be placed on individual layers,
somewhat like layers of paint. Within each layer, elements can
be placed in front of or behind other elements, thus creating layers
within the layers. The order in which the layers is stacked is
important because each layer covers the ones under it.
These are the layers used in Milestones of Vertebrate Evolution.
Each image shows the current layer superimposed over the previous
layers, so you can see the cumulative effect. |
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Layer 1 - Background. This
was a solid green block. Over it, we placed a lighter colored
block.
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Layer 2 - The Evolution Tree layer
comes next. This was created with the pen tool. This was
the most difficult element in the poster as the position of each
branch indicates when the animals lived in terms of geological time
and the thickness of the branch represented their scarcity or
abundance. All of this required a tremendous research effort.
There were over 50 drafts sent back and forth between us and our
consultants. (Of course, the other layers were shown on the
various drafts to keep everything in context. Creating the tree
required over six months of extensive effort. Early drafts
divided it into smaller sections for ease in editing.
Once they were all complete, they were joined together to form the
above.
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Layer 3 - Geological Time Chart.
This layer was actually completed prior to starting on the evolution
tree, as it provides the reference points in terms of time. It
was later moved on top of the evolution tree so that the red lines
would be on top of the tree, rather than under it. There are
several layers within this layer. Note that we had to run the bottom
two lines only part way across the poster. When they ran all the way
across, they showed between the insets, which was distracting. |
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Layer 4 - Insets. These
contain information that explains the poster Each is a tint
block, surrounded by a frame line. The frames are red on the
milestones at left and green on the rest of the poster. Insert placement was
changed several times. On the early drafts, the stump of the
evolution tree was in the center of the poster, but it resulted in an awkward design
as the most primitive animals were on the left requiring an ungainly
branch to reach them. It also resulting in wasted space
and broke up the flow of the information contained in the insets.
These problems were solved by moving the base of the tree to the left. |
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Layer 5 - This contains the
temporary reference images. It took several months to determine
the species to be shown on each branch in each geological time period.
We then had to find a usable image of it. In creating the layout, we
made extensive use of images gleaned from books, the Internet and
other sources. |
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Layers 6, 7, 8, 9 - Temporary image
layers. Early layouts called for 126 images, but we ended up
with 130. All would have
to be created by our illustrators. A layer was establish for
each artist and the images that they were assigned to create were
moved to a layer carrying their name. As images were
completed and delivered, they were moved to a layer titled "have
images," which is that shown above.
All layers can be turned on and off. This permits us to see all
the images, only the temporary images not yet assigned, those
assigned to each artist that have yet to be delivered and the final
images that we have added to the poster. Thus the layers were used as
a means of production control. |
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Layer 10 - Headlines, text, and
captions. All of the "words" go on one layer. This is very
handy for proof reading as we can turn off all other layers thus
removing distractions.
Layer 11 - Not shown. These include our production notes.
In general these reflect changes that we want to make and areas that
we feel need improvement. . |
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COLORS. InDesign also uses
swatches to control colors. We use CMYK colors, as they are
intended for printing (RGB colors are for the web). Each color
is specified in terms of percentage of color, such as
Cyan = 10%, Magenta = 8%, Yellow = 14% and Black = 10%. The name
swatch can show this mix or be given a descriptive name. We prefer to
the latter. This poster uses 18 colors. Some of the names
are: poster background, geo time chart background, geo time chart
lines, inset background, inset frame, evolution tree, evolution
tree outline, headlines, clades boxes, clade box frames, body copy,
etc. Each element in the poster is assigned a swatch color.
Often we "tweak" colors as we add images or change elements.
By changing the color composition of the swatch, we
change the color of all elements in the poster that use that swatch.
This make it very easy to experiment with different color
combinations. The above variation was created in a just a couple of
minutes by changing the swatches. It's a hideous color combination,
but shows how radically colors can be changed. Generally we
experiments with at least a half dozen color schemes before zeroing in
on one that we like. We may then try a dozen variations of it.
In practice, we often use a tint color as a temporary background, but
later replace it with a textured background.
FONTS - Fonts are controlled the same way. Every word of
text is assigned a profile. We can then change the profile (such
as Milestone headings, body text, captions) which includes front,
size, weight, style, leading, color, etc. This immediately changes
every occurrence of that profile in the entire poster. We also use
this feature for proofreading. For example, scientific names must be
shown in italics. We may temporarily change the "scientific
name" font in both size and color to make them stand out. This
lets us ensure that all have the proper font. Once everything
is checked, we change the font style back to the way it should be.
FINALIZING. Once a first draft is finished, copies are printed
and distributed to our consultants for any last minutes changes,
additions or omissions. Copies are also proof read by at least two
professional editors. Once content has been finalized, we made a color
proof. Then we may adjust images or tweak the colors. Now the
poster is ready to be printed. |
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