 | | Design>Graphic Design 525 found. Page 1 of 21. |
#26962
从心理学角度来讲，不同的颜色代表不同的意思。从这个观点出发，本文讨论网页界面中背景颜色和内容颜色的关系。了解这个关系，有利于：a) 为网页中不同的内容选择适合的颜色；b) 浏览网页时，可以方便的找到需要的内容。
Yuan, Xiaowei and Xiaoqin Wang. uiGarden (2005). (Chinese) Design>Web Design>Graphic Design>Color
#20668
3D: A Better Way to Produce High Quality? 
Going three-dimensional in graphics has many advantages – at least in theory. Everyone knows how tired you will become of the same graphic element, however nicely drawn, when used over and over. Someone at the department has taken the time to get good reference-material and draws an airplane, a train or something else rather complicated, and of course the drawing gets stored for further use. The next time you need such an illustration you simply copy-paste the element into the new graphic.
VisualJournalism (2002). Design>Graphic Design>Technical Illustration
#28436
Three-dimensional illusion effects are powerful devices that can achieve excellent results. They can also add significantly to overall page filesize, and can reduce usability if overused, so should be used deliberately and with care (unlike the title image above, see cooltext.com if you want one).
Hunt, Ben. Web Design From Scratch (2005). Design>Web Design>Graphic Design>3D
#21913
If you ever create shadows in your designs or illustrations, check out these tips for making them richer and more realistic.
Campbell, J. Scott. Adobe Magazine (1997). Design>Graphic Design>Image Editing
#21452
Accentuation in Technical Illustration
There are various ways to accentuate a specific part in its installation position. However in order to keep the printing cost as low as possible, it is recommended to opt for stylistic devices that are all in black and white.
ITEDO Software. Articles>Graphic Design>Technical Illustration>Color
#25769
Accurate Image Manipulation for Desktop Publishing
Devoted to the best possible quality in the desktop publishing workflow. This calls for accurate calibration and correct choice for the working space.
#27428
Shows how to create a stroke layer style in Photoshop CS2 to quickly add a custom border to your photos.
Kloskowski, Matt. Planet Photoshop (2006). Design>Graphic Design>Software>Adobe Photoshop
#25049
Now you can add drop shadows automatically in Adobe InDesign. Sandee Cohen shows how to feather shadow edges and adjust transparency to get the results you want.
Cohen, Sandee. Adobe (2004). Design>Document Design>Graphic Design
#22665
Add Inspiration With Illustrations
Which comes first, the concept or the artwork? The assumption has always been that you first figure out the concept, then find the art to fit. But even if we leave many things in our life unquestioned--design shouldn't be one of them.
Will-Harris, Daniel. Typofile (2003). Design>Web Design>Graphic Design
#25891
Adding Reflections to Water in Photoshop
Denny Tang shows how to add sparkle to your images of water in this Photoshop tutorial.
Tang, Denny. Graphics.com (2005). Design>Graphic Design>Image Editing>Adobe Photoshop
#22312
Adobe Photoshop CS Layer Effects
In this topic, you will apply Bevel and Emboss and Outer Glow effects to an Adobe Photoshop CS type layer.
Adobe (2004). Design>Graphic Design>Software>Adobe Photoshop
#22311
Adobe Photoshop CS Type Layers
In this topic, you will create a Photoshop CS type layer in which you will add and format type.
Adobe (2004). Design>Graphic Design>Software>Adobe Photoshop
#28056
Adobe Photoshop Power Shortcuts 
In Photoshop CS2, many of the shortcuts for the application menus, palette menus and tools can be customized using the Keyboard Shortcuts editor. Although this document mentions some of the more common editable shortcuts, it also provides additional functionality only accessible through using keyboard modifiers which can't be changed through the Keyboard Shortcut editor. Although this is not a completely comprehensive list of all of the keyboard shortcuts in Photoshop CS2, it is my goal to present the shortcuts and additional functionality that enable me to use Photoshop CS2 both more freely and efficiently.
Kost, Julieanne and Daniel Brown. Adobe Evangelists (2006). Design>Graphic Design>Software>Adobe Photoshop
#22493
AIGA Design Forum: Illustration
Illustration lies in a no man's land, somewhere between fine art and clip art. Though illustration remains a powerful and versatile communication tool, it often plays a lonely role in the graphic arts. Illustrators operate from isolated studios, ignorant of the concerns of designers, who in turn are oblivious to the needs of illustrators. Design Forum: Illustration is an online forum built to bridge the gap between these two worlds. It's a place for criticism, commentary, and dialogue between illustrators and designers, to explore the evolving role illustration plays in today's publishing environment.
Niemann, Christoph. AIGA. Design>Graphic Design>Technical Illustration>Community
#22492
AIGA Design Forum: Professional Practices
As a champion of creativity, quality and a strong sense of community, AIGA is a valuable resource for designers seeking support for the work we do. Professional Practices focuses on important issues designers face daily, from the pragmatic matters of management to the pursuit of design excellence and integrity. Sometimes our work can be magical, other times our work can be mundane, and on any given day we believe this forum is the place to seek best practices, share success stories, and address the challenges of our profession.
Shelton, Sam. AIGA. Design>Graphic Design>Professionalism>Community
#29258
Airbrush Tutorial: Basic Painting Technique
Airbrush is a much less forgiving endeavor than digital illustration. The first use of the airbrush started in the 1890s and was accomplished by blowing air through a tube with your mouth. With airbrush there is no command>undo. Mistakes are costly as they usually result in the need to do a separate piece of work as a patch or fix and have a printer strip it into the main image.
Hulsey, Kevin. Kevin Hulsey Illustration (2006). Design>Graphic Design>Technical Illustration
#11814
American Institute of Graphic Arts (AIGA)
The purpose of AIGA is to further excellence in communication design as a broadly defined discipline, strategic tool for business and cultural force. AIGA is the place design professionals turn to first to exchange ideas and information, participate in critical analysis and research and advance education and ethical practice.
AIGA (2001). Organizations>Graphic Design
#20674
Antialiasing Examples from Real Applications
Different graphical software applications have different abilities at antialiasing: some software is very good at it, while other software is not. Here are some examples for comparison.
IsoCalc. Design>Graphic Design>Typography>Technical Illustration
#20675
Antialiasing is a method of representing perfect, continuous vectors on imperfect, discontinuous display devices so that they look as perfect as possible.
IsoCalc. Design>Graphic Design>Typography>Technical Illustration
#21497
Applicability of CGM Versus SVG for Technical Graphics
As certain traditional technical and engineering applications become established on the Web, they bring with them information resources that mix text and data with significant technical graphics components. Technical graphics for such applications as aircraft maintenance manuals are characterized by high volume and complexity, stringent fidelity and interoperability constraints, and long life cycle. W3C has two standards for Web based graphics, WebCGM and SVG. WebCGM was specifically standardized for technical applications. SVG has much broader applicability. In a nutshell, the usual formula is 'WebCGM for Web-based technical graphics, SVG for graphic arts and creative graphics.' Still, the questions continue to arise. why there are two formats, and isn't it possible to use the one for the other application? When one takes a careful and detailed look at the two formats, in the context of the particular requirements of technical illustration, then specific differences emerge. This session will present such a comparison, from both the theoretical, functional perspective, as well a practical real-world (implemenations and interoperability) perspective. The comparison is based on an ongoing study that has been conducted within the CGM Open consortium and the Graphics Working Group of the Air Transport Association.
CGMopen (2003). Design>Graphic Design>Technical Illustration>Online
#22797
Introduces the principles and techniques of the art director, and shows how art directional concepts can shape memorable user experiences.
Hay, Stephen. List Apart, A (2004). Design>Web Design>Graphic Design
#20939
Art from Turmoil: Stock Promotions Blitz Metaculture
The stock catalog, a tool that was once used for research, has become a funky book that you look through for ideas and inspiration.
Shinn, Nick. ShinnType (2002). Design>Graphic Design>Publishing
#20667
The Assault on Arafat's Compound
An illustrative diagram to complement a news story from April 2002.
Gabel, Ed. VisualJournalism (2002). Design>Graphic Design>Technical Illustration>Isometric
#28383
The Association of Medical Illustrators
The professional objectives of the AMI are to promote the study and advancement of medical illustration and allied fields of visual communication, and to promote understanding and cooperation with the medical profession and related health science professions. Its members are primarily artists who create material designed to facilitate the recording and dissemination of medical and bioscientific knowledge through visual communication media. Members are involved not only in the creation of such material, but also serve in consultant, advisory, educational and administrative capacities in all aspects of bioscientific communications and related areas of visual education.
AMI. Organizations>Graphic Design>Technical Illustration>Biomedical
#22708
Attractive Vectormaps: A Call for Well-Arranged Webmaps
If a user has a choice between two maps he/she will often use the map with the 'better' design. This means a map, besides being readable, should be visually attractive, comparable with other maps and eventually deliver some tools to navigate and interact with a map. A further problem is that a lot of maps are not always self-explaining by default. SVG offers some possibility to make maps well designed. The readability is dependent on several factors: e g. the chosen colors, used fonts or minimal dimensions for symbols, line-styles and fill-patterns. The article is pointing to basic principles for designing visually attractive maps.
Dahinden, Tobias. SVG Open (2002). Design>Web Design>Graphic Design>Cartography
| Copyright © 2001-08 by the EServer. All rights reserved. | Add a Work | Site Preferences | Discussion Forum | Habitués |
