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	<title>Design&gt;Graphic Design</title>	<link>http://tc.eserver.org/dir/Design/Graphic-Design</link>
	<description>A listing of the most recently indexed works about Design and Graphic Design in the field of technical communication.</description>
	<language>en-us</language>
	<copyright>Copyright (c) 2005-08 by the EServer. All rights reserved.</copyright>
	<managingEditor>tclib-editorial@eserver.org (TC Library Editorial Board)</managingEditor>
	<webMaster>webmaster@eserver.org (Geoffrey Sauer)</webMaster>
	<image>
		<url>http://tc.eserver.org/images/newlogo.gif</url>
		<title>Design&gt;Graphic Design</title>
		<link>http://tc.eserver.org/dir/Design/Graphic-Design</link>
	</image>
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		<title>Why Do We Need Doctoral Study in Design?</title>
		<link>http://tc.eserver.org/35840.html</link>
		<guid>http://tc.eserver.org/35840.html</guid>
		<description>This article makes a case for why design research is important to contemporary design practice and the deepening of the design disciplines, especially at this point in our history. It identifies the pressures on knowledge generation exerted by the shift from a mechanical, object-centered paradigm for design practice to one characterized by systems that: evolve and behave organically; transfer control from designers to users or participants; emphasize the importance of community; acknowledge media convergence; and require work by interdisciplinary teams to address the complexity of contemporary problems.</description>
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		<title>What Everybody Ought to Know About Digital Photo Retouching</title>
		<link>http://tc.eserver.org/35703.html</link>
		<guid>http://tc.eserver.org/35703.html</guid>
		<description>Today we take a look deeper into the hidden art of digital retouching where skies can always be blue and imperfections simply disappear.  Whether you like it or hate it, think it’s necessary or not, retouching is here to stay.</description>
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		<title>Understanding Your Brain for Better Design: Left vs. Right</title>
		<link>http://tc.eserver.org/35704.html</link>
		<guid>http://tc.eserver.org/35704.html</guid>
		<description>This article will cover a basic understanding of what the left and right brains are, and each of their traits. We’ll also go into how we, as creative people, can harness this understanding of the left and right brain to be more creative, as well as succeed in other work-related tasks.</description>
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		<title>Be Kind to the Color Blind</title>
		<link>http://tc.eserver.org/35638.html</link>
		<guid>http://tc.eserver.org/35638.html</guid>
		<description>Using color and color alone as a visual cue is appealing because it’s usually an aesthetically pleasing and a minimalist design technique. Calls to action and visual cues are critical to interface designers because users, especially on the web, have limited patience and are looking to process information and make decisions quickly. Since the brain recognizes and forms an emotional bond with colors almost immediately, colors are a natural choice for visual cues. Unfortunately, it’s easy to alienate or confuse some of your users when some of those aesthetically pleasing colors look very similar. To point out a few interfaces that use hard to differentiate colors as visual cues, here are a few examples that have given me some trouble.</description>
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		<title>Visual Methods of Communicating Structure, Relationship, and Flow</title>
		<link>http://tc.eserver.org/35645.html</link>
		<guid>http://tc.eserver.org/35645.html</guid>
		<description>Many of us are more comfortable communicating in words than in pictures. For example, user assistance writers are by nature and training writers, so they understand words and are adept at using word processing and publishing tools. Writers use lexicentric tools not only for creating and delivering content, but also as cognitive tools—that is, tools that help them think more clearly and efficiently. Thus, a user assistance writer might create a user-task matrix or take advantage of a word processor’s outline view when creating or evaluating a document’s structure.</description>
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		<title>Using Expression Blend to Explore, Demonstrate, and Document Design Solutions</title>
		<link>http://tc.eserver.org/35649.html</link>
		<guid>http://tc.eserver.org/35649.html</guid>
		<description>For the last 6 months, I have been using Microsoft Expression Blend as my primary design tool. Blend, shown in Figure 1, is quickly becoming a powerful product. Its new Sketchflow module had me at hello.</description>
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		<title>The Ever-Evolving Arrow: Universal Control Symbol</title>
		<link>http://tc.eserver.org/35655.html</link>
		<guid>http://tc.eserver.org/35655.html</guid>
		<description>The arrow and its brethren are everywhere on our computer screens. For example, a quick examination of the Firefox 3.0 browser, shown in Figure 1 in its standard configuration, yields eight examples of arrows—Forward, Back, and Reload buttons, scroll bar controls, and drop-down menus that reveal search engine, history, and bookmark choices.</description>
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		<title>The Tangible View Cube</title>
		<link>http://tc.eserver.org/35604.html</link>
		<guid>http://tc.eserver.org/35604.html</guid>
		<description>As interaction designers at Autodesk, we sometimes engage in design and thought investigations that are not directly related to the task at hand. These investigations are ways to frame problems by venturing into related design disciplines. For example, in order to understand what might be an appropriate transition when changing views in a 3d model, we try to understand how a video artist would create a transition between two scenes in a video. To understand how to improve the graphic quality of elements drawn in a building information model, we look at lots of pencil sketches drawn by architects. We think, what would happen if an on-screen element was made from physical material?</description>
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		<title>Speed Racer: Collaborative Sketching Saves the Day</title>
		<link>http://tc.eserver.org/35607.html</link>
		<guid>http://tc.eserver.org/35607.html</guid>
		<description>Give 3 designers 4 weeks to create multiple conceptual designs for 8 features and what do you get?  If they are team of innovative designers you might get the designs and a new process.  If they are a team of committed designers you might get the designs and an improved collaboration.  We were lucky.  We got all three.</description>
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		<title>Chart Junk? How Pictures May Help Make Graphs Better</title>
		<link>http://tc.eserver.org/35560.html</link>
		<guid>http://tc.eserver.org/35560.html</guid>
		<description>New research shows that highly embellished graphs and charts may actually help people understand data more effectively than traditional graphs. </description>
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		<title>Usability Testing with User Proxies: When is &quot;Close&quot; Close Enough?</title>
		<link>http://tc.eserver.org/35593.html</link>
		<guid>http://tc.eserver.org/35593.html</guid>
		<description>How can we designers get valid feedback from more design iterations in less time? One bottleneck in the design flow is finding a steady stream of usability testers. Between the extremes of the perfect (an actual user, on site) and the unacceptable (the developer who&apos;s coding the feature), lies the grey zone of user proxies. Can you use internal employees with relevant domain knowledge to usability test your products, and still get valid data?</description>
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		<title>Sketching Design</title>
		<link>http://tc.eserver.org/35594.html</link>
		<guid>http://tc.eserver.org/35594.html</guid>
		<description>In his book, Sketching User Experience, Bill Buxton advocates for sketching as a technique and process that can put experience front and center in design. I am a big fan of sketching and use the techniques I first learned in architecture school for interaction design. In this post, I’m going to give you a quick peek at the types of sketches I typically create in my design process with the hope that it will inspire you to try sketching for you next project.</description>
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		<title>Editors and Designers: 6 Ideas for Better Collaboration</title>
		<link>http://tc.eserver.org/35519.html</link>
		<guid>http://tc.eserver.org/35519.html</guid>
		<description>Demonstrates how collaboration between all involved in a project can improve the final product, improve the bottom line, and improve your own knowledge base. By understanding the point of view of your collaborators, you can present information better and be sure they understand your point of view better as well.</description>
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		<title>Design Reviews and Posting Without Answers</title>
		<link>http://tc.eserver.org/35527.html</link>
		<guid>http://tc.eserver.org/35527.html</guid>
		<description>In our design review sessions, a couple of members from our eight-person team share what they’re working on and ask questions about challenges they’re facing. We provide feedback and critique their project. If you’ve ever participated in a creative writing group, the design review works similarly. Team members use common sense and experience to guide their questions and reviews. Somewhat in contrast to a creative writing group, though, you don’t have to bring a finished piece to share.</description>
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		<title>Rich Typography On The Web: Techniques and Tools</title>
		<link>http://tc.eserver.org/35476.html</link>
		<guid>http://tc.eserver.org/35476.html</guid>
		<description>In addition to font stacks, why not replace the heading text with an image, embedded font, or bit of Flash? The methods described below are easier than they sound. And the end result is that the vast majority of users will see the beautiful typography you want them to see. A word of warning, though: don’t use dynamic text replacement for all of the text on your page. All that would do is slow it down and frustrate your visitors. Instead, save it for headings, menu items, pull quotes and other small bits of text.</description>
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		<title>Ampersands With Attitude</title>
		<link>http://tc.eserver.org/35483.html</link>
		<guid>http://tc.eserver.org/35483.html</guid>
		<description>Ampersands have long been the character in a typeface with which typographers can indulge themselves. Sweeping curves, flirtatious finishes and bold statements – these are the things that make ampersands an exciting character to use and, better still, to design. There are, however, two problems.</description>
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		<title>Analysis of Team Design Review</title>
		<link>http://tc.eserver.org/35451.html</link>
		<guid>http://tc.eserver.org/35451.html</guid>
		<description>Every other team meeting, three team members get 30 minutes each to talk about projects they are working on, and they get to demonstrate some of the cool things they are integrating into the project. As a team, we look at the project and both learn from what they’ve done, and make suggestions on how they might improve the project.</description>
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		<title>Setting Up Photoshop For Web, App and iPhone Development</title>
		<link>http://tc.eserver.org/35457.html</link>
		<guid>http://tc.eserver.org/35457.html</guid>
		<description>Most people who have designed websites or apps in Photoshop will, at one point or another, have had issues trying to match colors in images to colors generated by HTML, CSS or code. This article aims to solve those problems once and for all.</description>
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		<title>Design a Magazine Cover</title>
		<link>http://tc.eserver.org/35462.html</link>
		<guid>http://tc.eserver.org/35462.html</guid>
		<description>It may sound like a simple thing, but you better believe that a lot of thought goes into the design of a magazine cover. Covers compete for attention next to dozens of other magazines on the rack. In this tutorial, we’ll not only take you through the process of creating a cover, but also reveal techniques that designers use to make their covers stand out.</description>
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		<title>Visual Design for the Non-Designer</title>
		<link>http://tc.eserver.org/35318.html</link>
		<guid>http://tc.eserver.org/35318.html</guid>
		<description>What can a non-designer do to harness the power of visual design without calling professional help? Quite a lot, says internationally-regarded visual designer Dan Rubin. We called Dan to talk about what design techniques are accessible to mere mortals.</description>
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		<title>The Social Life of Visualization: Part 1</title>
		<link>http://tc.eserver.org/35273.html</link>
		<guid>http://tc.eserver.org/35273.html</guid>
		<description>In 2009 we are in the midst of an interesting era for data visualization, particularly as it becomes coupled with the social web. Increasing processing speed, bandwidth and storage capacity are making it relatively simple to render and access visual representations of data. Developers have released libraries of code so we can easily create our own visualizations; and access to all kinds of data is becoming incredibly standardized, particularly through the use of APIs. So as visualization becomes much more straightforward to integrate into online environments, it makes sense to rethink how it can best be used in this setting.</description>
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		<title>Stock It To Me</title>
		<link>http://tc.eserver.org/35200.html</link>
		<guid>http://tc.eserver.org/35200.html</guid>
		<description>I do think stock photography allows you to quickly add professional looking images with somewhat of a limited budget. However, it is extremely easy to settle on tired overused somewhat ambiguous images (cliche handshakes, “strategizing” business people and towering skyscrapers) or even worse, duplicates of the same picture or people on different (potentially competitor) company branded information.</description>
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		<title>Let’s Call It a Draw(ing Surface)</title>
		<link>http://tc.eserver.org/35183.html</link>
		<guid>http://tc.eserver.org/35183.html</guid>
		<description>HTML 5 defines the CANVAS element as “a resolution-dependent bitmap canvas which can be used for rendering graphs, game graphics, or other visual images on the fly.” A canvas is a rectangle in your page where you can use JavaScript to draw anything you want.</description>
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		<title>How to Draw with HTML 5 Canvas</title>
		<link>http://tc.eserver.org/35118.html</link>
		<guid>http://tc.eserver.org/35118.html</guid>
		<description>Among the set of goodies in the HTML 5 specification is Canvas which is a way to programmatically draw using JavaScript. We’ll explore the ins and outs of Canvas in this article, demonstrating what is possible with examples and links.</description>
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		<title>Dos and Don&apos;ts for Designers Dealing with Business</title>
		<link>http://tc.eserver.org/35109.html</link>
		<guid>http://tc.eserver.org/35109.html</guid>
		<description>Some clients genuinely don&apos;t and never will &apos;get it.&apos; But think long and hard before laying the blame for a poorly executed project at the feet of the non-designer. A critical part of the designer&apos;s job is to explain why something has to be done a certain way. If you can&apos;t convince the client, who chooses to go another, disastrous route, that&apos;s not actually his or her fault. It&apos;s yours.</description>
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		<title>What to Do When You Have Nothing Better to Do</title>
		<link>http://tc.eserver.org/35110.html</link>
		<guid>http://tc.eserver.org/35110.html</guid>
		<description>Most designers, for most of their education and careers, have been trained to think of themselves as problem solvers. True. But that doesn&apos;t mean we can&apos;t seek out the problems we want to solve too; there&apos;s no law that says that you have to be part of an organization to take on a cause you&apos;re passionate about.</description>
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		<title>Copywriting or Design: Which Gets the Best Results?</title>
		<link>http://tc.eserver.org/35094.html</link>
		<guid>http://tc.eserver.org/35094.html</guid>
		<description>Designers believe that if something isn’t working well, and it comes down to changing the copy or the design, it’s always the copy that should be changed, reduced or sometimes nearly completely eliminated. How can I convince my designer co-workers that succinct, simple and memorable words can be just as important as the visuals?</description>
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		<title>Eleven Ways to Use Images Poorly in Slides</title>
		<link>http://tc.eserver.org/34981.html</link>
		<guid>http://tc.eserver.org/34981.html</guid>
		<description>As digital cameras have become ubiquitous, and cheap (or free) photo websites plentiful, more people than ever are using images in presentations. Images are not appropriate for every kind of talk, but even when images are appropriate (such as keynote/ballroom style presentations), people are still making the same common mistakes. So here are some things to keep in mind if you use images in your next talk.</description>
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		<title>Ten Tips on How to Think Like a Designer</title>
		<link>http://tc.eserver.org/34971.html</link>
		<guid>http://tc.eserver.org/34971.html</guid>
		<description>Below are 10 things (plus a bonus tip) that I have learned over the years from designers, things that designers do or know that the rest of us can benefit from.</description>
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		<title>The Art of Icons</title>
		<link>http://tc.eserver.org/34935.html</link>
		<guid>http://tc.eserver.org/34935.html</guid>
		<description>Being &quot;minimalist&quot; and &quot;streamlined&quot; is not always most effective. Have you ever written yourself a quick, shorthand note, only to find later that you had no way to unpack your own great idea?&#xD;&#xD;Icons work similarly. They are pictures – meant to provide a visual shorthand to users moving through a task. While research indicates that icons are best when initially paired with text to increase recognition and learnability, users experienced with a given set of icons will begin to ignore the text, scanning for and acting from the image alone.</description>
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		<title>Beware of Style in Icon Design!</title>
		<link>http://tc.eserver.org/34950.html</link>
		<guid>http://tc.eserver.org/34950.html</guid>
		<description>The icons or baby faces used as part of user interface have now turned into a major aspect of product branding. With powerful computers, enhanced graphics capabilities, advanced tools for illustration, and professionals to advocate rich user experience, icon design has become more important and complex than ever before! Windows Vista has raised the standard of quality icons even higher. An interface design project forced me to think about ’style’ in icon design. It raised some basic questions in my mind.</description>
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		<title>Spatial Descriptions by Children</title>
		<link>http://tc.eserver.org/34951.html</link>
		<guid>http://tc.eserver.org/34951.html</guid>
		<description>Drawing a map is cognitively challenging. It requires you to do some abstract visualization.</description>
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		<title>Jim Coudal of Coudal Partners</title>
		<link>http://tc.eserver.org/34915.html</link>
		<guid>http://tc.eserver.org/34915.html</guid>
		<description>Manufacturing, distribution, marketing, sales, customer contact – all of that is supremely manageable by a very small team. In the traditional model, you have this big corporation where the creative department is in the back, and they’re those wacky people with the Tabasco ties and chattering teeth in their cubicle, and everybody is a little afraid of them because they’re so “wild.” The rest of the company is the marketing, production, distribution, all of that. Well, our idea was that the little creative team could do everything.</description>
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		<title>Photoshop CS4 Help Guide</title>
		<link>http://tc.eserver.org/34766.html</link>
		<guid>http://tc.eserver.org/34766.html</guid>
		<description>The official Adobe Reference guide is available online and in PDF form. While not exactly a “quick” reference guide, it is essential for anyone who uses Photoshop professionally.</description>
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		<title>In Which a Concept Model Makes Me Giddy</title>
		<link>http://tc.eserver.org/34567.html</link>
		<guid>http://tc.eserver.org/34567.html</guid>
		<description>Concept models aren&apos;t for everyone. When I show fellow designers these artifacts, I sometimes get &quot;You show that to clients?&quot; Like any deliverable, there&apos;s a time and a place for concept models. If you&apos;re anything like me, however, you think visually. Even if your models don&apos;t see the light of day, a good model can help you get a better grip on the problem, or lay some groundwork for your designs.</description>
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		<title>Trouble-Free Color Palettes: Transform</title>
		<link>http://tc.eserver.org/34495.html</link>
		<guid>http://tc.eserver.org/34495.html</guid>
		<description>As the internet and television bring us instant information and access to millions of resources worldwide—some more trustworthy than others—separating fact from fiction requires a bit of skill ... and luck. Illustrator Lonnie Busch recognizes this conundrum, as depicted in his illustration below. Using a palette that combines warm, rich shades along with cooler highlights, Busch is able draw the viewer into the action.</description>
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		<title>Effective Alt Text</title>
		<link>http://tc.eserver.org/34473.html</link>
		<guid>http://tc.eserver.org/34473.html</guid>
		<description>It is perfectly possible to diligently apply alt text to every image on a site and create a result that is completely useless. Unless the alt text effectively conveys the information the image displays, it will be ineffective.</description>
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		<title>Making $10,000 a Pixel: Optimizing Thumbnail Images in Search Results</title>
		<link>http://tc.eserver.org/34406.html</link>
		<guid>http://tc.eserver.org/34406.html</guid>
		<description>In search results, the old adage a picture is worth a thousand words rings true. When it comes to making your search results more efficient to use, more relevant, and more attractive, images reign supreme. There is simply nothing else on your search results pages that can come close to offering the same potential as thumbnail images for dramatically increasing your conversion rates and revenues.</description>
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		<title>How to Take Excellent Portrait Photos</title>
		<link>http://tc.eserver.org/34305.html</link>
		<guid>http://tc.eserver.org/34305.html</guid>
		<description>Simply put, a portrait is a representation of a person.They usually focus on a person’s face, mood and expression. Traditionally portraits were sculptures or paintings however, in modern times, a photograph is the most recognized way of taking a portrait. In most cases, the subject looks straight at the camera in order to engage the viewer. In this article, we’ll be giving you simple techniques to help you take portraits and also self portraits, to make the very best of your photos.</description>
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		<title>How to Make a Photoshop Montage</title>
		<link>http://tc.eserver.org/34309.html</link>
		<guid>http://tc.eserver.org/34309.html</guid>
		<description>Anyone can cobble together a few photos and textures and create a humdrum montage. To elevate yours beyond this it takes a few simple tricks using Photoshop’s awesome array of tools. Do it right and the style has got dozens of applications from static navigation or graphics, through to animated banners and interactive collages. This tutorial explains how to create a great Photoshop montage in 19 steps, so let’s get started and have fun with it.</description>
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		<title>Intro to Git for Web Designers</title>
		<link>http://tc.eserver.org/34312.html</link>
		<guid>http://tc.eserver.org/34312.html</guid>
		<description>Unless you’re a one person web shop with no team to collaborate with, you’ve experienced the frustration that goes along with file sharing. No matter how hard you try, when multiple people are working on a single project without a version control system in place things get chaotic. In this article, I’ll give you a quick review of Git, an excellent version control system.</description>
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		<title>Git Resources</title>
		<link>http://tc.eserver.org/34313.html</link>
		<guid>http://tc.eserver.org/34313.html</guid>
		<description>Git, though remarkably handy and powerful, is also remarkably hard to use sometimes. Though you can learn the basics easily enough, it can be really tough to dig yourself out of certain corners if you don’t understand what’s going on under the covers.&#xD;&#xD;This page provides links to documents, how-tos, cheat sheets, tips, and tricks related to learning and using git.</description>
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		<title>Fifty Monochromatic Website Designs</title>
		<link>http://tc.eserver.org/34317.html</link>
		<guid>http://tc.eserver.org/34317.html</guid>
		<description>Color choice is a key element to the success of any design. It invokes an atmosphere and sets the mood. One method for using color is to use only shades of a color, which is known as a monochromatic color scheme.</description>
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		<title>Image Optimization Part 1: The Importance of Images</title>
		<link>http://tc.eserver.org/34247.html</link>
		<guid>http://tc.eserver.org/34247.html</guid>
		<description>On average, 46.6% of the page weight for these popular sites consists of images, included either inline with &lt;img&gt; tags or via CSS stylesheets. This is a massive percentage and it tells us one thing: There’s huge potential to improve the performance of websites if we can improve the way we handle the image payload. By focusing on images you can make a difference and delight your site visitors with a faster and more pleasant experience.</description>
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		<title>Sixteen Usable CSS Graph and Bar Chart Tutorials and Techniques</title>
		<link>http://tc.eserver.org/34189.html</link>
		<guid>http://tc.eserver.org/34189.html</guid>
		<description>Have you ever even tried to create your own CSS graph? If you have, you will know how hard it is. Using Flash is one way to go, but you just can’t beat a beautifully crafted CSS Graph. Have a look at these tutorials and techniques.</description>
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		<title>Photos for Interaction</title>
		<link>http://tc.eserver.org/34169.html</link>
		<guid>http://tc.eserver.org/34169.html</guid>
		<description>Software companies and other parties involved begin to use the power of a distinct visual design to express both their brand identity and custom interactive design solutions to the users. While this implies a new freedom for designers working in the field of interactive software products, it strengthens the importance of visual design for the design of user interfaces. Designers working on concrete graphic solutions for a specific interface are breaking away from established standards defined by a software vendor. It is now the responsibility of those user interface designers to choose graphical elements wisely to make a product’s interaction principles visible and usable.</description>
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		<title>Strategic Numbers: Discussing the Value of Design With Sara Beckman</title>
		<link>http://tc.eserver.org/34141.html</link>
		<guid>http://tc.eserver.org/34141.html</guid>
		<description>We’re excited to bring Sara Beckman from the faculty at the Haas School of Business back into the Adaptive Path fold. We first worked with her in 2003 on our groundbreaking report, Leveraging Business Value: How ROI Changes User Experience.</description>
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		<title>A Periodic Table of Visualization Methods</title>
		<link>http://tc.eserver.org/34106.html</link>
		<guid>http://tc.eserver.org/34106.html</guid>
		<description>An interactive presentation of a variety of visualization techniques used by graphic designers, technical illustrators and document designers to convey information.</description>
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		<title>Four Ideas to Organize Your Technical Document Images and Screen Shots</title>
		<link>http://tc.eserver.org/34019.html</link>
		<guid>http://tc.eserver.org/34019.html</guid>
		<description>Most technical writers would include at least a few images to illustrate a point, or screen shots that accompany the description of a certain step-by-step procedure, etc.&#xD;&#xD;Organizing such images can really become a problem, especially when you have dozens and hundreds of them. Finding, editing, and importing them can quickly become a logistical nightmare, especially when a technical writer is working under a deadline pressure.&#xD;&#xD;Here are four ideas to organize and name your images for higher productivity.</description>
	</item>
	<item>
		<title>ANTI</title>
		<link>http://tc.eserver.org/33910.html</link>
		<guid>http://tc.eserver.org/33910.html</guid>
		<description>ANTI Magazine aims to showcase outstanding visual content as an online magazine and also through future exhibitions all around the world. We are interested in showcasing all styles of visual media, including: illustration, graphic design, photography, drawing, painting, etc.</description>
	</item>
	<item>
		<title>Why 2007 I.P.C.C. Report Lacked ‘Embers’</title>
		<link>http://tc.eserver.org/33891.html</link>
		<guid>http://tc.eserver.org/33891.html</guid>
		<description>Several authors of the 2007 report by the Intergovernmental Panel on Climate Change on the projected effects of global warming now say they regret not pushing harder to include an updated diagram of climate risks in the report. The diagram, known as “burning embers,” is an updated version of one that was a central feature of the panel’s preceding climate report in 2001.</description>
	</item>
	<item>
		<title>So, You Want To Screen Capture, Huh?</title>
		<link>http://tc.eserver.org/33849.html</link>
		<guid>http://tc.eserver.org/33849.html</guid>
		<description>Here&apos;s a quick tutorial about screen captures, thus the title. If you&apos;re not sure what a screen capture is, then think about the pages you&apos;ve seen lately. Maybe some of them have had specific sections of the desktop or a program made into an image. It was almost as if they captured part of the screen as an image.</description>
	</item>
	<item>
		<title>Text Extraction from Graphical Objects During XML Conversion</title>
		<link>http://tc.eserver.org/33797.html</link>
		<guid>http://tc.eserver.org/33797.html</guid>
		<description>Materials that include ornamentation and complex design features have long been challenging to convert to XML, even by hand. The problem is two-fold: complex documents usually contain a variety of graphics, some of which may be simple ornamentation, with others actually fundamental to the subject matter. In addition, these graphics can consist of images overlaid either with text that is integral to the image content, or with actual body text. The analysis and extraction of such content into a meaningful order in the converted XML file is not currently possible via scripting conversion tools, and can be time-consuming and arduous to tag manually.</description>
	</item>
	<item>
		<title>Applying Techniques of Textual Reuse to Graphics Using SVG and XML</title>
		<link>http://tc.eserver.org/33756.html</link>
		<guid>http://tc.eserver.org/33756.html</guid>
		<description>Structured data techniques are typically applied to text-based data. Technologies like SGML and XML have allowed text-based publishing to constrain and control the creation of text-based information, increasing the usefulness, accuracy, and reuse of information.</description>
	</item>
	<item>
		<title>Good Designs Have Strong Contrast</title>
		<link>http://tc.eserver.org/33604.html</link>
		<guid>http://tc.eserver.org/33604.html</guid>
		<description>Push contrast more than you might be naturally inclined. If you don’t, you end up with conflict. The next time you eat at a restaurant, look closely at the menu. A good menu has a high degree of contrast between sections.</description>
	</item>
	<item>
		<title>Graphic Thoughts: My Top 10 Photoshop Moves, Part 1</title>
		<link>http://tc.eserver.org/33533.html</link>
		<guid>http://tc.eserver.org/33533.html</guid>
		<description>Almost every time I speak to an audience about graphics or Photoshop, I’m asked if I went to school to learn what I know about the application. The truth is that while I spent more than 3 years in an Advertising Art degree program, I ultimately switched gears and got a Bachelor of Business Administration degree in marketing (Mom and Dad were thrilled with this news!), and that was in the early ’90s—pretty much in the infant stages of Photoshop.</description>
	</item>
	<item>
		<title>Graphic Thoughts: Creating Great Backgrounds in A Snap</title>
		<link>http://tc.eserver.org/33540.html</link>
		<guid>http://tc.eserver.org/33540.html</guid>
		<description>Recently, I had the chance to go with my in-laws to City Museum in St. Louis. What an amazing place to get lost in by crawling through inventively designed tunnels that go underground to many stories below the city streets. The most impressive thing to me was how the place was constructed—they used everyday items, such as metal storage bins, bottles, and gears (plus what looked like a million other items) to create elaborate mazes of artwork.</description>
	</item>
	<item>
		<title>Creating Perspective Shadows</title>
		<link>http://tc.eserver.org/33545.html</link>
		<guid>http://tc.eserver.org/33545.html</guid>
		<description>Perspective—it’s one of the first things you learn about in any art class. The basic idea is that it’s the way your eye actually sees something, represented on a flat surface such as paper or a monitor. A simple example is drawing a group of objects: You represent an object in the distance by making it smaller, while making objects close to the viewer larger—make sense?&#xD;&#xD;In this tutorial, I’m going to show you how to create perspective shadows in Adobe Photoshop CS3. The result is dynamic, but the technique is a breeze!</description>
	</item>
	<item>
		<title>Stepping into Oz: Managing and Delivering Successful Visual Design</title>
		<link>http://tc.eserver.org/33483.html</link>
		<guid>http://tc.eserver.org/33483.html</guid>
		<description>How can design teams get to a successful visual design with their clients? Getting to the right visual design can be the trickiest part of a design project. One of the key reasons is that some clients have a hard time saying clearly what they want from the visual design.</description>
	</item>
	<item>
		<title>The Joy of Sketch: Explorations in Hand-Crafted Visuals</title>
		<link>http://tc.eserver.org/33484.html</link>
		<guid>http://tc.eserver.org/33484.html</guid>
		<description>There’s always been a strong visual element to our work: architecture diagrams, interface wireframes, concept models, system and service models. And we’ve become adept at the computer applications that help us create these things. But there are other tools out there, such as the simple tools of pen, paper and sketching.</description>
	</item>
	<item>
		<title>The Sphere of Design</title>
		<link>http://tc.eserver.org/33487.html</link>
		<guid>http://tc.eserver.org/33487.html</guid>
		<description>This article introduces the &quot;Sphere of Design&quot;, which is a simple conceptual model that illustrates the relationship and trade-offs between &apos;looks&apos; and &apos;works&apos;.</description>
	</item>
	<item>
		<title>Design for Persuasion</title>
		<link>http://tc.eserver.org/33431.html</link>
		<guid>http://tc.eserver.org/33431.html</guid>
		<description>Five proven techniques for powerful and effective marketing design.</description>
	</item>
	<item>
		<title>The Design and Emotion Society</title>
		<link>http://tc.eserver.org/33191.html</link>
		<guid>http://tc.eserver.org/33191.html</guid>
		<description>The Design and Emotion society raises issues and facilitates dialogue among practitioners, researchers, and industry, in order to integrate salient themes of emotional experience into the design profession. The Design and Emotion Society was established in 1999 as an international network of researchers, designers and companies sharing an interest in experience driven design. The network is used to exchange insights, research, tools and methods that support the involvement of emotional experience in product design.</description>
	</item>
	<item>
		<title>Five Simple Steps to Designing Grid Systems: </title>
		<link>http://tc.eserver.org/33144.html</link>
		<guid>http://tc.eserver.org/33144.html</guid>
		<description>Aesthetics can be measured and more importantly can be constructed. If you want something to be aesthetically pleasing there are steps you can take to make sure it is going in the right direction. Now I&apos;m not saying that &apos;follow these rules and you will create something beautiful&apos;. What I am saying is that by following a few of these guidelines can go some way into creating something compositionally balanced, which will inherently be more aesthetically pleasing.</description>
	</item>
	<item>
		<title>Crop Images Contextually</title>
		<link>http://tc.eserver.org/33127.html</link>
		<guid>http://tc.eserver.org/33127.html</guid>
		<description>Crop images contextually for faster downloads and higher impact. By cropping maximally and resizing you can convey meaning without slowing down your web pages.</description>
	</item>
	<item>
		<title>CSS Overlays: Using CSS Positioning to Overlay Web Objects</title>
		<link>http://tc.eserver.org/33130.html</link>
		<guid>http://tc.eserver.org/33130.html</guid>
		<description>An overlay is when one web object overlaps another. Overlays are often used to highlight or draw attention to important items on websites to raise conversion rates. This article shows how use CSS positioning to avoid slicing and dicing your overlays and assembling with tables. Along the way we&apos;ll look at the workarounds we used to make the technique work with different browsers (most importantly IE5.x Mac and Safari).</description>
	</item>
	<item>
		<title>The Sphere of Design</title>
		<link>http://tc.eserver.org/32965.html</link>
		<guid>http://tc.eserver.org/32965.html</guid>
		<description> The web design community thankfully seems to be wrapping up the &quot;design vs. usability&quot; argument. In case you missed it, the conclusion was: &quot;Not either/or but both, and it depends.&quot; </description>
	</item>
	<item>
		<title>Graphic Design vs. Usability</title>
		<link>http://tc.eserver.org/32970.html</link>
		<guid>http://tc.eserver.org/32970.html</guid>
		<description>Graphic Design can &quot;hijack&quot; usability efforts if the graphic design team is not &quot;on board&quot; with usability. This is probably why these days more and more graphic artists (like the students at the Art Institute of Portland where I am currently teaching a class) are learning about usability and have a sensitivity for its user-centered intentions.</description>
	</item>
	<item>
		<title>Graphic Design Plays a Minor Role on the Web</title>
		<link>http://tc.eserver.org/32971.html</link>
		<guid>http://tc.eserver.org/32971.html</guid>
		<description>The best websites are highly functional. They are task-focused. Graphic design has an important, though limited role. Don’t try and force the Web to be what it’s not.</description>
	</item>
	<item>
		<title>Better Graphic Design</title>
		<link>http://tc.eserver.org/32972.html</link>
		<guid>http://tc.eserver.org/32972.html</guid>
		<description>Graphic designers are asked to perform the difficult task of being creative every single day. Often, our main priority is to feed our client&apos;s fascination for originality. We experiment with colors, composition, typography, and photography in order to deliver an original visual solution. This sort of free-ranging experimentation is often the expectation of graphic designers. However, this approach is becoming less and less effective.</description>
	</item>
	<item>
		<title>What Does Your Audience Want?</title>
		<link>http://tc.eserver.org/32982.html</link>
		<guid>http://tc.eserver.org/32982.html</guid>
		<description>Successful visual designers well know the audiences they are designing for, and realize that their audiences exist at multiple levels.</description>
	</item>
	<item>
		<title>Color Universal Design (CUD): How to Make Figures and Presentations That are Friendly to Colorblind People</title>
		<link>http://tc.eserver.org/32913.html</link>
		<guid>http://tc.eserver.org/32913.html</guid>
		<description>There are always colorblind people among the audience and readers. There should be more than ten colorblinds in a room with 250 people (50% male and 50% female). There is a good chance that the paper you submit may go to colorblind reviewers. Supposing that your paper will be reviewed by three white males (which is not unlikely considering the current population in science), the probability that at least one of them is colorblind is whopping 22%!</description>
	</item>
	<item>
		<title>Common Visual Design Misconceptions</title>
		<link>http://tc.eserver.org/32780.html</link>
		<guid>http://tc.eserver.org/32780.html</guid>
		<description>Though visual designers might face different hurdles in particular product domains and at different points in their careers, there are three common misconceptions that surface quite frequently.</description>
	</item>
	<item>
		<title>COLOURlovers</title>
		<link>http://tc.eserver.org/32760.html</link>
		<guid>http://tc.eserver.org/32760.html</guid>
		<description>COLOURlovers™ is a resource that monitors and influences color trends. COLOURlovers gives the people who use color - whether for ad campaigns, product design, or in architectural specification - a place to check out a world of color, compare color palettes, submit news and comments, and read color related articles and interviews.</description>
	</item>
	<item>
		<title>Forty Beautiful Grunge Photoshop Tutorials</title>
		<link>http://tc.eserver.org/32717.html</link>
		<guid>http://tc.eserver.org/32717.html</guid>
		<description>In this collection, we present to you 40 excellent, high-quality grunge Photoshop tutorials. So fire up Photoshop and get ready to get your hands… dirty!</description>
	</item>
	<item>
		<title>Vintage and Retro Typography Showcase</title>
		<link>http://tc.eserver.org/32719.html</link>
		<guid>http://tc.eserver.org/32719.html</guid>
		<description>In this article, we go retro, finding beautiful examples of vintage typography and the modern work they’ve inspired. Looking back, it’s easy to see why some of this type has stood the test of time and is still lingering in the design community today.</description>
	</item>
	<item>
		<title>Develop PHP applications with Picasa Web Albums</title>
		<link>http://tc.eserver.org/32706.html</link>
		<guid>http://tc.eserver.org/32706.html</guid>
		<description>Picasa Web Albums offers Web application developers a REST-based Data API to manipulate the photos and albums stored on its servers. PHP&apos;s SimpleXML extension and Zend&apos;s GData Library are ideal to process the XML feeds generated by this API so you can customize PHP photo management and photo sharing applications. In this article, meet the Picasa Web Albums Data API and see how you can use it to retrieve photos and photo metadata; add, modify and delete photos; and perform keyword searches of Picasa&apos;s user-generated content.</description>
	</item>
	<item>
		<title>Cooking With Stock</title>
		<link>http://tc.eserver.org/32636.html</link>
		<guid>http://tc.eserver.org/32636.html</guid>
		<description>It’s not a secret. We all use stock imagery in our day-to-day design work. So why doesn’t anybody ever talk about it?    Just like the inventory of a grocery store, not everything you see on a stock photo site is an ingredient for a gourmet production. By far the worst mistake you can make when choosing stock is selecting stereotypical or clichéd images to convey a concept.My guess is that we’re all just a little ashamed. We want people to see our work as just that: ours. When you have to tell someone that you didn’t create that grungy texture, or you didn’t take that beautiful photo, it feels a lot like admitting that you’ve cheated on a test. But this is nonsense—as designers, it’s our job to put things together and deliver a composition that looks good.</description>
	</item>
	<item>
		<title>Photoshop vs. Fireworks</title>
		<link>http://tc.eserver.org/32641.html</link>
		<guid>http://tc.eserver.org/32641.html</guid>
		<description>Photoshop. Fireworks. If you’re a serious web designer (and not using the GIMP) you’re going to be using one or the other. But which is best?</description>
	</item>
	<item>
		<title>Web Design 101: Photoshop</title>
		<link>http://tc.eserver.org/32653.html</link>
		<guid>http://tc.eserver.org/32653.html</guid>
		<description>Photoshop promises great power, but can be more than a little challenging when it comes to clarity and patience. New users can easily get frustrated at how daunting some of the challenges can be when it comes to getting the job done, and even those who are a bit more familiar with it still ﬁnd points of frustration that impede both production and creativity.    &#xD;&#xD;So for those who barely know Photoshop, but would like to become more familiar with it—ﬁnd out what sort of things to look for when it comes to the palette system, layers, styles, effects, various tools, and saving or exporting their work—let’s look at the basics.</description>
	</item>
	<item>
		<title>Converting Text to Outline</title>
		<link>http://tc.eserver.org/32572.html</link>
		<guid>http://tc.eserver.org/32572.html</guid>
		<description>Powerful design software makes many choices available to graphic designers, but just because you can do something doesn’t always mean you should. For example, sometimes it’s a good idea to convert your text layouts to outline, but sometimes it isn’t. Learn more about this occasionally necessary, often ill-advised practice before you decide whether or not it’s time to convert.</description>
	</item>
	<item>
		<title>How to Design a Logo of Letters</title>
		<link>http://tc.eserver.org/32594.html</link>
		<guid>http://tc.eserver.org/32594.html</guid>
		<description>Are you known by your initials? Turn those letters into a terrific signature!</description>
	</item>
	<item>
		<title>How to Cool a Hot Photo</title>
		<link>http://tc.eserver.org/32595.html</link>
		<guid>http://tc.eserver.org/32595.html</guid>
		<description>When your photo can&apos;t be changed, surround it with cool color.</description>
	</item>
	<item>
		<title>Drawing Hilbert Curves with SVG</title>
		<link>http://tc.eserver.org/32549.html</link>
		<guid>http://tc.eserver.org/32549.html</guid>
		<description>Hilbert curves are a type of space-filling curve that can be constructed with the SVG polyline element, using a basic design and then aggregating.</description>
	</item>
	<item>
		<title>Creating Bulletproof Graphic Link Buttons With CSS</title>
		<link>http://tc.eserver.org/32499.html</link>
		<guid>http://tc.eserver.org/32499.html</guid>
		<description>A CSS problem I have been wrestling with lately is how to create a bulletproof shrinkwrapping graphic button. By that I mean an image-based button that will expand and contract to fit the amount of text it contains. It is a very useful technique for CMS-driven sites that allow the client to change the text that is displayed on buttons, as well as for multilingual sites.</description>
	</item>
	<item>
		<title>Colour Theory</title>
		<link>http://tc.eserver.org/32433.html</link>
		<guid>http://tc.eserver.org/32433.html</guid>
		<description>In this article, I’ll cover colour basics and three simple colour schemes so that you can feel confident about choosing colours for your site. I’ll follow up this article with another piece on how to simplify these colour choices. After all, it’s more fun to enjoy the compliments on your Web site design than it is to sweat over the colour choices.</description>
	</item>
	<item>
		<title>Colour Schemes and Design Mockups</title>
		<link>http://tc.eserver.org/32435.html</link>
		<guid>http://tc.eserver.org/32435.html</guid>
		<description>After a web designer presents a site’s architecture, or wireframe, to a client for approval, the next step is to determine the look and feel of the site through colour and graphics. In this article, I’ll demonstrate how I keep this process as simple as possible, both for myself and for the client.</description>
	</item>
	<item>
		<title>DzineBlog</title>
		<link>http://tc.eserver.org/32389.html</link>
		<guid>http://tc.eserver.org/32389.html</guid>
		<description>Founded in December 2007, Dzine blog Is all about designs, here you can find inspirational designs and some good tips in logo, graphics and web designing. My aim is to share  quality graphic design resources, graphic design tips and much more good inspirational designs and useful information in designing, precisely and regularly.</description>
	</item>
	<item>
		<title>Print-Friendly Images and Logos with CSS</title>
		<link>http://tc.eserver.org/32412.html</link>
		<guid>http://tc.eserver.org/32412.html</guid>
		<description>In certain instances, not everyone views every portion of your website online: eventually, someone is going to print parts of it. In many cases, this is perfectly fine: if you have a print style sheet that takes care of your worst sins, your website should look okay. But one area where it may still look lackluster is the images.</description>
	</item>
	<item>
		<title>Five CSSriffic Treatments to Make Your Images Stand Out</title>
		<link>http://tc.eserver.org/32413.html</link>
		<guid>http://tc.eserver.org/32413.html</guid>
		<description>Sometimes just having images isn’t enough. Sometimes we need a little help to make our outstanding images truly stand out. And that’s where CSS can help. Here are five things you can do, using CSS, to make the most of your images.</description>
	</item>
	<item>
		<title>Color, Contrast and Design in News Design</title>
		<link>http://tc.eserver.org/32252.html</link>
		<guid>http://tc.eserver.org/32252.html</guid>
		<description>An online guide that explains color theory and shows how to use it in design through examples and exercises.</description>
	</item>
	<item>
		<title>Why are Things Colored?</title>
		<link>http://tc.eserver.org/32253.html</link>
		<guid>http://tc.eserver.org/32253.html</guid>
		<description>Scholars have learned that all the colors in the universe originate from a mere fifteen fundamental physical causes. These causes appear over and over, lending color to the world around us.</description>
	</item>
	<item>
		<title>Why Should Engineers and Scientists Be Worried About Color?</title>
		<link>http://tc.eserver.org/32254.html</link>
		<guid>http://tc.eserver.org/32254.html</guid>
		<description>At the core of good science and engineering is the careful and respectful treatment of data.  We calibrate our instruments, scrutinize the algorithms we use to process the data, and study the behavior of the models we use to interpret the data or simulate the phenomena we may be observing.  Surprisingly, this careful treatment of data often breaks down when we visualize our data.</description>
	</item>
	<item>
		<title>Typotheque</title>
		<link>http://tc.eserver.org/32263.html</link>
		<guid>http://tc.eserver.org/32263.html</guid>
		<description>Typotheque is a type foundry, run by Peter Biľak (who is responsible for the fonts and website in general), and Johanna Biľak, (who is responsible for other products, such as books and t-shirts). We also work with a number of freelance designers, writers, and programmers who assist in some of our current projects.</description>
	</item>
	<item>
		<title>I Love Typography</title>
		<link>http://tc.eserver.org/32104.html</link>
		<guid>http://tc.eserver.org/32104.html</guid>
		<description>iLT is designed to inspire its readers, to make people more aware of the typography that is around them. We really cannot escape typography; it&apos;s everywhere: on road signs, shampoo bottles, toothpaste, and even on billboard posters, in books and magazines, online...the list is endless, and the possibilities equally so.</description>
	</item>
	<item>
		<title>Drawing a C-47 Skytrain</title>
		<link>http://tc.eserver.org/32115.html</link>
		<guid>http://tc.eserver.org/32115.html</guid>
		<description>In the following tutorials you will be learning how to use a series of points in space to create an illustration. The work will be based on creating a WWII aircraft, the C-47 Skytrain.</description>
	</item>
	<item>
		<title>Constructing the Bicycle in Isometric</title>
		<link>http://tc.eserver.org/32116.html</link>
		<guid>http://tc.eserver.org/32116.html</guid>
		<description>This bicycle drawing will be constructed over an orthographic primitive. The scale will be 1 to 1 and you will be able to work in all three axes using the primitive for placement.</description>
	</item>
	<item>
		<title>Creating a Grunge Effect Using Only Photoshop</title>
		<link>http://tc.eserver.org/32071.html</link>
		<guid>http://tc.eserver.org/32071.html</guid>
		<description>This tutorial will teach you how to quickly create a &apos;grunge&apos; effect for your photos using ONLY Photoshop. And while you might not need a grunge image, it will show you how to create a vector mask which will give you a tool to create numerous effects easily.</description>
	</item>
	<item>
		<title>Image Formats</title>
		<link>http://tc.eserver.org/32041.html</link>
		<guid>http://tc.eserver.org/32041.html</guid>
		<description>But what&apos;s the difference between GIF, JPEG and BMP? What does it mean if a GIF is interlaced or non-interlaced? Is a JPEG progressive because it enjoys art deco? Does a Bitmap actually offer directions somewhere? And the most often asked question: When do I use a specific image format?</description>
	</item>
	<item>
		<title>Make Your Designs ‘POP’</title>
		<link>http://tc.eserver.org/32059.html</link>
		<guid>http://tc.eserver.org/32059.html</guid>
		<description>Admit it, effects are cool. Drop shadows, gradients, glows, bevels and the like can be a lot of fun and are ridiculously easy to apply to your designs. However, once you discover the powerful effects waiting inside today’s graphics suites, it’s easy to get carried away.</description>
	</item>
	<item>
		<title>Stop Stealing!?!? Affordable, High Quality Photos are Within Your Reach</title>
		<link>http://tc.eserver.org/32066.html</link>
		<guid>http://tc.eserver.org/32066.html</guid>
		<description>Are you a designer and wonder where to find high quality images?  Are you using unlicensed pictures and images because you don’t know what else to do?  High quality images aren’t nearly as expensive as you think!  Some very talented photographers are leaving mainstream outlets and submitting their photographs to sites that sell directly to the end user.  Artwork, photographs, images, background… every type of graphic you need are available in multiple sizes and file types.</description>
	</item>
	<item>
		<title>Twenty Best Simple and Inspirational CSS Web Designs</title>
		<link>http://tc.eserver.org/32068.html</link>
		<guid>http://tc.eserver.org/32068.html</guid>
		<description>After looking through hundreds, maybe even thousands of websites, I’ve compiled the top 20 CSS websites for clean and simple design. What do these designs have in common? They all have clean simple interfaces and remain uncluttered and easy to read. Many of the designs display a good deal of illustrion or photorealism, two of my favorite current trends that can contribute a lot to a design.</description>
	</item>
	<item>
		<title>Twenty of The Best Uses of Color in Current Web Design</title>
		<link>http://tc.eserver.org/32062.html</link>
		<guid>http://tc.eserver.org/32062.html</guid>
		<description>Many sites “play it safe” when choosing colors. Brilliant colors have to be carefully controlled to avoid looking amateur. I’ve selected these 20 sites for excellent use of color along with their overall web design. Quality of CSS, features, ease of use all come into play as well.</description>
	</item>
	<item>
		<title>How to Recreate Silverback’s Parallax Effect</title>
		<link>http://tc.eserver.org/31953.html</link>
		<guid>http://tc.eserver.org/31953.html</guid>
		<description>When I was a lad, I remember being wowed by an effect in Sonic the Hedgehog known as parallax scrolling. Moving my little spiky friend to the right caused the foreground to move past the camera to the left faster than the background, creating a faux-3D view of Green Hill Zone.</description>
	</item>
	<item>
		<title>How To Capture a Screen Shot of your Desktop or the Active Window in Windows</title>
		<link>http://tc.eserver.org/31768.html</link>
		<guid>http://tc.eserver.org/31768.html</guid>
		<description>Have you ever pressed the PrtScn (print screen) key on your Windows keyboard and wondered why it was there since it never seemed to do anything? Well, it does do something! It copies an image of your screen onto the &quot;clipboard,&quot; ready to paste into any graphics program. These steps show you how to use it along with Windows&apos; standard image editor, Microsoft Paint, to save an image of your screen.</description>
	</item>
	<item>
		<title>Get the Most Out of Your Color</title>
		<link>http://tc.eserver.org/31664.html</link>
		<guid>http://tc.eserver.org/31664.html</guid>
		<description>Color can play an important role in technical documentation.</description>
	</item>
	<item>
		<title>Buyer Beware: The Ever-Expanding Search for the Perfect Image</title>
		<link>http://tc.eserver.org/31300.html</link>
		<guid>http://tc.eserver.org/31300.html</guid>
		<description>When you need to find an image for commercial use, how much consideration do you give to where it came from? Do you think about its provenance, its pedigree? Are the images you license sourced primarily from major distributors or from alternative suppliers, who may have access to more distinctive or original content? </description>
	</item>
	<item>
		<title>Case Study: Shipshape Photography</title>
		<link>http://tc.eserver.org/31299.html</link>
		<guid>http://tc.eserver.org/31299.html</guid>
		<description>Photography has become an essential element of the communication mix for the American Bureau of Shipping (ABS), and is used to reflect the diversity and international nature of the business. If executed properly, a photograph can help explain a technical point or issue in such a way that it makes sense to an audience outside of the shipping community. We initially decided to use photography to enhance the visual content of our annual report. We now also use it in company newsletters (both internal and external), brochures and exhibit stands.</description>
	</item>
	<item>
		<title>Picture This</title>
		<link>http://tc.eserver.org/31297.html</link>
		<guid>http://tc.eserver.org/31297.html</guid>
		<description>Film is dead. The history-changing miracle that made it possible to accurately reproduce anything the eye could perceive is now itself part of history. The cause of death? Digital imagery. But no one is shedding tears.&#xD;&#xD;It all began innocently in the mid-1980s when digital photos were a geeks-only, barely noticed novelty. It has since spread around the world in pandemic fashion. In its wake, entire industries have been killed off as more and more people succumb to the digital bug.</description>
	</item>
	<item>
		<title>The Tao of the Digital Photographer</title>
		<link>http://tc.eserver.org/31298.html</link>
		<guid>http://tc.eserver.org/31298.html</guid>
		<description>In just a few short years, the digital camera has blown past its tipping point so completely that many younger shooters have never touched a piece of film. The instant gratification, the tiny camera size and the ability to share images with the world now defines the experience of photography. But if you want to make great digital photos, there are some things you need to know.</description>
	</item>
	<item>
		<title>Being Good for Goodness&apos; Sake: Corporate Social Responsibility Imagery</title>
		<link>http://tc.eserver.org/31232.html</link>
		<guid>http://tc.eserver.org/31232.html</guid>
		<description>It sees you when you’re sleeping. It knows if you’re awake. &apos;It&apos; is the world, and it knows if your company has been naughty or nice. The digital revolution has put a photographic device, be it a camera or camera-phone, in the hands of virtually everybody everywhere—so you can be sure someone besides Santa is constantly watching your company’s behavior. For that and other good reasons, corporate photography is looking very green this season.</description>
	</item>
	<item>
		<title>Storytelling Photos</title>
		<link>http://tc.eserver.org/31241.html</link>
		<guid>http://tc.eserver.org/31241.html</guid>
		<description>Anyone can relate the facts of an event, just like anyone can hold a camera up to a scene and document it. But bare facts and badly composed images make for poor communication. It takes skill and talent to write a good story, one that will inform and entertain. The same is true for photography. Images have always been storytellers. A good image can relay large amounts of data in a format that is pleasing and quickly absorbed by the viewer. That makes photos potentially more influential than a massive amount of words.</description>
	</item>
	<item>
		<title>Visually Speaking: Adult-Only Publications</title>
		<link>http://tc.eserver.org/31220.html</link>
		<guid>http://tc.eserver.org/31220.html</guid>
		<description>Corporate photography was once the realm of adults only. Just a few years ago, it was surprising to see a picture of anybody under 40 years old in an annual report or capabilities brochure, much less someone under the age of 12. But nowadays, photos of children are showing up more and more often in all kinds of corporate publications, and as you might suspect, photographing children requires a totally different approach than shooting the CEO.</description>
	</item>
	<item>
		<title>Accessible Data Visualization with Web Standards</title>
		<link>http://tc.eserver.org/31101.html</link>
		<guid>http://tc.eserver.org/31101.html</guid>
		<description>When designing interfaces for browsing data-driven sites, creating navigation elements that are also visualization tools helps the user make better decisions. Wilson Miner demonstrates three techniques for incorporating data visualization into standards-based navigation patterns.</description>
	</item>
	<item>
		<title>Cropping and Sizing Graphics</title>
		<link>http://tc.eserver.org/31096.html</link>
		<guid>http://tc.eserver.org/31096.html</guid>
		<description>Use this study guide to learn how to crop and size graphics in several different applications. Cropping is not particularly problematic, but sizing is.</description>
	</item>
	<item>
		<title>A Sack in the Sand: Photography in the Age of Information</title>
		<link>http://tc.eserver.org/31052.html</link>
		<guid>http://tc.eserver.org/31052.html</guid>
		<description>Throughout the 1990s the relationship between culture and technology was sharply focused in a debate about whether digital technologies signalled the death or radical displacement of photography. The case for the cultural continuity of photography centred upon a rejection of a strong form of technological determinism. It is now clear that far from being displaced to the margins of culture, there is now more photography than ever. There have also been dramatic developments: mobile phone manufacturers have put more cameras into people&apos;s hands then ever before; the photograph as social document and historical witness persists but in changing ways; photographs circulate globally on an unprecedented scale via electronic image banks. It is clear that such changes and developments do involve new technologies. However, rather than being due to the kind of technological determinism debated earlier, this is because photography has come to exist within a new technological environment. In many recent accounts, &apos;information&apos; and information technology are repeatedly cited as constituting a new and shaping context for photographic practices.</description>
	</item>
	<item>
		<title>The Awesome Power of Visualization 2: Death and Taxes 2007</title>
		<link>http://tc.eserver.org/30868.html</link>
		<guid>http://tc.eserver.org/30868.html</guid>
		<description>Visuals that provide insights come from 1) a deep understanding of the goal / objectives 2) from thinking beyond what standard trend lines or stacked bar graphs can provide. Something non-normal to grab attention and yet communicate insights (sort of already contain recommendations and action items and not just data).</description>
	</item>
	<item>
		<title>Digital Photography: Communication, Identity, Memory</title>
		<link>http://tc.eserver.org/30857.html</link>
		<guid>http://tc.eserver.org/30857.html</guid>
		<description>Taking photographs seems no longer primarily an act of memory intended to safeguard a family&apos;s pictorial heritage, but is increasingly becoming a tool for an individual&apos;s identity formation and communication. Digital cameras, cameraphones, photoblogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how technical changes (digitization) combined with growing insights in cognitive science and socio-cultural transformations have affected personal photography. The increased manipulation of photographic images may suit the individual&apos;s need for continuous self-remodelling and instant communication and bonding. However, that same manipulability may also lessen our grip on our images&apos; future repurposing and reframing. Memory is not eradicated from digital multipurpose tools. Instead, the function of memory reappears in the networked, distributed nature of digital photographs, as most images are sent over the internet and stored in virtual space.</description>
	</item>
	<item>
		<title>Newspaper Design as Cultural Change</title>
		<link>http://tc.eserver.org/30858.html</link>
		<guid>http://tc.eserver.org/30858.html</guid>
		<description>his article describes the (re-)design of newspapers and magazines as a process of cultural change which goes beyond designing a publication&apos;s layout, typography and use of colour, and includes designing the processes and structures of its production.</description>
	</item>
	<item>
		<title>Creating Appropriate Graphics for Business Situations</title>
		<link>http://tc.eserver.org/30850.html</link>
		<guid>http://tc.eserver.org/30850.html</guid>
		<description>Charts and graphs are ubiquitous in business documents, and most students in my business communication courses are well aware that they need to be able to create many different types of data representation. Most of them have had a great deal of experience working with spreadsheet applications, and they know how to manipulate data and present it in the various forms permitted by their software.</description>
	</item>
	<item>
		<title>Three-Dimensional Illustration for Technical Communicators</title>
		<link>http://tc.eserver.org/30776.html</link>
		<guid>http://tc.eserver.org/30776.html</guid>
		<description>You don&apos;t need to be a skilled illustrator to create effective 3-D graphics. Three-dimensional illustration allows the technical communicator to respond quickly to project changes and create imagery appropriate for most publications or multimedia. Burns&apos; article shows the benefits of 3-D artwork and its potential for technical communicators.</description>
	</item>
	<item>
		<title>Getting Started with Graphics for an Enriching User Experience</title>
		<link>http://tc.eserver.org/30767.html</link>
		<guid>http://tc.eserver.org/30767.html</guid>
		<description>Good web design does not necessarily mean good use of colors and layouts, but it does transcend beyond it. Design elements like color, font, size, frame, etc. play an important role nonetheless, but what is more important is that how it affects the aesthetic sensibilities of the users. The warmth and the feel of the web site, or in another words, the texture of the web site is a crucial area to turn our attention to. By texture of the web site what it means is the subtleties of the surface of the web site.&#xD;&#xD;Varied aspects as discussed in this article, when sensibly used -- and in combination with good deign skills aimed at creating intuitive appeal -- are of definite help of when it comes to developing engaging graphics on your web site.&#xD;&#xD;&#xD;</description>
	</item>
	<item>
		<title>Design a Logo of Letters</title>
		<link>http://tc.eserver.org/30527.html</link>
		<guid>http://tc.eserver.org/30527.html</guid>
		<description>An article about the graphic design of logotypes using typographic widely successful techniques.</description>
	</item>
	<item>
		<title>How to Cool a Hot Photo</title>
		<link>http://tc.eserver.org/30528.html</link>
		<guid>http://tc.eserver.org/30528.html</guid>
		<description>When your photo can&apos;t be changed, surround it with a cool color.</description>
	</item>
	<item>
		<title>Photoshop Magazine</title>
		<link>http://tc.eserver.org/30526.html</link>
		<guid>http://tc.eserver.org/30526.html</guid>
		<description>Un weblog / magazine avec les techniques de conception graphique avec le logiciel Adobe Photoshop.</description>
	</item>
	<item>
		<title>Proposal Flowchart Excellence: Ten Rules for Scoring on Top</title>
		<link>http://tc.eserver.org/30547.html</link>
		<guid>http://tc.eserver.org/30547.html</guid>
		<description>&apos;Flowcharts-- UGH!&apos; That&apos;s a too-typical reader reaction when faced with the average flowchart. It underscores the author&apos;s challenge when trying to develop this potentially powerful tool. For conveying process, there is no better means. In proposals, however, where the flowchart must also serve as a sales tool, its optimum form is not always clear. This paper provides some guidelines, such as: Ensuring your flow is a process of merit. Letting goals dictate form. Organizing for readability. Focusing on action. Using simple, standard visuals. Illuminating features. And obviating responsiveness... To reap the winning rewards.</description>
	</item>
	<item>
		<title>What&apos;s the Right Typeface for Text?</title>
		<link>http://tc.eserver.org/30529.html</link>
		<guid>http://tc.eserver.org/30529.html</guid>
		<description>How to choose a typeface for clear, easy reading over long distances.</description>
	</item>
	<item>
		<title>Effective Technical Graphics</title>
		<link>http://tc.eserver.org/30488.html</link>
		<guid>http://tc.eserver.org/30488.html</guid>
		<description>This presentation examines ineffective technical graphics with problems in simplicity, orientation, and scale. It identifies principles of effective graphic communication that could prevent such problems, and clarifies objectives and techniques in designing editing and preparing technical graphics for printed documents and briefing materials. Graphics principles illustrated by transparencies include avoiding clutter, orienting properly, controlling scales, checking the content, and avoiding extraneous graphics. message, and that the table title or figure caption focuses clearly on the subject of the graphic.</description>
	</item>
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