Graphic design practice embraces a range of cognitive skills, aesthetics and crafts, including typography, visual arts and page layout. Like other forms of design, graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated. It is usually viewed as a superset of technical illustration.
#19474
Creative Techniques for Modifying Images 
Images are an integral part of most page layouts. Documents such as brochures, newsletters or information flyers rely on images in many ways. Images can be manipulated to suit a particular design purpose. They can be used as backgrounds to anchor elements, frames to delineate regions or shapes to help balance the page. Images can also be used to add interest to a page by contributing shape, texture or color. To use images in a creative manner, it is necessary to realize that the image is not a static entity. Modifying images for a particular design purpose or to add interest to a page can result in a more creative design.
Birchman, Judith A. STC Proceedings (2001). Design>Graphic Design>Image Editing
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Creativeprose: Free Photography Podcasts
New photo-oriented podcasts pop up all the time, and you could listen to them all day every day and not get through everything. But this article points out a few of the better ones.
Stone, Terri. Creative Pro (2007). Design>Graphic Design>Photography>Podcasting
#29052
Critiquing the Culture of Computer Graphing Practices 
This paper is a critique of current approaches to the development of computer graphing and graph visualization programs. Developers of these programs model the user as an individual problem solver who is reliant on perceptual skills to create and interpret graphed information. Such a model of graphing is ill-suited to meet the complex needs of real users, a supposition that is supported by work in two major areas of graphing theory and research: the sociology of science and the educational research of mathematics and scientific students. These areas have not been traditionally cited when planning computer graphing or visualization programs or when assessing their usability. A review of the literature in these fields reveals that an over-reliance on a user's perceptual skills is unlikely to result in successful graph practices.
Brasseur, Lee. Journal of Technical Writing and Communication (2001). Articles>Graphic Design>Technical Illustration>Charts and Graphs
#31096
Use this study guide to learn how to crop and size graphics in several different applications. Cropping is not particularly problematic, but sizing is.
McMurrey, David A. Illuminati Online (2004). Design>Graphic Design>Image Editing
#14895
Cross-Browser Variable Opacity with PNG: A Real Solution
Periodically, someone tells me about the magic of PNG, how itÂ’s the ideal image format for the web, and that someday we'll all be using it on our sites instead of GIF. People have been saying this for years, and by now most of us have stopped listening. Sadly, flaky browser support has made PNG impractical for almost everything--but now, with a few simple workarounds, we can finally put one of its most compelling features to use.
Lovitt, Michael. List Apart, A (2002). Design>Web Design>Graphic Design
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A Cross-Cultural Comparison of the Use of Graphics in Scientific and Technical Communication
Communication styles vary across cultures. To investigate cultural differences in visual communication, graphics from Chinese popular science magazines and instruction manuals were compared with their counterparts from American sources. The results show that the Chinese visuals provide more contextual information to the readers when presenting new scientific concepts. The Chinese instruction manuals contain graphics with extensive technical data, which are not a typical feature in American manuals. The American visuals, on the other hand, are more closely integrated with corresponding verbal explanations. The emphasis of American manuals is on problem solving, that is, performing tasks. Cultural factors that may account for the differences are also discussed.
Qiuye, Wang. Technical Communication Online (2000). Design>Graphic Design>Regional>China
#21925
Cruise Ship Illustration Tutorial
This project presented many unique challenges. The actual ship was still in Germany being completed when I started the project. There was no photography or CAD reference to work from, only the paper blueprint you see below. In order to have the brochures completed by the time the ship went into service, the final illustration had to be finished in under two months.
Hulsey, Kevin. Kevin Hulsey Illustration. Design>Graphic Design>Technical Illustration
#20549
Like many of you, I come from a training background. Like many of you, we’re experts in group facilitation, engaging our learners, and creating instructionally sound materials. Yet, many trainers are not graphic artists nor do we have a score of graphic artists helping us create our training presentations. As a result, our training presentations often may not adequately represent the professionalism and quality that we’ve built into our training.
Traut, Terence R. Presenters University (2003). Design>Graphic Design>Image Editing>Technical Illustration
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The cutaway perspective is fundamentally a three dimensional sectional view.
Lightfoot, Peter. ITEDO Software (2002). Articles>Graphic Design>Technical Illustration
#15106
Cutting Costs with Computer-Generated Illustrations
Explains how computer graphics are generated and describes their uses in technical communication.
Noot, Walter. Intercom (2002). Design>Graphic Design
#27853
Dealing with Images in Content Management Systems, Part 1
Most web-based content management systems offer a variety of tools to help contributors enter text. When it comes to graphics, content contributors are usually expected to provide web-ready images to the system. This means that either editorial users needs to know about image optimisation and web image formats, or additional staff are required to make web-ready images out of raw materials. This article demonstrates a technical solution to this problem.
Crane, Tom. Code Project, The (2006). Articles>Content Management>Graphic Design>ASP
#10558
The Delicate Art of (Web) Design Critique
Since I tend to hang around on various web-related mailing lists, I often see numerous requests for design critiques. Increasingly, this leads me to wonder about the process of critiquing other people's design. It's quite one thing to criticize someone's code; one can argue the merits or not of being a stickler about standards compliancy, or using CSS, or whatever. But design is more personal than writing code. (Writing on its own is also very personal, but that's not the topic here.) How do you constructively critique someone's work without being taken the wrong way? How do you accept criticism without feeling hurt or angry? Here are just a few ideas, gathered from observations and comments from others.
Itoh, Makiko. Digital Web Magazine (2000). Design>Web Design>Graphic Design>Assessment
#27430
Shows how to simulate a depth of field effect using a filter.
Kloskowski, Matt. Planet Photoshop (2006). Design>Graphic Design>Software>Adobe Photoshop
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An article about the graphic design of logotypes using typographic widely successful techniques.
#10628
The design principles presented here combine traditional wisdom with extensions to address the evolution of future interfaces. Existing design principles are based on our own experiences in user interface design, on the design experiences of others, and on insights from linguistics and psychology. We have extended these design principles to address evolving interfaces that will provide a more friendly appearance and behavior in the future. The increasing use of 3-D and real-world representations as well as the blossoming popularity of the Internet and the World Wide Web have strongly influenced these progressions.
IBM (1999). Design>Graphic Design>Information Design
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Good design, like good writing or editing, cart make or break a technical publication. Even if you know little about design us a discipline, as a technical communicator you employ it in every publication you produce. If technical communicstion is indeed the art that bridges the gap between people and technology, then understanding the function of design us an inherent element of communication is paramount. Design seeks 10 translate perceptions, goals, and desires through the manipulation of images and language. Design inspires understanding, is both an art and a science, and is good business. Design matters! The purpose of our presentation is to explore the relationship between design until technical communication and heighten the level of consciousness of the function of design.
DuBose, Mary E. and Deborah L. Baxley. STC Proceedings (1993). Articles>Graphic Design>Visual Rhetoric
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A web resource about web design techniques.
Hunt, Ben. Design Melt Down (2005). Design>Web Design>Graphic Design>Blogs
#21256
The Design of World Wide Web Home Pages: Using Visuals to Establish Organizational Ethos
The World Wide Web presents information developers with the task of designing texts that will be accessed by multiple, global audiences. At the same time, Web technology presents developers with new design constraints. Therefore, Web text development warrants new design considerations. This paper presents an approach based on the rhetorical concept of ethos. Four visual design considerations—page grid, graphic files, icons, and text structure—are reviewed based on how decisions about each convey the ethos of the organization.
Hunt, Kevin. STC Proceedings (1995). Design>Web Design>Graphic Design>Visual Rhetoric
#10203
Design, Typography and Graphics Magazine
Design, Typography and Graphics is the official publication of the Design and Publishing Center. It offers tips and tricks for design, printing, photography and publishing of all kinds.
Design and Publishing Center. Journals>Graphic Design>Typography
#21291
Designing on Both Sides of Your Brain
There's a natural balance that can be mastered between both intensely imaginative, and passionately logical lines of thought. We need to seek out this synergy to be good at design. The surprising truth is that for designers everywhere, the scientific method can be an extremely powerful tool for finding and evangelizing your great ideas.
Berkun, Scott. Boxes and Arrows (2002). Design>Graphic Design>Methods>Cognitive Psychology
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Getting a job in the design field may not be as easy as you think. Seattle designer Melissa Mason goes for yet another job interview in pursuit of a big agency design job.
Mason, Melissa. Design, Typography and Graphics (2004). Careers>Graphic Design>Regional>Puget Sound
#26342
Site covering both traditional and digital illustration.
Froehlich, Sara. Designorati. Design>Graphic Design>Technical Illustration
#26344
D:Photoshop strives to be a well-written source of news, information and techniques for intermediate and advanced users of Photoshop. Users who have a few years of Photoshop experience and a good grasp of its basic tools and tactics will benefit from this ongoing source of production techniques, step-by-step tutorials, reviews of upcoming Photoshop-related products and industry news. There are four sections to D:Photoshop: Techniques, which includes articles on specific Photoshop tools and techniques and how they affect an image. Tutorials, which include step-by-step applications of Photoshop tools and techniques that can unlock your productivity and capabilities in real-world production situations. Reviews, thorough commentary on the Photoshop products hitting the market this moment, including books, videos and other media, hardware and software. News on current events in the Photoshop industry.
Schultz, Jeremy. Designorati (2005). Resources>Software>Graphic Design>Adobe Photoshop
#10555
Design is the visual expression of thoughts and feelings, and combines rational and emotional conditions. In digital media the focus is shifted to functionality, primarily because the development is rapid and it takes a lot just to understand the options. This is as truer for users as it is true for designers. Once this phase is over and the standards are set, there will be a growing demand for more refined design solutions: projects that communicate and not just deliver information. Rationality rules at the surface, anything that turns the focus of the users awareness to something specific happens earlier and the motivation comes from the deeper levels of the soul. The whole fuzzy composition is very influential before the content is clearly rendered, if it ever gets clear at all; Sites are in the same situation as billboards, they have to grab the attention of the visitor in the first moment without having him to think about something specific. In a more and more competitive environment there is always an
Jenett, Daniel. Digital Web Magazine (1999). Design>Graphic Design>Aesthetics>Emotions
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This tutorial offers base-level information on the use of digital imaging to convert and make accessible cultural heritage materials. It also introduces some concepts advocated by Cornell University Library, in particular the value of benchmarking requirements before undertaking a digital initiative. You will find here up-to-date technical information, formulas, and reality checks, designed to test your level of understanding.
Cornell University (2003). (Spanish) Design>Graphic Design>Image Editing
