 | | Graphic Design 276-299 of 525 found. Page 12 of 21. |
#25670
The Journal of Imaging Science and Technology 
The Journal of Imaging Science and Technology provides the imaging community documentation of a broad range of research, development and applications in imaging. The selection of papers reflects the role of the Society for Imaging Science and Technology (IS&T) as a window on imaging, promoting communication and understanding across the boundaries of the many disciplines involved in modern imaging.
#25651
This page presents a brief description of how JPEG compresses images. JPEG, unlike other formats like PPM, PGM, and GIF, is a lossy compression technique; this means visual information is lost permanently. The key to making JPEG work is choosing what data to throw away.
Society for Imaging Science and Technology, The. Articles>Graphic Design>Standards
#21451
In technical illustrations, labeling is often needed to denominate specific parts. Here, it is important to remember certain details that can really make a difference. This is especially true if the file is to be converted at a later time.
ITEDO Software. Articles>Graphic Design>Technical Illustration
#10291
Color motivates, excites, draws attention and provides emphasis. It is one part of the coordinated effort to effectively communicate in information design. Color has long been thought to be only for embellishment or decoration. But if used intelligently, color can help give visual order to complex information. It can attract, enlighten and engage, and thus, add value.
Dowd, Tim. EServer (2001). Design>Graphic Design>Information Design
#25429
Layers can be a big help in keeping your files organized and your work flow moving along. Plus, the benefit of being able to go back and edit a file quickly is huge when a deadline is looming over your shoulder.
Sellers, Mike. Illustrator World (2005). Design>Graphic Design>Software>Adobe Illustrator
#21373
Learning to Love the Pixel: Exploring the Craft of Icon Design
Designing web-based enterprise software involves creating complex artifacts like architecture wireframes, object models, screen flows, and clickable prototypes in order to articulate aspects of the online experience for product stakeholders. But what does “craft” mean for interaction designers?
Gajendar, Uday. Boxes and Arrows (2003). Design>Graphic Design>Interaction Design
#21443
The numerous stylistic devices in Technical Illustration allow you to visualize technical coherences. An important, but very often underestimated, method in Technical Illustration is the omission of lines, which often helps to display the desired information more clearly.
ITEDO Software. Articles>Graphic Design>Technical Illustration>Isometric
#21905
Photoshop's Actions feature is a powerful tool for automating repetitive tasks or even batch-processing files, and you'll work more effectively with it if you know exactly what Actions can and can't automate.
Dayton, Linnea and Jack Davis. Adobe Magazine (1997). Design>Graphic Design>Software>Adobe Photoshop
#18231
Limitations? What Limitations?
Web tools are in their infancy, but they are snowballing along at an increasingly faster rate. Now the tools are moving faster than the standards. New browsers and browser versions are appearing all the time and boasting lots of new features. We are publishing web pages in the full probability that many of the readers will not be seeing them as we intend. The same HTML document will look quite different in every web browser used to view it. Some elements will be different in size and position, the colours might have changed, some will be absent completely! How can a designer who is concerned about his or her work cope with this pandemonium?
#30514
Literature Review: What is Visual Literacy? 
This paper takes a look at what is being said in various disciplines (technical writing, journalism, education, psychology, user interface design, and visual arts) in an attempt to answer the question 'What is visual literacy?' A corollory is 'How will I know when I have achieved it?' A working definition of visual literacy has many implications for how we train technical writers in order to meet the professional challenges of the future.
Couse, Mary M. STC Proceedings (1993). Articles>Graphic Design>Research>Visual Rhetoric
#28437
Logos are graphical shorthand that can represent a company or product, and communicate certain characteristics.
Hunt, Ben. Web Design From Scratch (2005). Design>Graphic Design>Web Design
#25363
I want to explain why a logo should be produced in a vector program such as Illustrator or Freehand. (Vector art is LINE art -- the digital equivalent of art done in pen and ink.)
Stephens, Suz. Wise-Women (2004). Design>Graphic Design>Web Design
#20407
If you’ve ever gone looking 'behind the scenes' in your fonts, you might have stumbled upon a wonderful surprise: a logotype. Logotypes are usually small, commonly used words – such as the, for, and, of and to – that are designed as a unit. Like ligatures, logotypes are treated as a single character by your application (and are usually accessed with one keystroke or keystroke combination). Unlike ligatures, the letters within a logotype are not necessarily connected. In fact, the sky’s the limit when it comes to the design of these useful little words.
Strizver, Ilene. Upper and lowercase Magazine (2003). Design>Typography>Graphic Design
#29829
In this article, I examine a historical information graphic--Charles Booth's maps of London poverty (1889-1902)--to analyze the cultural basis of ideas of transparency and clarity in information graphics. I argue that Booth's maps derive their rhetorical power from contemporary visual culture as much as from their scientific authority. The visual rhetoric of the maps depended upon an ironic inversion of visual culture to make poverty seem a problem that could be addressed, rather than an insurmountable crisis. This visual rhetoric led directly to significant features of and concepts in western societies, including the poverty line and universal old-age pensions (social security).
Kimball, Miles A. Journal of Technical Writing and Communication (2006). Articles>Graphic Design>Visual Rhetoric>Cartography
#18725
The London Underground Map: Imagining Modern Time and Space
In one of his short essays in Mythologies, Barthes equated a new Citroën with the great Gothic cathedrals. He based this equivalence not on any physical resemblance, but on similarities he perceived at the moments of their production and consumption. Barthes saw each as 'the supreme creation of an era, conceived with passion by unknown artists, and consumed in image if not in usage by a whole population which appropriates them as a purely magical object.' I would like to consider the London Underground Map in the context of Barthes’s list of 'supreme creations,' and I would like to adopt his argument as the starting point of my observations.
Hadlaw, Janin. Design Issues (2003). Design>Information Design>Graphic Design
#10243
Looking for Art in All the Right Places
Although this doesn't seem to be a Design and Publishing topic, it really is. Your visual experience should always be digesting new and different input. You need visual stimulation to maintain your creative edge. Looking at art is one way of doing this -- and the web offers an unlimited wealth of visual wonders. Pull out your daytimer, or your palm, and make an appointment with yourself. Take one or two hours each month and discover new visual landscapes. It will serve you well, and you'll come to look forward to those little jaunts into the visual web.
Showker, Fred. Design, Typography and Graphics (2000). Design>Graphic Design>Typography
#21964
How to get the most out of the Photoshop sharpening controls - complete with show-and-tell examples.
Blatner, David and Steve Roth. Adobe Magazine (1995). Design>Graphic Design>Image Editing>Adobe Photoshop
#20429
Magazine Typography: Designing for Browsers and Readers
Magazine typography is all about communicating, but magazines communicate in many different ways. One of those ways is through the text, the traditional meat of any publication. Other ways include photography, artwork, suggestive and allusive headlines, cartoons, and even the advertising. All of these require integrating words and images in imaginative ways.
Berry, John D. Upper and lowercase Magazine (2001). Design>Typography>Graphic Design
#18367
Make Maximum Use Of The Multiple Slide Master
Nearly every presenter knows the pain of having to merge presentations from different sources. In earlier versions of PowerPoint, such as 95, 97 and 2000, slides copied from another presentation were automatically reformatted by PowerPoint to reflect its current template design. This made it necessary to painstakingly reformat all the new slides, or to program links from one presentation to another, to make everything appear consistent. It was a time-wasting hassle. But with PowerPoint 2002 (also known as XP), the problem can now be easily solved. PowerPoint 2002 offers multiple slide masters, a feature that allows you to copy slides from different presentations and still retain their original formatting. Multiple slide masters also make it easy to design a variety of layouts within one template.
Terberg, Julie. Presentations (2002). Design>Graphic Design>Software>Microsoft PowerPoint
#27432
Some tips on how to improve photos that are taken at night.
Kloskowski, Matt. Planet Photoshop (2006). Design>Graphic Design>Photography>Adobe Photoshop
#21859
If you thought gradients were just a matter of getting two colors together, take a look at how sophisticated they've become.
Alspach, Ted. Adobe Magazine (1998). Design>Graphic Design>Software
#29539
Making the Strange Familiar: A Pedagogical Exploration of Visual Thinking 
Scholarly conversation within the field of professional communication increasingly has focused on the practice, research, and pedagogy of visual rhetoric. Yet, visual thinking has received relatively little attention within the field. If our programs produce students who can think verbally but not visually, they risk producing writers who are visual technicians but are unable to move fluidly between and within modes of communication. This article examines the literature and pedagogical practices of visually oriented disciplines to identify strategies for helping students develop the ambidexterity of thought needed for the communication tasks of today's workplace.
Brumberger, Eva R. Journal of Business and Technical Communication (2007). Articles>Education>Graphic Design>Visual Rhetoric
#25967
Making Your Digital Camera See More
One of the challenges of photography is to capture the image that you see with your camera. With modern cameras performing all of the light measurement and changing the settings, in most cases when you press the shutter button, the image that you capture is an accurate representation of what you saw; that is, until you attempt to photograph a scene that has extremes in lighting. When you’re out shooting a sunset, for example, you can see both the foreground and the sunset quite clearly, but after taking the photograph, the sunset looks brilliant and the foreground is black as pitch.
Huss, Dave. Layers Magazine (2005). Design>Graphic Design>Photography
#30052
An interview with Kevan J. Atteberry, the graphic artist who first developed Clippy the Overly Eager Office Supply Unit.
Dickson, Andrea with Erin Lowe. STC Puget Sound (2007). Articles>Interviews>Graphic Design>Help
#19883
Managing Quality Graphic Design in a Documentation Project
Supervising the design of documentation is challenging for documentation managers who have little or no educated knowledge of design. However, quality design that maintains ease of reading, accessibility, comprehension, retention, and aesthetics is vital to the usability and success of the documentation and should be carefully monitored by the documentation manager. Decisions must be made up front on four design areas -- packaging, layout, typography, and highlighting -- before the project is underway. In addition, audience analysis and a design style guide are two techniques that managers should embrace in supervising design.
Listeman, Amy J. STC Proceedings (1995). Careers>Graphic Design>Document Design>Documentation
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