http://tc.eserver.org/publisher/Design,_Typography_and_Graphics A listing of works published by Design, Typography and Graphics in the field of technical communication. en-us Copyright (c) 2005-08 by the EServer. All rights reserved. tclib-editorial@eserver.org (TC Library Editorial Board) webmaster@eserver.org (Geoffrey Sauer) http://tc.eserver.org/images/newlogo.gif http://tc.eserver.org/dir/Design,_Typography_and_Graphics http://tc.eserver.org/28594.html http://tc.eserver.org/28594.html Roger C. Parker returns with this tutorial to help make your electronic publications attention-getting, attractive, and easy to read... all part of his recent book Design to Sell. http://tc.eserver.org/28593.html http://tc.eserver.org/28593.html So, you think you'd like to get into Games development? Follow along as Sessions School of Game Art advisory board member Jolene Spry interviews Dave Taylor, independent video game producer and long-term veteran of the gaming industry. http://tc.eserver.org/28596.html http://tc.eserver.org/28596.html Every wondered what it's like to hold a high-powered design position in the cosmetics and fashion industry? Enjoy this intreview by industry expert and sessions EDU instructor Laura Schwamb, and get a peek into the life of Lara Modjeski VP of Creative, Tom Ford Beauty. http://tc.eserver.org/28595.html http://tc.eserver.org/28595.html Anne-Marie "HerGeekness" Concepcion wrote about 'Telling Questions' prospective design employers may ask the job applicant. Some of the questions are obvious -- others not so. So, we teamed up with Anne-Marie to find out if YOU can correctly answer these Questions for Designers. http://tc.eserver.org/28592.html http://tc.eserver.org/28592.html It's not hard to persuade a designer that color matters. But persuading Fortune 500 companies? You might be surprised. Color consultant Leatrice Eiseman has carved out a major career in helping companies 'make correct choices in colors that sell.' http://tc.eserver.org/25168.html http://tc.eserver.org/25168.html Kenn Munk designs wonderfully different fonts and dingbats that allow the user to 'build' words, or in the case of dingbats - images. This obsesion is probably due to the hours and hours spent playing with LEGO bricks in his childhood. Shhhhh... be quiet! http://tc.eserver.org/25170.html http://tc.eserver.org/25170.html A brief overview of the history of type. http://tc.eserver.org/25166.html http://tc.eserver.org/25166.html Kenn Munk designs wonderfully different fonts and dingbats, some of which are inspired by urban typography. Travel to his neighbourhood, Frederiksbjerg Denmark, for an insightful visit with typography of bygone days. http://tc.eserver.org/25172.html http://tc.eserver.org/25172.html Here's a revival article from an early DTG that talks answers the age-old questions: 'What should I look for in a font?'...or 'Why does this font look so strange?' http://tc.eserver.org/25174.html http://tc.eserver.org/25174.html Have a lot of text to set and want to spice it up? Try using an initial letter. http://tc.eserver.org/25173.html http://tc.eserver.org/25173.html Let's take a look at legibility vs. readability in typesetting and typography. Let's see if the if the rules can be broken. Never underestimate the powers of a good sans serif! http://tc.eserver.org/25167.html http://tc.eserver.org/25167.html Leslie Cabarga has been a working illustrator and designer since 1970. He has authored over two dozen books on design, and as an illustrator he has drawn covers for Time Magazine, Newsweek, Fortune, and National Lampoon. http://tc.eserver.org/25169.html http://tc.eserver.org/25169.html Al Ward, author of 'Photoshop for Right Brainers' walks you through an extensive tutorial using layers and layer masks for a rather striking image. More than 30 illustrations and Al's competent guidance will show you how to put type in your face! http://tc.eserver.org/25171.html http://tc.eserver.org/25171.html In this article, Fred talks about experiences with some of the greats of typography... and helps to answer the question with a quote from Jan White. http://tc.eserver.org/25156.html http://tc.eserver.org/25156.html Are you a home-based studio or freelancer? The benefits are many for the solo designer, but feeling isolated can spell trouble. http://tc.eserver.org/25157.html http://tc.eserver.org/25157.html 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. http://tc.eserver.org/25152.html http://tc.eserver.org/25152.html Always use elements contained in the font you're manipulating! http://tc.eserver.org/25148.html http://tc.eserver.org/25148.html The basic elements that come together to make up interesting visual design can be found echoing throughout everything around us. Those basic elements are the key to finding inspiration in the world around us. http://tc.eserver.org/25153.html http://tc.eserver.org/25153.html The pitfalls of using a graphic designer that is not experienced can have financial and emotional consequences. Designers must understand what software program to use for the task at hand. A designer that is not experienced can cost the customer time, money and unnecessary stress. http://tc.eserver.org/25151.html http://tc.eserver.org/25151.html Some pearls of file output wisdom collected over the years from friends who ride imagesetters everyday. http://tc.eserver.org/25154.html http://tc.eserver.org/25154.html Originally published in 1989, this printing primer for digital artists has been updated and annotated for today's digital desktop publisher. http://tc.eserver.org/25150.html http://tc.eserver.org/25150.html When you are at the onset of a publication design, you need to set up a prototype. The style or personality of the publication is determined at this point, so you need to be sure each decision you make pays careful attention to the details of good design. http://tc.eserver.org/25149.html http://tc.eserver.org/25149.html Everyone loves photos, and by using a little creativity and a little planning you can make a superb photo album. http://tc.eserver.org/25158.html http://tc.eserver.org/25158.html The internet and e-book technology gives you the power of independence-the power to create your own e-books and sell them online. http://tc.eserver.org/25155.html http://tc.eserver.org/25155.html Color expert Mike Davis of Colorprep knows what to do when color goes wrong... and many times it's the photographer or designer's fault! http://tc.eserver.org/14160.html http://tc.eserver.org/14160.html Believe it or not, Adobe Photoshop can be used for more than just photo editing and design. Yes, despite its name, Photoshop is one of the ever-expanding range of tools available for digital painters, illustrators, and just plain doodlers. These tools are allowing people incredible freedom to express themselves and create fun pictures. Imagine reliving your childhood days of drawing and scribbling, without ever having to worry about making a mess, or running out of supplies. Best of all, digital art is much more forgiving when you make mistakes. No other medium would let you erase 1000 times, without harming your canvas one bit. At the other end of the spectrum, Photoshop can be used to create professional, print-quality illustrations with great efficiency. Here's a general introduction to the world of digital painting. http://tc.eserver.org/14161.html http://tc.eserver.org/14161.html One of the most frequent problem areas I encounter in the publishing field is when editors, writers and, yes even business people are expected to turn out a good newsletter. If my car isn't running right, I take it to the mechanic. I don't expect the car wash to fix the motor any more than I expect the mechanic to give it a wash and wax. Rare are the instances where the writer or editor is also a good designer and/or typographer. Yet they're almost always restricted by the software they use, the availability of good clip art or images, and the time to think about the details. I'm going to restrict myself to just the initial visual and organizational points in this critique. We could spend days talking about minutiae and the array of options involved in a full scale makeover. What I'll do is share some quick and easy areas where a simple fix will make a big difference. http://tc.eserver.org/13582.html http://tc.eserver.org/13582.html Each year we like to highlight some of the outstanding print publication samples we've seen and ask ourselves is there opportunity for a do-it-yourself project. http://tc.eserver.org/13581.html http://tc.eserver.org/13581.html Every product that human beings create has an impact on the environment. The questions is, to what degree? How long will it last, what damage is done in creating it, and what will happen when it is no longer needed? http://tc.eserver.org/12926.html http://tc.eserver.org/12926.html The Design Center and DT&G have taken pride over the years in remaining as non-platform specific as possible, and provide content that is accessible to everyone without a lot of fancy configuration and bother. With the advent of Verdana however things will change a bit. In the early '90s we switched to Frutiger as our official replacement for Helvetica. We have used it for all the anchor ('house') typography in The Design Center as well as The User Group Network. Verdana has tested out to be a very close knock-off of Frutiger so we're going to experiment with it a bit here in the web site. http://tc.eserver.org/12925.html http://tc.eserver.org/12925.html Each year during May and June we get hundreds of calls, letters and emails from young graduates who would like to work for Showker Graphic Arts & Design or any of the Graphic Design Network web sites. This year, since we had a specific letter from a potential employer, we thought it would be cool to show graduates how we approach reviewing candidates for employment. http://tc.eserver.org/12924.html http://tc.eserver.org/12924.html Oh, it's in vogue these days isn't it. Trap here. Trap there. All the computer graphics experts and magazine writers showing off their divine knowledge, writing about 'trapping.' Some people don't even know what trapping is. Some don't even care. But the computer industry sure wants us to know – and they want us to buy the latest and greatest software to prove it. Do I sound cynical? (He asks with a sly grin.) Your first line of defense in avoiding trapping traps is to understand the concepts. http://tc.eserver.org/10245.html http://tc.eserver.org/10245.html Although it takes many hours and piles books to prepare yourself for competent DTP -> Print, we've capsulized a series of comments which address some of the most frequent questions readers and workshop attendees ask. These are also based on our mentoring program, and makeover clinics as the most common problem areas we see in beginner to intermediate desktop publishers. These steps will help you as you approach each project. Each topic is by no means a complete text -- but serves to alert you of problem areas, and suggest simple entry-level solutions. http://tc.eserver.org/10241.html http://tc.eserver.org/10241.html Illegal colors are those colors which you can pick on your computer that will not reproduce using traditional CMYK offset printing. For example, open the Apple color wheel. Set the brightness as high as it can be and click on the aqua color at nine o'clock on the wheel. You see that bright, glowy, neon-like color? Isn't it beautiful? Too bad, it's illegal. There is no way that ordinary CMYK inks can reproduce that color. Most people get into illegal color trouble when they pick a color that looks great on the screen, and then have the job printed using process colors. They then complain to the print shop that the job looks dull, that all the brightness is gone. That's the fault of picking illegal colors. You won't get arrested but you will be disappointed in the output. The following is a list of some of the popular desktop publishing program and how they handle illegal colors. http://tc.eserver.org/10243.html http://tc.eserver.org/10243.html 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. http://tc.eserver.org/10246.html http://tc.eserver.org/10246.html Amongst pomp and circumstance, many graduates are hitting the pavement this spring looking for that pie-in-the-sky job at the dot-coms, design studios and graphic arts firms. Each year the Design and Publishing Center get dozens and dozens of phone calls, letters and resumes all touting the awesome talent and experience of each new crop of graduates. We tip our hats to you with a little advice. http://tc.eserver.org/10244.html http://tc.eserver.org/10244.html We hear a lot about proofreading. And, although it is a vital part of any publication, there's another kind of proofreading that can make as much (if not more) difference in the success of your publication. Note: This is part four in a continuing series about the creative processes involved in designing a publication. I was prompted to begin this series by the discussions and questions asked by attendees of my Newsletter Design workshop recently in Dallas. http://tc.eserver.org/10242.html http://tc.eserver.org/10242.html For use in extensive text the font's rigid, uniform strokes will create eye problems right away. Additionally, the perfect circles in the round characters begin to form light spots or 'holes' in the text that disturb the calm texture of columns of type. The character count is so extended that in order to fit copy you have to run it at 8 or 9 point, which is not acceptable for comfortable reading. Bumping it up to 10 or 12 generates ugly text at best.