Choosing the right design, the right designer and the right graphics is essential. Selecting the right business, the right platform and the right time is crucial. If you have an artistic hand but don’t know how to write, or you have beautiful voice and you don’t know how to sing, you may have a gift, but a paralyzed one.
You have a website and don’t know what its composition is; you have graphics and don’t know how they are designed; just the lack of this information you may lose your business.
Simple, yet complex, are the pages of your website containing graphics all together in every space. And those very graphics can hamper you, if not properly designed for an impressive deliverance to the customer.
If your site loads slowly in a browser, if your logos are not eye pleasing, if the fonts are not stylish, if the color combination and outline architecture is not smooth, you might be irritating your own costumer rather appealing to them.
Graphic design elements that are in your websites primarily are of two types; Vector and Raster.
Vector graphics is a geometric modeling of images, widely being used in Computer Graphics today. Vector graphics applies geometrical standards i.e., lines, curves, and polygons to represent images, while Raster graphics or a bit-mapped image, which is based on pixels in a grid, and contains information about the colors to be displaced in “bits”. Due to this raster graphics have fixed resolution, thus cannot be resized without losing image quality.
In addition, bitmap images have much large file sizes; however, vector graphics are prepared by many individual objects, and each of them are defined by geometrical data with individual properties allocated to it such as color, fill, and outline. Thus, vector graphics have free resolution and can bring high quality output at any scale.
Vector images are more flexible than bitmaps, and for that reason they can be resized and stretched. Additionally, images stored as vectors enhance appearances on monitors and printers with higher resolution, while bit-mapped images always appear the same, in spite of of a device's resolution. Another advantage of vector graphics is it requires less memory than bit-mapped images do.
The word vector graphics is typically used in the context of two-dimensional computer graphics. Today almost all computer video displays transform vector representations of an image to a raster format.
Vector graphics editors usually allow a user to spin, shift, mirror, stretch, tilt, a combination of primitives into a more sophisticated objects. Vector graphics are better for designing outlines, typography, logos, technical illustrations, diagram and flowchart, while bitmap editors are more suitable for retouching photos, photo processing, and artistic illustrations.
It is ideally good for simple or complex drawings that need to be photo-realism. i.e., for PostScript and PDF page description languages use a vector graphics model.
Vector graphic are perfect format for the Web as these are lightweight graphics to the websites due to its file size and problem free regarding physical height and width of the image.
These days, websites are filled with sophisticated icons, images, navigation bars, photographs, bottoms, logos, etc and for cutting the file size, vector graphics are efficient, smaller, compact, and scale perfect or independent resolution compare to the raster graphics.
Regarding programs which allows us to create and operate vector graphics, are called drawing programs, while programs that operate bit-mapped images are called paint programs.
Almost all graphics application these days, including CADD systems and animation software, use vector graphics; furthermore, printers like PostScript printers use vector graphics and fonts represent as vectors are called postscript fonts. While, dot-matrix printers, laser printers, and monitors, are raster devices, this means that all objects, even vector objects, must be translated into bit maps before being output which means, even vector graphic images must be interpreted to the raster graphic before the end product can be displayed on paper.
Interesting, yet most important note regarding these two graphics are, its similarity with the human organ behaviors; like bitmap images, the human eyes catches objects in a mosaic raster format by photon recipient nerves though physical world.
Another hand brain function perceives the objects as vector graphics in its visual world. As a result, the brain can easily recalls drawings like cartoon, logos, signs, images, symbols, banners, with outlines. Though the pixel image with mosaic format will be faded out, but the impression of outlines of the pictures will remain in the memory of a human being for long. Eyes cannot manipulate the objects seen in the outer world, it perceives as it is, while the mind can manipulate through its imagination in its mental zone.
If you have chosen the right graphics and the right graphic designer for your business, enrich your business with graphics that are web friendly, swift loading, attractive, impressive and much more than outlines that remain in the mind of your visitor for a very long time.
Your website design should be eye pleasing, mind snatching, impressive and overall appealing to the customers. Design simple, but yet make it striking!
By: Bharat Bista
Thursday, March 29, 2007
Monday, March 26, 2007
Graphic Design using color
Color is everywhere and conveys a message even if we don’t realize it. While this message can vary by culture it pays to know what colors “say” in your own corner of the universe, and even what color means to your target market.
If you don’t think that color speaks just complete this sentence, “red means ---- and green means –“ even a child will know what red means stop and green means go. If such simple ideas work for all of a given culture or market what could it mean to the graphic design of your website, brochure, or product if you know some of this information.
First let’s start with the basics. The color wheel. We’ve all seen it. The color wheel shows the basic colors, each wheel is different in how many shades of each color is shown, but they are essentially the same.
Color harmony, colors that go together well. These will be colors that are next door to each other on the color wheel. Such as blue and green. In reference to clothes these colors match each other. Instinctively most of us know which colors go together when we dress ourselves every morning.
Color complements, colors that set each other off, they complement each other. These are colors that are opposite on the color wheel. Such as blue and orange.
Color depth, colors can recede or jump forward. Remember that some colors seem to fall back such as blue, black, dark green, and brown. Other colors will seem to step forward such as white, yellow, red, and orange. This is why if you have a bright orange background it may seem to fight with any text or images that you place on it. The orange will always seem to move forward.
Now you have the basics so let’s go further. Just because to colors go together or complement each other doesn’t mean that yo necessarily want to use them on your project. I opened this article with the meaning of colors now here is an example, keep in mind this is one example from western culture.
Color Survey: what respondents said colors mean to them.
Happy = Yellow Inexpensive = Brown
Pure = White Powerful = Red (tomato)
Good Luck = green Dependable = Blue
Good tasting = Red (tomato) High Quality = Black
Dignity = Purple Nausea = Green
Technology = Silver Deity = White
Sexiness = Red (tomato) Bad Luck = Black
Mourning = Black Favorite color = Blue
Expensive = Gold Least favorite color = Orange
So in designing your project it’s important to know what colors mean. You can now see why a black back ground with green type would be bad, beyond being nearly impossible to read, if your target market thinks that black represents mourning and green makes them sick. There are exceptions to every rule of course.
So you may want to include some research in what colors mean to your target market. Colors that would get the attention of a teen would probably annoy an older person and the colors that appeal to the older person wouldn’t get a second look from a young person.
Color may be one of the most overlooked aspects of design.
Author
Copyright 2004 Kelly Paal Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.
If you don’t think that color speaks just complete this sentence, “red means ---- and green means –“ even a child will know what red means stop and green means go. If such simple ideas work for all of a given culture or market what could it mean to the graphic design of your website, brochure, or product if you know some of this information.
First let’s start with the basics. The color wheel. We’ve all seen it. The color wheel shows the basic colors, each wheel is different in how many shades of each color is shown, but they are essentially the same.
Color harmony, colors that go together well. These will be colors that are next door to each other on the color wheel. Such as blue and green. In reference to clothes these colors match each other. Instinctively most of us know which colors go together when we dress ourselves every morning.
Color complements, colors that set each other off, they complement each other. These are colors that are opposite on the color wheel. Such as blue and orange.
Color depth, colors can recede or jump forward. Remember that some colors seem to fall back such as blue, black, dark green, and brown. Other colors will seem to step forward such as white, yellow, red, and orange. This is why if you have a bright orange background it may seem to fight with any text or images that you place on it. The orange will always seem to move forward.
Now you have the basics so let’s go further. Just because to colors go together or complement each other doesn’t mean that yo necessarily want to use them on your project. I opened this article with the meaning of colors now here is an example, keep in mind this is one example from western culture.
Color Survey: what respondents said colors mean to them.
Happy = Yellow Inexpensive = Brown
Pure = White Powerful = Red (tomato)
Good Luck = green Dependable = Blue
Good tasting = Red (tomato) High Quality = Black
Dignity = Purple Nausea = Green
Technology = Silver Deity = White
Sexiness = Red (tomato) Bad Luck = Black
Mourning = Black Favorite color = Blue
Expensive = Gold Least favorite color = Orange
So in designing your project it’s important to know what colors mean. You can now see why a black back ground with green type would be bad, beyond being nearly impossible to read, if your target market thinks that black represents mourning and green makes them sick. There are exceptions to every rule of course.
So you may want to include some research in what colors mean to your target market. Colors that would get the attention of a teen would probably annoy an older person and the colors that appeal to the older person wouldn’t get a second look from a young person.
Color may be one of the most overlooked aspects of design.
Author
Copyright 2004 Kelly Paal Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.
Thursday, March 22, 2007
color psychology and Graphic Design
Colors have psychological impacts; they are attributes of eyes, but are the chemistry of the mind. Colors are perceived though pupils and its effects are produced with associated nerves to the brain neurons.
Light reflecting through objects in different wavelengths and frequency stimulates different “cones” or color receptor cells of the retina in the eyes and makes perception possible for different colors.
Colors influence people through psychological changes and are associated with certain feelings and meanings. Colors exist everywhere else, it is omnipresent. Colors represent cultural, social customs and emotional values and its use in arts, printing, designing, websites, graphics, etc. – these days are unavoidable.
Choosing proper color is an essential constituent for your website and its graphics; as visitors to your website first encounters colors and graphics, before they read your textual descriptions.
Colors are used in website design and graphic design for various forms; use of colors can be for backgrounds, navigation, logos, and buttons; to emphasize, highlight, and symbolize your text description and outlining your site.
Despite the fact that your website is enhanced and fabricated with textual and graphical design, if you are using the wrong color combinations, then you are annoying your own visitors rather appealing them. As a result, to attract your customers, it is important to understand psychological behavior of your customers to your websites chromatics. The use of wrong colors results in the wrong impression.
Below are the details for color interpreted through different professions, culture, and physiology science;
Red: Red is a color of intensity, stimulants, love, gaudiness, blood, war, excitement, speed, heat, leadership, masculinity, power, passion, strength, energy, financial loss, Danger, fire, radicalism, aggression, stop, anger, and revolution.
Blue: Blue is a color of peace, unity, harmony, depression, coldness, ice, tackiness, winter tranquility, calmness, coolness, confidence, water, ice, loyalty, conservatism, dependability, cleanliness, technology, winter, idealism, and obscenity.
White: White a color of peace, innocence, cleanliness, simplicity, security, humility, sterility, winter, reverence, purity, coldness, surrender, cowardice, and fearfulness.
Black: Black is a color of power, sophistication, Evil, death, fear, anonymity, anger, sadness, mystery, formality, elegance, wealth, style, remorse, mourning, and unhappiness.
Green: Green is a color of nature, spring, good luck, illness, greed, vigor, generosity, go, grass, wealth, money, fertility, youth, environment, envy, misfortune, jealousy, aggression, and inexperience.
Purple: Purple is a color of spirituality, royalty, nobility, enlightenment, sensuality, creativity, wealth, gaudiness, ceremony, mystery, wisdom, mourning, profanity, exaggeration, confusion, arrogance, and flamboyance.
Brown: Brown is a color of richness, stability, anachronism, dirt, dullness, filth, heaviness, poverty, roughness tradition, calm, depth, natural organisms, and nature.
Yellow: Yellow is the color of joy, happiness, optimism, idealism, gold, summer, hope, air, sunlight, hazards, dishonesty, avarice, weakness, cowardice, and illness.
Orange: Orange is a color of energy, flamboyance, playfulness, balance, heat, fire, enthusiasm, overemotional, warning, danger, fire, aggression, arrogance, flamboyance, and gaudiness.
Even choosing color is a professional skill in graphic design business, as it is not only just the colors, but are the color that stimulates the mind of your viewers. Graphic designs inevitably come with colors, and selecting the best ones for your business is an expertise.
By: Bharat Bista
Source: http://findinarticles.com/a69su7Ohq/7827/Color-Psychology-and-Graphic-Design.html
Monday, March 19, 2007
designing a Graphic Design Portfolio
Graphic design is the art of combining design principles, technology and ingenuity to arrive at solutions for a variety of visual communication needs. It is used in making business cards, logos, movie title graphics, websites, user manuals and signage. An attractive graphic design enhances visibility of the product and generates revenue for the client. Therefore, the graphic designer is an important member of the core team working on the campaign.
Most clients would need proof of one’s designing abilities. It is not as much about the list of former clients or award-winning work done before. It is about what the designer is capable of. Hence, every designer needs to compile his design solutions into a portfolio. The portfolio should be put together with care. It is like the business card for a designer.
The potential client is more interested in knowing whether you have the skill to translate his design needs into an effective campaign rather than your list of qualifications. The portfolio should, therefore, reflect the type of work you are comfortable in doing. A beginner or a person who does not work with many clients may not have much to show. In such a case, it is better to include most of the designs, which the person has done in the past.
The most important aspect of compiling the portfolio is to decide the pieces that would go into it. If you do not have many products to show, then it is better to include work, which you had done for friends. As we said before, clients are not concerned about who hired you before. They are just interested in knowing what kind of design capabilities you possess. For a newcomer or a freelancer, there could be possibilities of work done for close family, community organizations and friends. It is wise to accommodate such pieces in your portfolio. They reveal the ability to come up with acceptable solutions within budgetary constraints.
The portfolio should contain actual samples. For example, include brochures, fliers, book covers etc. On every project, obtain one or two copies for sample or portfolio use. File it away neatly. If your work was part of a larger design, such as illustrations in a book, include only those pages, by tearing them off. In case, you are not able to obtain originals, take printouts from your digital files or photocopies. More and more designers work in the area of web design. Include screen shots and high-resolution print outs from the website.
Once the pieces are chosen, one has to assemble them in a portfolio case. The case should accentuate the work rather than distract from it. Size of the case depends on the size of the materials. Place your best work at the beginning and at the end. You can also arrange according to clients or skill types. Always update your portfolio as you complete new projects.
A well-thought out and neatly presented portfolio is the first step towards establishing your business credentials. It indicates your methodical approach and makes you dependable in the eyes of prospective clients.
Author: Vincent Platania
We have a professional team of graphic designers that possess artistic ability and creative thinking for designing eye catching graphic design. Visit Graphic Design
Friday, March 16, 2007
the role of a Logo Design in Branding a Business Organization
As Wikipedia states, branding has become an “increasingly important component of culture and the economy, now being described as cultural accessories and personal philosophies.” Simply put, a brand is “a collection of images and ideas representing an economic producer.” In laymen’s terms, branding is the process of creating a recognizable identity for a company or product. In today’s society, branding is one of the most important steps that a company can take. Modern consumers are willing to buy a product based solely on the fact that they are familiar with the brand. Because advertising is driven by television and the internet, the visual aspects of a brand’s identity are extremely important. The most recognizable aspect of a brand is its logo design.
Although the average consumer will take it for granted, logo design is an extremely complicated process. Contrary to popular belief, it would be almost impossible to find a major company that designed their logo by accident or chance. In reality, logo design is a process that requires the full attention of a qualified group of individuals.
Logo design lies within the larger field of graphic design. According to many industry experts, logo design is considered to be the most difficult part of graphic design. The reason that logo design is so much more difficult than many other areas of graphic design is because a company logo is not just an image. Instead, a logo is an embodiment of an organization. Therefore, a professional logo design team must possess an extremely high level of skills in several different areas. According to several sources, there are a handful of general guidelines which dictate the process of most logo designs.
To begin with, all logos should be vector graphics. Logos that are created as vector graphics can be blown up or shrunk down without losing their quality. Therefore, you can use the same logo on a business card and a billboard without sacrificing detail or quality. The next rule that guides logo design is to avoid using gradients as a major feature of any logo. Along the same line, logos should utilize as few colors as possible. This will not only make the task of reproduction much easier, but it will also ensure that a logo design does not overwhelm consumers.
In addition to the rules outlined above, there are several guidelines for custom logo design which many people would consider to be common sense. For example, a logo should not feature the face of a person that is still alive. Additionally, a logo should never include imagery that could be classified as culturally sensitive. This could range from national flags to religious icons. Finally, a quality logo design will never rely on photography, clipart or other forms of complex imagery. These items can significantly decrease that a logo design provides for a brand.
Even though you the purpose of logo design is to come up with a logo that sets a company or product from the rest of the crowd, a quality logo designer will not try to be over the top in their design. Trying too hard to develop a unique logo can have the same results as blatantly copying another company’s logo.
Author
Harris Jhosta is holding the market experience of IT industry and immense business solutions for about 2 decades now. His vast experience in the related field gave him the acclamation and renownship in many sectors of business. Harris has been involved in variety of work and giving training in designing also.Click here for more Logo Design details!".
Although the average consumer will take it for granted, logo design is an extremely complicated process. Contrary to popular belief, it would be almost impossible to find a major company that designed their logo by accident or chance. In reality, logo design is a process that requires the full attention of a qualified group of individuals.
Logo design lies within the larger field of graphic design. According to many industry experts, logo design is considered to be the most difficult part of graphic design. The reason that logo design is so much more difficult than many other areas of graphic design is because a company logo is not just an image. Instead, a logo is an embodiment of an organization. Therefore, a professional logo design team must possess an extremely high level of skills in several different areas. According to several sources, there are a handful of general guidelines which dictate the process of most logo designs.
To begin with, all logos should be vector graphics. Logos that are created as vector graphics can be blown up or shrunk down without losing their quality. Therefore, you can use the same logo on a business card and a billboard without sacrificing detail or quality. The next rule that guides logo design is to avoid using gradients as a major feature of any logo. Along the same line, logos should utilize as few colors as possible. This will not only make the task of reproduction much easier, but it will also ensure that a logo design does not overwhelm consumers.
In addition to the rules outlined above, there are several guidelines for custom logo design which many people would consider to be common sense. For example, a logo should not feature the face of a person that is still alive. Additionally, a logo should never include imagery that could be classified as culturally sensitive. This could range from national flags to religious icons. Finally, a quality logo design will never rely on photography, clipart or other forms of complex imagery. These items can significantly decrease that a logo design provides for a brand.
Even though you the purpose of logo design is to come up with a logo that sets a company or product from the rest of the crowd, a quality logo designer will not try to be over the top in their design. Trying too hard to develop a unique logo can have the same results as blatantly copying another company’s logo.
Author
Harris Jhosta is holding the market experience of IT industry and immense business solutions for about 2 decades now. His vast experience in the related field gave him the acclamation and renownship in many sectors of business. Harris has been involved in variety of work and giving training in designing also.Click here for more Logo Design details!".
Monday, March 12, 2007
digital printing VS press printing - A Comparison Guide
When it comes time to print your brand identity materials, there's one overarching question for you to consider-whether to print the resulting materials on a digital printer or traditional press. There are many differences between the two processes, some of which are outlined below.
Digital Printing
Less expensive - Digital printing is a direct-to-paper printing process. As a result, it often runs about one-half of the cost of press printing.
Lose color accuracy - Digital printing is a four-color printing process. Four colors-cyan, magenta, yellow, and black-are printed in tiny dots that when visually mixed together, create various colors. This, in addition to the different set-ups and settings on the machines from press-to-press, batch-to-batch and printer-to-printer, can produce a wide range of different color results. You can never be certain what you'll get.
Lose color range - Four-color printing has limitations on the brightness, saturation, and range of colors available-when mixing colors in this way. To produce bright reds, oranges, blues, and purples, especially, press printing is a better choice.
Cost of proofing - Proofing is one way to produce accurate color. Proofing can be costly, especially when compared to the overall cost of the job. But, since the proof is created on the same equipment that the final job is printed on, it is often quite accurate.
Can be faster - Since no pre-press work or press setup is needed, running your job on a digital press can be faster, depending on how many jobs the printer has in the queue before yours. Some printers can even offer same-day service. Three days is a standard turnaround time for many of the web-based digital printing companies.
Limited paper choice - Digital presses can only accommodate a limited paper thickness, and many digital printing companies only offer smooth, white papers. Thus, if a thick business card is important to you, then digital printing is not your right choice.
Limited finishing choices - Foil stamping, metallic inks, and embossing services are usually not offered by digital printing houses. Some digital printers also do not offer die-cutting or special folding services.
Limited choice of material sizes, styles, and formats - Digital printers will offer a very specific "menu" or range of products. If you want to create innovative marketing materials, such as the brochure-style business cards that we create at elf design, then digital printing is not a choice for your project. Large formats are also not available with many digital printers, as the largest paper size they can accommodate is 11" x 17".
Press Printing
More costly - The difference in costs is mainly due to setup costs. For press printing, films must be produced, and plates may have to be produced as well, which are additional items that add to the overall cost. Additional time is involved in setting up and aligning the press, as well as washing the press. Also, there are more overruns from traditional printing, since you cannot program in a specific number of pages to be printed as you can with a digital printer. Most printers consider overruns to be billable, or they add an additional cost for that into the initial estimate. Jobs done on a press will typically run about twice the cost of digital printing.
Excellent color accuracy - The Pantone Matching System (PMS) offers great color accuracy. Pantone colors are mixed to precise, pre-set specifications, which are printed each year in their color matching guides. You can consult these books to see exactly what the final color will look like in advance. It's a lot like going to the paint store and specifying colors for your home on the paint chips they offer-you know what you'll get. So, if color accuracy is important to you, then press printing may be the best choice.
Brighter colors are available - Since the Pantone colors are mixed using inks, they can be created to be much brighter and more intense. So, if lively colors are important to your brand image, then press printing may be the way to go.
Cost of proofing - For four-color press jobs, proofing is often not too expensive when compared to the overall cost of the job. However, it can be inaccurate, depending on the type of proof run and the type of press on which your final job will be printed.
For two- or three- color jobs printed using the Pantone system, complete color proofing is often not available. However, samples of the colors are available in the Pantone books. And, inexpensive laser prints or inkjet prints can be created to view the positioning of the elements of the page. With a little imagination, you can visualize how the final job will look.
Press printing can take longer than digital - There are several additional steps involved in press printing, which are taken care of using direct-to-press, digital technology. Films and plates must be made, the press set up, run the job and then tune us needed for drying. Then cutting, folding, and other finishing must take place.
Types of paper - Choose from an entire rainbow of paper colors-fire-engine red to deep blue, sunflower yellow to pitch black. There is also a wide range of thicknesses and textures from which to choose, including specialty papers, such as vellum and metallic papers. If you are considering using nontraditional paper your card or materials, press printing is the best way to go.
Fine line screens are available - The result of this is that even under close inspection, the color will look smooth and seamless. It will also appear brighter and more intense.
Wide range of finishing techniques - All finishing options are possible with press printing. Metallic inks can be run through the press as easily as can a nonmetallic ink. Embossing, die cutting, and foil stamping can be done in traditional printing houses. You can create materials that really stand out using these techniques.
Innovative formats, shapes, and sizes are possible - Traditional press printing can accommodate a wide range of paper sizes and can result in innovative and creative finished projects. This is largely due to the "have-it-your-way" range of options, where you can specify special sizes and finishing techniques.
We hope that the above primer on the pros and cons of both digital printing and press printing helps you to decide which you will choose to produce your materials.
Author
Erin Ferree is a brand identity and marketing design strategist who creates big visibility for small businesses. Through her customized marketing and brand identity packages, Erin helps her clients discover their brand differentiators, then designs logos, business cards, and other marketing materials and websites to reflect that differentiation, as well as to increase credibility and memorability. http://www.elf-design.com/
Digital Printing
Less expensive - Digital printing is a direct-to-paper printing process. As a result, it often runs about one-half of the cost of press printing.
Lose color accuracy - Digital printing is a four-color printing process. Four colors-cyan, magenta, yellow, and black-are printed in tiny dots that when visually mixed together, create various colors. This, in addition to the different set-ups and settings on the machines from press-to-press, batch-to-batch and printer-to-printer, can produce a wide range of different color results. You can never be certain what you'll get.
Lose color range - Four-color printing has limitations on the brightness, saturation, and range of colors available-when mixing colors in this way. To produce bright reds, oranges, blues, and purples, especially, press printing is a better choice.
Cost of proofing - Proofing is one way to produce accurate color. Proofing can be costly, especially when compared to the overall cost of the job. But, since the proof is created on the same equipment that the final job is printed on, it is often quite accurate.
Can be faster - Since no pre-press work or press setup is needed, running your job on a digital press can be faster, depending on how many jobs the printer has in the queue before yours. Some printers can even offer same-day service. Three days is a standard turnaround time for many of the web-based digital printing companies.
Limited paper choice - Digital presses can only accommodate a limited paper thickness, and many digital printing companies only offer smooth, white papers. Thus, if a thick business card is important to you, then digital printing is not your right choice.
Limited finishing choices - Foil stamping, metallic inks, and embossing services are usually not offered by digital printing houses. Some digital printers also do not offer die-cutting or special folding services.
Limited choice of material sizes, styles, and formats - Digital printers will offer a very specific "menu" or range of products. If you want to create innovative marketing materials, such as the brochure-style business cards that we create at elf design, then digital printing is not a choice for your project. Large formats are also not available with many digital printers, as the largest paper size they can accommodate is 11" x 17".
Press Printing
More costly - The difference in costs is mainly due to setup costs. For press printing, films must be produced, and plates may have to be produced as well, which are additional items that add to the overall cost. Additional time is involved in setting up and aligning the press, as well as washing the press. Also, there are more overruns from traditional printing, since you cannot program in a specific number of pages to be printed as you can with a digital printer. Most printers consider overruns to be billable, or they add an additional cost for that into the initial estimate. Jobs done on a press will typically run about twice the cost of digital printing.
Excellent color accuracy - The Pantone Matching System (PMS) offers great color accuracy. Pantone colors are mixed to precise, pre-set specifications, which are printed each year in their color matching guides. You can consult these books to see exactly what the final color will look like in advance. It's a lot like going to the paint store and specifying colors for your home on the paint chips they offer-you know what you'll get. So, if color accuracy is important to you, then press printing may be the best choice.
Brighter colors are available - Since the Pantone colors are mixed using inks, they can be created to be much brighter and more intense. So, if lively colors are important to your brand image, then press printing may be the way to go.
Cost of proofing - For four-color press jobs, proofing is often not too expensive when compared to the overall cost of the job. However, it can be inaccurate, depending on the type of proof run and the type of press on which your final job will be printed.
For two- or three- color jobs printed using the Pantone system, complete color proofing is often not available. However, samples of the colors are available in the Pantone books. And, inexpensive laser prints or inkjet prints can be created to view the positioning of the elements of the page. With a little imagination, you can visualize how the final job will look.
Press printing can take longer than digital - There are several additional steps involved in press printing, which are taken care of using direct-to-press, digital technology. Films and plates must be made, the press set up, run the job and then tune us needed for drying. Then cutting, folding, and other finishing must take place.
Types of paper - Choose from an entire rainbow of paper colors-fire-engine red to deep blue, sunflower yellow to pitch black. There is also a wide range of thicknesses and textures from which to choose, including specialty papers, such as vellum and metallic papers. If you are considering using nontraditional paper your card or materials, press printing is the best way to go.
Fine line screens are available - The result of this is that even under close inspection, the color will look smooth and seamless. It will also appear brighter and more intense.
Wide range of finishing techniques - All finishing options are possible with press printing. Metallic inks can be run through the press as easily as can a nonmetallic ink. Embossing, die cutting, and foil stamping can be done in traditional printing houses. You can create materials that really stand out using these techniques.
Innovative formats, shapes, and sizes are possible - Traditional press printing can accommodate a wide range of paper sizes and can result in innovative and creative finished projects. This is largely due to the "have-it-your-way" range of options, where you can specify special sizes and finishing techniques.
We hope that the above primer on the pros and cons of both digital printing and press printing helps you to decide which you will choose to produce your materials.
Author
Erin Ferree is a brand identity and marketing design strategist who creates big visibility for small businesses. Through her customized marketing and brand identity packages, Erin helps her clients discover their brand differentiators, then designs logos, business cards, and other marketing materials and websites to reflect that differentiation, as well as to increase credibility and memorability. http://www.elf-design.com/
Friday, March 9, 2007
difficult clients and How to Handle Them
Kerry has done a terrific job of defining some of the major aspects of a difficult client. In the spirit of being proactive, I thought I would take a stab at providing some solutions to these problems:
problem: pay very little, yet be the most demanding.
solution: increase your hourly rate/standard project fees to accommodate for the “hand-holding” that you might have to do on a project. The funny thing is that when you raise your prices, it creates an image of quality in the eyes of your client.
problem: dabble in design (mess around in Photoshop), and call it expert experience.
solution: You are the expert in design, but you must be cognizant that your client is the expert at what they do. If your client hands you a rough design, it is not because they want to pay you less of take over your job, instead it is usually because the client feels so compelled to visually articulate what they know so much about. Sometimes this does help so don’t automatically brush the client off and act as if they have nothing to contribute.
problem: have unreasonable deadlines, and wonder why they should pay you.
solution: Always, always, always define the major milestones and payment details in a contract before any work is done. Every contract that you have should state how much you will be paid, when you will be paid (thirds is typical - 1/3 up front, 1/3 half way, and 1/3 on delivery), and who will pay you (large corps often have a long method of payment approvals - define it early and save the hassle of tracking it down for the next two months).
problem: hold little regard for the graphic design profession.
solution: Build up your clients respect of graphic design by providing them with materials such as “Good Design Is Good Business” or AIGA’s Client Guide to Design. You must also be willing to accept the fact that some clients won’t respect you at the end of the day - so if this is the case then you need to seriously think about letting your client to make room for another client that will appreciate your talents.
problem: have no clue what designers do, and are unwilling to learn.
solution: This problem is very similar to the previous, but we should also acknowledge that often a client doesn’t want to learn what we do because they do not have the time to. It is in our interest to inform the client of what we will do for them right from the start. Make sure you always outline the exact services you will be providing in a contract. Also, make sure it is written in layman’s terms so anyone can comprehend it. Much too often we get caught up in using esoteric words that go right over our clients heads - which only makes them frustrated and annoyed.
problem: expect designers to read their minds, and get angry when you don’t.
solution: We are not mind readers, but we are communication experts. It is our job, as the designer, to extract all of the information we need from the client to provide the right solution to their communication problem. If the designer is not solving the solution, then they have not asked enough questions to make sure that they understand the problem. Likewise, we also have to be open to the fact that there may be multiple problems that can’t all be fixed with one, nicely packaged, solution.
problem: bring unknown others into the design process, and let them make approvals.
solution: At the beginning of a project the designer and the client should designate one contact on both ends that will handle ALL communication between the two parties. The designer will like this because it keeps them from getting a barrage of messages from all different directions, and the client will like it because it allows them to get all of their project updates from one person. You’ll find that designating one person at both companies will also smooth out the approval process because it often forces both companies to make sure the team agrees with the feedback before sending.
problem: insist on their design vision with no input from the designer.
solution: Most clients feel they understand their product/brand better than the designer can, and for the most part, they are right. The client eats, sleeps, and breathes their product, while the designer comes in for a short period of time, examines limited information on the product/brand, and then is expected to design with the insight that they truly understand the product/brand. We should be open to hearing clients vision when it comes to the overall concept - after all, it is part of our discovery process! But we shouldn’t allow the client to “pixel push” us by directing us on the smallest nuances of our design solution. Place more emphasis on your design presentations to the client and thoroughly explain to them why you’ve created the solution you have. This will get them to comprehend exactly why that 2pt blue line is there, hopefully squashing any attempts to outright move it.
problem: have little respect for the designers time.
solution: This problem is a little more difficult to solve. First we have to define exactly what time means. We can define it as “the span it takes us to complete a project or task”, or we can define it as “period spent in meetings with the client and answering/handling correspondence from the client”. Either way we define it, you will find that the problem can be solved with one solution - be honest. Be honest with the client when you tell them how long a task/project will take. If you think it will take you a week to do, and the client keeps pressing that you get it done in two days, then be honest with them and say that two days is not possible and you will need at least one week to do it. If the client still persists then you have two options, do the rush and charge more for it (always charge more for a rush) or say “no thanks” to the client and move on. Clients will only respect our time if we respect our time - plain and simple.
problem: give nothing to the designer to work with, and wonder what’s taking so long.
solution: This goes hand in hand with “expect designers to read their minds, and get angry when you don’t” above. It is the designers job to pull as much information out of the client as possible. It is also our obligation to let the client know when they should expect to see a design. I think every designer I know has a comp and revision process they follow, but few outline when they will be administering this process with a written schedule. At the onset of the project, create a schedule that outlines your expected delivery dates, design presentation dates revision presentation dates, feedback dates and final project hand-off.
Source: http://www.graphicdefine.org/
problem: pay very little, yet be the most demanding.
solution: increase your hourly rate/standard project fees to accommodate for the “hand-holding” that you might have to do on a project. The funny thing is that when you raise your prices, it creates an image of quality in the eyes of your client.
problem: dabble in design (mess around in Photoshop), and call it expert experience.
solution: You are the expert in design, but you must be cognizant that your client is the expert at what they do. If your client hands you a rough design, it is not because they want to pay you less of take over your job, instead it is usually because the client feels so compelled to visually articulate what they know so much about. Sometimes this does help so don’t automatically brush the client off and act as if they have nothing to contribute.
problem: have unreasonable deadlines, and wonder why they should pay you.
solution: Always, always, always define the major milestones and payment details in a contract before any work is done. Every contract that you have should state how much you will be paid, when you will be paid (thirds is typical - 1/3 up front, 1/3 half way, and 1/3 on delivery), and who will pay you (large corps often have a long method of payment approvals - define it early and save the hassle of tracking it down for the next two months).
problem: hold little regard for the graphic design profession.
solution: Build up your clients respect of graphic design by providing them with materials such as “Good Design Is Good Business” or AIGA’s Client Guide to Design. You must also be willing to accept the fact that some clients won’t respect you at the end of the day - so if this is the case then you need to seriously think about letting your client to make room for another client that will appreciate your talents.
problem: have no clue what designers do, and are unwilling to learn.
solution: This problem is very similar to the previous, but we should also acknowledge that often a client doesn’t want to learn what we do because they do not have the time to. It is in our interest to inform the client of what we will do for them right from the start. Make sure you always outline the exact services you will be providing in a contract. Also, make sure it is written in layman’s terms so anyone can comprehend it. Much too often we get caught up in using esoteric words that go right over our clients heads - which only makes them frustrated and annoyed.
problem: expect designers to read their minds, and get angry when you don’t.
solution: We are not mind readers, but we are communication experts. It is our job, as the designer, to extract all of the information we need from the client to provide the right solution to their communication problem. If the designer is not solving the solution, then they have not asked enough questions to make sure that they understand the problem. Likewise, we also have to be open to the fact that there may be multiple problems that can’t all be fixed with one, nicely packaged, solution.
problem: bring unknown others into the design process, and let them make approvals.
solution: At the beginning of a project the designer and the client should designate one contact on both ends that will handle ALL communication between the two parties. The designer will like this because it keeps them from getting a barrage of messages from all different directions, and the client will like it because it allows them to get all of their project updates from one person. You’ll find that designating one person at both companies will also smooth out the approval process because it often forces both companies to make sure the team agrees with the feedback before sending.
problem: insist on their design vision with no input from the designer.
solution: Most clients feel they understand their product/brand better than the designer can, and for the most part, they are right. The client eats, sleeps, and breathes their product, while the designer comes in for a short period of time, examines limited information on the product/brand, and then is expected to design with the insight that they truly understand the product/brand. We should be open to hearing clients vision when it comes to the overall concept - after all, it is part of our discovery process! But we shouldn’t allow the client to “pixel push” us by directing us on the smallest nuances of our design solution. Place more emphasis on your design presentations to the client and thoroughly explain to them why you’ve created the solution you have. This will get them to comprehend exactly why that 2pt blue line is there, hopefully squashing any attempts to outright move it.
problem: have little respect for the designers time.
solution: This problem is a little more difficult to solve. First we have to define exactly what time means. We can define it as “the span it takes us to complete a project or task”, or we can define it as “period spent in meetings with the client and answering/handling correspondence from the client”. Either way we define it, you will find that the problem can be solved with one solution - be honest. Be honest with the client when you tell them how long a task/project will take. If you think it will take you a week to do, and the client keeps pressing that you get it done in two days, then be honest with them and say that two days is not possible and you will need at least one week to do it. If the client still persists then you have two options, do the rush and charge more for it (always charge more for a rush) or say “no thanks” to the client and move on. Clients will only respect our time if we respect our time - plain and simple.
problem: give nothing to the designer to work with, and wonder what’s taking so long.
solution: This goes hand in hand with “expect designers to read their minds, and get angry when you don’t” above. It is the designers job to pull as much information out of the client as possible. It is also our obligation to let the client know when they should expect to see a design. I think every designer I know has a comp and revision process they follow, but few outline when they will be administering this process with a written schedule. At the onset of the project, create a schedule that outlines your expected delivery dates, design presentation dates revision presentation dates, feedback dates and final project hand-off.
Source: http://www.graphicdefine.org/
Thursday, March 8, 2007
Symbol? Or Wordmark?
Of the 15 marks in my "1996" article, nine are essentially "wordmarks," while six feature graphic symbols (Lucent, NCR, Imation, Pharmacia & Upjohn, McGraw-Hill, and LG; I count Nortel as a wordmark, but its "O" can also function as a freestanding symbol).
Which logo strategy is best? When should a CEO choose a wordmark, when a symbol? In general, consider a symbol only when:
Your name is too generic, too long, doesn't translate well globally, or is hopelessly deficient in personality.
You need an emblem on the product, as on a car hood-or a sneaker.
You need to link subsidiaries to the parent and can't easily use the name. (The Bell symbol served this function for the old AT&T and its operating companies.)
You have (or can afford) ample media, to teach us what the symbol means.
Choose a wordmark when: Your name is reasonably distinctive but not (yet) a household word.
You want to associate products or subsidiaries with the parent more clearly and directly than a symbol permits.
Communication funds are limited and should be focused on name recognition.
A case in point: In 1995, Novell wanted to be a more powerful umbrella brand over its various software names. Consultants Frankfurt Balkind designed a striking new N symbol, appropriately expressive of a focal "enterprise networking" concept, accompanied by an elegant low-key wordmark.
In 1996, the "dots" were banished from marketing communications, to better focus on the branding essential-the Novell name. Rationale: "We don't have time for trinkets that serve no functional need."
Bottom line: Wordmark or symbol, make sure your identity consultant provides a strategic application-based rationale-not just a pretty face.
By: Tony Spaeth / www.identityworks.com
Source: http://www.logoorange.com
Which logo strategy is best? When should a CEO choose a wordmark, when a symbol? In general, consider a symbol only when:
Your name is too generic, too long, doesn't translate well globally, or is hopelessly deficient in personality.
You need an emblem on the product, as on a car hood-or a sneaker.
You need to link subsidiaries to the parent and can't easily use the name. (The Bell symbol served this function for the old AT&T and its operating companies.)
You have (or can afford) ample media, to teach us what the symbol means.
Choose a wordmark when: Your name is reasonably distinctive but not (yet) a household word.
You want to associate products or subsidiaries with the parent more clearly and directly than a symbol permits.
Communication funds are limited and should be focused on name recognition.
A case in point: In 1995, Novell wanted to be a more powerful umbrella brand over its various software names. Consultants Frankfurt Balkind designed a striking new N symbol, appropriately expressive of a focal "enterprise networking" concept, accompanied by an elegant low-key wordmark.
In 1996, the "dots" were banished from marketing communications, to better focus on the branding essential-the Novell name. Rationale: "We don't have time for trinkets that serve no functional need."
Bottom line: Wordmark or symbol, make sure your identity consultant provides a strategic application-based rationale-not just a pretty face.
By: Tony Spaeth / www.identityworks.com
Source: http://www.logoorange.com
Wednesday, March 7, 2007
logo design History
Based on its company name, they selected an apple as its main form of branding. Initially, the very first logo depicted a small apple shape sitting under a tree with Apple Computer Co set into the frame of the picture. It is this apple that has continued to be used. This initial logo design was perceived to be a bit too complex and hard to view, so Regis McKenna worked on the logo some years later and added a “bite mark" into the apple to symbolise the concept of seduction of the customers and the marketplace in general. The colours of the rainbows were used in this next iteration to form a link with Christian mythology in helping to encourage people to pursue their dreams. While this was not initially a deliberate goal, it did encourage business and consumers to consider the Apple brand for the first time and was successful in generating increased profits.
One of the worlds most recognised logos, the Coca-Cola brand dates back to 1886, where initially it sold very well in Atlanta Georgia because the city was the subject of local alcohol prohibition at the time. The signature used in the logo was sketched by their Publicity Director at the time, Franc Robinson.
This well known and highly recognizable logo depicts a jumping black horse known as "Rampante Cavallo." This logo is for the world famous Italian sport car manufacturer from Maranello – Ferrari. This company has designed and built quality performance sport and racing cars since 1847. The logo design is based upon the family coat of arms of the Countess Paolina Baracca; and the coloured stripes found in the upper area of the logo are symbolic of the Italian national flag.
In the early 1950's in Salt Lake City USA, Pete Harman opened a fast food restaurant. In 1952 Harman met Sanders in Chicago. Sanders was working as a versatile and experienced cook who worked out of a successful restaurant in Corbin, Kentucky at the time. During his time there, Harman visited this restaurant on a daily basis and sampled Sander’s cooked chicken coated in a special mixture of herbs and spices. He loved the chicken and its coating so much that he proposed to Sanders that they work together to build the cooked chicken business. Once customers had tasted this special coating, then the business grew. It became known as "Kentucky Fried Chicken" and as a result of its popularity, franchise stores began to sprout up all over the country. The “Kentucky Fried Chicken” brand was changed to the abbreviation KFC from the early 1990s so as to move away from the fatty connation with the word fried. The logo itself as shown to the left depicts the creator of KFC – Sanders himself.Source: http://www.logoorange.com
Tuesday, March 6, 2007
the role of Typography
Graphic Design is a very challenging creative and artistic job. Graphic designer has to be able to solve the task given and comes up with the idea of visual communication which not only attractive but yet persuading the viewers/readers to grab the message behind it and arouse the emotion, logic and certain needs. Generally, graphic designer use a lot of pictures, symbols, letters and any other graphic elements.
Sometimes, Graphic Designer is assigned to do the lay out or composition of many words or long sentences on many pages. In this case, letters or typography is no longer as an additional element but they are the main element of the graphic communication known as books, brochures or catalogue.
Either as an additional or main element, typography has a very important role to determine the result of visual communication. Many designers think that the most important in design is the thought or the idea and how it would be executed. They consider typography as an additional element.
The truth is that typography could be the main idea of the graphic communication and could be the only effective visual communication. In some cases, we found that the mistakes of the typography usage could ruins the whole design no matter how good the design is. The result is that the viewers/readers couldn’t get the message that we try to deliver. Some designers, especially the beginners don’t have the sense of harmony (yet) which is one of the graphic design principles. They were inclined to use fonts based on what they like, even more, they use them almost in same size, without considering the harmony, balance and yet headlines, sub headlines and content.
Choosing the type of fonts has some consideration, which are:
- the style of design (classic, modern or futuristic style)
- what design is about (the product)
- the size of the media
- how much information to put on
Try not to use too much kind of font on 1 page, two different types of fonts is the best. You can play around by make it bold, italic, use different size or different colors to make them looks vary.
By: anton ardjanggi / www.anarddesign.com
Sometimes, Graphic Designer is assigned to do the lay out or composition of many words or long sentences on many pages. In this case, letters or typography is no longer as an additional element but they are the main element of the graphic communication known as books, brochures or catalogue.
Either as an additional or main element, typography has a very important role to determine the result of visual communication. Many designers think that the most important in design is the thought or the idea and how it would be executed. They consider typography as an additional element.
The truth is that typography could be the main idea of the graphic communication and could be the only effective visual communication. In some cases, we found that the mistakes of the typography usage could ruins the whole design no matter how good the design is. The result is that the viewers/readers couldn’t get the message that we try to deliver. Some designers, especially the beginners don’t have the sense of harmony (yet) which is one of the graphic design principles. They were inclined to use fonts based on what they like, even more, they use them almost in same size, without considering the harmony, balance and yet headlines, sub headlines and content.
Choosing the type of fonts has some consideration, which are:
- the style of design (classic, modern or futuristic style)
- what design is about (the product)
- the size of the media
- how much information to put on
Try not to use too much kind of font on 1 page, two different types of fonts is the best. You can play around by make it bold, italic, use different size or different colors to make them looks vary.
By: anton ardjanggi / www.anarddesign.com
Monday, March 5, 2007
top 7 Font Categories
The exercise of classifying fonts is not an easy one. New fonts are constantly introduced and there is no standard within the typographic arts.
The classification system described here is based on the book Typographic Design: Form and Communication by Rob Carter, Ben Day, and Philip Meggs. This classic text groups typeface styles into six manageable categories covering their origin and use. I've added a seventh category for decorative fonts. Some systems use as many as 30 different categories.
1) Old Style Fonts
Early font style from the Venetian artisan Aldus Mantius. Characterized by its bracketed serifs and angled weight emphasis on the rounded forms and tops of lowercase ascenders.
Examples: Garamond, Minion, Goudy, Palatino
2) Italic (Script) Fonts
Italic letters slant to the right. Some italics are based on handwriting with connected strokes and are called scripts.
Examples: Snell roundhand, Brush Script, Garamond Italic
3) Transitional Fonts
Serif fonts developed in the mid-1700s when typestyles evolved from Old Style to Modern. Examples: Times, Baskerville, Caslon
4) Modern Fonts
These typefaces have extreme contrasts between thick and thin strokes. Modern typefaces evolved from Transitional styles late in the 1700s.
Examples: Bodoni, Didot
5) Slab Serif Fonts
Slab-serif fonts, developed during the Industrial Revolution of the 19th century, are bold and easy to read with large, square serifs.
Examples: Aachen, Clarendon, New Century Schoolbook, Rockwell
6) Sans Serif Fonts
First introduced in the early 1800s sans serif typefaces did not become widely used until after World War II. French for "not" sans serif fonts do not have structural details on the end of strokes. Stroke weights are often uniform.
Examples: Univers, Helvetica, Futura, Verdana
7) Display Fonts
Type that is usually used in headlines to attract attention or as decorative initial capitals. Examples: Blockhead, Funkhouse, Hobo, Rosewood
By: Mary Beth & Paul Trautwein / http://graphicdesign.about.com/
The classification system described here is based on the book Typographic Design: Form and Communication by Rob Carter, Ben Day, and Philip Meggs. This classic text groups typeface styles into six manageable categories covering their origin and use. I've added a seventh category for decorative fonts. Some systems use as many as 30 different categories.
1) Old Style Fonts
Early font style from the Venetian artisan Aldus Mantius. Characterized by its bracketed serifs and angled weight emphasis on the rounded forms and tops of lowercase ascenders.
Examples: Garamond, Minion, Goudy, Palatino
2) Italic (Script) Fonts
Italic letters slant to the right. Some italics are based on handwriting with connected strokes and are called scripts.
Examples: Snell roundhand, Brush Script, Garamond Italic
3) Transitional Fonts
Serif fonts developed in the mid-1700s when typestyles evolved from Old Style to Modern. Examples: Times, Baskerville, Caslon
4) Modern Fonts
These typefaces have extreme contrasts between thick and thin strokes. Modern typefaces evolved from Transitional styles late in the 1700s.
Examples: Bodoni, Didot
5) Slab Serif Fonts
Slab-serif fonts, developed during the Industrial Revolution of the 19th century, are bold and easy to read with large, square serifs.
Examples: Aachen, Clarendon, New Century Schoolbook, Rockwell
6) Sans Serif Fonts
First introduced in the early 1800s sans serif typefaces did not become widely used until after World War II. French for "not" sans serif fonts do not have structural details on the end of strokes. Stroke weights are often uniform.
Examples: Univers, Helvetica, Futura, Verdana
7) Display Fonts
Type that is usually used in headlines to attract attention or as decorative initial capitals. Examples: Blockhead, Funkhouse, Hobo, Rosewood
By: Mary Beth & Paul Trautwein / http://graphicdesign.about.com/
Sunday, March 4, 2007
creating a Brochure
Why does your business need a brochure?
A cover letter to a potential client can present only a small fraction of information about your business. Potential clients are often swamped with business mail and a letter may be scanned for a couple of seconds then trashed. A face-to-face meeting is a great way to tell a potential client about your business or expertise, but sometimes it's not possible to get a meeting with just a phone call or introductory letter. Or, what if someone you've met weeks ago suddenly becomes interested in your service but can't match your name with your business card in their Rolodex?
A brochure will fulfill all of these business needs. Brochures are a great way to package a lot of information about yourself, your business and expertise into a format that is easily mailed or handed out at a business meeting or given to current clients to pass on to possible referrals.
Brochures range from a simple two-fold design using one sheet of 8-1/2 inch x 11 inch paper to an elaborate 9 x 12 inch pocket folder with 8 pages stitched in and insert sheets. Good brochure design involves not simply producing a flashy design, but a careful analysis of your target market, what level of sophistication is needed and consideration of your market niche in order to make a great first impression. And, last but certainly not least, your brochure should leave a potential client with something he or she is hesitant to throw away.
Today, in the age of E-Mail, multi-media presentations and the Internet, it's easy to assume that a web site can take the place of a printed brochure. Having a web site really can't replace the immediate visual impact of placing a brochure into a prospective client's hands.
Getting started
If you've never created a brochure, start by collecting a number of brochures (including competitors') that represent a wide range of quality--from simple one and two-color on textured stock to slick 4-color glossy brochures.
By asking yourself what it is that makes a brochure attractive and effective to you, it will be easier to make a brochure for your own business which will convey the message and level of sophistication you require.
Next, you will need to create some basic brochure copy about your business. Even if you're not a professional writer, putting some thoughts and facts about what your business does on paper will help make more concrete what information your brochure needs to convey.
When writing copy ask yourself:
- Is my company an industry leader?
- Does my company have a market niche?
- What distinguishes my company from my competitor?
- Do we offer better value, service or selection of products?
- Do we have anything new or different to promote?
Questions to ask yourself:
- Who is your target audience?
- What message will get a potential client's attention?
- What kinds of brochures and what level of sophistication are typically crossing your client's desk?
- Does your product or service require photographs or illustrations to help convey your message?
- Will the brochure need to be a self-mailer?
Key information to include in your brochure:
- Mailing address.
- Phone number (and 800 number if you have one).
- Fax number.
- E-Mail address.
- Web Site address.
Be sure not to include in your brochure any information which is subject to changing in the next 12 months or so. Also, be wary of using a specific person's name as a contact person unless he or she is someone you know isn't going to leave in the next year. The same goes for printing photographs of people. There's no sense in spending several thousand dollars to create a brochure only to have it become out of date because someone leaves the company.
What does a brochure cost to produce?
Brochures can vary from a few hundred dollars to several thousand dollars. Because there are so many variables involved in producing a brochure such as quality of paper, number of ink colors, use of photographs, number of brochures printed, etc., it is difficult to estimate the final costs until all the specifications are determined.
Four color process printing, varnishing and special treatments such die-cutting, foil stamping can add additional costs to producing a brochure, and may well be worth it if they enhance your brochure and the image you wish to project. Other cost considerations are whether you need professional photography, help with writing or editing copy for your brochure.
Even if you don't know all the details of your brochure when getting started, it's a good idea to create a budget. Start with determining how many brochures you will need to use during the next twelve months including mailings and sales meetings. If you have seen a brochure with a similar amount of information and photographs as you need for your brochure, a designer can use it as a model for determining printing and production costs.
Another consideration when designing a brochure is postage. Larger brochures will be more expensive to mail and if you are planning on doing a large mailing as part of your marketing, an oversized brochure may be expensive to mail. Larger brochures don't fare well through the postal system and often end up wrapped around other mail. Brochures which fit in a standard #10 business envelope give you the best buy in terms of postage and protection while mailing. Using a business envelope also allows you to mail a cover letter and business card as well.
Updating an existing brochure
I worked with a client once who had sales of over a million dollars a year, but was still using a dated, unsophisticated brochure produced by a printer nearly ten years earlier. While reputation alone helped the company's sales, their brochure was doing very little to promote them as a cutting-edge company to potential customers who had never heard of them.
If you have a brochure you produced a few years ago, it might be a good idea to have your brochure evaluated by a someone outside your company to make sure it projects the image of your company today and sets you apart from your competition. Often, a small company will produce an inexpensive brochure just to have something for a trade show or for telephone inquiries. While short-term needs are fulfilled, not having any kind of long-term plan for a package of coordinated materials will lead to a "hodge-podge."
As a business grows, the image of the business can outgrow the first brochure's image. Often other collateral such as pocket folders, product inserts, etc. are produced at different times by different printers and the result is a corporate image that is not coordinated, with different kinds of paper used and ink colors that don't match--not professional at all.
It is tempting to take the "if it ain't broke, don't fix it" approach and leave an existing brochure alone--for years. However, now could also be the ideal time to produce a truly professional brochure which will set you apart from your competition and give your potential clients something they will keep on their desk to serve as a memory jogger when you do a follow-up call.
Why have a graphic designer involved in creating your brochure?
Many businesses are producing promotional and sales materials internally or are relying on a printer to put a brochure together for them. There's nothing wrong with either of these approaches, provided you have the time and expertise to make all graphic design decisions that will produce a sophisticated brochure that's right on target. It's rare to find a printer who has a graphic designer on staff who will put a creative spark in your brochure, and relying on in-house talent doesn't save you money when it actually costs you lost sales.
Using a graphic designer can free you from having to make all decisions about your brochure by yourself and will provide you with an outside perspective on how to communicate to your audience. A designer can provide you not only expertise on typography but can help you with selecting ink and paper and some direction with your brochure and help guide you through the process from start to finish.
In addition to making design decisions, a graphic designer can serve as your project manager and will see the brochure from concept through successful completion. Most designers work with several different printers and can provide you with a printer that has the capabilities to print your brochure. If you need help with writing your brochure copy, many designers work with freelance writers and photographers.
Some Parting Advice . . .
Carpenters have a saying, "Measure twice, cut once," which applies to creating your brochure. By defining what your brochure should do and doing some research first, your brochure can be effective, informative and get prospective clients' attention. By utilizing design and printing professionals and by paying close attention to details, you can have a brochure that truly represents your business and is something you can be proud to hand out and mail.
About the Author
Vann Baker is the president of Design-First, a marketing company specializing in corporate identity and collateral development. Vann has been helping small businesses and Fortune 500 companies to create brochures, newsletters, catalogs, websites and more for over 20 years. http://www.design-first.com/
A cover letter to a potential client can present only a small fraction of information about your business. Potential clients are often swamped with business mail and a letter may be scanned for a couple of seconds then trashed. A face-to-face meeting is a great way to tell a potential client about your business or expertise, but sometimes it's not possible to get a meeting with just a phone call or introductory letter. Or, what if someone you've met weeks ago suddenly becomes interested in your service but can't match your name with your business card in their Rolodex?
A brochure will fulfill all of these business needs. Brochures are a great way to package a lot of information about yourself, your business and expertise into a format that is easily mailed or handed out at a business meeting or given to current clients to pass on to possible referrals.
Brochures range from a simple two-fold design using one sheet of 8-1/2 inch x 11 inch paper to an elaborate 9 x 12 inch pocket folder with 8 pages stitched in and insert sheets. Good brochure design involves not simply producing a flashy design, but a careful analysis of your target market, what level of sophistication is needed and consideration of your market niche in order to make a great first impression. And, last but certainly not least, your brochure should leave a potential client with something he or she is hesitant to throw away.
Today, in the age of E-Mail, multi-media presentations and the Internet, it's easy to assume that a web site can take the place of a printed brochure. Having a web site really can't replace the immediate visual impact of placing a brochure into a prospective client's hands.
Getting started
If you've never created a brochure, start by collecting a number of brochures (including competitors') that represent a wide range of quality--from simple one and two-color on textured stock to slick 4-color glossy brochures.
By asking yourself what it is that makes a brochure attractive and effective to you, it will be easier to make a brochure for your own business which will convey the message and level of sophistication you require.
Next, you will need to create some basic brochure copy about your business. Even if you're not a professional writer, putting some thoughts and facts about what your business does on paper will help make more concrete what information your brochure needs to convey.
When writing copy ask yourself:
- Is my company an industry leader?
- Does my company have a market niche?
- What distinguishes my company from my competitor?
- Do we offer better value, service or selection of products?
- Do we have anything new or different to promote?
Questions to ask yourself:
- Who is your target audience?
- What message will get a potential client's attention?
- What kinds of brochures and what level of sophistication are typically crossing your client's desk?
- Does your product or service require photographs or illustrations to help convey your message?
- Will the brochure need to be a self-mailer?
Key information to include in your brochure:
- Mailing address.
- Phone number (and 800 number if you have one).
- Fax number.
- E-Mail address.
- Web Site address.
Be sure not to include in your brochure any information which is subject to changing in the next 12 months or so. Also, be wary of using a specific person's name as a contact person unless he or she is someone you know isn't going to leave in the next year. The same goes for printing photographs of people. There's no sense in spending several thousand dollars to create a brochure only to have it become out of date because someone leaves the company.
What does a brochure cost to produce?
Brochures can vary from a few hundred dollars to several thousand dollars. Because there are so many variables involved in producing a brochure such as quality of paper, number of ink colors, use of photographs, number of brochures printed, etc., it is difficult to estimate the final costs until all the specifications are determined.
Four color process printing, varnishing and special treatments such die-cutting, foil stamping can add additional costs to producing a brochure, and may well be worth it if they enhance your brochure and the image you wish to project. Other cost considerations are whether you need professional photography, help with writing or editing copy for your brochure.
Even if you don't know all the details of your brochure when getting started, it's a good idea to create a budget. Start with determining how many brochures you will need to use during the next twelve months including mailings and sales meetings. If you have seen a brochure with a similar amount of information and photographs as you need for your brochure, a designer can use it as a model for determining printing and production costs.
Another consideration when designing a brochure is postage. Larger brochures will be more expensive to mail and if you are planning on doing a large mailing as part of your marketing, an oversized brochure may be expensive to mail. Larger brochures don't fare well through the postal system and often end up wrapped around other mail. Brochures which fit in a standard #10 business envelope give you the best buy in terms of postage and protection while mailing. Using a business envelope also allows you to mail a cover letter and business card as well.
Updating an existing brochure
I worked with a client once who had sales of over a million dollars a year, but was still using a dated, unsophisticated brochure produced by a printer nearly ten years earlier. While reputation alone helped the company's sales, their brochure was doing very little to promote them as a cutting-edge company to potential customers who had never heard of them.
If you have a brochure you produced a few years ago, it might be a good idea to have your brochure evaluated by a someone outside your company to make sure it projects the image of your company today and sets you apart from your competition. Often, a small company will produce an inexpensive brochure just to have something for a trade show or for telephone inquiries. While short-term needs are fulfilled, not having any kind of long-term plan for a package of coordinated materials will lead to a "hodge-podge."
As a business grows, the image of the business can outgrow the first brochure's image. Often other collateral such as pocket folders, product inserts, etc. are produced at different times by different printers and the result is a corporate image that is not coordinated, with different kinds of paper used and ink colors that don't match--not professional at all.
It is tempting to take the "if it ain't broke, don't fix it" approach and leave an existing brochure alone--for years. However, now could also be the ideal time to produce a truly professional brochure which will set you apart from your competition and give your potential clients something they will keep on their desk to serve as a memory jogger when you do a follow-up call.
Why have a graphic designer involved in creating your brochure?
Many businesses are producing promotional and sales materials internally or are relying on a printer to put a brochure together for them. There's nothing wrong with either of these approaches, provided you have the time and expertise to make all graphic design decisions that will produce a sophisticated brochure that's right on target. It's rare to find a printer who has a graphic designer on staff who will put a creative spark in your brochure, and relying on in-house talent doesn't save you money when it actually costs you lost sales.
Using a graphic designer can free you from having to make all decisions about your brochure by yourself and will provide you with an outside perspective on how to communicate to your audience. A designer can provide you not only expertise on typography but can help you with selecting ink and paper and some direction with your brochure and help guide you through the process from start to finish.
In addition to making design decisions, a graphic designer can serve as your project manager and will see the brochure from concept through successful completion. Most designers work with several different printers and can provide you with a printer that has the capabilities to print your brochure. If you need help with writing your brochure copy, many designers work with freelance writers and photographers.
Some Parting Advice . . .
Carpenters have a saying, "Measure twice, cut once," which applies to creating your brochure. By defining what your brochure should do and doing some research first, your brochure can be effective, informative and get prospective clients' attention. By utilizing design and printing professionals and by paying close attention to details, you can have a brochure that truly represents your business and is something you can be proud to hand out and mail.
About the Author
Vann Baker is the president of Design-First, a marketing company specializing in corporate identity and collateral development. Vann has been helping small businesses and Fortune 500 companies to create brochures, newsletters, catalogs, websites and more for over 20 years. http://www.design-first.com/
Saturday, March 3, 2007
career profile: Graphic Designer
What does a graphic designer do?
A graphic designer creates 2-dimensional presentations of words and pictures to communicate visual messages. There are many different avenues of graphic design, including advertising, book publishing, computer graphics, packaging, and television. Designers may also work with companies to design logos or web pages.
A graphic designer draws thumbnail sketches of ideas while considering all visual elements of design. Type, drawings, borders, color, photography, and fonts need to be manipulated to find the right combination that will suit the client's needs.
Skills
Graphic design requires creativity, artistic talent, and computer proficiency. The designer must be able to accept criticism and resolve issues. Analytical skills and business skills are very useful. The ability to work with others is an asset because designers collaborate with copywriters, executives, editors, and printers. Presentations are required in order to show work to clients and colleagues.
Work Conditions
Graphic designers work in well-lit design studios with computers. Occasionally, travel to clients or vendor locations is required. Work can be stressful due to design rejection or impending deadlines. Designers often work overtime and have less leisure time than other career fields.
Education
Employers usually require a two- or four-year degree in graphic design. It is possible to enter the field without a degree, but only with a strong portfolio of design works. A portfolio is an asset to anyone seeking employment in this field. As you are training for a job, it is important to learn the newest computer and software technology in design.
Salary
With an associates degree, a designer will start off at $21,000 - $24,000 a year. A designer with a bachelor's degree will usually earn $25,000 - $31,000 a year for entry level positions. The average income is $34,000 - $41,500 a year in small to medium sized design studios. Large firms will range from $39,500 - $52,000. Top earnings vary greatly, but managers and art directors can earn $75,000 - $150,000 a year.
Outlook
Competition is high in graphic design, but there is always a demand for artists who display outstanding talent and creativity. Employment growth is highest in web design and multimedia. Other opportunities can be found in advertising and publishing.
By: Christi Wagner / www.uwec.edu
A graphic designer creates 2-dimensional presentations of words and pictures to communicate visual messages. There are many different avenues of graphic design, including advertising, book publishing, computer graphics, packaging, and television. Designers may also work with companies to design logos or web pages.
A graphic designer draws thumbnail sketches of ideas while considering all visual elements of design. Type, drawings, borders, color, photography, and fonts need to be manipulated to find the right combination that will suit the client's needs.
Skills
Graphic design requires creativity, artistic talent, and computer proficiency. The designer must be able to accept criticism and resolve issues. Analytical skills and business skills are very useful. The ability to work with others is an asset because designers collaborate with copywriters, executives, editors, and printers. Presentations are required in order to show work to clients and colleagues.
Work Conditions
Graphic designers work in well-lit design studios with computers. Occasionally, travel to clients or vendor locations is required. Work can be stressful due to design rejection or impending deadlines. Designers often work overtime and have less leisure time than other career fields.
Education
Employers usually require a two- or four-year degree in graphic design. It is possible to enter the field without a degree, but only with a strong portfolio of design works. A portfolio is an asset to anyone seeking employment in this field. As you are training for a job, it is important to learn the newest computer and software technology in design.
Salary
With an associates degree, a designer will start off at $21,000 - $24,000 a year. A designer with a bachelor's degree will usually earn $25,000 - $31,000 a year for entry level positions. The average income is $34,000 - $41,500 a year in small to medium sized design studios. Large firms will range from $39,500 - $52,000. Top earnings vary greatly, but managers and art directors can earn $75,000 - $150,000 a year.
Outlook
Competition is high in graphic design, but there is always a demand for artists who display outstanding talent and creativity. Employment growth is highest in web design and multimedia. Other opportunities can be found in advertising and publishing.
By: Christi Wagner / www.uwec.edu
Friday, March 2, 2007
David Carson - Bio
David Carson is principal and chief designer of David Carson Design, Inc. with offices in New York City and Charleston, SC.Carson graduated with "honors and distinction" from San Diego state university, where he received a BFA degree in sociology. A former professional surfer, he was ranked #9 in the world during his college days. Numerous groups including the New York Type Directors Club, American Center for Design and I.D. magazine have recognized his studio's work with a wide range of clients in both the business and arts worlds. Carson and his work have been featured in over 180 magazine and newspaper articles around the world, including a feature in Newsweek magazine, and a front page article in the new york times . London-based Creative Review magazine dubbed Carson "Art Director of the Era." The American Center for Design (Chicago) called his work on Ray Gun magazine "the most important work coming out of America." His work on Beach Culture magazine won "Best Overall Design" and "Cover of the Year" from the Society of Publication Designers in New York.
Carson's first book, with Lewis Blackwell, The End of Print, (forward by David Byrne) is the top selling graphic design book of all time, selling over 200,000 copies, and printed in 5 different languages. The work featured in The End of Print is the subject of various one-man exhibitions throughout Europe and Latin America, Asia and Australia. Carson's other titles include 2nd Sight, Fotografiks (with design historian Philip Meggs). He has two recently released books, TREK and The Book of Probes with Marshall McLuhan. David is also art director for the Mcluhan estate("the medium is the message").
Carson lectures extensively throughout the world, as well as at colleges throughout the U.S., including Cranbrook, ARTcenter, Notre dame, RISD and Cal Arts. he has had numerous one man exhibitions of his work worldwide, and has spoken at over 100professional symposiums, including "Designer As Editor" at the Design Institute in Amsterdam. He teaches a week long workshop at the school of visual arts in NYC each summer.
The International Center for Photography (NY) singled out Carson as the "Designer of the Year" for his use of photography and design. Print Magazine proclaimed his work "Brilliant," while USA Today described it as "visually stunning," adding that his design of Ray Gun Magazine "may actually get young people reading again.
"Typography, a title published by Graphis magazine (NY), lists Carson as a "Master of Typography." I.D. magazine chose Carson for their list of "America's most innovative designers". A feature in Newsweek magazine said of Carson "he changed the public face of graphic design". The graphic design publication Emigre devoted an entire issue to Carson, the only American designer to be so honored in the magazine's history. And in April 2004, London based creative review magazine calls David, "the most famous graphic designer on the planet". David recently picked up 4 gold awards at the Charleston ADDY awards, including a "special judges award" for "professionalism".
In the past few years, Carson has branched out into film and television to direct commercials and videos. He directed the launch commercials for Lucent technologies and teamed up with William Burroughs in Carson's short film, "The End of Print". He also collaborated with Harvard Business School professor John Kao on a documentary entitled "The Art and Discipline of Creativity." David designed the worldwide branding campaign for Microsoft in 1998, as well as the worldwide advertising for Giorgio Armani (Milan). He has appeared in advertisements endorsing Apple Computers, Samsung monitors and various paper companies. Carson has art directed and designed Surfer, twSkateboarding, twSnowboarding, Beach Culture, and Ray Gun magazines. He has an extensive list of international clients: Nine Inch nails, Toyota, Mercedes Benz, Bank of Montreal, Microsoft, Quiksilver, Meg Ryan, David Byrne, Bush, Pepsi, and Xerox.
David is featured in both "The History of Graphic Design" by Philip Meggs, as well as"The Encyclopedia of Surfing" by Matt Warsaw.
He currently serves as Creative Director for the Gibbes Museum of Art in Charleston, and recently designed a special issue of Surfing Magazine titled "Explorations" which came out in July of '04. He also recently directed a television commercial for the progressive UMPQUA Bank in Seattle, Washington.
David's work continues to be subjective and largely driven by intuition, with an emphasis on reading material before designing it, and experimenting with ways to communicate in a variety of mediums. Carson remains a hands on designer, keeping his studio small and mobile.
Source: http://www.davidcarsondesign.com
Thursday, March 1, 2007
digital image - mirror
pada hakekatnya semua manusia mempunyai
peluang yang sama untuk berbuat dosa,
tidak peduli seberapa tinggi tingkatannya
dilihat dari sisi agama
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