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Thursday, October 16, 2014

Using Spot Healing Brush Tools in Adobe Photoshop

The spot healing brush tool paints with sampled pixels from an image and matches the texture, lighting, transparency, and shading of the pixels that are sampled to the pixels being retouched or healed. Note that unlike the Clone Stamp tool, the Spot Healing Brush automatically samples from around the retouched area.

Wednesday, October 15, 2014

The Law of Thirds

A simplified mathematical approach divides any format into thirds - left to right and top to bottom - under the assumption that the intersection of these axes will be points of focus by the brain. As a format's horizontal and vertical measurements become more exaggerated relative to each other, the thirds that are produced become more exaggerated themselves but still present an overall proportional unity that a designer can use to map out major compositional arrangement. While dividing a format into thirds presents an intrinsically symmetrical relationship between the three spaces that are defined, the two axes that define these equal intervals also provide a very asymmetrical proportional system of one-third relative to two-thirds.

Tuesday, October 14, 2014

Impact of the variation in grid and the problems that designer may face when creating a layout.

A grid is truly successful only if, after all the problems have been solved, the designer rises above the uniformity implied by its structure and uses it to create a dynamic visual narrative of parts that will sustain interest page after page. The greatest danger in using a grid is to succumb to its regularity. Remember that the grid is an invisible guide existing on the bottom-most level of the layout, the content happens on the surface, either constrained or sometimes free. Grids do not make dull layouts - designers do. Once a grid is in place, it is a good idea to sort all the project's material spread by spread to see how much will be appearing in each. has best designers for any of your designing needs

Monday, September 29, 2014

Pure, Simple design is a virtue.

It is important for designers always to ask themselves, 'is this element necessary or superfluous?' In the vast majority of cases, on e can take out an image or part of a text without disturbing a message. It is in fact possible to pare down a design to much greater degree than you might think.

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Friday, September 26, 2014

Importance of Headlines

Headlines have to work as optical magnets, drawing the readers' eyes so they don't miss any interesting news. They also have to convey the main content of the article and generate a desire to read it. So what is it that makes a good headline? the old newshound at the corner desk knows: a simple, straightforward idea that is positive and specific - expressed with a vivid verb in an active form, using short, simple words.

Thursday, September 25, 2014

Layers in adobe illustrator or photoshop

Layers are much like pieces of clear film that you could place on a table. The layers themselves are clear, but anything placed on one of the layers will be positioned on top of the layers that are located beneath it.

Tuesday, September 9, 2014

The psychological properties of color

The psychological properties of color depend highly on a viewer's culture and personal experience. Many cultures equate red with feeling of hunger, anger, or energy because red is closely associated with meat, blood and violence. By contrast, vegetarians might associate the color green with hunger.

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Tuesday, June 10, 2014

Few helpful tips for working with adobe illustrator.

1. Select all shapes with the same fill or stroke, or both.
If you go to the “Select” menu, and click on “Same,” you can instantly select ALL of the shapes with that same fill color, stroke color, or both, in single click! I love this feature and I find myself using it more and more every day. It comes in handy especially when editing a file received from a client when trying to prepare for printing (color matching to a pantone). Also if you make a last minute color scheme decision, you can easily update all of your shapes at once. Other “select same” options include Blending Mode, Opacity, and Stroke Weight.

Illustrator tips 2

2. Use the “White Arrow” to select individual paths within a group, without ungrouping.
Also known as the Direct Selection Tool, you can use the white arrow to select individual shapes, paths, and points, within a group of shapes, without ungrouping. Notice if you use the “Black Arrow,” or (standard) Selection Tool, all of the shapes within the group are selected at once. Switch to the Direct Selection Tool and click on a single shape within that group, and you can instantly change it’s fill, or stroke, or whatever (even drag it’s position), without ever ungrouping anything.

Example: (A group of shapes that make up a button)

Clicking on the blue shape with the Black Arrow. . .

Illustrator tips 7

Clicking on the blue shape with the White Arrow. . .

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3. Use the Layers Palette to select paths within a group.
Instead of constantly grouping and ungrouping, you can easily select an individual path or shape in the Layers palette and change whatever you want (fill, stroke, etc) without ungrouping anything. This not only saves you a little bit of time, it keeps your shapes aligned the way you want them. To select an individual path, click on the circle icon in the corresponding path sublayer. (this is also a good way to FIND paths)

Illustrator tips 6

4. Learn to “Lock” shapes for selection purposes.
A lot of times I find myself stacking shapes and paths on top of each other to achieve the effect I want. Sometimes it can be frustrating when trying to select paths at different depths in this case. An easy way to help your stacked selection woes is to lock the shapes you don’t want to select. You can do this by hitting Control + 2 (PC) or Command + 2 (Mac). instead of right clicking on the top shape and navigating to “Select Next Object Below,” just lock the top shape and you can select the one below every time with one click. You can also find Lock in the Object menu at the top, and as an Icon (above) in the Layers palette.

5. “Detach” tools that you use on a regular basis.
Some of the tools in the Illustrator tools palette are detachable. You can pluck them off of the main tools palette to display the main tool, as well as all of the sub-tools, to gain easier access to them as a stand-alone palette. (note: this doesn’t apply to ALL of the tools in the Illustrator toolbar) Simply click and hold on the desired tool, then mouse over to the arrow on the right to “detatch.” Now you can move the tool anywhere in your workspace.

Illustrator tips 18
Illustrator tips 19

6. You can use the white arrow to adjust path curves, without ever touching the “Handlebars.”
This one might not be used as much as the others but it is good to know none-the-less. You can select (using the White Arrow) a line segment between 2 points on a path, and manipulate its Bezier curve by dragging, without messing with the anchor points at all.

Illustrator tips 3
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7. Take advantage of the Layers palette and grouping.
Let’s say you have a group of objects and you just created a brand new shape that you want to be inside that group, at a certain depth. Instead of ungrouping and using keyboard shortcuts to control depth (which you can’t really see anyway in large groups), drag the path to the appropriate depth in the layers palette, and it is automatically included in your grouped object. There, you just saved at least 3 steps.

8. Make the “Align” palette your best friend.
If you don’t use the Align palette, you definitely should check it out. It makes guides obsolete in many cases, and gives you more freedom to let the creativity flow freely, while you worry about aligning later.

Illustrator tips 12

9. Always make sure your Clipping Mask is on top.
When using clipping masks, the path that is doing the masking has to be on top of anything it is going to clip. The reason this is in a “time saving” list is because if you don’t have your (most of the time) relatively simple clipping mask path on top: When you try to apply it and the rest of your shapes are very complex, Illustrator will either crash or tell you it is going to and give you an option to cancel. Not crashing Illustrator qualifies as saving time in my book (not to mention all the lost work that you can’t get back if you didn’t save recently), and making sure your clipping mask is on top will help you have less crashes.

10. Save your own custom swatch library.
If you’re like me, you hate unwanted swatches that you never use, getting in your way. Not only do you never use these default swatches, it makes it harder to find your own swatches that you’ve just added. If you take a few minutes and make a custom swatch set, then save the set as a swatch library, you can load your most used colors in a couple clicks, whenever you want, with any file open. Don’t sift through your hard drive to open a file just to get a color and bog down your memory even more. A few minutes setting up your favorite swatches could save you hours in the long run.

Saving a custom swatch library. . .

Illustrator tips 24
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Loading a custom swatch library. . .

Illustrator tips 27

11. Create custom actions just like Photoshop.
You hear about Photoshop actions all the time, and how much time they save. Well, guess what, you can do exactly the same thing in Illustrator, including “Button Mode.” (pictured) Again, this takes a few minutes, sometimes seconds to set up, but well worth it. A true time saver.

Illustrator tips 20

12. Join 2 endpoints with a keyboard shortcut.
I recommend keyboard shortcuts in general, but an uncommon one that I find extremely useful is joining endpoints. Simply select 2 endpoints (with the White Arrow) and key “Command + J” (Mac) or “Control + J” (PC) to join the to paths together. This may come in handy when doing custom typography or logo work, if you alter, slice, or customize intricate paths.

Example before and after. . .

Illustrator tips 15

13. Quickly copy color with the “Eyedropper Tool.”
Another quick way to change the color of an object is to select the object you want to change and use the Eyedropper tool to grab the color from any other object on the artboard. Make sure that you have the correct attribute selected in the tools palette, (stroke or fill) and click on the a shape whose color you want to apply to the selected shape. This also applies to Type! If you have some new type and want to change it’s style to some type you already have on the artboard, just use the Eyedropper on the type you want to mimic (when using the eyedropper on type, you know it is working when you see a small “T” next to the tool on rollover) and you type changes instantly. point size, font, color, everything. (simple color pluck pictured)

Illustrator tips 9
Illustrator tips 10

14. Change effects you have already applied in the Appearance palette.
Instead of hitting undo and re-applying filters and effects, open the Appearance palette and you can easily adjust the effects you’ve already applied to shapes. Yes, this will still re-apply the entire effect once you adjust any of the options, but the time saving value here lies in having quick access to exactly what settings you previously applied.

Illustrator tips 28

15. The fastest way to duplicate a shape.
This makes me want to kick 3 or 4 of my college professors in the face, but all you have to do to quickly duplicate a shape is hold down the Option key (Mac) or Alt key (PC) click an a shape, drag, and release. You should now have two identical shapes (also works with grouped shapes), while leaving the original intact, and with a few less key strokes. Give it a year, it’ll save some time in the long run, guaranteed; AND you don’t have to look for it like when you paste a copy and it shows up in a random location. You control where the copy goes with your mouse, just don’t let go of the option/alt key until you release the mouse.

16. Special characters via the “Glyphs” palette.
Illustrator has a special character palette called “Glyphs.” If you find yourself needing to use special characters on a regular basis, I suggest exploring this palette. You can even choose the font and variation at the bottom, as well as preview size.

Illustrator tips 23

17. Get to know the “Pathfinder.”
If you don’t know what the pathfinder is, you probably need to. It allows you to combine, subtract, and basically use shapes in Illustrator like cookie-cutters. This can mean eliminating grouped paths into a single path for easier selection and organization, as well as condensing overall file size in the bigger picture.


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How to add custom header image to your google blogger

Step 1: First you will need to find an image and make it the right size. If you don't have access to Photoshop, you can use an online image editor such as The resolution for your header image should be no more than 72 pixels-per-inch. It should be 760 pixels wide (if it's wider, Blogger will resize it). It should be no more than 200 pixels high.

Step 2: If you are in your blog list, click the administrative drop-down menu to the right of your blog's name and select Layout. If you're in your blog, you can also click Design (in the top right corner of your blog) and then click Layout in the left-side menu.

Step 3: In the Layout display, the header has the text of your blog title in it. Click the "Edit" link in the bottom right corner of the header area. In the Configure Header pop-up, click the "Choose File" button and browser to the image on your computer.

Step 4: If you don't want the title of your blog to appear over your image, you can copy the title and put it in the Description area instead, and have it appear below the header photo. You must leave the title text in the title box, too, even though it won't display.

Step 5: Copy or type the title of the blog in the Blog Description box and then click the "Have description placed after the image" option.

Helping other professionals understand the value of graphic design

Helping other professionals understand the value of graphic design
Hello everyone,
I am seeking examples of project briefs to help in-house designers establish value for their work. As we know, most design requires a great amount of thoughtful planning. Suggestions? Thank you.
10 days ago
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Debra Lindland, Julie Robinson and 2 others like this
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Edwin LeNoir • Possibly I'm not fully interpreting the dilemma, but are the designers feeling under appreciated or do they feeling as if their creativity is being utilized to it's potential?
10 days ago• Like
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Nancy Krause • Hi Edwin,
The other folks in the organization do not understand the amount of time that is required for planning and executing designs. They often think ideas can be born quickly; when actually it is a process. We don't use project briefs here. That's why I thought breaking down the steps necessary for new designs in a way that non-designers can understand would be helpful. I was looking for a simple way to communicate this to others in the company.
10 days ago• Like4
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Kurt Griffith • As a self-employed freelancer, I face this all the time. There seems to be a mythology that with the remarkable power of our digital tools, there is a magic "Create" button in some Adobe tool that builds finished Print pieces, ads, edits copy, retouches and composites photos, does prepress, and builds web sites and runs an email campaign... INSTANTLY. I've honestly been given a pile of cocktail napkin notes at 4:30 on a Friday and been asked, "can we go on press with this by end of biz?"

"Um... oh HELL no."

I get into some of the issues on my blog a bit...

"When Do You Need a Graphics Pro?"
9 days ago• Like5
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Edwin LeNoir • I believe I understand now. It's the non designers that's undervaluing what you and the other designers have to do to produce your work. That's a bit of a pickle. I'm sure many of them have made comments like they can do the same thing in less time. Its difficult to justify one's skill to another if from inception that skill isn't valued to begin with. Hmmm let me swirl it around the old noddle a bit more.
9 days ago• Like
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Alan Brown • Nancy,

As someone who works on the print or output end of the business but also has a design background, I feel you are on to something..

Do you have any ideas yet how to best present this?
9 days ago• Like
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Laura Kalina • I like where you are going with this in terms of presenting a visual or written "process" of what we do so others can get a better understanding. I think we all have run into this problem from time to time and it can be stressful. I've been with my company for six years and some of my fellow employees have only recently begun to comprehend that good design takes time.
I try to be very proactive when I hear about an upcoming project. I am the one who goes to them first rather than waiting on them for information. I tell them to give me the first details on the project so I can start creating the most time consuming components, such as illustrations, then layout, etc. Sometimes, when it's possible, we just have to be the ones to take control and make them understand that, hey, these things take time so if you want the project done within the expected time frame then this is how we need to work together. I've also discussed with my team, an idea about creating a project management form with the listed components to the project. It would be made viewable to everyone on the team. Each person has an assigned task (each with a due date), and the team members must check off their task as it's completed.
9 days ago• Like1
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Nancy Krause • Thank you everyone for your comments and ideas. What I've started building on paper is a skeleton diagram time line. As we all know, it starts with an idea, (or several), is brainstormed, (if only by designer), and refined.
What I also think will be valuable is an "elevator speach" about what design involves (without the rant of being unappreciated). In essence, a refined statement that is powerful enough to show knowledge and leadership design. What I want to avoid at all costs is the "place your order, copy center" mentality. This cheapens what designers do, and are capable of achieving. I value everyone's input on this. It could become a designer's elevator speech.
Laura, I especially like the idea of being proactive. The elevator speech would be a great fit for this.
I look forward to more input and ideas as we formulate an approach. Thank you everyone!
8 days ago• Like2
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Kaley Henning • I'm a young designer and this is something that I've come across quite a few times in my career already, and even though I understand that it is not a quick process and should be valued, I have no idea how to present this situation to others that need help understanding. I'm looking forward to seeing this thread grow and reading this "elevator speech" about the situation.
7 days ago• Like
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Timothy Miller • I love when a non designer tells you how long this process should take. *punch the clock. Now be brilliant!
6 days ago• Like2
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Brian Rothschild • Here is a simple lesson in creating value.

You just met me and I hand you a stack of money equaling $10,000.00. And I tell you, " you can simply walk away and the cash is yours, no strings attached.....

At the same time I hand you a business card that states I'm a Mercedes Benz dealer and I tell you I have 5 SL 550's with a retail value of $70,000.00 each, which you could sell tommorow, and will gladly trade you any one of them for that 10 grand you are holding.

How many will keep the money and how many would take the keys and title to the car?

If you took the money you are closed minded and short sided and probably someone that simply can't see the value, or has been burned so many times that they have determined that creativity is common sense, either way I'm probably wasting time but I always give it the ol collage try. But, If I suspect that you even considered taking the car, I'm going to apply every tactic in my arsenal to attract your business from simple kindness and humility to "referal discounts" and I can think of many more but that's a real easy way to describe how to create value.

Feel free to apply it any way you can in any situation. I've actually explained it word for word to a client so I physically created the value. Thankfully it's not always that hard.
6 days ago• Like1
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Julie Gogola DeCook • This is a great question! Recently I described that being a graphic designer is like being a translator of sorts. We take the language of our client/boss/project manager and turn it into something the rest of the world can understand. A lot of times, I am give a pile of random, messy crap that us unclear. My role is toturn it into something that makes sense to the audience. As a designer, we have to see through the lines and simplify all the information to get the message across.

A designer working with a number of different departments is a key asset. The designer is given all the pieces of the puzzle - often different puzzles. The graphic designer is the person who makes all the pieces fit together.

That ability to make connections and organize information is pertinent to the success of the entire organization. That person helps the entire company communicate better and get their messages across. It is more than just a beautiful thing!
6 days ago• Like
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Julie Gogola DeCook • Regarding timing - You could have a classification system that lists different kinds of projects. Show the steps of the design process that cannot be skipped - brainstorming, prototype, (maybe)... and say how long each step generally should take. Small projects get a certain amount of time, larger projects get more time. Also include a list of ROADBLOCKS (how often do we hurry up and WAIT for pertinent bits of information?!!) Maybe have your designers present their process to the company, so people understand how they work - and why time is needed. Give the team a moment to shine!
6 days ago• Like
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Ian Henderson • This is a really good question. In running my business for the last 4 years, I have learned the power of analogies. In this case one could use the analogy of building a house. One could entrust the project to an uncle or nephew who is not qualified for the job, but promises a great looking house. You dump a load of lumber off at the sight and hope for the best. What kind of result can one expect from this?

Or one could hire a qualified architect who's past work you like. Will he build you a house overnight, will he skip all the planning and organizing stages? Highly unlikely. You will probably give him the proper time and money to do the job right.

The same goes for graphic design. Adobe CS and other software are only the tools of the trade. Just because your nephew has a table saw does not make him a qualified carpenter. Same with graphic design. Before you touch the tools you need the vision, talent, planning, and time to actually create a piece that communicates clearly and effectively to the target audience.
6 days ago• Like4
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Brian Fortney • "Just because you can drive a Car doesn't mean you can drive Nascar."

In response to Ian here I've used analogies many times to describe to amatuers/clients which could be the same thing concerning how many people think because they have Photoshop they believe they can design. Attempting to explaining a grid and how to use it would be beyond most people.
5 days ago• Like
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Ian Henderson • Brian, yes indeed! Never mind good composition, leading the eye, balance, contrast, typography, etc.
5 days ago• Like
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Kurt Griffith • All of this is true. I particularly like the analogies, like the Architect and the Race Car Driver. - Thank you Ian and Brian.

One of my favorite is explaining print versus on-screen, where CMYK is "ink on paper" and RGB is "like television - light beamed at your face." GOOD LUCK with "additive" versus "Subtractive" or "radiant source" versus "reflective surfaces."

What I do have a hard time figuring out, is why Graphic Design in particular has been de-valued so much more compared to other skilled professions, despite 30+ years in the profession. But since this thread launched, I read a very telling article on the subject.

Rick Schober - Why We Suck at Design

Raised MY eyebrow, it did.

As a veteran of the Design Wars, and “excused” from corporate servitude in 2001 post 9/11 to make my way as a freelancer, I have seen up close and personal the exact trends and phenomenon that he mentions in his post and we've touched on here. Since I have had to fold in Web Design into my practice, as I’d starve to death as a pure Print Designer, I find myself valued as much as a *technician* as an artist, if not more. I cringe whenever I am introduced professionally as a “computer whizz” rather than as a Designer.

I do have to accept that our profession now requires us to be extremely capable technologists, just to be competent. I am well aware that our market does not even START till a client or company wants to look better than what they can shove out of MS Word or PPT, online at Vistaprint, or over the counter at Kinkos, Office Depot or Staples.

And yes, I do miss the days when we Art Directors were freakin' JEDI KNIGHTS of the drafting table.
5 days ago• Like1
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Montse Perez • Hi Nancy, This article landed in my inbox yesterdat and although it does not give you the clear formula you are after, it describes in a very concise way clients' misperceptions when commissioning graphic designers.

I believe it would help you draft your process and anticipate the concerns/behaviours/reactions of clients - always a positive thing. Here is the article:
5 days ago• Like1
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Nick Casbar • Ian hits it on the head, good analogy.

While I think every job out there has a level of expertise and skill that is not completely understood by those who aren't in that position, I feel like graphic design may be one of the most misunderstood, especially the emotional aspect.

Good design does not only apply laws and principles but is an extension of one's soul artistically. Even a simple headline using the right font and negative space could be seen as a masterpiece in the world of design, but looked at as nothing special by the layman.

Sure, there's research time and button pushing that are tangible, measurable tasks - but it's difficult to convey to others how much soul goes into producing the work. That's something the layman will have a hard time quantifying and attaching value to, and maybe that's something the designer shouldn't expect to receive unfortunately.
5 days ago• Like1
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TARA BERRY • Seasoned in the field I come across this all the time. Since I tend to be an overachiever and problem solver I work hard sometimes all night to make things executable by a short deadline. I believe this is the exact reason our time is undervalued and what it takes for a quality project. I have found from working off of other designers files that rush jobs have grown. We tend to make our clients happy by killing ourselves thus creating a cycle of no return. A clear process may help but creating a project time frame like most of our printers we work with do. If the project information is not received by at least two weeks prior to print date then the project will not be on time. Yes I know we have made it happen in the past, but in order to guarantee quality we need two weeks production time. Wouldn't that be nice!
4 days ago• Like
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Brian Fortney • Tara that is an issue I hadn't thought of I suppose the professionals need to understand that Design isn't a 9-5 job I've had months where everyday I've worked 11 hours at minimum and I don't believe anyone other then a Designer would understand that. This doesn't clock out if you don't express an idea or grind through a slump as soon as possible you either forget or get buried.
4 days ago• Like1
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Julie Gogola DeCook • It is easy to lose your soul after a while, if you are not in a design thinking company. In-house designers ARE misunderstood by their co-workers. Accounting has no clue why your job exists - and that hurts. Sales thinks you should be at their beckon call and each individual thinks that their stuff is most important - and that's exhausting. People dump stuff on your desk constantly to "beautify" so they can look good (the designer's contribution is not acknowledged in the end). While everyone is begging for the brochures and posters and web pages that they needed yesterday - and you feel bad.

I think that Nancy is a doing something really great for her team. And I hope she shares the project with us. Putting the designer's process into terms that other people can understand is a good thing. People don't get that designers think about every detail of the page, all the way down to the way each word falls on the page. They don't know WHY the designer's stuff looks so much better - they call it magic. So give them something that shows that it ISN"T magic - tell them about your process. They will be FASCINATED! Show them your pride, knowledge, skill, elbow grease...and love for what you do.
4 days ago• Like2
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Kurt Griffith • One of the things that IS difficult, that we have little control over seems to be the amount of time we're given to work on a project. While the Printer's timelines are pretty consistent, i.e. makeready and spitting in on paper, it's about the same in most cases whether it's some tripe from MS Word, or a complex brochure. So many clients and employers seem to think the Designers work is similarly quantifiable, regardless of complexity.

What I have discovered is that often even when an appropriate time is given for a project, much of it will be chewed away at the front end with enedless focus meetings and iterations of roughs, and begging for final content... leaving virtually no time for finish prep final and prepress (or CODING), usually jammed into a short shift between sign-off and a press or launch deadline.
4 days ago• Like2
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Nancy Krause • Hi Everyone,
It's clear I have hit a nerve. From all the response, we as designers are taken for granted on a regular basis. As Brian and Ian have pointed out, it's about creating value. With their comments in mind, I have personalized my pitch to the non-designers that I work with currently. By that I mean, we as designers must understand the occupational reference point of those we work with. Currently I am working with engineers. These folks are brilliant.
But what prompted this whole discussion was the comment by a senior engineer, who is lead on a 150-175 page proposal. He wanted professional design work based upon this report. He asked me "would this take me 2 days, maybe 3?"
It was at this second I knew that, although brilliant, he and his team had no idea what designers actually do.
I decided to answer based upon engineering terms. I asked how long the team had been working on this proposal, and the answer was "months." Based upon that, when asked how long it would take me to put together a proposal book for them, I said, "Rome wasn't engineered in a day." It' will take at least 3 weeks, perhaps more.
In exasperation, I also said, "This is not McDonald's". (probably not the best approach, but honest)

Kurt, your post from Rick Schober really took a stab at my heart as a designer. Much of what Rick says is true. Although I wasn't involved with design until 2002, gone are the glory days of "Mad Men" stars.

If some of you didn't catch it, here is his link:

One other thing, I believe we must insist on removing the phrase: "In a fast paced environment" from job descriptions and any and all conversations and interviews. WE MUST VALUE OURSELVES FIRST. Now, when I see that in a job description, I do not read any further. This tells me that the only value I would have to them is based upon production, not design or value, according to the service or product.
Fast is not part of the equation, or shouldn't be. The thought process still takes time to mature an idea. People often think because we use computers, the process is instantaneous. This is the beginning of trouble. To that I will answer, we all use computers, and it hastens portions of the process, but not the entire process. Thought time, concept development time, idea refinement, sketching, and more idea refining will always be a precious commodity; one that cannot be hasten by computers.

BTW, we must also let others know that designers not only need to know how to design, but, we must be design software gurus, and able to trouble shoot in any creative software program.

Thank you everyone for your input.

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