Archive for June, 2010

Knowledge of Color Schemes for Website Designers

Wednesday, June 30th, 2010

Color selection is a most vital do for website designs. A subject of analysis from multiple angles, color choice is an approach not to be made by those who are impervious to colors. Usability, readability and compatibility are the standpoints to create a set of colors for a particular design. Website or artwork designers are of the opinion that designing a site is a creative impulse to illumine the informative details of a website design through the eloquence of colors. google down

Designers possess a mystical ability to look through if a color is working or not. Just like programmers have fetish for and understanding of programming concepts, designers are endowed with natural ability to work with colors independently. A grip on color theory is a key to upgrading their color-using skills. Knowing a few rules of thumb related to the application of colors, a designer is more accomplished than a card-counter at the poker table. Color schemes vary with three basic differences –

Analogous
• Complimentary
• Monochromatic

Analogous Colors

Colors that are next to each other form a palette of analogous colors. If you pick from the ranges of colors – red to blue, orange to violet, yellow to red, you will get an analogous color scheme.

Complementary Colors

Complementary colors are the colors that are in stark contrast to one another. The opposite colors like yellow and violet, green and red, orange and blue are the ingredients of the palette of complementary colors. Two contrasting colors from the palette of complementary colors make each other look vibrant when placed side by side.

Monochromatic Colors

On mixing white with any pure color, the tints of the pure color are produced. If black is added to a pure color, shades of the pure color emerge. The tints and shades of a pure color form the palette of monochromatic colors.

Color – the Most Sensitive Part of a Brochure or Newsletter Design

Tuesday, June 29th, 2010

Color is a most important ingredient for design. A must among the details of print and electronic design, color is a very delicate choice for the design of a professional newsletter, brochure, website or any other publication. The most sensitive part of a design element, color is evocative of the message that a brochure or a newsletter speaks out. ip locator . A palette of harmonious colors can elicit response from the viewers and readers.

Cool colors are soulful and soothing. A glimpse of cool colors casts a calming effect on the eyes. On one hand, cool colors are cold and glacial. On the other, they are nurturing and comforting. Green, blue, gray, silver and neutral white are from the palette of cool colors. In the world of nature, green and blue are predominant colors. Nature is steeped in the pool of these life-sustaining colors. Cool colors appear not brighter and stronger than warm colors. However, the cool colors are visually appealing and aesthetic.

If cool colors soothe the mind, warm colors excite the senses. Worm colors are capable of conveying strong emotions from optimism to violence. The warmth of such colors as yellow, red, pink, orange, violet and black can evoke anger or create excitement. In nature, the palette of cool colors is not independent of warm colors. The neutrals of brown and black are the attributes of warm colors. The warm colors of seasonal fruits and flowers represent the changes in the cycle of seasons.

The profile of both cool and warm colors is rich in meaning. All of them are descriptive and illustrative if they are deliberately put to use in an art or design work. Ultimately, it is the imaginative faculty of a designer to tell him or her which colors go well to be mingled harmoniously in the design of a brochure or a newsletter.

Focus on the Essential Content Details of a Professional Newsletter – Part 2

Monday, June 28th, 2010

Text

Next to nameplate and masthead, text is the principal body of a newsletter. The look of the text that a professional newsletter features varies with the chosen type size and style. The number of columns also matters. Newsletters are nowadays designed on computers that store a complete palette of type styles and sizes to be used in printers. It is better to be done with the text of a newsletter in a professional-looking typeface that is akin to the typeface used mostly in newspapers and magazines.

  • Though it is recommended to use one particular type size and style for a newsletter’s text, a professional designer can make a rich mix of different type sizes and styles to improve the look and feel of newsletters.
  • Another decision to take is the number of columns and their width. Having one column is a choice of many to keep the page simple and clear.  Some topnotch newsletters are remarkable examples to it. It takes comparatively less time to create a newsletter in this format.
  • The wider type line and the bigger type face make the text of a newsletter an easy read.  Make sure to keep margins on either of the sides so that a reader’s eyes do not move far to read a line. A newsletter with a one column format and an inch margin is ideal.
  • Two-column, three-column and four-column are alternatives to one column. If any of these alternatives is your preference, be careful about spacing between two columns. The inter space should not be so large as to make the text not pleasing for the eyes.

Headlines

Headlines are one of the professional makings of a newsletter. To fetch attention to the newsletter, make sure to compose well-thought out headlines and keep them bold. Headlines should be catchy and meaningful. Newsletters with insubstantial headlines are left unread.

Departments

Most professional newsletters come with departments. A newsletter with a department is easy to read. To be more effective, the department of a newsletter needs to be kept in the same place and the same format with every issue.  The department should be as simple as a box of contents to make readers turn the pages of the newsletters.

Charts and graphs

Charts and graphs are specific content design details to loosen the threads of a newsletter’s content if it features complicated information. They are good for a quick read of newsletters. Be sure to make charts and graphs readily understandable.

Art and Photographs

Art and photograph add to the visual aesthetics of newsletters. Many readers feel drawn to the visual appeal of a newsletter. It is sensible to use them only when they are illustrative of the message that a newsletter delivers. Incommunicative art and blurry photographs mar the purpose of newsletters. expiration of domains  Make sure to keep a caption or cutline underneath the photograph. A well-written cutline is a clicking idea to make the reader go through the newsletter content.

Color

Two things are considerable about the color of a newsletter. One is the paper color of a newsletter in combination with the ink color. Another is a second ink color or spot color.  White paper with black ink is the most preferable and readable color combination. Whatever be the color combination, it must be soothing and pleasing adding to the readability of the newsletter. Spot color adds distinction to the visual appearance of the newsletter.

Focus on the Essential Content Details of a Professional Newsletter – Part 1

Friday, June 25th, 2010

Newsletter is a printed or online form used by a company to deliver formal and informal news to its customers. Being a non-verbal spokesperson of business organizations, newsletters must look professional. Therefore, the design and look of a newsletter is important. Only well-designed newsletters pique the interest of readers. Nameplate, masthead, departments, headlines, art, color, photograph, graphs and charts are the design essentials of a professional newsletter. All these building blocks work together to attribute a unified and unique look to a newsletter. A creatively designed professional newsletter is newsy in content and read.

Nameplate, the topmost part of the first page of a newsletter, highlights the name of the newsletter. It is not necessary to keep it at the top. It can be in the middle, at the bottom or along the side as well. The nameplate contains such details as the title, subtitle, origin and date of the newsletter. The nameplate is often taken as the masthead. But it is a mistake. Check the nameplate content given below -

“Newsletter” should not be the title of a newsletter. Think of a title as an index to the newsletter content. The title strength must not extend beyond two or three words, since brevity is the soul of wit. Keep it bold so as to make it distinctly noticeable.
Give a subtitle as explanation to the newsletter content. It supports the title and vivifies the matter to clear the confusion of readers.
The nameplate of a newsletter also highlights the source or origin of the newsletter. It helps the readers recognize the sender of the newsletter. The address as well as subscription information is among the contents of the masthead. Put the name of the sender in the nameplate.
Date is an important detail of the nameplate content. If you send newsletters in a series to your customers or readers, it is necessary to date them so that the receivers can track the series of newsletters.

If a newsletter is written by only one person, adding a masthead to it is not mandatory. Masthead is a must need, if a newsletter is available through subscription. Make sure to keep the masthead at the same place in each issue of the newsletter. To be put either at the bottom of the second page or on the back of the last page, a typical masthead mirrors the nameplate and contains the details like authors, contributors, address, contact number, date and subscription number.

Next blog under the same title would be a discussion on the other content essentials of a newsletter.

Online Font Tools to Enrich the Kit of Web Designers for Easy Graphic Artwork

Thursday, June 24th, 2010

Web design and graphic design go hand in hand. Both of them are distinguished forms of artwork. Font and type tools are must haves in the kit of web designers and developers. There are several online font and type tools that are free to use. You can use them for your purpose. The following tools are my recommendations for you –

Font Tester

The online font comparison tool that stands first in the list is Font Tester. Using it, you can compare various fonts side by side with the application of different CSS font styles. It is a tool of great use for web developers who look for the right style, color and font for their pages. Easy to use is a most advantageous feature of Font Tester.

Cool Text

The online tool to generate graphics for web pages is Cool Text. It is available free for the use of web designers. If you are sick of doing lots of design work, use Cool Text to get an impressive logo just after the image you like the most. You need to fill in a form with the details of the required logo and you will have the logo designed on the fly to your surprise.

WhatTheFont

WhatTheFont is an online font recognition system. If a specific font used by some publication or ad campaign catches your fancy, this tool is the ultimate application to recognize the font. Upload the font to the application by scanning it and you will get a database of the fonts akin to the scanned image of the font.

FontStruct

If you are keen on building special fonts out of geometrical shapes, FontStruct is a best font-building tool from FontShop. Available free online, FontStruct comes handy to let you easily and quickly create fonts. The tool generates True Type fonts of superlative quality for any Windows or Mac application once you are done with the procedure.

Fontifier

Want to experiment with your own handwriting to create text for a webpage on your personal computer; Fontifier is just made for you. The use of this innovative application to get fonts in your handwriting is no less than a surprise. It copies the style from the scanned image of your handwriting and converts it into the font just after your own handwriting. You can use it like regular fonts in the word processor and graphics program.

Some Considerations to Make a Brochure Design Hit the Jackpot

Wednesday, June 23rd, 2010

Designing a brochure that hits the jackpot is a demanding task. A highly creative go, it leaves signs and billboards behind. The design of a brochure is an outcome of the harmony of creative thoughts and ideas and graphics. Your effort in creating an innovative brochure design is successful if the brochure steals show with the viewers, compels them to pick it up and eye over it. A vivid understanding of the following factors matters to the conceptualization of a unique brochure design.

• Evaluating the objective and deciding the target of a brochure is the very first step to reach the goal of the brochure. The brochure of a company providing services or a business selling products is purposed as a marketing device and a sales drive. Therefore, it is a must to design brochures with an accent on the primary purpose.
• Design the content of a brochure in order of its viewers’ purpose. A person takes interest in reading a brochure when he finds the brochure content right after his purpose. The brochure design should be visually aesthetic and emotionally appealing so that it could relate to the viewer’s eyes and mind.
• The chief end of a brochure is to provide information on some brand, service or product to the viewers. It should be illustrative and informative with comprehensible content of superlative quality. The brochure content should be focused on what viewers want to know about the service or product.
• The content of a brochure should be designed in such a way so as to voice the words of a successful salesman. A compelling piece of brochure content is a driving force to increase the figure of sales leads. Make it catching in design and interesting in read.
• Graphic design is more than a communication language and less than an art. Visualizing the graphic design of a brochure ensures effective results if the objective and goal of the brochure should be kept in mind.
• One great image is equal in worth to ten images. Choose a powerful and prominent image or images. Images that are expressive and eloquent are alternative to the textual content.
• Providing information with the brochure is not enough. There should be some reason to make the viewer keep the brochure. Contact information, a useful list, a map can be a strong reason.

Learn the Basics of Professional Brochure Design

Tuesday, June 22nd, 2010

Only a professional brochure carries the professional image of a commercial organization. It serves to be the inanimate representative of a business house to the clients. If you are a brochure designer, you need to make a professional approach to designing brochures for multinational organizations. Stick to the following basics of professional brochure design and elevate the quality level of your service –

• Collect brochures related to the field you are working for and study them. Compare and distinguish them according to the appeal of their design. Notice the design details of the most professional of them. expiration of domains It will help you develop a keen sense of good and professional design.
• Keep in view the customer base of your client while designing the message in the brochure. The message is the voice of your client. website offline . To make it read or sound professional, choose a proper font style and size. web whois Avoid using various font styles for a single passage. The font size of the text parts of a brochure varies in accordance with their importance.
• A company brochure should be professional not only in look and design but also read and feel. Arrange the textual and graphical components of the brochure according to their importance. The clearer the order of components is the better the brochure will look.
• Use bars, boxes and borders judiciously to separate more important information from the less important one. It will direct the viewer’s attention to the boxed and bordered information. But, using too many will mar the professional look of the brochure.
• Put focus on the specific information by maintaining the negative space around it. The amount of empty space determines the tone of heaviness or lightness in design of the brochure.
• Next to design, color is a most vital element to make something look professional or ridiculous. Printing costs depend on the palette of selected colors. ip analysis It is better using two colors – a primary and a secondary.
• Don’t forget proofreading the final design. If any error is left unnoticed in the design, it will be a great fault on your part. Evaluate the quality of overall design before having the print version of it.

Reasons for Difficulty in Achieving Color Accuracy with Graphic Design Prints

Monday, June 21st, 2010

Color accuracy is something that is difficult to attain in the field of graphic design as well as printing. A graphic designer needs to have a particular eye for color accuracy. Color is a most fascinating facet of print design. It is a herculean task to make clients have a perception of colors that you have judiciously chosen and combined to bring your design alive with the desired effect. One’s color perception is affected by the way one sees colors.

The way we see, percept and feel colors vary depending on the individual structure of our eyes. This fact goes well with colors in the range of blue. Colorblindness is also what gets in one’s way of viewing colors. Colors if placed side by side overlap each other in terms of impact. It is because of either visual illusion or reflection. The intensity of colors that you are working with for a design on your computer varies with the way the computer is set up. It also depends on the brightness and contrast of the computer screen.

The color of designs on a website may differ with the color of the designs on a printed copy in terms of intensity and accuracy. Difference between the color palette used by websites and the color palette used by web browsers is another reason for difficulty in achieving color accuracy in design. If you follow a traditional printing process to print a design and if the same design is printed with a particular printing system, the colors differ due to the difference in the printing processes.