Lýsing:
n/aAnnað
- Höfundur: Debbie Rose Myers
- Útgáfa:3
- Útgáfudagur: 2013-10-14
- Hægt að prenta út 2 bls.
- Hægt að afrita 10 bls.
- Format:ePub
- ISBN 13: 9781118872413
- Print ISBN: 9781118428146
- ISBN 10: 111887241X
Efnisyfirlit
- Front Matter
- Preface
- What's New in This Edition?
- If You Are a First-Time Reader
- What's New in This Edition?
- Preface
- Acknowledgments
- You Need a Portfolio
- FIG. 1–1 Preparation is the key to a successful portfolio.
- FIG. 1–2 Be prepared to discuss your art. You will be asked to explain why you created a piece in a certain way. Your ability to articulate an answer can influence how you are perceived as an artist and Web designer.
- FIG. 1–3 Michel Khalil's design skills are clearly apparent; hence, this piece would be an excellent way to showcase his ability to design logos.
- A Portfolio Must Stand Alone
- FIG. 1–4 This project, which I created to promote a study-related trip, demonstrates that portfolio opportunities are always available. Don't hesitate to volunteer your services as a designer.
- Start Building Your Portfolio
- You Are a Professional in a Related Field
- You Are Still a College Student
- You Are Searching for New Ways to Develop Artwork
- FIG. 1–5 Desiree Marin creates a wonderful set of stationery pieces. When seen together in a portfolio, they make an unmistakable statement about her abilities to brand a company.
- You Participate in a Summer Program or Attend a Special Workshop
- FIG. 1–6 Newsletters can be created free of charge for a local organization. A newsletter such as this, created by Nicole Weik, is a great way to develop pieces for your portfolio and (who knows?) maybe get a freelance job or two.
- You Design for Family and Friends
- FIGS. 1–7 AND 1–8 This awesome billboard and Web site interface mock-up was designed by Angelica Leon. Observe how consistently the pieces work together.
- You Take Advantage of Freelance Opportunities
- FIGS. 1–9 AND 1–10 Was this thrilling magazine editorial spread, created by Isabela Belloso, completed in college or in the field? A truly professional piece gives no hint of its origin; it simply shows off your artistic skills and abilities. This one is very unique.
- You Advance Your Design Skills Using the Barter System
- You Design for Yourself
- You Compile Examples of Improvements You've Made to Bad Design
- FIG. 1–11 Creating a mock editorial magazine spread is a great way to challenge yourself. This spread, by Jacqueline Thrailkill, reminds us that regardless of your background, you can develop pieces worth including in your portfolio.
- FIG. 1–12 This beautiful calendar, created by Kristalyn L. Burns, not only showcases her ability to illustrate but also demonstrates that she understands how the illustration will look in print.
- FIG. 1–13 This corporate identification package, created by Debbie La Rocca, illustrates her consistent use of color, type, and design elements.
- Identify Your Strengths
- FIG. 1–14 Make eye contact and demonstrate your confidence. You would be amazed how many people cannot look you in the eye! Practice in front of a mirror if necessary, but do be ready when the time comes.
- What Can I Do to Get a Job?
- FIG. 1–15 I created this poster to promote a class in Web design. It demonstrates that portfolio opportunities are always available. Don't hesitate to volunteer your design services. It will help you to develop new port pieces.
- FIG. 1–16 This wonderful and highly interactive CD, created by Maria Rodriguez, demonstrates a very highly developed sense of color and some fantastic craftsmanship
- FIG. 1–17 Ilse Simon creates an inspired cover for her annual report. Soft corkboard and grommets are used to give a very tactile edge to her piece for a building company.
- An Interview with James Kluetz
- Designer's Challenge 1
- FIGS. 1–18 AND 1–19 Cynthia Grynspan invents a great solution for this designer's challenge. Her editorial is engaging and shows a marvelous color set.
- Designer's Challenge 2
- FIG. 1–20 This lovely 3-D pop-up card, designed by Fran Cahoon, is a terrific way to get your name out into the industry. Add your name and e-mail on the back for instant recognition.
- Concept
- Content
- Don't Throw Away Good Ideas
- FIG. 2–1 Can you answer questions about this ad, which was designed by Giovanni De Paz? Think about the use of type and color, and be prepared to explain your answers.
- Keep Every Successful Piece
- FIG. 2–2 A versatile portfolio case is one that can hold a lot of work yet is easy to manipulate during an interview.
- Identify Your Format
- The Portfolio Case: Functionality versus Appearance
- FIGS. 2–3 AND 2–4 This stylish aluminum case, designed by the Pina Zangaro company, is used to showcase larger-format pieces. Notice the cardholders on both the outside and inside of the case. Use them as an extra design opportunity by inserting cards with your name and logo.
- FIGS. 2–5 AND 2–6 Here are portfolio cases created using bamboo as the base material. The cases, designed Pina Zangaro, are lightweight, stylish, and very eco-friendly.
- FIGS. 2–7 AND 2–8 Portfolio cases come in a wide variety of sizes, shapes, and colors. Consider the style of your work and choose a portfolio case that matches.
- The Digital Portfolio
- Take a Walk on the Wild Side: The Concept Portfolio
- FIG. 2–9 Julie Ruiz turns to the 1950s for inspiration. Her self-promotional piece is not only sharp but fun as well.
- FIG. 2–10 Julie is not afraid to embrace the portfolio interview day experience. She dressed up in a 1950s waitress outfit and gave out lunch boxes with her work. She got five job offers that day!
- FIGS. 2–11 AND 2–12 Here are two examples of Julie's work. She shows tremendous versatility in her designs. As you can see, Julie not only creates graphic design work but also illustrates beautifully.
- FIG. 2–13 This résumé, designed by Ryan Skinner, advances his “action hero” theme. He chose a type that is deliberately rough-and-tumble. It gives an army feeling. The theme is carried through to the entire promotional package.
- FIGS. 2–14 AND 2–15 As you can see, the army theme is evident in Ryan's self-promotional book of art. The cover has “CLASSIFIED” stamped on it for effect, and the paper is a gray-green army-inspired choice.
- Take a Walk on the Wild Side: The Concept Portfolio
- The Portfolio Case: Functionality versus Appearance
- The Web-Based Portfolio
- Don't Throw Away Good Ideas
- FIG. 2–16 Here is a well-thought-out display that shows the resourcefulness and vision of the artist, Soo Bin Chu. The work is displayed using both traditional (boards and bottles) and sophisticated (computer) methods.
- FIGS. 2–17 AND 2–18 In this wonderful magazine cover and table of contents page produced by Michael Crary, the ecological theme generates an exciting color set that is carried through the first few pages.
- FIG. 2–19 Amanda Grieve creates an attractive folder that demonstrates that even a one-color printed design can be beautiful as well as functional.
- FIG. 2–20 Maria Gil creates a striking display of her work. Using a tiered system of display, all of the work, including three-dimensional pieces, can all be viewed easily.
- The SWOT Table
- Using the SWOT Table
- Strengths
- Portfolio Checklist
- Weaknesses
- Opportunities
- Threats
- Strengths
- TABLE 2–1: Layout and Design Evaluation
- An Interview with Barry Rosenberg, Creative Consultant
- Designer's Challenge 1
- Designer's Challenge 2
- FIG. 2–21 Tatiana Malinine exhibits a fantastic solution to the evolution poster. Notice that you can see the evolution of the television from its earliest use to today's contemporary look.
- What's in a Name?
- FIGS. 3–1 AND 3–2 Nataly Tovar shows us that the overall look of your résumé conveys as much about your design sensibilities as the information you choose to include.
- What Goes into the Written Part of Your Portfolio?
- The Résumé
- FIG. 3–3 This complex résumé design by Rian Williams shows his freelance work, as well as his software abilities.
- The Chronological Résumé
- The Functional Résumé
- FIG. 3–4 There should be no doubt in your mind that this is the résumé and business card of a designer! This resume designed by Adrianna Bonilla is fun and playful, yet it conveys all of the information necessary to give the artist's background. It's a little piece of art in itself.
- Parts of the Résumé
- Contact Information
- FIGS. 3–5 AND 3–6 This résumé and business card created by Chris Florindo show us that the colors and layout of your résumé offer a preview of your design style. Don't be afraid to have some fun!
- FIG. 3–7 Clearly define your accomplishments and skills when creating your résumé. This resume by Holly Ficker does just that.
- Take Action
- The Objective or Summary Section
- Employment History
- FIG. 3–8 As you can see, this visual identity package by Olivia Terrizzi has design elements that carry over from the résumé and business card to the give-a-way promotional piece. The various pieces all share the same selected fonts and colors.
- FIG. 3–9 It's important to list in-house job-related experience, but don't forget to include any freelance work you have done as well. Jessica Bebchik does a great job of accomplishing this on her résumé.
- Education
- FIGS. 3–10 AND 3–11 Finding ways to distinguish yourself from other applicants is the key to your success. Shown here are a résumé and self-promotional giveaway designed by Gaby Menesses, with an unusual die cut around the edges. Sure, it's a bit more difficult to pull off, but the results are certain to get you noticed!
- Technical Expertise and Computer Skills
- Honors, Awards, and Certifications
- Professional Affiliations
- Military Service
- Additional Personal Information
- Contact Information
- Dos and Don'ts of Résumé Design
- Do
- Don't
- References or Letters of Recommendation
- FIG. 3–12 A good résumé lets the employer know what you have already accomplished as a designer. Here is a great example, designed by Jaime Ferguson. (Jaime Ferguson, graduate, Sinclair Community College.)
- Introduction
- Body
- Closing
- FIG. 3–13 Doug Volkert's business card actually features an eye that you can see through when it's held up to the light. It was a lot of work to create, but the effect is awesome!
- FIG. 3–14 Ilse Simon's card has a cohesive feeling. The small organic objects emphasize the design established in the main logo.
- FIG. 3–15 What's the newest trend in business card design? QR codes. Hold your smartphone up to the business card and you are immediately transferred to Mery Lewis's Web site.
- FIG. 3–16 Velina Gamova uses a standard hole-punch in a clever way! Your eye is drawn to the light airiness of the design with a charming supporting color set.
- Types of Business Cards
- Basic Cards
- Picture or Photo Cards
- Tactile Cards
- FIG. 3–17 Don't waste space! Emilio Gomez effectively uses both sides of his business card. The card is playful yet conveys key contact information.
- FIG. 3–18 Here is a business card from Soraya Spahi that comes with a terrific die cut. In order to save money, the artist produced each piece by hand to give out at portfolio review day.
- One-of-a-Kind Cards
- FIG. 3–19 With just a bit of craftiness, you can create a magnificent card like this one by Lila Vasquez. Using a small grommet and some ribbon, Lila has a very unique card to give away at interviews.
- Start by Asking the Tough Questions
- Cutting Edge Business Cards—QR Code
- FIG. 3–20 Once scanned, this QR code will take you straight to my Web site. What a great way to get people interested in your work!
- FIG. 3–21 All of the pieces in this wonderful promotional package designed by Daniela Burr are given away in a custom-embroidered pouch highlighted with a catch line about creativity. The student was fortunate to have a relative in the embroidery business, so the cost was minimal.
- FIG. 3–22 Here are a variety of business cards to jump-start your creativity. Notice that not a single one is printed on plain white cover stock. Also note the interesting edges that were produced.
- FIG. 3–23 Idil Godze's self-promotional package features a paper doll that represents the designer. Inside the package are a résumé, a business card, and a small CD. Also included are instructions for assembling the doll and even miniature scissors to complete the task.
- Cutting Edge Business Cards—QR Code
- Present Yourself to Others in an Unusual Way
- FIGS. 3–24 AND 3–25 Here is a promo package you won't soon forget! Jenna Ebanks has included all sorts of ephemera and it all shows off the artist's skills. Even the mouse pad shows a section of the résumé.
- Create a Self-Promotional Piece That Reflects the Type of Work You Want to Do
- Use a Good Tagline or Pun as the Starting Point
- FIG. 3–26 A passion for fishing turns into a great promotional piece by John Masulonis with this clever pun. This package is both memorable and amusing.
- Think Crafty
- What Should You Spend?
- FIGS. 3–27 AND 3–28 Tom Hill reminds us that you can be very witty by creating a self-promotional piece based on a candy wrapper. Notice that the entire set of colors works as a unit.
- FIG. 3–29 By using a small artist's palette stand, Matilda McIntyre finds a great way to display her business cards and résumé.
- An Interview with Dani Nordin
- Designer's Challenge 1
- FIG. 3–30 Amanda Grieve demonstrates a beautiful solution to the designer's challenge. The piece features a strong layout and color that is appropriate to the age-group.
- Designer's Challenge 2
- FIGURE 3–31 Angela Paniza shows us that a terrific color set can hold all of your support pieces together to form a comprehensive package of work.
- FIG. 4–1 A small booklet of your work, like this one by Daniel Maxwell, allows you to showcase your designs in a keepsake that will help potential employers remember you.
- FIG. 4–2 A good rule of thumb is to keep all support materials consistent. Here you can see that the artist, Dawn Hirsch, carefully crafts both the design book and the résumé.
- Organizing Your Portfolio
- FIGS. 4–3 AND 4–4 Alex Morales shows us a strong self-promotional package. The resume, business card, look book, and giveaway all support his theme, as well as his colors and type choices.
- Professional Portfolio Presentation
- FIG. 4–5 This portfolio, made by Pina Zangaro, is named Rossano. It is a fashionable way to display your work and comes in both black and brown. These portfolios are compatible with all major brands of sheet protectors, mounting sheets, and adhesive hinge strips.
- FIG. 4–6 Contemporary and ultramodern, this aluminum portfolio case (Pina Zangaro) protects your work and looks good as well!
- FIGS. 4–7, 4–8, AND 4–9 This lightweight acrylic portfolio case (Pina Zangaro) offers a clean, contemporary look. You can expand the portfolio's capacity to hold art with standard screwpost or ring binders; these offer you the ability to expand the portfolio to include additional work.
- FIGS. 4–10 AND 4–11 This case (Pina Zangaro) uses industrial-grade black PVC with a woven nylon backing. The stainless steel lacing gives your design work an extra bit of sophistication.
- FIG. 4–12 Here is a terrific case (Pina Zangaro) to hold traditional photography slides. You can see that this case has a lot of room to hold your work.
- FIG. 4–13 What a great way to command the attention of your interviewer. Pina Zangaro provides color imprinting on the Vista Mist line of portfolios.
- FIGS. 4–14 AND 4–15 The Machina Presentation line of portfolio cases from Pina Zangaro are made of recycled aluminum and can be designed with a color imprint or your logo or engraved with laser etching.
- TABLE 4–1: Portfolio Styles and Dimensions
- Attention to Detail
- Don't make it about the background!
- FIGS. 4–16 AND 4–17 The CD case is another opportunity for you to showcase your design talents. This sleek cover is a progressive way to hold your digital portfolio.
- Prepare Your Work for Viewing
- FIG. 4–18 A flip-book makes it easy to display pieces to a larger group because the work can be propped up. All you have to do is flip the sleeves to reveal each piece. (Sabrina Serrano)
- Ink-jet Tips
- Using a Home Printer
- How Much Will It Cost to Create a Portfolio?
- FIGURE 4.19 Here is a great example from Jair Acevedo in which the art on the cover is in harmony with the CD and the business card.
- How Much Will It Cost to Create a Portfolio?
- Using a Commercial Printer
- Mounting Your Work
- Displaying Three-Dimensional or Folded Pieces
- FIGS. 4–20 AND 4–21 This superb package, designed by Fernando Velasquez, requires special display treatment for a portfolio. As you can see, Fernando photographed the piece and added extra support pieces. The entire project was mounted in a book to really highlight the design work.
- How Should You Display Artwork for Interviews?
- How to Create a Portfolio Pocket Sleeve
- FIG. 4–22 Andy Bing measures the card and begins cutting the board for the placement of the plastic sleeve.
- FIG. 4–23 Now that the board is prepared, the plastic is sliced in a diagonal shape to act as the holder. It needs to fit inside the board slits, so measure carefully. You may need to slice a bit at a time to make sure it fits.
- FIGS. 4–24 AND 4–25 Here is what the plastic sleeve holder looks like on the front and on the back as it is slipped inside the slit that has been created. Notice that the sleeve is being secured with masking tape.
- FIG. 4–26 Wesley Fornadel shows us a clean and professional way to display this superb greeting card he designed.
- Protecting Your Work
- Dry Embossing and Debossing
- FIG. 4–27 This embossed surface adds texture and interest to business cards, annual reports, and even menu design covers.
- FIG. 4–28 Here are some of the tools that you can use to create your embossing or debossing effects.
- FIG. 4–29 This is the copied logo in reverse ready to be transferred to the cold pressboard.
- FIG. 4–30 You can see the layers of paper being lifted as each of the cuts are created.
- FIG. 4–31 The paper is secured to the cold pressboard and pressure is applied to the surface to create the emboss. Be careful not to push too hard or you will rip the paper.
- FIGS. 4–32 AND 4–33 You can also create an awesome foil effect with some foil paper and a hot gun. You can find these specialized papers at online craft stores.
- FIGS. 4–34 AND 4–35 As you can see the foil is being “ironed” onto the paper with a flat hot iron (available in craft stores) and the final effect is really impressive!
- Portfolio Tips: Summary
- FIG. 4–36 Pedro Andrade designed this strong self-promotional package. Notice that Pedro even had candy created using the colors of his resume and business card.
- FIG. 4–37 The tiny black briefcase you see here, found in a dollar store, provides the inspiration for this terrific 1960s spy genre self-promotional package designed by John Masulonis.
- FIG. 4–38 Marcus Fernandes creates a look book of his work with a tiny die cut at the bottom right side. Small touches such as this show your craftsmanship, as well as your ability to design original pieces.
- FIGS. 4–39 AND 4–40 Andy Bing has created a beautiful book of his designs using the services provided by Picaboo. Not only is the color reproduction work excellent but the book can also be made with a wraparound cover to create a most professional presentation.
- FIG. 4–41 MyPublisher offers a variety of options for your book designs and can be used with both Macintosh and PC computers.
- Dry Embossing and Debossing
- FIGS. 4–42 AND 4–43 This innovative package display inspired by TV dinners from the 1950s, designed by De-Andrea Jackson, is difficult to capture in pictures. Nevertheless, it is important to try to feature the piece in its best possible light, by taking a series of photos from different angles so that the viewer can see it from all sides.
- FIGS. 4–44 THROUGH 4–49 Here are several pages from Kelly Bennett's sketchbook. It's full of doodles and researched images. This type of sketchbook shows your development process for a project.
- Introduction
- Body
- Artist's Statement: Catherine Ramey
- FIGS. 4–50 AND 4–51 Catherine Ramey has created these exquisite images, entitled Meadow Son #9 and Laying Seed #6.
- Artist's Statement: Mark LaRiviere
- FIG. 4–52 Mark LaRiviere finds that his influences come from the Impressionist era. Here is a piece entitled Blue and White. Visit his Web site at www.marklariviere.com
- Artist's Statement: Gary Ramey
- FIGS. 4–53 AND 4–54 Gary Ramey's compelling photographs offer the viewer a new way to observe the world. Using the HDR process, he is able to achieve super realistic images with heightened 3-D color effects.
- Artist's Statement: Howard T. Katz
- FIGS. 4–55 AND 4–56 These two pieces are by Howard T. Katz. On the left is a sketch for a painting entitled Code of Honor: Valor. The drawing shows the value of keeping a sketchbook to work through ideas. The piece at is the finished painting that was produced as a result of the sketch. The final painting is part of a series designed to explore the traditional code of chivalry and asks the question, “Does chivalry still have a place in today's society?”
- Artist's Statement: Catherine Ramey
- An Interview with Andrea Lubell
- Designer's Challenge 1
- Designer's Challenge 2
- FIG. 4–57 Here is an excellent newsletter designed by Amanda Grieve. She shows you the “before” and the “after,” and you can really see the difference! (Amanda Grieve)
- CD-ROM/DVD- or Web-Based Portfolio?
- FIGS. 5–1 AND 5–2 The Internet makes it possible for your work to be viewed at any time from virtually anywhere in the world. Here is the digital portfolio of Frorencia Crosa. Notice the links for social media sites, such as LinkedIn and Twitter.
- FIGS. 5–3 AND 5–4 Lorena Castaneda presents a clean interface, with orange as the “neutral.” It lends a warm, inviting feeling to the site.
- The CD-ROM- or DVD-Based Portfolio
- FIGS. 5–5, 5–6, AND 5–7 Danielle D'Achille has created this whimsical Web site, which really reflects her design sensibilities. She even has some hidden areas for you to discover.
- Special Delivery
- The Web-Based Portfolio
- Size and Speed: Primary Criteria
- TABLE 5–1 File Size Abbreviations
- TABLE 5–2 Download Speeds
- It's All in the Clouds
- Deciding Which Multimedia Authoring Program to Use
- Linear versus Nonlinear: Choosing a Presentation Program
- PowerPoint: Viewing from Point A to Point B
- FIG. 5–8 Microsoft PowerPoint offers a powerful scripting capability that makes it possible to create a nonlinear presentation. This interface, created by Michel Khalil, showcases his design work in an easy-to-navigate format.
- The Flexibility of a Nonlinear Presentation
- Common Keyboard Shortcuts for Adobe Products
- PowerPoint: Viewing from Point A to Point B
- Linear versus Nonlinear: Choosing a Presentation Program
- Adobe Flash
- FIG. 5–9 Flash has the ability to maintain multiple libraries so that you can share assets among different files. This can really streamline your development process.
- Adobe InDesign
- FIG. 5–10 This Flash interface features a “rollover” effect. The viewer rolls the mouse pointer over one of the buttons located at the lower left and artwork pops up on the screen.
- Which Program Is Right for You?
- Adobe Dreamweaver
- FIG. 5–11 In some ways, creating a Web site is similar to producing a CD-ROM or DVD. Images, text, and sound are combined to create a series of “clickable” pages. Many designers use both multimedia authoring programs and HTML editors to create a total viewing experience.
- Adobe Edge Animate
- Adobe Acrobat
- FIG. 5–12 Here is an example of an Acrobat output. Once a portfolio has been created in Acrobat, you can open it and examine it in Acrobat Reader.
- FIGS. 5–13, 5–14, AND 5–15 Acrobat and PDF specialist Joel Geraci creates custom “skins” for Acrobat. You can have a unique look and feel to your project without dealing with a ton of programming (http://blog.practicalpdf.com/portfolios/).
- Making a Choice
- Is Freeware Really Free? Does Shareware Mean I Can Share?
- Raster-Based Programs
- Adobe Photoshop
- FIG. 5–16 Adobe Photoshop is the industry standard when it comes to image manipulation, and it's easy to see why. Photoshop's full set of sophisticated features makes it easy to create complex images.
- FIG. 5–17 Here is a typical setup page in Photoshop. Notice that you are offered a wide range of options for the initial page setup.
- Corel Painter
- FIG. 5–18 Howard Katz shows us how a stunning and realistic apple can be digitally painted using Corel Painter.
- Adobe Photoshop
- Adobe Illustrator
- FIG. 5–19 When it comes to vector-based illustration, there is no doubt that Adobe Illustrator leads the way. The interface is straightforward, and the options are boundless.
- CorelDRAW
- Adobe Fireworks
- FIG. 5–20 Adobe Fireworks is a great choice if you intend to move your designs from either Illustrator or Photoshop. The three programs integrate tightly to give you more drawing options than you would have with any one of the programs alone.
- QuarkXPress
- FIG. 5–21 Olivia Terrizzi demonstrates how Adobe InDesign simplifies the work of preparing images and type for page layout. The program allows you to create multiple layers for special effects. As mentioned in the previous section, InDesign comes equipped with a solid set of interface options to give the content developer a way to create and distribute digital interfaces for both print and the Web.
- InDesign
- FIG. 5–22 Here is a section from a promotional piece designed by the award-winning graphic designer Paul Kane. His design skills using Adobe InDesign are clearly apparent. This piece would be an excellent way to showcase his portfolio.
- FIGS. 5–23 AND 5–24 With its colors of aqua, yellow, and blue, this enjoyable interface, designed by Tiffany Braguta, is reminiscent of design from the 1950s. It is clear to the user which options are available.
- FIGS. 5–25, 5–26, AND 5–27 Engaging, charming, and downright fun! This interface, designed by Douglas Waltman II, offers lots of visual interplay and a great deal to explore.
- TABLE 5–3 Software Evaluation Form
- TABLE 5–4 Web Site Evaluation Form
- An Interview with Blaise Nauyokas
- FIG. 5–28 Blaise Nauyokas has freelanced as a senior art director for all of San Diego's top agencies. He's also been a guest instructor at the Advertising Arts College, teaching classes in art direction, copywriting, and design.
- Designer's Challenge 1
- FIG. 5–29 Here is a fantastic solution to this designer's challenge, brought to you by Kristalyn Burns.
- Designer's Challenge 2
- FIG. 5–30 A charming bottle of shells, designed by Amanda Grieve, brings back the sights, smells, and memories of a day at the beach.
- FIGS. 6–1 AND 6–2 As you can see with these two examples, bitmapped images (such as those created with Photoshop) always look pixelated. However, images created with vector-based programs can be resized as much or as little as needed. The images will always look crisp.
- Preparing Work for Digital Presentation
- Working with Raster-Based Images
- Should I Use WordPress to Create a Portfolio?
- FIG. 6–3 This lovely WordPress Web site showcases the art of Tom De Vita. Its sleek and minimalistic design allows his illustration to come front and center.
- Should I Use WordPress to Create a Portfolio?
- Working with Raster-Based Images
- Working with Vector-Based Images
- Working with Page-Layout Files
- Working with Metafiles
- Adobe Photoshop
- Adobe Illustrator
- Adobe InDesign
- Adobe Flash
- Adobe Dreamweaver
- Microsoft PowerPoint
- FIGS. 6–4 AND 6–5 As you can see, the difference in file size between the poster design and the Web design is significant. Any files created at such a large size will have to be reduced to fit the limitations of the Web.
- The Future of Image Resolution?
- FIGS. 6–6 AND 6–7 The color palette in fig. 6–6 is designed for RGB images for multimedia presentations, while that in fig. 6–7 represents the color space for Web design.
- Two-Page Editorial Spread for a CD/ DVD or Web Site
- FIG. 6–8 InDesign's Export as EPS option allows you to select from a variety of file types and display options. These are available once the page has arrived at its final destination.
- FIG. 6–9 There are a lot of different choices when it comes to color and design. T-shirt designers prefer the Indexed option, whereas graphic designers usually choose the CMYK option, and multimedia artists use the RGB option. The one you select will depend on your final output.
- FIG. 6–10 The Image Size dialog box is where you “resample” (reset) the dpi of your layouts. All images created for either CD/DVD or the Web must be saved as 72-dpi files.
- Can I Use InDesign to Create a Web Design Portfolio?
- The Truth about Clip Art
- Naming Your Files
- A 3-D Package Design for a Web Page with a Digital Camera
- FIG. 6–11 Boxes and other three-dimensional designs have special needs. When building a portfolio, it's best to display the fully articulated box, but having an extra copy that lies flat in your case is a good backup plan. These clever boxes were designed by Priscilla Giler.
- FIG. 6–12 Linda Weeks created this marvelous display showcasing her design talents. Not only did she create the package designs, but she produced the visual display for the packaging, as well. As you might imagine, a display such as this requires a lot of extra work in order for it to be properly shown in a portfolio.
- FIGS. 6–13 AND 6–14 This display piece, designed by Linda Weeks, would be best shown in her port with a series of photographs that capture all of the angles.
- FIG. 6–15 Using Photoshop's Save for Web feature, you can view your files under many different conditions. Here you see the before and after of a compression system imposed on the picture.
- The Importance of a Master File
- FIGS. 6–16 AND 6–17 A well-designed Web site looks great on the screen yet still has a quick download time. This lovely illustrative one was created by Melissa Musselman.
- Rules for Using Images for Your CD/DVD or Web Site
- FIGS. 6–18 THROUGH 6–21 These rollover buttons were created by Miguel Cruz, using Adobe Flash. When the user's mouse pointer rolls over the button, it changes color to indicate that there is a clickable icon that can be used to navigate to another area of the interface.
- A Bit about Bit Depth
- FIG. 6–22 Lowering bit depth is a great way to reduce file size while still maintaining quality.
- Resize Your Images and Icons
- Optimize Your Images
- FIGS. 6–23 AND 6–24 Madeline Newcomb uses Photoshop and Dreamweaver to design this witty Web site with a nice 1950s vibe. The colors are harmonious and support the artwork beautifully.
- Use the Same Icons Again and Again
- Use Thumbnails
- Slice Up Your Images
- Stay on the Right Path
- Don't Overanimate
- An Interview with Steph Doyle
- Designer's Challenge 1
- FIG. 6–25 Kristalyn Burns creates this whimsical owl-dog. Or would that be a dog-owl? Notice that it is impossible to see where the images begin and end, making the design look as authentic as possible.
- Designer's Challenge 2
- FIG. 6–26 Valentin Miloje demonstrates a first-rate solution to this design problem. Not only do the colors work to support the product, but the look and feel also make it instantly obvious that it's all from the same company.
- Organize, Organize, Organize
- Know Where You're Going
- FIG. 7–1 Bright, cheerful, and very appropriate for the client, this interface by Cathy Callard demonstrates a first-rate design.
- FIGS. 7–2 AND 7–3 Clean, crisp, and uncomplicated, this portfolio by Mykeia Navarra accomplishes everything necessary for a good design.
- FIG. 7–4 The flowchart for a portfolio might look like this.
- Main or Home Page
- FIG. 7–5 Who says that flowcharts have to be boring? Nicholas K. Sinclair shows that you can create a flowchart and present it to a client with lots of embellishments to enhance the presentation.
- Create a Mood Board
- Gather Your Art
- Know Where You're Going
- Designing a Visual Theme: Making Your Portfolio Unique
- FIG. 7–6 Desiree Martin shows you her navigational strategy in a way that integrates extremely well with the overall design of the interface.
- Navigation: How to Get There from Here
- FIGS. 7–7 AND 7–8 Adam Boot's interface creates a theme that works at all times to support your message. There's also a super video on the site that showcases his mobile-phone-supported Web sites. You really get a sense of what his style by viewing the video.
- FIGS. 7–9 AND 7–10 Diana Sanmiguel uses a subdued color palette that allows the images to stand up on their own. Notice the clear navigational strategy.
- FIG. 7–11 Photoshop is a great resource for button design. These buttons were created with the Styles palette and the Webdings alphabet. The Styles palette offers you a vast variety of premade color systems that are designed specifically with Web-safe colors.
- All Buttoned Up
- FIGS. 7–12 THROUGH 7–15 As you can see, a few clicks and you are well on your way to creating a distinctive interface.
- I Can't Write Code. Now What?
- The Psychology of Color
- FIGS. 7–16 AND 7–17 These two screens are from the digital portfolio of Jennifer Worley. She likes to use strong contrast as a way to showcase her art.
- Red and Pink
- Orange
- Yellow
- Green
- Blue
- Purple
- Black, White, and Gray
- FIGS. 7–18 AND 7–19 This beautiful interface, designed by Sandra Cruz, shows her love of illustration, both in the main image and with her drawing on the “Illustrations” page.
- Brown
- FIGS. 7–20 AND 7–21 Tyler Lukey demonstrates that design can use neutral colors and still be very innovative!
- FIGS. 7–22 AND 7–23 Jair Acevedo uses an architectural approach to this interface. The overall effect is that of a floor plan coupled with a galaxy.
- Limit the Number of Colors: The Three-Color System
- Food for Thought
- FIG. 7–24 As you can see on this color wheel, complementary colors are any two colors that are opposite each other on the color wheel. Used together, they tend to vibrate, so employ them sparingly.
- Think Soft and Monochromatic
- Use Web-Safe Colors
- FIG. 7–25 Stay away from complementary colors in CD/DVD or Web design, where they can cause type to vibrate, making it difficult for users to focus.
- FIG. 7–26 This is the layout shown in figure 7–25 without color. A color-blind individual would have difficulty reading text under these conditions. Squint as look at your design. If the colors seem to blend into one mass of gray, you need to rethink your use of color.
- Use Background Images, but Only to Enhance Your Interface
- FIG. 7–27 Backgrounds usually do more harm than good. This background must have seemed like a good idea at the time, but it interferes with the image and makes it hard to read the type.
- FIGS. 7–28 AND 7–29 Ignacio Rodriguez shows us that a neutral color system with just a pop of color can create an interesting and very user friendly Web site.
- An Interview with Stephan Donche
- Designer's Challenge 1
- Designer's Challenge 2
- FIG. 7–30 Using a clean retro theme, Naija Jones has designed this dynamic solution to this challenge. The typography is bold and interactive.
- Designer's Challenge 3
- FIG. 7–31 Ronn Glanz has developed a terrific mood board that shows a well-developed color palette and samples of his artwork.
- FIG. 8–1 Which of these paragraphs do you think would be more fun to read?
- A Brief Lesson on Type for Multimedia Design
- FIG. 8–2 The Gill Sans font looks like this. Notice that its a clean, modern-looking type.
- FIG. 8–3 This is the Gill Sans font as a bold typeface.
- FIG. 8–4 Gill Sans Light Italic gives a totally different look to the letters.
- FIG. 8–5 Here is Gill Sans in regular and small caps.
- FIG. 8–6 These are examples of serif typefaces.
- FIG. 8–7 Modern typefaces are designed to suggest a contemporary feeling.
- Using Type to Express Your Artistic Vision
- Display Type
- FIGS. 8–8 AND 8–9 Used sparingly, display, novelty, or decorative typefaces offer interesting variations for your layouts.
- Display Type
- FIG. 8–10 Here is a Web page with all of the important information blocked out by gray bars so that you can see the visual emphasis of the layout.
- FIG. 8–11 Here is the same page, designed by Umberto Abeja, with all of the information displayed. Notice how your eye travels around the page. This is known as eye flow.
- FIG. 8–12 This is a dull Web page. The solid mass of unbroken gray makes it almost impossible to find the content.
- FIG. 8–13 What is needed is contrast and balance. Splashes of color, large and small type, and images will prioritize the visual space.
- FIGS. 8–14, 8–15, AND 8–16 An intriguing interface, designed by Debbie La Rocca. Notice that the visitor can click on a Web site link and it will open in a new window. This creates a very clean navigational strategy.
- FIG. 8–17 It's very tiring on the eyes to read text across the full width of the screen.
- FIG. 8–18 Notice the difference when the type is set in narrower columns. Less left-to-right eye movement means less strain on the eyes.
- FIG. 8–19 Add negative space between the columns and breathing room to the page. Things dont seem so crowded now, and nothing gets in the way of the message.
- Use Grids
- Put All Vital Elements “Above the Fold”
- FIGS. 8–20 AND 8–21 This whimsical Web site, designed by Hannah Mericle, is an excellent example of how an illustrator designs a Web site. When clicked on, the illustrations pop up in separate boxes.
- Set Large Amounts of Type in Narrow Columns
- Use Subheads to Break Up Information
- Design to Scroll or Not to Scroll
- Make Good Use of White Space
- FIG. 8–22 Certain fonts are ideal for evoking emotions and responses. Which of these do you think best expresses “dark and scary”?
- Type in Multimedia: Readability
- FIG. 8–23 This poster designed by Christian Kerner demonstrates how type can improve a layout. Although this page features many different typefaces, the page has interest and texture. Notice that some of the typefaces are used in their individual variations.
- FIG. 8–24 Here is an illustration of different type sizes displayed on a Web page using HTML.
- TABLE 8–1 Cross-Platform Web Fonts
- Web Fonts
- FIG. 8–25 Here is an example of a typesetting error: hyphens ending two successive lines in body copy. Good typographers avoid too many hyphens in a row in a paragraph.
- FIG. 8–26 A classic typesetting exercise is to see how many ways you can express the word no in type. For example, you can scream No. You can say No but mean Yes. You can say No gently or whisper the word to intimidate someone. Combining color, type, and size are all ways to articulate the sense of the word you intend to convey.
- FIGS. 8–27 AND 8–28 As you can see, the first Web site, visited on a Mac, has slightly larger type than the second version of this same site, seen on a PC. The screen shows a difference of about 2 points. Macs display at 72 dpi, while PCs display at 96 dpi, thus the difference.
- FIG. 8–29 This Illustrator menu shows you the options for creating outlines with your type. By completing outlines before you create a Web page, you ensure that your viewers will not have to have those typefaces installed on their computers in order to see your page designs.
- FIG. 8–30 This is what an outline looks like once it has been created. The top block of type shows what typical type looks like. The bottom type block shows what type looks like after the outlines have been created. Notice all the little nodes, or squares, that define these new shapes.
- Speed
- FIG. 8–31 As you can see, this good-looking rsum, designed by Miguel Chaves, demonstrates the best possible way to display large amounts of type. Lots of color and additional design elements add emphasis to important points.
- The Importance of Line Length
- Type Alignment
- FIG. 8–32 Allow yourself to loosen up. Type is supposed to be fun! This little guy was created just to demonstrate the versatility of type as a design tool.
- Keep It Short and Simple
- An Interview with Tom Kane
- Designer's Challenge 1: Using Type to Describe Oxymorons
- FIG. 8–33 Nothing better than a good pun with type!
- Designer's Challenge 2: Typeface Exercise
- FIG. 8–34 Here are a couple of possible solutions to the typeface exercise. What can you come up with?
- Getting There from Here
- FIG. 9–1 Here is a selection of icons that can be created with the Wingdings or Webdings font. Each “letter” of the font is a different picture. Holding down the Shift key while typing gives you even more choices.
- FIGS. 9–2 AND 9–3 Vanessa Martins creates a lovely interface with a simple but effective navigational system that never leaves the visitor unsure of where to go.
- FIGS. 9–4 AND 9–5 Melis Eda Ekmekçi uses type as the main component of her interface. The type adds texture and interest.
- Using Landmarks and Metaphors
- FIGS. 9–6 AND 9–7 Paula Acosta uses pink as the primary color in this charming interface. The pink serves to enhance the clean look of the layout. Be sure to check out the form she has created, as well. What a great way to take in some freelance work!
- FIGS. 9–8, 9–9, AND 9–10 In this clever interface, created by Gino Vela, the viewer “rolls over” a darkened section of the arms with the mouse pointer, and various navigational options pop up on the screen. Uncolored areas indicate that there is nothing to find. Once the viewer is in one of the sections, the option to examine individual pieces of art becomes available.
- FIG. 9–11 This interface, by Robert Hough, creates a concept that carries his illustrations from the images through to the chosen type.
- FIG. 9–12 This is an example of a hierarchical design system. Similar subject matter is grouped together under one “umbrella.”
- FIGS. 9–13 AND 9–14 Leah Wiseman has created a botanical interface that shows her skills as an illustrator and as a graphic designer.
- FIGS. 9–15 AND 9–16 Notice that there is always a clear metaphor for the interface. You can choose to enter Wiseman's gallery or return to the home page.
- Linear
- Global
- Hierarchical
- Local
- FIG. 9–17 Even a basic flowchart like this one can be useful in designing your initial layout, as it helps you to visualize the navigation system.
- FIGS. 9–18, 9–19, AND 9–20 This very artistic interface was designed by Christian Kerner. Notice the links at the top and bottom of this page. The plus signs indicate that the user can click to see more artwork, and the “main” text links at the top indicate how to return to the starting section of the site.
- Common Navigation Elements
- Finding the Right Words: Using Text Links
- Buttons
- FIGS. 9–21 AND 9–22 Here is an outstanding design with a clear set of hypertext links. Notice that you can always tell where you are in the interface. The links change color to indicate when a section has already been visited.
- FIGS. 9–23 AND 9–24 In this Flash project, Nicole Naierman has created this witty little fellow to lead us around her whimsical interface. The experience begins as our “guide” takes us on a journey through his world. Once we have seen the introduction, all of the interface elements are revealed as our guide runs across the screen.
- FIGS. 9–25 AND 9–26 Throughout the design, all of the elements are consistently placed to offer a clear navigational system. Notice that the résumé is available as a downloadable PDF document.
- Image Maps
- FIG. 9–27 This image map shows the “hot spot” that has been created for the state of Florida. When the user rolls the mouse pointer over the state, the image of the state changes to indicate that there is a link to another part of the interface.
- Navigation Bars
- FIGS. 9–28 AND 9–29 Sometimes it's more entertaining to navigate with pictures and type. Have some fun when you design a page—just don't forget to design for the user.
- FIG. 9–30 Tiina Purin has created an interface that unmistakably shows her skills as an illustrator. The metaphor of a bulletin board serves to highlight her drawings.
- Frame It
- The “Bread Crumb” Approach to Navigation
- FIGS. 9–31 AND 9–32 Stylish and filled with wonderful negative space, Natalia Caamal Herrera's Web site has tons of information but is not overly cluttered. Notice that she gives you a link to the Web sites she has designed and also identifies the programming languages they were created in.
- An Interview with Roberto de Vicq de Cumptich
- Designer's Challenge 1
- FIGS. 9–33, 9–34, AND 9–35 Lucia Mayela Rivas demonstrates an excellent solution to the three-ad series challenge.
- Designer's Challenge 2
- FIG. 9–36 Jaime Ferguson illustrates an attractive solution to the wrapping paper challenge. The colors are well chosen and support the design.
- Why Web Page Design Isn't Like Page Design
- Step 1: Start with a Layout
- FIGS. 10–1 AND 10–2 Daniella Rondon has created an amusing interface that clearly communicates the areas of the portfolio that you can investigate. The colors are consistently used and allow the design work to shine through. Notice the buttons at the bottom that allow the visitor to preview the files in miniature.
- Your Web Site Should Be Easy to Read
- Your Web Site Should Be Easy to Navigate
- Your Design Should Be Consistent throughout Your Web Site
- FIGS. 10–3, 10–4, AND 10–5 Jessica Browne uses nature as her theme for this vivid and fanciful portfolio created in Flash and Dreamweaver. The use of an Entrance button allows her to employ a set of meta tags in the HTML file in order to drive visitors to the site. Once in the portfolio, visitors are treated to an animation of dragonflies that introduces each of the site's areas.
- FIG. 10–6 As you can see, there are four folders. The first set of two folders is for my Web site. The other set of two folders is for one of my clients.
- HTML Coding
- HTML 5 Is Not Your Mother's HTML!
- FIG. 10–7 This is the HTML code and image that form the basics of a Web page. Notice on the published Web page that the title “The Green Pepper—Welcome to our restaurant!” is displayed at the top. Titles allow you to do a bit of extra promotion for the site and hopefully help you get ranked higher by the search engines.
- CSS, or Cascading Style Sheets
- FIG. 10–8 Dreamweaver offers you the ability to create internal and external style sheets. This particular one will be an external style sheet. The rule will be called headline, and the style itself will be named myStyle.css.
- FIG. 10–9 As you can see, Cascading Styles can be viewed either from the CSS Panel or as straight code. Either way, it's easy to make changes quickly and effectively.
- FIG. 10–10 A Cascading Style Sheet (CSS) is made of a set of rules that define the look and feel of type, images, and other elements on a Web page.
- FIG. 10–11 This CSS template can offer you lots of options in your design. The coding is substantial, but the results are very polished.
- Can I use JavaScript and jQuery programming languages in my Web site if I can't program?
- I need a simple gallery for my artwork.... Help!
- FIG. 10–12 Here is the table that has been created. The images are in place, and they have all been given a name.
- FIG. 10–13 The Swap Image Restore and Swap Image are located in Windows> Behaviors palette.
- FIG. 10–14 This is the rollover, once it has been completed. As you can see, it allows you to create lots of thumbnail images that will display in a larger format once the gallery is complete and online.
- I want a fully interactive Gallery, but the thought of writing JavaScript or jQuery scripts makes me crazy!
- FIG. 10–15 Always select Output before you start to select your images in Adobe Bridge.
- FIG. 10–16 Select some images that will become part of your gallery.
- FIG. 10–17 There are lots of options available to help you create a really good-looking slide show of your work.
- FIG. 10–18 Be sure to have Adobe Bridge save your gallery inside of the images folder. A new index.html file will be created there for you to incorporate on the Web page.
- FIG. 10–19 Dreamweaver makes it easy to use iFrames to help you incorporate your gallery seamlessly onto your Web page.
- FIG. 10–20 Once your files have been uploaded to the host server, your beautiful new gallery will be on display for the world to see.
- And if all else fails?
- I have a domain name but I want to choose a new host.
- Table Design
- FIG. 10–21 Here is the original Photoshop file with guidelines and layers. It will always be saved in its original version, so that modifications can be made as needed.
- FIGS. 10–22 AND 10–23 The Slice tool and the Slices from Guides button.
- FIG. 10–24 The Combine Slices option allows you to combine a lot of extra slices into a smaller number. This will make it much easier to create a table in Dreamweaver.
- FIGS. 10–25 AND 10–26 Here are the slices before and after they are combined.
- FIG. 10–27 Photoshop's Save for Web and Devices feature will allow you to create a series of small files properly prepared for the Web.
- FIG. 10–28 Here is the file in the before-and-after windows so that you can see the difference the compression will make. Notice that the file size difference is displayed at the bottom of the dialog box.
- FIG. 10–29 Once you are in Dreamweaver, you can create a table and drop in your images to create your interface.
- Table-based Web sites are so yesterday!
- Responsive Design
- FIG. 10–30 Dreamweaver offers you the ability to create sites that “sense” and “respond” to the type of device being used to view the Web site.
- FIG. 10–31 This is the easiest method to transfer your files to an online host site. You drag the files and images from the right side to the left, and Dreamweaver does the rest.
- An Interview with Sigrun Eggertsdottir
- FIG. 10–32 Sigrun Eggertsdottir
- FIG. 10–33 THROUGH 10–36 This is a small sample of the self-promotion package designed by Sigrun Eggertsdottir.
- An Interview with Etni Estrella
- FIG. 10–37 The ADDY Award is one of the most prestigious awards in advertising today. Here is Etni Estrella with his Gold ADDY Award.
- FIG. 10–38 This is one of Etni's editorial spreads. As you can see, he uses images as an important support visual for the overall concept of the design.
- FIG. 10–39 Etni builds a corporate ID package for a gardening business. The stylized letter S is used effectively as both the first letter of the word and as a visual indicator of the nature of the business.
- Designer's Challenge 1
- FIGS. 10–40 AND 10–41 Sigrun Eggertsdottir establishes her design skills with a stunning stationery package.
- Designer's Challenge 2
- FIG. 10–42 AND 10–43 Desiree Martin shows us an exceptional solution to her designer's challenge. Using burlap, fabric, and a bit of type, she creates a soap that clearly conveys that it's all natural.
- Do-It-Yourself Web Site Development
- FIGS. 11–1 AND 11–2 Alex Pretelt offers the visitor a very interactive layout with lots of fun animation that enhances the site.
- Who Maintains Domain Names?
- FIGS. 11–3 AND 11–4 Soraya Spahi uses luxurious white space to allow the images and type to do the work on her Web site.
- FIGS. 11–5 AND 11–6 Rebecca Bakaric creates a strong diagonal composition for her interface. The intense colors really pop out against the black background.
- Domain Names
- FIGS. 11–7 AND 11–8 In Valentin Miloje's design, the words “Balancing Business and Art” are revealed as the tightrope walker makes his way across the screen. Blue is the linking color that helps to hold the interface together.
- FIGS. 11–9 AND 11–10 Alejandro Haydar uses the colors gray and yellow to create a very dynamic and technical feel for his interface. The yellow acts as a unifying element throughout the design.
- What Is Web 2.0?
- Free Hosting
- Paid Hosting
- FIGS. 11–11 AND 11–12 Mirtho Prepont creates an interface that clearly communicates the navigational strategy. It's easy to find all of the places to visit, and the artwork always enjoys center stage.
- FIG. 11–13 This lovely little store has all of the links at the top, so that the visitor can always see the entire contents of the Web site quickly.
- FIG. 11–14 A restaurant site, designed by Vincent Pirozzi, uses a wonderful amount of white space to convey a sense of elegance. Clicking on the logo (bottom right) will return the visitor to the home page.
- FIGS. 11–15, 11–16, AND 11–17 Brunella Giannangeli began her initial design work in Adobe Illustrator. Once the interface was designed, it was imported to Flash, where the final interface was constructed. The transportation motif is a clever way to express motion, and the animation of the moving train in the introduction supports the design.
- Include Some Web Pages in Your Portfolio
- Let All of Your Contacts Know about Your Site
- Network Effectively
- Start Blogging
- FIGS. 11–18 AND 11–19 My blog is created as a way for my students to offer their thoughts on design. There are thousands of templates to choose from, and it is easy to get a blog up and running.
- Start Blogging
- FIGS. 11–20 AND 11–21 Julian Pivetta utilizes a clean, minimalistic style to allow the gallery section of his portfolio to come through loud and clear.
- FIGS. 11–22 AND 11–23 Manny Lopez's stylish creation shows that even strong colors such as blue can be used to create a stunning, rich design interface.
- FIGS. 11–24 AND 11–25 Pedro Andrade shows that interface design does not have to be boring. This interface features a high-tech look but is easy to understand and navigate.
- So What Does a Meta Tag Look Like?
- An Interview with Andrea Knibbs
- Designer's Challenge 1
- FIG. 11–26 Frances Gonzalez produces an outstanding answer to the designer's CD design challenge.
- Designer's Challenge 2
- FIG. 11–27 This catalog page, designed by Lorena Castaneda, contains lots of different vacation options displayed using an inviting arrangement.
- FIGS. 12–1 AND 12–2 As photographers and designers, Miguel Chaves and Billy Thibodeaux both use a set of neutral grays to showcase their artwork.
- Multimedia and the Digital Portfolio
- FIGS. 12–3 AND 12–4 Elisa M. Boix uses a whimsical set of illustrations to create her interface and navigational system.
- FIGS. 12–5 AND 12–6 Deborah Diaz takes her viewers into account. As you can see, she indicates that you will need to use Flash and a minimum size screen to best enjoy her interface.
- Adding Audio to Your Portfolio
- FIG. 12–7 Adobe Premiere Pro allows you to import various types of audio and video files for use in your digital interface, and you can edit the music.
- Preparing Sound for Multimedia
- Locate and Acquire the Audio
- FIG. 12–8 Once the music has been imported, you can edit it to delete unwanted sound that may cause your files to become too large.
- Capture the Audio
- FIG. 12–9 Most video-editing programs, such as Adobe Premiere Pro, come with a sound mixer. Although not quite as complex as the professional mixers, these “mini”-mixers offer a wide range of enhancement features for your sound files.
- Edit the Audio
- Compress and Encode the Audio
- FIG. 12–10 As long as you save your sound files in a compatible format, most multimedia programs will be able to import and export them in a Web compatible format.
- Add the Audio Files to Your Multimedia Project
- FIG. 12–11 Audio can be opened and previewed in Flash after it is added to the time line.
- FIGS. 12–12 AND 12–13 This awesome Web site, by Jair Acevedo, recognizes that the visitor may not have the latest Flash viewer. The visitor is informed that a new player may be needed and then is given the Web address from which the player can be downloaded. Thoughtful and practical.
- Inform Users That Players or Plug-ins May Be Needed
- Locate and Acquire the Audio
- The Effect of Sound Effects
- FIGS. 12–14 AND 12–15 Randy Gossman conceptualized this entertaining storyboard. Notice that the descriptions clearly indicate the movement of the actors within each frame. The camera action (such as a zoom-in or a pan) is indicated as well. A good storyboard leaves nothing to chance.
- FIGS. 12–16 THROUGH 12–19 In this witty and well-made cartoon video, Sue vanHamersveld demonstrates the power of QuickTime movies to tell a story. In this video, we are introduced to the history of graphic design.
- Preparing Video for Multimedia
- Shoot and Capture the Video
- FIG. 12–20 Adobe Premiere Pro's unique titling window gives you the ability to create professional overlays to enhance your video. Here is our “newscaster,” Randy Gossman, reporting on a breaking story.
- Lights, Camera, Action!
- The Résumé Video
- Shoot and Capture the Video
- Edit the Video
- FIGS. 12–21 AND 12–22 Adobe Premiere Pro comes with all sorts of special effects. Video can zoom in or slide across the screen. This gives another dimension to your video.
- FIG. 12–23 You can create freeze-frame effects with Adobe Premiere Pro. In a portfolio video, you could discuss your art and display each piece in a corner of the screen as you are talking about it.
- Compress the Video
- FIG. 12–24 The Chroma Key effect in Adobe Premiere Pro allows you to place your actor in front of a blue screen. The color is stripped out, allowing your actor to be in any location you wish.
- Video and Audio Review Guidelines
- FIGS. 12–25 AND 12–26 The video skin feature in Adobe Flash gives you a variety of options from which to choose as you prepare your videos for the Internet.
- It's All about the Format
- Recommended Settings
- Video
- Audio
- Video
- Audio
- Video
- Audio
- FIGS. 12–27 AND 12–28 Sasha Kobrynich presents this elegant digital portfolio. As you can see, there are a couple of video clips embedded in the site.
- FIGS. 12–29, 12–30, AND 12–31 Brent Carlin's interface is clean and easily understood. Even in her gallery area, the visitor can find all of her art and follow a clear path to her home page.
- An Interview with Christine David
- FIGS. 12–32 AND 12–33 A couple of the many advertisements created by Christine David.
- Designer's Challenge 1
- FIG. 12–34 Thomas Slonaker has created an excellent, well-designed set of mailers as an answer to this designer's challenge. (Thomas Slonaker, graduate of Sinclair Community College Design Department.)
- Designer's Challenge 2
- FIG. 12–35 This outstanding “paint can” was created by Thomas Slonaker.
- Link Lookup
- Designer Checklist for Digital Portfolios
- FIGS. 13–1 THROUGH 13–4 This playful, fun interface was developed by Denise Arenovich. It has a clear navigation system and reveals her witty side.
- FIGS. 13–5 AND 13–6 Nicholas K. Sinclair has designed a project based on a wonderful set of his illustrations. Notice that his Web site has a section for both design and his skills as a designer.
- FIG. 13–7 Although there is a lot of information on this Web page, Velina Gamova shows us how a clean interface can make it easy to see everything. The links are clearly labeled, and the icons act as additional references.
- FIG. 13–8 This striking interface created by Gary Ramey will show off the portfolio work beautifully and offer some brilliant copy writing as well.
- FIGS. 13–9 AND 13–10 Jessica Osterman uses blue to its fullest advantage. The color acts as a neutral background to showcase the designs on the Web site.
- Design Elements Checklist
- FIG. 13–11 Sasha Kobrynich creates a very artistic interface. Each of the “drips” at the bottom leads to a section of the interface.
- FIGS. 13–12 AND 13–13 Kate Wruszak leads us down the rabbit hole with this charming design. Even the buttons have a whimsical feel to them.
- Technical Design Checklist
- Miscellaneous Designer Checklist
- FIGS. 13–14 AND 13–15 Felipe Garzon creates this smart and full-of-fun interface as his final project for his design portfolio. The links are clear and unambiguous. He has information available by rolling over the i (for information) on each section of the Web site.
- Final Thoughts
- FIGS. 13–16, 13–17, AND 13–18 Madlenne Kramer creates her own Web site with a clean design to best showcase the artwork. The interface for the images teases the visitor with a small cropped image that opens to reveal a larger complete design.
- An Interview with Nancy Karamarkos
- Designer's Challenge 1
- FIG. 13–19 Kryztina Spence designs a series of collateral pieces for a restaurant called the Wild East Asian Bistro.
- Designer's Challenge 2
- FIG. 13–20 Jamie Johnson shows off his unique self-promotional T-shirt creation.
- Building Your Brand Identity
- FIGS. 14–1 AND 14–2 It's important to brand yourself with your Web site. This professional Web site, designed by Jose Centeno, should remind you that your Web site should reflect your design sensibilities and act to show your design work.
- So What Does Personal Branding Mean?
- FIG. 14–3 Kristi Bachan uses color and geometric forms to create a memorable logo and branded key chain. Notice that her Web address is also front and center.
- Getting to Know You
- Join a Social Network for Professionals
- Brand Your Profile
- FIG. 14–4 Your LinkedIn profile should closely match your profile on Facebook and any other online service you use.
- Rewrite Your Headline
- Summary
- Experience
- Get a Recommendation
- Add Web Site Links
- Keywords
- FIGS. 14–5 AND 14–6 J. Enrique Garcia presents a professional Web site that clearly conveys the services offered and a clean navigational system.
- Create a Custom URL
- Ask Questions
- Update Your Status
- Branded Pages on Social Networks
- FIGS. 14–7 AND 14–8 Hande Bayar's Web site uses a clean interface style that allows her design work to really shine.
- Blogging/Podcast
- FIGS. 14–9 AND 14–10 A new way to conduct social media? Rafael Perez creates a fictional company Web site and app for a company that offers a unique social media service. Challenge yourself to think outside the box and create new Web sites.
- Be Yourself
- Brand Your Profile
- To Tweet or Not to Tweet.... There Is No Question!
- FIG. 14–11 It's a great idea to have screen captures of your Web sites in your portfolio case. As you can see here, Isabela Belloso has her site on the “screen” of a computer to show how it will look to the visitor.
- What Is Twitter?
- So How Does the Whole “Tweet Thing” Work?
- Get a Job with 140 Characters? Yes, you can!
- How Do You Turn This Technology to Your Advantage?
- How Do Hashtags (#) Work?
- Facebook, and Why Should You Use It
- Should I Use Facebook as Part of My Job Search? Yes!
- FIG. 14–12 A great Facebook page not only tells a bit about your and your background but also serves to showcase your artwork and skills. Gary Ramey's page does just that.
- Share and Share Alike, but Not Too Much!
- FIGS. 14–13 AND 14–14 This attractive layout designed by Carolyn Randell has a clean look, with all of the links at the top for consistency and ease of use.
- FIG. 14–15 Gary Ramey makes sure you know that his Web site is 100 percent compliant with the latest Web standards, which is very important to site visitors, especially if e-commerce is involved.
- FIG. 14–16 This soft and lovely interface created by Sandra Marcias will show off the portfolio work beautifully and offer a great navigational strategy, as well.
- FIGS. 14–17 AND 14–18 For her personal Web site, Isabela Belloso uses the word creativity as the focal point for the interface. Using soft colors, she is able to allow the design work to come forward.
- FIGS. 14–19 AND 14–20 The first word that comes to mind when looking at this interface by Diana Buitrago is strong. The color and layout all support the message that she is a designer who uses color and type effectively.
- Show Your Knowledge and Gain the Edge in Your Job Search
- FIG. 14–21 SimplyHired is one of many job sites that will help you find a terrific job.
- Should I Use Facebook as Part of My Job Search? Yes!
- Pinterest ... A Lot More Than Meets the Eye!
- Create a User Profile
- FIG. 14–22 Pinterest offers ways for you to “pin” favorites. Look for design inspiration, and use this forum as another way to publicize your work, as well as design work that you admire.
- You Need a Portfolio, Right?
- Personality Is a Good Thing!
- An Interview with Shannon Beck
- Designer's Challenge 1
- FIGS. 14–23 AND 14–24 Vanessa Bouchereau demonstrates her ability to solve this very complex design problem with an innovative and exciting set of surfboards and an e-mail blast.
- Designer's Challenge 2
- FIGS. 14–25 THROUGH 14–28 Christa Grant showcases all original photography in a bright and cheerful annual report for a fictional company—so good jewelry. Every page uses a consistent set of colors and typography.
- Create a User Profile
- FIG. 15–1 Angelica Leon has created a superb package and point-of-purchase display she designed.
- Preparing for a Job Interview
- FIG. 15–2 Gaby Menesses produces a memorable way for you to remember her. The unusual business card and painterly approach to her designs are sure to catch an employer's attention.
- Research the Company
- Visit the Library
- FIG. 15–3 Iliena Popow explains that a trip to a dollar store led to the creation of this colorful self-promotional piece. The colors of the business card were designed to match the fish.
- Visit the Company's Web Site
- Request a Copy of the Company's Annual Report
- FIG. 15–4 When an employer receives this self-promotional package from Bellatrix Martinez, the effect will be striking and immediate.
- Visit Standard & Poor's Online
- Unconventional Approaches to Landing Jobs
- FIG. 15–5 The job is his once this package from Philip A. Wolters is opened. The little duck holds his computer and is ready to start working!
- FIG. 15–6 Debbie La Rocca shows us that there are lots of wonderful and low-cost ways to create self-promotional items.
- FIG. 15–7 Jessica Luna-Victoria attaches her business card to a lollypop she created using her logo colors. This is a memorable and delicious way to promote yourself.
- Finding Your Way
- Don't Just Sit There. Get a Summer Job!
- Unconventional Approaches to Landing Jobs
- Tailor Your Portfolio for Each Interview
- Visit the Library
- Dress Appropriately
- Relocation Resources
- More Skills than Meet the Eye
- Put Yourself in a Positive Frame of Mind
- Make a Good First Impression
- FIG. 15–8 Jacqueline Villars uses humor and some great copywriting to showcase her coffee giveaway. Notice that all of her contact information is also attached.
- FIG. 15–9 Be prepared to talk about your work. You will be asked why you created a piece. This package was designed by Blanca Sanchez, who can clearly articulate her creative vision.
- Off-Site Interviewing
- FIG. 15–10 Joel Morales offers this graphic designer's survival kit. It comes equipped with markers and paint, and you won't soon forget this creative self-promotional.
- FIG. 15–11 Danielle D'Achille mixes it up with a combination of pink and black to create this outrageous promo piece.
- FIG. 15–12 Crystal Thomas presents this very organic and attractive way for you to remember her. Created completely from scratch, this package features her work, résumé, and business card.
- Preventing Portfolio Presentation Problems—and Dealing with the Inevitable Glitches
- FIGS. 15–13 AND 15–14 Here is a brilliant self-promotional piece from Miguel Chaves's creative right brain. The large signage was displayed during the college portfolio review and helped to direct traffic to his table.
- FIG. 15–15 Marisabel Santana Castejon demonstrates her love of color in this piece, which clearly communicates her many interests.
- Additional Interview-Related Pointers
- FIGS. 15–16 AND 15–17 Every piece in this beautiful promotional package shows Carla-Maria Balster's attention to detail. Notice the clever way that she holds the booklet together with a ring. This allows the observer to rotate the art freely.
- FIG. 15–18 How would you describe your pieces during an interview? What would you say about the color choices and typography? Have your answers ready. Tiffany Braguta presents a lively color set to support these designs.
- FIGS. 15–19 AND 15–20 Always dress appropriately for an interview. When you dress up, you show respect for the potential employer. Lila Vasquez and David Torres show you the best way to present yourself.
- FIGS. 15–21 AND 15–22 Laura Forero creates a strong and unified portfolio presentation, with good use of color and a great looking display table.
- Do Some Role-Playing
- Know Your Type!
- Reading Your Interviewer's Body Language
- Send a Thank-You Letter—Promptly
- Handling Inappropriate Questions
- Questions You Must Be Prepared to Answer
- FIG. 15–23 Fernando Velasquez uses a set of Lucite stands to display his business cards and self-promotional pieces.
- FIG. 15–24 Here is a lovely self-promo piece, designed by Julisa Henriquez, that uses colors, circles, and leaves as a theme. Notice that even the jellybeans are color-coordinated to match.
- FIG. 15–25 Daniella Rondon's beautiful blue and yellow business card is two-sided, which doubles the amount of contact information that can be shown.
- Other Questions You Should Know How to Answer
- An Interview with Rick Tuckerman
- Designer's Challenge 1
- FIG. 15–26 Abbey Fortney presents an entertaining and colorful solution to the designer's challenge to design a poster.
- Designer's Challenge 2
- FIGS. 15–27 AND 15–28 Iliena Popow shows her advanced skills in designing packages. Notice the added elements, such as the “jewelry” and the key chain.
- GLOSSARY
- BIBLIOGRAPHY
- Print Resources
- Electronic Resources
- INDEX
UM RAFBÆKUR Á HEIMKAUP.IS
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Rafbók til eignar þarf að hlaða niður á þau tæki sem þú vilt nota innan eins árs frá því bókin er keypt.
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Fleiri góðir kostir
- Þú getur prentað síður úr bókinni (innan þeirra marka sem útgefandinn setur)
- Möguleiki á tengingu við annað stafrænt og gagnvirkt efni, svo sem myndbönd eða spurningar úr efninu
- Auðvelt að afrita og líma efni/texta fyrir t.d. heimaverkefni eða ritgerðir
- Styður tækni sem hjálpar nemendum með sjón- eða heyrnarskerðingu
- Gerð : 208
- Höfundur : 12008
- Útgáfuár : 2013
- Leyfi : 379