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THE ALL-INCLUSIVE GUIDE—FROM THEORY TO PRACTICE—FOR PRINT AND WEB DESIGN A ny well-conceived print or Web design features the dynamic interplay between visual artistry and technical skill. It becomes important, therefore, for the designer to cultivate an aesthetic eye as well as develop a high degree of computer savvy. By combining basic theory with hands-on technique, Digital Design for Print and Web takes the unique approach of uniting two subjects traditionally approached separately into one complete volume. As a result, you will gain a clearer understanding of the entire creative process, from project management to working with graphics to designing for print and, ultimately, the Web. In this book, you’ll fi nd: • Full-color text and illustrated, step-by-step instruction supported by more than 75 video tutorials • Coverage of professional software including the Adobe Creative Suite • A wide variety of inspirational images from well-known designers • Online full-length project assignments from entry level to advanced An ideal resource for design students or practitioners, Digital Design for Print and Web will show you to how to create more effectively and guide you on the path toward digital design mastery. JOHN D IMARCO, PHD, is Assistant Professor at St. John’s University as well as creator and founder of PortfolioVillage.com. He is the author of Web Portfolio Design and Applications and Computer Graphics and Multimedia: Applications, Problems, and Solutions. Cover Design: John DiMarco GRAPHIC DESIGN 978-0470-39836-4 4-COLOR GLOSSY John DiMarco DIGITAL DESIGN FOR PRINT AND WEB DIMARCO AN INTRODUCTION TO THEORY, PRINCIPLES, AND TECHNIQUES www.it-ebooks.info 98364ffirs.indd 2 2/17/10 9:49:45 PM www.it-ebooks.info Digital Design for Print and Web 98364ffirs.indd 1 2/17/10 9:49:45 PM www.it-ebooks.info 98364ffirs.indd 2 2/17/10 9:49:45 PM www.it-ebooks.info Digital Design for Print and Web An Introduction to Theory, Principles, and Techniques John DiMarco, Ph.D. John Wiley and Sons 98364ffirs.indd 3 2/17/10 9:49:46 PM www.it-ebooks.info This book is printed on acid-free paper. Copyright © 2010 by John Wiley & Sons, Inc. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permis- sion of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750-8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or online at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and the author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or com- pleteness of the contents of this book and specically disclaim any implied warranties of merchantability or tness for a particular purpose. No warranty may be created or extended by sales representatives or writ- ten sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for any loss of prot or any other commercial damages, including but not limited to special, incidental, con- sequential, or other damages. For general information about our other products and services, please contact our Customer Care Depart- ment within the United States at (800) 762-2974, outside the United States at (317) 572-3993 or fax (317) 572-4002. Wiley also publishes its books in a variety of electronic formats. Some content that appears in print may not be available in electronic books. For more information about Wiley products, visit our web site at www.wiley.com. Library of Congress Cataloging-in-Publication Data: DiMarco, John, 1969– Digital design for print and web : an introduction to theory and techniques / by John DiMarco. p. cm. Includes bibliographical references and index. ISBN 978-0-470-39836-4 (pbk. : alk. paper) 1. Commercial art—Data processing. 2. Graphic arts—Data processing. 3. Web sites—Design. I. Title. NK1520.D56 2009 741.6 dc22 2009033990 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 98364ffirs.indd 4 2/17/10 9:49:46 PM www.it-ebooks.info To my partner and my love, Kimberly, and my boys, David and Jack. 98364ffirs.indd 5 2/17/10 9:49:46 PM www.it-ebooks.info 98364ffirs.indd 6 2/17/10 9:49:46 PM www.it-ebooks.info Contents Preface                                                                                                             xi Acknowledgments                                                                       xiii                 Chapter 1    Communication Goals                                                             3                                                                                                                                                                                                                                                                   Chapter 2    Design: Denition and Devices                                          27                                                                                                     Chapter 3  Design: Elements and Principles                                59                                                                                                                                                                                                                 98364ftoc.indd 7 1/15/10 1:06:11 PM www.it-ebooks.info V413HAV viii  Chapter 4  Conceptualization and Planning                                  97                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                      Chapter 5  Raster Graphics                                                        133                                                                                                                                                                                  98364ftoc.indd 8 1/15/10 1:06:15 PM www.it-ebooks.info [...]... intermediate digital design techniques for students of communication design, graphic design, computer graphics, and media graphics Unique Features •• Over two hundred historical and professional illustrations of design concepts, print design, Web design, Web graphics, digital imaging, and digital illustration from world-renowned designers and design firms as well as students •• Coverage of theory and practice... contemporary designers Part One presents introductory design and graphic communication concepts and principles Theoretical coverage includes a concise design overview surveying communication goals and fundamental design principles, using historical, professional, and student images of digital print design, Web design, Web graphics, digital imaging, and digital illustration Part Two introduces technical... used in information design as “flatland.” “Escaping flatland,” states Tufte, is a key goal in designing the presentation of information (Tufte 1990, 12) He promotes information density (quantity) and resolving power (clarity) in information design He suggests the following principles to help escape flatland and build meaningful designs for information: •• Micro/macro readings represent information... design both for print and the Web works to guide a viewer toward meaning as quickly as possible In print design, the message must be read, understood, and processed by the viewer so it can be acted upon This is known as legibility In Web design, it is known as usability The concepts of legibility and usability are discussed further in part 2 of this book Principles and Goals: Design for Information When...   257 Design Assignment    263 Online Movie Lessons    265 Bibliography    265 Chapter 8    Web Site Design and Development  Chapter Objectives  Creating a Web Site  The Design and Development Process  Web Design and Development Techniques  Web Design and Graphics Techniques  Web Development... through a Web site in order find information (text, photos, video, and audio content) Similarly, when reading a newspaper, people must navigate through various articles and sections in order to find information (stories, box scores, and ads) meaningful to them Although there is an element of curiosity (looking for things) and discoverability (finding things) in print and Web interactions, information design both... us a potent platform for gathering data, sculpting it into meaningful information, and producing designs that can be delivered via print, Web, broadcast, mobile technology, or industrial material www.it-ebooks.info 98364c01.indd 8 2/17/10 9:46:10 PM Chapter 1  Communication Goals 9 Information What Is Information? Information is a raw material of and core ingredient in—all designs and is part of all... 98364c01.indd 9 2/17/10 9:46:17 PM 10 PART ONE  Theory and Principles Figure 1-5  ​ his Web T page for Art Projects International provides small multiples of information in the form of symmetrical thumbnails to unify the visual as a whole Design by Kind Company Information design arranges chunks of data and information to inform the viewer Information-focused designs communicate to us each day as we stop at... requires a sender (the designer), a message (information or an effort to persuade), a medium (the delivery platform), and a receiver of that message (the audience) Communication comes in various forms and is delivered in various media, or platforms for communication delivery These media include all forms of printed paper or material (books, magazines, newspapers, brochures, flyers, signage, and billboards),... 193 Digital Illustration and Vector Graphics    194 Vector Graphics for Print and Web   194 Vector Graphics Techniques    196 Document Setup     197 Layers and Templates    198 Color    201 Shapes and Paths    208 Typography    221 Final Output for Print   226 Final Output for Web . PRACTICE FOR PRINT AND WEB DESIGN A ny well-conceived print or Web design features the dynamic interplay between visual artistry and technical skill. It becomes important, therefore, for the designer. professional illustrations of design con- • cepts, print design, Web design, Web graphics, digital imaging, and digital illustration from world-renowned designers and design rms as well as students. Coverage. DiMarco DIGITAL DESIGN FOR PRINT AND WEB DIMARCO AN INTRODUCTION TO THEORY, PRINCIPLES, AND TECHNIQUES www.it-ebooks.info 98364ffirs.indd 2 2/17/10 9:49:45 PM www.it-ebooks.info Digital Design for Print

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