Why is search engine optimisation expensive?

Why is search engine optimisation expensive?

by: Rkd Unger

(Edited by Olya Crawley)

Many of our customers (http://www.internetmarketingaustralia.com) find search engine optimisation (SEO) services quite expensive. From the clientกs point of view the results are intangible and the process is lengthy. Therefore, the clients are often reluctant to commit to the additional expense.

Typically, a call for SEO comes after the website is already up and running. The quoted price depends on the clientกs needs, industry, positioning, etc. The price varies a lot, yet the cost of optimisation is comparable to the cost of Web design.

Is it expensive? You bet!

During the negotiations with the Web designers the client gets an expectation of having a beautiful and functional site developed for an X amount of dollars. The client is also getting a free hosting, free search engines submissions and other freebies. That is why the price looks reasonable.

Only at some later stage the client realises that there is not enough traffic (and potential buyers) coming through the website. Consultations with the Internet marketing gurus reveal that in addition to the extra cost there is a need to restructure the content copy. Why was it not done during the Web design phase?

The answer is simple. Skill sets of Web designers, graphic designers, programmers and Internet marketing people are different. Each of the specialists focuses on a different aspect of the Web site. Thus, when starting the search engine optimisation, we come across design obstacles that take time the clientกs money to overcome.

Consider this: we discovered that the client’s home page was overloaded with JScript and had only two sentences of actual readable text. To rectify the situation,we suggested and created new home page content (at least 250 words). We also asked the web designers to move the script out into a separate file.

The client had to pay for all the above services plus testing!

Wouldn’t it be smarter (read: cheaper for the client) to consider SEO issues during the Web design phase, rather than after?

Customers would be happier, the websites would perform better…

Will the Web design firms have enough courage to approach SEO at the initial stage?

We hope they will….

(From www.internetmarketingaustralia.com)

About The Author

Rkd Unger, Internet marketing consultant, founder of www.internetmarketingaustralia.com

[email protected]

This article was posted on September 27, 2004

by Rkd Unger

Digitalize It! : (Modification of images with tool

Digitalize It! : (Modification of images with tools such as Adobe CS and Corel)

by: Grannyกs Mettle

Then it was a choice among crayons, paints and palettes for an artist and designer to create art. It was a box of crayons that make one happy designer during his early years of formation.

Nowadays, designing has gone to the new age of advanced technology that utilizes computers and programming. As a designer used to handling tangible products such as the ever reliable crayons, computer technology is oftentimes scary and heart palpitating. With all that computer code and HTML tags and styles, itกs no wonder that most designers break out in cold sweat every time they are forced to put computer code around a text in a Word document to get the layout they want.

To help designers and artists alike to make their lives simpler, Adobe offers a complete package that brings designs straight from concept to the online world. On the other hand, Corel has also introduced new programs to help ease the burden of creating works of art with the use of the computer.

The new applications ensure that every designerกs nightmare will be gone, helping him/her to sleep more soundly at night. These programs can help designers utilize simple sites quickly and effectively.

The CS Advantage…

The new Adobe Creative Suite combines Adobeกs graphics applications and an efficient workflow that answers the needs of nearly every creative professional, from conceptualization to implementation, from print to Web. Not only do designers get one program at a time; rather, a whole suite of the latest versions of Photoshop, Illustrator, InDesign, and GoLive software. It also includes the new Adobe Acrobat 7.0 Professional software to Acrobat Professional.

The Creative Suite is Adobeกs attempt to bind the applications together. Now, Adobeกs creative products use not only the same graphics engine but also the same type and colormanagement engines. Files that are created in one application can open easily in others with all their features intact. With a consistent user interface, moving from one application to another is easy.

And holding it all together is the new filemanagement and versiontracking technology Version Cue. The Version Cue lets you create and publish content for print and the Web faster, more easily, and more affordably. Thatกs why Adobe is introducing this one whole package as ‘the complete design environment for print and Web publishingก.

Adobe Photoshop for image editing easily manage your images with the improved File Browser, quickly share design variations with Layer Comps, and instantly improve contrast with Shadow/Highlight correction; perform more precise editing and retouching with expanded support for 16bit images and monitor changes to your image in the Histogram palette, which dynamically updates as you make adjustments.

Adobe Illustrator for drawing and vector graphics with powerful new 3D features, advanced typographical controls, and a host of groundbreaking new design tools, this powerful upgrade from Illustrator 10 delivers the performance you need to make the most of your creativity; import Photoshop image compositions directly to Illustrator or create drawings in Illustrator and import them directly into Photoshop; create native Adobe Portable Document Format (PDF) files using settings and options consistent with Adobe Acrobat Distiller software and get fast, consistent print results with features like Fit to Page, Print Preview, and support for Print Settings.

Adobe InDesign for page layout and design, and Adobe GoLive for Web layout import your native vector and bitmap artwork directly into InDesign CS software for sophisticated print layouts or into Adobe GoLive CS software for powerful web pages. With the support of Adobe PDF and XML, you can easily output your pages to both print and the Web.

The Corel Advantage…

With the introduction of Corel Painter IX, commercial designers, photographers, and professional artists are able to use their natural talents and techniques to create breathtaking works of art. Corel ensures that the new program is a musthave software for creative professionals, whether they’re in film making, game development, commercial design, illustration, photography, or even fine arts.

With regards to performance and productivity, the Corel Painter IX boasts of significantly improved speed, new and enhanced Brush Control Palettes, FramesperSecond Control, and Customizable Shortcut Keys. Professional users can extend their creative possibilities with new enhancements that include Artistsก Oils Painting System, SnaptoPath Painting, improved Digital Watercolor, and Quick Clone.

What is exciting about this new software is that the Corel Painter IX is more compatible with other professional technologies, providing enhanced support to Adobe Photoshop, Wacom (including the Wacom Intuos3), and Color Management.

Whatกs more, getting started is easier than ever. Corel has provided various support guides to help endusers control their fear of tackling a seemingly intricate world of softwares and programs. Corel has provided a revitalized User Guide, the Painter IX Handbook that includes tutorials from leading creative professionals, access to free training videos, and academic courseware specifically designed for educators.

With powerful applications such as the Adobe CS and Corel, artists and designers alike can now combine both worlds of traditional art and sophisticated technology. The intricate tones of traditional art skills and techniques theyกve developed during their formation years as artists can be integrated with the incredible benefits that digital media can provide. Every creation can now be worthy of the exaltations and awe reserved for those found in galleries and exhibits. In addition, these art forms are now made at a faster and quicker rate than their original counterparts.

About The Author

For questions and comments about the article you may contact Grannyกs Mettle through The Digital Printing Company Moderator at 310 575 4440 or visit http://www.digitalprintingcompany.com

[email protected]

This article was posted on January 20

by Grannyกs Mettle

Photoshop: Secrets Of The Pros

Photoshop: Secrets Of The Pros

by: Anna Lim

Photoshop: Secrets of the Pros is a book that features oneonone competitions between twenty top artists and designers. Designers include some of the most talented web, print, broadcast, 3D designers in the world. This friendly competition was called the Photoshop Tennis.

Sounds like another tiring outdoor game? It’s not an outdoor game and it’s not tiring. Well, it may be tiring in a way but not, at least, for those skilled designers.

The Photoshop Tennis was invented by Jim Coudal, founder of Coudal Partners, a Chicago advertising and design agency, one summer before the September 11 terrorist attack. He and a friend ขwhackedข a file back and forth to kill time. Then he invited designers he knew to play in official matches.

Photoshop Tennis is an online game in which players are mostly web designers. The object of the game is to add one layer of design on an image document that is sent back and forth by two players. Only one image document is used. Players are allowed to put different layers of designs such as background and foreground. Results are posted on a website in real time. The game ends whenever the players decide to end it or if it takes hours the decision will be based on the number of votes.

After the four test matches and four official matches were completed, designers from ad agencies and design shops visited his site. Some of them contacted Coudal for a chance to play in a match.

The book PhotoShop: Secrets of the Pros is all about this type of competition. It is the first book to feature such game. As explained by the author of the site http://photoshop.digitalmedianet.com/articles/viewarticle.jsp?id=22104, in Photoshop Tennis in this book, two designers take on one another over the internet over a ten round or volley period. In each volley, the designer either creates a new theme (in the initial volley), or they take what has been sent to him or her and start playing off of what was previously created. The competition results to a different appearance each time out. Programs used in this competition range from Illustrator and Freehand to Flash to 3D Studio Max and Maya. The designers used the basic tools and the basic commands like, brushes, and fills instead of shortcuts.

The book is not about web designing, it is about the 10 different competitions played by 20 professional designers. It is about teamwork and adaptation of different styles from their competitors.

One thing that is frustrating about this game is that sometimes it takes hours for a player to finish his work while keeping the other player waiting and it will only take minutes for the other player to destroy the art work. You can tell a story out of it but most of the time players tend to make his own story. Next thing you’ll notice is that the story of the image focuses on the destruction of the flow of two different stories.

About The Author

For comments and questions about the article you may contact Anna Lim at 800 591 1644 or visit http://www.colorprintingwholesale.com

[email protected]

This article was posted on January 18

by Anna Lim

Review: 1,000 Graphic Elements Special Details for

Review: 1,000 Graphic Elements Special Details for Distinctive Designs

by: [email protected]

All graphic and print designers, professional or amateur, need a spot of inspiration now and then to let out the more innovative and creative ideas. Just imagine a world where graphic and print designers come up with monotonous and boring creations that’s terribly lacking in entertainment and flares of excitement.

There are certain details in graphic and print designing that contribute greatly for a designer to come up with sensational masterpieces. In fact, too often, the small and delightful details are what make a design piece shine. Even in practical everyday life, let’s say a unique button on a white shirt gives the shirt an entirely new look or a piece of artwork in a sparse wall makes the wall less dull. These examples only show that minuscule details add in making the whole effect of something, perfect. This concept is very much applicable in the field of graphic and print design.

This was the concept Wilson Harvey wants to emphasize in his book, 1,000 Graphic Elements Special Details for Distinctive Designs. In this book, Harvey explores 1,000 of these added extras, details that are diminutive but important, made available for graphic and print designers. We are saying ขmade availableข because the book has exacting photography that focuses on these details, accompanied by credits and outlining the vendors and materials used. The content of the book is organized by type. Looking for unusual bindings? Well, dig into the bindings section of 1,000 Graphic Elements Special Details for Distinctive Designs and open your mind for a wide collection of fresh ideas.

Designers handling all kinds of projects – books to brochures, invitations to menus, CDs to annual reports will have interesting reference from this book. Actually, it even invites them to literally shop for ideas. If you’re a print designer, you would be familiar with many techniques, but this book makes you see interesting variations of what you know and see them used on a myriad of different projects.

Wilson Harvey, a Londonbased integrated designer in a marketing agency that focuses on producing highend communication for a wide range of clients, showed refreshing and contemporary work in this book. It goes without saying since Harvey has already designed more than 500 books for a variety of publisher, his experience outshone some other design books which drag out old projects.

Other topics covered include fasteners, graphics, unique materials, embossing, debossing, specialty inks, type treatments, interesting color usage, addons, die cuts and more. The index lists stock and materials used for each project are also very good. To sum it up, if you are a designer who loves print/finishes – unusual finishes, at that, then this book is for you.

About The Author

Lala B. is a 26 yearold Communication Arts graduate, with a major in Journalism. Right after graduating last 1999, she worked for one year as a clerk then became a Research, Publication and Documentation Program Director at a nongovernment organization, which focuses on the rights, interests and welfare of workers for about four years.

Her writing prowess began as early as she was 10 years old in girlish diaries. With writing, she felt freedom – to express her viewpoints and assert it, to bring out all concerns imagined and observed, to bear witness.

For comments and inquiries about the article visit http://www.ucreative.com

[email protected]

This article was posted on March 07

by [email protected]

Fusing Traditional and Technical Illustrations

Fusing Traditional and Technical Illustrations

by: Grannyกs Mettle

The following is an excerpt from the tips and techniques provided by a designer using Photoshop 4. He based his techniques from a current project of creating illustrations for a story of a mythical city in a magazine.

According to the designer, what is exciting about using computers is that artists and designers like him are now able to fuse present technology with traditional art. They are able to do the things that used to be done in traditional art, but much faster and less waste with the onset of digital technology. This is due to the fact that designers are able to change and edit illustrations and ideas even if itกs already at the final stage of the project. Even with the changes, the result of the project rarely differs from the original thrust and objective.

Stage 1: Sketch and Digitization

Sketching and digitization are almost the same in both traditional art and digital technology. In traditional art, an artist usually starts by making a sketch on paper. With Photoshopกs graphic palette, it nearly replicates the same feeling. Nevertheless, the designer is quick to add that shaping a drawing on paper is still faster and more intuitive than doing it on the computer. Although he also admits that even if basic drawing is done on paper, computer techniques can produce interesting effects such as halftones that are otherwise not available with drawing pencils.

Stage 2: Preparing the Layers

After importing the sketch into Photoshop, the image should be converted to sepia tones before working on the color. To convert to sepia, go to Image > Adjustments > Hue/Saturation, check the Colorize box, and use the sliders to colorize the lines into brown, reddish ochre, or yellow. This method provides a silkiness feel to the line. In sepia, the lines of the sketch yield halftones that are more delicate, resulting to an image that is easier to view but retain its basic structure.

The designer suggests adding colors that do not compete with the lines in the drawing. This may weaken lines from the original sketch. At the same time, the sketch should not also overpower the colors. In effect, designers should blend the two elements to find the right balance.

On the choice of sepia, designers should look at the technical rather than the aesthetic considerations. Brown tones result from a mixing of all the colors, so when the picture is colored, the paint colors will blend more easily with the lines. However, using sepia is not an absolute rule, although it does provide softness in the drawing while preserving its descriptive character.

After turning it to sepia, create two new layers. From the layers palette, set the background layer in Multiply mode, and insert it between two virgin layers. The designer suggest putting colors on what he calls the กunder layerก, beneath the sepia line drawing layer, and adding detail and finish to the กover layerก.

Stage 3: The Under Layers

Choose a dominant color where all the secondary effects can relate to without losing the basic contrast. The purpose of this is to avoid getting lost in the details, especially when the designer is working on a picture with so many characters and elaborate scenery.

Look at the masses of color in the drawing. Apply the darkest tone on the entire surface with the Paint Bucket tool. Afterwhich, designers can immediately add an overall grain to the under layer by going to Filter > Noise > Add Noise. This tool, according to the designer, produces a kind of visual vibration that gives the image more surface texture.

However, noise can produce conflict with the drawing, making it harder to view. As remedy, the designer suggests going to Filter > Blur > Gaussian Blur to soften the noise to about 1.0 pixels. This process makes the drawing immediately reappear. He further adds that this process also allows designers to play with some grain as they build the illustration.

The next level would be to generate a mass of colors by going from the biggest to the smallest objects. Material under the sepia layer can be set on several layers and adjusted separately. The designer reminds others to always work underneath the drawing as they refine and edit details.

The masses of color are laid down with extremely simple brushes. As with a largeformat oil painting, designers also should place the colors the same way. Movements must be broad and dynamic when working on an enormous surface. Just like in a painting, designers could also synthesize and blend the masses of colors with a computer. Just provide enough definition for the broad strokes.

Stage 4: The Over Layer

The over layer is the part where you can adjust, correct, and refine the lines of the drawing. When itกs superimposed on the under layers, the density of the lines can be pasty and hard to read. This is the time to lay down the lightest colors, letting the highlights spill over some of the lines of the drawing. According to the designer, this will help smooth out the shapes.

When the drawing is complete and has been colored, this is where designers can soften or eliminate the lines that they think are too heavy or repeat colored shapes. At this final stage, the effects are usually made manually. They often come from pen strokes on the pad.

With these stages, the designer hopes to achieve a harmonious combination of the traditional process and the present technology. Great artwork can be achieved with a successful fusion of the two worlds.

About The Author

Grannyกs Mettle is a 30something, professional web content writer. She has created various web content on a diverse range of topics, which includes digital printing topics, medical news, as well as legal issues. Her articles are composed of reviews, suggestions, tips and more for the printing and designing industry.

Her thoughts on writing: กWriting gives me pleasure… pleasure and excitement that you have created something to share with others. And with the wide world of the Internet, it gives me great satisfaction that my articles reach more people in the quickest time you could imagine.ก

On her spare time, she loves to stay at home, reading books on just about any topic she fancies, cooking a great meal, and taking care of her husband and kids.

For comments and inquiries about the article visit http://www.ucreative.com

[email protected]

This article was posted on March 03

by Grannyกs Mettle

Your Website: Better to Have Not, Than to Have Rot

Your Website: Better to Have Not, Than to Have Rot

by: Walt McClure

Itกs a dirty rumor vicious and naughty to all who believe:

Better to have a notsogood web site than no web site at all….

Don’t do it. Don’t succumb to the pressures of website ownership. Its hard to escape, I know. Even dopey television commercials are now telling you how badly you need a website, suggesting that you’re lagging behind if you don’t. Of course, the company in the commercial feels that they are the perfect solution to the need they just told you you have. How convenient.

Truth is, you could benefit from a website in one way or another. Maybe you even need one. But I swear, you don’t need an online presence just for the sake of having one. No need to rush into this. Don’t plop in that pool without your foam floatie! Bad things happen every day.

A poorly crafted website will soon become a putrefactive mess. There you are, a spectator to the gruesome event: Your website a valuable appendage to your business undergoing decomposition. You would cry, but the tears can’t hurdle the raged lump in your throat piled up by the designer who seemed like a worthy choice at the time. Well, if not worthy at least cheap………and fast. Shame.

…..shame shame.

A website is an investment that deserves some planning and thought. A wisely chosen web designer will put forth a strong planning effort for your design, but its up to you to put some thought into picking the correct web designer. Don’t just pick the first one you come across or the default designer for your area. Do some research and use your best judgment. I know its painful. Effort often is.

When browsing potential designersก sites, these are some things to look for that may help:

Check out their site Youกll be able to tell if their design capabilities are up to par. If the designerกs site is a mess, yours could be an utter distraction. Shame. There are, at times, exceptions to this rule when in doubt, check the portfolio.

Check portfolios Can’t stress this enough. Yes I can.

Read testimonials Some designers will post testimonials on their site from past clients. Yeah, they could be fake. Again, use your best judgment. If you’re pretty cynical when reading them, you can avoid the questionables and easily spot the testimonials that are worthy of your credit. Better yet, reallife testimonials are a great source, if you know anyone with a recently designed website. Just avoid taking referrals from morons. Of course, you know that I just felt like writing it.

Talk to potential designers Drop an email or give them a call. The most important element of the web design process is the communication between client and designer. If you get some bad signals when communicating with potential designers, waste no time to scribble them off your list.

The bottom line is: Quality research = Quality web designer = Quality web site for you.

Beware of the frugal path. Its pretty inviting early on, but man will it get ugly, and fast. Your website is an investment. Treat it that way. With so many web designers out there, many have tried to beat the competition by offering unbelievably low rates. Unfortunately, there are no shortcuts to a successful design in terms of time or money. Both of which will be lost if you choose a bargain designer and the project blows up in everyoneกs face. Kaboom! Of course this doesn’t mean you should throw your money around like Rich Uncle Pennybags find that harmonious balance between budget and beauty.

The good news is, if you do your research and shop around, you will quickly get an idea of a price range for your project. After doing this, you will be confident when making your decision. Start off by gathering a short stack of quotes from eligible designers. Remember it doesn’t matter whether you’re fluent in geekspeak or not a designer worthy of your business will give you what you need to know without clouding your head with unnecessary jargon.

Some designers require a stiff choke to give up an accurate price or a quote. This is because accurate quotes take time to calculate. Some designers are unwilling to invest that time on every potential client that drops an email. However, there are plenty that will. Round up a few quotes from these designers and compare. No need to worry about getting hamstringed now, because youกll know exactly what your business is worth.

OK. You have your short list of quotes, and all are within your defined budget. Youกve narrowed your list of designers down to a few. As you review your list, you’re thinking, กbest bang for the buckก…….. eeenymeenyminey NO, thereกs little time for childish games. Its time for you to make your wise decision. Focus.

Certainly, youกll make your final decision based on any number of factors, but here is one to strongly consider. With some web designers, you will get more than you bargained for and with others youกll get less. Think back on your communications with potential designers. Were there any designers who were clearly customeroriented? They will be the ones who make sure your design is the way you want it, even if it isn’t quite right the first time around. Companies such as this make for a secure design process and a near guarantee that your project is a success.

A related note: Use large corporateish design firms at your own risk. Some of them do nice work and are very professional, but you often lose out on the customer service end of the stick and thatกs the best end. If your design isn’t perfect, right out of the box, and youกve already paid in full, good luck getting those final touches done with haste. These firms do offer a sense of security and legitimacy, but often are used because of a quick decision to get a website. If you go with a large firm, make sure its the right one.

Just do your research and you will find the perfect designer for your project. Just remember…..no rush.

Avoid the rot.

About The Author

Walt McClure is Head Designer and Project Manager of McClure Web Design Delaware.

http://www.mcclurewebdesign.com

[email protected]

This article was posted on January 09

by Walt McClure

On Copying and Stealing Designs

On Copying and Stealing Designs

by: Lala C. Ballatan

The notion on the great artist, Pablo Picasso’s quote, กBad artists copy. Good artists stealก is lost on many. And revolving around the graphic designer circles is the quote ขGood artists copy, great artists stealข known as Picasso’s quote, still. Anyway, it might just be safe to assume that Picasso have not quoted this words exactly but he did have an ขexpert’s assessment and statementข regarding copying and stealing art styles and techniques.

The artistic world was widely influenced by Picasso, being the first living artist to be featured in the Louvre. Many have their own opinion and interpretation as to what he really meant on the quote. With the onset of digital technology and digital art, it is understandable that the modern Web graphic design also has an interpretation for it.

In an article by Cameron Moll, the Creative Director for IDI at http://www.sitepoint.com/article/copygreatdesignerssteal he had endeavored to uncover a possible explanation in three levels of design. These three levels involves some aspect of copying or stealing, shows increasing design maturity, adapts Picasso’s quote to modern graphic design. The interpretation by Moll was segmented in such a way that do not imply that they are the only levels of design. it is but a guide to assist the improvement of designers’ design and lead to their maturity with regards to copying and stealing designs.

The first level explains a wellimparted principle of starting out by copying other wellcreated designs. Web designing could relate this principle from the advice of Web copywriting guru, Gerry McGovern for writers: having a model for the kind of article that they need to do, dissect and analyze them and copy.

Copying, not creating have surprising positive effect, too, that of maintaining conventionality. There’s a familiar and intuitive effect for the users when most sites have essentially the same layout and information architecture by most sites. A Web designing career involve time constraints and budget limitations so much so that copying is almost mandatory.

The second level explains that the best resources where designers can steal are from themselves. They can tap into loads of their past designs that were never used or completed, or from their designs that have already been successful in order to reinvent a new design. This kind of stealing is quite helpful in molding their own distinctive design style to use as a selling point for clients.

The third level involves stealing from discreet sources. Albert Einstein is noted for quoting, ขThe secret to creativity is knowing how to hide your sources.ข For designers the easiest way to do this is to use sources already hidden. Even great artists can’t be accused of stealing if their rare jewels of inspiration are from lost, bypassed, forgotten ideas which they have successfully incorporated with their own distinctive style. To graphic designers, they have to really research and rummage for the necessary unused and forgotten ideas applicable for their design.

One must be careful in copying from wellknown sources, though. It is best to copy the inspiration and not the exact output. To fully summarize, all graphid designers out there, there’s no problem in copying, even Picasso, in one of his quotes told about the necessity of copying. However, it is best to be careful in what you copy and how you copy it. 30

About The Author

Lala C. Ballatan is a 26 yearold Communication Arts graduate, with a major in Journalism. Right after graduating last 1999, she worked for one year as a clerk then became a Research, Publication and Documentation Program Director at a nongovernment organization, which focuses on the rights, interests and welfare of workers for about four years.

Book reading has always been her greatest passion mysteries, horrors, psychothrillers, historical documentaries and classics. She got hooked into it way back when she was but a shy kid.

Her writing prowess began as early as she was 10 years old in girlish diaries. With writing, she felt freedom – to express her viewpoints and assert it, to bring out all concerns imagined and observed, to bear witness.

For comments and inquiries about the article visit http://www.ucreative.com

[email protected]

This article was posted on March 23

by Lala C. Ballatan