Maps of Cyberspace

Maps of Cyberspace

by: Sam Vaknin, Ph.D.

กCyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts…A graphical representation of data abstracted from the banks of every computer in the human system. Unthinkablecomplexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…ก (WilliamGibson, กNeuromancerก, 1984, page 51)

http://www.ebookmap.net/maps.htm

http://www.cybergeography.org/atlas/atlas.html

At first sight, it appears to be a static, cluttered diagram with multicoloured, overlapping squares. Really, it is an extremely powerfulway of presenting the dynamics of the emerging epublishing industry. R2 Consulting has constructed these eBook Industry Maps to ‘reflect the evolving business models among publishers, conversion houses, digital distribution companies, eBook vendors, online retailers, libraries, library vendors, authors, and many others. These maps are 3dimensionaloffering viewers both a highlevel orientation to the eBook landscape and an indepth look at multiple eBook models and the partnerships thathave formed within each one.ก Pass your mouse over any of the squaresand a virtual floodgate opens a universe of interconnected and hyperlinked names, a detailed atlas of who does what to whom.

eBookMap.net is one example of a relatively novel approach to databases and web indexing. The metaphor of cyberspace comes alive in spatial, two and three dimensional maplike representations of the world of knowledge in Cybergeographyกs online กAtlasก. Instead of endless, static and bichromatic lists of links Cybergeography catalogues visual,recombinant vistas with a stunning palette, internal dynamics and an intuitively conveyed sense of interrelatedness. Hyperlinks are incorporated in the topography and topology of these almostneural maps.

‘these maps of Cyberspaces cybermaps help us visualise and comprehend the new digital landscapes beyond our computer screen, in the wires of the global communications networks and vast online information resources. The cybermaps, like maps of the realworld, help us navigate the new information landscapes, as well being objects of aesthetic interest. They have been created by กcyberexplorersก of many different disciplines, and from all corners of the world. Some of the maps … in the Atlas of Cyberspaces … appear familiar, using the cartographicconventions of realworld maps, however, many of the maps are much more abstract representations of electronic spaces, using new metrics and grids.ก

Navigating these maps is like navigating an inner, familiar, territory.

They come in all shapes and modes: flow charts, quasigeographical maps, 3d simulatorlike terrains and many others. The กweb Stalkerก is an experimental web browser which is equipped with mapping functions. The range of applicability is mind boggling.

A (very) partial list:

The Internet Genome Project กopensource map of the major conceptual components of the Internet and how they relate to each otherก

Anatomy of a Linux System Aimed to ก…give viewers a concise and comprehensive look at the Linux universeก and at the heart of the poster is a gravity well graphic showing the core software components,surrounded by explanatory textก

NewMedia 500 The financial, strategic, and other interrelationshipsand interactions between the leading 500 new (web) media firms

Internet Industry Map Ownership and alliances determine status, control, and access in the Internet industry. A revealing organizational chart.

The Internet Weather Report measures Internet performance, latency periods and downtime based on a sample of 4000 domains.

Real Time Geographic Visualization of WWW Traffic a stunning, 3d representation of web usage and traffic statistics the world over.

WebBrain and Map.net provide a graphic rendition of the Open Directory Project. The thematic structure of the ODP is instantly discernible.

The WebMap is a visual, multicategory directory which contains 2,000,000 web sites. The user can zoom in and out of subcategories and กunlockก their contents.

Maps help write fiction, trace a userกs clickpath (replete with clickable web sites), capture Usenet and chat interactions (threads), plot search results (though Alta Vista discontinued its mapping service and Yahoo!3D is no more), bookmark web destinations, and navigate through complex sites.

Different metaphors are used as interface. Web sites are represented as plots of land, stars (whose brightness corresponds to the web siteกs popularity ranking), aminoacids in DNAlike constellations,topographical maps of the ocean depths, buildings in an urban landscape, or other objects in a pastoral setting. Virtual Reality (VR) maps allow information to be simultaneously browsed by teams of collaborators, sometimes represented as avatars in a fully immersive environment. In many applications, the user is expected to fly amongst the data items invirtual landscapes. With the advent of sophisticated GUIกs (Graphic UserInterfaces) and VRML (Virtual Reality Markup Language) these maps may well show us the way to a more colourful and userfriendly future.

About The Author

Sam Vaknin is the author of กMalignant Self Love Narcissism Revisitedก and กAfter the Rain How the West Lost the Eastก. He is a columnist in กCentral Europe Reviewก, United Press International (UPI) and ebookweb.org and the editor of mental health and Central East Europe categories in The Open Directory, Suite101 and searcheurope.com. Until recently, he served as the Economic Advisor to the Government of Macedonia.

His web site: http://samvak.tripod.com

This article was posted on February 2, 2002

by Sam Vaknin, Ph.D.

A Crash Course on Graphic Philosophy 101

A Crash Course on Graphic Philosophy 101

by: Lala C. Ballatan

Novice and professional graphic designers, we are aware that you know the basic principles of graphic philosophy. But then, as workers of art – though digital and graphic art already borders in commercial arts, there’s no harm in continuously improving our craft through constant study and practice, is there? Really great graphic designers I know have come to their status because of painstaking application and study of their past works.

We’ll review the theoretical concepts of graphics and graphic forms as a foundation on how we have to go about our graphic designs. To begin with, a graphic form is the shape that embodies a certain idea. We can take a tree and use it as an example. How many ways can we depict a tree? We can depict by a photo of a tree, or the silhouette of a tree, or even its outline. By having these forms that represent a tree, we are therefore conveying the idea of a tree.

A word of caution, though, the effectiveness of which the idea is communicated depends upon many levels of context.

The abstraction of an idea into a flat space, to make it a graphic form, is an integral part of Graphic Design. Usually, the goal is to communicate the idea as clearly as possible. So why not depict the apple as close to reality as possible with a photo? This clearly depicts an apple and leaves no room for misinterpretation. So why not use photos of everything?

The idea is usually not as simple as just an apple. The graphic form is merely a component of an entire design. In a design of a poster for example, the existence of multiple forms and large amounts of text can compete with one another for the reader’s attention. To increase readability, graphic forms are usually simplified into basic shapes, and flattened into a limited amount of color. They are made to work with type more harmoniously and further refined to convey the layers of information with clarity.

The concept of contrast also defines the graphic form of an idea. In a field of 10 squares and 1 triangle, the form that will be noticed is the triangle. A design placed on a wall, on a billboard, or on the internet, are usually lost in a field of other designs. In order to help define your idea over the others, forms that contrast those around it are effective. Basic factors such as typeface, color, scale, and form are elements that can easily help get a design noticed.

The representation of an idea goes beyond its place on the page or its place on a wall. There is the larger context to consider the audience. The ability of the audience to interpret your design is based on the ability of the audience to understand the forms in which an idea is embodied. Preferences of form, and the ability to understand form, can change by age group, location, and through time. We all understand the representation of dollars by a symbol: $. Though symbols universally communicate, they are become ordinary by usage. As the audience becomes visually educated and aware of these forms, the visual language of graphic design expands. However, the evolution of forms must also take place in order to keep interest.

In the overall scheme of things, fresh ideas and interesting graphic forms have always been able to attract attention. New ways of representation strike curiosity. But the goal is to communicate and the form is part and parcel of visual communication.

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.graphicdesignsunlimited.com

[email protected]

This article was posted on March 29

by Lala C. Ballatan

Graphic Designer: Four Color Postcard Making

Graphic Designer: Four Color Postcard Making

by: Marlon D. Ludovice

Being a graphic designer is not an easy job. You cannot just enter the scene and do the job instantly. It needs a lot of positive characteristics to fit for the said endeavor. But you may ask, what is a graphic designer? What do graphic designers actually do? Iกm pretty sure that most people can name at least a few things, but the graphic design spectrum is perhaps broader than you think.

ขGraphic design is the process and art of combining text and graphics and communicating an effective message in the design of logos, graphics, brochures, newsletters, posters, signs, and any other type of visual communication including post cardsข. So usually they are the one who formulate and create four color postcards for their clients. They are the one who has a greater knowledge and skills in art, computers, and problem solving and even designing creative works.

One task of a graphic designer is lay outing, it is usually a large range of work, but generally a layout artist is dealing with the structuring and laying out of images and text in a pleasing format for printed media. They transport the idea of your project in a software application, then after some creative works they are the one who gave you a final output or your project itself.

They choose the right blend of color for your postcards, the design and everything that must be included to your postcard. They are responsible that’s why creating a four color postcard is now a piece of work without much time and effort to take. With their computer skills in different printing programs the quality and service of the four color postcard is guaranteed.

About The Author

Marlon D. Ludovice is a graduate of Bachelor of Arts major in Political Science at Bicol University College of Arts and Sciences. Well actually iกm not fun of writing, i dont write at all. i am not expecting that i will be in this field. But i love to read books…almost everything interest me. reading is my passion! but now that i am in an article writer team, writing gives me an additional thrill in myself…Before i love to read books but now im also in a writing stuff. I can say that im not a good writer but i am trying to be one.

For additional information and comments about the article you may log on to http://www.mypostcardprinting.com/commercialprintingcompany.html

[email protected]

This article was posted on April 04

by Marlon D. Ludovice

Graphic Design Tip White Space as a Positive Elem

Graphic Design Tip White Space as a Positive Element

by: Robert Kennedy

Graphic designers of catalogues, booklets and annual reports should consider the paper pages as a positive element of the available graphic design area. The blank white paper spread is like the untouched canvas of a painter. The potential for design impact is encompassed by the physical confinements of the size of the paper pages.

Have you ever painted on canvas before? Regardless of whether you are working in oils, watercolors or acrylics, the entire space is roughly blocked in first. Composition is the first area to focus on.

The same concept should be applied to a book publication spread layout. Working the facing pages as a single visual unit, the diverse graphic elements need to be planned for their combination. The arrangement of photographs, descriptive selling copy and headlines takes the form of planned composition. This stage of format development should be done keeping the consumer in mind. Design elements should reflect what looks good to the consumer’s eyes and not mind.

The white space of the paper can provide the cleanest, most dramatic frame for the fourcolor photography, graphics or images. Your readers will appreciate this because it is easy on the eyes. In a recent group study, the input we received suggests a liking of white space in their responses. When important graphics like product photos, logos or ads are allowed to breathe with some respite of space around them, our group appreciated this.

It doesn’t matter if you choose white or a solid background color as your ‘empty’ design element. The effect will be perceived as the same. The use of this space is a vital ingredient in the development and execution of a persuasive booklet publication format.

It is the challenge of the graphic designer to create white space as opposed to cluttering it. In general, the more freely the design elements appear on a page spread, the more dramatic the depictions can be. The empty space you create can be the most effective and the simplest in uniting all elements of your graphic design.

Helpful Design Links

Logo design and branding http://www.designlogos.net/

Business card design tips http://www.weprintcolor.ca/online_design_cat1/index.php

Design a brochure for web or print http://www.weprintcolor.com/brochure_design.htm

About The Author

Robert Kennedy is the marketing director of a leading online printing and design firm http://www.weprintcolor.com. Robert believes in an educated customer and has created a personal blog, online to help achieve this goal. Learn commercial printing and design tips from the pros http://www.weprintcolors.com

This article was posted on December 30, 2004

by Robert Kennedy

Elements of a Good Design

Elements of a Good Design

by: Carla Ballatan

So you’re aspiring to create designs for companies advertising their crafts online? Hold on! Before chasing after your dream of being a ‘great’ and ‘wellknown’ graphic designer…Let’s go over the many names and title that associates with graphic designer and resolve finally who a designer is and what are the elements of design you need to learn.

According to an article, Chuck’s views on design, writing and marketing at www.ideabook.com/viewa.htm the author narrates that he’s already into his twenty something years in the graphic design business. Considering his long experience, Chuck’s been called art director, commercial artist, graphic designer, desktop publisher and graphic artist.

Impressed with the wide selection of titles? Let’s get on with the definitions, though. Graphic designer is defined by the Graphic Artist’s Guild as ขvisual problem solverข, the graphic artist is a ขvisual artist working in a commercial areaข, and the art director is someone responsible for supervising the ขquality and character if visual work.ข Don’t be led to believe that the definitions tell what the work is all about.

Among the various definitions, that of the creative director’s, ขwhose responsibilities may include overall supervision of all aspects of the character and quality of the (advertising) agency’s work for its clientข came close to what Chuck thinks a designer should really be…

Now, if you are undaunted by the closedefinition and is really keen on being a graphic designer, you should know that design is a communication art. There are basic elements for creating good designs in order to perfect this art.

The following are the elements of design that serve as standards in achieving high quality and successful designs:

1. ขDesign is more than meets the eye.ข Always keep in mind that design is also communicating an idea as well as giving visual delight and entertainment. It is actually a blend of both so that it becomes a welldesigned message. Anything less and you will not have a design.

2. ขDesign is about communicating benefitsข – your design must incorporate marketing messages that focus on what benefits your prospective customers might get in responding to your handiwork.

3. ขDesign is not about designersข – Design will never be effective if it’s made to stir up the designer’s ego. You must create designs that your clients need and not design that’ll make you look good in your portfolio

4. ขDesign is not an ocean, it’s a fishbowlข – Be very particular and appropriate about your designs and that would depend on the client needing them. Be careful about the principles you apply on either designing techniques or marketing ideas. Be aware that these two may not always be interchangeable.

5. ขDesign is creating something you believe inข – Don’t let a poor product be killed immediately because of great advertisement designs. Stick to your values and principles in accepting projects from clients, in order to manipulate your ad design to the best of your client’s advantage, you, must first know and have faith on your client and their products. 30

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 Carla Ballatan

The 12 Most Common Newsletter Design Mistakes

The 12 Most Common Newsletter Design Mistakes

by: Roger C. Parker

Your newsletter’s success depends on its design. An attractive, easy to read newsletter encourages readers to pay attention to your message. However, cluttered, hard to read newsletters discourage readership – no matter how good the ideas contained inside.
Before they begin to read your newsletter, your clients and prospects will be judging the value of your ideas by your newsletter’s design. Effective design presells your competence and makes it easy for readers to understand your message. Design also helps set your newsletters apart from the competition.
Here are five of the 12 most common newsletter design mistakes that are made.
1.) Nameplate clutter: Design begins with the nameplate, or newsletter title set in type at the top of the front page. Nameplate problems often include:

Unnecessary words. Words like ‘the’ and ‘newsletter’ are rarely needed. Readers will unconsciously supply a ‘the’ in front of a title, if desired. It should be obvious from the design and content of your publication that it is a newsletter and not a business card or advertisement.
Logos and association seals. Your newsletter’s title should not compete with other graphic images, such as your firm’s logo and the logos of trade or membership associations. These can be placed elsewhere on the page, allowing the nameplate to emerge with clarity and impact.
Graphic accents, like decorative borders and shaded backgrounds, often make the titles harder to read instead of easier to read.

2.) Lack of white space. White space – the absence of text or graphics – represents one of the least expensive ways you can add visual impact to your newsletters, separating them from the competition and making them easier to read. Here are some of the areas where white space should appear:

Margins. White space along the top, bottom, and sides of each page help frame your words and provides a resting spot for your reader’s eyes. Text set too close to page borders creates visually boring ‘gray’ pages.
Headlines. Headlines gain impact when surrounded by white space. Headline readability suffers when crowded by adjacent text and graphics, like photographs.
Subheads. White space above subheads makes them easier to read and clearly indicates the conclusion of one topic and the introduction of a new topic.
Columns. White space above and below columns frames the text and isolates it from borders and headers and footers – text like page numbers and issue dates – repeated at the top and bottom of each page.

A deep lefthand indent adds visual interest to each page and provides space for graphic elements like photographs and illustrations, or short text elements, like captions, quotes or contact information.
3.) Unnecessary graphic accents. Graphic accents, such as borders, shaded backgrounds and rules – the design term used for horizontal or vertical lines – often clutter, rather than enhance, newsletters. Examples of clutter include:

Borders. Pages bordered with lines of equal thickness are often added out of habit, rather than a deliberate attempt to create a ‘classic’ or ‘serious’ image. Page elements, like a newsletter’s table of contents or sidebars – ‘miniarticles’ treating a point raised in an adjacent article – are likewise often boxed out of habit rather than purpose.
Reverses. Reversed text occurs when white type is placed against a black background. Reverses often make it hard for readers to pay attention to adjacent text.
Shaded backgrounds. Black type placed against a light gray background, or light gray text against a dark gray background, is often used to emphasize important text elements. Unfortunately, the lack of foreground/background accent often makes this text harder to read instead of easier to read.

Graphic accents should be used only when necessary to provide a barrier between adjacent elements – such as the end of one article and the beginning of the next – rather than decoratively or out of habit.
Downrules, or vertical lines between columns, for example, are only necessary if the gap between columns is so narrow that readers might inadvertently read from column to column, across the gap.
4.) Underlining. Headlines, subheads and important ideas are often underlined for emphasis. Unfortunately, underlining makes words harder to read, reducing their impact!
Underlining makes it harder to read by interfering with the descenders of letters like g, y and p. This makes it harder for readers to recognize word shapes.
Not only does underlining project an immediately obvious ‘amateur’ image, it confuses meaning because today’s readers associate underlined words with hyperlinks.
5.) Excessive color. Color succeeds best when it is used with restraint. When overused, color interferes with readability, weakens messages, and fails to project a strong image.
Headlines, subheads and body copy set in color or against a colored background are often harder to read than the same words set in black against a white background. Be especially careful using light colored text. Restrict colored text to nameplates or large, bold sans serif headlines and subheads.
A single ‘signature’ color, concentrated in a single large element and consistently employed – like in your nameplate – can brighten your newsletter and set it apart from the competition. The same color, used in smaller amounts, scattered throughout your newsletter, fails to differentiate your newsletter or project a desired image.
Consistently using black, plus a second highlight color, creates a quiet background against which an occasional color photograph or graphic can emerge with far greater impact.
The architect Mis van der Rohe once commented, ขGod is in the details.ข Newsletter success, too, lies in the details. Your readers are always in a hurry. The smallest detail can sabotage their interest in your newsletter, interrupting the reader until ‘later.’
And as we all know, ‘later’ usually means ‘never!’

About The Author

Roger C. Parker is the $32 million dollar author with over 1.6 million copies in print. Download the rest of the 12 Most Common Newsletter Design Mistakes here www.onepagenewsletters.com

This article was posted on July 23, 2004

by Roger C. Parker

When Your Graphic Designer Costs You Money…

When Your Graphic Designer Costs You Money…

by: Grannyกs Mettle

So how do you know when your graphic designer costs you financially and emotionally?

When a file is not prepared correctly… When you go to press and have your media material produced in prints, and find out that the file was built incorrectly, then thatกs the time when your graphic designer will cost you money.

Many prepress operators have complained about having to correct graphic designers work. To have a file prepared incorrectly can have drastic financial and emotional consequences to the owner. The time needed to rectify the problem can cause major delays and additional expense. This is due to the graphic designerกs understanding that his job is done when he produces the design that you require.

It is therefore necessary for a graphic designer to understand the basic principle of what you see on screen may not be the same when it comes off the press. A designer should know how to correctly build a bleed; check that the panels fold correctly; and that color separation is well understood. The list goes on an on. If these issues are not properly addressed, the customer will most likely pay for additional costs because a print house or service provider will definitely charge extra for fixing the problem.

When no press check is done… Not only that the customer would be paying dearly, he or she will also suffer emotionally when no press check is done. The job would definitely come out less or even worse than what the owner is expecting. The customer will be left with the frustration of having no alternative but to accept additional job for the revision of the graphic designerกs output. This is particularly stressful and definitely teethgrinding when it is a lastminute job for a presentation or a trade show. The customer is left with nothing.

When your graphic designer make more than a few major mistakes… Especially with regards to a website, a designer must be able to understand that it is not just optimizing images or putting text on a page and uploading it to a remote site. The graphic designer must understand how search engine optimization and basic HTML work. If not, well, the website may just be something for the drawing boards. And that would be another expense for the customer because he or she has to go back and redesign another website.

So when times like these do occur, and your graphic designer cost you much money and emotional stress, itกs time for you to hit the high road and look for another. There are a lot of people working as graphic designers for the web and print. Many of them are well trained and understand what it takes to create a great and working media material. You just have to discern and look a little further for the designer that will give you your moneyกs worth.

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.graphicdesignsunlimited.com

[email protected]

This article was posted on March 28

by Grannyกs Mettle

Simple Graphic Design

Simple Graphic Design

by: Robert Kennedy

THE TIRES ARE TURNING BUT YOU ARE GOING NO WHERE

Sound like a familiar story?

So youกve got a great concept or idea but you just can’t seem to get it down. You have been working on your computer for hours, days, weeks but just can’t seem to accomplish anything concrete.

STOP. Think about it! How can you realistically create an effective graphic design if you don’t know what you are trying to create? Take a breather and think about what I am about to suggest to you. Let’s suppose for a minute you want to open an importing company that will sell ‘Red Shoes from China’. Fire up your browser and Google this term. Learn what you can about manufacturers, distributors and competition. Now you have something to go on. Try to quickly digest and figure out how you can make all of this information work for you.

Now let’s start to design your company’s corporate ID. I know you really want to get critical design project completed now, but a wise man once said to me ‘Slow down you’ll go faster’ here are a few links worth checking out before we begin your design:

Learn about color and how it affects your mood:

http://www.weprintcolor.com/moodofcolour.htm

Color Mood Test, Spot Color and CMYK:

http://www.weprintcolor.com/usingcolour2.htm

Pantone in RGB and html:

http://www.weprintcolor.com/pantone_RGB_convert.htm

OK, now you have a mental picture in your mind, look, feel, type paper you want to print on. What colors shall I use? What typography (fonts) should I go with? What graphic message am I trying to communicate? These are the basic questions you need to address before you can begin your graphic design.

Here is an idea for you, in the infancy stage of creating your great concept, pickup a pencil and piece of paper and sketch your ideas before you go near your computer.

Programs like Corel Draw, Adobe Photo Shop, Quark Xpress, Adobe Illustrator, Adobe Pagemaker, etc. are the greatest programs for designers on the market. But these great desktop publishing programs need to be told what you want, they cannot conceptualize. These programs cannot dream for you. So it really does come down to you, your pencil and paper as any graphic designer will tell you… conceptualize, sketch, render, create.

Follow these steps for all of your creative graphic designs. Whether you’re designing a colorful website, a full color multi panel brochure, an annual report, an NCR form, a power point presentation, a full color business card or stationery, keep these guidelines in mind youกll find you start getting better mileage on one set of tires.

Listed below are some links that will help you make more educated discussions on the fundamentals of graphic design:

Online design tutorial http://www.weprintcolor.com/tutorial_inst.php

Design from business templates online with online graphic design tools http://www.weprintcolor.com/buscardtemplate.htm

Tips the latest tips and techniques from the pros http://www.weprintcolors.com

Free stock photos and photography tips http://www.stockphotowarehouse.com/

Did you know…

A quick brown fox jumps over the lazy dog

Contains every letter of the alphabet?

Submitted By Robert Kennedy

About The Author

Robert Kennedy is the marketing director of a leading online printing and design firm http://www.weprintcolor.com. Robert believes in an educated customer and has created a personal blog, online to help achieve this goal. Learn commercial printing and design tips from the pros http://www.weprintcolors.com

This article was posted on December 12, 2004

by Robert Kennedy

Graphical LED Display

Graphical LED Display

by: Paula Jones

Graphical LED Displays utilize highresolution graphics and video to transmit the information. You will find them sited in world’s great cosmopolitan cities. These impressive electronic signs towering over the streets displays graphic and video to broadcast important information or to advertise themselves.

There are many companies that use these displays to broadcast their product in the open world and these displays help them a lot to expand their business or industry. In this digital world, the use of Graphical LED Displays gives new sleek to the tradition of marketing department also. Not only in the industrial zone, they are used in many other areas also. Because of the LED technology employed in Graphical LED displays, they are energy efficient, produce clear and bright result and waste no light.

Graphic LED displays are available in variety of options. Jayex Technology offers many choices in Graphic LED Displays. Variations are in size, color and mode of display. Also mounting options are considered for Graphic LED displays. Some of the bigger displays feature characters over six feet tall and whose length measures over 100 feet tall, there are smaller sizes to fit any budget.

Graphic LED displays employ LED technology which stands for light emitting diodes, and is considered most efficient form of lighting today. They don’t get hot when in use and this is the most measured advantage why it is widely used in current trend. It produces all the color including white, although it is most difficult to produce white color under LED technology. Graphic LED displays are available in single color, two color or multi color options today.

These graphic LED displays are one of the world most impressive outdoor signs, which are very famous of outlet displays as they convey all type of information. They are connected to local power supply and can be programmed to automatically switch on and off at pre defined time schedule. More over they are easy to program, and any person can operate it to change the content with least expertise.

About The Author

Paula Jones

Jayex Technology Limited, based in London specialise in advanced information display systems. Established in 1978 we have pioneered the development of the LED display market and now have over 18,000 customers worldwide. We offer, probably the largest range of models from small single line signs to big screen Megavision screens that can display live video and action replay in stadia.

jayex.co.uk

This article was posted on September 28, 2004

by Paula Jones

Graphic Designs Standards

Graphic Designs Standards

by: Blur Loterina

Do you find it hard to create your own graphic design? Before you can come up with a good graphic design you must first understand the basic principles in creating the design, as well as the factors it must contain.

Design is defined as a plan or pattern formed for the purpose of making or doing something. It explains how things are done or how to come up with something.

A design must have a purpose, or else it will be useless. It must contain enough information. You can use visual languages, such as chart, table or graph, for it to become more understandable. It should also explain the details. Start from the general idea, then, give the specific details. Make sure that each detail is related to the main idea.

There are many types of design, such as a graphic design. A graphic design results from the features of lines, colors, shape, materials or texture.

What makes a graphic design attractive and lively is the color. Here, you can apply the color theory. Every color has its own characteristics, such as visible spectrum, dimension, inherent and emotive qualities. The primary colors are the red, blue and green. If you mix these colors, new hues are created. You can either have lighter or darker colors or contrasting colors. Take the white color for example—it is the opposite of black. Any color can appear lighter or darker depending on the field it is on. For example, when you put pink beside green, pink is the lighter color. But when you put pink beside white, pink will look darker.

Your graphic design should contain design elements, including line, shape, texture and size. A line is a curved or straight mark that connects two points. Shape is a form that has height and width. The three basic primitive shapes are rectangle, circle and triangle. Texture is measured by the look and feel. It is basically the roughness or smoothness of the surface. Space refers to the area or distance between or around things. The size refers to how large or small the thing is.

The principle of composition and layout includes the emphasis of the elements, the balance or the equal distribution of weight, the pattern or rhythm, and the unity or the relationship between each element.

Decide on what perspective to use. There are four basic perspectives; the one point perspective, the twopoint perspective, the three point perspective, and the 3d illusion.

For the text, consider the type of font and the style you have to use. There must be consistency in the height and width of the letters.

Be more creative, make use of the theories. Follow the rules in designing. You will know that a design is effective if you have successfully communicated your idea to your target audience.

About The Author

You may wonder why I write articles. Besides from the fact that it’s my job, I used to write short stories when I was younger. I think it would be helpful if I said I’m a big fan of Zach de la Rocha and Rage Against the Machine. This would explain my own views about a lot of things. Their songs were about national issues, politics and human rights. They support the American Indian Movement and Che Guevara, the face you see on tshirts. Not that it concerns me. I only like their music and idealism.

I like to read anything that contains words in the old English form, though I can’t understand it. You know, the King James Version of the Bible with words like thou, thy, thine, wilst, etc. The words used are different. The construction of the sentence is different, too, which makes sentences sound artistic. I also like gothic metal, a music genre, because most of the lyrics contain such words. It is not only the words that fascinate me; it’s the hidden meaning it contains. It’s like an abstract painting; you don’t get the real picture until you see through it.

I’m not an artist, I’m not a poet. I just love writing anything I want. I wasn’t born a genius, I just want to know and understand something I don’t. I like to find the difference between similar things. It’s like counting birthmarks on each identical twin.

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This article was posted on February 22

by Blur Loterina

The 2 BestKept Secrets Of The Internet

The 2 BestKept Secrets Of The Internet

by: Mike Cheney

Itกs a difficult creating a website that brings you business. Itกs fulltime job where things seem easy at first but as soon as you start to explore the possibilities and appreciate the complexity of the task at hand it can soon start taking up ever increasing amounts of your time. There is a plethora of people out there offering you conflicting advice and itกs often difficult to know what to focus on.

This article cuts through all that and reveals to you the two most important things you need to know about creating a website that brings more profit to your business..

Secret Number 1 Information

Yes thatกs all it is information. Just think about this for a minute what is the sole reason anyone surfing any website anywhere across the world is looking for? Every single one of them is looking for just one thing information. The information might take the form of text, an image, a sound file or whatever but at the end of the day it is information. This is the first biggest and bestkept secret of success on the internet and now you know it!

What do you mean กSo what?ก. The sole purpose of your website is to provide its visitors with information think about this the next time some combattrousered graphic designer tells you a big Flash graphic would be a good thing to have instead of a homepage.. People are looking for information don’t put anything in the way of them getting this. Make sure the information you have on your site is easy to find, worthwhile reading and ideally easy for your visitors to disseminate onto their friends and colleagues.

Information is also essential if you are going to gain any influence with the search engines. They might only be computer programs but those search engine critters can be quite clever at discerning a website that contains nothing of any use and one that has useful information relevant to its target audience. Lots and lots of high quality relevant content on your website will do more for your websiteกs overall success than a fancy graphic or rotating picture of your head on the homepage.

Secret Number 2 Interaction

Goto your website. Just look at it. Go through a few pages. Imagine that you had hit กPrintก on each of those pages. Would the experience of reading the pages in hardcopy be exactly the same as reading them on the screen? If it would you don’t own a website you own an expensive brochure. Interaction is why the internet was born it is the one attribute and opportunity that sets the medium apart from print and anything else. Your website needs to be littered with things that enable interaction between you and your visitors. Feedback forms, downloads, bookmarking tools, contact options, newsletters etc.

Information and interaction together these are the only things that matter when it comes to the internet. Now go back, look at your site and appraise it honestly in terms of how well it addresses each of the two facets. Is it full of interactive features that enable people to get closer to your business and control their browsing experience? Does it provide lots of valuable information that is easy to find? Armed with these two secrets you can start to truly harness the real power of the internet. Good luck!

Mike Cheney, www.magnet4web.com

About The Author

Are You Getting Your MagnetMail? Mike Cheneyกs WorldFamous Free Magic Mail To Make Your Website Magnetic, Get Yours Now: www.magnet4web.com/website_services/?page=magnetmail

This article was posted on March 31, 2004

by Mike Cheney