Monday, August 8, 2011

DPI - Printer Resolution

DPI (dots per inch) is probably the most familiar and most misused measure of resolution. For desktop publishing, it is probably the least important measure as well. It is not the resolution of scanned images. It is not the resolution of images on screen. It is the measure of how many dots of ink or toner a printer can place within an inch (or centimeter).

Most printers print the same number of dots horizontally and vertically, though some may have differing numbers. Basically, 600 dpi printers print 600 tiny little dots across one inch and 600 dots vertically for one inch.

How SPI, PPI, DPI, and LPI relate
The lower the DPI of a printer, the less fine detail it can print and the fewer shades of gray it can simulate. Because monitor resolution is so much lower than printers, low resolution images that look fine on-screen often print poorly.

DPI, Scanning, & Digital Images: DPI is only relevant in that the combination of your printer's DPI and the required LPI determine how much resolution your image must have. If you will be printing to a 300 DPI printer, resolution in excess of 300 SPI is rarely necessary.

DPI and Printing: In general, the higher the resolution of your printer or imagesetter, the greater detail you can print and the better appearance of your output. See Part 5: LPI for more on printing images.

DPI and the Web: On the Web, DPI is irrelevant because images display on-screen in pixels (PPI).

In practice, SPI and PPI are often used interchangeably. DPI is frequently used in place of one or both terms. However, even if you call it DPI, remember that each dot or "unit of measure" behaves differently depending on whether it is a scanner (or scanned image), a monitor (or on-screen image), or a printer (or printed image).

Next > LPI: Halftone Resolution

Measurements Systems > Measuring Resolution > DPI: Printer Resolution


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Graphic Design vs. DTP

Graphic design and desktop publishing share so many similarities that people often use the terms interchangeably.
There's not really anything terribly wrong with that but it is helpful to know and understand how they differ and how some people use and confuse the terms.Answer: The short answer: graphic design jobs involve the creative process of coming up with the concepts and ideas and arrangements for visually communicating a specific message desktop publishing is the mechanical process that the designer and the non-designer use to turn their ideas for newsletters, brochures, ads, posters, greeting cards, and other projects into digital files for desktop or commercial printing

While desktop publishing does require a certain amount of creativity, it is more production-oriented than design-oriented.

Graphic designers use desktop publishing software and techniques to create the print materials they envision. The computer and desktop publishing software also aids in the creative process by allowing the designer to easily try out various page layouts, fonts, colors, and other elements.

Non-designers also use desktop publishing software and techniques to create print projects for business or pleasure. The amount of creative design that goes into these projects varies greatly. The computer and desktop publishing software, along with professionally-designed templates, allow consumers to construct and print the same type of projects as graphic designers although the overall product may not be as well-thought out, carefully crafted, or polished as the work of a professional designer. Graphic 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.

Desktop publishing is the process of using the computer and specific types of software to combine text and graphics to produce documents such as newsletters, brochures, books, etc.

Graphic design and desktop publishing are often used interchangeably but, in part because it is an activity also used by non-designers, desktop publishing is often considered a lesser activity than graphic design. In truth, the two are separate but intertwined disciplines.

Not everyone who does desktop publishing does graphic design, but most graphic designers are involved in desktop publishing - the production side of design. The term desktop publisher can refer to a designer or a non-designer but it often carries negative connotations of an amateur.

Some graphic designers are quite vocal about their distaste for desktop publishing, which is somewhat amusing since much of what they do does involve desktop publishing. What they are really upset about is not desktop publishing itself - it's an invaluable part of the entire graphic design process - but rather the misuse (real or perceived) of desktop publishing software by non-designers.

All the FAQs: Career & Business | Software | Design & Layout | Graphics | Type & Fonts | Prepress & Printing


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Fuchsia

Designers familiar with four-color process printing will recognize fuchsia as the M in CMYK — magenta, a pinkish-red color.
Answer: On the purple side of pink, fuchsia is another name for magenta, the pinkish-red ink used in CMYK color printing made of equal parts of red and blue. Named for the pink-purple flower of the fuchsia plant, it is sometimes described as hot pink, reddish-purple, vivid pink, light purple, etc. Antique fuchsia is a more lavender-leaning shade of fuchsia.

Common misspelling: fuschia

Some of the faces of fuchsia and magenta: Fuchsia (Web color) | Hex #FF00FF | RGB 255,0,255 Hot Pink (Web color) | Hex #FF69B4 | RGB 255,105,180 Deep Pink | Hex #FF1493 | RGB 255,20,147 Dark Magenta (Web color) | Hex #8B008B | RGB 139,0,139 Neon Fuchsia | Hex #FE59C2 | RGB 254,89,194 Fashion Fuchsia | Hex #F400A1 | RGB 244,0,161 Deep Fuchsia (Crayola: Fuchsia) | Hex #C154C1 | RGB 193,84,193 Antique Fuchsia | Hex #915C83 | RGB 145,92,131

The SVG color keywords fuchsia and magenta are both for the Web color #FF00FF. The CSS color keyword for #FF00FF is fuchsia. #FF00FF is also one of the browser safe color. The keywords hotpink and darkmagenta are for #FF69B4 and #8B008B respectively. Fuchsia / Magenta is a mixed warm/cool color. Although fuchsia, like pink, is often consider a feminine color, it's not soft or genteel. It's a playful color that can be sophisticated when paired with cool, dark colors. Too much fuchsia can be overwhelming.

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Sunday, August 7, 2011

Widows and Orphans

In desktop publishing, widows and orphans are those words or short phrases at the end or beginning of paragraphs that are left to sit alone at the top or bottom of a column — separated from the rest of the paragraph.
Do you leave readers dangling? Words left hanging leave readers in the dark.

Not everyone agrees on what constitutes a widow and what makes a word an orphan. For every source that says orphans are the end of a sentence sitting alone at the top of a column there is another source that calls it a widow. No matter what we call them these widowed and orphaned bits of text can make our stories harder to read and our layouts look unbalanced.

Some instances of dangling words are less troublesome than others but in this article we'll look at ways to control them. Whether or not you choose to tinker with each and every instance of widows and orphans in your publications is entirely up to you and/or your client.

Some examples of widows and orphans that often need attention: A word or two at the top of a column that belongs with the paragraph at the bottom of the first column looks out of place. The start of a paragraph at the bottom of a column is equally annoying. When the rest of the sentence continues on the next page it can also destroy continuity for the reader. Subheads that appear at the bottom of a column or end of a page — without at least 2-3 lines of the following text — also look bad and hurt readability.

Next: Once identified, learn the various ways to fine-tune your line endings to eliminate widows and orphans.


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Color Separations

On a printing press each color of ink used in a document is printed one at a time. Each printing plate used on the press is made up only of components of the page in that one color.

Separations are artwork split into component plates of cyan, magenta, yellow, and black in preparation for process printing (CMYK) or into the required number of plates for spot color printing - a plate for each color of ink.

Each separation prints a single process or spot color. Digital PostScript or PDF files take two primary forms: composite or pre-separated. Which you use depends on your software, colors, and the software or RIP your printer or service bureau uses.

Pre-Separated
A pre-separated PDF or PostScript file contains a separate plate for each color in the document. A standard process color job would have four plates (pages) containing just the color information for each color of CMYK. For spot colors, you'll have a page for each spot color.

You'll have separations for each page in your document so a 4 page CMYK preseparated file would have 16 pages. If you have a preseparated file you can only print the file as separations and on-screen viewing is limited to viewing each individual color plate.

Composite
A composite file contains all the color information in one file. It can be viewed or printed as a composite (everything on one page). Your service bureau separates the file into its individual color separations at the RIP.

Choosing Sides
Which type of file — composite or pre-separated — does your printer need from you? Ask. That's the best way to know for sure. Each has its benefits. It's probably obvious that a composite file will be more compact than a preseparated file — fewer pages. With composite files both you and your service bureau can view the document on-screen and check things like graphics, text flow, etc. more easily.

However, there are some types of documents that require pre-separated files for proper handling. At present, composite files don't contain the necessary information to properly generate separations for EPS duotones, DCS images, colorized TIFFs, and images with spot-color-to-spot-color gradients. These will require pre-separated PostScript or PDF files. Check with your printer if you are unsure.

Even when supplying a composite PostScript or PDF to your printer, you'll want to know how to create and print color separations to your own printer for proofing purposes. This will help you see if your composite file will separate correctly (all colors on the correct plates, no extra colors) and help you catch other mistakes that might not be apparent looking at the application file or the composite file.

This is a brief overview of composite and pre-separated files — just one aspect of creating color separations. For more in-depth technical specifications and tutorials as well as advice on proper preparation of separations in a variety of programs, see the sidebar resources.


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Saturday, August 6, 2011

Holiday Borders

Make your own Christmas stationery or dress up fliers and invitations with these Holly borders made from dingbat fonts.

These holly borders come in both WMF (Windows MetaFile) and AI (Adobe Illustrator) formats. These vector graphics formats allow you to resize the images without distortion (no jaggies!). You will need a page layout or graphics programs that supports one of these formats. A black & white full holly border [WMF] [AI] A color full holly border [WMF (ZIP)] [AI] A color partial holly frame [WMF] [AI] 1 holly leaf clip art or corner piece [WMF] [AI] 3 holly leaves clip art or corner piece [WMF] [AI]

Warning:WMF files are very large.

You could create your own borders with dingbat fonts following these basic instructions: Open a vector graphics program (CorelDRAW, Illustrator, etc.) Select the Text pointer Choose a dingbat font Type characters at different sizes until you find the one you want Convert to curves then edit the character to change colors or other features Repeat (copy and paste) image one after the other around the page to create your frame Save your frame in a vector format such as EPS, WMF, or AI

Download holiday.zip (385K) The archive contains all the holly and snowflake borders except holly2.wmf (holly2.zip) and Holly Web page graphics.


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InDesign Document Area

If you need to measure things on your screen put that plastic ruler back in your drawer right now ... InDesign has rulers which are located right on the top and on the left of the document's window. You have the horizontal ruler (x axis) and the vertical ruler (y axis). They they can help you to measure what you see on screen. If you don't see them you just need to go to View > Show Rules. If you don't want to see them but they are turned on, you go to View > Hide Rules (or press F7 to turn them on or off).

The origin of rules can be changed. There are different ways to do this: Go to the top left corner of your work area where the rules start. Now click on it with your mouse and drag diagonally towards the right. When you release the mouse button, you will see that your 0, or origin of the rules, will be where you released the mouse. To reset your rules as they were before, just double click on the top left corner. Go to InDesign > Preferences (Mac OS) or Edit > Preferences (Windows) and select Units & Increments. Look at the section Ruler Units. You will see that there is a setting called Origin. You can choose between Page, Spread or Spine. While the Page and Spread option are quite obvious, the Spine option isn't really descriptive. The spine is the point where you would be binding your pages. In actual fact Adobe calls it Binding Spine.

Continue to the next page for more on the Ruler Origin and Binding Spine.


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Open Source DTP

For some reason, most of the publishing world doesn't take open-source software seriously. There are exceptions: a great number of national governments, large corporations, gigantic ISPs and web hosting firms use it. But in desktop publishing? It's hard to find even a mention of open-source in print or online.

The recent article here on About.com entitled "Mix and Match Software" was a case in point -- even at the very end of the article where both inexpensive and free software options were listed, the most powerful, professional-grade, and free tools for photo editing, word processing, layout, and press-ready PDF generation were completely omitted. Which is why I'm writing this article!

Note from Jacci: True, the Mix and Match article focuses primarily on the Windows and Mac software from Adobe, Quark, Corel, and Microsoft. However, the open-source Scribus and OpenOffice are listed on the free software lists for Windows/Mac.

When I started my own small publishing company two years ago, the budget was a shoestring combined with peanuts. I had already been using the Linux operating system for many years, including some extremely powerful open-source photo editing tools for my "real" job as a professional photographer. It didn't take long to find all the free software I needed to write and publish a large book, full of photographs and CAD drawings.

The proof is in the proofs and the press, of course. Fast forward 2 years. Every printing press I contacted for both the bound galleys (short-run for 150 Advance Review copies) and the final press run (2,000 copies) said "Linux? Scribus? The GIMP? What on earth are you talking about, never heard of them." But two of these presses (Bookmobile for the bound galleys and Friesens for the final press run) also said they were willing to work with beginners, and that they couldn't really care less what platform the press-ready PDFs were produced on, as long as they passed pre-flight.

So, I thought, "why not?" I had been using these open-source tools for photo editing and promotional materials for years. They seemed to work fine, and local printers never had a problem with the PDFs, even with CMYK at 2,400 dpi.

The first session of fingernail chewing came while waiting for the bound galleys. Result? No problems, your books arrive next week. The next session involved hair pulling as well as fingernail chewing, as I had invested about $10,000 in the press run. Again, same result, the PDFs were fine. The open-source pre-pre-flight showed 100% OK, and pre-flight from the big press showed the same, 100% OK. The book looks great, and is already selling well. And my tiny new publishing company saved thousands of dollars in software costs!

I'll cover the free, open-source tools I used for this book in an ala-carte fashion, just like the original About.com article. >> Next Page

Open Source Desktop PublishingLinux Software for Desktop PublishingLarger Versions of the Images in this Article (from Dan Fink)

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Friday, August 5, 2011

Headline Writing

The job of the headline is to get attention. A good headline makes the reader want to find out more by reading the article, brochure, or ad. To help your headline do this, try one of these techniques: Create curiosity Promise answers to a question or solutions to a problem Include a key benefit

Have fun with it
You can create curiosity by asking a provocative question or making a seemingly outrageous statement. Word play, alliteration, or take-offs on familiar phrases or cliches can create some eye-catching and often amusing headlines. However, avoid ambiguoity or at least use eyebrows, subheads, or decks (smaller headlines above or below the main headline) to clarify or explain. If your reader has to guess at what you mean or at what the article or ad is all about, they'll be saying, "I guess you don't want me to read this article." Some examples of word play, alliteration, and take-offs: Wingdinging it
using symbol fonts as impromptu logos

Build a Better Bass Boat

Sing a song of six pence, a pocket full of lies...
teaching children to tell the truth

The middle example, using alliteration, can stand alone but the other two benefit greatly from more straightforward subheadings.

State the Benefit
Answer the question foremost in your reader's mind, What's in it for me? Tell your reader about the primary benefit found in the story or brochure or ad. Offer a solution to a common problem. Create several potential headlines using as many of the following techniques as possible until you find the one that works best. Ask a question (How many cavities is "too many"?). Make a statement or exclamation (Fewer cavities. Guaranteed.). Tell "how-to" (How to spend less time at the dentist's office). Use a number (6 ways to get fewer cavities). Use a product, service, or business name -- or create a new word or catch phrase to describe the product (PearlyBrite dental creme is the newest weapon in the war on tooth decay). Use words like new, improve, more, and better (Get 50% more cavity protection in our new, economical 9 oz. tube).

Keep it short
What is the ideal length for titles and headlines? Seven words or less is a good rule of thumb. Shorter headlines are punchier and easier to read. If you need more words to accomplish the job, consider putting them into the subhead or deck.

Deliver on your promises
The best headline in the world won't help a bad story. Before you snare the reader with your witty headline be sure you can deliver with a well-written, informative article, brochure, or ad. Insure that your headline supports the body too. If you ask a question, provide an answer. If you promise to solve a problem, offer a solution.

Avoid deceptive headlines. If the headline suggests that the story is about low-cost, romantic honeymoon locations, don't give the reader a story about honeymoon disasters in cheap hotels. It might be a great story, but the reader feels cheated if the headline promises something totally different.

Use a headline to get the reader's attention. Catch the reader's eye and give enough information to make your reader want to read your message.

Even though I know the techniques for writing good headlines, my efforts fall far short of the mark on occasion. Consider these two examples from past issues of The INK Spot magazine (a publication about desktop publishing and word processing that I once published) with possible "improved" headline ideas. A Pretty Package

Do you have a clue what this might be about? It was in the Christmas issue so maybe it's on making your own wrapping paper? This headline and subhead might give you a better idea:

Changes in Resume Writing

Factual, but a little boring. How about adding a benefit for the reader?

When a professional copywriter is not feasible, heed these simple tips for writing effective headlines as well as the additional advice in Copywriting for Designers and Non-Writers.


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Offset vs. Desktop Printing

The method of printing — whether offset or desktop printing — dictates how the desktop publishing document must be prepared. That's why answers to questions about what kind of software to use or how to set up a document begin with "how will it be printed?"
Answer: The three primary differences in offset printing and desktop printing (such as inkjet and laser) are the colors of ink and the way the ink is placed on the paper as well as the type of machinery used to accomplish the task. Both commercial offset printing (also known as offset lithography) and inkjet desktop printing utilize four basic ink colors: CMYK. Dots of cyan (blue), magenta (red), yellow, and black (the K) are placed next to each other in specific patterns that trick the eye into seeing millions of colors. Additionally, offset printing can use premixed inks in a variety of specific colors as well as metallic and florescent inks. These are called spot colors. However, printing white ink is not usually a viable option for offset or desktop printing. Inkjet printing puts all the different ink colors on the paper in one pass through the printer. In commercial offset printing each color of ink is applied separately. Because the paper must pass through the printing press multiple times, there are special requirements for preparing digital files for color printing. Desktop printing usually uses some type of inkjet or laser printer. The inkjet printer has ink cartridges that places the ink directly on the paper. These are self-contained units connected to a computer through cables. Offset lithography uses a web or sheet press that may consist of multiple units. Photographic printing plates are made of the file to be printed. The plates accept the ink which is then transferred to the paper. In choosing desktop publishing software one of the key considerations is determining how you will print your material. Some lower end or consumer desktop publishing applications cannot produce the type of files needed for commercial offset printing. Even when using software capable of creating the required files, non-designers may not understand how to properly create files for commercial offset printing.

Although there are many specific considerations for preparing files for offset printing, in terms of ink colors and the printing process two of the main software and file preparation considerations are the use of CMYK graphics and separations. CMYK vs. RGB
Graphics generally use RGB (Red, Green, Blue) or CMYK colors. Graphics on the Web or designed for on-screen display are RGB images. Because offset printing utilitizes CMYK inks, all full-color graphics need to be saved with CMYK colors. This simple conversion is done in your graphics software program. Separations
Whether printing in CMYK inks or spot colors, for offset printing you must supply a file that can be separated into different files for each ink color. These separations contain only the elements of the document that will print in one color of ink. The printing plates for offset printing are made from these separations. Also see: What's the difference between a commercial printer and a desktop printer?

All the FAQs: Career & Business | Software | Design & Layout | Graphics | Type & Fonts | Prepress & Printing


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Halftones

Halftone images contain a series of dots in a specific pattern that simulate the look of a continuous tone image. Because printers cannot print continuous tones — whether it's the many shades of gray in a grayscale image or the millions of colors in a color photograph — you must convert these images to halftones. Another term for halftoning is dithering.

Color Halftones
Color photographs printed in magazines, newspapers, or books consist of a series of dots in cyan, magenta, yellow, and black (CMYK) that fool the eye into seeing the millions of colors that make up the original image.

Black & White Halftones
Black and white continuous tone photographs contain millions of shades of gray. When printed, these shades of gray convert to a pattern of black dots that simulates the continuous tones of the original image. Lighter shades of gray consist of fewer or smaller black dots spaced far apart. Darker shades of gray contain more or larger black dots with closer spacing.

Traditional Halftones
In traditional prepress, when you supply your printer with the actual photographs, rather than digital scans they create the halftoning necessary for printing by photographing the photograph through a special screen. For color images four separate screens are superimposed on each other in each of the four process colors.

Digital Halftones
When using scanned images or images from a digital camera, you can produce digital halftones direct from the software to the printer. Digital halftoning depends on the lpi (lines per inch, or screen frequency) and the resolution of your output device (printer). The screen used may be specified in your printers PPD (PostScript Printer Driver) or set specifically in your software program.

File Preparation
Color images are recreated through a combination of color separations and specific screening patterns and screen angles. When creating color separations, use the settings that match your output device. Talk to your service bureau about the correct settings to use with their imagesetter.

In addition to screening patterns, different printing presses and the paper you print on require specific screen frequencies — the number of dots used to create the image. This is that often misunderstood concept of LPI (lines per inch). In general, a higher screen frequency produces a smoother, more detailed image. However, for certain types of paper a higher screen frequency is not better. Typically newsprint uses an LPI of 85. 133 is the norm for glossy paper such as in magazines. Check with your printer to determine the best LPI settings to use for their equipment and your paper. See this LPI Chart for some common LPI settings and further explanation of this and related terms.

In practice, you may not need to do anything special with your images other than insuring you use the correct printer driver. The printer driver provides all the instruction needed.

However, there may be instances when you want to override default settings or create your own halftones. In the print dialog options for your document you can choose a different PostScript Printer Driver (PPD) or overide the LPI and screen angle settings for your document.

In a graphics program such as Adobe Photoshop or Corel Photo-Paint you can convert your image to a black and white image using a specific halftone screen or dithering. This is necessary when supplying camera ready artwork using digital images. Both Photoshop and Photo-Paint allow you to specify LPI, screen angle, and a dot shape. Remember, size and rotate the image in your graphics program before converting to a halftone. Don't resize or rotate the halftone after you place it in your page layout program.

This brief overview provides basic information only. For more in-depth technical specifications and tutorials as well as advice on proper file preparation, see the sidebar resources.


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Thursday, July 21, 2011

Graphic Design Basics

Get a better understanding of the basics of graphic design by studying the elements and principles of graphic design that govern effective design and page layout. Graphic 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. Designers achieve their goals by utilizing the elements and principles of graphic design.

By following each of two learning paths on these concepts of graphic design basics and their application in modern desktop publishing, those with no formal graphic design training can improve their page layout and text compositions.

Although individual lessons within these two Graphic Design Basics classes can be taken out of order, I recommend following the lessons sequentially to get the full benefit.

1. Elements of Graphic Design Basics Classes The building blocks of design are defined and illustrated in these lessons and exercises - including lines, shapes, and texture. Explore each element individually and as a part of the whole.

2. Principles of Graphic Design Basics Classes Learn how to use alignment, contrast, white space, and other principles of graphic design to create effective page compositions through these graphic design lessons and exercises.

How to Do Desktop Publishing > Graphic Design Tutorials > Graphic Design Basics > Graphic Design Basics Course


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PPI Solutions, Bell and Howell form partnership

Jul 12, 2011 11:51 AM

PPI Solutions and Bell and Howell have formed a strategic partnership to provide programmed solutions and secure document/card production in the highly regulated healthcare arena. The clients immediately eligible to take advantage of these combined strengths and resources operate within the health insurance, employee benefits and prescription benefits marketing spaces.

This alliance brings together the dynamic, multichannel communications engine within PPI Solutions called CampaignRx, and Bell and Howell?s solutions for delivery of variable digital content, postal compliance and postage management, and card personalization, including smart cards.


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Wednesday, July 20, 2011

Crouser releases ‘Website Pricing Report’

Jul 12, 2011 11:47 AM

Crouser & Associates has released a report on pricing websites, providing not only survey data from website providers but also giving guidance on pricing this function. Demand for websites is still very strong and the margins can be very good, Crouser reports. Even though websites have been around for 16 years, many businesses are still without a website or have an outdated site with little functionality and/or an inadequate online presence.

?Website creation services are a good complement for commercial and quick printers who are currently providing very similar marketing/advertising services for the very people who need websites. Although websites can and should be interactive and provide functions besides advertising (customer service is common), the basic concept is the same. That concept is to create once (typeset/pre-press or website construction) and reproduce many (produce duplicates or bring eyeballs to webpages). Likewise, sending out a monthly newsletter for an organization is not much different than doing the same function via email broadcast. Even HTML code will be familiar to those who have previously used phototypesetting machines,? according to Crouser.

The report is part of the Price Advisory Service provided by Crouser & Associates to subscribers of the Crouser Guide at no additional cost. The report may be purchased separately for $75 at http://crouser.com/web.


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Thursday, July 14, 2011

InfoTrends releases study on MGI digital innovations

Jul 12, 2011 11:50 AM

MGI Digital Graphic Technology, manufacturer of multi-substrate digital press and finishing solutions, announces the availability of an InfoTrends white paper that details the company?s newest product offerings and provides a comprehensive overview of MGI?s history of innovative digital printing and finishing solutions. ?Extending MGI?s Market Impact: Introducing the Meteor DP8700 XL? is authored by Jim Hamilton, group director of production printing and media consulting services, InfoTrends.

The white paper focuses on MGI?s newest digital press, the Meteor DP8700 XL, which launched in June. MGI?s Meteor series of digital presses offers the versatility to handle paper, plastic and envelopes, the longest sheet size among production cut-sheet digital presses (up to 13 x 40 inches in production, up to 13 x 47 inches via manual bypass), along with laser-safe prints, no click charge, and ?offset-comparable? output. The Meteor DP8700 XL offers 3,600-dpi / 270-lpi print resolution (including stochastic), increased print speeds up to 4,260 A4/letter sph, a new auto-adjusting offset feeder table (ensuring registration of ?0.2mm left-right, ?0.5 mm top-bottom, front-back), along with many other new features.

In addition to highlighting the Meteor DP8700 XL, the analysis looks at MGI?s production inkjet solutions: the JETvarnish digital inkjet spot UV coater; and the JETcard, which integrates 4-6 UV inkjet color printing (with full variable data), spot/flood UV coating, security (black light visible) coating, data encoding and verification (magnetic stripes) into just one unit, designed for high volume plastic card production. Also hinted at are future developments in MGI?s production inkjet technologies for the commercial printing market.

Rounding out the white paper are MGI?s finishing technologies, including the DF360 multifunction finishing unit and the PressCard Pro and PunchCard Pro, lamination and diecutting solutions for the plastic card manufacturing segment.

?The announcement of the Meteor DP8700 XL is significant not only because it extends the Meteor product line to new levels of productivity and format, but also because it puts the industry on notice that MGI is expanding its product line and distribution capabilities in a way that puts them into direct competition with much larger companies,? says Hamilton.

See http://www.infotrends.com/public/Content/FreeDownloads/pages/mgi.html.


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Color Meanings

Color symbolism is the use of color to represent traditional, cultural, or religious ideas, concepts, or feelings or to evoke physical reactions. Choosing colors based on symbolism or color meanings can apply to everything from clothing to wall paint to home furnishings. In desktop publishing and design choosing color based on color meanings applies to print and electronic projects from logos to Web site backgrounds.
Colors are more than a combination of red and blue or yellow and black. They are non-verbal communication. Colors have symbolism and color meanings that go beyond ink. If you want to skip the discussion of types of colors and jump right to a specific color, here are the colors I currently cover: Beige | Black | Blue (plus azure | beryl | cerulean | cobalt | corporate blue | indigo | navy | sapphire) | Brown | Gold | Gray | Green (plus chartreuse) | Ivory | Lavender | Orange | Pink (plus fuchsia) | Purple (plus lilac | plum | violet) | Red (plus blood red | crimson | scarlet | vermilion) | Silver | Turquoise | White | Yellow
More colors added regularly.

As you design brochures, logos, and Web sites, it is helpful to keep in mind how the eye and the mind perceive certain colors and the color meanings we associate with each color.

Physical and Cultural Color Reactions
Sometimes colors create a physical reaction (red has been shown to raise blood pressure) and at other times it is a cultural reaction (in the U.S. white is for weddings, in some Eastern cultures, white is the color for mourning and funerals). Colors follow trends as well. Avocado, a shade of green, is synomous with the 60s and 70s in the minds of some consumers.

Color Relationships
In addition to understanding color meanings, it helps with mixing and matching colors to know the relationship of adjacent, harmonizing, contrasting, and complementary colors. The subject is more fully explained in this Color Basics article. But below is a brief synopis: Adjacent or harmonizing colors appear next to each other on the color wheel. Harmonizing colors often work well together but if too close in value they can appear washed out or not have enough contrast. A harmonizing trio could be something like blue, light blue, and cyan or perhaps red, orange, and yellow. Contrasting colors are separated from each other by other colors -- they come from different segments of the color wheel. The further apart, the more the contrast. Red (from the warm half of the color wheel) contrasts with green and blue (from the cool half of the color wheel). Shades of purple contrast with shades of green. Contrasting colors that are directly opposite each other on the color wheel may be described as clashing colors -- see the description for complementary. Despite the name, colors that clash are not always a bad combination if used carefully. They provide great contrast and high visibility. Complementary colors are on opposite sides of the color wheel -- they are each half of a pair of contrasting colors. For example, blue is a complementary color to yellow. Green is complementary to purple and magenta. A pair of complementary colors printed side by side can sometimes cause visual vibration (clash) making them a less than desirable combination. However, separate them on the page with other colors and they can work together. Note the spelling. These are not complimentary colors. They don't always flatter (compliment) one another but they do complete (complement) each other.

On each of the cool, warm, mixed, and neutral pages are links to profiles of specific groups of colors with descriptions of their nature, cultural color meanings, how to use each color in design work, and which colors work best together.

On the next few pages we'll explore the color meanings of four different groups of colors. Cool Color Meanings (calming): Blue, Green, Turquoise, Silver Warm Color Meanings (exciting): Red, Pink, Yellow, Gold, Orange Mixed Cool/Warm Color Meanings: Purple, Lavender, Green, Turquoise Neutral Color Meanings (unifying): Brown, Beige, Ivory, Gray, Black, WhiteSee how many others share your color preference.
Red | Green | Gold | Turquoise | Blue | Purple | Pink | Black | Orange | Yellow
View Results for Your Favorite Color Poll Share this page with your Facebook and Twitter friends and followers.

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Wednesday, July 13, 2011

Purple Color Meanings

Purple is warm and cool. Explore the meaning and symbolism of the color purple and colors that go with purple and the light and dark shades of purple from palest orchid to deep dark violet and indigo.

Shades of Purple: These words are synonymous with purple or represent various shades of the color purple: amethyst, eggplant, indigo, lavender, lilac, magenta (see fuchsia), mauve, mulberry, orchid, plum, pomegranate, puce, royal, thistle, violet, wine.

Purple is royalty. A mysterious color, purple is associated with both nobility and spirituality. The opposites of hot red and cool blue combine to create this intriguing color.

Pantone selected the color Blue Iris (PANTONE 18-3943) as the 2008 Color of the Year telling us: "Combining the stable and calming aspects of blue with the mystical and spiritual qualities of purple, Blue Iris satisfies the need for reassurance in a complex world, while adding a hint of mystery and excitement."

Purple has a special, almost sacred place in nature: lavender, orchid, lilac, and violet flowers are often delicate and considered precious. Because purple is derived from the mixing of a strong warm and strong cool color it has both warm and cool properties. A purple room can boost a child's imagination or an artist's creativity. Too much purple, like blue, could result in moodiness.

The color of mourning for widows in Thailand, purple was the favorite color of Egypt's Cleopatra. It has been traditionally associated with royalty in many cultures. Purple robes were worn by royalty and people of authority or high rank. The Purple Heart is a U.S. Military decoration given to soldiers wounded in battle.


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ISO sustainability standard on track for 2012

Jul 12, 2011 11:46 AM

The Intl. Organization for Standardization Technical Committee 130, Working Group 11 ISO (ISO TC130 WG11) is currently working on the development of ISO 16759, Graphic technology ? Quantification and communication for calculating the carbon footprint of print media products.

ISO TC130 WG 11 was created to develop a set of international standards that address the environmental impact of printed products. ISO 16759, being written for prepress, printers, print service providers, content publishers and other media companies, is on track for publication in 2012.

NPES The Association for Suppliers of Printing, Publishing and Converting Technologies administers TC130 WG11 and coordinates the activities of the U.S.-based representatives. Actively involved in the development of this standard are experts from Australia, Belgium, Brazil, France, Germany, Italy, Japan, China, Portugal, Sweden, Switzerland, the Netherlands, United Kingdom and United States representing a broad range of the industry's leading printers, manufacturers, and other industry stakeholders. The development of this International Standard represents a significant cooperative effort to provide an international framework to create sector-specific carbon calculators.

According to Laurel Brunner, managing director of Digital Dots and convenor of TC130 WG11, "When it comes to sustainability, printers and their customers want a formal framework against which print media products can be measured and the results certified. Printers want to be able to confirm to their customers that the carbon footprint for the print they produce complies with an international standard. And print buyers want the assurance that a printer's calculations are transparent, clear and comparable across sectors and geographies."

Unlike other areas of the graphic arts, there are no international standards that provide specific information regarding carbon impact reduction. Without a standard, the printing industry has no means of capturing, reporting and tracking its carbon footprint. ISO 16759 will provide a framework for carbon calculators, enabling the creation of tools specific to a given industry sector. Tools that are created following the methodology outlined within this standard will allow the printing industry to track progress internationally in the reduction of the carbon footprint of media products.

Using ISO 16759-compliant carbon calculators, print buyers worldwide will be able to compare the footprints of different production processes. The basis on which the carbon footprint of a given print media product is calculated can be defined by each individual user. Using an inventory of the various production processes used to provide a given piece of print, the carbon impact for each stage in the workflow may be determined. Substrates, inks and other consumables used are included as well as transport, laminating and ambient environmental factors such as lighting or heat with a goal toward calculating a carbon footprint for each stage in the inventory.

Ms. Brunner states that once published, "It is hoped that ISO 16759 will encourage media buyers and consumers to think more carefully about how they invest in and use media. ISO 16759 provides the means of quantifying, communicating and reporting the carbon footprint of print media, so it is a means of facilitating the continuous monitoring of print's carbon footprint. This will lead to enhanced credibility of the printing industry's efforts to manage and reduce its carbon footprint and that of the raw materials used? this data will also provide factual support for messages of print's sustainability."

Currently, this document is being balloted to ISO national body members as a new work item and committee draft. Anyone with an interest in this work, and able to contribute technical expertise, is both invited and encouraged to actively participate. For more information contact Debbie Orf, NPES assistant director of standards, at dorf@npes.org.


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PIA issues call for award entries

Jul 12, 2011 11:48 AM

Printing Industries of America seeks to honor a business leader who has surpassed his or her obligations with the Lewis Memorial Lifetime Achievement Award and a woman who personifies the Naomi Berber school of thought and excels in her field of graphic communication with the Naomi Berber Memorial Award.

The Lewis Memorial Lifetime Achievement Award recognizes a business leader who has gone far beyond standard obligations and has become a significant force in the graphic arts industry. To qualify, a nominee must be widely recognized as having made a major impact on the graphic arts industry; have a record of participating in both local and national professional activities; have been active in the industry over an extended period of time and involved in many facets of the graphic arts industry; and not be an employee of any graphic arts association. The nominee need not be a member of PIA; is not limited by age, sex, race, or geographic location; and may be either living or deceased. Nominations for the Lewis Memorial Lifetime Achievement Award are due August 31, 2011. See www.printing.org/lewisaward.

The Naomi Berber Memorial Award honors the distinguished 45-year career of Naomi Berber, GATF?s first administrative director (1925?1970). The award is given to a woman who personifies the Naomi Berber attitude of excelling in her field of graphic communication and also volunteers their time to improve the industry. Nominees for this award must fulfill these criteria: worked in the graphic communications industry for 10 years or more and have an outstanding record of accomplishments that demonstrates her unusual contribution toward the development of the graphic communications industry, such as extraordinary leadership, direction and/or support of programs or projects that have furthered the interests of the industry. These activities must have extended over a 10 year period, and her contribution should not be confined to a single project, development, or program. See www.printing.org/berberaward.

Both recipients will be selected by a panel of industry leaders and honored before hundreds of peers at PIA?s Fall Meetings, November 11?13 in Miami Beach, FL. For additional information on the Lewis Award or the Naomi Berber Award, contact Sara Welsh at swelsh@printing.org.


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Friday, June 24, 2011

Broderbund Software

Broderbund desktop publishing software has been around for almost a quarter of a century in one form or another. PrintMaster, The Print Shop, as well as Calendar Creator are the most well-known consumer desktop publishing software and specialty programs. Encore Software is the publisher of these Broderbund titles.

Other names associated with these Broderbund desktop publishing software titles as former publishers and former or current distributors are Kyocera, MicroLogic Systems, Mindscape, Inc., The Learning Company, Mattel, Riverdeep, Houghton Mifflin Riverdeep Group, Houghton Mifflin Harcourt, and Encore Software and Navarre Corporation. You may see the software (even current versions) listed under one of these names from time to time.

The comparison, below, is between the two versions of these programs that came before the complete overhaul to the new 2.0 editions with their new technology.

Broderbund produces two different popular desktop publishing titles: The Print Shop and PrintMaster. There is a dizzying array of The Print Shop and PrintMaster titles. For simplicity, here's a quicky comparison of two comparable titles: The Print Shop 23 Deluxe and PrintMaster Platinum 18. They are both easy to learn and use, come with helpful wizards and templates to jumpstart the design process, and include photo editing, drawing, and text tools that make them good all-in-one packages for simple desktop publishing and print creativity. Pictures, Pictures, Pictures (and Templates and Fonts)
In terms of amount of templates, images, and fonts that come bundled with the programs -- they run about even. The Print Shop has about 150 more fonts and 60,000 or so more images. Each includes a subscription to Million Image Club but it's only 6 months for The Print Shop Deluxe and a full year for PrintMaster Deluxe. You will need Internet access. Text Tools & Projects
The Print Shop Deluxe offers an edge over PrintMaster in its Layout and Text Flow tools -- a plus if you do a lot of text-intensive or multipage documents like brochures and newsletters. Some of its pro-like features include Master Pages, Text-Wrapping, Widow & Orphan Control, Kerning & Leading, PDF and TIFF export options.

PrintMaster does offer alignment tools and mail merge and does PDF export but its overall features seem geared a bit more toward crafty creative projects with the inclusion of the PrintMaster Scrapbook Creator, Arcsoft Photo FunHouse, and a Party Set Creator Wizard.

Between these two Broderbund products, if your interests lean more toward fun photo projects, scrapbooks, cards, and such then PrintMaster Platinum 18 may be more to your liking (and it costs a little bit less). If, in addition to greeting cards and other fun photo projects, you envision yourself doing newsletters and possibly more small business type documents then The Print Shop Deluxe 23 with its better text and layout tools may be a better all-around choice.


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Hieroglyphs

A picture is worth a thousand words. The ancient Egyptians used pictures as words and you can too. Egyptian Hieroglphs are the picture symbols used to decorate tombs and used for other sacred writing. There are a variety of free and commercial fonts that contain these Egyptian Hieroglyphs and other types of hieroglyphic writing systems. Use Egyptian Hieroglyphs dingbat fonts as clip art for illustrations and icons. Translate your name (or business name) into the hieroglyphic alphabet for an interesting logo. Create patterns or borders for letterhead using Egyptian Hieroglyphs.

Sources of Egyptian Hieroglph Fonts
Browse these free and commercial sources of pictorial alphabet fonts, especially those composed in part or in whole of Egyptian Hieroglyphs. Jim Loy - My Egyptian Hieroglyphic Fonts
Download his Egyptian hieroglyphs in a TrueType font ZIP file. Shrine of Isis Fonts
Among the fonts you'll find some hieroglphs, including Stargate glphs and other symbols in Windows TrueType format. GlyphBasic Fonts
The table on this page won't mean much until you download and install the GlyphBasic font.It's in a ZIP file. Deniart Systems - Egyptian Hieroglyphs
Get a sampler or pick from different volumes of Egyptian Hieroglyph Fonts. You'll get a mini-lesson in hieroglphics here too. Mac and PC fonts for about $30 to $40. Neferchichi's Tomb - Egyptian Typefaces
There are three fonts, one each for heiroglyphs, gods, and random Egyptian images in these fonts. Buy them or download the Sampler font. P22 - Hieroglyphic Font Set Mac and PC font sets are under $25. Selection includes phonetic, decorative, and cartouche and comes with a translation chart. Center for Computer-aided Egyptological Research
You'll find a wealth of resources here. For those specifically interested in Egyptian Hieroglyphs, see the online Hieroglyphica to find a listing and meanings for the characters you find in Egyptian Hieroglph fonts and some fonts for Mac and PC in the Egyptological Resources section. In the Shop find Glyph for Windows, a program for Hieroglyphic Text Processing.

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Scanning Resolution - Scan Your Images At This Resolution

The best resolution to scan your images depends on how it will be used - on screen or in print. For the purposes of this article, we'll assume the image is for print. To find your best scanning resolution you need to calculate the final image resolution, that is, the resolution of your image when placed in your file for printing. Your scanning resolution and final image resolution may be the same, but not necessarily. For most users, it is rare that you will need thousands or even more than 200-400 pixels of resolution.

To reach your final image resolution, you need to know 5 things before scanning:
Size of the original image.
Are you scanning a 4x5 inch photograph, for example? Size of the printed image.
Will your image be reduced or enlarged? LPI at which your image will be printed.
LPI depends on the printer you are using. The type of paper, also affects LPI. Your final image resolution is usually about double the LPI at which the image will be printed. Resolution Multiplier.
This number is usually 2. You can see how it is used below. For most purposes, 2 is the magic number. Editing of the scanned image.
It is often better to scan at a somewhat higher resolution than you'll eventually need to allow for pixels lost during image editing. Just remember, the higher the resolution, the larger the file size. Don't go overboard.

For commercial printing, if you don't know the required LPI, talk to your print shop. They can help you come up with the right numbers based on the specifications of your print project. Here's a quick reference list or see the more detailed chart in the Resolution Inch by Inch article on this site:

To calculate your final image resolution:
If the size of your image will not change, multiply LPI by your resolution multiplier. LPI x 2
For example, an image destined for a brochure on uncoated paper using offset printing needs a final resolution of approximately 133 x 2 or 266. If the size of your image will change, multiply LPI by your resolution multiplier and then by the size of your final image as a percentage of the original. LPI x 2 x %
For example, if our image for the brochure, above, is to be enlarged by 25%, then it needs a final resolution of 133 x 2 x 125% or 333. If it is to be reduced by 25%, then it needs a final resolution of 133 x 2 x 75% or 200. (I've rounded up in each case.) Don't know the percentages? Use the scanning calculator, below.

You may be fine scanning at the final resolution arrived at by one of the formulas, above. However, since most scanned images need some type of image editing, scanning at a slightly higher resolution is often advantageous. It is easier to "throw out" unneeded resolution after scanning than it is to restore lost resolution after the fact. Just remember to reduce your image to the final resolution before placing it in your document for printing.

Having trouble doing the math? Try this simple scan resolution calculator:

explore more scanning and resolution topics


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Blue Color Palettes

Choose a blue and choose an orange for a 2-color complementary palette. Choose a blue and choose an orange for a 2-color complementary palette.

? J. Bear Consider combining blue colors with orange in a complementary color scheme.

Blue is a cool color while orange is a warm color on the other side of the color wheel. To avoid unpleasant vibrations, avoid using in equal amounts. Enliven your blue with a splash of orange (or calm your orange with a dash of blue).

From darkest to lightest, the oranges shown with each blue swatch in the above image are: Hex #FFA500 | RGB 255,165,0 (a golden orange; SVG color keyword & CSS color keyword orange) Hex #FF8000 | RGB 255,128,0 (medium orange) Hex #FF4500 | RGB 255,69,0 (orange red; SVG color keyword orangered) Hex #C83200 | RGB 200,50,0 (a dark orange) Numbers: Hex #FF7F27 | RGB 255,127,39 (a peachy orange) The blues, from darker to lighter are: Navy Hex #000080 | RGB 0,0,128 (CSS color keyword/SVG color keyword navy) Blue Hex #0000FF | RGB 0,0,255 (CSS/SVG color keyword is blue; browser safe color) Hex #0045FF | RGB 0,69,255 (a medium blue) Steel Blue Hex #4682B4 | RGB 70,130,180 (SVG color keyword steelblue; a corporate blue) Hex #0080FF | RGB 0,128,255 (a medium blue) Light Blue Hex #ADD8E6 | RGB 173,216,230 (SVG color keyword lightblue)

Dark blues and medium shades of blue symbolize importance, confidence, power, intelligence, stability, unity, and conservatism. By adding some orange to your predominantly dark blue palette you introduce some warmth and energy that can keep your palette from being too stilted or overpowering.

You don't have to use these exact shades. Go a touch lighter or darker, or step one spot to the left or the right on the color wheel. These color combinations are just to help you find a suitable color palette using blue and orange as the main components.


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Monday, June 6, 2011

Form and Function

Form follows function is a principle that states that the shape (form) that something takes should be chosen based on its intended purpose and function.
Often applied to architecture, engineering, and industrial design, the statement form follows function applies to graphic design and desktop publishing too. For designers, form is the elements that make up our designs, our pages. Function is the objective of the design whether it is a sign giving directions or a book that entertains with a story. In print design, form is both the overall look and feel of the page as well as the shape and look of the individual components - the typefaces, the graphic elements, the texture of the paper.Form is also the format whether the piece is a poster, a tri-fold brochure, a saddle-stitched booklet, or a self-mailer newsletter. For designers, function is the practical, getting down to business part of the process of design and desktop publishing. Function is the purpose of the piece whether it is to sell, to inform or educate, to impress, or to entertain. It includes the copywriting message, the audience, and the cost of getting the project printed. Function needs form in order to accomplish its goal. Form without function is just a pretty piece of paper.

Function is deciding that a poster plastered around town would be the best way to inform the general public about a band's upcoming club performance. Function is specifiying how much the band can spend on that poster. Form is choosing the size, colors, fonts, and images based on the function and arranging the text and graphics so that the poster attracts attention and looks good.

To practice the rule of form follows function, start the design process by first getting as much information as possible about the purpose of the piece you are creating. Ask questions about how the piece is to be used, such as: Who is the target audience and what are their expectations? Is the piece supposed to sell a tangible product or an idea? Is it to develop goodwill, create branding, or public awareness about a company, an event, an issue? What is the budget for this project? What quantity of this piece is needed? How will this project be distributed - by mail, door-to-door, in person, as part of a magazine, newsletter, newspaper, or book? What action is the recipient likely to take with the piece - throw it away, stick on the wall, file for reference, pass it around, fax it around, put it on a shelf? What elements are required by the client - specific colors, specific fonts, specific images, a certain printer?

Once you know the function of the piece and the practical parameters and limitations for putting the job together, you get to put it into a form that supports the function using your knowledge of the principles of design, the rules of desktop publishing and graphic design, and your creative vision.


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Graphic Design vs. DTP

Graphic design and desktop publishing share so many similarities that people often use the terms interchangeably.
There's not really anything terribly wrong with that but it is helpful to know and understand how they differ and how some people use and confuse the terms.Answer: The short answer: graphic design jobs involve the creative process of coming up with the concepts and ideas and arrangements for visually communicating a specific message desktop publishing is the mechanical process that the designer and the non-designer use to turn their ideas for newsletters, brochures, ads, posters, greeting cards, and other projects into digital files for desktop or commercial printing

While desktop publishing does require a certain amount of creativity, it is more production-oriented than design-oriented.

Graphic designers use desktop publishing software and techniques to create the print materials they envision. The computer and desktop publishing software also aids in the creative process by allowing the designer to easily try out various page layouts, fonts, colors, and other elements.

Non-designers also use desktop publishing software and techniques to create print projects for business or pleasure. The amount of creative design that goes into these projects varies greatly. The computer and desktop publishing software, along with professionally-designed templates, allow consumers to construct and print the same type of projects as graphic designers although the overall product may not be as well-thought out, carefully crafted, or polished as the work of a professional designer. Graphic 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.

Desktop publishing is the process of using the computer and specific types of software to combine text and graphics to produce documents such as newsletters, brochures, books, etc.

Graphic design and desktop publishing are often used interchangeably but, in part because it is an activity also used by non-designers, desktop publishing is often considered a lesser activity than graphic design. In truth, the two are separate but intertwined disciplines.

Not everyone who does desktop publishing does graphic design, but most graphic designers are involved in desktop publishing - the production side of design. The term desktop publisher can refer to a designer or a non-designer but it often carries negative connotations of an amateur.

Some graphic designers are quite vocal about their distaste for desktop publishing, which is somewhat amusing since much of what they do does involve desktop publishing. What they are really upset about is not desktop publishing itself - it's an invaluable part of the entire graphic design process - but rather the misuse (real or perceived) of desktop publishing software by non-designers.

All the FAQs: Career & Business | Software | Design & Layout | Graphics | Type & Fonts | Prepress & Printing


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Monday, April 18, 2011

Doing Pro Bono Right

The two main rules:

1. Do it for the right reasons.

In comments to a recent blog on Working for Free, Sheryl and Kelly describe some of the right reasons to do pro bono work. Giving back (to your community, to a cause that's dear to your heart, to your church, etc.) is at the heart of most pro bono design work. Other reasons for doing volunteer work are important as well but will differ from one person to the next. You can gain valuable experience, build your portfolio, and perhaps expand your horizons beyond the type of work you normally do. ?You might get work somewhere down the road that is directly attributable to your pro bono work, but don't do it just for that reason. Down the road could be a dead end.

2. Use a contract.

Working pro bono only means you're not getting monetary compensation for your work. It doesn't mean you aren't providing a valuable service or product for your client. Protect yourself and the client by using a contract. Spell out exactly what you are offering pro bono and what you aren't. Typically, you supply the design work but the client pays for the printing. Or, arrangements are made to secure pro bono or discounted printing services. Either way, spell it out in the contract so you aren't left with a bill you weren't anticipating. If you are expecting some sort of tangible non-monetary compensation (such as credit line/link on their Web site or a free ad in the company's newsletter) put it in your contract. Just as with paying clients, if you require a certain number of printed samples for portfolio use, include that requirement in the contract. Even though they aren't paying for your design services, non-profits, charities, churches, and family can all potentially be picky, even demanding, clients. ?Or not. Be prepared either way to deal with demands on your time that you might not have intended when you volunteered.

6 Tips for Doing Pro Bono Web Design - Good advice here although I don't necessarily agree with #6. Sure, sending a statement showing what the client would have paid is fine, but I'd make it clear that it's not an invoice right up front, no "make them sweat" games.Drawing Up a Contract for Pro Bono Design Work - Mulitple designers who do a lot of pro bono work chime in here with advice on using a contract, what to put into a contract, and dealing with nice and not-so-nice clients.Business of Design Online: Working Pro-bono - Scroll down for a list of good article and advice on why to work pro bono and how to find pro bono jobs, drawing up contracts, and even a sample pro bono contract. Pro Bono Work Questions - The main thrust of this Graphic Design Forum discussion is giving up rights to your work and what you can reasonably ask in return (a credit line every time a logo you designed is used, probably not reasonable).Improve Your Portfolio With Pro Bono Design - David Airey tells us that "Pro bono publico (usually shortened to pro bono) is a phrase derived from Latin meaning 'for the public good.'" It can be good for your portfolio too. He explains how to approach a business about doing pro bono work.

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Sunday, March 13, 2011

Drawing Vector Images

Digital photographs are bitmap images made up of thousands and thousands of pixels while vector graphics, even if based on a photo, are drawn with lots of lines (& math) in an illustration program such as CorelDRAW or Adobe Illustrator. Often, you can tell the difference by sight because vectors tend to be slightly artificial, just a touch too perfect to be pixels.

But sometimes it's hard to tell. Take a look at these people pictures drawn in CorelDRAW posted at Designbeep. On a few of them, at first glance you might mistake it for a photograph.That's some serious vector work.

The Language of Curves - from About.com Graphics Software, you'll find explanations for paths, nodes, handles, splines, and Bezier curves including detailed illustrations which can be really helpful if you've never worked with vector paths and curves.The Anatomy of a Vector Illustration - at Mike's Sketchpad a vector illustration of a bird is dissected to show the objects, curves, and points. The article includes tables comparing certain vector elements from CorelDRAW, ?Illustrator, FreeHand, and Canvas.Vector Drawing Tutorials - learn how to use CorelDRAW, Illustrator, and other vector drawing programs.

In addition to being the right tool for vector drawing and logo design, illustration programs can often double as page layout programs for projects that don't involve tons of text and lots of pages (that is, not for books and newsletters usually). You can design your ads, business cards, posters, and simple brochures in an illustration program.

If you don't have the time, patience, or skill to draw your own you can get some free vectors to use in your projects. Here's a random sampling of the many vector art sites out there to get you started.

Vectorious.net sells vector art but they also have freebie vectors in their Vector art blog where you'll also find tutorials, tips, and collections of inspiring vector illustrations.FreeVectors.net showcases free downloads of vector art from a variety of authors for personal use and some are also licensed for commercial use or have creative commons licensing.Vecteezy has free vector illustrations, icons, and patterns from many authors. Some will be personal use only but others have more liberal licensing.

What software do you use for vector artwork? Do you use illustration software for page layout projects too? Share with us in the comments.


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Stick Figures

Stick FigureAwhile back in the forum Imjumper wrote, "I am looking for some software that has a wide variety of stick figure people~I have Art Explosion 600k and it has some but I am looking for something with a large selection. Know of anything?" Tell us in the comments. Browse these stick figure images I've found or learn how to draw your own in the tutorials.

Drawings of Stick Figures

If you're looking for images related to stick figures, here's what I've found (for free and for purchase). Includes collections, individual images, and dingbat fonts. Not all are strictly stick figures but they come close.

ScreenBeans Clip Art from A Bit Better are a cross between stick figures and cartoon silhouettes and available in Windows and Mac packages and a lot of different themes.FreeVectors.net turns up a lot of people silhouettes. Not exactly stick figures but might work for you.deviantART has all kinds of images of stick figures, including animations. You'll need to check the terms of usage on each one.Flickr turns up a lot of pictures of signs and some drawings when you search for 'stick figure.'Fontspace has some stick figure dingbat fonts. MyFonts sells P22 Frau Jenson People.ClipArtOf has individual royalty-free Stick Figure Clip Art & Illustrations for varying prices.Hand Drawn Stick Figure War Brushes are for use in Photoshop (no commercial use though).

Sure, just about anyone can draw a stick figure (maybe) -- I drew the stick figure above. But here's how to draw good stick figures.

How to Draw Stick Figures shows you the basics and several styles of stick figures (not all stick figures are the same!).This How to Draw Stick Figures tutorial goes into details on proportion and balance.In Stick Figure Tutorial you have to at least know how to draw a line and a circle, goes through various body parts and poses. It concludes by telling us "You'll need about 10 years until you can finally draw stick figures realistically."

Updated March 2011


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Proofreading Marks

Three important rules of desktop publishing are: 1. Proofread, 2. Proofread, 3. Proofread. But once you've proofread the material how do you indicate the needed changes? You don't have to be a professional proofreader to benefit from the use of standard editors' marks and proofreading marks.

Proofreaders' proofreading marks are a combination of symbols and short notations used to mark up both draft documents and typeset pages. Markup may occur at two different stages: when copyediting material (editors' marks) before typesetting when proofreading typeset materials (proofreaders' marks).

The symbols are virtually identical but may be used slightly differently depending on the material.

Why to Use Proofreading Marks
Just because most of your work is done on the computer doesn't mean marking up a hard copy is obsolete. There are some types of errors that only become obvious when seen in print. Don't rely solely on what you see on-screen.

Proofreaders' proofreading marks provide consistency and help to avoid miscommunication. Whether sharing work with others or proofing your own work, proper use of proofreaders' marks saves time and frustration. "Whether you are communicating with your own reader or with the client, standard proof symbols offer a graphic system adapted to saying much in small spaces, with precise, determinable meanings and relatively little ambiguity in use. I suggest they are indispensable." Max Field"When you edit your own work, use them. If you just make chicken scratches all over your copy, then go back to it a day or two later, you'll find yourself saying 'what did I mean when I wrote that?' If you ever find yourself working with a copywriter, your copywriter will use them, and you had better understand what they intend for you to do to change the copy." Valerie Martin Stuart

How to Use Proofreaders' Proofreading Marks
There's no need to memorize every one of the dozens of symbols used in proofreading. You'll become familiar with the most frequently used symbols quickly enough. Keep a chart handy for everything else.(See the sidebar for several different charts of proofreaders' marks.) At the copyediting stage text is often double-spaced, leaving plenty of room for inserting editors' marks and notations within the text. At this stage most markup will indicate additions and deletions due to grammar, spelling, and style. In single-spaced or typeset material use carets, circles and other simple marks in the text to indicate a problem. Place proofreaders' marks and notations in the margin adjacent to each line of marked up text to indicate what to do. Markup at this stage indicates typesetting errors such as transposed characters, incorrect fonts, improper indentation or text spacing, widows and orphans, or missing design elements.

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Fifties Color Palettes - Atomic Age 1950s Color Combinations

Atomic Age Color Combinations
Color Palettes with CMYK Formulas

These Atomic Age era color palettes are quite bright compared to earlier browns, grays, and more subdued combinations. Not as vivid and eye-popping as what was to come in the Sixties, this era still had its share of bright pinks, seafoam green, and chartreuse. Reds leaned toward orange or pink while blues were closer to cyan.

colour combinations - yellow and green with black and white
C100Y100K50 | K40 | C10M25Y80 | C40K100 | White
A dark green pairs with the neutrals of gray, black, and white and a lovely harvest gold.

colour combinations - A dark brown with earthy orange and yellow
C80M100Y100K15 | M60Y80K10 | M35Y100 | M15Y35K25 | C40K100
A warm, earthy color palette with golden yellow and a touch of taupe.

colour combinations - Red and yellow palette
M100Y100 | M20Y100 | C40K100 | White
Vivid red, bright yellow, and black.

atomic age color palette in layout
Two shades of blue-green, a red, a brown, plus a dash of black and white.

colour combinations - red, blue, black, and palest pink
C12M95Y60 | C75M6Y20 | C4M5Y2 | C40K100
The palest pink stands in for white in this palette with a definite 50s flavor as seen in the pinkish red and bright light blue.

colour combinations - pink, blue, black palette
M40Y10 | C50Y10 | C40K100
Another red/blue/black look uses light red (pink) and light blue as highlights and accents with lots of black.

colour combinations - brown and black palette
M75Y100 | C22M30Y55K5 | C15M70Y75K20 | White | C40K100
A warmer color palette of browns and orange with black and white.

colour combinations - Red and green and black palette
C10Y100K15 | C50Y100K20 | C10M100Y80 | C40K100 | White
This isn't a Christmas red and green - there's decidedly yellow tinge to those greens.

Color Meanings and Mixing Colors
Discover the cultural meanings for these colors and more ways to mix and match colors.

More Color Palettes
Explore more color palettes to evoke a certain mood or make a color statement.

Use Swatch Books
Use PANTONE Color Guides to get just the right shades for your color palettes and to find CMYK-PMS color equivalents.


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Tuesday, February 15, 2011

What Is DTP Software?

Desktop publishing software is a tool for graphic designers and non-designers to create visual communications for professional or desktop printing as well as for online or on-screen electronic publishing. Answer: The term desktop publishing was originally coined to describe Aldus (now Adobe) PageMaker and among professional designers refers primarily to high-end page layout software applications including Adobe InDesign and QuarkXPress. However, an explosion of consumer programs and the associated advertising hype stretched the use of "desktop publishing software" to include sofware for making greeting cards, calendars, banners, and other crafty print projects as well as all the peripheral programs for handing fonts, graphics, and later Web design. It also resulted in a wider range of low-cost, easy-to-use software that didn't require traditional design and prepress skills to understand and use. Other applications and utilities often lumped into the "desktop publishing software" category are better classified as graphics, Web publishing, or presentation software, and any number of utilities and plug-ins for specific related tasks such as color calibration, font management, or imposition. The DTP software lists below are those that do the core task of desktop publishing - composing text and graphics into page layouts for publishing.

Desktop Publishing in the 21st Century further expands the meaning of desktop publishing and thus broadens the definition of desktop publishing software to include software for Web design and other forms of visual communications beyond print design.

The main players in the field are Adobe, Corel, Quark, and Serif with products that stick close to the original use of desktop publishing software for professional page layout. Additionally, Microsoft, Nova Development, Broderbund and others have been producing consumer or print creativity and business desktop publishing software for many years.

Adobe makes many software packages used by designers. You've probably heard of Photoshop, for example. But these other programs are not page layout software applications for print publishing. They are graphics software, Web design software, programs for creating and working with the PDF format, such as Adobe Acrobat, and other related software tools. The primary desktop publishing software or page layout software applications are:

Corel is best known for its graphics suite that includes CorelDRAW and Corel Photo-Paint. In the past it has produced creative printing or home publishing programs used for desktop publishing too but the primary page layout software from Corel is:

Microsoft produces Microsoft Word, Excel, PowerPoint, and various consumer graphics and creative printing programs used alone or in conjunction with other applications to do some form of desktop publishing. Their entry into page layout for print is:

Quark has other software but the one most closely associated with desktop publishing is QuarkXPress and its many XTensions (produced by many third party vendors) that enhance and expand the basic capabilities of QuarkXPress.

Serif produces a suite of applications for graphics and Web design but the core desktop publishing software application is:

Broderbund produces a number of design and publishing programs in the consumer desktop publishing arena. Although some users do use these programs as freelance designers, the programs are not typically considered professional or high-end tools. The primary audience for Broderbund creative printing software are individuals wanting to create personal projects. The two titles most closely associated with desktop publishing are:

Specialty programs primarily designed just for greeting cards, calendars, or other specific print tasks are also frequently changing names, changing hands, and changing focus. These include programs such as Calendar Creator and Scrapbook Factory.

In addition to the sometimes fuzzy division of desktop publishing into professional, home, and business categories, there are other types of software closely associated with desktop publishing. Of the four types of software for desktop publishing, the Page Layout category encompasses the programs also known as desktop publishing software. The others are specialized or auxilliary tools used in desktop publishing. But the lines are blurred. Much of the best design software is used for both print and Web and sometimes doubles as both page layout and graphics software or creative printing and business software or other combinatons.

For the most complete list, see the A-Z Really Big List of Desktop Publishing Software.


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Monday, February 14, 2011

Tab Delimited Files

A common problem in desktop publishing is how to get data from one program into another program. Plain text files are one solution. You'll lose your formatting but you'll have your text, which you then reformat in your page layout software. But, for some text such as Word tables or Excel Spreadsheets, there's another option -- tab delimited files.

Tab delimited files are one way to import and place data that is arranged in rows and columns, such as tables and spreadsheets. You'll still lose font formatting and colors, but you'll retain the grid-like layout of your work.

A tab delimited file is a special kind of plain text file with a tab between each column in the text. When imported into your page layout software, the tabs allow the columns to line up neatly.

In this Using Tab Delimited Files Step-by-Step tutorial see how to export tab delimited files and two methods of importing them into your desktop publishing software.


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Monday, January 24, 2011

PostScript Printer Required?

A PostScript Printer is a valuable Desktop Publishing tool. If you are a professional desktop publisher or graphic designer who works with commercial printers and service bureaus you will probably need to know and use PostScript.

Desktop publishers often ask "Do I really need a PostScript* printer?" and "Do I really need to know how to create PostScript files?" The answer is it depends. To help you decide here's a brief introduction to PostScript and some examples of when it is good to have a printer that speaks this language and why you should be familiar with PostScript.

What is PostScript?
Simply put, PostScript is a programming or page description language. It is a way of describing what a page should look like. Another such page description language is PCL (printer control language) found in HP printers. For the differences between PostScript and PCL see PS and PCL Comparisions.

Printers print dots. How these dots (raster images) are arranged on the page determines what you see, how the page looks. A printer uses an interpreter (printer driver) to translate digital documents created by your software into a raster image that the printer can print.

Some types of documents such as those created by graphic designers and desktop publishers, contain an intricate combination of fonts and graphics that are best described using PostScript. The PostScript language and a PostScript printer driver then tell the printer how to print that document. PostScript is generally device-independent, that is, if you create a PostScript file it will print pretty much the same on any PostScript device.

Do I Need PostScript?
Developed by Adobe, a leader in desktop publishing applications, PostScript technology (currently at level 3) is often called the language of desktop publishing. Its strength is in its ability to handle the often complex text and graphics typical in graphic design and desktop publishing.

If you do little more than type business letters, draw simple graphs, or print photographs, you may not need the power of PostScript. For simple text and graphics your non-PostScript printer driver may be sufficient for turning your documents into raster images. Otherwise, PostScript — specifically a PostScript-capable printer — is a good investment for most desktop publishers. Some types of text and graphics simply "look better" printed with PostScript. Or, as Adobe says on its Web site, "Adobe PostScript translates your great ideas into print — exactly as you intended."

Commercial printers speak PostScript, making it a common language for sending digital files. Due to its complexity, creating PostScript files can be tricky for the novice but it is a worthwhile skill to master. If you don't have a PostScript printer, troubleshooting any PostScript files you create becomes trickier. PDF (Portable Document Format) is a file format based on the PostScript language and is increasingly used for submitting digital files for printing. With or without a PostScript printer, a basic understanding of the PostScript language is useful when creating and working with PDF.

Additionally, one of the two primary graphics formats used in desktop publishing is EPS. EPS (Encapsulated PostScript) is a form of PostScript. You'll need a PostScript printer to print EPS images.

Next Page: What If I Don't Have a PostScript Printer? & the Bottom Line on whether or not you need a PostScript printer to do desktop publishing.

*Is it Postscript, postscript, or PostScript? Although you'll find it written all three ways all over the Web, Adobe writes it PostScript (uppercase P & S). PostScript is a registered trademark of Adobe Systems Incorporated.


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Sunday, January 23, 2011

PANTONE#174; Spot Color Nam...

The PANTONE? Matching System (PMS) is the dominant spot color printing system in the United States. Printers use a special mix of ink to achieve the color needed. Each spot color in the Pantone system is assigned a name or a number. There are over a thousand Pantone spot colors available.

Are PANTONE 3258 C, PANTONE 3258 U, and PANTONE 3258 CVU the same color? Yes and No. While PANTONE 3258 is the same ink formula (a shade of green), the letters that follow it represent the apparent color of that ink mix when printed on different types of paper.

The letter suffixes of U, C, and M tell us whether that particular color is how it will appear on uncoated, coated, or matte finish papers, respectively. The coating and finish of the paper affects the apparent color of the printed ink even though each uses the same formula.

Pantone swatch books — printed samples of ink - come in coated, uncoated, and matte finishes. You would use these swatch books or color guides to find the desired spot color for the type of paper used in your project.

Software programs such as Photoshop and CorelDRAW contain color palettes for various printing systems, including PANTONE colors. You can add additional color palettes or create custom palettes for your software.

In your software color palettes you may encounter suffixes such as CV, CVU or CVC. CV stands for "computer video" and is an electronic simulation of the Pantone color. PANTONE Reflex Blue CVU is an on-screen simulation of how PANTONE Reflex Blue will appear when printed on uncoated paper. Likewise, CVC is a simulation of the color on coated paper. Be aware that there are additional suffixes for process colors but for this discussion we'll stick with spot color.
U = uncoated paper
C = coated paper
M = matte paper
CV = computer video (electronic simulation)
CVU = computer video - uncoated
CVC = computer video - coated

Name That Color
So, which designation should you use when specifying colors? It doesn't really matter as long as you are consistent. While PANTONE 185 CV and PANTONE 185 CVC are the same ink formula, your software may see them as two different colors, even if your monitor shows them as virtually identical.

If PANTONE 185 is the shade of red you want, use either PANTONE 185 CV or PANTONE 185 CVC but not both in the same print job. Capitalization is also important. PANTONE 185 CV, Pantone 185 CV, and PMS 185 CV are three different colors as far as your software is concerned.

Software programs may use differing Pantone palettes. For example, Adobe InDesign 1.5 has Pantone coated (CVC) and uncoated (CVU) palettes while CorelDRAW 7 has a single Pantone CV palette. If you are importing images created in CorelDRAW into InDesign you'll need to rename your colors in CorelDRAW to match the InDesign color palettes.

When you define your own colors or creat custom palettes, use a consistent naming scheme. You can use oddball names to represent any color — such as Ruby Red Grapefruit #2 — but it is usually best to stick with a familiar naming convention: PANTONE in all caps, the name or number, then CVC or CVU as the suffix.

Remember, what you see on the screen is simply a simulation of the printed color. To insure the most accurate color, you should use your Pantone swatch books to find the right ink colors for your project.

How to Do Desktop Publishing > Intermediate Tasks > PMS Color Suffixes

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Friday, January 14, 2011

Creative Thinking

We all have some level of creativity within us. As with other activities, you can teach yourself to be more creative. Sometimes creative thinking requires us to look at things from new perspectives. Learn to unleash your inventive genius by thinking backwards. Here is an appropriate acronym containing five steps to creative thinking -- S A E D I -- that's IDEAS backwards!

S - State of Mind.
Creativity is a state of mind. Telling yourself or others "I'm not very creative," or "I can never come up with new or clever ideas," destroys that state of mind. Creative thinking requires positive thinking.

Read Positive Messages. For long-term creative thinking, read and study books on positive thinking. Some classic titles include Norman Vincent Peale's The Power of Positive Thinking and Robert H. Schuller's Tough Times Never Last, Tough People Do.

Get a Quick Fix. If you have to come up with a clever new ad slogan or a new product name by next week, use some "quick fix" state-of-mind techniques to make yourself ready for creative thinking. Get plenty of sleep. Relax your body and mind with deep breathing. Let your mind wander freely. Don't dwell on deadlines or other negative thoughts. Finally, don't forget to daydream; it can be a very effective tool for creative thinking.

In addition to a clear head, it helps to have a physical space conducive to creative thinking. Think about your atmosphere.

S | A | E | D | I
Think Backwards to Think Creatively and Generate IDEAS


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Commercial Fonts for Teachers - School Fonts for Teaching Handwriting Skills

These fonts mimic the style of type used to teach print and cursive handwriting skills. Most are US -based with some UK resources and Australian resources at the end.

Prices were current at the time this article was written. Check each site for changes — including specials and discounts.

Adobe, Inc.
Briem Script MM
"Type designer Briem began the light version of Briem Script in 1984 as an italic handwriting model for school children. It draws on a handwriting method that was set out by Ludovico Vincentino degli Arrighi in his La Operina, published in Rome in 1522. The bolder versions were added later. But since Briem Script is a multiple master typeface with a weight axis, you can create instances from Light to Ultrabold, and anything in-between. With its clear, friendly face, Briem Script is the perfect choice for food and clothing labels, children's software packaging, menus, and invitations." $69.99 (17 fonts)

ITC Stone Sans
"They contain the linguistic symbols used by the International Phonetic Association, comprising more than 300 letters and diacritical marks, both historical and official. These typefaces are appropriate for dictionaries, language guides, linguistic texts, or wherever else spoken sounds need to be typographically represented." $135.99 (6 fonts)

Graphite MM
"Architect's handwriting with a chiseled pencil look" it looks like a nice, neat printed alphabet. $95.99 (9 fonts)

Educational Fontware (EFI)
"D'Nealian ?-style, Zaner-Bloser ?-style, Harcourt Brace ?-style, Peterson Directed Handwriting ?-style, McDougal, Littell ?-style, Getty-Dubay Italic (TM), SSD, and Palmer style handwriting fonts" come with a variety of trace, ruled, and other variations. Pricing ranges from $25 to $49.95 to $250.00 depending on the licensing and packages purchased. Mac and Windows

Fonts4Teachers
"Manuscript, cursive, & D'Nealian-style fonts for learning handwriting, math, reading, & phonics in English & Spanish, plus clip art, math & ASL symbols." Individual Font Sets at $9.95 ea. Complete Set for $29.95 School Site License: $299.95 Mac and Windows TrueType

IdeaMaker, Inc.
Startwrite
Create your own handwriting worksheets with this software and fonts. $49.95 School Site Licensing Available

Kindergarten.com
Font with ruled lines and with the numbered drawing lines for each letter stroke. 4 versions. (See the Free Stuff link for a free demo version) $29.95

MatchFonts
Under Calligraphic fonts you'll find one called Skrypta which is "quite close to the "ideal" cursive handwriting as described by school manuals." Available only in the package with other fonts. $29.95

Mountain Lake Software
Their School Font Collection contains trace and D'Nealian fonts. $39.95 (Same as the Visions Technology Product described below)

The Peterson Method Font Family
Also available through EFI

School Fonts for Beginning Writing
13 fonts from Kim Voss (Ashley's Mom) to teach reading and writing. 12 are traceable fonts. $59.00-$149.00 Mac and Windows, TrueType and Type 1 formats

Signature Software, Inc.
SchoolHouse Fonts
"Zaner-Bloser(Set A) or D'Nealian(Set B) styles include 18 different fonts in printed and cursive types." $49.95 per set $249.95 site license Mac and Windows

Visions Technology Product Line
School Font Collection
Commercial product for teaching "primary students how to form letters and develop handwriting skills using fonts such as the Trace fonts and D' Nealian fonts." Pricing is for either Mac or Windows except where indicated. To order, call 800-877-0858. Single School (Mac or Win) $39.95 5 Computer License $119.95 Single Site License (35 CD) $249.95 Single Site License (unlimited) $349.95

Club Type (UK)
Sassoon Primary Typefaces
Manuscript fonts designed both for reading and handwriting. Include alternative versions of some characters such as G, I, J, f, k, q, and numerals.

Sassoon Montessori
Manuscript fonts designed for children's handwriting exercises. Alternate characters included. Solid, dotted, and outline versions available.

Handwriting for Windows
This is actually a software program that includes a handwriting font. Use to create practice worksheets in cursive. Developed by a teacher in the UK.

InfaDot (UK)
Set of 4 cursive fonts and a phonetic font for creating your own handwriting worksheets. Mac and Windows.

More than words online(UK)
Developer of custom infant fonts for educational publishers.

Teacher Fonts
A variety of font packages for use in the classroom (math, historical, holidays) including some primary fonts that teach good handwriting skills. Look under Catalogue | Literacy for the listing.

Aussie Fonts
From New Horizons, for Windows, 11 handwriting styles used by schools around Australia; New South Wales 1 & 2, Queensland 1 and 2, South Australia 1 & 2, Tasmania 1 & 2, Northern Territory, Western Australia and Victoria.

Sheperdson School Fonts
Handwriting and Math fonts for schools including New South Wales, Queensland, Victoria, Western Australia, Northern Territory, and Tasmanian. Each set includes Bold, Dots, Cursive, Outline, Regular, Numbered Dots, and Numbered Outline. $25 plus $5 postage/handling per set. Mac and PC formats.

All the School Fonts

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