ai COMPLETE GUIDE TO the graphic designer's key to the new media Consultant Editors Bob Gordon and Maggie GordonTHE COMPLETE GUIDE 70 DIGITAL GRAPHIC DESIGN ‘Consultant Eaitors: Bob Gorton and Maggie Gorcion Completely revised and undated developments inthe field, The Camplete Guicle to Digital Graphic Design s an inspiring review ofthe evolving processes andnevs technologies in the fast- changing world of graphic design, and is essential reading for anyone studying or practising inthis broadest of industries. Starting with a showcase of Some of the|beGt/prectitioners inthe fields of print, exhibition design, advertising signage, rackacing, multimedia and the Web, this profusely llustrated ] ( authoritative Handbook also provides in-depth ‘ondesign basics sich as tyoe, colour andimages j Tho succinct ct comprehensive coverage of the multitude oftechnica issues conttonting today’s graphic designers, coupled with stunning examples of graphics tom around the world, makesthe book — ideal both fF these studying Graphic design and for those erpployed in graphica who feel the need to hone their and theoretical skis. flect new With 520 colour ilusirationsTHE COMPLETE GUIDE TO>>‘Any copy ofthis book issued by tbe publisher a6 peperbacce sold abject othe condition thai ohall net byway ottadocr atherwise be lent, real, hired out oF herve ceeustd without the pablo pine consent inany frm ofbining r cover ther than hatin which is publehod and witout a szdar condition incucing ‘hase words baing imposed on asubsequeet purchaser. Fist pubs in th United Kingda in 2002 by ‘Twat & Hupgow Loo IIA High Hetborn lendon WIV 7K -worvcthameeandudson.com (©The os Pree Limited 2002 ar 2005 Revised exon 2005 Right Reoeved Noppartof tis pabieaion may be reproduced or tans in any form ot by any ana, ‘lcroie or mechanical eluding photocopy recording tor my ther nformiion storage an eva yea ‘etic prior pesmson wring from the aber This book was concave, aig, and prosucod by ‘i ee Press Lee 23 StAnckews lace nome Ete Suse ENT 1UP [LEXisan imprint Te lox Pras tt [AxtDiocor: Alastair Campbel Designer: Jonatan Raimes. Design Manager: Tony Seddon Project Etor: Lachlan Maine Revised Eaton Bator Adam Banks Potreraoarch: Heather Vickers, (Conroe: jonathan Ramos ln Chiver, hard Gooch, Kah Martin Sue Prk, Jonathan Sith, Paul Springer, Pa Taylor Bri Library Calon in Publcaion Data ‘Acatniogie reorder his beck avalabie om {he eis ibrar ‘siw0-500-2660.8 Printed and bound in Cian ar mone norman on tie vist ‘wrewiweb-Hnked.com eg :NTRoDuCTION ‘ SHOWCASE. rin a PACKAGING i SIGNAGE e exHiBrTIoN ey wreRNer 2 MULTIMEDIADESIGN BASICS oo. "THE VALUE OF DESIGN BASICS PRIMARY SHAPES POINT LINE, ANC AREA Dynamics, EuPtAsts, AND CONTRAST “THE MECHANICS oFTvee DESIGNING WITH TYE. THE DESION PROCESS Layout ocunent SIGNPOSTING Mase seLecrion worm coLouR ‘SURFACE DESIGN oa. DESIGN FOR PRINT ‘THE SOFTWARE SCREEN TO PROOF PROOFING ‘THE PRINTING PROCESS FinIshine, CHOOSING PAPER case wisToRY 2.02 DESIGN FoR ADVERTISING SPECIALIST PEOPLE besten CONSIDERATIONS. ‘CORPORATE (ENTITY I ADVERTISING BRANDING PLANNING CASE HISTORY 02.03 DESIGN FOR PACKAGING KEY KNOWLEDGE Deston CONSIDERATIONS PLANNING AND CASE HISTORY 02.08 DESIGN FOR SIGNAGE. GRAPHIC DESIGN Deston CONSIDERATIONS. PLANNING ‘wD PRODUCTION CASE HISTORY 02.05 DESIGN FoR EXHIBITION EXHIBITION DESIGN EXHIBITION GRAPHICS esicn CONSIDERATIONS PLANNING AND PRODUCTION CASE HISTORY uz ry CONTENTS [ox [a2 02] [03 |[04] DESIGN FORSCREEN 3.01 DESIGN FORTHE INTERNET THE INTERNET eRowseRs ‘THE CHALLENGE FOR MONITOR ResoLUTiON resizes cououR ano "TyPOGRAPHY ‘orrturzine Wes, GraParcs, wr wrsiwye interacriviry JAVA AND JAVASCRIPT DEVELOPING AWE: DESIGN STRATEGY ‘vo pRODUETION CASE MIsTORY 03.02 DESIGN FOR MULTIMEDIA smuurimenta ano WEB DESIGN THE DESIGN PROCESS AUTHORING ‘APPLICATIONS PLANNING AND prooueTion CeASE MIsTORY 03.05 DESIGN FOR GAMES 136 ry TYPE /COLOUR IMAGE. 180 oan NPE. wa oz ‘cotour 18 RANGE OF ACHIEVABLE COLOUR “THE ATTRIBUTES OF coLour ey 0403 TMAGECREATION 196 UNDERSTANDING DIGITAL MAGE WAKING 0 SCANNING AND RESOLUTION an FILE Fonmars FoR BITMAPPEDIMAGES 207 workin wir BITMAPIMAcES IN PAINTING PROGRAMS. 20 DraWNG (VECTOR) rocRANS uossary a4 siouiocrapay = nig INDEX ne icruRE ACKNOWLEDGMENTS. 228INTRODUCTIONINTRODUCTION ‘igi ‘ghaphle abd design’ have become the vary potent wordsia our ‘ooabulaty/Theve ean be fo people living inthe developed world wees He bas net neen touched or iluencea by infomation an desicm technology Personal Computers and the nbicutousslicon chip have found their way inte the homes and vcelplaoss ofmalions of paople irmepective of background, age, or cute (One ofthe mest cormman words Eandied abut as an all encompassing) escriptoris dujtal Thisis almost inevitable since computers depend on steam of electionioally generated ‘cts to function So we have digital telephone lines, digtal printing digital rico and digital elerision among ‘he many areas conaeced vith information, communication, anddosicn, \Viwallyalidata whether tis the form cf words numbers images, cour or movement can be diaized and tansinited using arange of technologies Disitizstion has ereatoda common method cfrecorcing axel wansmating {ata alloning a high level of nteracivty across many forms ofmedia ‘Thue maractty allows 2ound image text andether creative elements 12 wworktouelhierin asingle context andhas radically changed designe ‘working methods by providing aocessto the vast storehouse ofknomledae ‘onthe Iniernet and corrorate inaneis and enabling them te senciand receive a ange of media elecionically va email fom the ow computers. Digital data transmission speeds are constiained by the size offles the nrediiim through which data flows, and the speed at which computer [progessors can handle the information Bit every day sees an improvement iallofilicae areas —fles canbe compressedmore efficient broadband {nlere! connections and high-speed vineless networking are being used more and more, and processor speeds are getting faster and faster. Together with inoreasosin tansiniseion speeds, there isa growing convergence of ‘media whichis Bringing abouta mercing ofpersonal computing, television, radia telephone, publishing games vel ema, and evommerce, Computer enslTVmonitors are geting ager wih erystal clear Mat screen technologies replacing ORT while mobile phones and other portable devioes gai ull Colour displays hie takes usinto an eraviherethe quality ofvieualccntent ‘vilplay anincressinaly important rolein the way ve communicate oa widar Tange fansiences. The qualtyof visually eceived informations the Tegionsbiliy ofthe digital graphic designer. 5 fat 8 nestion ‘Design finds its way into every aapect of dalylite.Fromthelockcfciothes, dings, andoonsumer goods toreacing matter, fentersinment inferior andexterior lenionments almost every form ofmodem: ‘commisnication ad producion graphic lesion playsan smportant part isalmost impossibieo avoid being bombarded by visual messages ‘Much of whats published iprintoron screens a tendency tobe visually {issatcant orjubled partly because ofthe speed with hich tcan newlbe Genorated and etivered in thiosntormation-andimeasage- orientated world itis nereasingly important forthe qraphie desionorte strive for oréer and Clty Urlersandingthew auciences reaction vsualmaterial theirlevelacfeoncentraion andcoraprehension and hiew tey cathe influenced by cultural or fashion tendisis beso the problem salvingprocess Equally ‘inportantis understanding how eye andorain pork: togelierin scanning and processing ‘worms pietaes. and the suber visual cuss ‘fform| colons anc composition. Stice prehistory humans have usedtsions and slapes to communicate information fan iceas aboutthe real world as wellasto ‘express what they saw intheir imagination. ye the aarhestamibes could pernapshe peel asthe fist Graphic desiapers'— arranging extinaloaical and oficent way —it ‘asthe vention ofprinting, with is potential formmass production, that formed the bedrock foramphieciesi as arecognizahletrade ‘The development ofmevable type inthe smud-15ih Conny widaly atsiautedta Johann Gutenberg 2adially changed the (design ofletershapes Whereas the handivastingoftie scribe hag evolved siowy enegenty over conturies,vitasrmuch ‘emphasis placed on composition and. enibolishment as onletio: formsytype ‘Gesign now became a relatively fast moving ‘Gomnmessialpronass Teter shapes Were ‘sandarcized and it vas necessary 0 devies Ciflerent varisnestohelp convey meaning(Graphiodesign contimied io valve asa ss much fo mathematics, engineering, ard psycliology as io the ine atts (Changesin ae fashion and taste, dramatic advancesiareprographictechnoleeses, and the changing demands of commerceand Iestyle exerted massive inluence| along wilh the creative contribntione of inmumerablo artists typooraphers, designers and stylists Yetche ‘overwhelming impressien givon By tne more fafluenilal giphisclesighers of recent tims! fl caloatedtetuctange to draw on history Following WerliWarl members ofthe ‘Thereare however several aspects of graphic desiom that remain elatwely unatiacted by technology These inside Generstingand developing ideas and concerts design and ‘typographic prinsgles and creative probiers solving — al satnbouteethat distinguish graphic design rom oter profaesions Happily digital technologies ave provided many fist class tools fox exploring extending and realising ideas in faster mare THaible ane more cost-effective ways, Printing has ractionally comnitated tne way m whieh stapme designers work: felds such as packaging, exhibition design, endadvertising are lage defined by the differantprinsing processes asfocislediwith them Burfhe printing methods hat Digital devslopments have given designers arange of frst class tools for exploring, extending. and Jealizingiceas in faster, mote flexible, and more costeetfective ways. [Bauhas Sehool sawhistory asdeae convention, and/preferredio redefine orrejee:tho [Parameters vahin which thelr predecessors Thad worked. Alavant-garde thullang- amar component ofgeaphie design ~ sdriven by the eedie escapefiamthepastin olerio explore the possibilities ofthefatre ‘The emphasis fihis bookis on dal crack design, affeldorexted by the devetopment not ofthe computer itselfbut ofthe graphical user interface! (GU) -the means hy which users can shietac wih Gaphiesymbols onsereen. The ‘Apple Macinieshin particular, by adoptinga (GUin place ottext-baed operation, allewed ‘he innovation ofa graphical screencisplay tobe ‘exploited far tha creation of graphical content, ape ius dita crap tesign Was born. ‘Sinep the lalineh afte Mac 1984 the distal evelitionhas overtaken traditional graphic esigarwotking pinations with cinmondinary speed. Many ssectalstttades andcraftshave production has shifted to he computerized tdesop, and designers themselves ae recited tomasier an ever expanding new sklse, anging from fie operon of different cofware ‘paclages to te digial epresentatin ofeolour andthe processes imolvedin reproducing digital contentin print and on soreon ‘doainated the major par ofthe twentieth century have coon sg revotitions Dung the 1960s cise lithography fockove: fom he labour intensive leterpt6ss prining anciwiun a ‘decade became the moat common form ofseprodiction This major change was followed closely by computerized typesctirg, ‘hich was finally absorbed intopersonal computer aystoms ‘Taday aPDF (portable document formal) Sle containing all the ‘formation necessary te eulpu a printed document - whether single Plack-and-white page 198 color magezine —canbe ‘tanamatted direct tethepmnter’s factory floor, whet ‘computerized equipment eter makes plates ready for offset Iho printing or outputs the job dizecllyto paper usingacital press Colouralipration can be performed automaticaly ‘hroUgoat te proces from obtaining linages from cameras enclecamereto cutputingthamon presi Inpractice designer ‘wil and should sll aiscusd a éomplexjob wi the printer sho wil oversee some ofthe finer technical sttrigs. The fact emalns that nis oW an everyday event ior paces, posters signs andeven three dimensional objects to beprocliced wit: ‘vimllyno separation between thedesignor and the final resut Digital eohnology is by non so welleosablishedthar many yours ‘designers may question whether the word digital’ need even be sed. But graphic design finds itselfin a sate of permanent sevelution Web design for instance; iaa dsciplina loss yan ‘decade old yet iis basic methods have already changed beyarc! recognition asnew generations ofsoftwarohave been developad ‘and nevr standards, hott: technical and practioal, adopted Whe Jmnows whatmedia we may be dlesignins for andwith what tooS, inanctnor decade? As tha saying qoos Iiwe.cansee into he fate, then-werenotlocking far enough heedTHE ROLE OF THE DIGITAL GRAPHIC DESIGNER Paradoxically arena that hasseen many icustes and professions having o specialize inorder to survive, the distal aanhic designer hasbeen required to diversify The most significant growth is inthe explosion ofthe Interiet arclmaltimestiaindustry Many graphic designers are fily engaqedin webpage desiqn involving ypoqtaphymagery,animnaton, moviea,andeven coud The computerization of graphic design work wit the evelopment ‘ofnumerous disparate, yet oten overlapping; {olivate programs has greally enlarged the rofessional graphic design will continue to thrive, eative eye cannot be packaged! Tangectivork inwhich ‘graphie'designers ‘can he involved, In addition ta the rich creativ elements of many programs there are snurgeyous buittin preduetivty an Tabor saving lectures, Many previously specialist areas of graphic design now share siilar sefvare programs forimage and text cricination ‘Thedlgial power readily avalable tothe ‘designer isimmense Every aspectofa project oan he ereated and finiahedtoaigh professionallevel ona sinule Apple Maciniosh ‘FPO workstation, Not only has the originaion process been macle easier, battha waysin ‘which he finished result canbe previews by both designer and chent has transformeditne Way ciBativ Heople work Afloable colour proofers she how printed materials willleck, tecimolosios suchas PDP Mescllow instant tuangmission and dist ution, walk through sofwarepreviews threo. dimensional creations; [packaging software folds ancimnakes up packs from flat designs; and slide shows and movies 10 parton. itetcton ‘bring presentanone lle. Many atthe chores assooisiod ‘ah repetitive design or editing laskshave been reduced considerably by automated eattues oultinto most applications search andeplace spelichecking, graphic and ‘typographic style sheets’ and content management systems, toname justa few you canttfind a feature that automates a repaitive task you can probably cresteit yourseiby recorcing ‘sequence of commands asa macro, script or ‘action’. As oraphi¢ designers.can work across so many fields they need tobe familiar wih awide range of different production and ‘lanufacturing procasses and related support prefessions and sills This may include Photographers, Wustators musicians, writers and 5im makers as wellas ectmical specialism web design databese programming and other fields. Digitization feound nage animation, movies snd prociction processes thas enabled professionals o collaborate aid workacross an increasingly wide specttum, ‘The emergence of he personal computer and desktop [Publshingprograms tagethar yith these nde avaabiityto ideas and innovation, good composition, and non designers could have signalled tie hegnningofthe nd forthe practising graphic designer, Photography, as a ‘profession, could alsa have died out ae high-qualily automatic Decaine accessible andl easy touse for anybody and ‘everybody. However like professional photography, ;professional graphic design will confine o thrive because ‘leas and innovation experience the instinct for composition, anda creative eye cannct be ‘packaged! as anoft-ihe-shell product for dientslacking the relevant Salls and talent (Graphic desianis anammensely exciting end visrant activity spwhich olbeinvolvedi and, ac euch is arewercing profession follow Butstrequires vision, stamina and.geed hurnour Combined with cralivity,imoration, ardanaivicaland ‘methodical ways ofwor¥dng Designers needa wor¥ang mnowledgeofbudgels manufacturing, andseproduction processea Successh graphic designers aimto devise mentive ‘Solitons to isa commnication problems intesponseto lenis needs and inorder fo dosooken norkclosely with conten formulating a bute and woking strategy prior to startingany visual work: A good understanding of human mate ‘andthe culnmalenironment, as wellastheibiliy'o lend or be ‘team player astequired ogether witha keen eyefor deta dlstinguish the truly excelleni designer fom the average