There’s a guy that I know here in Orlando that goes by the nickname Nemo. He’s got his hands in a lot of cookie jars and making use of each of them in ways that all come together under the idea of “Dreamers”. Alex Hanse is that thought leader behind the Foolies Limited Clothing. Chances are you’ve seen his inspirational t-shirts all around social media from Orlando, to New York, and on Hollywood Celebrities. It’s true, check it out on Instagram.
For Black History Month, Foolies is featuring a different Dreamer for each day of the month. I encourage you to follow them and see who else they’re featured and hopefully find some inspiration by their short bios and stories. I know I am inspired!
I’m super excited to say that I have been featured in Gotta Get Blogging’s Blogger of the Month for December. Bess Auer heads up that organization that helps out bloggers whether beginner to professional to get exposure, grow their reach, and more.
I was asked a few questions about blogging. Check out my responses along with an upcoming event Florida Blog Con Forum on March 2016.
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Last Saturday was World Graphic Design Day, April 27 marks the birthday of Icograda, the International Council of Graphic Design Associations. Established in 1963, Icograda marks its 50 anniversary on 27 April. This celebration was launched in 1991 as World Graphics Day. It is an opportunity to recognize communication design, and its role in the world, and to celebrate the birthday of Icograda.
International Council of Graphic Design Associations (Icograda) was founded in London in 1963. Icograda is the world body for professional communication design and visual communication. Icograda network members include professional associations, design promotion bodies, design media and design education institutions. Design media are affiliated through the Icograda Design Media Network.
Ours is one of the most influential professions in the world. It shapes the daily lives of people everywhere. World Graphics Day is an opportunity to recognise communication design and its role in the world. Communication designers around the world, connected by a passion for their profession, are asked to take a moment to collectively feel pride in the work they do in their communities. Let’s reflect, and hope that our profession will continue to contribute to a better, sustainable world. What an amazing time to be a designer! We can see events unfolding all around the world. We can communicate instantly with each other in many different ways.
To commemorate this date we will showcase some designs created along the years for the World Graphic design Day.
The world may think this is just about making it look good; but Graphic Designers do much more than that, a good Graphic Designer can benefit your business bottom line.Good Graphic Design helps you make that important positive first impression. It gets you noticed and helps you communicate effectively with your potential clients.
Many business owners think that hiring a Graphic Designer is one advertising & marketing expense that they can avoid. Here I will show you some reason why you should not “skimp” on Design services.
- It have to be done, why not doing correctly – Don’t take chances that will cost you money and time, get it right the first time by using a professional Graphic Designer since the beginning. A professional Graphic Designer knows printing and designing specifics that will help you avoid problems when printing or displaying your designs.
- Grab their attention – When it comes to design, first impressions are everything. A Graphic Designer will help to capture the attention of your customers. Successful design will take the message that you want to share to the world and send it directly to the people you want to reach and deliver it in a way that they can receive.
- You don’t have all the time of the world – An experienced Designer works without supervision, manages the Design process, and keeps the Client updated and involved when necessary. A graphic designer knows their field well, they can turn your ideas into reality in a short time, leaving you free to do what you do best.
- Because money matters – If your art file is not prepared precisely the way it needs to be for printing, you may find that it will cost more to have a commercial printing company fix the art file than it would have been to simply hire a professional to prepare proper print-ready art files in the first place. Professional graphic designers are familiar with the legal part of design. They know that it is absolutely necessary to purchase licenses for the images and typefaces that we use in projects. Without these licenses, you could face legal action, which is not cheap.
- Your business image is everything – We live in a society that judge the “book by the cover”, the better something looks from the outside, the more valuable it must be. A professional graphic designer can help you develop a brand that matches the quality of your products and services. They can provide you with beautifully printed business cards and brochures. They can design a logo that not only gets attention, gains recognition, but communicates the ideas and values behind your business.
I hope that these benefits of hiring a more experienced Graphic Designer have convinced you not to hire uncle Juan to design your marketing material. Your business’ success is hinged upon your marketing strategy, and how well that vision is executed and presented to your audience. Professional Marketing and Design is an investment that will pay off over a relatively short period of time.
When looking for a Professional Graphic Designer ask for referrals, check out portfolios and read testimonials of past clients. Design Theory is a Design Firm that works with professional Graphic and Web Designers that can help promote your brand with excellence.
Last week I was talking with a colleague, young designer who was curious about the idea of Serif and Sans Serif. We got into a log conversation, that could probably had no end. Then I remembered writing this article a while ago where we discuss the diference between Serif and Sans Serif.
Typefaces can be divided into two main categories: Serif and Sans serif. Serifs are semi-structural details on the ends of some of the strokes that make up letters and symbols. The printing industry refers to typeface without serifs as sans serif (from French sans, meaning without).
Ancient wisdom tells us that we should use sans-serif fonts for titles, headers, and other short blocks of text, and serif fonts for the main body of the document. The reasoning behind this has to do with the purpose of the serifs. The serifs on the letters are designed to pull the text together, making it easier for your eye to transition from one letter to the next, then from one word to the next. In effect, the serifs ‘pull’ you through the document, and in doing so make the text easier to read. Therefore, long blocks of text will be easier to read if they are written with a serif font. Sans-serif fonts work well in short blocks of larger text, what you would typically find in titles and headings.
Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serif forms is only one of the many factors to consider when choosing a typeface.
In traditional printing, serif fonts are used for body text because they are considered easier to read than sans-serif fonts and thus are the primary choice for lengthy text printed in books, newspapers and magazines. Sans-serif fonts are more often used in headlines, headings, and shorter pieces of text and subject matter requiring a more casual feel than the formal look of serifed types.
Typefaces with serifs are often considered easier to read in long passages than those without. However, studies on this matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Web sites do not have to specify a font and can simply respect the browser settings of the user. But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen.
Serif fonts can be broadly classified in one of four groups:
Examples of old style typefaces include Garamond, Goudy Old Style, and Palatino.
Common examples include Bodoni, Didot, and Computer Modern.
They are among the most common, including such widespread typefaces as Times New Roman and Baskerville.
Examples of slab serif typefaces include Clarendon, Rockwell and Courier.
Sans Serif fonts can be classified in one of four groups:
A few examples are Akzidenz Grotesk, and Franklin Gothic.
Examples include modern designs such as MS Sans Serif, Helvetica, Univers and Arial.
A few examples include Calibri, Lucida Grande, Segoe UI, Myriad, Frutiger, Tahoma and Verdana.
A few examples are Futura, ITC Avant Garde, and Century Gothic.
So what does this mean to you? Well, it always seems to come back to the primary purpose of the document. If you are creating something whose primary purpose is to be printed on paper, then the typical sans serif for titles and headers, serif for the body of the text is probably best. However, if you’re creating something that will primarily be viewed on the computer, you are probably better off sticking with a sans-serif font for everything.
A couple of weeks ago we started talking about terms, vocabulary or jargon on the various graphic design software. Today we are going to learn a little bit about another Adobe software, Adobe Illustrator.
Adobe Illustrator is a great program for drawing vector-based graphics. You can create illustrations, diagrams, and other forms of artwork.
- first developed for Apple Macintosh in December 1986
- Primary used for vector drawing
Lets now learn some vocabulary words for Adobe Illustrator.
Anchor point – a point on a path that indicates a change of direction.
Art board – printable portion of the work area, where illustrations can be finalized.
Bezier Curve – A mathematically generated curve that has two endpoints and control points to specify curve direction.
Bounding box – a temporary frame around a selected object that shows the object’s outer dimensions.
Brush— A selected brush determines the appearance of a path’s stroke. Brushes are stored in the Brushes palette, and sets of brushes can be loaded and saved.
Closed path – Vector paths that are continuous and have no ends; the beginning and end points are the same.
Constrain – to force and object to take a certain form.
Corner pointe – an anchor point where a path changes direction in an angle rather than smoothly.
Dock – A location in the application window where a panel or panels are secured so they do not float.
Fill – characteristics of the inner area of an object, such as the color, pattern, style inside and object.
Marquee – Rectangle drawn around an object with a tool to select an area.
Open path – Vector paths that have two ends; the beginning and end points are not the same.
Panel – A group of related commands and options.
Path – The line that forms the shape of an object.
Point of origin – The point on which an object rotates or transforms. The point of origin may be within the object or outside it.
Shear – To slant or skew an object from its original orientation.
Smooth Point – an anchor point that connects path segments in a smooth curve.
Stroke – Characteristics of the outline of an object, such as its weight, color, style.
Are any of these words new for you? Next week we will see and learn a little bit more about Adobe Illustrator.