The artworks made by the American Indian incorporate numerous varieties of arts and crafts. The diversity of the American Indian art ranges from the traditional beadwork, pottery and other conventional Native American art to the fine paintings, sculptures, photography and other sophisticated works. And because of that, there are numerous art auctions, of which are found either online or offline. These art auctions feature almost types of American Indian artworks.
Later on, we will tackle the American Indian artwork that has the most traditional and historical feature, of which, are the beadworks made by the Native Americans. The beadworks made by the native American Indians have rich meanings in terms of symbolisms; these beadworks also are highly decorative and utilitarian.
The process and the beadwork itself is one of the oldest crafts of the Native American Indians. The beadworks are mostly made of stones, bones, shells and other semi precious stones. The some of the beadworks made by the native American Indians that are available these days are made very much the same way as their forefathers had made them. Although few of them are made using today’s modern technology, little has been changed and the process is somewhat the same as the ancient ways.
The most popular American Indian artworks are those made of sea shell materials. These types of beadworks are highly popular. Almost every American Indian beadworks are made from sea shell material, from necklaces to purses to almost everything.
In the old times, the beadworks made by the American Indians were made mostly of the turtle shells and animal horns and hooves. These native American artworks were often used for rattling or tinkling materials that are used for their dances. These artworks were also worn by hunters in a form of necklaces and were mostly made of wolf and bear claws. They serve as trophies of their kills, and serves as a symbol of the hunter’s expertise. While some of the American Indian beadworks are made of steamed bones and seeds. They were often used for stringing and are mostly blended into various forms.
Because of their ever increasing popularity, oriental factories has been replicating, manufacturing and importing beadworks of the Native American Indians. They have been doing it for several decades now. Therefore, has been a competing factor in the beadwork industry of the American Indian arts. And because of that, the craftsmen in the industry of American Indian art industry are greatly affected, losing a considerable amount of income (millions and millions of dollars) because of the fake native artworks made by these oriental factories.
In terms of string beadworks of the American Indians, they were mostly made of animal sinews that are finely divided and are attached on clothing. Sometimes, sturdy plant fibers were utilized for this reason.
These days, Navajos and some traditional aboriginal American communities still manufacture an ancient type of beadwork that is called the “heishii”. The “heishii” or referred to as “legend necklace” is the most popular type of beadwork, and are used to refer to a legend. Even today, heishii is still used to narrate a legend, with every single bead symbolizing a character.
The craftsmen of today’s American Indian art create designs using the today’s technology, by creating actual beadworks through digital means. Thus, the sophisticated and complex beadworks and its designs can be tested digitally before actually manufacturing the piece. Therefore, adding creative process for the craftsmen.
These American Indian artworks and its components are essential factors of in the field of archaeology. Not only do they survive history, they also provide numerous fascinating tales and stories that most of which are still untold. As a matter of fact, ancient American Indian artworks are found thousands of miles from seas. Of which is an indication of the numerous trade routes and contacts thousands and thousands of years ago by various cultures.
Beadworks crisscross itself through time not just through the history of native American Indians but also in the modern technology of today. The most vital aspect of the American Indian beadwork is the value it represents when it is given among family and friends. Their true meanings are associated with aspirations and essential judgments of a person.
Read More...
Monday, August 18, 2008
An Approach To Sell Comics
Creators can sell comics as the usual 24 pages book or as a graphic novel 60 to 200 plus pages. When one wants to sell comics as the 24 page book, the comic book would have to come as a series of separate issues. In this way it may be cheaper to produce. You can have a series with 5 issues that come out in different periods of the year. The revenue made from issue #1 can be used to cover the expenses for issue #2. In my opinion this is probably the best way for inexperienced comic book creators to start.
However, if a creator thinks that making a graphic novel is more convenient for him/her to start with, you can go for it under two conditions. You have the funds and a marketing plan. I say this because the marketing is the most strenuous part any creator experiences when producing a product. These days publishing your comic book doesn't have to take fifty dollars out of your pocket if you do the writing and drawing yourself. This method is known as publishing on demand. For first time comic book creators, the difficulty of marketing your comic book can be ten times multiplied.
Creators who successfully sell comics they created are usually those who have experience and background in the producing of comics. It would be easy for someone who is known for working on titles like X-men or Spiderman to come out of Marvel and produce his own comic books or sell his comics. This was the case for Todd McFarlane. McFarlane reached star status in Marvel comics. When he came out of Marvel, he was involved with other illustrators in starting Image comics. Once he published his title called Spawn, it became an almost instant hit because of McFarlane’s popularity. The thing is, not everyone who wants to create comics would get the privilege to work for a giant publisher like Marvel Comics, and also not everyone who works for Marvel will become popular.
How I see it is there are two ways one can break into the comic book industry by creating comics and to sell comics. Both ways involve developing a name for your-self. First, it could be done by integrating oneself with existing publishers and editors, getting hired as staff in an editorial office, and getting published by a smaller publisher. The second way is by independent publishing. Let me add, both ways are extremely difficult, can take years to getting positive results and could cost you big time money.
The encouraging news, there are other methods to get your work to the audience for less money or time. Thanks to the increase in technology, the conventional (going through the big time publishers) way of breaking into the comic book industry to sell comics is not the only way. I’ll explain.
The hardest and biggest hurdle comic book creators have to overcome is marketing their comic book or getting an audience to their comics. Once people know that your comic book exists and like the comic book, to sell comics would be a lot easier for you.
First of all and most important is that when you want to sell comics you have to have a good quality and appealing comic book to sell. Develop an appealing comic book that you know a certain group of people would like.
The next step to sell comics is to market it to those people you made the comic book for. The people whose needs your comic book is meeting. In this way you are almost certain to have a buy. You can do this by creating a website for your comic book and then refer interested people to the website to check your comic book out.
Creating a comic book and marketing it through the internet is now one of the most convenient ways to get your comic book recognized. Like I said before, once your comic book is recognized and liked, to sell comics would be natural.
Read More...
However, if a creator thinks that making a graphic novel is more convenient for him/her to start with, you can go for it under two conditions. You have the funds and a marketing plan. I say this because the marketing is the most strenuous part any creator experiences when producing a product. These days publishing your comic book doesn't have to take fifty dollars out of your pocket if you do the writing and drawing yourself. This method is known as publishing on demand. For first time comic book creators, the difficulty of marketing your comic book can be ten times multiplied.
Creators who successfully sell comics they created are usually those who have experience and background in the producing of comics. It would be easy for someone who is known for working on titles like X-men or Spiderman to come out of Marvel and produce his own comic books or sell his comics. This was the case for Todd McFarlane. McFarlane reached star status in Marvel comics. When he came out of Marvel, he was involved with other illustrators in starting Image comics. Once he published his title called Spawn, it became an almost instant hit because of McFarlane’s popularity. The thing is, not everyone who wants to create comics would get the privilege to work for a giant publisher like Marvel Comics, and also not everyone who works for Marvel will become popular.
How I see it is there are two ways one can break into the comic book industry by creating comics and to sell comics. Both ways involve developing a name for your-self. First, it could be done by integrating oneself with existing publishers and editors, getting hired as staff in an editorial office, and getting published by a smaller publisher. The second way is by independent publishing. Let me add, both ways are extremely difficult, can take years to getting positive results and could cost you big time money.
The encouraging news, there are other methods to get your work to the audience for less money or time. Thanks to the increase in technology, the conventional (going through the big time publishers) way of breaking into the comic book industry to sell comics is not the only way. I’ll explain.
The hardest and biggest hurdle comic book creators have to overcome is marketing their comic book or getting an audience to their comics. Once people know that your comic book exists and like the comic book, to sell comics would be a lot easier for you.
First of all and most important is that when you want to sell comics you have to have a good quality and appealing comic book to sell. Develop an appealing comic book that you know a certain group of people would like.
The next step to sell comics is to market it to those people you made the comic book for. The people whose needs your comic book is meeting. In this way you are almost certain to have a buy. You can do this by creating a website for your comic book and then refer interested people to the website to check your comic book out.
Creating a comic book and marketing it through the internet is now one of the most convenient ways to get your comic book recognized. Like I said before, once your comic book is recognized and liked, to sell comics would be natural.
Read More...
Pictures Of Landscaping - Using Other Peoples Ideas To Design Your Landscape.
One of the most common searches on my site is for pictures of landscaping. So I know that a lot of folks rely on photos of other peoples designs to get ideas. But at the same time, while I do have a large picture directory of other peoples projects on my site, the most common questions I receive are still related to specific shapes and design ideas.
It would seem that with as many pictures of landscaping there are to look at online, just about everyone could find a close match to their own property that could be copied. It would seem so.....if every yard was square or rectangular. However, the fact is that most yards aren’t square or rectangular. So even with the endless landscaping ideas and examples out there, it’s still highly unlikely that you’ll find an exact match to the shape of your property.
Don’t tell anyone... but even as a professional, I still use pictures of other peoples landscaping as an educational tool and to get new ideas. However, unlike most people, I don’t search for an exact idea to copy. I look for unique, creative, and new ideas and pieces of the puzzle.
Now here’s a piece of advice and the point to this entire article.
When looking at pictures of landscaping, pay attention to the details, ideas, and principles that are universal to most designs. Look for the things that are common and repeated often by different designers. These are the elements that look good because they are generally based on basic principles of art. These are the things that will probably incorporate well into your own design project regardless of shape.
Other peoples landscaping pictures are a great design tool to help you get your project done. However, instead of hopelessly searching for your exact layout, borrow several ideas from several different designs. You’ll save yourself a lot of frustration and have a much better chance of creating something unique to your own property.
Read More...Miniature Painting - Art Through the Ages
As an artist, Rebecca Latham as well as her mother, Karen, and sister, Bonnie, strive for detail in their painting. Studying with a Flemish master, they have developed their styles for painting extreme realism. Their works, both large and small, are painted “in miniature”.
Early Beginnings
Miniature painting is a traditional style of art that is very detailed, often referred to as painting or working “in miniature”. Because of their origins as illuminations, they are also painted to have as smooth of a surface as possible. (It is also suggested that miniature art may have been influenced by the medals of ancient Rome as well) Miniature art can be traced back to ancient Egyptian manuscripts on papyrus scrolls. Monks are also often highlighted for their contributions to early miniature painting with their beautifully illuminated manuscripts such as the Celtic Book of Kells and England's Lindisfarne Gospels (both of which measure around 9" x 12"). Some early manuscripts contain miniature paintings on their pages that depict beautiful arrangements of life sized flower arrangements on their borders. The history of miniature painting is also seen throughout the world in various other cultures.
Miniature painting began out of necessity for illustrating documents and manuscripts to aid those reading them during a time when many were not able to, before printing was invented. The miniature helped to convey the story and meaning of the written word. Therefore, the art of miniature painting is directly connected to the book arts. The various sized illuminations (pictures) were cut out of these books or documents so that they could be carried more easily. Later, developing from the carried miniature, portrait miniature artists were commissioned to paint small portraits – paintings that were used as we use wallet sized photographs today. These sizes of miniature paintings became popular with collectors and are often referred to as “hand held miniatures”. Portrait miniatures were painted in larger sizes as well, for example master miniaturist, Nicholas Hilliard, Peter Oliver, and Sir Charles William Ross all painted works that were of a larger size.
Sizes
Miniature painting is sometimes confused and assumed that the pieces must be small or depict subjects on a smaller scale to be considered miniature art, though this is not the case. It is helpful to keep in mind that the origins of the term "miniature" have nothing to do with a size. The word miniature comes from the terms 'minium' (used for the red lead paint used in illuminated manuscripts) and 'miniare' (Latin for 'to color with red lead').
Miniature painting is a style and technique of painting, and as such, a wall sized work could be painted “in miniature”. Authors of the Yale University Press publication, “The English Miniature” have stated that miniatures have been painted large and some works are even considered to be gigantic. Numerous faculty members of the Victoria & Albert Museum in London confirm that miniature paintings are not restricted to smallness. Larger sized miniature paintings are documented throughout history and are recognized today, though painting larger works in miniature is more difficult and time consuming than a smaller piece if the same attention to detail is observed. Miniature art is also unique in that it was and is often used on objects, such as the Russian lacquer boxes that are beautiful examples of Russian miniature painting.
Exhibitions
Today, there are miniature art societies in western society to help promote and preserve traditional miniature art and the “spirit of miniature”. Their exhibitions feature the hand held miniature paintings (or sculptures) and each exhibition has its own unique guidelines and rules for artists showing in their exhibit. Some of these rules limit the size of work to be no larger than a set square inch. Others limit the size of a subject, such at the 1/6th scale rule that a subject may not be painted larger than 1/6th of it's natural size, or the 2” rule, that an object in the painting may not exceed 2”. Scale rules were initially put in place as a guide for artists starting out in miniature art. There are also many framing restrictions for society miniature works as well. All of these rules are put into place by each show for their own individual and unique exhibitions, and do not define what miniature art is.
Artists painting miniatures throughout history were not restricted in their artwork by scale as their subjects were painted to any measurement or scale that the artist deemed pleasing to the eye and their patrons, for both manuscripts and other miniatures. Subjects that are naturally small in size, such as butterflies and insects, were painted life sized. Thus the 1/6th scale rule that is used by some shows and societies today unfortunately causes a bit of confusion to those new to the art form who commonly assume that is it a part of a mechanical criteria of the miniature's definition. The world's experts in miniatures do not recognize the rule as legitimate, and view those embracing it as unknowledgeable, and dismiss them.
The term "miniature", as it addresses miniature painting, is often confused with "miniaturize" and some miniature art exhibitions do not refer to miniature as it's initial meaning of techniques, but rather the size of the painting (miniaturized painting). They are two very separate descriptions.
Miniature painting is an art form that is very rich in history that continues today by artists from around the globe. The beautiful ornamental qualities of the miniature should be preserved whether it be the intricate large pieces, or intimate hand held works. Read More...
Early Beginnings
Miniature painting is a traditional style of art that is very detailed, often referred to as painting or working “in miniature”. Because of their origins as illuminations, they are also painted to have as smooth of a surface as possible. (It is also suggested that miniature art may have been influenced by the medals of ancient Rome as well) Miniature art can be traced back to ancient Egyptian manuscripts on papyrus scrolls. Monks are also often highlighted for their contributions to early miniature painting with their beautifully illuminated manuscripts such as the Celtic Book of Kells and England's Lindisfarne Gospels (both of which measure around 9" x 12"). Some early manuscripts contain miniature paintings on their pages that depict beautiful arrangements of life sized flower arrangements on their borders. The history of miniature painting is also seen throughout the world in various other cultures.
Miniature painting began out of necessity for illustrating documents and manuscripts to aid those reading them during a time when many were not able to, before printing was invented. The miniature helped to convey the story and meaning of the written word. Therefore, the art of miniature painting is directly connected to the book arts. The various sized illuminations (pictures) were cut out of these books or documents so that they could be carried more easily. Later, developing from the carried miniature, portrait miniature artists were commissioned to paint small portraits – paintings that were used as we use wallet sized photographs today. These sizes of miniature paintings became popular with collectors and are often referred to as “hand held miniatures”. Portrait miniatures were painted in larger sizes as well, for example master miniaturist, Nicholas Hilliard, Peter Oliver, and Sir Charles William Ross all painted works that were of a larger size.
Sizes
Miniature painting is sometimes confused and assumed that the pieces must be small or depict subjects on a smaller scale to be considered miniature art, though this is not the case. It is helpful to keep in mind that the origins of the term "miniature" have nothing to do with a size. The word miniature comes from the terms 'minium' (used for the red lead paint used in illuminated manuscripts) and 'miniare' (Latin for 'to color with red lead').
Miniature painting is a style and technique of painting, and as such, a wall sized work could be painted “in miniature”. Authors of the Yale University Press publication, “The English Miniature” have stated that miniatures have been painted large and some works are even considered to be gigantic. Numerous faculty members of the Victoria & Albert Museum in London confirm that miniature paintings are not restricted to smallness. Larger sized miniature paintings are documented throughout history and are recognized today, though painting larger works in miniature is more difficult and time consuming than a smaller piece if the same attention to detail is observed. Miniature art is also unique in that it was and is often used on objects, such as the Russian lacquer boxes that are beautiful examples of Russian miniature painting.
Exhibitions
Today, there are miniature art societies in western society to help promote and preserve traditional miniature art and the “spirit of miniature”. Their exhibitions feature the hand held miniature paintings (or sculptures) and each exhibition has its own unique guidelines and rules for artists showing in their exhibit. Some of these rules limit the size of work to be no larger than a set square inch. Others limit the size of a subject, such at the 1/6th scale rule that a subject may not be painted larger than 1/6th of it's natural size, or the 2” rule, that an object in the painting may not exceed 2”. Scale rules were initially put in place as a guide for artists starting out in miniature art. There are also many framing restrictions for society miniature works as well. All of these rules are put into place by each show for their own individual and unique exhibitions, and do not define what miniature art is.
Artists painting miniatures throughout history were not restricted in their artwork by scale as their subjects were painted to any measurement or scale that the artist deemed pleasing to the eye and their patrons, for both manuscripts and other miniatures. Subjects that are naturally small in size, such as butterflies and insects, were painted life sized. Thus the 1/6th scale rule that is used by some shows and societies today unfortunately causes a bit of confusion to those new to the art form who commonly assume that is it a part of a mechanical criteria of the miniature's definition. The world's experts in miniatures do not recognize the rule as legitimate, and view those embracing it as unknowledgeable, and dismiss them.
The term "miniature", as it addresses miniature painting, is often confused with "miniaturize" and some miniature art exhibitions do not refer to miniature as it's initial meaning of techniques, but rather the size of the painting (miniaturized painting). They are two very separate descriptions.
Miniature painting is an art form that is very rich in history that continues today by artists from around the globe. The beautiful ornamental qualities of the miniature should be preserved whether it be the intricate large pieces, or intimate hand held works. Read More...
DPI and Why - Resolution Does Matter
When I started on the internet I was a photographer and a science fiction fan. Since I had no science fiction photos of my own, I started surfing the web. After several months of looking through many Sci-Fi web sites, I realized that most of those sites used small thumb nail size prints (usually 1 inch x 1 ¼ inch or smaller). This was back in the days that a 28.8 modem was considered high speed.
The reason these thumb nails were so small was that it took so much time for the pictures to come up on the page. When you clicked on an individual thumb nail; a larger version of the picture came up (usually 4x6 or bigger), but it would take a very long time to do so.
Searching all the big images I could find; I saved the ones I liked, and brought them into Photoshop where I could compress them. I made my own site with images that measured a whopping 2 inch x 2 ½ inches, which was better than the small thumb nails I saw every where else. I quickly found that over 90% of their images were saved at 72dpi; so that’s what I did. For several years, I saved all my photos at 2 inch x 2 ½ inches and at 72dpi.
As my interest in photography continued to grow; I realized that a Sci-Fi web site might be cool but it made me no money. I needed to put up a web site of my own photos. By now I was using a 56k modem and decided my pictures needed to be bigger. When I scanned in my pictures I usually did them at 100% at 72dpi; so that all my images on line where now 4x6 in size.
After a few years my lab started offering pictures on CD. They were also 72dpi so I didn’t have to scan them in anymore. Life was good; but they used file sizes like 44 inches x 56 inches which at the time I really couldn’t figure out. I didn’t know anyone who ever printed something that big; so again I took those images and compressed them back down to 4x6 inch size.
Eventually, I started doing the same thing but saving them as 5x7 inch size. My new site (betterphototips.com) looked impressive and actually loaded very quickly. Yes, I also eventually stepped up to real high speed (1.5mbs per sec.) Life was good again; until I went back and started pursuing one of my other great loves (writing). I figured rather than just using this site as a gigantic portfolio; why didn’t I offer something for sale as well. You know the old adage “write about what you know best”? To me it made perfect sense that I should start writing about photography “how to” tips. That’s when things started to get complicated.
When I looking around at self publishing and print on demand publishing, I found that they all wanted pictures to be 300dpi or greater. This was a total shock to me. I had thousands of images ready to use, but they were all saved at 72dpi. I thought that Photoshop could save me again, so I started converting them to 300dpi but something didn’t look right. My 300dpi images looked worse than my 72dpi images. I was at a loss. Then I went back and did my research.
The reason the images on a CD from the lab are so huge (in measurement) is so you can use the images in either format. 72dpi is exactly 25% of 300dpi. If you want your 300dpi images to look as razor sharp as your 72dpi images do on line, the print has to be 75% smaller. In other words, an image that measures 44 inch x 56 inch at 72dpi would be the same quality as an image that measures 11 inch x 14 inch at 300dpi.
If you take an image that was originally 5x7 inches at 72dpi and try to convert it directly to 300dpi, it is not a pretty picture. Similar to the equivalent of the right f-stop and the right shutter speed, you have to take both factors into account! DPI and Size are forever tied together. You can not change one without affecting the other. It is much easier to make something smaller that looks good, than to try to enlarge something after the fact and try to make it look even close to the original. That being said, the best photo tip I can give new beginners today is: ALWAYS save your images larger than you expect to use. Do not waste 15 years of your life and thousands upon thousands of images that can only be used in one way. Always save large!! Read More...
The reason these thumb nails were so small was that it took so much time for the pictures to come up on the page. When you clicked on an individual thumb nail; a larger version of the picture came up (usually 4x6 or bigger), but it would take a very long time to do so.
Searching all the big images I could find; I saved the ones I liked, and brought them into Photoshop where I could compress them. I made my own site with images that measured a whopping 2 inch x 2 ½ inches, which was better than the small thumb nails I saw every where else. I quickly found that over 90% of their images were saved at 72dpi; so that’s what I did. For several years, I saved all my photos at 2 inch x 2 ½ inches and at 72dpi.
As my interest in photography continued to grow; I realized that a Sci-Fi web site might be cool but it made me no money. I needed to put up a web site of my own photos. By now I was using a 56k modem and decided my pictures needed to be bigger. When I scanned in my pictures I usually did them at 100% at 72dpi; so that all my images on line where now 4x6 in size.
After a few years my lab started offering pictures on CD. They were also 72dpi so I didn’t have to scan them in anymore. Life was good; but they used file sizes like 44 inches x 56 inches which at the time I really couldn’t figure out. I didn’t know anyone who ever printed something that big; so again I took those images and compressed them back down to 4x6 inch size.
Eventually, I started doing the same thing but saving them as 5x7 inch size. My new site (betterphototips.com) looked impressive and actually loaded very quickly. Yes, I also eventually stepped up to real high speed (1.5mbs per sec.) Life was good again; until I went back and started pursuing one of my other great loves (writing). I figured rather than just using this site as a gigantic portfolio; why didn’t I offer something for sale as well. You know the old adage “write about what you know best”? To me it made perfect sense that I should start writing about photography “how to” tips. That’s when things started to get complicated.
When I looking around at self publishing and print on demand publishing, I found that they all wanted pictures to be 300dpi or greater. This was a total shock to me. I had thousands of images ready to use, but they were all saved at 72dpi. I thought that Photoshop could save me again, so I started converting them to 300dpi but something didn’t look right. My 300dpi images looked worse than my 72dpi images. I was at a loss. Then I went back and did my research.
The reason the images on a CD from the lab are so huge (in measurement) is so you can use the images in either format. 72dpi is exactly 25% of 300dpi. If you want your 300dpi images to look as razor sharp as your 72dpi images do on line, the print has to be 75% smaller. In other words, an image that measures 44 inch x 56 inch at 72dpi would be the same quality as an image that measures 11 inch x 14 inch at 300dpi.
If you take an image that was originally 5x7 inches at 72dpi and try to convert it directly to 300dpi, it is not a pretty picture. Similar to the equivalent of the right f-stop and the right shutter speed, you have to take both factors into account! DPI and Size are forever tied together. You can not change one without affecting the other. It is much easier to make something smaller that looks good, than to try to enlarge something after the fact and try to make it look even close to the original. That being said, the best photo tip I can give new beginners today is: ALWAYS save your images larger than you expect to use. Do not waste 15 years of your life and thousands upon thousands of images that can only be used in one way. Always save large!! Read More...
Saturday, August 16, 2008
Design Your Own Website- It Is Simple
Before you embark upon the process involved when you design your own website, you must select and register a domain name. That is your site's brand name and contact name. In order to be given a domain name of your very own, you must make a yearly payment to the appropriate registering entity to obtain the exclusive right to it.
Obtaining a domain name doesn't mean you have a web site or anything close. All you have is a name. It is similar to getting yourself set up with a name for your business is the "real" world - just obtaining exclusive rights to a name doesn't mean you are totally in business. You just have a name.
A web host commonly implements numerous computers that are all linked to the Internet to allow a very large number of web pages to be broadcast all over the world. The first step in making your new web page visible is to use a reputable web host that will give your personalized website a virtual home.
Thinking of a domain name is very much like thinking of a name for your company in the physical world. Similarly, a web hosting account is the equivalent of renting an office for your company. After you have come up with a domain name and signed on with a web host, you will then need to design your own website (http://www.buildyoursite.com/) to attract visitors.
As a beginning web designer, you first need to design your own website in a attractive, and appealing manner. After you have got your basic web page posted you will be able to make any adjustments that you feel are needed. There are free web editors and commercial versions that are widely available.
When you choose to use free software, you can also learn more from a complete tutorial on the web. The step-by-step tutorial will guide you in the process of making your own web page, site map, and comment forms. It will also give you tips on the basic aspects of the software so you can continue to update and improve the site in the future.
A crucial aspect of web development is optimizing your site for search engines. This should be undertaken from the very start of the design process. In addition, there are a number of other concerns involved in developing web pages. Read More...
Obtaining a domain name doesn't mean you have a web site or anything close. All you have is a name. It is similar to getting yourself set up with a name for your business is the "real" world - just obtaining exclusive rights to a name doesn't mean you are totally in business. You just have a name.
A web host commonly implements numerous computers that are all linked to the Internet to allow a very large number of web pages to be broadcast all over the world. The first step in making your new web page visible is to use a reputable web host that will give your personalized website a virtual home.
Thinking of a domain name is very much like thinking of a name for your company in the physical world. Similarly, a web hosting account is the equivalent of renting an office for your company. After you have come up with a domain name and signed on with a web host, you will then need to design your own website (http://www.buildyoursite.com/) to attract visitors.
As a beginning web designer, you first need to design your own website in a attractive, and appealing manner. After you have got your basic web page posted you will be able to make any adjustments that you feel are needed. There are free web editors and commercial versions that are widely available.
When you choose to use free software, you can also learn more from a complete tutorial on the web. The step-by-step tutorial will guide you in the process of making your own web page, site map, and comment forms. It will also give you tips on the basic aspects of the software so you can continue to update and improve the site in the future.
A crucial aspect of web development is optimizing your site for search engines. This should be undertaken from the very start of the design process. In addition, there are a number of other concerns involved in developing web pages. Read More...
Web Development And The Big Time Out
One of the great debilitators in online business is simply the perceived (or real) lack of time. Business owners are used to moving forward. An online web presence can make them feel tied to an office chair learning skills they aren’t sure they want to know.
It’s not uncommon for those who deal in full time web design to have individuals contact them for a site design, but have absolutely no idea what they want. Furthermore when the designer questions them the response might be, “I don’t know, just make it look nice.”
Let’s not forget the core values or mission of the business. Many business owners have no idea how to answer those kinds of questions. They may stare blankly for a moment or two and there’s no more time for further deep thought so they go back to action – without answers.
In many cases it is possible to answer some of the questions needed, but it may require taking time away from a familiar setting. It may also require more time than you think you want to give.
If you can get to a place of concentrated contemplation you are likely to find yourself stripping ideas to their core to find out what your business is trying to accomplish and what your ultimate goals might be.
As with almost any project you can turn frustration around if you will just take the time to come to terms with your vision.
Sometimes we spend so much time ‘doing’ we never stop to ask the question, “Why?”
This process can be a bit like taking a bus that drives around the park. You keep looking at the flowers and the park bench and long to sit in the quiet shade of a tree and just absorb the calming atmosphere. You know they will have a positive effect on you, but for some reason you just can’t seem to find the energy to get off the bus.
It seems to me there are some sites that are misguided or rarely guided that could benefit from the process of self-evaluation. These sites may look nice, but there is a sense of disconnection that may not be easy to identify, but it’s fairly obvious to visitors.
Creative energy is at a minimum while business owners simply tackle what seem to be the most urgent details.
As more people gravitate to online business there needs to be a shift in the thinking of how one goes about doing business online. In many ways it can’t be approached in the same way a traditional business is developed, yet that is typically the way many new web commerce ventures choose to tackle the subject.
You may discover your business will be more successful if you take some time for rigorous reflection. The time set aside can be a bit like an architect that takes the time to develop plans for a new building. You wouldn’t expect the architect to simply tell a construction crew to, “Go out there and build – something.”
Work at ‘building’ your online business in a comprehensive way. Your effort can develop a firm foundation for long-term success. Read More...
It’s not uncommon for those who deal in full time web design to have individuals contact them for a site design, but have absolutely no idea what they want. Furthermore when the designer questions them the response might be, “I don’t know, just make it look nice.”
Let’s not forget the core values or mission of the business. Many business owners have no idea how to answer those kinds of questions. They may stare blankly for a moment or two and there’s no more time for further deep thought so they go back to action – without answers.
In many cases it is possible to answer some of the questions needed, but it may require taking time away from a familiar setting. It may also require more time than you think you want to give.
If you can get to a place of concentrated contemplation you are likely to find yourself stripping ideas to their core to find out what your business is trying to accomplish and what your ultimate goals might be.
As with almost any project you can turn frustration around if you will just take the time to come to terms with your vision.
Sometimes we spend so much time ‘doing’ we never stop to ask the question, “Why?”
This process can be a bit like taking a bus that drives around the park. You keep looking at the flowers and the park bench and long to sit in the quiet shade of a tree and just absorb the calming atmosphere. You know they will have a positive effect on you, but for some reason you just can’t seem to find the energy to get off the bus.
It seems to me there are some sites that are misguided or rarely guided that could benefit from the process of self-evaluation. These sites may look nice, but there is a sense of disconnection that may not be easy to identify, but it’s fairly obvious to visitors.
Creative energy is at a minimum while business owners simply tackle what seem to be the most urgent details.
As more people gravitate to online business there needs to be a shift in the thinking of how one goes about doing business online. In many ways it can’t be approached in the same way a traditional business is developed, yet that is typically the way many new web commerce ventures choose to tackle the subject.
You may discover your business will be more successful if you take some time for rigorous reflection. The time set aside can be a bit like an architect that takes the time to develop plans for a new building. You wouldn’t expect the architect to simply tell a construction crew to, “Go out there and build – something.”
Work at ‘building’ your online business in a comprehensive way. Your effort can develop a firm foundation for long-term success. Read More...
Interior architecture
Interior Architecture bridges the practices of interior design and architecture so that professionals working in the field have astructural and load bearing education with an emphasis on interior spaces. The field is similar to architecture in that it deals with structures and loadbearing walls. It is similar to interior design in that it focuses on interior spaces.
The National Center for Education Statistics's definition of Interior Architecture: "A program that prepares individuals to apply architectural principles in the design of structural interiors for living, recreational, and business purposes and to function as professional interior architects. Includes instruction in architecture, structural systems design, heating and cooling systems, occupational and safety standards, interior design, specific end-use applications, and professional responsibilities and standards."
In the United States, what is considered "interior design" is called "interior architecture." However, a practicing professional cannot use the title of "Interior Architect" unless they complete the requirements for becoming a licensed architect.
In mainland Europe (that is excluding the anglo-saxon countries) the term "Interior Architecture" is generally used. In many European countries the use of the title "Interior Architect" is legally regulated. For more information see ECIAArchitecture is not completely the same with interior design. Read More...
Interior decoration
Interior decoration or decor is the art of decorating a room so that it is attractive, easy to use, and functions well with the existing architecture. The goal of interior decoration is to provide a certain "feel" for the room; it encompasses applying wallpaper, wall decals, painting walls and other surfaces, choosing furniture and fittings, such as light fixtures, floorplans and providing other decorations for the area such as paintings, sculptures and carpets. In some cases, interior decorating is performed professionally by certified interior decorators (C.I.D.)
Although the terms interior decorating and interior design are sometimes used interchangeably, each discipline exhibits a distinct difference in its scope. Interior decorating is generally focused on the selection and presentation of interior items within a space, such as furniture, accessories, finishes and room layout. Interior design, on the other hand, involves manipulating the architectural integrity of the interior space.
History
The role of interior decorator probably came into existence in the 1720s in Western Europe, mostly being performed by men of diverse backgrounds. William Kent, who was trained as a history painter, is often cited as the first person to take charge of an entire interior, including internal architecture, furniture selection, and the hanging of paintings.
In London, this role was frequently filled by the upholsterer (sometimes called the upholder), while in Paris the marchand-mercier (a "merchant of goods" who acts as general contractor) often filled this role. Architects both in Great Britain and on the European continent also often served as interior decorators. Robert Adam, the neoclassical architect, is perhaps the most well-know late-century example of an architect who took on entire interiors, down to the doorknobs and fire-irons. Other 18th-century men who filled the role of interior decorator include Sir William Chambers, James Wyatt and Dominique Daguerre (marchand-mercier who emigrated to England). During the 1830s, interior decorators were responsible for the revival of interest in Gothic and Rococo styles in England. By the late 19th century, some firms set themselves apart as "art furnishers."
Modern interior decorators began with Lenygon and Morant in London, Charles Alavoine and Jeanselme in Paris, and Herter Brothers (from 1864) and Elsie De Wolfe and Ogden Codman in New York.
Other early interior decorators:
Many of the most famous designers and decorators during the 20th Century had no formal training. Sister Parish, Mark Hampton, Robert Denning and Vincent Fourcade, Stephen Chase, Mario Buatta, John Saladino, Kelly Wearster, Jeanine Naviaux and many others were trend-setting innovators in the worlds of design and decoration.
Room theme
A theme is a consistent idea used throughout a room to create a feeling of completeness. These themes often follow period styles. Examples of this are Louis XV, Victorian, Minimalist, Georgian, Gothic, or Art Deco. The evolution of interior decoration themes has now grown to include themes not necessarily consistent with a specific period style allowing the mixing of pieces from different periods. Each element should contribute to form or function or both and maintain a consistent standard of quality and combine to create the desired design.
For the last 10 years, decorators, designers, architects and homeowners have been re-discovering the unique furniture that was developed post-war of the 1950's and the 1960's from new material that were developed for miliatry applications. Some of the trendsetters include Ray Eames and Herman Miller.
Design trends are changing ever more rapidly and this can be seen by the designers, decorators, and architects coming from California. Kelly Wearster[1]] has created a style now known as Hollywood Regency. This is a use of formal furniture and adding such touches as gingerbread to create a whimsical style. She is also know for finding unique accessories and using them in her design projects.
The newest design trend has been coming out of San Diego by decorator Jeanine Naviaux of On The Inside Design[2] and Jack Smyer of Smyer Architecture[3]]. The two separately have created a new style called California Beach Modern. This is the California lifestyle that mixes the homeowner's love of the sea, from surfing, kayaking or biking and keeping with the clean lines of modern archicecture and decor. It is done through the creating outdoor showers and storage for homeowners so that when they finish their day, the decorator and architect think about the placement of these items, the factors of sun and salt and their impact on the overall scheme of how California Beach Modern design.
On television
Interior decoration has become a popular television subject. In the United Kingdom (UK), popular interior decorating programs include Changing Rooms (BBC) and Selling Houses (Channel 4). Famous interior designers whose work is featured in these programs include Linda Barker and Laurence Llewelyn-Bowen. In the United States, the TLC Network airs a popular program called Trading Spaces, a show with a format similar to the UK program Changing Rooms. In addition, both Home & Garden Television (HGTV) and the Discovery Home networks also televise many programs about interior design and decorating, featuring the works of a variety of interior designers, decorators and home improvement experts in a myriad of projects. Fictional interior decorators include the Sugarbaker sisters on Designing Women and Grace Adler on Will & Grace. Read More...Interior architecture
Interior Architecture bridges the practices of interior design and architecture so that professionals working in the field have a structural and load bearing education with an emphasis on interior spaces. The field is similar to architecture in that it deals with structures and load bearing walls. It is similar to interior design in that it focuses on interior spaces.
The National Center for Education Statistics's definition of Interior Architecture: "A program that prepares individuals to apply architectural principles in the design of structural interiors for living, recreational, and business purposes and to function as professional interior architects. Includes instruction in architecture, structural systems design, heating and cooling systems, occupational and safety standards, interior design, specific end-use applications, and professional responsibilities and standards."
In the United States, what is considered "interior design" is called "interior architecture." However, a practicing professional cannot use the title of "Interior Architect" unless they complete the requirements for becoming a licensed architect.
In mainland Europe (that is excluding the anglo-saxon countries) the term "Interior Architecture" is generally used. In many European countries the use of the title "Interior Architect" is legally regulated. For more information see ECIA Read More...Interior design
is a practice concerned with anything that is found inside a space - walls, windows, doors, finishes, textures, light, furnishings and furniture. All of these elements are used by interior designers to develop the most functional space for a building's users.
What buildings do interior designers work on? What is interior design?
Work on: hotels, schools, hospitals, and private residences. Interior design is not to be confused with interior decoration which is focused on choosing color palettes with complementary furniture, flooring, window coverings, artwork, and lighting. Today, interior designers must be attuned to architectural detailing including: floor plans, home renovations, and construction codes. Interior design draws on aspects of environmental psychology, architecture, and product design in addition to traditional decoration (aesthetics and cosmetics). An interior designer is a person who designs interiors as part of their job. Interior design is a creative practice that analyzes programmatic information, establishes a conceptual direction, refines the design direction, and produces graphic communication and construction documents.Size of the industry
In the UK, the value of the products the interior design industry specifies is estimated at £15 billion/ year, with an estimated 5000 design practices.Specializations
Interior designers can specialize in a particular interior design discipline, such as residential and commercial design, they can also help with making rooms in the hospital and even work with schools to make offices or another things with some developing expertise within a niche design area such as hospitality, health care and institutional design. In jurisdictions where the profession is regulated by the government, designers must meet broad qualifications and show competency in the entire scope of the profession, not only in a specialty. Designers may elect to obtain specialist certification offered by private organizations. Interior designers who also possess environmental expertise in design solutions for sustainable construction can receive accreditation in this area by taking the Leadership in Energy and Environmental Design (LEED) examination.
The specialty areas that involve interior designers are limited only by the imagination and are continually growing and changing. With the increase in the aging population, an increased focus has been placed on developing solutions to improve the living environment of the elderly population, which takes into account health and accessibility issues that can affect the design. Awareness of the ability of interior spaces to create positive changes in people's lives is increasing, so interior design is also becoming relevant to this type of advocacy.
Disciplines
There is a wide range of disciplines within the career of interior design. Some of the disciplines include: structure, function, specialized performance, special group needs, discipline needed for business, computer technology, presentation skills, craft skills, social disciplines, promotional disciplines, professional disciplines, aesthetic disciplines, and disciplines with cultural implications. This list shows how interior designing encompasses many different disciplines and requires both education in science and technology as well as being moved.Design Process
Regardless of the building-type the process is identical. The first step is determining the client's objectives, timescale and budget. This is called taking a Brief. The objective is nearly always to improve revenue for the client - even householders will be considering the resale value of their home. The designer will then provide a Fee Proposal which outlines their design input and the cost for this. It will be made clear whether the interior design practice will procure goods and/or project manage and the costs or margins for this also. Working drawings are required prior to any design work, these are detailed survey drawings of the existing space. The very first step once commissioned on the project will be creating these drawings if none already exist.
Today, designers use computer-aided design (CAD) although hand sketches are still valued for their "personality". CAD is a program used to communicate design solutions in realistic views at various angles. This program eliminates long hours of hand-drawing and sketching.
Following the survey and working drawing, the initial concepts will be presented to the client for approval. If approved this is followed by the floor plans and then the detailed specifications of all alterations, finishes and furnishings. It is probable that doors, windows and walls will be repositioned. Also, of major importance is the approach to the building - so the exterior is always considered along with the interior design.
Naturally, only if the design practice handles procurement or project management will they take on these roles. Many design specifications will be included in a tender package which will ultimately be used by a building contractor, or fit-out contractor as it is often called, to complete the design for the client. The on-site stage of the design can be many months or even years after the design specification is completed.
Training
Postsecondary education, especially a bachelor's degree, is recommended for positions in interior design. Within the United States there are 24 states, the District of Columbia, and Puerto Rico, that have some form of interior design legislation with regard to title and practice. The National Council of Interior Design Qualification (NCIDQ) administers a licensing exam. To be eligible to take the exam, a candidate must have a minimum of six years of combined education and experience in the field, where at least two years includes postsecondary education. Once the examination has been successfully taken, the designer may indicate that they are an NCIDQ certificate holder. In certain jurisdictions, this is linked to the ability to practice or self-identify as an interior designer. The laws vary greatly across the United States and in some jurisdictions, NCIDQ certification is required in order for the designer to call themselves a Certified, Registered, or Licensed Interior Designer. In others, however, there are no minimum qualifications and anyone with a desire to do so may call themselves an interior designer. Continuing education is required by some states as part of maintaining a license.
Alabama has recently rolled back legislation regarding the licensing and practice of interior design. It is important to note that there is a difference between title acts which restrict who can call themselves an interior designer and practice acts that limit who can actually practice activities defined as within the scope of interior design.
Earnings
Interior design earnings vary based on employer, number of years with experience, and the reputation of the individual. Interior designers within the specialization of architectural design tend to earn higher and more stable salaries. For residential projects, self-employed interior designers usually earn a per-minute fee plus a percentage of the total cost of furniture, lighting, artwork, and other design elements. For commercial projects, they may charge per-hour fees, or a flat fee for the whole project. The median annual earnings for interior designers in the year 2004 was $40,670. The middle 50% earned between $30,890 and $53,795. Read More...Graphic design
The term graphic design can refer to a number of artistic and professional disciplines which focus on visual communication and presentation. Various methods are used to create and combine symbols, images and/or words to create a visual representation of ideas and messages. A graphic designer may utilize typography, visual arts and page layout techniques in varying degrees to produce the final result of the project. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated.
Common uses of graphic design include magazines, advertisements, product packaging and web design. For example, a product package might include a logo or other artwork, organized text and pure design elements such as shapes and color which unify the piece. Composition is one of the most important features of graphic design especially when utilizing pre-existing materials or using diverse elements.
Read More...Web design
Web design is a process of conceptualization, planning, modeling, and execution of electronic media content delivery via Internet in the form of technologies (such as markup languages) suitable for interpretation and display by a web browser or other web-based graphical user interfaces (GUIs).
The intent of web design is to create a web site (a collection of electronic files residing on one or more web servers) that presents content (including interactive features or interfaces) to the end user in the form of web pages once requested. Such elements as text, forms, and bit-mapped images (GIFs, JPEGs, PNGs) can be placed on the page using HTML, XHTML, or XML tags. Displaying more complex media (vector graphics, animations, videos, sounds) usually requires plug-ins such as Flash, QuickTime, Java run-time environment, etc. Plug-ins are also embedded into web pages by using HTML or XHTML tags.
Improvements in the various browsers' compliance with W3C standards prompted a widespread acceptance of XHTML and XML in conjunction with Cascading Style Sheets (CSS) to position and manipulate web page elements. The latest standards and proposals aim at leading to the various browsers' ability to deliver a wide variety of media and accessibility options to the client possibly without employing plug-ins.
Typically web pages are classified as static or dynamic.
- Static pages don’t change content and layout with every request unless a human (web master or programmer) manually updates the page.
- Dynamic pages adapt their content and/or appearance depending on the end-user’s input or interaction or changes in the computing environment (user, time, database modifications, etc.) Content can be changed on the client side (end-user's computer) by using client-side scripting languages (JavaScript, JScript, Actionscript, media players and PDF reader plug-ins, etc.) to alter DOM elements (DHTML). Dynamic content is often compiled on the server utilizing server-side scripting languages (PHP, ASP, Perl, Coldfusion, JSP, Python, etc.). Both approaches are usually used in complex applications.
With growing specialization within communication design and information technology fields, there is a strong tendency to draw a clear line between web design specifically for web pages and web development for the overall logistics of all web-based services.
Read More...Design and art
Design is often viewed as a more rigorous form of art, or art with a clearly defined purpose. The distinction is usually made when someone other than the artist is defining the purpose. In graphic arts the distinction is often made between fine art and commercial art.
In the realm of the arts, design is more relevant to the "applied" arts, such as architecture and product design. In fact today the term design is widely associated to modern industrial product design as initiated by Raymond Loewy.
Design implies a conscious effort to create something that is both functional and aesthetically pleasing. For example, a graphic artist may design an advertisement poster. This person's job is to communicate the advertisement message (functional aspect) and to make it look good (aesthetically pleasing). The distinction between pure and applied arts is not completely clear, but one may consider Jackson Pollock's (often criticized as "splatter") paintings as an example of pure art. One may assume his art does not convey a message based on the obvious differences between an advertisement poster and the mere possibility of an abstract message of a Jackson Pollock painting. One may speculate that Pollock, when painting, worked more intuitively than would a graphic artist, when consciously designing a poster. However, Mark Getlein suggests the principles of design are "almost instinctive", "built-in", "natural", and part of "our sense of 'rightness'."[3] Pollock, as a trained artist, may have utilized design whether conscious or not.
Design and engineering
Engineering is often viewed as a more rigorous form of design. Contrary views suggest that design is a component of engineering aside from production and other operations which utilize engineering. A neutral view may suggest that both design and engineering simply overlap, depending on the discipline of design. The American Heritage Dictionary defines design as: "To conceive or fashion in the mind; invent," and "To formulate a plan", and defines engineering as: "The application of scientific and mathematical principles to practical ends such as the design, manufacture, and operation of efficient and economical structures, machines, processes, and systems.".[4][5] Both are forms of problem-solving with a defined distinction being the application of "scientific and mathematical principles". How much science is applied in a design is a question of what is considered "science". Along with the question of what is considered science, there is social science versus natural science. Scientists at Xerox PARC made the distinction of design versus engineering at "moving minds" versus "moving molecules".Design and production
The relationship between design and production is one of planning and executing. In theory, the plan should anticipate and compensate for potential problems in the execution process. Design involves problem-solving and creativity. In contrast, production involves a routine or pre-planned process. A design may also be a mere plan that does not include a production or engineering process, although a working knowledge of such processes is usually expected of designers. In some cases, it may be unnecessary and/or impractical to expect a designer with a broad multidisciplinary knowledge required for such designs to also have a detailed knowledge of how to produce the product.Design and production are intertwined in many creative professional careers, meaning problem-solving is part of execution and the reverse. As the cost of rearrangement increases, the need for separating design from production increases as well. For example, a high-budget project, such as a skyscraper, requires separating (design) architecture from (production) construction. A Low-budget project, such as a locally printed office party invitation flyer, can be rearranged and printed dozens of times at the low cost of a few sheets of paper, a few drops of ink, and less than one hour's pay of a desktop publisher.
This is not to say that production never involves problem-solving or creativity, nor design always involves creativity. Designs are rarely perfect and are sometimes repetitive. The imperfection of a design may task a production position (e.g. production artist, construction worker) with utilizing creativity or problem-solving skills to compensate for what was overlooked in the design process. Likewise, a design may be a simple repetition (copy) of a known preexisting solution, requiring minimal, if any, creativity or problem-solving skills from the designer.
Process design
"Process design" (in contrast to "design process") refers to the planning of routine steps of a process aside from the expected result. Processes (in general) are treated as a product of design, not the method of design. The term originated with the industrial designing of chemical processes. With the increasing complexities of the information age, consultants and executives have found the term useful to describe the design of business processes as well as manufacturing processes. Read More...Design as a process
Design as a process can take many forms depending on the object being designed and the individual or individuals participating.
An architect at his drawing board, 1893. The Peter Arno phrase "Well, back to the old drawing board" makes light of the fact that designs sometimes fail and redesign is necessary. The phrase has meaning beyond structural designs and is an idiom when a drawing board is not used in a design. Redesign Something that is redesigned requires a different process than something that is designed for the first time. A redesign often includes an evaluation of the existent design and the findings of the redesign needs are often the ones that drive the redesign process
Defining a design process
According to video game developer Dino Dini in a talk given at the 2005 Game Design and Technology Workshop held by Liverpool JM University, design underpins every form of creation from objects such as chairs to the way we plan and execute our lives. For this reason it is useful to seek out some common structure that can be applied to any kind of design, whether this be for video games, consumer products or one's own personal life.
For such an important concept, the question "What is Design?" appears to yield answers with limited usefulness. Dino Dini states that the design process can be defined as "The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first step in the design process is the identification, classification and selection of constraints. The process of design then proceeds from here by manipulating design variables so as to satisfy the non-negotiable constraints and optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict resulting in a design with no solution; in this case the non-negotiable constraints must be revised. For example, take the design of a chair. A chair must support a certain weight to be useful, and this is a non-negotiable constraint. The cost of producing the chair might be another. The choice of materials and the aesthetic qualities of the chair might be negotiable.
Dino Dini theorizes that poor designs occur as a result of mismanaged constraints, something he claims can be seen in the way the video game industry makes "Must be Fun" a negotiable constraint where he believes it should be non-negotiable.
It should be noted that "the management of constraints" may not include the whole of what is involved in "constraint management" as defined in the context of a broader Theory of Constraints, depending on the scope of a design or a designer's position.
Typical steps
A design process may include a series of steps followed by designers. Depending on the product or service, some of these stages may be irrelevant, ignored in real-world situations in order to save time, reduce cost, or because they may be redundant in the situation.
Typical stages of the design process include:
- Pre-production design
- Design brief - a statement of design goals
- Analysis - analysis of current design goals
- Research - investigating similar design solutions in the field or related topics
- Specification - specifying requirements of a design solution for a product (product design specification[2]) or service.
- Problem solving - conceptualizing and documenting design solutions
- Presentation - presenting design solutions
- Design during production
- Development - continuation and improvement of a designed solution
- Testing - in-situ testing a designed solution
- Post-production design feedback for future designs
- Implementation - introducing the designed solution into the environment
- Evaluation and conclusion - summary of process and results, including constructive criticism and suggestions for future improvements
- Redesign - any or all stages in the design process repeated (with corrections made) at any time before, during, or after production.
Philosophies and studies of design
There is no universal language or unifying institution for designers of all disciplines. Raised levels of achievement often lead to raised expectations. In structuration theory, design is both medium and outcome generating a Janus like face, with every ending marking a new beginning.
There are countless philosophies for guiding design as the design values and its accompanying aspects within modern design vary, both between different schools of thought and among practicing designers.[1] Design philosophies are usually for determining design goals. A design goal may range from solving the least significant individual problem of the smallest element to the most holistic influential utopian goals. Design goals are usually for guiding design. However, conflicts over immediate and minor goals may lead to questioning the purpose of design, perhaps to set better long term or ultimate goals.
Philosophies for guiding design
A design philosophy is a guide to help make choices when designing such as ergonomics, costs, economics, functionality and methods of re-design. An example of a design philosophy is “dynamic change” to achieve the elegant or stylish look you need.Approaches to design
A design approach is a general philosophy that may or may not include a guide for specific methods. Some are to guide the overall goal of the design. Other approaches are to guide the tendencies of the designer. A combination of approaches may be used if they don't conflict.
Some popular approaches include:
- User-centered design, which focuses on the needs, wants, and limitations of the end user of the designed artifact.
- Use-centered design, which focuses on the goals and tasks associated with the use of the artifact, rather than focusing on the end user.
- KISS principle, (Keep it Simple, Stupid), which strives to eliminate unnecessary complications
- There is more than one way to do it (TMTOWTDI), a philosophy to allow multiple methods of doing the same thing
- Murphy's Law (things will go wrong in any given situation, if you give them a chance)
Design Methods is a broad area that focuses on:
- Exploring possibilities and constraints by focusing critical thinking skills to research and define problem spaces for existing products or services—or the creation of new categories; (see also Brainstorming)
- Redefining the specifications of design solutions which can lead to better guidelines for traditional design activities (graphic, industrial, architectural, etc.);
- Managing the process of exploring, defining, creating artifacts continually over time
- Prototyping possible scenarios, or solutions that incrementally or significantly improve the inherited situation
- Trendspotting; understanding the trend process
In philosophy, the abstract noun "design" refers to a pattern with a purpose. Design is thus contrasted with purposelessness, randomness, or lack of complexity.
To study the purpose of designs, beyond individual goals (e.g. marketing, technology, education, entertainment, hobbies), is to question the controversial politics, morals, ethics and needs such as Maslow's hierarchy of needs. "Purpose" may also lead to existential questions such as religious morals and teleology. These philosophies for the "purpose of" designs are in contrast to philosophies for guiding design or methodology.
Often a designer (especially in commercial situations) is not in a position to define purpose. Whether a designer is, is not, or should be concerned with purpose or intended use beyond what they are expressly hired to influence, is debatable, depending on the situation. Not understanding or disinterest in the wider role of design in society might also be attributed to the commissioning agent or client, rather than the designer.
Read More...Design
Design, usually considered in the context of applied arts, engineering, architecture, and other creative endeavors, is used both as a noun and a verb. As a verb, "to design" refers to the process of originating and developing a plan for a product, structure, system, or component. As a noun, "a design" is used for either the final (solution) plan (e.g. proposal, drawing, model, description) or the result of implementing that plan (e.g. object produced, result of the process). More recently, processes (in general) have also been treated as products of design, giving new meaning to the term "process design".
Designing normally requires a designer to consider the aesthetic, functional, and many other aspects of an object or a process, which usually requires considerable research, thought, modeling, interactive adjustment, and re-design.
Read More...
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