chuq%plaid@Sun.COM (Chuq Von Rospach) (10/28/87)
[Moderator's note: this was an answer I wrote to a piece of private mail. After finishing it, I realised that there was a fair amount of information of use to everyone, so I'm posting the reply here as well -- chuq] > I am co-founder of a support group. I made the mistake of showing them > what my Mac can do and now I have been given the job of producing > flyers and a newsletter. Could you recommend books which might help me > in producing the above? I can get some ideas from looking over samples > (especially newsletters), but I would prefer to have some method in my > approach. Any "How To Design A Great Flyer" books out there for people > with more inclination than native talent? This is actually a complicated question, I'm sorry if I go into more detail than you ever care to know... Graphic design is in many ways a black art. You look at what other folks are doing, and if you like it, you acquire it as a new skill. While there are some formal areas you can play with, a lot of it is practice, practice, practice and integrating what you see with what you like. First, become an active reader. Don't just swish through magazines, look at every page, especially the ads. See what makes an ad work, what makes an ad not work for you. Look at the colors, the styles, placement of things on the pages. Keep a notebook, write down things that strike you as particularly interesting. Take scissors and cut out things you like, glue them into scrapbooks (yes, I'm serious...). Last I counted, Laurie and subscribed to over 30 magazines, from Time and Forbes to Architectural Digest, Bird Talk and MacWorld. If you don't, read Publish! (from the Macworld folks). Their page makeover sections are fascinating. They take nice things and turn them into good things, with hints that you probably wouldn't catch on to otherwise. I haven't found a good Graphics Design magazine, yet, although there are a number of them out for the Graphics Design industry (the best I've found is "Print" at $50/year a bit steep, but fascinating -- I mean, how do you grab the eye of the folks who's JOB it is to grab eyes?) On to books. I'm going to split this into three subgroups: Typography, layout fundamentals, and design fundamentals. Typography: The guts: You need one of two books: The Chicago Manual of Style or (my preference) Words into Type (Prentice Hall). This is your Style Bible. You wouldn't believe the number of things you never knew about putting together in a consistent and proper style until you look at this book, which is 500 pages of small type. Do you know offhand, for instance, whether the question mark goes inside or outside a terminating quote, and what the exceptions to that rule are? Or appropriate abbreviations for things? Typesetting marks? the proper use of em and en dashes? Neither do I. This book does, though, and it's nice to have something to reference when you aren't sure. You'll find that every author has some grammatical quirk, and if you don't pull them all into a single style, you come off looking bad. Most readers won't know why, but they won't be as comfortable reading you -- its a very subtle point of amateurism. And never forget your Strunk and White. I go through about a copy a year, just refreshing myself. And a good dictionary (I have two at work and three at home, an American Heritage, a Websters, and an Oxford English Dictionary (which you can get for $25 by joining Book of the Month Club, and well worth it...). A Thesaurus. Bartlett's Quotations. finally, Law and the Writer (Writer's Digest Books) for their discussions of, among other things, Copyright and Libel issues. That's to me the minimun set to get through the grunt details of getting the writing publishable. You'll find others as you get into it that you also use that come in handy. Among our collection (which is more extensive than I expect most people are willing to go, but Laurie and I are both writers and book freaks) are such works as: PDR (The physicians desk reference -- Hunter Thompson isn't the only person who can use this one...); German, French, Latin and Spanish dictionaries; Plotnick's The Element's of Editing; Gross' Editor's on Editing; A World Almanac; A dictionary of Antonyms, Synonyms and Homonyms; Theodore Bernstein's "Miss ThistleBottoms HObgoblins" (Simon and Schuster), in which the premier practical linguist of the country tells you why you can ignore your English teacher, and when you can do it safely; Durant's The Age of Civilizations (also from BOMC -- yes, we have two memberships...); The Columbia history of the world; Gray's Anatomy. That's about half the primary bookshelf for reference books. A lot of our stuff is esoteric (how about an Atlas of famous revolutions? A reference guide to renaissance English fashion? The CRC guide to Chemistry and Physics?). You can buy yourself into the poor house if you really get into it, but as you get more serious about reference books and find more and more useful ones, you won't mind. And here's a good habit to learn: keep a close eye on the bargain tables. Lots of this stuff goes out of print and gets remaindered, and you can get it cheap. A new CRC is $50. A year old one is about $10, and they don't chnage much from year to year. Lots of really strange books get in the remainder tables, and many of them can be useful when you leave expect it. Enough. on to layout fundamentals. I'm only (gasp) going to recommend one book: "A Desktop Publishers Guide to Pasteup" by Tony Middleton (Plusware books, ISBN 0-942005-00-7). There are lots of "intro to desktop publishing" books, but this is the only one that goes into all the things that "desktop publishing" doesn't do for you. It explains what a waxing machine does, or why you don't get arrested for stripping a photo. It tells you what tools you need, how to integrate them with your computer, and how to do everything the computer won't. It's the ONLY DTP book that sits on my computer desk (as opposed to the bookshelf across the room, as opposed to the library down the hall, as opposed ...) -- That's the best recommendation I can give it. Finally, what you really care about. Design fundamentals. Still, in many ways, the weakest part of the bunch. I've got a few books, but nothing I really think tells it all. There are some books I haven't bought yet that I"m looking at, but they're all pretty expensive because when you get away from the "Gee, whizz, isn't DTP fun!" books, you're into stuff that professional designers buy, and they pay more than computer folks do for books (ack). A few hints on your search for Design books. Go to the local university (maybe a college, but don't count on it) and look at their catalog. See if they have graphic design or layout classes in the arts or English or Journalism schools. If so, track down their textbooks and look at them. Also browse through as many of the art stores as you can find. Many have bookshelves that carry stuff for artists and designers. A lot of it will be useless or make no sense, but some of it may help. You won't find what you're looking for in a normal bookstore. Some specifics: All of these have strengths and weaknesses -- look at them and see if they fit your needs. Macintosh Desktop Typography & Macintosh Desktop Design (John Baxter, The Baxter Group). The first two books in a three book series on graphic design on the mac. Incomplete without the third book, but an interesting start with a slant towards electronic processing -- soemthing missing in traditional books. Fundamentals of Layout (F.H. wills, Dover Press, 0-486-21279-3). A fairly simple layout book, covers grids, balance, and the basics. Probably the best for a pure novice. Graphics Handbook (Howard Munce, North Light Press, 0-89134-049-1). Combination hint/tip, memoir, and practical application by one of the senior men in the industry. A bit haphazard but fun to browse for ideas. How to do Leaflets, Newsletters and Newsletters (Nancy Brigham, Hastings House, 8038-3062-9). Brigam works for the AFL-CIO teaching Union Locals how to do leaflets, newsletters, and other publishing. This is a no-nonsense guide to putting out things that don't embarass you. If you can get around the pro-labor bias (I gave up counting the times she reminded folks to find a labor shop, where the quality is guaranteed, and making sure you put the labor signet on the newletter so your borthers will know) there's a lot of solid information. Anyway, hope this helps. chuq ---------------------------------------- Submissions to: desktop%plaid@sun.com -OR- sun!plaid!desktop Administrivia to: desktop-request%plaid@sun.com -OR- sun!plaid!desktop-request Paths: {ihnp4,decwrl,hplabs,seismo,ucbvax}!sun --- Chuq "Fixed in 4.0" Von Rospach chuq@sun.COM Delphi: CHUQ
will@uunet.UU.NET (11/11/87)
> On to books. I'm going to split this into three subgroups: Typography, > layout fundamentals, and design fundamentals. (nit: Typography generally refers to the study of typefaces and their presentation, not to the contents of style manuals.) [chuq: oops] > Finally, what you really care about. Design fundamentals. There are two books that I would add to your list as ESSENTIAL reading: o Publications Design, by Roy Paul Nelson (there's a hyphen somewhere in his name I think). o On Advertizing, by Ogilvy (of Ogilvy and Mather fame). Neither are "expensive" (they cost less than computer science texts) and On Advertizing is in paperback. Publications Design is much the strongest of the many books I've ever read. It is full, not only of common sense about design, but also, of explanations and resumes of research into why some designs are more effective than others (typography examples: why copy set in all upper-case is harder to read, why serif typefaces are easier to ead for multi-line copy, how the maximum length of typeset line varies with the size of the type; design examples: the importance of and proper use of whitespace, the placement of headlines, copy, and illustrations). A "bible" for design of publications of all types (magazines, newspapers, newsletters, manuals, etc.). On Advertizing talks more directly (of course) about advertizing and the communication of ideas in a limited space format (one or two pages usually). Ogilvy being a copy-writer, he talks more about how to write your ideas as well as how to present them visually. Full of interesting (and instructive) anecdotes. Furthermore, both books are themselves excellent examples of good design and of good writing -- the perfect marriage. As you say, search out good examples, and see why they work. Of course there is a bootstrapping problem: if I don't know what works how do I pick the good ones? I suggest an experiment for those interested: read Publications Design for design information and On Advertizing for the writing. But do this with a set of Apple Computer's manuals, advertizing and product literature. Go back and forth the three. Look and compare - see where things mesh and where they differ. I think you will find the Apple Macintosh manuals, advertizing, and product literature are terrific examples of good style and good writing in the presentation of technical materials. Apple publications are well-grounded in the foundations of effective design (design that communicates as well as pleases) yet highly original, and stretches some of the "rules" (type-size to column width for example). In fact, the Apple manuals practically look like the designers had Publications Design by their sides -- the result: a clean, consistent and elegant overall design, top-quality use of whitespace, perfect blend of typefaces (the variety restricted to important variations in the text), use of color, bold, and headlines that reinforce the different points to be made without clutter and confusion, readable typefaces, column widths in good proportion to the size of type (a frequent major failing in LaserWriter output). And they are very well written and illustrated. Will Neuhauser will@chorus.fr (Internet) ---------------------------------------- Submissions to: desktop%plaid@sun.com -OR- sun!plaid!desktop Administrivia to: desktop-request%plaid@sun.com -OR- sun!plaid!desktop-request Paths: {ihnp4,decwrl,hplabs,seismo,ucbvax}!sun --- Chuq "Fixed in 4.0" Von Rospach chuq@sun.COM Delphi: CHUQ
cc_is@uunet.UU.NET (11/16/87)
Thanks for the suggestions about DTP books. Do you have any suggestions
about books on PageMaker on the Mac, suitable for a very bright secretary
who has been pressed into using it?
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Chuq "Fixed in 4.0" Von Rospach chuq@sun.COM Delphi: CHUQma9mgg@gdt.bath.ac.uk (M G Gidley) (04/20/91)
Could someone please recommend a good book that covers desktop publishing. Not just dtp for one particular computer/package but a general coverage of the topic and at what state it currently is at. Also, does anyone know a decent book about printing methods (ie the different process - litho etc, screening photos). I have the constant problems of contacting printers and them blinding me with jargon so I'd like to find out more rather than claim ignorance ! Thanks. ma9mgg@uk.ac.bath.gdt
steve@thelake.mn.org (Steve Yelvington) (04/22/91)
[In article <1991Apr20.163349.14280@gdt.bath.ac.uk>,
ma9mgg@gdt.bath.ac.uk (M G Gidley) writes ... ]
> Also, does anyone know a decent book about printing methods (ie the different
> process - litho etc, screening photos). I have the constant problems of
> contacting printers and them blinding me with jargon so I'd like to find
> out more rather than claim ignorance !
I'm not sure what books might be available in the U.K., but here are
some definitions that you might find helpful. Feel free to ask for more;
it's a far more appropriate use of the net than the flame wars you see in
most newsgroups.
Lithography: Literally, ``stone printing.'' Traditional lithography (still
used by many artists) employs a stone surface onto which an image is drawn
using a greasy crayon. The stone surface then is dampened. The moisture
won't stick to the greasy image, but it coats the stone. An ink roller
then is applied to the moistened stone. The oily ink won't adhere to the
damp areas, but sticks nicely to the image area. You then press a piece of
paper over the stone, and the image is transferred to the paper. Modern
commercial lithography uses a flexible aluminum plate in place of the
stone, and a photosensitive coating in place of the greasy crayon. The
coating is exposed to light through a photographic negative. Unexposed
areas then are removed in a developing process. The resulting plate then
is mounted on a rotary press.
Offset: Actually, ``offset lithography.'' Instead of letting the paper
come into direct contact with the printing plate, the image is ``offset''
first onto a rubber roller or ``blanket'' and then transferred to the
paper. By avoiding direct contact between the rough surface of the paper
and the printing plate, abrasion is reduced. Also, since the rubber is
slightly flexible, it can deposit the ink onto the paper more evenly.
Most modern lithography is offset.
Letterpress: The traditional Gutenberg method of printing whereby a raised
surface is inked and pressed into the paper. Letterpress printing from
phototype (or laser type) requires that an engraving be made.
Gravure: This is sort of a mirror image of letterpress. The inked areas
actually are engraved into a smooth surface, usually copper. Ink flows
onto the surface, then is scraped off (except in the depressed channels).
The paper then is placed into contact with the plate. Gravure (called
rotogravure if it's a rotary press) is quite expensive, but yields high
quality over extended press runs.
Screening photos: By nature, photographs are ``continuous tone'' images
(at least at a macro level). They're a mixture of grays. Since printing
deals with only binary states -- there's either ink there, or there isn't
-- the grays have to be simulated by breaking the image into dots whose
sizes are in proportion to the density of the original image. A screened
photo is often referred to as a ``halftone.'' Traditionally, halftones
have been created using photo-optical techniques, but now you can produce
them digitally by scanning the image into a computer and using appropriate
software.
----
Steve Yelvington, Marine on St. Croix, Minnesota, USA / steve@thelake.mn.orgdiana@diana.ARCO.COM (Diana Sparks) (04/23/91)
In article <1991Apr20.163349.14280@gdt.bath.ac.uk>, ma9mgg@gdt.bath.ac.uk (M G Gidley) writes: > > Also, does anyone know a decent book about printing methods (ie the > different > process - litho etc, screening photos). I have the constant problems of > contacting printers and them blinding me with jargon so I'd like to find > out more rather than claim ignorance ! > One resource I have found helpful (but does not particularly cover computer-related work) to get a thorough overview of the printing business, per se, is: "Getting It Printed - How to Work with Printers and Graphic Arts Services to Assure Quality, Stay on Schedule, and Control Costs" by Mark Beach, Steve Shepro, and Ken Russon It comes in paperback (large size) and cost me about $22. This book covers everthing from job planning to ink types, paper, and an overview of printing methods. They also tell you about some of the financial stuff involved in getting quotes, etc. It sure solved my 'jargon' problem. Now when the printer says my document has 'hickies' I don't have to say "What do you mean by that!", I know the press was dirty and it caused spots in the dark, inked areas! So, you might try it. -- $ banner <<<<<<<<<<>>>>>>>>>>>><<<<<<<<<<<<>>>>>>>>>>>><>>>>>>>>>><<<<< <><> Diana Sparks-->>NOTE ADDRESS!!->->diana@er.arco.com <><> <><> "This is very simple: first you access your mainframe... <><> or "on" to the computer illiterate." The Wizard: 'Shoe'. <<<<<<<<<<>>>>>>>>>>>><<<<<<<<<<<<>>>>>>>>>>>><>>>>>>>>>><<<<< $