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Jandos Rothstein, Designing Magazines: Inside Periodical Design, Redesign,
and Branding
Allworth Press | 2007 | ISBN: 1581154992 | 208 pages | File type: PDF | 13
mb
How does a designer create graphic solutions to the behind-the-scenes
editorial challenges at a magazine? Designing Magazines is the complete
guide to understanding the inner workings of magazines and their day-to-day
managementand a great guide to using that knowledge to create visually
stunning, editorially effective magazines, in both new designs and
rebranding. Thirty-five experienced editors, designers, and consultants, all at
the top of their fields, present their insights on the goals and process of
magazine design. Chapters focus on problems faced by designers, ethical
considerations, the future of the field, and many more relevant but rarely
discussed issues. A look at magazines that have risen above the crowd to
achieve special social importanceand how design has been a part of thatsuccessprovides additional inspiration for magazine designers everywhere.
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Earlier this month I was commissioned by the people at Sync City magazine
to art direct and design their exciting first issue (due to release 1st February
2013). From the very beginning, I thought I would shed some light on some
of the design details and thought processes behind the creation of Sync City
Magazine.
THE PLANNING remember the thumbnails and flat plans!
A few weeks ago I illustrated a diagram of the Creative Process of Creating
a Magazine I know each creative job will be different but the majority of
them and structure will be more or less like the one I drew up in
my introduction post here. In my last post I shared with you Stage Two:
concept creationprocess and what that involved you can read the shared
post here. In todays blog post I will be moving onto the next stages of
developing a magazine which will be Design Development and Content
Creation.
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In my design brief (stage one), the client pointed out how they wanted this
exciting new magazine for Sheffield to be friendly, warm, inviting,
engaging and inspiring. To inspire people, building confidence and
encouraging people to dream. We believe in happy people not just being
happy people but making happy people too!and for it to become a
real, peoples publication.Therefore, I wanted the magazine to mimic that
idea and flow. Having areas to visually build with interest as the stories
progressed and then counteract that with space to breathe and read easy. The
magazine needed to be presented in a way that was not overwhelming, yet it
needed to remain interesting.
A designers first concept(s) or set of visuals are always still in working.
There is always room for improvement, tweaks and refinements. The
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selected concept (from stage two) were then worked up with all details
implemented. Because there was so much text I knew I had a challenge to
overcome. But I was ready for it.
Some of the articles were more visual than others so some of the notes
included where I thought images should be and what I thought they should
be had to be scrapped. This stage can often seem a bit random. I find it the
most lengthy stage of the whole design process but an important point to
bear in mind is that this stage is an organic process and details can be
changed if necessary. A more detailed specification of the design of the
magazine for production planning and final costing was also created at this
point.
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A sneaky peep of the new pages to some of Sync City's exciting regular
features
THE DEVELOPMENT page shuffles, amends, and re-works!
It is my job, in this stage, Design Development to make sure that the pages
meets the editors intent, the features objective and also guide Sync City
readers eye. The elements of graphic design are used, and often combined,
to create graphic works. This can be done through several techniques (please
see page visuals Ive shared above):1. Choosing a final aesthetic for Sync City magazine how the
magazine looks will define its brand almost as much as the
content itself. This was achieved by some of the points below:
2. Defining a grid/layout system
3. Use of white space
4. Choice of fonts (typefaces), size, alignment, color, and spacing
all come into play
5. Use of illustrations, photography and supporting imagery
6. Use of graphical elements lines and shapes
7. The choice of paper stock printed on glossy or matte paper?
Throughout this stage I always had to make sure what I was doing was
matching with the publications ethos. In other words, to know and
understand their readership and their expectations! Amended PDFs,
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prototypes and revisions of graphics/pages are emailed to and fro until both
parties are happy.
Some people say that the magazine is a dead art form. It isnt. I believe
people still very much enjoy the pleasure of reading the magazine format.
What matters more is the topic and articles.
My next and final stage will be Publishing your magazine where
well be taking a look at the print production stage. Look out for the post
later this week.
Fresh print off the press. Sync City's Kat with Evolution Print's Corey. PaperCity!
It was extremely exciting seeing and meeting the people who printed Sync
City Magazine the place where ink and paper fall in love. A big thank you
to Evolution Print in Sheffield for letting us go behind the scenes. The noise
and smell was captivating. Litho printing truly is a craft in and of itself.
Often being a designer, I dont get to see the multiple stages involved in
print production: the mixing of ink colours, consideration of the right
printing method to suit the design, and required drying time between steps.
I cant explain just HOW different it all looks printed, from the touch of the
uncoated paper stock right through to the colours and fold, and all I can say
is, its better than I hoped and my love for print has been even further
confirmed if anyone says Print is Dead they need shooting!
It was a great experience working with Sync City and Evolution Print to put
together a fantastic magazine for the Sheffield community and meeting new
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people from different backgrounds who each play a role in creating such a
colourful and energetic publication.
Do give Print Evolution a call if you have printing enquiries, and support
independent printers and small businesses. You can find more of what they
offer, including large format printing on the Evolution Print website.
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Graphic design is a creative process, one most often involving a client and
a designer, and traditionally completed in conjunction with producers of
form (printers, sign makers, etc.). In the 21st century, however, graphic
design may be applied directly to websites, eliminating the need for an
intermediary. Graphic design is undertaken to convey a specific message (or
messages) to a targeted audience, usually from the client, known as the
'brief'. The term "graphic design" can also refer to a number of artistic and
professional disciplines that focus on visual communication and
presentation. The field as a whole is also often referred to as Visual
CommunicationorCommunication Design. Various methods are used to
create and combine words, symbols, and images to create a visual
representation of ideas and messages. A graphic designer may use a
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combination oftypography, visual arts andpage layout techniques to
produce a balanced, focused and symmetrical final result. 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 identity (logos and branding),
publications (magazines, newspapers and books), advertisements and
product packaging. 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 using pre-existing materials or
diverse elements.
History
While Graphic Design as a discipline has a relatively recent history, with the
term "graphic design" first coined by William Addison Dwiggins in 1922,
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[2] graphic design-like activities span the history of humankind: from the
caves ofLascaux, to Rome's Trajan's Columnto the illuminated
manuscripts of the Middle Ages, to the dazzling neons ofGinza. In both this
lengthy history and in the relatively recent explosion ofvisual
communication in the 20th and 21st centuries, there is sometimes a blurring
distinction and over-lapping ofadvertisingart, graphic design and fine art.
After all, they share many of the same elements, theories, principles,
practices and languages, and sometimes the same benefactor or client.
In advertising art the ultimate objective is the sale of goods and services. In
graphic design, "the essence is to give order to information, form to ideas,
expression and feeling to artifacts that document human experience."
The advent of printing[
Main article:History of printing
During the Tang Dynasty (618907) between the 7th and 9th century AD,
wood blocks were cut to print on textiles and later to reproduce Buddhist
texts. A Buddhist scripture printed in 868 is the earliest known printed book.
Beginning in the 11th century, longer scrolls and books were produced using
movable type printing making books widely available during the Song
dynasty (9601279). Sometime around 1450, Johann Gutenberg's printing
press made books widely available in Europe. The book design ofAldus
Manutius developed the book structure which would become the foundation
of western publication design. This era of graphic design is
called Humanist or Old Style.
Emergence of the design industry
In late 19th-century Europe, especially in the United Kingdom, the
movement began to separate graphic design from fine art.
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In 1849, Henry Cole became one of the major forces in design education in
Great Britain, informing the government of the importance of design in
hisJournal of Design and Manufactures. He organized the Great
Exhibition as a celebration of modern industrial technology and Victorian
design.
From 1891 to 1896, William Morris' Kelmscott Press published books that
are some of the most significant of the graphic design products of the Arts
and Crafts movement, and made a very lucrative business of creating books
of great stylistic refinement and selling them to the wealthy for a premium.
Morris proved that a market existed for works of graphic design in their own
right and helped pioneer the separation of design from production and from
fine art. The work of the Kelmscott Press is characterized by its obsession
with historical styles. This historicism was, however, important as it
amounted to the first significant reaction to the stale state of nineteenth-
century graphic design. Morris' work, along with the rest of the Private
Press movement, directly influenced Art Nouveau and is indirectly
responsible for developments in early twentieth century graphic design in
general.[5]
Twentieth century design
A Boeing 747 aircraft with liverydesignating it as Air Force One. The cyan
forms, the US flag,presidential seal and theCaslon lettering were all
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designed at different times and combined by designerRaymond Loewy in
this one final design.
The name "Graphic Design" first appeared in print in the 1922 essay "New
Kind of Printing Calls for New Design" by William Addison Dwiggins, an
American book designer in the early 20th century.
Raffe's Graphic Design, published in 1927, is considered to be the first book
to use "Graphic Design" in its title.
The signage in the London Underground is a classic design example[8] of the
modern era and used a typeface designed by Edward Johnston in 1916.
In the 1920s, Soviet constructivism applied 'intellectual production' in
different spheres of production. The movement saw individualistic art as
useless in revolutionary Russia and thus moved towards creating objects for
utilitarian purposes. They designed buildings, theater sets, posters, fabrics,
clothing, furniture, logos, menus, etc.[citation needed]
Jan Tschichold codified the principles ofmodern typography in his 1928
book,New Typography. He later repudiated the philosophy he espoused in
this book as being fascistic, but it remained very influential.[citation
needed] Tschichold, Bauhaus typographers such asHerbert Bayerand Laszlo
Moholy-Nagy, and El Lissitzky have greatly influenced graphic design as
we know it today. They pioneered production techniques[citation needed] and
stylistic devices used throughout the twentieth century. The following years
saw graphic design in the modern style gain widespread acceptance and
application.[9] A booming post-World War II American economy established
a greater need for graphic design, mainly advertising and packaging. The
emigration of the German Bauhaus school of design to Chicago in 1937
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brought a "mass-produced" minimalism to America; sparking a wild fire of
"modern" architecture and design. Notable names in mid-century modern
design include Adrian Frutiger, designer of the and Frutiger; Paul Rand,
who, from the late 1930s until his death in 1996, took the principles of the
Bauhaus and applied them to popular advertising and logo design, helping to
create a uniquely American approach to European minimalism while
becoming one of the principal pioneers of the subset of graphic design
known as corporate identity; and Josef Mller- Brockmann, who designed
posters in a severe yet accessible manner typical of the 1950s and 1970s era.
The growth of the professional graphic design industry has grown in parallel
with the rise ofconsumerism. This has raised some concerns and criticisms,
notably from within the graphic design community with the First Things
First manifesto. First launched by Ken Garland in 1964, it was re-published
as the First Things First 2000 manifesto in 1999 in the
magazineEmigre 51[10] stating "We propose a reversal of priorities in favor
of more useful, lasting and democratic forms of communication - a
mindshift away from product marketing and toward the exploration and
production of a new kind of meaning. The scope of debate is shrinking; it
must expand. Consumerism is running uncontested; it must be challenged by
other perspectives expressed, in part, through the visual languages and
resources of design."[11] Both editions attracted signatures from respected
design practitioners and thinkers, for example; Rudy VanderLans, Erik
Spiekermann, Ellen Lupton and Rick Poynor. The 2000 manifesto was also
notably published in Adbusters, known for its strong critiques of visual
culture.
Applications
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Color
From road signs to technical schematics, from interoffice memorandums to
reference manuals, graphic design enhances transfer ofknowledge and visual
messages. Readability and legibility is enhanced by improving the visual
presentation and layout of text.
Design can also aid in selling aproduct oridea through effective visual
communication. It is applied to products and elements of company identity
like logos, colors,packaging, and text. Together these are definedasbranding (see also advertising). Branding has increasingly become
important in the range of services offered by many graphic designers,
alongside corporate identity. Whilst the terms are often used
interchangeably, branding is more strictly related to the identifying mark or
trade name for a product or service, whereas corporate identity can have a
broader meaning relating to the structure and ethos of a company, as well as
to the company's external image. Graphic designers will often form part of a
team working on corporate identity and branding projects. Other members of
that team can include marketing professionals, communications consultants
and commercial writers.
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Textbooks are designed to present subjects such as geography, science, and
math. These publications have layouts which illustratetheories and diagrams.
A common example of graphics in use to educate is diagrams ofhuman
anatomy. Graphic design is also applied to layout and formatting of
educational material to make the information more accessible and more
readily understandable.
Graphic design is applied in the entertainment industry in decoration,
scenery, and visual story telling. Other examples of design for entertainment
purposes include novels, comic books, DVD covers, opening
credits and closing credits in filmmaking, and programs and props on stage.
This could also include artwork used for t-shirts and other items
screenprinted for sale.
From scientific journals to news reporting, the presentation of opinion and
facts is often improved with graphics and thoughtful compositions of visual
information - known asinformation design. Newspapers, magazines, blogs,
television and film documentaries may use graphic design to inform andentertain. With the advent of the web, information designers with experience
in interactive tools such as Adobe Flash are increasingly being used to
illustrate the background to news stories.
Skills
A graphic design project may involve the stylization and presentation of
existing text and either preexisting imagery or images developed by the
graphic designer. For example, a newspaper story begins with the journalists
and photojournalists and then becomes the graphic designer's job to organize
the page into a reasonable layout and determine if any other graphic
elements should be required. In a magazine article or advertisement, often
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the graphic designer or art director will commission photographers or
illustrators to create original pieces just to be incorporated into the design
layout. Or the designer may utilize stock imagery or photography.
Contemporary design practice has been extended to the modern computer,
for example in the use ofWYSIWYG user interfaces, often referred to
as interactive design, ormultimedia design.
Visual arts design
Main article: Visual arts
Before any graphic elements may be applied to a design, the graphic
elements must be originated by means of visual art skills. These graphics are
often (but not always) developed by a graphic designer. Visual arts include
works which are primarily visual in nature using anything from traditional
media, to photography orcomputer generated art. Graphic design principles
may be applied to each graphic art element individually as well as to the
final composition.
Typography
Main article: Typography
Typography is the art, craft and techniques of type design, modifying
type glyphs, and arranging type. Type glyphs (characters) are created and
modified using a variety of illustration techniques. The arrangement of type
is the selection of typefaces, point size, tracking (the space between all
characters used), kerning (the space between two specific characters), and
leading (line spacing).
Typography is performed by typesetters, compositors, typographers, graphic
artists, art directors, and clerical workers. Until the Digital Age, typography
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was a specialized occupation. Digitization opened up typography to new
generations of visual designers and lay users.
Page layout
Main article:Page layout
The page layout aspect of graphic design deals with the arrangement of
elements (content) on a page, such as image placement, and text layout and
style. Beginning from earlyilluminated pages in hand-copied books of
the Middle Ages and proceeding down to intricate modern magazine and
catalogue layouts, structured page design has long been a consideration in
printed material. With print media, elements usually consist
oftype (text), images (pictures), and occasionally place-holder graphics for
elements that are not printed with ink such as die/laser cutting, foil
stamping orblind embossing.
Interface design
Main article: User interface design
Since the advent of the World Wide Web and computer software
development, many graphic designers have become involved in interface
design. This has included web design andsoftware design, when end
userinteractivity is a design consideration of the layout or interface.
Combining visual communication skills with the interactive communication
skills of user interaction and online branding, graphic designers often work
with software developers and web developers to create both the look and
feel of a web site orsoftware applicationand enhance the interactive
experience of the user or web site visitor. An important aspect of interface
design is icon design.
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User experience design[edit]
Main article: User experience design
Considers how a user interacts with and responds to an interface, service or
product and adjusts it accordingly.
Printmaking
Main article:Printmaking
Printmaking is the process of making artworks by printing onpaperand
other materials or surfaces. Except in the case of monotyping, the process is
capable of producing multiples of the same piece, which is called a print.
Each piece is not a copy but an original since it is not a reproduction of
another work of art and is technically known as an impression. Painting or
drawing, on the other hand, create a unique original piece of artwork. Prints
are created from a single original surface, known technically as a matrix.
Common types of matrices include: plates of metal, usually copper or zinc
for engraving or etching; stone, used for lithography; blocks of wood for
woodcuts, linoleum for linocuts and fabric plates for screen-printing. But
there are many other kinds, discussed below. Works printed from a single
plate create an edition, in modern times usually each signed and numbered to
form a limited edition. Prints may also be published in book form, as artist's
books. A single print could be the product of one or multiple techniques.
Tools[edit]
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Thepencil is one of the most basic graphic design tools.
The mind is an important graphic design tool. Aside from technology,
graphic design requiresjudgment and creativity. Critical, observational,
quantitative and analytic thinking are required for design layouts
and rendering. If the executor is merely following a solution (e.g. sketch,
script or instructions) provided by another designer (such as an art director),
then the executor is not usually considered the designer.
The method of presentation (e.g. arrangement, style, medium) may be
equally important to the design. The appropriate development and
presentation tools can substantially change how an audience perceives a
project. The image or layout is produced using externaltraditional
media and guides, ordigital image editing tools on computers. Tools in
computer graphics often take on traditional names such as "scissors" or
"pen." Some graphic design tools such as a grid are used in both traditional
and digital form.
In the mid-1980s, the arrival ofdesktop publishing and graphic art software
applications introduced a generation of designers to computer image
manipulation and creation that had previously been manually executed.
Computer graphic design enabled designers to instantly see the effects of
layout or typographic changes, and to simulate the effects of traditional
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media without requiring a lot of space. However, traditional tools such
aspencils ormarkers are useful even when computers are used for
finalization; a designer or art director may hand sketch numerous concepts
as part of the creative process. Some of these sketches may even be shown to
a client for early stage approval, before the designer develops the idea
further using a computer and graphic design software tools.
Computers are considered an indispensable tool in the graphic design
industry. Computers and software applications are generally seen by creative
professionals as more effective production tools than traditional methods.
However, some designers continue to use manual and traditional tools for
production, such as Milton Glaser.
New ideas can come by way of experimenting with tools and methods.
Some designers explore ideas using pencil and paper. [12] Others use many
different mark-making tools and resources from computers to sculpture as a
means of inspiring creativity. One of the key features of graphic design is
that it makes a tool out of appropriate image selection in order to possiblyconvey meaning.[13]
Computers and the creative process
There is some debate whether computers enhance the creative process of
graphic design.[14] Rapid production from the computer allows many
designers to explore multiple ideas quickly with more detail than what could
be achieved by traditional hand-rendering orpaste-up on paper, moving the
designer through the creative process more quickly.[15]However, being faced
with limitless choices does not help isolate the best design solution and can
lead to endless iterations with no clear design outcome.
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A graphic designer may use sketches to explore multiple or complex ideas
quickly[16] without the distractions and complications of software.[citation
needed] Hand-rendered compsare often used to get approval for an idea
execution before a designer invests time to produce finished visuals on a
computer or in paste-up. The same thumbnail sketches or rough drafts on
paper may be used to rapidly refine and produce the idea on the computer in
a hybrid process. This hybrid process is especially useful
in logo design[17] where a softwarelearning curve may detract from a creative
thought process. The traditional-design/computer-production hybrid process
may be used for freeing one's creativity inpage layout orimage
development as well.[citation needed] In the early days of computer publishing,
many "traditional" graphic designers relied on computer-savvyproduction
artists to produce their ideas from sketches, without needing to learn the
computer skills themselves. However, this practice has been increasingly
less common since the advent ofdesktop publishingover 30 years ago. The
use of computers and graphics software is now taught in most graphic design
courses.
Nearly all of the popular and "industry standard" software programs used for
graphic design since the early 1990s are products ofAdobe
Systems Incorporated. They are AdobePhotoshop (a raster-based program
for photo editing), Adobe Illustrator(a vector-based program for
drawing), Adobe InDesign (a page layout program), and Adobe
Dreamweaver(for Web page design). Another major page layout tool
is QuarkXpress (a product of Quark, Inc., a separate company from Adobe).
Both QuarkXpress and Adobe InDesign are often used in the final stage of
the electronic design process. Raster images may have been edited in Adobe
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Photoshop, logos and illustrations in Adobe Illustrator, and the final product
assembled in one of the major page layout programs. Most graphic designers
entering the field since about 1990 are expected to be proficient in at least
one or two of these programs.
Occupations
Main article: Graphic design occupations
Graphic design career paths cover all ends of the creative spectrum and often
overlap. The main job responsibility of a Graphic Designer is the
arrangement of visual elements in some type of media. The main job titles
within the industry can vary and are often country specific. They can
include graphic designer, art director, creative director, and the entry
levelproduction artist. Depending on the industry served, the responsibilities
may have different titles such as "DTP Associate" or "Graphic Artist", but
despite changes in title, graphic design principles remain consistent. The
responsibilities may come from, or lead to, specialized skills such
as illustration,photography orinteractive design. Today's graduating graphic
design students are normally exposed to all of these areas of graphic design
and urged to become familiar with all of them as well in order to be
competitive.
Graphic designers can work in a variety of environments. Whilst many will
work within companies devoted specifically to the industry, such as design
consultancies or branding agencies, others may work within publishing,
marketing or other communications companies. Increasingly, especially
since the introduction of personal computers to the industry, many graphic
designers have found themselves working within non-design oriented
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organizations, as in-house designers. Graphic designers may also work as
free-lance designers, working on their own terms, prices, ideas, etc.
A graphic designer reports to the art director, creative directororsenior
media creative. As a designer becomes more senior, they may spend less
time designing media and more time leading and directing other designers
on broader creative activities, such asbrand development and corporate
identity development. They are often expected to interact more directly with
clients, for example taking and interpreting briefs.
Art director
General role and job description
Various artists may create or develop specific parts of an art piece or scene;
but it is the charge of a sole art director to supervise and unify the vision. In
particular, the art director is in charge of the overall visual appearance and
how it communicates visually, stimulates moods, contrasts features, and
psychologically appeals to a target audience. The art director makes
decisions about visual elements used, what artistic style to use, and when to
use motion.
One of the most difficult problems that art directors face is to translate
desired moods, messages, concepts, and underdeveloped ideas into imagery.
During the brainstorming process, art directors, co-workers, and clients are
engaged in imagining what the finished piece or scene might look like. At
times, an art director is ultimately responsible for solidifying the vision of
the collective imagination while resolving conflicting agenda and
inconsistencies between the various individual inputs.
Interfacing between information technologies and marketing activities
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A coordination among the different professionals in the mentioned areas is
wanted, under the supervision of an experienced leader who will decide the
last characteristics of the final promotional products in the services
companies. The art director activities and responsibility will avoid the
possible loops in the development of the products, with some wasting of
time and productivity, throughout the statement of some guidelines defining
the most suitable features of that products.
In advertising
Despite the title, an advertising art director is not necessarily the head of an
art department. In modern advertising practice, an art director typically
works in tandem with acopywriter. The team usually works together to
devise an overall concept (also known as the "creative" or "big idea") for the
commercial, mailer, brochure, or other advertisement. The copywriter is
responsible for the textual content, the art director for the visual aspects. But
the art director may come up with the headline or other copy, and the
copywriter may suggest a visual or the aesthetic approach. Each person
usually welcomes suggestions and constructive criticism from the other.
Ideally, the words and visual should not parrot each other; each should
enhance or enlarge the other's meaning and effect.
Although a good art director is expected to have graphic design judgment
and technical knowledge of production, it may notbe necessary for an art
director to hand-rendercomprehensive layouts (or even be able to draw),
now that virtually all but the most preliminary work is done on computer.
Except in the smallest organizations, the art director/copywriter team is
overseen by a creative director, senior media creative, chief creative director.
In a large organization, an art director may oversee other art directors and a
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team of juniordesigners, image developers and/orproduction artists, and
coordinates with a separate production department. In a smaller
organization, the art director may fill all these roles, including oversight of
printing and other production.
In film
An art director, in the hierarchical structure of a film art department, works
directly below theproduction designer, in collaboration with the set
decorator, and above the set designers. A large part of their duties include
the administrative aspects of the art department. They are responsible for
assigning tasks topersonnel such as the Art Department Coordinator, and
the Leadman, keeping track of the art department budget and scheduling (i.e.
Prep/Wrap Schedule) as well as overall quality control. They are often also a
liaison to other departments; especially Construction, Special FX, Property,
Transportation (graphics), and Locations Departments. The Art Director also
attends all production meetings and tech scouts in order to provide
information to the set designers in preparation for all departments to have a
visual floor plan of each location visited.
In the past, the title of art director was used to denote the head of the art
department (hence the Academy Award for Best Art Direction). On the
movie Gone with the Wind, David O. Selznick felt that William Cameron
Menzies had such a significant role in the look of the film, that the title Art
Director was not sufficient, and so he gave Menzies the title of Production
Designer.[2] The title has become more common, and now Production
Designer is commonly used as the title for the head of the Art Department,
although the title actually implies control over every visual aspect of a film,
including costumes.
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In publishing
Art directors inpublishing typically work with the publications editors.
Together, they work on a concept for sections and pages of a publication.
Individually, the art director is mostly responsible for the visual look and
feel of the publication, and the editor has ultimate responsibility for the
publication's verbal and textual content.
In Japanese animation
In Japanese animation productions, the role of art director ( , bijutsu
kantoku) refers specifically to thebackground artist in charge of producingbackground art for the animation, either personally or by directing a team of
artists.
See also[edit]
VFX Creative Director
References[edit]
1. ^http://catandbee.onsugar.com/33-things-I-know-about-Art-
Direction-19040343
2. ^ Preston, Ward (1994). What an Art Director Does. Silman-James
Press. p. 150. ISBN1-879505-18-5.
Creative director
A creative director is a position often found within the graphic
design, film, music, fashion, advertising, media orentertainment industries,
but may be useful in other creative organizations such as web
development and software development firms as well.
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A creative director is a vital role in all of the arts and entertainment
industries. In another sense, they can be seen as another element in any
product development process. The creative director may also assume the
roles of an art director, copywriter, or lead designer. The responsibilities of a
creative director include leading the communication design, interactive
design, and concept forward in any work assigned. For example, this
responsibility is often seen in industries related to advertisement. The
creative director is known to guide a team of employees with skills and
experience related to graphic design, fine arts, motion graphics, and other
creative industry fields. Some example works can include visual layout,
brainstorming, and copy writing. Before one assumes the role of a creative
director, one must have a preset of experience beforehand. Like anyone else,
these types of artists start up from the very beginning in fields that can relate
to motion graphics, advertisement in television, and/or book (or magazine)
publishing. It takes years of experience and professionalism for an artist to
grow and eventually take the job as a creative director. If one shows
exceptional skills in visual and team leading projects, they may be
considered to be promoted to the role.[1]
A creative director needs to possess a wide range of general skills when
working with projects that involve collaborating with a large team. The
director is the lead person so he or she is in charge of what ideas and
concepts go forward. In order to perform effectively, one must have a wide
attention and listening span, especially with large projects and teams. It is
the responsibility of the creative director to fully understand the ideas and
opinions of his or her team in a respectful/critical manner (providing
constructive criticism, turning small ideas into larger concepts, etc.). The
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creative director must be able to make decisions in a deadline driven
environment in the most efficient way as possible. Coordinating his or her
team in an accurate conceptual direction of where the project needs to go
and involving their team in constant creative/brainstorming sessions is
crucial. Also another important key part is being able to learn new skills and
strategies from fellow workers and how to apply those to future projects.[2]
A creative director is ultimately responsible for the quality of the final
creative work. For this reason, they get the lion's share of acclaim when their
team's efforts win awards, but conversely, the creative director shoulders the
negativity (and the blame) when a project goes wrong, response falls short of
expectations, or an important individual on the client's side dislikes or vetos
an idea.
Communication design
In the communication design fields of work, creative directors are usually
considered to be one of the highest/most active authorities in a creative
agency firm. Main goals will include watching out over activities and
agendas that his or her creative team may come across. One must consider
every option and idea that is conceptualized by their team. The management
comprises professional individuals who specialize in communication design
which can include graphic designer, illustrators, drawing artists, copy
writers, photographers, etc. One thing that is important to know is that
producing creative works and ideas with the assistance of a team is not the
only important responsibility at hand. Aside from leading a team, the
creative director must always have an open mind and plan new, innovative,
and interesting ways of translating ideas out into reality. As mentioned in
other fields of creative directors, exceptional interpersonal skills are key as
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well as studying different ideas that others conceptualize and knowing what
idea is good or bad.[3]Creative directors are also determined to work closely
with clients (holding meetings or sessions directly with them). It is their job
to understand the goals and objectives of their clients and to deliver
outstanding results. During the entire production process of a design or
product, the creative director must review/finalize the concluding aspects of
it and prepare to present it to the client(s). This role is deemed as a very
challenging and stressful job since it involves a great deal of attention to
detail.
Advertising
In the advertising industry, a creative director is determined to develop
various marketing schemes and strategies for a company or client that he or
she is hired by. Assuming one is hired by a company that is fairly well
known and established, there would be some type of creative department or
management that the director would work with. The creative director would
also serve as the project manager that works directly with employers and inmost circumstances they would be responsible for designing concepts for
advertisements and other promotional needs for their client(s). Some
examples of their duties involve Copy Writing and laying out chronological
advertisement plans which explain the ongoing process of a project. It is
important for an advertisement creative director to meet their goals at
specific deadline with maximum efficiency as possible. To do so, they must
be able to guide the creative department effectively from start to finish.
Educational requirements of this position involve a blending of skills in
business and journalism (skills in design arts and extensive use of computer
programs such as Adobe Creative Suite would be a beneficial addition as
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well). To even be considered as a creative director, one would need to have a
couple of years of experience in advertising (as little as five to as much as
ten years).[4]
Advertising creative directors are usually promoted from copywriting or art
directing positions. Familiarity with film-making techniques is also
common. Creative directors rise to become executive creative directors or
chief creative officers, a position with executive responsibility for the entire
creative department, and some progress to chairman of a firm.
Creative directors usually possess a VFX Movie,[5]communication
design orfine arts degree. Copywriters may have degrees
injournalism, language arts, or Media Innovation, or may develop more
emphasis on advertising copywriting while pursuing a communication
design degree.
Video games
Main article: Video game producer
With the increased team sizes and more specialised disciplines in the games
industry, certain game designers are titled as 'creative director', 'executive
designer' or 'game director'. A creative director in a videogame company is
usually responsible for product development across a number of titles and is
generally regarded as the prime design authority across the company's
product range. Some examples are Peter Molyneux, Alex Hutchinson
orShigeru Miyamoto whose influence extends across more than one project.
The video game industry is very important when it comes to the roles of
creative directors. The creative director has a very important responsibility
in this industry because video games are all visual and motion graphic
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driven. The director must devise ideas to lead a video game project forward
and many responsibilities involve working with various individuals or teams
spread out within the entire project/video game production. This can include
collaborating with motion graphic artists, 2D/3D animation developers,
various illustrator artists and much more. Academically speaking, a creative
director must have a bachelors degree, but there are some circumstances
where a high school education strongly focusing on aspects such as art,
graphics, computer science, and math can be acceptable and provide some
valuable insight to students who hope to aspire in this field of work. Some
skills that a creative director working in the video game industry must have
include proficiency in computer programming, graphic development
(illustrations, fine art), excellent interpersonal and writing skills (since they
deal with many other clients and management leaders). Once a concept has
been decided and agreed upon, it is up to the creative director to recruit a
responsible and skilled team. The magnitude of video game development is
incredibly large and expensive and most of the time requires an enormous
team of skilled people with experience in graphic, animation, illustration art
work, and programming. As usual, the position of a creative director is not
an entry spot. One would have to earn that role by showing their skills and
development over a period of years. Creative directors have done their share
of lower level startup positions such as internships or assisting other
directors in art related work fields. It is all about advancing through the
career chain and once one has earned the position a creative director, they
may be eligible to work for larger and more popular game developing
companies depending on how successful they have been with past
collaborative projects.
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Films[edit]
The creative director involved in the film industry carries a large
responsibility of managing the arts and props of a movie. The job is similar
to a creative director's role in the video game industry in that they manage a
team of employees and have to consistently develop new ideas and methods
of working. It is vital that creative director's in this field are able to produce
expressive/creative ideas and translating them into something cinematic.
Usually a certain sum of funds is distributed among different departments in
the production of a film (in this case, the art department). Creative directors
must decide on how to distribute and use the funds in the most efficient and
effective way to ensure maximum quality in the films art department. An
example can include the structuring of scenes and sets once a film begins to
undergo the shooting process. During this process, it is important for
creative directors to understand what props and effects should be used and
how they should be used among various sets and scenes of the film. Some
important qualifications that one should have include being able to manageteams, having expertise on design (specifically in theatre and interior sets
and art design), being open minded to new ideas and methods in regards to
organizing film sets, and having an understanding of coordinating among
different departments in order to move a project towards success. A creative
director in the film industry usually starts out in lower ranks of the chain
such as an assistant to other art directors and/or as a Draughtsman.
Music[edit]
Creative directors in the field of music can be broken down into various key
roles that make up the whole (it may be said that one can be known as a
'music director'). It is in this artistic field where the individual, the director,
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must master tasks that are relatable to one another. An orchestral conductor
is a prime example (but not exclusive) of this role and how one would direct
music and harmonize symphonies as well as guide/direct other musicians in
an ensemble. The three roles in this sense can consist of: the active
musician, the musical art director, and the instructor that teaches and informs
music for society. The main requirements one would need to have is an
extensive background and knowledge of music (being able to master one or
more instrument), understanding the principles and theories behind music
composition, developing an understanding and connection with musicians
that the director would be working with to communicate music in a
harmonic and creative sense and most importantly being able to develop
leadership skills among other musicians.
Fashion[edit]
Creative director is the highest creative position in a fashion house. The
creative director does not design clothes, but instead formulates and
impresses upon the designers an overarching concept or concepts for a
certain collection and the label as a whole. A fashion creative director's main
role is to establish what designs should be created, what will appeal to the
target market and how the concepts will be applied and distributed in
collaboration with fashion designers who are responsible for creating the
clothing and fabrics.
See also[edit]
Art director
VFX creative director
Advertising
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Video game
References
^ "Artists and Related Workers ." U.S. Bureau of Labor Statistics.
N.p., n.d. Web. 19 Oct. 2011.
^ "Art Directors." O*NET Online. N.p., n.d. Web. 19 Oct. 2011.
^ Davis, Shari. Design Professionals: Australia wide. n.d.: Career
FAQs, 2006. p. 50-54.
^ "Advertising Creative Director Job Description, Salary, and
Training Information." 300+ Job Descriptions: Find Your Dream Job
in 2011. N.p., n.d. Web. 1 Nov. 2011.
.
^"VFX Creative Director".
^ Careers in focus:computer and video game design. 2nd ed. New
York: Ferguson, 2009. p.17-24.
^ "Art Department - Skillset." Welcome to Skillset - Skillset. N.p.,
n.d. Web. 19 Oct. 2011.
^ "Traits and Skills of a Music Director - League of American
Orchestras." Home - League of American Orchestras. N.p., n.d. Web.
2 Dec. 2011.
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^ "Fashion Director: Inside Jobs." Discover new career opportunities
and paths that can take you there: Inside Jobs. N.p., n.d. Web. 4 Dec.
2011. .
Desktop publishing
Desktop publishing (abbreviated DTP) is the creation of documents
usingpage layout skills on apersonal computer. When used skillfully,
desktop publishing software can produce text and images with attractive
layouts and typographic quality comparable to
traditional typography andprinting, so DTP is also the main reference
fordigital typography. This technology allows individuals, businesses, and
other organizations to self-publish a wide range of printed matter
frommenus and local newsletters to books, magazines, and newspapers
without the sometimes-prohibitive expense of commercial printing.
Desktop publishing combines apersonal computerand WYSIWYG page
layout software to createpublicationdocumentson a computer for
eitherlarge scale publishing or small scale local multifunction
peripheral output and distribution. Desktop publishing methods provide
more control over design, layout, and typography than word
processing does. However, word processing software has evolved to include
some, though by no means all, capabilities previously available only with
professional printing or desktop publishing.
The same DTP skills and software used for common paper and book
publishing are sometimes used to create graphics forpoint of sale
displays,promotional items, trade show exhibits, retail package
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designs and outdoor signs. Although what is classified as "DTP software" is
usually limited to print and PDF publications, DTP skills aren't limited to
print. The content produced by desktop publishers may also be exported and
used forelectronic media. The job descriptions that include "DTP" such
as DTP artist often require skills using software for producing e-books, web
content, and web pages, which may involve web design oruser interface
design for any graphical user interface.
History
Desktop publishing began in 1983 with a program developed by [1] That
program, Type Processor One, ran on an PC using a graphics card for
a WYSIWYG display and was offered commercially by Best info in 1984.
[2] (Desktop typesetting, with only limited page makeup facilities, had arrived
in 19789 with the introduction ofTeX, and was extended in the early 1980s
by LaTeX.) The DTP market exploded in 1985 with the introduction in
January of the AppleLaserWriterprinter, and later in July with the
introduction ofPageMakersoftware from Aldus which rapidly became the
DTP industry standard software.
The term "desktop publishing" is attributed to Aldus
Corporation founderPaul Brainerd,[3] who sought a marketing catch-phrase
to describe the small size and relative affordability of this suite of products
in contrast to the expensive commercialphototypesetting equipment of the
day.
By the standards of today, early desktop publishing was a primitive affair.
Users of the PageMaker-LaserWriter-Macintosh 512K system endured
frequent software crashes,[4]cramped display on the Mac's tiny 512 x 342 1-
bit monochrome screen, the inability to control letter spacing, kerning (the
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