Top 11 Typography Books

By askdesign | Published: May 11, 2012


This was originally a “Top 10″ list when I first wrote it in the summer of 2009. I was preparing to teach a Typography 2 class, updating my bibliography list, and thinking about which books are must-haves and/or classics. There are many great ones out there, and I’d love to hear what your favorites are. Recently, I read a great book that I want to add to my list, which now makes it a “Top 11″ list:

garfield-justmytypeJust My Type: A Book About Fonts by Simon Garfield


I know a lot about type history, and now I know even more after reading this book. Beginning with the early history of moveable type, Garfield takes us on a journey to the present with wit and enthusiasm. It’s written like a mystery novel, weaving stories about different fonts and their origins. Interesting facts, curiosities, and motivations about the type designers are revealed. We learn about Helvetica and Arial, and how they each became ubiquitous. We discover some unsavory aspects of Eric Gill’s personality. The selection of Gotham for the Obama presidential campaign is discussed. Garfield celebrates the typography in our contemporary lives by humanizing it and helping us understand how and why fonts elicit emotions and reactions.

The Elements of Typographic Style, by Robert Bringhurst

This is a comprehensive book that should be on every designer’s shelf. An expert typographer and an eloquent writer, Bringhurst has given us a gift that Herman Zapf hopes will become the “Typographers’ Bible.” Bringhurst’s language is refreshing, intelligent, and poetic:

“Typography is the craft of endowing human language with a durable visual form, and thus with an independent existence. Its heartwood is calligraphy….”

My favorite section of the book is the chapter on “Shaping the Page”, where he discusses organic, mechanical, and musical proportions in grid structures. Included is the golden section, which I found mesmerizing.

An excerpt from Amazon.com review:

“This lovely, well-written book is concerned foremost with creating beautiful typography and is essential for professionals who regularly work with typographic designs. Author Robert Bringhurst writes about designing with the correct typeface; striving for rhythm, proportion, and harmony; choosing and combining type; designing pages; using section heads, subheads, footnotes, and tables; applying kerning and other type adjustments to improve legibility; and adding special characters, including punctuation and diacritical marks. The Elements of Typographic Style teaches the history of and the artistic and practical perspectives on a variety of type families that are available in Europe and America today.”

Design With Type, by Carl Dair


In my Typography I classes, this used to be a required text. Sadly, it is no longer in print. If you can get your hands on it in the library or a reasonably priced used version, go for it. Its clear content is valuable as a foundation for teaching beginning students. Dair examines the basic components of type, type relationships (his explanation of the 7 dimensions of concord/contrast is excellent), space, and hierarchy. Throughout, he treats type as design material and provides ample examples of imaginative typography. The hardcover edition won several major design awards and was one of the “Fifty Books of the Year 1967″ selected by the AIGA.

An excerpt from Amazon.com review:

“Design with Type takes the reader through a study of typography that starts with the individual letter and proceeds through the word, the line, and the mass of text. The contrasts possible with type are treated in detail, along with their applications to the typography of books, advertising, magazines, and information data….”

Design with Type differs from all other books on typography in that it discusses type as a design material as well as a means of communication….”

Designing with Type, by James Craig


One of the best introductions to typography, I have used it in my Typography I classes for several years. Beginning with a brief history of the alphabet & typography, it also covers basic type measurements (point size, leading, line length, font, wordspacing, etc.), type families and samples, design considerations, and simple grids. Some of the content in my 3rd edition is outdated, but perhaps more recent editions have made appropriate revisions.

An excerpt from Publishers Weekly review:

“Part textbook and part reference work, the fifth edition of a typographic classic begins with a thumbnail history of the development of written language and ends with a glossary; in between are in-depth looks at five classic typefaces, lessons on designing with text type, display type and color, and plenty of project assignments…. While best suited for a beginning graphic design student, this clear, readable book should also intrigue those interested in how the look of a sentence has an impact on the way we read it. 100 color and 500+ b&w illus.” (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Stop Stealing Sheep & Find Out How Type Works, by Erik Speikermann & E.M. Ginger


This is another great introduction to typography, with humor and informality that keep students entertained and informed.

An excerpt from Amazon.com review:

“World-renowned type experts Erik Spiekermann and E.M. Ginger explain in everyday laymen’s terms what type is and how you can use it to enhance the legibility, meaning, and aesthetic level of your work. They elegantly touch on all aspects of typography, including the history and mechanics of type, how to train your eye to recognize and choose typefaces, and how to use space and layout to improve overall communication…. A perennial bestseller since the first edition was published in 1993, Stop Stealing Sheep will draw you in with its beautiful design and layout, which makes liberal use of more than 200 illustrations and photographs.”

Geometry of Design: Studies in Proportion and Composition, by Kimberly Elam


I became enamored with this book the moment I read this sentence:

“Within the context of the man-made environment and the natural world there is a documented human cognitive preference for golden section proportions throughout recorded history…”

The book has a wonderful mix of great writing and fascinating examples of the Golden Section, Divine Proportion, and the Fibonacci Sequence. Can you tell that I once aspired to be a math teacher? The underlying grid structures of designs are illustrated via vellum overlays. I found myself smiling a lot as I read this book.

Amazon.com description:

“At last, a mathematical explanation of how art works presented in a manner we can all understand. Kimberly Elam takes the reader on a geometrical journey, lending insight and coherence to the design process by exploring the visual relationships that have foundations in mathematics as well as the essential qualities of life…. Explanations and techniques of visual analysis make the inherent mathematical relationships evident and a must-have for anyone involved in graphic arts. The book focuses not only on the classic systems of proportioning, such as the golden section and root rectangles, but also on less well known proportioning systems such as the Fibonacci Series. Through detailed diagrams these geometric systems are brought to life giving an effective insight into the design process.”

The Precision Type Font Reference Guide, by Levell, Newman, & Newman


This is THE font reference in my studio: an excellent, comprehensive guide to nearly all of the fonts available for purchase from vendors. It’s a difficult undertaking to keep such a catalog updated, as foundries are always adding new typefaces to their libraries. Perhaps that is why this book is no longer in print, and the most recent version was published in 2000. Nonetheless, it is still an incredibly valuable resource.

Amazon.com description:

“As the biggest and best font catalog for electronic publishing, Version 5.0 includes almost every commerically available font in the English-speaking world. Displayed are over 13,000 font samples from over 60 font foundries; from classic to contemporary, traditional to trendy, and simply unusual to absolutely bizzare. Includes full alphabets, history and designer information, and a comprehensive index with page numbers and foundries. This is an essential desktop reference for all typographers, designers, desktop publishers and typophiles.”

The Poster Art of A. M. Cassandre, by Brown & Reinhold


(Book image not available, but here is one of my favorite posters):

I am a huge fan of Cassandre and would recommend studying his typography and posters to all graphic designers. His posters have become iconographic symbols of the effective use of sans serif type, dramatic contrast in scale, geometric proportions, readability, and humor. He contributed greatly to an era when posters were a popular mode of advertising, and his work continues to inspire. You will probably be able to find this book in a library or borrow it from a colleague.

The New Typography, by Tschichold, McLean, & Kinross


Jan Tschichold was a leader in the “new” Swiss school of typography, which continued to influence designers for decades. Today, his approach may be considered rigid, yet it still informs and reminds us of the importance of white space and simple, clean layouts.

Amazon.com reviews:

“Probably the most important work on typography and graphic design in the twentieth century.” – Carl Zahn, The Museum of Fine Arts, Boston

“If you’re interested in design and typography, you should buy this book…it’s still one of the best typographic how-to books we have.” – Adobe Magazine

“The book is as well worth reading today as it ever was…. Tschichold’s lucid writing makes his words timeless.” – Photography Annual

Cool Type, by Drate, Salavetz, & Smith


Once you’ve learned the rules of typography, it’s time to explore how to break them. This book helped me do just that when I was a student, and I still enjoy looking at it for ideas and inspiration. There’s a nice range of styles and pushing the edge.

Typewise, by Kit Hinrichs (and Pentagram)


Any list of typography books would be remiss without including Kit Hinrichs, a partner with Pentagram Design since 1986. He has received many honors, notably the AIGA Medal, and is widely recognized as one of the premier designers in the U.S. The partner list at Pentagram reads like a “Who’s Who” in innovative, creative designers. Paula Scher once came to speak at Mass. College of Art & Design (my alma mater), and I was blown away. This book is only one of their many offerings to be inspired by, so if you can’t find it for sale, go with another Pentagram-penned book.

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Now it’s your turn! Feel free to add your favorite type books. Thanks very much!

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QuarkXpress to InDesign

By askdesign | Published: April 8, 2012

QuarkXpress was the industry-standard and my exclusive page layout program for a long, long time. Around 2007, I began the migration from Quark to InDesign CS3. Among the many reasons for the change was the seamless integration of InDesign with the other Adobe products I use, notably Photoshop and Illustrator.

Once I made the full commitment to InDesign, I had to find a way to convert all of those Quark files. InDesign CS3 was not capable of opening QuarkXpress v5 files. A colleague told me about a nifty plug-in by Markzware, called “Q2ID“, which converts QuarkXpress to InDesign. I purchased it for $172 on MacMall.com; a quick visit to both sites today reveals that the pricing has remained remarkably steady. It is well worth the cost, as it will save you hours of work. You should be sure to purchase the version that suits your needs regarding software versions and Mac/PC platform.

The plug-in is installed in the InDesign application folder on your computer. Specifically, place it inside the Filters folder that resides inside the Plug-ins folder (Adobe InDesign > Plug-ins > Filters). Relaunch InDesign. Open the Quark file. That’s all: a very simple, clean, and accurate conversion.

InDesign CS3 folder contents

If you haven’t noticed, InDesign functions pretty much as a plug-ins manager. InDesign CS5 can convert document and template files from QuarkXPress 3.3 or 4.1x. To convert documents created with QuarkXpress 5.0 or later, Adobe suggests that you “reopen the documents in QuarkXPress and save them in 4.0 format.” Sure, that’s one solution (assuming you own QuarkXpress v5). Or you could simply purchase the Q2ID plug-in to extend InDesign’s functionality, and make your life so much easier.

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InDesign Saving Back to Earlier Versions

By askdesign | Published: March 2, 2012


There is a way to “save back” an InDesign CS5 file to an earlier version. But, it’s not the powerful and flexible “SAVE AS” technique that you use in Photoshop and Illustrator. Instead, you must export the InDesign file using the InDesign Markup format, or IDML. It will be saved with the same name as the CS5 file, yet with the suffix “.idml” at the end of the file name. When you open the IDML file in CS4, it becomes an “Untitled” document that you need to rename.

To export an InDesign file, go to the FILE menu and select the export feature (Cmmd-E/Cntrl-E). In the separate window that pops up, select the InDesign Markup (IDML) format, name your file, and click SAVE to complete the export.

Export-idml-screengrabUnfortunately, you cannot open IDML files in InDesign CS3. In order to do that, you’d have to open the file in CS4 and export it as an InDesign Interchange INX file. Like IDML, this opens as an “Untitled” document that you need to rename.

If your InDesign CS5 file is acting oddly, you should export to IDML and see if that helps. IDML files do a general clean-up and remove corrupt data. It’s worth a try.

It’s nice to have a “save back” feature, but it’s pretty cumbersome, if you ask me. Adobe really needs to step it up in this area and make it a smoother, more seamless process. Instead of saving back, we should be able to simply “SAVE AS”, and choose from a drop-down menu selection of previous InDesign versions.

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Painting Delicate Arch

By askdesign | Published: February 1, 2012

My trip to the Southwest in the fall of 1995 included a visit to Arches National Park in Moab, Utah. There are unusual sandstone formations, turrets, and arches there, many of enormous size. One of the more memorable ones is Delicate Arch. We began our hike to Delicate Arch in mid-morning, a bit of a mistake in the 100 degree heat on a trail with no shade! We carried plenty of water and moved determinedly up the path, which climbs gradually enough to provide a pleasant challenge.

Along the way, we came upon a relatively small arch (human-size in scale) through which we looked to see Delicate Arch in the distance. It appeared small from that vantage point, and quite beautiful in its solitary stance. We still had a few kilometers to hike before reaching our goal.

Upon arrival, the scale is much grander and more impressive. Delicate Arch is 52-feet high! It stands on the edge of a large bowl as if it were a sentinel looking out over the serene vista. It is welcoming, soothing, and mesmerizing. I took pictures, of course, and did a quick sketch for future reference. I wasn’t yet working in pastels, but was thinking perhaps I’d do a drawing in colored pencil, my preferred medium at that time.

It actually took me several years to return to my references and paint this scene. Since I now work primarily in soft pastels, which generate a lot of “dust”, I do my painting outdoors during the warmer months of the year. One day this past autumn, I wanted so much to paint, but it was raining and cold outside. Instead, I revisited some photos and came across the Delicate Arch images. Inspired, I prepared the surface of some watercolor paper (Arches Aquerelle) by toning it and blocking in the scene with gouache (an opaque watercolor medium). I waited until the next day for it to dry, hoping that the sun would emerge by then and I could paint outside. My wish came true and I was able to continue the painting with pastels the next day.

Watercolor paper, particularly cold-pressed, has a lovely texture and thickness. Something magical happens for me when I do an underpainting with gouache and layer over it with pastels. The pastels’ hues interact with the gouache tones and paper texture to create a lovely velvety effect, which I love.

Another aspect of this painting is its wide format. I really enjoy working in exaggerated widths. They provide compelling, interesting perspectives that are a refreshing departure from standard-sized formats. Below is the completed painting, which I hope you enjoy! It is available for purchase; more details are on my website.

Delicate Arch

Delicate Arch; pastel and gouache; © 2011 Anne S. Katzeff

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2011 Poem Design Winners — Lasell Typography II Students

By askdesign | Published: December 3, 2011

I divided the students in my Typography II class into 3 groups, and assigned each group a different poem for individuals to design. They were encouraged to express the meaning of the poem typographically, yet they were allowed to use images. Once the final designs were complete, everyone voted and selected what they considered to be the “best” design for each poem.

Congratulations to the winners of the Poem Design vote!

Sara Bamber — I Know Why the Caged Bird Sings, by Maya Angelou
Sophie Butler — Ballad of the Landlord, by Langston Hughes
Ana Shores — Wild Geese, by Mary Oliver

PDF of 2011 winning poem designs

 

 

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Walter Kopec: You Can’t Make This Stuff Up

By askdesign | Published: November 3, 2011

Last night, I attended the opening reception for Walter Kopec’s solo art show You Can’t Make This Stuff Up. It was well-attended and for good reason. He is an incredibly intelligent, thinking artist who observes and gathers in the world each day. His influences are many and his art is the creative expression of his insights and responses to those influences.

To start things off, Walter gave a brief presentation and answered questions from the crowd. Those who didn’t already know Walter were thus introduced to his wit and warmth. It’s always a special treat to attend an opening where the artist speaks about their work and process.

Walter’s art is a unique combination of typography, 3-dimensional mixed-media, textures, political and social commentary, reflection, word-play, humor, and celebration. His ideas are expressed using a variety of materials, including metal, plastic, vinyl, wood, tar, paint, aluminum, plexiglass, rubber, foam, prosthetic legs, and marshmellow fluff! He uses whatever technique will get the job done: welding, glue, tape, string, elastic, pushpins, die-cut, and much more.

His art makes you pause, think, smile, and sometimes laugh. It will force you to look closely and carefully at what you are viewing. His art is an interactive experience, and you will respond. Don’t miss this special solo show, which continues through Dec. 4, 2011, at Mt. Ida College (details below).

"2 Party System" © 2011 Walter Kopec

 

"Skin Deep (BEAUTY)" © 2011 Walter Kopec

 

"Just Your Luck" © 2011 Walter Kopec

WHERE:
The Gallery at Mt. Ida College
777 Dedham Street
Newton, MA  02459

http://www.mountida.edu/sp.cfm?pageid=2001

DATES AND TIMES:
October 25, 2011 – December 4, 2011
Tuesday-Sunday
1PM – 5PM

To see some of his past work, please visit:  http://walterkopecstudio.com/walterkopecstudio.com/Quickly….html

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My Thanks to Steve Jobs and His Vision

By askdesign | Published: October 6, 2011

Steve Jobs passed away yesterday. When I first heard the news, I reacted much the same way I did when I first learned that John Lennon had died. I knew Jobs had been battling cancer and had stepped down from his CEO position at Apple just this past August. Yet, the loss was still stunning and unexpected to me.

Steve Jobs and Steve Wozniak co-founded Apple Computer Inc. They started tooling around together in a garage that belonged to Jobs’ parents in 1976. That’s when computers were large boxes inside separate rooms, networked to individual keyboards. All of the “intelligence” was in those boxes. Most of what you saw on the monitor was code. There was no WYSIWIG (What You See Is What You Get) yet.

Fast-forward to 2011 and your monitor is filled with graphic icons that represent folders, files, and applications. The graphic user interface (GUI) that we now see has evolved from the vision Jobs had in that garage. The way we communicate and learn has forever been changed. Sure, Macs were the first computers to use this new GUI, but as time passed, PCs adopted more and more of the Mac attributes. The operating systems remain separate, but the GUIs merge closer together.

It wasn’t just the Mac computer, of course, that we can thank Jobs for. There’s the iPod, iPad,  iMac, and other Apple products. There’s also the design of these products, their sleekness, simplicity, and coolness, that we are fortunate to have. Who would have thought that you could download music and store the files on a lightweight, portable music system? Who would have thought that you could store a powerful hard drive in the back of a flat screen monitor?

I asked my students today, “What was your first Apple product?” All of them said it was the iPod. I described my first computer, a gift from my brother: LCIII, 4 MB RAM, 160 MB hard drive space. Its footprint was actually relatively small, but the 16″ Apple monitor I had was large and protruded in the back at least a foot.  We reminisced together. They understood the importance of this loss.

I wonder how many of us get to live during the lifetime of a visionary who has a monumental impact on our world? Thank you Steve Jobs. You will be missed. May you rest in peace.

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Art at the Market: Kids Love It!

By askdesign | Published: August 26, 2011

On August 4, we held our 3rd annual Art at the Market, at the Belmont Farmers’ Market. It’s become a popular activity that kids and parents alike look forward to. Jeanne Mooney and her daughter, Frances, found last year’s supplies in their basement (thank goodness!) and, once again, set up everything. The 3 of us are like a well-oiled machine, working together smoothly and enthusiastically.

There was a steady stream of children and adults creating artwork for 2 solid hours. It seemed like more adults participated this year, which is fantastic! There’s no real structure to the activity. We just provide the space, supplies, and fun atmosphere for folks to find their creative side while at the farmers’ market. You can draw anything you like, but generally we draw inspiration from the vendors’ delicious veggies, fruits, and breads.

Enjoy these pictures of that day, taken by Jeanne.

 

Frances

Frances

veggieville

eggplant-yum

Eggplant: yum!

Enthusiastic return!

Enthusiastic return!

Lots of activity!

Lots of activity!

Anne and Frances.

Anne and Frances.

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Top 10 Favorite Places to Visit

By askdesign | Published: July 5, 2011

I’ve traveled a fair amount and a friend once asked me what my favorite places in the world were. Traveling teaches me so much about people, the land, and how diverse we are. Much of my inspiration comes from traveling, too. Here’s my top 10 list of favorite places:

      1. Hawaii — Hawaii is the most beautiful tropical location I’ve ever visited. I’ve been there twice, spending time on Maui, Kauai, and The Big Island. The combination of  rain forest, gorgeous beaches, and amazing hikes makes Hawaii very special.
        Highlights— The Road to Hana, snorkeling with colorful fish, swimming with wild dolphins, seeing the active volcano on The Big Island (Kilauea), hiking the “sleeping” volcano (Haleakala) on Maui, hiking the Napali Coast on Kauai, body surfing, fresh fruit smoothies, waterfalls, and captivating sunsets. It’s an amazing area.

        "Infinity 3" (0318) Pastel & Watercolor: Bimini, Bahamas. ©2003 Anne S. Katzeff

      2. Bimini, Bahamas — My first experience swimming with wild dolphins was in Bimini. We lived on the ocean for a week on a 90-foot catamaran, cruising the waters leisurely, hoping that the dolphins would find us (or we’d find them). And we did find each other, again and again! In between dolphin swims, we’d relax or snorkel or snack or nap, until we heard the enthusiastic cheer, “DOLPHINS!” Then everyone would gather on the lower deck, put on their snorkel gear, and jump into the water for another glimpse or perhaps a fabulous interaction with the dolphins. I’ve returned to swim with the dolphins there several times. Bimini Spotted Dolphins are the most friendly and exciting of the dolphins I’ve swum with.
        Highlights— I began working with pastels right after I began swimming with wild dolphins. Swimming with the dolphins had such a profound effect on me that I wanted to find a way to express the experience through my art. The vibrant colors and wonderful textures of pastels drew me right back into that ocean world as I painted. Soon I was led to paint other “landscapes” in nature that moved and inspired me.

        "Antelope Canyon 2" (0407) Pastel: Antelope Canyon, Arizona. ©2004 Anne S. Katzeff

      3. American Southwest — During college, I helped move a friend to Fort Collins, Colorado. We packed up all of her belongings into a car and drove west. After finding her an apartment, we explored the 4 corners area of Colorado, New Mexico, Arizona, and Utah. I was officially smitten. I kept going back over the years, each time focusing on a particular  area in order to get more familiar with it.
        Highlights — Colorado: Boulder is like Cambridge and San Francisco in the Rockies; Mesa Verde.
        New Mexico: Chaco Canyon; Acoma.
        Arizona: Canyon de Chelly; Sedona (Oak Creek Canyon is one of my favorite hikes); Grand Canyon; Antelope Canyon.
        Utah: Bryce Canyon, Zion National Park, Arches National Park; Canyonlands National Park; Monument Valley
      4. Paris, France — I love walking in Paris and seeing the iconic sites.
        Highlights — Champs Elysees, Eiffel Tower, Notre Dame, Jardin de Luxumbourg, Musee D’Orsay, Rodin Museum, and Montemarte (Sacre Coeur). A couple of side trips stand out, too: Villefranche-Sur-Mer and Giverny (Monet’s home). The patisseries and crepes are out of this world!
      5. Switzerland — There’s nothing like the Swiss Alps, with their strenuous and satisfying climbs to breathtaking views. What made Switzerland unique for me was its emphasis on sustainability, cleanliness, and excellence in creating precision instruments.
        Highlights— The Alps, Berne, Lucerne, Interlaken, Jungfrau, Swiss chocoolate, cheese fondue, and rosti (potato dish).
      6. Costa Rica — What wonderful people who care for their beautiful land of incredible diversity. 2 features about Costa Rica that I really like: they are a peaceful nation (have no army) and they boast a 95.8% literacy rate.
        Highlights— Monteverde (amazing bird-watching) and Osa Peninsula; swimming with 6 different kinds of wild dolphins (and bluefin tuna!).
      7. Machu Picchu — Traveling here was a dream come true. We stayed at Wilka T’ika in the Sacred Valley, and coincidentally found ourselves traveling with a group of artists. I learned a lot being with these artists, particularly ways to carry tools as you hike to spots where you paint. We visited several sites near Cuzco and acclimated to the extreme altitude. Nonetheless, my first glimpse of Machu Picchu took my breath away.
        Highlights— The grand scale of Machu Picchu mesmerized me. The challenging hike up Waynu Picchu caused my legs to scream, but when we reached the top and looked down at Machu Picchu, I stood silent on the soaring mountains, feeling humble and grateful.

        "Undermountain Farm" (1015) Pastel: Lenox, Mass. ©2010 Anne S. Katzeff

      8. The Berkshires — I took a class called Painting and Yoga in the Berkshires at Kripalu Center for Yoga and Health (in Lenox) several years ago. That’s when I made the leap from painting dolphins to painting landscapes. The class continues to be taught by one of my favorite teachers in the world, Linda Novick.
        Highlights— The mountains are soft and wise. In autumn, the Berkshires are spectacular.
      9. Provincetown —Perhaps it’s because I’m a Pisces that I have such a strong affinity for the ocean. I feel very fortunate to live so close to Cape Cod. I love beach culture: shorts and tevas, beaches and sand dunes, waves and boogie boards, Stellwagen Bank and the Humpback whales.
        Highlights— Whale watching on Stellwagen Bank (aboard the Dolphin Fleet), painting at Race Point, visiting art galleries, and eating at Napis.

        "Restful Ride to Ptown" (1007) Pastel: Provincetown, MA. ©2010 Anne S. Katzeff

      10. Vancouver Island — I never imagined that I would go here, until a fellow traveler told me about its Orca  populations. From the moment we arrived in Vancouver, we were in awe of the land and culture, because even the airport is a welcoming treat.
        Highlights— Ferry from mainland to Vancouver Island, Victoria, Telegraph Cove (saw the Orcas here!), Tofino, and Pacific Rim National Park. Lush, temperate rainforests, abundant wildlife, and clean, long, picturesque beaches.

If I could squeeze in another favorite place, it would be Italy. I went there in high school, flying for the first time and experiencing the culture, art, and food with some of my best friends. It was a whirlwind week as we stayed in Rome, Florence, and Venice, with a side trip to Pisa. The highlights included the ruins (Colosseum, Forum, Pantheon), the art (Florence), gondola ride (Venice), and the food. I love pasta.

What are your favorite places?

 

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Image File Formats: print vs. web

By askdesign | Published: May 23, 2011

There are 2 basic categories of file formats for images, and they relate to end-use: print and web. The key differences between print and web images are resolution measurement and color mode. Within the 2 categories are 2 core types of images: raster and vector. Raster images are composed of dots (pixels), otherwise known as continuous tone or photographs, which lose resolution when scaled up in size. Vector images are composed of connected lines and curves, which are “resolution-independent” and can be scaled up or down without losing quality; these object-oriented, mathematically-defined images are best used for logos, type, and illustrations.

Print images
Characteristics
  • high resolution — 300 dpi (dots per inch) or higher
  • CMYK color mode — also called 4-color process. The 4 colors of CMYK (Cyan, Magenta, Yellow, Black) can be mixed to achieve a full range of color. There is some variance in the colors produced with cmyk mixing.
  • Spot color — a premixed, standard ink selected from a numbered list provided by the ink vendor, which is most commonly the Pantone Matching System (PMS) in the U.S. and Toyo Ink in Europe. Since the spot color is premixed, it uses only 1 plate (vs. 4 plates for a cmyk mix of a similar color) and does not change from page to page during the print run.
Common file formats (all without compression)
  • TIFF — (Tag Interleave File Format) — This is THE best file format for high-quality, continuous-tone photography intended for print. It can be used on both Mac and PC platforms. LZW compression is an option (lossless), but BE SURE TO DE-SELECT the LZW and re-save the file when importing it into a document being prepared for print. TIFFs with LZW compression can corrupt Quark and InDesign files.
  • EPS (Encapsulated PostScript) — Can be used for both raster and vector images, and was considered excellent in its heyday. But, not always readable on PCs, EPS is being phased out and replaced by PDF.
  • PDF (Portable Document Format) — The excellent, new, open standard format is readable on virtually all platforms. It preserves all of the file information beautifully.
  • PSD (Photoshop Document) — The working source file for raster images in Photoshop.
  • AI (Adobe Illustrator) — The working source file for vector images in Illustrator.
Web images
Characteristics
  • low resolution — 72 dpi (dots per inch)
  • RGB color mode — (Red, Green, Blue) also called “additive” primary colors because when added together they produce white light. In HTML coding, hexadecimal notations (HEX) are used to define combinations of Red, Green, and Blue color values (RGB). More than 16 million colors can be achieved by mixing RGB.
Common file formats (all with built-in compression)
  • JPEG (Joint Photographics Expert Group) — Offers different levels of lossy compression, which means you lose and cannot retrieve data when compressing. Best used for continuous tone images.
  • GIF (Graphics Interchange Format) — Supports transparency and animation. Best used for graphics.
  • PNG (Portable Network Graphic) — Supports transparency and has much better color quality than GIF.
  • SVG (Scalable Vector Graphic) — A vector format for high-quality web graphics.

There are lots of great resources for information on the web, and sometimes it’s hard to sort through all of it. Hopefully, this article clarified the basics of image formats. If you have any questions, please leave a comment and I’ll be happy to help.

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