From the new album “Of the Blue Colour of the Sky” available at www.okgo.net OK Go on Tour www.okgo.net Directed by James Frost, OK Go and Syyn Labs. Produced by Shirley Moyers. The official video for the recorded version of “This Too Shall Pass” off of the album “Of the Blue Colour of the Sky”. The video was filmed in a two story warehouse, in the Echo Park neighborhood of Los Angeles, CA. The “machine” was designed and built by the band, along with members of Syyn Labs ( syynlabs.com ) over the course of several months. There is an in-depth behind-the-scenes look at the warehouse here: www.okgo.net OK Go thanks State Farm for making this video possible.

Optical Designs in Motion with Moire Overlays (Dover Pictorial Archive) Review

This is a collection of black-&-white op-art designs, arranged 3 per page, and supplied with smaller sized transparency repros of 4 of the designs. Positioning the transparency atop any of the printed designs and sliding it up, down, back, forth, or diagonally creates an animated visual psychedelic effect. For instance, one design which is replicated on the plastic film is an array of thin-line heliocentric circles. Superimposing the transparency of this same design atop itself produces the familiar moving “op-eyes” which can be controlled by distance of the overlay (from the center of the design), speed, and direction of movement.
If simple acetate reproductions are produced from the other designs in the book, and each is superimposed one-on-one with each other, 6,561 different combinations are possible! Even more if positioned two-on-one, but that may not be effective with all the designs.
Many times a thousand (or so) pictures are worth fewer words needing to be printed.

Optical Designs in Motion with Moire Overlays (Dover Pictorial Archive) Overview

Moire effects from the 81 optical-art patterns and four acetate overlays. By placing screen over the patterns, you get an infinite number of effects.

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Designing for web and print are two different experiences. Just because a designer is good at one doesn’t mean they’ll be good at the other. It’s necessary to understand that web and print share many similarities, but they also have many differences.

Below is a list of things to consider when going from print design to web design:

Resolution

Resolution is the quality of an image. It’s measured in terms of pixels. If you see an image listed as “72 ppi”, that means the image has 72 pixels per inch (ppi). Because web graphics are viewed on screen, they should be no larger than 72 ppi. A large ppi image will load slower, and won’t necessarily look any better.

Image Files – Gifs and Jpegs

JPEG stands for Joint Photographers Experts Group. It’s a great format that retains color and detail found in photographs and graphics with lots of color blends. JPEGs can display millions of colors so it’s ideal for print work.

GIF stands for Graphics Interchange Format. Most web pages use this format because it’s supported by all web browsers, can display up to 256 colors, and can include transparent backgrounds. GIFS are appropriate for image files with little color variation, and for images that will only be viewed on screen.

Photographs saved as GIFs may appear grainy. Single color images saved as JPEGs may appear fuzzy. When you save a graphic image, consider what type of file it is. Remember, GIFs work best with images having few colors or color variations. JPEGs work best with photographs or images to be printed.

Fonts

There is a major difference between choosing fonts for web as opposed to print. With print design, your completed piece will display the font specified during the design process. You don’t have to worry that a reader will open your brochure and not have the proper fonts displayed. However, web designers never know for sure if their fonts will display properly.

Unlike with print, web fonts differ based on the web browser being used. Your audience can only view the same font you’re viewing if it’s installed on their computer. If you design a beautiful website using Chaucer Bold, and none of your viewers have that font, their browsers will have to find a substitute.

This is why it’s good to be conservative when it comes to web fonts. Your beautifully designed page can look horrible when displayed on someone else’s browser. Don’t let your hard work go to waste. Stick to fonts such as Helvetica, Arial, Times New Roman, or Verdana. All web browsers are capable of displaying these fonts. However, if you do want to use a creative font, you can include it in a graphic file. But this will cause your page to load slower.

If you’re a print designer faced with designing a web page, take time to study the subject. You will be able to create a pleasing and effective site if you recognize the differences between print and web design.

Want Professional Graphics For Your Websites In Less Than 72 Hours! Let eCoverGeeks design your websites/blogs, guaranteed to boost your sales and conversion rates, check out our stunning portfolio at http://www.ecovergeeks.com

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Teaching Graphic Design: Course Offerings and Class Projects from the Leading Graduate and Undergraduate Programs Review

Am I glad there is a book like this out here in the graphic design world. I’m teaching advanced Graphic Design for the first time and to be honest, I only had a slight idea on how to get started. The sample syllabus at first seems a little thin, but then you realize that its sole purpose was to present how other teachers approach courses in a linear, step-by-step manner. They not only serve as guidelines around how you can build your sessions during the semester but also inspire and clarify what you have in your own mind for the class. This book is tremendously helpful to me and now I’m going into this course with confidence, and know that I’m approaching my first teaching job the RIGHT way.

Teaching Graphic Design: Course Offerings and Class Projects from the Leading Graduate and Undergraduate Programs Overview

This priceless teaching tool features more than 70 proven-effective programs from the country’s leading graphic design schools. Spanning from traditional, “bricks and mortar” approaches to the ever-widening digital frontier of graphic design, these syllabi include detailed introductions, weekly breakdowns, project suggestions, and selected readings, as well as offer valued background material on the history, social responsibility, and cultural impact of design. More than an instructor’s guide, Teaching Graphic Design is a self-contained chronicle of the past, present, and future of the art and the industry.

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