art design

The Benefits of a Graphic Design Blog

2009-02-15T03:26:00.000-08:00

here are many benefits to writing your own graphic design blog. Writing a blog can build a community around your website, promote your business, and help to establish yourself as an expert in the field.

Promote Your Business
Writing a blog is a great way to promote your business and find clients. When a potential client visits your website, they are often going to head straight for the portfolio to see examples of your work. However, you can also impress them with blog that shows them your knowledge of design and interaction with other creative professionals and clients. A constantly updated blog will show people that you are active in the community and always thinking about design, even between the posting of projects in your portfolio. It will also give them an immediate sense of your personality, and hopefully show off your writing skills in the process. Treat every post as part of your resume as you never know who is reading!

Drive Traffic to Your Website
No matter how many projects you have at any given time, you will rarely be posting new projects to your portfolio daily or even weekly. This is no way to end up high in those Google search results. Posting to a blog every day or several days a week will keep the content fresh on your website and help to improve your search engine rankings.

Build a Community
Once you have been writing your blog for a while, you will hopefully begin to build a community around it. Be sure to establish your own “online voice,” write about unique topics, and keep the blog open to comments to encourage discussion. Promote your blog whenever possible and be sure to let at least friends and family know it is out there, who should help spread the word for you if they come across others in your field. When you do have a regular group of readers, you’ll be left with people to network with and work with in your design business.

Establish Yourself as an Expert
Over time, your blog may become a place that other designers go to for advice and tips. Share solutions you have found to design dilemmas, write up tutorials on your favorite software tricks, and discuss how you deal with the business or legal side of design… anything you are comfortable sharing with the outside world! Be cautious as potential clients and employers may be reading, but use this to your advantage by showing them that you are an expert at what you do.

Design by Metaphor

2009-02-15T03:19:00.000-08:00

Design by metaphor—or, as is often the case, design by simile—happens when a client provides design and development in the form of a reference to another product. This can occur both in high-level concepts, such as, “MySpace, but for B2B relationships,” and in individual details, like “the login should be just like Gmail’s.”

Spoken language provides an interesting analogue to design by metaphor: If you’re not a fluent speaker of a particular language, you’re often forced to stretch your limited vocabulary into bizarre, descriptive phrases instead of the exact words that say what you mean. Maybe you remember the last time you were overseas and asked directions to the “shop of changing banknotes.” In the same way, you’ll mostly see similes in specifications provided by clients who may not know how to say that they want “database of user registrations with reports X, Y, and Z” or “JavaScript menus that degrade into CSS-formatted lists.”

Metaphors and similes are also excellent ways to summarize multiple, loosely-related concepts in shorthand. After all, the basic behaviors of any web-based discussion forum, contact form, or shopping cart are largely the same as those of any other once you factor out the specific content of the site.

Why put up with comparison-driven design?
When used to pin down abstract concepts or unusual design details, design by metaphor or simile bridges a major gap of understanding. The customer may not be able to pin down what he wants from another site, but in some cases, pointing to that site can be enough to make the features he desires apparent to experienced developers.

Conversely, comparative references can be extremely powerful for explaining design decisions back to a client. Few client-provided specifications are all-inclusive, and you can expect questions when your judgment calls don’t match what he imagined. If you explain that you designed your booking process “like Expedia,” you can easily summarize a wide range of choices through the system, as well as gain added authority by showing that your choices mirror those of a successful system.

When comparisons attack
Unfortunately, the power of this method of communication comes at a significant cost. If a client says he wants his new auction site to be “like eBay,” what does that mean? An artist hears “It has a tacky color scheme.” A developer hears “It’s scalable to 20 million users.” A user hears “It has feedback ratings on all sellers.” Which, if any of these, did the client mean? You may spend dozens of hours writing specs for eBay-esque features that didn’t capture the client’s heart.

Conversely, defining your own work in terms of other products may set up unacceptable comparisons or fixations in your customer’s mind. If you boast that a new shopping cart works 95% like Amazon, the client may grow obsessed with “fixing” the 5% that’s different, or incorrectly believe that his site has acquired the capacity and features of Amazon across the board.

Moreover, the ability to identify a loose aggregation of features via a single comparison may cause clients to accidentally include irrelevant or needlessly expensive features in their specifications. For example, many off-the-shelf shopping systems include extensive support for multiple currencies and tax jurisdictions. This adds many layers of complexity, and if you’re running a single outlet in Chandler, Arizona, you probably don’t actually want to spend $5,000 more on development to ensure your “just like Zen Cart” shop is ready to handle British Value Added Tax.

Finally, a client who can only speak in similes may be unable to bring the best possible choices to the table. If the client is selling merchandise, he’ll probably say he wants a self-contained shopping system styled after his favorite e-commerce site—but his comparison is limited by his experience. Odds are, he hasn’t seen an example of a hosted shopping cart service, or a single-action “Buy Now” button that he can allude to, even if those would suit his needs better. Your experience and expertise comes in there, as you’ll be able to offer your clients choices they didn’t realize they had and rescue them from the tyranny of comparison.

Bounce back to the real world
The ambiguity inherent in comparison-based design communication must be managed, or you’ll end up trying to build mutant websites which work as YouTube plus Newegg multiplied by DeviantArt…on a $750 budget. Fortunately, there’s a practical strategy for controlling runaway scope: limit the use of metaphors and similes to the phases in which they work best.

It makes sense to start with comparisons, especially if you’re about to develop a significant new functional unit. However, if you do so, the second round of specification development becomes critical. Once you understand what the client is asking for on a high level, you should restate that understanding in more concrete terms that will form the basis for binding design documents. You can even walk through the comparison product part by part and ask the client what he really means with his comparisons. There is absolutely no harm in asking “what part of this process do you want to copy?” Developers often over-complicate vague requests, and it may turn out to be a pleasant surprise when it turns out that all the client really wants to lift from the $300,000 commercial backend is its color scheme and menu placement.

You may also be able to control ambiguous comparisons by treating them not just as a design reference, but also as a source of benchmarks. Compare compatibility and performance of the model site: when you bring a focus group in, let them attempt to complete tasks on your site and then on the sites the client presented as models. Direct comparison of user experiences and task success rates are solid evidence that your site matches, or even exceeds, the models. Such a strategy is particularly effective when the client has questionable assumptions about user behavior.

When it’s clear that the client is relying on a poor or inadequate analogy because he lacks a better choice, you can combine his understanding of comparisons with your wide design vocabulary. Speak his language, and propose that “instead of doing it like your example, what if we try doing it like this other example?”

Finally, don’t miss the possibility of the sum of a client’s models being significant as well. If all the sites he idolizes average 700k per page of images and Flash, the unspoken message could well be “a seamless, graphics-intensive look is more important to me than 28.8 modem users.” Reading between the lines is no less important here than it is with a more conventional specification.

One more communication tool: no more, no less
Design by comparison can help to engage your clients in the development process while keeping the discussion at a level they’re comfortable with. However, its practitioners must realize that poorly analyzed metaphors can say too much or too little. The need for this delicate balance keeps the technique from being a panacea, but doesn’t prevent it from being useful.

What to Include in a Website Proposal

2009-02-15T03:14:00.000-08:00

A website proposal contains many aspects different from other graphic design proposals, in that technical elements must be addressed along with creative ones. While print proposals do address items such as printing procedures, website proposals must specify web hosting, systems for maintaining content, programs or programming languages to be used and other technical specifications.

Outline of Content
A website proposal should clearly spell out what will be included on the site. This can be done in a standard outline format, or visually, to show what sections and features you intend to build for the client. An outline serves to both let the client know your ideas for the site (which should be based on meetings with them) and protect you from rounds of changes and additions not initially planned for. By including the outline in the proposal and eventually the contract, you are making it clear what is included for the price and therefore what additional services can be charged for.

Method of Building Site
It is important to decide at the start of a project what system or method will be used to build the website. Some sites are built in static HTML, meaning each page is created manually, and updates are done manually as well. Other sites are built in HTML but utilize a content management system (CMS) that stores the content in a database and allows for easier updating. Sites like WordPress and Blogger offer a simple CMS included for free with your site, while other CMS packages are installed on web servers and completely customized for the project, offering countless feature options. Another option for building the site is within Flash, allowing for a rich multimedia experience and a lot of development time. Regardless of the method chosen, it should be explained in the proposal so you and your client are in agreement as to the best way to build the website.

Hosting
A web proposal should also include the hosting plan for the site. The client should be assured that the hosting plan would properly support the traffic and content expected. For example, a site with a lot of video content will need sufficient storage and speed. Along with a detailed description of the hosting, expected costs over time and for setup should be included.

Maintenance
Once a website is designed, built and launched, it will need to be maintained. Site maintenance includes both technical up-keep such as server upgrades, and updates to content or design on the site itself. The plan, and costs, for maintenance should be detailed in the proposal. This may include specifying what the client will be able to update on their own (through the use of a CMS), what updates you as the designer/ developer will handle, hourly rates for ongoing work, and any other details concerning keeping the site running and up-to-date.

Time Frame
Most clients will want to work on a deadline. While web projects require many rounds of approvals and changes, include the expected amount of time to complete the project. Depending on the needs of the client, a strict deadline might have to be included.

Estimate
After explaining in writing how you plan to develop the site, what will be on it, how long it will take, and the hosting and maintenance, an estimate of your fees should be included. This is something that should be discussed with the client, ideally before creating a full proposal, so you know what type of budget you are working with. Once you have determined the cost for the project, it can be beneficial to again speak to the client (instead of just sending a number in writing) to get an idea of their reaction and potentially negotiate to land the job.

Going to Contract
Once a proposal is accepted, it should be included as part of the contract with the client. This will again clearly spell out what services are expected for the cost. The contract will also have to specify a payment schedule and legal provisions, for which an attorney should be consulted.

The Details That Matter

2009-02-15T03:12:00.000-08:00

A long time ago, in a galaxy far away, the graphic arts industry was populated by full-time illustrators, production assistants and compositors. With only composing sticks for laying out type, straight edges for defining grids, a human proofer to catch spelling mistakes and an arsenal of X-acto blades for making edits, these guys lived and breathed detail. Mistakes were costly. It was a trade position that required lengthy apprenticeship; job security depended on getting all of the little things right.

While many of the tactile skills needed for our new generation of PC-based web design and development are radically different, a critical eye for detail is as relevant as ever. In fact, because of the lower cost of entry and increasing commoditization of design, that eye for detail is not only necessary for staying afloat in the profession, but a requirement for success.

The functional details are different than the ones with which our forefathers wrestled. Most of us do not own goggles to prevent spray adhesive from getting in our eyes or loupes to gauge dot gain at a press check. We do, however, have to deal with the endearing idiosyncrasies of browsers; we all run into the same double margin bug and inconsistent JavaScript support. These are quantitative, documented issues. Good website builders like you and I avoid these altogether simply by writing better code. But the details that can kill a project faster than a fly against a windshield are more subversive: the ones that, in hindsight, should have been blindingly obvious.

It’s never just about design

Only the luckiest website builders actually build websites all day. Most of us are also part-time proofers, project managers, usability experts, design critics, navigational architects, therapists for copywriters, and general go-to experts on all thing interweb. We are responsible for not only testing in different browsers, but for knowing which browsers our audience will use, and why. We have to sit in on conference calls and listen to people criticize our work and ask the same question nine times. We are responsible for checking the consistency of link treatment. Button design. Form functionality. Whether little decorative flourish A matches little decorative flourish B. We have to pay attention to a lot of stuff, and a lot of it falls well outside the sphere of design.

After working in numerous design departments and managing of a diverse creative team, I’ve learned that the best employees have distinct habits. These employees:

* re-read the project brief before clarifying outstanding questions with the project manager or client,
* communicate with project stakeholders to catch any mid-project scope changes—and, more importantly, understand why these changes are happening,
* challenge changes they don’t agree with, and defend their positions objectively and pragmatically,
* pass work to colleagues for a peer gut-check before a formal review,
* spell check, then reads everything again to catch the errors spell cheque doughs knot,
* read everything again for language nuances, such as consistent point of view, active voice, and parallel structure,
* study relevant market trends and understand the competition,
* suggest details that improve the piece, from adding clearer alt text to switching out images, to altering the grid in ways that allow content to breathe,
* know which battles to fight and which to avoid, and
* recognize and work on the details that help them get better at their jobs…and then go on to get better at their jobs.

Invest for the long run

When design deliverables go wrong, it often leads to Old Testament, end-of-the-world stuff—fire and brimstone, rivers and seas boiling, cats and dogs living together. Every finger lands squarely in the face the designer. And why not? It is every designer’s responsibility to ensure the 100% satisfaction of the client, and that means delivering work in which every detail is thought through: top to bottom, inside and out.

In practice, though, there are two types of people when it comes to paying attention to detail: those who say they reviewed their work, and those who actually reviewed their work.

Website designers and developers who consistently fall short of expectations, who let little details slip through, ultimately develop a bad reputation. For the corporate employee, choice projects go to others and promotions are few; for the freelancer, client referrals dwindle. Perhaps most deflating, however, is that colleagues no longer take you seriously in peer design reviews. When people expect you to miss the details, the road to redemption is long.

The black comedy of it all is that few people celebrate designers when they get it right. We are, after all, expected to nail it perfectly every time. We juggle all of the tiny pieces of the great project puzzle, and after it goes live on the web, then it’s on to the next project. There is little short-term glory in being perfect, but there are long-term rewards for being consistently great, and good managers look for that consistency across the careers of their employees.
The little things lead to success

When designers and developers think about the details of the project, they must think critically and analytically. The best solutions come from both sides of the brain, built from both the how and the why.

To be truly great, we have to understand the motivation of our clients, maintain constant two-way communication with shockingly uncreative people, get a firm handle on copywriting and how that craft exists symbiotically with the visual element, and foresee how the finished whole will be greater than the sum of the bits and pieces we spent hours obsessing over. All of these factors cascade into the final product.

Creative professionals who can see all angles of a project are the ones who ultimately succeed in the industry. They win awards, get promoted, and make money, but most importantly they develop a reputation for caring about detail, for putting a personal and deliberate effort into making sure all of the tiny things are in place to make the final product perfect.

online creative strategy

2009-02-15T03:04:00.000-08:00

The single largest problem that continues to hinder interactive design from really coming into it’s own is the fact that designers allow their work to be led more by technology or production techniques and not creative thinking.

As a creative director We have had tons of interactive portfolios come across our screen over the years and we see the same problem over and over again. Unfortunately most of this work has been produced in Macromedia Flash and that technology has taken a huge amount of criticism over the years. I personally believe that pointing to Flash as the reason for ineffective web design makes about as much sense as blaming paper for creating junk mail or the telephone for creating the solicitors who call during dinner. The fault should fall to the designers who have not taken the time to use a creative strategy as the basis of their work.

A good on-line creative strategy should define the values and brand attributes that need to be communicated to the consumer in a distinctive and compelling way that takes advantage of the medium. I use answers to the following list of questions as a starting point when I meet with a new client or start on a new project.

What are we advertising and why?
When you meet with your client about a new project, get a thorough understanding of the focus of the communications efforts such as: the brand, a specific product or service, a promotion or new news. Make sure you understand their reasons for wanting to be on-line. Often the rationale clients provide are expressed as marketing objectives not as communications objectives. Communications change the way people think and influence their behaviors. That is the difference between a marketing objective and a communications objective. What is it they are trying to achieve? Increase market share? Drive awareness? Increases frequency or penetration? Increase sales? Focus on uncovering the single most important obstacle the communications must overcome.

What is the brands communication past?
Get a clear understanding of where the brand has come from and where it is now is critical to determining where the brand needs to go. Look at the brands past advertising to gain a solid understanding of the it’s positioning, personality and focus. Research if the target of the brand’s activities have shifted and why. What are the reasons for this change?

What do we need to do?
It is a simple as it sounds. What are the deliverables that need to be created to fulfill the clients marketing and communications needs?

Who are we talking to? (Demographics)
What are the physical characteristics of your clients market? Your client should be able to provide you with some statistics that provide a snapshot of the consumer you will target with the creative work. Common demographics include: age, gender, religion, income level, education, and family composition.

Who are we talking to? (Psychographics)
What are the mental characteristics of your clients market? Your client should again be able to provide you with some information that provides a snapshot of the consumer’s mindset regarding: their personal values, their beliefs, their habits and their activities. Psychographics are often more powerful influences upon how a consumer views your clients category, brand or product as attributes often affect behavior, and attitudes typically cross age groups. Take time to know your consumer so your creative will be more impactful.

What is the personality and tone?
A brand’s personality should be a reflection it’s behavior, character, and manner. This personality should drive the style and tone of all our communications in writing, photos/illustrations, typography and style.

What is the selling idea?
The selling idea is a way of saying the most persuasive thing you can say to get consumers to alter their behavior towards a client’s category, brand or product. The selling idea should be the starting point for the development any compelling, original, and successful creative ideas. The selling idea can be about: ways of using the product, disadvantages of not using the product, satisfying needs (physical, social, psychological, new ways), product heritage / where or how it was made or generic benefit you want to own.

What do we want the consumer to do?
With any advertising you want to be able to evoke and emotion or action. What is the emotion you want them have? How should they feel about the brand? What do you want them to do?

Conclusion
This list is just a starting point. To create a great strategy you have to be able to distill and refine the answers to get at the insights and core brand attributes. The more accurate and concise you are able to become the better your ideas will be. I also recommend if possible to share your answers and thinking with a team of your peers or co-workers because the more people thinking about a project, the more new ideas can be generated.

House on the Market? How to Get that Extra Dollar

2008-10-11T19:20:00.000-07:00

When buying a new home, you will remember that you first saw a picture or drove by, if you didn’t like the look of the outside, then you just kept driving. This is an important fact to remember when we now go to sell our own home.

The first impression of the house is the one that will mean stop and come in or forget it.

So we need to make that street or curb appeal inviting and welcoming.

Start by trimming, cut everything back so it nice and neat and tidy. Make sure you can get to the front door with out your hair being skewered by a tree.

Get rid of all the dirt on the outside of the house, it is amazing how much street grim builds up on your walls. Hose down the house, remove the dirt, cobwebs and anything else lurking under the eaves.

Sparkle clear windows, inside and out, with no damaged glass are a must have, they make you house feel larger and accentuate your views.

Make your entrance inviting, surround it with good looking well cared for plants, perhaps some flowers in a pot, they always look cheerful and provide color. Remove anything dead and give the entry a good sweep and hose down. Paint or stain the steps, replacing any broken tiles. Spray for mold or slippery greenery that may be living there, you don’t want them to injure themselves on the way in!.

Make the entry neat and tidy, it provides a good first impression.

There are simple things that we forget, that is that perspective buyers look everywhere, even in the dishwasher, so make sure you have at least washed the dishes, no nasty smells left for them to find.

This does take time but it has a double barrel effect, clean out all cupboards and wardrobes, this makes the spaces look larger and gives the appearance that the spaces are large and adequate. This also saves time when it comes to moving out.

Run around the house with a duster and remove cobwebs, look for mold on the walls and children’s drawings! Get rid of any victims. You want to make sure that you house looks well cared for and not neglected.

Let as much natural light into the home as possible, open up blinds and curtains, go easy on the window opening, especially if it is windy!

Some simple things which can often be overlooked, make all the beds, yes even the children’s! Put all the dirty washing in the laundry or better still wash, dry and put away! You want to make sure there is nothing to turn off a potential buyer.

One important area is the kitchen, simple stuff here, keep it clean and tidy. Decorate by adding a bowl of fresh fruit or a vase of fragrant flowers to create a pleasant aroma. There are two minds about the fresh coffee brewing, it can be an unpleasant smell for some so if in doubt, keep the smells simple.

How to Get Your Client or Project Brief

2008-10-11T19:14:00.000-07:00

This sounds more professional than it really is, most things in interior decorating can be broken down into processes. Then you can follow simple step by step methods to achieve them. This is how we achieve the client brief.

1. List up all the project’s details, address, number of rooms, number of family members, pets, lifestyle (professional, family orientated, teenagers with lots of friends, babies, loads of pets, retired and relaxed, home office etc) current style of the house, the type of construction, the budget, the overall content of
the project (i.e renovate the kitchen and bathrooms).
2. Take one item at a time and expand on them. For example Family Members - how many? What ages? What are their needs? This is especially important for the bathroom area - privacy, showers, baths, double basins, additional toilets etc. Current Style of the house, if it is a 1960’s bungalow, what kind of style are you wanting to portray in the home? Is the whole house going to be updated eventually or simply the kitchen and bathrooms? Look for long term plans as well as present as these can effect the look of the whole house if it doesn’t flow cohesively. The type of construction, this is vitally important for structural purposes, for example you may want to put granite bench tops in the kitchen, these are extremely heavy and if you had a timber framed floor would need additional engineering support for the floor, the same applies if you wanted to add marble to the bathroom floor on the first story, again very heavy.
3. The Budget - this is a major part of the brief, a good designer brings their project in on budget, this keeps everyone happy! It means that when you do your initial planning you are realistic as to what materials, fittings and fixtures are affordable, and you can set a priority list and use it to get the best quality project for your money.
4. The Overall Changes - in other words, the scope of work. What do you want to do with your renovations. Is it simply a repaint with new carpet, drapes and furniture or more extensive construction and cabinetry work involved. List up what you want to achieve, what changes are required and to what rooms, what contractors will be involved and their input. This all helps when you want to define your budget and start prioritizing.
5. Lifestyle - this is important when it comes to finding the right style of decoration. You need to find out how the occupiers of the home work on a daily basis. It is no use having a stark white kitchen with clean sleek horizontal surfaces when you have toddlers and babies and you spend all day making food for them. Getting everything out and putting it away again and again. You need something with user friendly appliance storage, easy access and a more softened look if you are going to spend most of the day in the kitchen. Same thing for a mass of teenagers you would need to allow a large space for a huge refrigerator as they will also eat all day!
6. Then the most important part - the aesthetics! What style or look you or your client wants to achieve. This can also be the most difficult as it is the creative side of decorating. All the rest has been “accounting” lists and numbers, vitally important to any project but not the fun side of decorating that we all enjoy.

How to Pull Your Decorating Scheme Together

2008-10-11T19:12:00.000-07:00

Last time we learn about Furniture Placement Guidelines, today we will learn about How to Pull Your Decorating Scheme Together.

With all the hard work over, we now need to tie up all the loose ends. Unfortunately, like every job there is the element of paperwork! I’m sorry, but it can’t all be glamor and fun. You must document your scheme, so that everyone involved is following the same path. This is then able to be used to get pricing from contractors and suppliers of products, as well as making sure that you or (your client if you are doing this for someone else) knows exactly where they stand and what they are going to get for their money.

So I will keep this short and sweet.

* Always write a finishes schedule. This lists up all there areas that you are working in, walls, ceiling, floor etc and what rooms you are working, and then what finish they will receive. This means that a contractor for example a painter can take this piece of paper and walk around the rooms and measure the quantities he needs of each product for each application.

* Make sure your client signs this document to ensure they know what they are getting. If you are doing this for your self you obviously don’t need to sign, but you do need to make sure you have a system if you change anything on this list, so that you can update it and reissue it to your contractors and you all know what is the most up to date copy.

* With your list (and this should be done when you are selecting your products) check with all the suppliers that the products are available and or that you can get them within your time frame. It adds a lot of money onto your project if you have to courier a product to get it on time. So forward planning is essential here.

* Make sure that you work out a time line and all your contractors know when they have the space to do their work and when they are expected to be finished, and make sure you are tough on this one, it is like a domino effect if you let one slip behind.

* Make sure you have all your prices and costs in your hand before you start engaging contractors or manufactures to start making things for you. You need to ensure that you are within your budget before you start. You want to make sure that you can pay everyone, if you want to get a start into the decorating industry, lets make it a good one.

* Engage your contractors and manufacturers ie painters, carpet layers, curtain manufacturers, in writing, always refer to their quotation or estimate and confirm the agreed amount and the payment arrangements. For example a deposit and remainder on completion or with installments, or payment in full before commencement (watch out for this one, don’t ever pay the total account until you have the total amount of work completed or else you have no way of getting the job finished if they don’t turn up. They have your money and you have an incomplete job.)

* Get the work underway, make sure you keep your eyes on the time and the quality of the work. Always be around, this keeps the contractors on their toes! You don’t have to stay but keep popping in to check up on things. You don’t want to have the job completed and see that the painter has misread your finishes schedule and swapped some bedrooms around!

* When the job is completed, check all the work has been done to a satisfactory standard before you pay the entire account. If you find any problems, write them down and get the contractor back to remedy them. It is important that you get this done ASAP as the sooner it is done the more likely they are to finish it, some contractors start another job and you just can’t get them back. So be very prompt on this job.

* Take out your camera and take some photos for your brag book!!

Well done!

The Finishing Touches

2008-10-11T19:06:00.000-07:00

Last time we learn about How to Pull Your Decorating Scheme Together, today we will learn about The Finishing Touches.

Your contractors have left you have a brand new interior, you have placed your furniture, but there is still something missing. Yes! The finishing touches. This is where, less is definitely best, so select wisely. You want to create features in the room, not collections.

Here are some ways to finish your room:

* Artwork - paintings or prints. Select pictures or prints that relate to your theme or style, make sure they incorporate colors from your color scheme. They can be used to highlight your colors or just to create a texture to the wall in similar color tones. If you have a lot of paintings, you are best to group them together to create “one” picture, rather than spread them one by one across the wall. To find out more about placing artwork visit this article below. Arranging Artwork

* Artwork - sculpture. Sculpture is a great way to create a focal point in a room, find a god spot to display it and make sure you have a way of highlighting it with light.

* Vases - Flowers, fresh or artificial. These are a great way to soften a look. Fresh flowers are great because you can always create a new look depending on the type of flowers and the way they are arranged. For example wild flowers grouped suggest randomness, tulips on their own suggest simplicity, red roses on center stage suggest passion, spring flowers evoke cheerfulness to a room at the changing of a season, large white Asian lilies express opulence. To save time and money artificial flowers are a very good option today. They are almost too real looking, and you do look a bit silly when you go to smell them and have a closer inspection! Choose flowers that suit the style you have created, if you need help with this, most florists have a good background in matching flowers to your taste.

* Cushions - These are the greatest accessory, especially if you have children, they just love messing up your well placed accessories! They are great as you can further enhance the colors and fabrics that you have chosen, use the same fabric in a slightly different color way or the same color way in a different design. Contrasting colors work well to brighten a scheme, or textured cushions in a monochromatic scheme. Fringes and tassels, buttons and beads, the world is your oyster when it comes to decorating cushions, these are a “must have” in almost every room.

* Throws - these are a simple way to make a room feel more homely. They are great when you sit in front of the fire at night to read a book and you wrap the throw around your shoulders and snuggle. So they are useful as well as adding color, texture and style to your room. Once again you can follow the principles for cushion selection to choose what they will look like.

* Tie backs, hold backs - curtain accessories, these really add a touch of class to your window treatments.

* Lamps - we touched on these in furniture placement, but I can’t stress enough how these really add the finishing touch and create versatility in mood creation to your room. You have many options with lamp bases and shades to add color and texture to your room.

* Coffee table books - the ultimate accessory - The coffee table book. Something grand on a trendy topic like Food from Tuscany, or The History of Fashion, something that makes people want to pick it up and flick through. This is a way of making people feel welcome in your home.

* Ornaments - keep these to a minimum, as they are the fastest way to clutter, but the odd strategically placed ornament will definitely make your house look and feel like a home.

* Mirrors - These are a simple way to make rooms look larger or bring in more light to a room via reflected light. There are so many beautiful frames available today that you are bound to be able to find something to suit your style or look.

I hope that this has inspired you to add the finishing touches to your scheme.

3 Tips To Pick The Right Living Room Furniture

2008-09-02T22:13:00.000-07:00

While many people's living rooms look like a collection room at the Salvation Army, there are in fact reasons behind making living room furniture a collective design element, rather than a random showing of furniture.

The way that one sculpts pieces of clay into one static sculpture is the way we should look at living room furniture in terms of decorating. There are many reasons why living room furniture should be thought of in terms of sets, or relations to other pieces of furniture, none more obvious than the simple look of it.

When you have a bunch of furniture packed into a room, and if any, or all of it comes from a different location than the rest, the room is bound to look cluttered, and unorganized. Instead when it comes to living room furniture, make sure to buy in sets, or at least coordinate the colors of your living room furniture before installing them in the living room.

For those without an eye for design, or those that simply aren't interested in spending their time dealing with this issue, here are a few tips.

1) Always buy furniture that will last, like leather, and stay away from cheap furniture at all costs. Chances are if a furniture piece is cheap, you will get what you pay for, and it will break. If it breaks, the chance of you going back to find the exact shade of color that the furniture was is slim, to none. Thus, you will end up buying a replacement that most certainly won't match the rest of the set. Avoid this by purchasing only high quality furniture that has a warranty for replacement in case it breaks.

2) Another tip is to purchase neutral colors when it comes to your big ticket items like sofas, and easy chairs. Colors like beige, brown, and chestnut are easier to match to, than white, red, and yellow. The more toned down the furniture is in terms of color, the better off you will be to match the living room furniture with one, and other.

3) Finally always be sure to use living room furniture that comes in sets. If you purchase living room furniture set, typically a sofa, love seat, lounge chair, ottoman, and end table, you will be allowing the furniture company to do all the design, and matching for you. By purchasing in sets you don't have to worry about matching, since the furniture is made by the same company, in most likely the same color.

American Indian Art Auctions: Beadwork

2008-08-18T04:47:00.002-07:00

The artworks made by the American Indian incorporate numerous varieties of arts and crafts. The diversity of the American Indian art ranges from the traditional beadwork, pottery and other conventional Native American art to the fine paintings, sculptures, photography and other sophisticated works. And because of that, there are numerous art auctions, of which are found either online or offline. These art auctions feature almost types of American Indian artworks.

Later on, we will tackle the American Indian artwork that has the most traditional and historical feature, of which, are the beadworks made by the Native Americans. The beadworks made by the native American Indians have rich meanings in terms of symbolisms; these beadworks also are highly decorative and utilitarian.

The process and the beadwork itself is one of the oldest crafts of the Native American Indians. The beadworks are mostly made of stones, bones, shells and other semi precious stones. The some of the beadworks made by the native American Indians that are available these days are made very much the same way as their forefathers had made them. Although few of them are made using today’s modern technology, little has been changed and the process is somewhat the same as the ancient ways.

The most popular American Indian artworks are those made of sea shell materials. These types of beadworks are highly popular. Almost every American Indian beadworks are made from sea shell material, from necklaces to purses to almost everything.

In the old times, the beadworks made by the American Indians were made mostly of the turtle shells and animal horns and hooves. These native American artworks were often used for rattling or tinkling materials that are used for their dances. These artworks were also worn by hunters in a form of necklaces and were mostly made of wolf and bear claws. They serve as trophies of their kills, and serves as a symbol of the hunter’s expertise. While some of the American Indian beadworks are made of steamed bones and seeds. They were often used for stringing and are mostly blended into various forms.

Because of their ever increasing popularity, oriental factories has been replicating, manufacturing and importing beadworks of the Native American Indians. They have been doing it for several decades now. Therefore, has been a competing factor in the beadwork industry of the American Indian arts. And because of that, the craftsmen in the industry of American Indian art industry are greatly affected, losing a considerable amount of income (millions and millions of dollars) because of the fake native artworks made by these oriental factories.

In terms of string beadworks of the American Indians, they were mostly made of animal sinews that are finely divided and are attached on clothing. Sometimes, sturdy plant fibers were utilized for this reason.

These days, Navajos and some traditional aboriginal American communities still manufacture an ancient type of beadwork that is called the “heishii”. The “heishii” or referred to as “legend necklace” is the most popular type of beadwork, and are used to refer to a legend. Even today, heishii is still used to narrate a legend, with every single bead symbolizing a character.

The craftsmen of today’s American Indian art create designs using the today’s technology, by creating actual beadworks through digital means. Thus, the sophisticated and complex beadworks and its designs can be tested digitally before actually manufacturing the piece. Therefore, adding creative process for the craftsmen.

These American Indian artworks and its components are essential factors of in the field of archaeology. Not only do they survive history, they also provide numerous fascinating tales and stories that most of which are still untold. As a matter of fact, ancient American Indian artworks are found thousands of miles from seas. Of which is an indication of the numerous trade routes and contacts thousands and thousands of years ago by various cultures.

Beadworks crisscross itself through time not just through the history of native American Indians but also in the modern technology of today. The most vital aspect of the American Indian beadwork is the value it represents when it is given among family and friends. Their true meanings are associated with aspirations and essential judgments of a person.

An Approach To Sell Comics

2008-08-18T04:47:00.001-07:00

Creators can sell comics as the usual 24 pages book or as a graphic novel 60 to 200 plus pages. When one wants to sell comics as the 24 page book, the comic book would have to come as a series of separate issues. In this way it may be cheaper to produce. You can have a series with 5 issues that come out in different periods of the year. The revenue made from issue #1 can be used to cover the expenses for issue #2. In my opinion this is probably the best way for inexperienced comic book creators to start.

However, if a creator thinks that making a graphic novel is more convenient for him/her to start with, you can go for it under two conditions. You have the funds and a marketing plan. I say this because the marketing is the most strenuous part any creator experiences when producing a product. These days publishing your comic book doesn't have to take fifty dollars out of your pocket if you do the writing and drawing yourself. This method is known as publishing on demand. For first time comic book creators, the difficulty of marketing your comic book can be ten times multiplied.

Creators who successfully sell comics they created are usually those who have experience and background in the producing of comics. It would be easy for someone who is known for working on titles like X-men or Spiderman to come out of Marvel and produce his own comic books or sell his comics. This was the case for Todd McFarlane. McFarlane reached star status in Marvel comics. When he came out of Marvel, he was involved with other illustrators in starting Image comics. Once he published his title called Spawn, it became an almost instant hit because of McFarlane’s popularity. The thing is, not everyone who wants to create comics would get the privilege to work for a giant publisher like Marvel Comics, and also not everyone who works for Marvel will become popular.

How I see it is there are two ways one can break into the comic book industry by creating comics and to sell comics. Both ways involve developing a name for your-self. First, it could be done by integrating oneself with existing publishers and editors, getting hired as staff in an editorial office, and getting published by a smaller publisher. The second way is by independent publishing. Let me add, both ways are extremely difficult, can take years to getting positive results and could cost you big time money.

The encouraging news, there are other methods to get your work to the audience for less money or time. Thanks to the increase in technology, the conventional (going through the big time publishers) way of breaking into the comic book industry to sell comics is not the only way. I’ll explain.

The hardest and biggest hurdle comic book creators have to overcome is marketing their comic book or getting an audience to their comics. Once people know that your comic book exists and like the comic book, to sell comics would be a lot easier for you.

First of all and most important is that when you want to sell comics you have to have a good quality and appealing comic book to sell. Develop an appealing comic book that you know a certain group of people would like.

The next step to sell comics is to market it to those people you made the comic book for. The people whose needs your comic book is meeting. In this way you are almost certain to have a buy. You can do this by creating a website for your comic book and then refer interested people to the website to check your comic book out.

Creating a comic book and marketing it through the internet is now one of the most convenient ways to get your comic book recognized. Like I said before, once your comic book is recognized and liked, to sell comics would be natural.

Pictures Of Landscaping - Using Other Peoples Ideas To Design Your Landscape.

2008-08-18T04:41:00.000-07:00

One of the most common searches on my site is for pictures of landscaping. So I know that a lot of folks rely on photos of other peoples designs to get ideas. But at the same time, while I do have a large picture directory of other peoples projects on my site, the most common questions I receive are still related to specific shapes and design ideas.

It would seem that with as many pictures of landscaping there are to look at online, just about everyone could find a close match to their own property that could be copied. It would seem so.....if every yard was square or rectangular. However, the fact is that most yards aren’t square or rectangular. So even with the endless landscaping ideas and examples out there, it’s still highly unlikely that you’ll find an exact match to the shape of your property.

Don’t tell anyone... but even as a professional, I still use pictures of other peoples landscaping as an educational tool and to get new ideas. However, unlike most people, I don’t search for an exact idea to copy. I look for unique, creative, and new ideas and pieces of the puzzle.

Now here’s a piece of advice and the point to this entire article.

When looking at pictures of landscaping, pay attention to the details, ideas, and principles that are universal to most designs. Look for the things that are common and repeated often by different designers. These are the elements that look good because they are generally based on basic principles of art. These are the things that will probably incorporate well into your own design project regardless of shape.

Other peoples landscaping pictures are a great design tool to help you get your project done. However, instead of hopelessly searching for your exact layout, borrow several ideas from several different designs. You’ll save yourself a lot of frustration and have a much better chance of creating something unique to your own property.

Miniature Painting - Art Through the Ages

2008-08-18T04:40:00.000-07:00

As an artist, Rebecca Latham as well as her mother, Karen, and sister, Bonnie, strive for detail in their painting. Studying with a Flemish master, they have developed their styles for painting extreme realism. Their works, both large and small, are painted “in miniature”.

Early Beginnings

Miniature painting is a traditional style of art that is very detailed, often referred to as painting or working “in miniature”. Because of their origins as illuminations, they are also painted to have as smooth of a surface as possible. (It is also suggested that miniature art may have been influenced by the medals of ancient Rome as well) Miniature art can be traced back to ancient Egyptian manuscripts on papyrus scrolls. Monks are also often highlighted for their contributions to early miniature painting with their beautifully illuminated manuscripts such as the Celtic Book of Kells and England's Lindisfarne Gospels (both of which measure around 9" x 12"). Some early manuscripts contain miniature paintings on their pages that depict beautiful arrangements of life sized flower arrangements on their borders. The history of miniature painting is also seen throughout the world in various other cultures.

Miniature painting began out of necessity for illustrating documents and manuscripts to aid those reading them during a time when many were not able to, before printing was invented. The miniature helped to convey the story and meaning of the written word. Therefore, the art of miniature painting is directly connected to the book arts. The various sized illuminations (pictures) were cut out of these books or documents so that they could be carried more easily. Later, developing from the carried miniature, portrait miniature artists were commissioned to paint small portraits – paintings that were used as we use wallet sized photographs today. These sizes of miniature paintings became popular with collectors and are often referred to as “hand held miniatures”. Portrait miniatures were painted in larger sizes as well, for example master miniaturist, Nicholas Hilliard, Peter Oliver, and Sir Charles William Ross all painted works that were of a larger size.

Sizes

Miniature painting is sometimes confused and assumed that the pieces must be small or depict subjects on a smaller scale to be considered miniature art, though this is not the case. It is helpful to keep in mind that the origins of the term "miniature" have nothing to do with a size. The word miniature comes from the terms 'minium' (used for the red lead paint used in illuminated manuscripts) and 'miniare' (Latin for 'to color with red lead').

Miniature painting is a style and technique of painting, and as such, a wall sized work could be painted “in miniature”. Authors of the Yale University Press publication, “The English Miniature” have stated that miniatures have been painted large and some works are even considered to be gigantic. Numerous faculty members of the Victoria & Albert Museum in London confirm that miniature paintings are not restricted to smallness. Larger sized miniature paintings are documented throughout history and are recognized today, though painting larger works in miniature is more difficult and time consuming than a smaller piece if the same attention to detail is observed. Miniature art is also unique in that it was and is often used on objects, such as the Russian lacquer boxes that are beautiful examples of Russian miniature painting.

Exhibitions

Today, there are miniature art societies in western society to help promote and preserve traditional miniature art and the “spirit of miniature”. Their exhibitions feature the hand held miniature paintings (or sculptures) and each exhibition has its own unique guidelines and rules for artists showing in their exhibit. Some of these rules limit the size of work to be no larger than a set square inch. Others limit the size of a subject, such at the 1/6th scale rule that a subject may not be painted larger than 1/6th of it's natural size, or the 2” rule, that an object in the painting may not exceed 2”. Scale rules were initially put in place as a guide for artists starting out in miniature art. There are also many framing restrictions for society miniature works as well. All of these rules are put into place by each show for their own individual and unique exhibitions, and do not define what miniature art is.

Artists painting miniatures throughout history were not restricted in their artwork by scale as their subjects were painted to any measurement or scale that the artist deemed pleasing to the eye and their patrons, for both manuscripts and other miniatures. Subjects that are naturally small in size, such as butterflies and insects, were painted life sized. Thus the 1/6th scale rule that is used by some shows and societies today unfortunately causes a bit of confusion to those new to the art form who commonly assume that is it a part of a mechanical criteria of the miniature's definition. The world's experts in miniatures do not recognize the rule as legitimate, and view those embracing it as unknowledgeable, and dismiss them.

The term "miniature", as it addresses miniature painting, is often confused with "miniaturize" and some miniature art exhibitions do not refer to miniature as it's initial meaning of techniques, but rather the size of the painting (miniaturized painting). They are two very separate descriptions.

Miniature painting is an art form that is very rich in history that continues today by artists from around the globe. The beautiful ornamental qualities of the miniature should be preserved whether it be the intricate large pieces, or intimate hand held works.

DPI and Why - Resolution Does Matter

2008-08-18T04:36:00.000-07:00

When I started on the internet I was a photographer and a science fiction fan. Since I had no science fiction photos of my own, I started surfing the web. After several months of looking through many Sci-Fi web sites, I realized that most of those sites used small thumb nail size prints (usually 1 inch x 1 ¼ inch or smaller). This was back in the days that a 28.8 modem was considered high speed.

The reason these thumb nails were so small was that it took so much time for the pictures to come up on the page. When you clicked on an individual thumb nail; a larger version of the picture came up (usually 4x6 or bigger), but it would take a very long time to do so.

Searching all the big images I could find; I saved the ones I liked, and brought them into Photoshop where I could compress them. I made my own site with images that measured a whopping 2 inch x 2 ½ inches, which was better than the small thumb nails I saw every where else. I quickly found that over 90% of their images were saved at 72dpi; so that’s what I did. For several years, I saved all my photos at 2 inch x 2 ½ inches and at 72dpi.

As my interest in photography continued to grow; I realized that a Sci-Fi web site might be cool but it made me no money. I needed to put up a web site of my own photos. By now I was using a 56k modem and decided my pictures needed to be bigger. When I scanned in my pictures I usually did them at 100% at 72dpi; so that all my images on line where now 4x6 in size.

After a few years my lab started offering pictures on CD. They were also 72dpi so I didn’t have to scan them in anymore. Life was good; but they used file sizes like 44 inches x 56 inches which at the time I really couldn’t figure out. I didn’t know anyone who ever printed something that big; so again I took those images and compressed them back down to 4x6 inch size.

Eventually, I started doing the same thing but saving them as 5x7 inch size. My new site (betterphototips.com) looked impressive and actually loaded very quickly. Yes, I also eventually stepped up to real high speed (1.5mbs per sec.) Life was good again; until I went back and started pursuing one of my other great loves (writing). I figured rather than just using this site as a gigantic portfolio; why didn’t I offer something for sale as well. You know the old adage “write about what you know best”? To me it made perfect sense that I should start writing about photography “how to” tips. That’s when things started to get complicated.

When I looking around at self publishing and print on demand publishing, I found that they all wanted pictures to be 300dpi or greater. This was a total shock to me. I had thousands of images ready to use, but they were all saved at 72dpi. I thought that Photoshop could save me again, so I started converting them to 300dpi but something didn’t look right. My 300dpi images looked worse than my 72dpi images. I was at a loss. Then I went back and did my research.

The reason the images on a CD from the lab are so huge (in measurement) is so you can use the images in either format. 72dpi is exactly 25% of 300dpi. If you want your 300dpi images to look as razor sharp as your 72dpi images do on line, the print has to be 75% smaller. In other words, an image that measures 44 inch x 56 inch at 72dpi would be the same quality as an image that measures 11 inch x 14 inch at 300dpi.

If you take an image that was originally 5x7 inches at 72dpi and try to convert it directly to 300dpi, it is not a pretty picture. Similar to the equivalent of the right f-stop and the right shutter speed, you have to take both factors into account! DPI and Size are forever tied together. You can not change one without affecting the other. It is much easier to make something smaller that looks good, than to try to enlarge something after the fact and try to make it look even close to the original. That being said, the best photo tip I can give new beginners today is: ALWAYS save your images larger than you expect to use. Do not waste 15 years of your life and thousands upon thousands of images that can only be used in one way. Always save large!!

Design Your Own Website- It Is Simple

2008-08-16T21:00:00.000-07:00

Before you embark upon the process involved when you design your own website, you must select and register a domain name. That is your site's brand name and contact name. In order to be given a domain name of your very own, you must make a yearly payment to the appropriate registering entity to obtain the exclusive right to it.

Obtaining a domain name doesn't mean you have a web site or anything close. All you have is a name. It is similar to getting yourself set up with a name for your business is the "real" world - just obtaining exclusive rights to a name doesn't mean you are totally in business. You just have a name.

A web host commonly implements numerous computers that are all linked to the Internet to allow a very large number of web pages to be broadcast all over the world. The first step in making your new web page visible is to use a reputable web host that will give your personalized website a virtual home.

Thinking of a domain name is very much like thinking of a name for your company in the physical world. Similarly, a web hosting account is the equivalent of renting an office for your company. After you have come up with a domain name and signed on with a web host, you will then need to design your own website (http://www.buildyoursite.com/) to attract visitors.

As a beginning web designer, you first need to design your own website in a attractive, and appealing manner. After you have got your basic web page posted you will be able to make any adjustments that you feel are needed. There are free web editors and commercial versions that are widely available.

When you choose to use free software, you can also learn more from a complete tutorial on the web. The step-by-step tutorial will guide you in the process of making your own web page, site map, and comment forms. It will also give you tips on the basic aspects of the software so you can continue to update and improve the site in the future.

A crucial aspect of web development is optimizing your site for search engines. This should be undertaken from the very start of the design process. In addition, there are a number of other concerns involved in developing web pages.

Web Development And The Big Time Out

2008-08-16T20:45:00.000-07:00

One of the great debilitators in online business is simply the perceived (or real) lack of time. Business owners are used to moving forward. An online web presence can make them feel tied to an office chair learning skills they aren’t sure they want to know.

It’s not uncommon for those who deal in full time web design to have individuals contact them for a site design, but have absolutely no idea what they want. Furthermore when the designer questions them the response might be, “I don’t know, just make it look nice.”

Let’s not forget the core values or mission of the business. Many business owners have no idea how to answer those kinds of questions. They may stare blankly for a moment or two and there’s no more time for further deep thought so they go back to action – without answers.

In many cases it is possible to answer some of the questions needed, but it may require taking time away from a familiar setting. It may also require more time than you think you want to give.

If you can get to a place of concentrated contemplation you are likely to find yourself stripping ideas to their core to find out what your business is trying to accomplish and what your ultimate goals might be.

As with almost any project you can turn frustration around if you will just take the time to come to terms with your vision.

Sometimes we spend so much time ‘doing’ we never stop to ask the question, “Why?”

This process can be a bit like taking a bus that drives around the park. You keep looking at the flowers and the park bench and long to sit in the quiet shade of a tree and just absorb the calming atmosphere. You know they will have a positive effect on you, but for some reason you just can’t seem to find the energy to get off the bus.

It seems to me there are some sites that are misguided or rarely guided that could benefit from the process of self-evaluation. These sites may look nice, but there is a sense of disconnection that may not be easy to identify, but it’s fairly obvious to visitors.

Creative energy is at a minimum while business owners simply tackle what seem to be the most urgent details.

As more people gravitate to online business there needs to be a shift in the thinking of how one goes about doing business online. In many ways it can’t be approached in the same way a traditional business is developed, yet that is typically the way many new web commerce ventures choose to tackle the subject.

You may discover your business will be more successful if you take some time for rigorous reflection. The time set aside can be a bit like an architect that takes the time to develop plans for a new building. You wouldn’t expect the architect to simply tell a construction crew to, “Go out there and build – something.”

Work at ‘building’ your online business in a comprehensive way. Your effort can develop a firm foundation for long-term success.

Interior architecture

2008-08-16T20:38:00.000-07:00

Interior Architecture bridges the practices of interior design and architecture so that professionals working in the field have astructural and load bearing education with an emphasis on interior spaces. The field is similar to architecture in that it deals with structures and loadbearing walls. It is similar to interior design in that it focuses on interior spaces.

The National Center for Education Statistics's definition of Interior Architecture: "A program that prepares individuals to apply architectural principles in the design of structural interiors for living, recreational, and business purposes and to function as professional interior architects. Includes instruction in architecture, structural systems design, heating and cooling systems, occupational and safety standards, interior design, specific end-use applications, and professional responsibilities and standards."

In the United States, what is considered "interior design" is called "interior architecture." However, a practicing professional cannot use the title of "Interior Architect" unless they complete the requirements for becoming a licensed architect.

In mainland Europe (that is excluding the anglo-saxon countries) the term "Interior Architecture" is generally used. In many European countries the use of the title "Interior Architect" is legally regulated. For more information see ECIA

Architecture is not completely the same with interior design.

Interior decoration

2008-08-16T18:34:00.000-07:00

Interior decoration or decor is the art of decorating a room so that it is attractive, easy to use, and functions well with the existing architecture. The goal of interior decoration is to provide a certain "feel" for the room; it encompasses applying wallpaper, wall decals, painting walls and other surfaces, choosing furniture and fittings, such as light fixtures, floorplans and providing other decorations for the area such as paintings, sculptures and carpets. In some cases, interior decorating is performed professionally by certified interior decorators (C.I.D.)

Although the terms interior decorating and interior design are sometimes used interchangeably, each discipline exhibits a distinct difference in its scope. Interior decorating is generally focused on the selection and presentation of interior items within a space, such as furniture, accessories, finishes and room layout. Interior design, on the other hand, involves manipulating the architectural integrity of the interior space.

History

The role of interior decorator probably came into existence in the 1720s in Western Europe, mostly being performed by men of diverse backgrounds. William Kent, who was trained as a history painter, is often cited as the first person to take charge of an entire interior, including internal architecture, furniture selection, and the hanging of paintings.

In London, this role was frequently filled by the upholsterer (sometimes called the upholder), while in Paris the marchand-mercier (a "merchant of goods" who acts as general contractor) often filled this role. Architects both in Great Britain and on the European continent also often served as interior decorators. Robert Adam, the neoclassical architect, is perhaps the most well-know late-century example of an architect who took on entire interiors, down to the doorknobs and fire-irons. Other 18th-century men who filled the role of interior decorator include Sir William Chambers, James Wyatt and Dominique Daguerre (marchand-mercier who emigrated to England). During the 1830s, interior decorators were responsible for the revival of interest in Gothic and Rococo styles in England. By the late 19th century, some firms set themselves apart as "art furnishers."

Modern interior decorators began with Lenygon and Morant in London, Charles Alavoine and Jeanselme in Paris, and Herter Brothers (from 1864) and Elsie De Wolfe and Ogden Codman in New York.

Other early interior decorators:

Many of the most famous designers and decorators during the 20th Century had no formal training. Sister Parish, Mark Hampton, Robert Denning and Vincent Fourcade, Stephen Chase, Mario Buatta, John Saladino, Kelly Wearster, Jeanine Naviaux and many others were trend-setting innovators in the worlds of design and decoration.

Room theme

A theme is a consistent idea used throughout a room to create a feeling of completeness. These themes often follow period styles. Examples of this are Louis XV, Victorian, Minimalist, Georgian, Gothic, or Art Deco. The evolution of interior decoration themes has now grown to include themes not necessarily consistent with a specific period style allowing the mixing of pieces from different periods. Each element should contribute to form or function or both and maintain a consistent standard of quality and combine to create the desired design.

For the last 10 years, decorators, designers, architects and homeowners have been re-discovering the unique furniture that was developed post-war of the 1950's and the 1960's from new material that were developed for miliatry applications. Some of the trendsetters include Ray Eames and Herman Miller.

Design trends are changing ever more rapidly and this can be seen by the designers, decorators, and architects coming from California. Kelly Wearster [1]] has created a style now known as Hollywood Regency. This is a use of formal furniture and adding such touches as gingerbread to create a whimsical style. She is also know for finding unique accessories and using them in her design projects.

The newest design trend has been coming out of San Diego by decorator Jeanine Naviaux of On The Inside Design [2] and Jack Smyer of Smyer Architecture [3]]. The two separately have created a new style called California Beach Modern. This is the California lifestyle that mixes the homeowner's love of the sea, from surfing, kayaking or biking and keeping with the clean lines of modern archicecture and decor. It is done through the creating outdoor showers and storage for homeowners so that when they finish their day, the decorator and architect think about the placement of these items, the factors of sun and salt and their impact on the overall scheme of how California Beach Modern design.

On television

Interior decoration has become a popular television subject. In the United Kingdom (UK), popular interior decorating programs include Changing Rooms (BBC) and Selling Houses (Channel 4). Famous interior designers whose work is featured in these programs include Linda Barker and Laurence Llewelyn-Bowen. In the United States, the TLC Network airs a popular program called Trading Spaces, a show with a format similar to the UK program Changing Rooms. In addition, both Home & Garden Television (HGTV) and the Discovery Home networks also televise many programs about interior design and decorating, featuring the works of a variety of interior designers, decorators and home improvement experts in a myriad of projects. Fictional interior decorators include the Sugarbaker sisters on Designing Women and Grace Adler on Will & Grace.

Interior architecture

2008-08-16T18:33:00.000-07:00

Interior Architecture bridges the practices of interior design and architecture so that professionals working in the field have a structural and load bearing education with an emphasis on interior spaces. The field is similar to architecture in that it deals with structures and load bearing walls. It is similar to interior design in that it focuses on interior spaces.

Interior design

2008-08-16T18:27:00.002-07:00

is a practice concerned with anything that is found inside a space - walls, windows, doors, finishes, textures, light, furnishings and furniture. All of these elements are used by interior designers to develop the most functional space for a building's users.

What buildings do interior designers work on? What is interior design?

Work on: hotels, schools, hospitals, and private residences. Interior design is not to be confused with interior decoration which is focused on choosing color palettes with complementary furniture, flooring, window coverings, artwork, and lighting. Today, interior designers must be attuned to architectural detailing including: floor plans, home renovations, and construction codes. Interior design draws on aspects of environmental psychology, architecture, and product design in addition to traditional decoration (aesthetics and cosmetics). An interior designer is a person who designs interiors as part of their job. Interior design is a creative practice that analyzes programmatic information, establishes a conceptual direction, refines the design direction, and produces graphic communication and construction documents.

Size of the industry

In the UK, the value of the products the interior design industry specifies is estimated at £15 billion/ year, with an estimated 5000 design practices.

Specializations

Interior designers can specialize in a particular interior design discipline, such as residential and commercial design, they can also help with making rooms in the hospital and even work with schools to make offices or another things with some developing expertise within a niche design area such as hospitality, health care and institutional design. In jurisdictions where the profession is regulated by the government, designers must meet broad qualifications and show competency in the entire scope of the profession, not only in a specialty. Designers may elect to obtain specialist certification offered by private organizations. Interior designers who also possess environmental expertise in design solutions for sustainable construction can receive accreditation in this area by taking the Leadership in Energy and Environmental Design (LEED) examination.

The specialty areas that involve interior designers are limited only by the imagination and are continually growing and changing. With the increase in the aging population, an increased focus has been placed on developing solutions to improve the living environment of the elderly population, which takes into account health and accessibility issues that can affect the design. Awareness of the ability of interior spaces to create positive changes in people's lives is increasing, so interior design is also becoming relevant to this type of advocacy.

Disciplines

There is a wide range of disciplines within the career of interior design. Some of the disciplines include: structure, function, specialized performance, special group needs, discipline needed for business, computer technology, presentation skills, craft skills, social disciplines, promotional disciplines, professional disciplines, aesthetic disciplines, and disciplines with cultural implications. This list shows how interior designing encompasses many different disciplines and requires both education in science and technology as well as being moved.

Design Process

Regardless of the building-type the process is identical. The first step is determining the client's objectives, timescale and budget. This is called taking a Brief. The objective is nearly always to improve revenue for the client - even householders will be considering the resale value of their home. The designer will then provide a Fee Proposal which outlines their design input and the cost for this. It will be made clear whether the interior design practice will procure goods and/or project manage and the costs or margins for this also. Working drawings are required prior to any design work, these are detailed survey drawings of the existing space. The very first step once commissioned on the project will be creating these drawings if none already exist.

Today, designers use computer-aided design (CAD) although hand sketches are still valued for their "personality". CAD is a program used to communicate design solutions in realistic views at various angles. This program eliminates long hours of hand-drawing and sketching.

Following the survey and working drawing, the initial concepts will be presented to the client for approval. If approved this is followed by the floor plans and then the detailed specifications of all alterations, finishes and furnishings. It is probable that doors, windows and walls will be repositioned. Also, of major importance is the approach to the building - so the exterior is always considered along with the interior design.

Naturally, only if the design practice handles procurement or project management will they take on these roles. Many design specifications will be included in a tender package which will ultimately be used by a building contractor, or fit-out contractor as it is often called, to complete the design for the client. The on-site stage of the design can be many months or even years after the design specification is completed.

Training

Postsecondary education, especially a bachelor's degree, is recommended for positions in interior design. Within the United States there are 24 states, the District of Columbia, and Puerto Rico, that have some form of interior design legislation with regard to title and practice. The National Council of Interior Design Qualification (NCIDQ) administers a licensing exam. To be eligible to take the exam, a candidate must have a minimum of six years of combined education and experience in the field, where at least two years includes postsecondary education. Once the examination has been successfully taken, the designer may indicate that they are an NCIDQ certificate holder. In certain jurisdictions, this is linked to the ability to practice or self-identify as an interior designer. The laws vary greatly across the United States and in some jurisdictions, NCIDQ certification is required in order for the designer to call themselves a Certified, Registered, or Licensed Interior Designer. In others, however, there are no minimum qualifications and anyone with a desire to do so may call themselves an interior designer. Continuing education is required by some states as part of maintaining a license.

Alabama has recently rolled back legislation regarding the licensing and practice of interior design. It is important to note that there is a difference between title acts which restrict who can call themselves an interior designer and practice acts that limit who can actually practice activities defined as within the scope of interior design.

Earnings

Interior design earnings vary based on employer, number of years with experience, and the reputation of the individual. Interior designers within the specialization of architectural design tend to earn higher and more stable salaries. For residential projects, self-employed interior designers usually earn a per-minute fee plus a percentage of the total cost of furniture, lighting, artwork, and other design elements. For commercial projects, they may charge per-hour fees, or a flat fee for the whole project. The median annual earnings for interior designers in the year 2004 was $40,670. The middle 50% earned between $30,890 and $53,795.

Graphic design

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The term graphic design can refer to a number of artistic and professional disciplines which focus on visual communication and presentation. Various methods are used to create and combine symbols, images and/or words to create a visual representation of ideas and messages. A graphic designer may utilize typography, visual arts and page layout techniques in varying degrees to produce the final result of the project. Graphic design often refers to both the process (designing) by which the communication is created and the products (designs) which are generated.

Common uses of graphic design include magazines, advertisements, product packaging and web design. For example, a product package might include a logo or other artwork, organized text and pure design elements such as shapes and color which unify the piece. Composition is one of the most important features of graphic design especially when utilizing pre-existing materials or using diverse elements.

Web design

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Web design is a process of conceptualization, planning, modeling, and execution of electronic media content delivery via Internet in the form of technologies (such as markup languages) suitable for interpretation and display by a web browser or other web-based graphical user interfaces (GUIs).

The intent of web design is to create a web site (a collection of electronic files residing on one or more web servers) that presents content (including interactive features or interfaces) to the end user in the form of web pages once requested. Such elements as text, forms, and bit-mapped images (GIFs, JPEGs, PNGs) can be placed on the page using HTML, XHTML, or XML tags. Displaying more complex media (vector graphics, animations, videos, sounds) usually requires plug-ins such as Flash, QuickTime, Java run-time environment, etc. Plug-ins are also embedded into web pages by using HTML or XHTML tags.

Improvements in the various browsers' compliance with W3C standards prompted a widespread acceptance of XHTML and XML in conjunction with Cascading Style Sheets (CSS) to position and manipulate web page elements. The latest standards and proposals aim at leading to the various browsers' ability to deliver a wide variety of media and accessibility options to the client possibly without employing plug-ins.

Typically web pages are classified as static or dynamic.

Static pages don’t change content and layout with every request unless a human (web master or programmer) manually updates the page.

Dynamic pages adapt their content and/or appearance depending on the end-user’s input or interaction or changes in the computing environment (user, time, database modifications, etc.) Content can be changed on the client side (end-user's computer) by using client-side scripting languages (JavaScript, JScript, Actionscript, media players and PDF reader plug-ins, etc.) to alter DOM elements (DHTML). Dynamic content is often compiled on the server utilizing server-side scripting languages (PHP, ASP, Perl, Coldfusion, JSP, Python, etc.). Both approaches are usually used in complex applications.

With growing specialization within communication design and information technology fields, there is a strong tendency to draw a clear line between web design specifically for web pages and web development for the overall logistics of all web-based services.

Design and art

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Design is often viewed as a more rigorous form of art, or art with a clearly defined purpose. The distinction is usually made when someone other than the artist is defining the purpose. In graphic arts the distinction is often made between fine art and commercial art.

In the realm of the arts, design is more relevant to the "applied" arts, such as architecture and product design. In fact today the term design is widely associated to modern industrial product design as initiated by Raymond Loewy.

Design implies a conscious effort to create something that is both functional and aesthetically pleasing. For example, a graphic artist may design an advertisement poster. This person's job is to communicate the advertisement message (functional aspect) and to make it look good (aesthetically pleasing). The distinction between pure and applied arts is not completely clear, but one may consider Jackson Pollock's (often criticized as "splatter") paintings as an example of pure art. One may assume his art does not convey a message based on the obvious differences between an advertisement poster and the mere possibility of an abstract message of a Jackson Pollock painting. One may speculate that Pollock, when painting, worked more intuitively than would a graphic artist, when consciously designing a poster. However, Mark Getlein suggests the principles of design are "almost instinctive", "built-in", "natural", and part of "our sense of 'rightness'."^[3] Pollock, as a trained artist, may have utilized design whether conscious or not.

Design and engineering

Engineering is often viewed as a more rigorous form of design. Contrary views suggest that design is a component of engineering aside from production and other operations which utilize engineering. A neutral view may suggest that both design and engineering simply overlap, depending on the discipline of design. The American Heritage Dictionary defines design as: "To conceive or fashion in the mind; invent," and "To formulate a plan", and defines engineering as: "The application of scientific and mathematical principles to practical ends such as the design, manufacture, and operation of efficient and economical structures, machines, processes, and systems.".^[4]^[5] Both are forms of problem-solving with a defined distinction being the application of "scientific and mathematical principles". How much science is applied in a design is a question of what is considered "science". Along with the question of what is considered science, there is social science versus natural science. Scientists at Xerox PARC made the distinction of design versus engineering at "moving minds" versus "moving molecules".

Design and production

The relationship between design and production is one of planning and executing. In theory, the plan should anticipate and compensate for potential problems in the execution process. Design involves problem-solving and creativity. In contrast, production involves a routine or pre-planned process. A design may also be a mere plan that does not include a production or engineering process, although a working knowledge of such processes is usually expected of designers. In some cases, it may be unnecessary and/or impractical to expect a designer with a broad multidisciplinary knowledge required for such designs to also have a detailed knowledge of how to produce the product.

Design and production are intertwined in many creative professional careers, meaning problem-solving is part of execution and the reverse. As the cost of rearrangement increases, the need for separating design from production increases as well. For example, a high-budget project, such as a skyscraper, requires separating (design) architecture from (production) construction. A Low-budget project, such as a locally printed office party invitation flyer, can be rearranged and printed dozens of times at the low cost of a few sheets of paper, a few drops of ink, and less than one hour's pay of a desktop publisher.

This is not to say that production never involves problem-solving or creativity, nor design always involves creativity. Designs are rarely perfect and are sometimes repetitive. The imperfection of a design may task a production position (e.g. production artist, construction worker) with utilizing creativity or problem-solving skills to compensate for what was overlooked in the design process. Likewise, a design may be a simple repetition (copy) of a known preexisting solution, requiring minimal, if any, creativity or problem-solving skills from the designer.

Process design

"Process design" (in contrast to "design process") refers to the planning of routine steps of a process aside from the expected result. Processes (in general) are treated as a product of design, not the method of design. The term originated with the industrial designing of chemical processes. With the increasing complexities of the information age, consultants and executives have found the term useful to describe the design of business processes as well as manufacturing processes.

Design as a process

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Design as a process can take many forms depending on the object being designed and the individual or individuals participating.

Defining a design process

According to video game developer Dino Dini in a talk given at the 2005 Game Design and Technology Workshop held by Liverpool JM University, design underpins every form of creation from objects such as chairs to the way we plan and execute our lives. For this reason it is useful to seek out some common structure that can be applied to any kind of design, whether this be for video games, consumer products or one's own personal life.

For such an important concept, the question "What is Design?" appears to yield answers with limited usefulness. Dino Dini states that the design process can be defined as "The management of constraints". He identifies two kinds of constraint, negotiable and non-negotiable. The first step in the design process is the identification, classification and selection of constraints. The process of design then proceeds from here by manipulating design variables so as to satisfy the non-negotiable constraints and optimizing those which are negotiable. It is possible for a set of non-negotiable constraints to be in conflict resulting in a design with no solution; in this case the non-negotiable constraints must be revised. For example, take the design of a chair. A chair must support a certain weight to be useful, and this is a non-negotiable constraint. The cost of producing the chair might be another. The choice of materials and the aesthetic qualities of the chair might be negotiable.

Dino Dini theorizes that poor designs occur as a result of mismanaged constraints, something he claims can be seen in the way the video game industry makes "Must be Fun" a negotiable constraint where he believes it should be non-negotiable.

It should be noted that "the management of constraints" may not include the whole of what is involved in "constraint management" as defined in the context of a broader Theory of Constraints, depending on the scope of a design or a designer's position.

An architect at his drawing board, 1893. The Peter Arno phrase "Well, back to the old drawing board" makes light of the fact that designs sometimes fail and redesign is necessary. The phrase has meaning beyond structural designs and is an idiom when a drawing board is not used in a design.

Redesign Something that is redesigned requires a different process than something that is designed for the first time. A redesign often includes an evaluation of the existent design and the findings of the redesign needs are often the ones that drive the redesign process

Typical steps

A design process may include a series of steps followed by designers. Depending on the product or service, some of these stages may be irrelevant, ignored in real-world situations in order to save time, reduce cost, or because they may be redundant in the situation.

Typical stages of the design process include:

Pre-production design
- Design brief - a statement of design goals
- Analysis - analysis of current design goals
- Research - investigating similar design solutions in the field or related topics
- Specification - specifying requirements of a design solution for a product (product design specification^[2]) or service.
- Problem solving - conceptualizing and documenting design solutions
- Presentation - presenting design solutions
Design during production
- Development - continuation and improvement of a designed solution
- Testing - in-situ testing a designed solution
Post-production design feedback for future designs
- Implementation - introducing the designed solution into the environment
- Evaluation and conclusion - summary of process and results, including constructive criticism and suggestions for future improvements
Redesign - any or all stages in the design process repeated (with corrections made) at any time before, during, or after production.