Click above for Large Image (900 x 600 px)

“Ook ook ack! Eeeeeek! OOOK!” [Trans: "My God, it's full of apps... " ]

I usually don’t repeat subjects, and I JUST reviewed the iPad2. But sometimes a marketing campaign can trod over the same raw nerve so many times before one has to spout off on it.

I don’t want to get off on a rant here but…

Apple’s overuse of the word “magical” when promoting the iPad just gets under my skin. Actually it annoys the poop out of me. Probably because it’s patently horseshit. It’s a piece of TECHNOLOGY, people, not the gorram Philosopher’s stone. We’re not a bunch of knuckle dragging homo habilis hominids howling and flinging rocks, sticks and poop at the frakkin’ monolith. Sometimes I wonder what Apple’s marketing people think of their audience. I do realize what they’re getting at, the idea of an information appliance so immediate and intuitive to use, that the actual interface disappears and you become immersed in just using the thing.

Yes, iPads are damn clever little machines. Actually, they’re right proper little slabs of electric crack, they’re so fun. Despite the absence of Flash, (and in all fairness, Flash ain’t working too well on competing Android tablets yet) I am still quite impressed with Apple’s technical (and marketing) achievement with the device. It is the user interface advances of iOS that does it, and beats down the scrambling competition. You just pick the thing up, you get it, and it just bloody works. Which if you’ve ever had to deal with computers for any length of time, Mac or PC, that feat alone is almost Nobel prize worthy. And seriously folks, this comparatively ancient Power Mac G5, with Gigabytes of RAM, an LCD display, Intuos tablet, internal RAID and Terabyte external drive is pretty frakkin’ Star Trek tech compared to the 48K Atari 800 I first mucked about with in the 80s…

And Yes, it’s been rightly proclaimed that Apple did not make iPads for Power users, guys like me, tho’ I still like the things. Nor did they build them for Tech Geeks, who heap piles of abuse on Apple for all the geeky thinks that the iPad is not, and trumpet the raw specs and “open” platform of the Android powered Competition. Geeky types actually seem to prefer their technology to be complex and challenging and glory in getting in there and tinkering and customizing their tech to their liking. But the general consensus out there is that the three significant players, the Samsung Galaxy Tab, the Motorola Xoom, and the still-in-the-pipe RIM Playbook, all have their issues. The majority of the rest are still so much vaporware or decidedly crappy knock offs..

But for the most part, everyday folk, and a surprising number of professional people (outside the computer tech fields), couldn’t care less about the deep specs or getting under the hood to tinker with the OS, or manually install pirate apps (or Pr0n). Like owning a fast Italian sports car, unless you’re, as the Top Gear lot might say, a “complete motorhead”, you don’t want to spend all day “mucking about under the bonnet.” You just want to get in and DRIVE. Drive FAST. And I might add, without the motor dropping out or needing to re-build the gearbox every random 2 to 200 miles.

My son quite rightfully points out that most people haven’t the faintest idea how a semiconducting transistor works. A lot of folks don’t even know what they are, nor need to. True enough. I’m something of a technologist, as necessary being a design professional in this digital age, and my knowledge of the physics and details semiconductor technology is sketchy. But I DO have an appropriate general knowledge of how my computer works, and I am well aware that’s it’s a piece of technology. I might not be able to build one from scratch, but I probably could assemble one. I certainly maintain the one I am writing this rant on.

The iPad is a piece of technology, advanced, arguably cutting edge, but still technology. All due respect to Arthur C Clarke’s famous axiom, “any sufficiently advanced technology is indistinguishable from magic,” it’s not a magical black box. We’ve been out of the trees and caves for a while now, and can even use fire and tools. I’ll thank the people at Apple to consider that we’re grown-up’s and live in a technological society and stop insulting my intelligence. No one should expect to open up an iPad and find leprechauns and unicorns drawing on the back of the screen with rainbow crayons.

That’s just my opinion, and frak ‘em if they think I’m wrong.

OK, got that out of my system. I expect to have more constructive things to say next time. B4nz41.

Oh. Apologies to Stanley Kubrik and Apple, but hey…

The current Mac Pro update disappoints actual pro users. Image: Apple Computer

Apple recently released, after over a year in waiting, an update to their Mac Pro line of tower configuration computers. They introduced the Westmere line of the Xeon workstation processors and now a version with 12 computing cores is available. But for many Apple watchers, the update was a bit of a disappointment.

For openers, while Apple has been determinedly cutting edge on their new flagship mobile products, iPhones, iPads… were notably conservative on this update. New tech such as USB 3, Firewire 1600, Litghtbridge, or even established desirable standards as eSATA were skipped. Few expected Blu-Ray support, since Steve doesn’t like Blu-Ray. The video cards options offered by Apple are decent, but somewhat mediocre by contemporary standards. But all in all, commentary in the tech blogs has negative commentary edging out positive reviews. The general consensus seemed “meh,” with a lot of dissatisfaction centering on performance versus price issues compared to alternatives on the Windows and Linux side.

The machines are pricey.

“The upgraded desktop is available in three standard options: a quad-core 2.8GHz Intel Xeon “Nehalem” processor with 3GB of RAM for $2,499; an 8-core machine with two 2.4GHz quad-core Intel Xeon “Westmere” processors and 6GB of RAM for $3,499; or a 12-core system with two 2.66GHz 6-core Intel Xeon “Westmere” processors and 6GB of RAM for $4,999.” – Apple Insider

The pricing here is without display, so add anywhere from $799 to $1800 for Apple display. The upcoming 27” LCD display will be priced at $900 and replace both the existing 24” and 30” displays and will be glossy-only.

Much of the following is taken from my  grumpy comment at Engadget. I’ve taken the liberty of cleaning up some of the unpolished language and clarifying some remarks in this version.

First off, the disclaimers, I am a Design Pro, not an IT person, gamer or semi-pro geek tinkerer. So most if this is OPINION, not hyper scrutinized lists of facts. Bear with it. I am also not going to dis down anybody’s personal choice of hardware or OS preferences. Or debate fanboyism at any level. It’s been done already. To death. Seriously.

That said, as a Graphic and Web Designer, I’ve been a Mac user for many years. I’ll say that in the day, the Mac OS offered clear advantages over window and all non-graphical OSs. And also in the day Apple hardware also offered some unique qualities unavailable in the WinTel world. But that day is PASSED. The only reason anyone should chose Mac hardware or the Mac OS is personal preference.

When Apple was releasing G4 and G5 Towers, they were cutting edge machines at the absolute top end, and provided performance that was just not available at the desktop level elsewhere. But that is clearly no longer the case. Now that Macs and PCs are essentially the same guts under the hood, there are far less differentiating qualities. For the Mac Pro, while they may be shiny, spiffy, and fairly stout machines, they are NOT the ultimate computing machines Apple would have us believe. There are comparable workstation class machines available from HP, Levono, Acer, and even *gasp* … Dell at better price points. Yes, I looked. The current lineup just manages essential parity with Windows workstation-class machines out there, and offers downright mediocre graphics cards, which have become much more important components in modern computing.

It’s been pointed out by my geekier colleagues that more powerful configurations can of course be assembled from off the shelf components for leaner budgets if that’s your thing. Some of us do like to tinker in the garage. Some of us just want to say, “give me the keys, I’d rather drive.” It should go without saying, your mileage may vary.

Are the Mac Pros overpriced for the tech level offered? I may be a bit of an Apple loyalist and I still have to say, OH HELL YES. I will offer that the overall reliability, build quality and case design is superior, even if the internal components are decent but fairly standard. And yes, while Apple has evolved the case internals to a very refined level, it’s still a seven year old overall case design. It could absolutely use a refresh.

The galling point for us Design Pros, and I am talking about Publishing, Photography, Graphics and Web Design, is that Apple has tossed us to the curb YEARS ago to the tender mercies of Adobe. Go into an Apple store and good luck finding any serious pro gear, such as an tabloid size (11″ x 17″) printer or press quality scanner. Not for the likes of us. And we’ve been crying for a mid-range Mac for frakkin’ ages. The majority of us would probably be quite comfortable with the performance range of the 27″ i7 iMac in an expandable tower configuration. The price gap between the i7 iMac nicely appointed and the Base Mac Pro and Display is enough to buy a decent laptop and the Adobe CS5 upgrade. Which I might mention is a non-trivial sum. Adobe enjoys a near monopoly in the must-have graphics applications that design pros use such as Photoshop, Illustrator, InDesign, Dreamweaver, Flash and Actobat, and charge us accordingly. The further fact that Apple has done away with all non-glossy screens except for the BTO MacBookPro, shows their disdain for Design pros over “oooohhh shiny,” which does look spiffier in the Apple Store lighting.

The present scene now is all about Apple’s current relentless pursuit of the “consuming” computer user… hence the iPods, iPhones, iPads and the like. I feel that Apple keeps the Mac Pro remains in the lineup merely to say that they have a high end machine for the very needful (climate modeling and 3D rendering anyone?) and quite affluent users. But the Mac Pro line is no longer the champion of the Apple universe, or does it seem to have much of Steve’s attention.

Since the current Adobe CS5 Applications requires an Intel multicore processor minimum, this will retire a LOT of still working G5 machines. As design has becomes a much more marginal profession in the current economy, I expect we’ll see a lot of “downgrade upgrades” to iMac, laptops and Windows machines as design pros look at their bottom lines and budgets.

I don’t think Steve will miss us much. We complain.

Links:
Mac Pro @ Apple
Engadget
Mac Rumors
Apple Insider
Adobe Creative Suite 5

“This has all happened before. And it will happen again.” – Cylon Hybrid, Battlestar Galactica.

That said, catalogs are SO fun…

At the Production Meeting with the publishing team the previous Friday, we reviewed the pagination, cover content, and set the catalog size at 200 pages. We decided to aim at an art to press deadline for the end of the month as reasonable, if tight.

So last Friday morning, while I am well under way with stripping in the 2010 pricing to the re-designed 2010 catalog and setting the folios, I have an email from my contact. The Sales Force needs us to add 9 pages of critical products to the book.

Fine. Re-Paginate, 212 pages.

TECH ALERT, but read it anyway. Pros, you can skip this paragraph, you already know what’s coming.  [ For most print processes, bound books have to be set in multiples of 4 pages, and some large scale print methods such as high speed web presses, use signatures of 8 or even 16 page sheets. So adding ODD numbers of pages is always problematical. Even the very common stapled booklet needs to be printed 4 pages art a time, each sheet printed both sides, folded once on the spine. Okay, get it now? ] End Tech Alert

Midday: I take a call with one of the content editors, adding three more pages. Re-Paginate the book again. Still 212 pages, but just barely. Now the Index is crushed to one page and half of the inside back cover.

Oh yeah… put back all the little icons they had you delete last round. (&#%$#@!!!)

4:15 PM. Another email. Adding four more products. Thankfully one requested was already in the book. But will have to expand two items to a two page spread from one, to keep from TOTALLY fouling the right | left spreads and re-laying out the entire book from the insertion point. Even with the formidable tools in InDesign, it’s a non-trivial task. But at least now we are back to having two full pages to use for the Index. (That inside back cover space is still there to invade!)

Re-paginate. Book is now 216 pages.

Email back: “Of course this is complex enough that the “end-of-the-month” target is likely well trashed —with an anvil, but we’ll forge on.” Can you see the look on the Coyote’s face as he plummets into the canyon? Well, I’ve had that look. And will probably have it again before I retire.

Meanwhile, every other project in the Studio gets pushed back, and my clients circle like hungry wolves. Somehow I will tag-team some of the most pressing work into the rotation. This has all happened before. And it will happen again.

Of course, one of the advantages of being a self-employed freelancer, you can choose work on the weekends. Certainly motivated. Which is time to stop mucking about on the Studo Blog and get back to it!

But I still dread each approaching Friday with appropriate suspicion and paranoia.

Till next!

HTML code in Text Wrangler. Want a piece of this action?

Hello everyone who may or not be paying attention.

I know it’s been a while but I was a bit distracted by some very consuming system issues with my workstation. But that cautionary tale is a subject for another post. Seriously. Cautionary. Tale. But not now.

One of the requests that I often get from clients is that they want to know how to do simple revisions and update their web site content for themselves. Of course they are concerned in this difficult economy about paying my fair, but non-trivial designer’s rate for what might be a trivial update or minor correction. I do have a minimum quarter hour charge. Which is seriously, just about how long it takes to read the email, take the call, jot a note or two, fire up Dreamweaver or a text editor, an FTP client, log into the hosting provider’s Control Panel, upload the fix, revision or update and then log it on the timesheet. So I do see their point. Or you might just want more control of your own content.

Let me diverge for a moment, and mention that there are do-it-yourself options out there if your needs and design requirements are relatively straightforward. Many of the Hosting providers out there have relatively simple, template based, drop-in-your-content web site plans, such as GoDaddy’s “Web Site Tonight” feature. There are also services like Microsoft’s FrontPage, Apple’s iWeb, and Yahoo’s Small Business Web Sites… etc. But these ARE template based sites and they can be perfectly adequate, but they’ll look like a LOT of other sites out there without a lot of distinction.

Another approach is to construct a web presence around a blog, either through your hosting provider and your own domain, or use one of the well rounded services such as WordPress, Blogger, Typepad, Live Journal and the like.

But if you’re working with someone like me, you’re probably wanting something more custom designed and distinctive in the first place; really marrying your branding and message to the site design. You might want to have more complex functionality or technology on your site. Perfectly fair, and how I make a respectable chunk of my livelihood. But you might not want to bug me about changing one paragraph in your Mission Statement, or correcting a misspelling in your bio. Or you’d like to toss up a news item, and I am off in a tent in the woods that week, or buried with other client’s projects at that moment. Hey, it could happen.

Anyway, there are three general approaches to getting into the guts of your site.

Learn Web Coding

The first is the cheapest, since it can be done with any text editor and an FTP client. That would be litreally learning enough HTML and web tech to actually edit the underlying code of your web pages and upload the changed pages back to the hosting server. As you can imagine, this does imply the heaviest learning curve. And of course, depending on just how intricate the site’s design is, getting into the designer’s code could be problematical. If you’re not careful and meticulous, its real easy to break stuff. And then you’ll be calling your Webmaster or Designer and tossing a bit more than a quarter hour for cleanups. Of course with more modern coding techniques, particularly CSS, and XML, sites can be much more modular and the site’s content and its design can be separated. This makes updates and revisions much less tedious.

Use Web Access Software

Another approach is to use an end-client piece of software that allows users to access the site from their own computers, and make their edits in a more understandable format. One example is Adobe Contribute. This application allows access to a web site, but also lets the Designer/Webmaster restrict access to parts of the site that ought to not be messed with. The application even allows users to generate new pages and links, upload images and documents, while maintaining the site design and structure. Different users can be assigned different roles and levels of access. The interface is similar to Microsoft Word, so it’s a familiar way to work and training is much simpler.

This approach is a bit more costly, as you have to buy specialty software, and it requires the Site Designer to set up the site for access. There is also some training time involved, but not as much as learning full blown web coding. A mid-line solution for moderately complex sites, and reasonably tech-comfortable users.

Use a Content Management System

For more sophisticated sites, or for dead simple access, or both, is the use of a Content Management System. Using a CMS, the end user typically has a web based interface to add or modify content on their site. The software keeps the design elements and the content separated, and the user content is stored in a database on the server. This is the most costly up-front approach, as the site has to be configured from the ground up to use the technology, and set-up is more involved than a basic HTML, XHTML and CSS, site.  All the back end software is stored on the hosting server, and all the user needs is a web browser and the access credentials. This can be a very attractive solution where there is a lot of time sensitive or dynamic content, and the site gets frequent updates.

More and more, business sites are using CMS technology and more hosting providers are offering open source Web Application Software to Web Developers and Webmasters as part of their hosting packages. It does take more than a bit of specialty skill to set up, but once in place, can be very effective and easy to maintain. The initial cost may be a bit more than a basic HTML or CSS based site, but maintenance and updates can be cheaper over time. If you have a shopping cart or an e-commerce site, this is a form of Content Management, with software running on the web server tracking buyers, products, transactions.

However, none of the above typically allow the end user to significantly revise or alter the site design or graphic style. That type of work would require the re-involvement of the Web Designer and Developers. Of course, if you had that skill set, you would BE the web Designer or Developer, and you would already know this.

Still the whole point of hiring graphic or technical professionals is to free up your time to focus on your own particular vocation or specialty, and let us do our thing for you.

Next time, losing the works.  I hope I don’t keep you waiting so long for that one, its frakkin’ crazed…

Stufz (Resources):

GoDaddy Web Site Tonight:
http://www.godaddy.com/hosting/website-builder.aspx

Microsoft FrontPage:

http://office.microsoft.com/en-us/frontpage/default.aspx

Apple iWeb: http://www.apple.com/ilife/iweb/

Yahoo Small Business Web Sites:
http://smallbusiness.yahoo.com/webhosting/

WordPress: http://wordpress.com/

Blogger/Blogspot : https://www.blogger.com/start

TypePad: http://www.typepad.com/

Live Journal: http://www.livejournal.com/

Adobe Contribute: http://www.adobe.com/products/contribute/

Wikipedia: Web Content Management System:
http://en.wikipedia.org/wiki/Web_content_management_system

Open Source Applications at Godaddy:

http://hostingconnection.godaddy.com/AllApplications.aspx

(Crikey! I’m not even sure what all this stuff does… )

Banging one out in InDesign. Yeah, I know what I'm doin'. Look! CMYK colors!

With the market shifting as rapidly as it has been in the Electronic Age – this is a question that often pops up in my dealings with clients, my colleagues, and especially potential clients.

When is it time to hire a Designer?

There was a time, it seems long ago now, when everything printed, from annual reports and catalogs, to matchbook covers and little league flyers, required the hands of creative pros – designers, draftsmen, illustrators, layout artists, darkroom technicians, typesetters, color separators, film strippers, platemakers, printers and pressmen.  But that was circa 1980, B.C. – Before Computers. In the Mid 80’s the PostScript Programming language was being developed by John Warnock of Adobe, and Steve Jobs and was developing the Apple Macintosh computers. Eventually the combination of the Macintosh, the LaserWriter II and Aldus’s ground breaking page layout program, PageMaker, changed the publishing landscape forever.

“The DTP market exploded in 1985 with the introduction in January of the Apple LaserWriter printer, and later in July with the introduction of PageMaker software from Aldus which rapidly became the DTP industry standard software.” – Wikipedia
[ http://en.wikipedia.org/wiki/Desktop_Publishing ]

By the 1990s, the Desktop Publishing revolution was sweeping aside traditional “drafting table” publishing. The New Tools rose up to replace T-squares, Technical pens, x-acto knifes, rubylith, designer’s markers and drafting instruments. Names like PageMaker, Quark Xpress, PhotoShop, Illustrator, Acrobat, Freehand became buzzwords of the profession and became the Designer’s professional tools. In the current era, Adobe’s InDesign has joined the group, becoming as prominent as Quark, perhaps more so among solo freelancers and small studios.

At the beginning of the DTP R/evolution, many publishers tried to cast aside Graphic Designers and Art Directors for High School Interns,  Sales Reps or Secretaries running Macintosh SE’s and PageMaker. The results were not pretty. The years of Very Ugly Junk Mail. After a period of… what I’ll charitably call “adjustment”, Publishers turned back to having the expertise of actual Designers at the workstations and things began to look up again.

What that largely meant is that not only have Design Professionals had to embrace the digital world, the ever increasing strength of our electronic tools has significantly tightened the number of people involved in publishing projects. Compared to the legion  of specialists mentioned above, it’s often condensed down, for better or worse, to just the Designer, the Print Vendor and the Client. The force multiplier of our software allows us to take on the tasks of the typesetter, the layout artist, the color separator, the pre-press technician.  I do very much miss proofreaders in these lean times. However, this also requires us to be much more familiar with the intricacies of  the various publishing disciplines, and a competent Designer in the Information Age is as much Art Director as craftsperson. And with the advent of the Web as a publishing platform, increasingly a technician and programmer.

But something interesting has happened going into the new century. As professional class software grew in power, features and sophistication, so has everyday “civilian” software.  Simple publishing applications began to appear, and contemporary Word Processors, notably Microsoft Word and Office, now have significant page layout capability. Combined with an almost endless availability of free or inexpensive templates, clip art and stock photos, the majority of simple publishing projects can be created by end users, and sent straight on to over-the-counter printers, even Office Depot, Staples and Kinkos. ( *cringe*) Online Print services also make a lot of “everyday” printing readily available to the do-it-yourself set. So the bottom of the market, simple to moderately complex business cards, basic letterheads and 3-panel brochures, little league fliers, the pizza place menu, is no longer territory for Design Professionals. For creative pros, the market for Print Designers and Publishing Art Directors has certainly contracted.  Forever.  I’ve been hearing the comment more and more, “why do I need you expensive, artsy prima-donnas when I can do this myself in Word?” Why indeed?

So just when, exactly, do you need us?

Quite simply, when you want to look better than that.

While it is true that there is a great deal of ordinary printing and publishing you can create in word processors and inexpensive consumer level applications, or through over the counter and online print vendors. There are times when you will want to go beyond that. For starters, what is your own time worth? I certainly don’t fancy myself a Lawyer or a Concert Pianist. The little league flyer is one thing. Your annual report, perhaps quite another. When you’ve spent two hours ftuzing about in a word processor on a business card, and still are struggling with how to get the 10-up Avery template to work. When you realize the the brilliant neon RGB green prints a color that can be charitably described as “swamp water”. When you decide that that piece of clip art looks an awful lot … like clip art. Or the stock photo isn’t quite right. Or that you can’t quite get that logo you had in mind to look quite right in Powerpoint or MS Paint.  In essence, when you want to “kick it up a notch,” to look more finished, more professional … and competitive.

That’s where people like me come in. And if we’re any good, we’re probably not cheap, but we’ll provide good value. If you hire some kid in high school or your brother in law just because they have a computer and Photoshop… well, you’ll likely get what you pay for. Believe it or not, a lot of us have training and degrees in this stuff, and have devoted a lot of time to learning our craft and how to get the most out of our professional tools. And the whole purpose of specialists is that we do have expertise in our fields, freeing you to do whatever it is you do best.

When you hire creative pros, Graphic Designers, Illustrators, Art Directors, Web Designers and Developers, you are hiring people who have made good design their career and craft.  A proper designer is not a hobbyist. A creative pro brings an extra edge of professionalism and polish, and the effective impact of good design to your projects.  We also have expertise in process and production methods, so that what we send to printers comes out looking the way we planned. We understand that there is a difference between CMYK and RGB.  We might also know a thing or two about  tasteful use of typefaces beyond Times, Arial and Comic Sans. We do not fear white space.  We know a something about how ink hits paper. Can specify process and spot color and have that red look like something a fire engine would be proud to wear. We also understand and can explain to you why you cant take that postage stamp sized image off a web site and make it into a poster. And why it’s a really really really bad idea to grab a pic from someone else’s site, especially a competitor. And in the emerging age of Information, a good designer can help you navigate your documents into the digital age.  In a future post, I plan to go into the incredible explosion in electronic publishing that we call the Internet and the World Wide Web.  But that’s a whole  ‘nother topic, and worth it’s own article. Knowing our way around the print and publishing industries, and the digital word, despite our cost, hiring a pro can actually save you money by avoiding the common production errors of the novice. And your stuff will look better.

If a lot of the previous paragraph when over your head, you might just need one of us. But when you’re ready to take it to the next level, we’re here to help you and your company look your best in print or online. And a good Design Professional will be a creative partner, not a prima-donna, and will help you make your ideas shine. This final summary thought applies to not just Graphics and Design, but to any skilled profession.

Hire the Professional, we know what we’re doing.

The Credit Crisis Visualized by Jonathan Davis

The Crisis of Credit Visualized from Jonathan Jarvis on Vimeo.

“The goal of giving form to a complex situation like the credit crisis is to quickly supply the essence of the situation to those unfamiliar and uninitiated. This project was completed as part of my thesis work in the Media Design Program, a graduate studio at the Art Center College of Design in Pasadena, California. For more on my broader thesis work exploring the use of new media to make sense of a increasingly complex world, visit my website here. or email me at: jonathan.jarvis@gmail.com

Visit The Crisis of Credit Visualized.

I sometimes (um… actually, routinely) rag on Flash, for being mostly used for the internet equivalent of dressing a whore as a Lady, essentially being …well…” flashy.” Mostly shiny objects and pretty lights, web 2.0 ooooh-shiny and little substance. It is also a very challenging application to master. Frustrating to both designers and programmers, as a development platforms that is decidedly schizophrenic, requiring both artistic and design skills on one hand and programmer and coding skills on the other hemisphere.

But this is possibly one of the best, and most useful uses of the application that I have ever seen. Aside from being graphically tight and beautiful, it also gives an overview of a complex, and lately emotional topic with amazing clarity. And furthermore it isn’t selling sneakers or dressing up another sketchy blockbuster film site, it’s providing useful social purpose!

“The Crisis of Credit Visualized distills the economic crisis into a short and simple story by giving it form. It is also argues that designers have the ability to see a complex situation, then turn around and communicate it to others. By giving graphic form to the credit crisis, it becomes comprehensible. Not only do economic activities take shape, but new relationships can emerge between these shapes.” – Jonathan Davis

If ever I pray to the gods, it’s to get to do work this good! **Applause**

Ancient graphic design tool. An X-Acto knife. Grab THIS end.

I had alluded to this subject in my earlier post about Adobe Creative Suite.  I did get a bit rantish about it. So I decided that I might clarify where I was coming from this time around. Now for a little background, I entered the field in 1980, yes that would be B.C. — Before Computers.  Moving right along, If someone had told me in 1989 that in a few years I would be replacing 90% of my professional tools every three to five years, I would have looked at them like they were out of their minds. Seriously, I made it a point to buy good quality pro gear and took good care of it. I had a steel t-square that I would be able to leave to my grandchildren, nearly indestructible. I had a lovely oak drafting table. A sweet little Badger airbrush and compressor. Red Sable brushes. A set of very slick and pampered technical pens. And seriously, a drafting instrument set I actually inherited from my grandfather.

Then “Desktop Publishing” happened.

The advent of the Apple Macintosh Computer, PostScript, PageMaker software, and the LaserWriter II printer changed everything. Forever. That was a weird time, when many companies tried to jettison their Agencies, Design Studios and Art Directors for low paid operators with Mac SEs. But after a few years, they decided that they needed people who actually knew some Design Principles operating the computers. So a lot of us went back to school, helloooo Continuing Ed., to learn more about this “Computer Stuff. ” A lot of good and talented people gave up and left the field, and some of us made the transition and picked up the mice, wondering, “what the f**k is this?”…

That’s the short version, this is a blog after all. So fast forward to the contemporary age, virtually ALL design, graphics and publishing, is now carried out digitally.  I have not used that T-square for anything except mat cutting in something like seven years, and I no longer even own a drafting table.  (Kinda miss it.. ) But unless you are using a computer, not only aren’t you competitive, you’re not even working. And furthermore, if you use traditional media, you’ll have to bring your work to someone with a computer to have it digitized.  The last holdouts being illustration on traditional media, and this artwork is now certainly scanned and digitized before going on press anywhere.

By 1996, advances in the technology, notably Photoshop 2.5 with CMYK capabilities, and ZIP drives storing 50 Megabytes in an easily mailable format, allowed me to create an 100% digital poster project with a digital illustration and electronic  layout, the only traditional component being the original pencil sketch. Not only that, it was done with an impossible turnaround flatly impossible with traditional media. The digital world had arrived and I was convinced.

Not to mention the online world, what they once called “New Media”. The Internet wasn’t even a gleam on the general public’s horizon in 1990, but in 1993, the Mosaic web browser was released, followed by Netscape Navigator in 1996, then summarily hammered by Internet Exploder Explorer by 1998. By that time, the World Wide Web dominated our consciousness, and this realm  of course, is 100% electric, pure digital data. Just like every word you are reading.

So you purchase a computer.

You’ll need a decent one, Mac or Window’s PC with lots of RAM and storage. Not the $295 entry level special at Staples. You’ll need a press quality scanner, and a not a bottom-end printer. You’ll  probably need an external hard drive or two.  If you like your wrists, and don’t care to draw with a bar of soap, add a graphics tablet. Maybe add a digital camera. And you’ll need stacks of DVDs to back up and archive the piles of data you’ll be generating. So you’re in to the tune of about $5000 or more.

We’re not done yet.

Next you have to have professional-class design and graphics software.  That usually means, surprise–the Adobe Creative Suite. The heavies. Photoshop, Illustrator, InDesign, Acrobat. Possibly Quark Xpress, if you be kickin’ it “old-school”. If you do web design work, you also might be using Dreamweaver, and you are going to be asked to do Flash.  You will also need Microsoft Office, to interact with teh biznezz pepulz. You may prefer to work with the open source Open Office, or iWork.. but you need to DEAL with MS Office. Period. The end. You’ll need FONTS, lots of ‘em unless you really like Papyrus and Comic Sans. And you’ll need some System Maintenance stuff. And if you’re on the PC side, you need a RAFT of security stuff to keep the ick and nasty off your hard drive. So let’s say getting up towards another $5000. Oh, don’t forget the cost of the high speed internet connection.

After you buy that mid-range to high-end computer and load of pro-class software.  In about six months, you’ll have to upgrade something. Over time you’ll have to upgrade just about all of it. Then the next upgrade won’t run on your now-three to five year old once-spiffy, but now ancient, machine, and then it’s time for the next computer. And so the cycle starts again—new computer, upgrade, upgrade, upgrade, new computer, upgrade, upgrade, upgrade, new computer…  And just a for instance, the very word processor I am using to type this, Appleworks, is an obsolete, dead product, no longer offered by Apple.  It will not even run on my next computer. But when the time comes, Adobe Creative Suite 4, a must-have, with all my core apps, will.

I set up my original studio in the 80’s for about $2000, and from time to time picked up additional pro gear as needed. Most of my expenses were for media.  Paper, ink, board, paint, subway fare, that sort of thing. But now, it’s around $5000-$10,000 just to get set up. And that’s  still sitting the thing on the box it shipped in, and putting your own ass on a milk crate. IKEA is your friend. The fun part? You can get used to the idea that you’ll drop that 5 to 10K every three to five years, through your career, if you’re a working Designer and want to have your own gear. So instead of making a capital investment once, you will be buying virtually all your gear over and over, again and again. Welcome to the Information Age.

I have an old T-square hanging in my hall closet. It’s getting dusty.  And while I don’t need them as much in the digital age, I still want me some nice flat files. And you know what? Those damn things will still cost you through your butt!

That much hasn’t changed.

Well, I went down into NYC for an Adobe Creative Suite 4 Launch Tour seminar last Friday. And got a reminder of why I took the bus when I had a NYC day job… it was 50 min inbound at 7:00-8:00 yesterday… but over TWO hours outbound at the height of the evening Rush Hour. Left the Javits Center at around 5:30… pulled into the driveway between 7:30 and 8:00.. OUCH. But the very evil part was walking the block or so from the parking lot to the Javits Center into the wind off the River… AIEEEEEEE!!!!! Oh my FACE! So you can see why I was less that excited about walking down from Port Authority in the Artctic Blast. Which put me rather out on hiking off to 8th or 9th avenue for lunch. So I ended up having very overpriced very blah and ordinary concession food at the center. FEH. On the other hand, I scored an $14 Early Bird rate at a lot LESS than a half mile from the Javits, so I think I’ll call it even and move on.

That said, Creative Suite 4 is pretty frakkin’ awesome, with lots of clever enhancements, with many peeves addressed and wish list items suggested by users added. This is of course a FAR superior approach than Microsoft, that just DOES STUFF to their apps, usually Office or Windows itself, and then shoves the “enhancements” down your throat. Often this breaks things that might have actually worked well in some of their products. So yes, I WANT IT. Very shiny. As Tim Taylor once said.. “More POWER! Utt! Utt! Utt!”

I did end up choosing the Web Design Track – Fireworks / Flash / Dreamweaver over the Print Design Track – Photoshop / Illustrator / InDesign – in the afternoon, since there is a bit more Web Design volume in the Studio these days than Print. I have a LOT less experience in the moving target that is the very technical side of web site production than I do in Print production and Prepress, where I am a frakkin’ NINJA. I’ve been designing for print since 1980.

But seriously, WTF people? There seems to be some impression that Web and Print Designers are these two separate and warring tribes. And seems like seminars ALWAYS have the Web and Print sessions on two tracks in direct conflict. But the reality of the current marketplace is that you HAVE to have Print AND Web skillz if you are going to survive as a solo freelancer or small studio. Or if you’re hired as some small company’s ENTIRE ART DEPARTMENT… where you are doing all of their print, managing the web site, making PowerPoint presentations, answering the phones and running the network server. So hell yes, I needed to attend both tracks. I use all SIX applications regularly. So why do hey ALWAYS do this crap???

But of course, this is the version of The Adobe products that will BREAK G4 macs and PCs under 2 GHz processors… And seriously, Adobe’s apps EAT RAM and Hard Drive space.
Go ahead, look it up: www.adobe.com/products/creativesuite/design/systemreqs/

Does your system measure up?

So all things considered, I am planning on digging in my heels, and holding out till a client or vendor sends me an InDesign CS4 or .fla file that I can’t open … then cough up the $600 that costs Me from somewhere between $2500-$5000…*cringes*  Glad I am fairly booked.

The studio vs. household budget in these trying economic times will more likely dictate an iMac, but when the time comes will most likely go for the big 24″ screen version. Graphic Designers DO need some screen real estate! I’d DIE if I had to go back to a 17″ Display… I hadn’t been keeping up with the notebooks as I am more of a desktop person. But in doing the math it DID occur to me that I could get a 2.4 Ghz Macbook Pro AND a 24″ iMac for about the same cost of the mid-range 3 GHz Mac Pro with a  20 ” Display!  Course I COULD get a piece of crap, plastic case Dell or Acer, or E-Machines PC for $799 at Office Depot… but the service life of a PC is distressingly short, and I’d have probably gone through 3 of the damn things since 2001… Seriously, the IRS only allows 3 years depreciation for a PC, while you can take 5 years for a #&^%$ CHAIR. Plus the usual security issues beating off Viruses, Spams, Scams, Worms, Trojans, spyware, adware, phishing and random hackers … and the utterly screwed color calibration… yadda yadda… you’ve probably hear all the trash talk before.

I do like Apple and their machines a lot, they just WORK. They just DO what they’re asked for the most part.. and the OS (mostly) stays the frak out of my face, and sometimes even helps out. But I am a little narked off that they really don’t offer a good machine at the Mid-range level. Up your soft parts, Steve. But will holding off sticking a crowbar into the IRA till I absolutely HAVE to.

Your milege may, of course, vary.

Find out more at www.adobe.com/creativesuite