dtp basics indd

8/9/2019 DTP Basics Indd

1/19

Design Basicsu Lincoln Public SchoolsComputing Services.u Linda Dickeson

Design & Layout BasicsThe Role o the Desktop Designer

Tocomplementtheworkstartedbythewriter.

Toaddavisualdimensiontothetext,notdrawattentiontothedesignitself.

Tocreateadesignthatgetsreaderattentionandprojectsanimage.

Questions to Consider Beore you Design

1. Whatisthepurposeofyourpublication?Whyisitneeded?(mandatoryorpleasure

reading)

2. Whoisthetargetaudience?(Whatage,educationallevel,whatattitudesoropinions)3. Whatkindofinformationwillthepublicationinclude?

4. Whatkindofimagedoyouwanttoproject?(classy,serious,formal,informal,etc.)

5. Whatisthebudget?

6. Howwillthepublicationbereproduced?

7. Howwillitbedistributed?

8. Whenisitneeded?

9. Whatkindsofartorphotographyandhowmuchwillbeneeded?

10. Whatwillthetimetablebefor:

Articlesorcopybeingwritten

Photography/artworktimerequirements

Productionorassemblingofallinformation

Printing

Mailing

Conditioning Yoursel to Good Design

Learnthebasicrulesofdesign.

Lookforgoodexamplesandkeepaleofgooddesignideasorlayoutsyoucanuse

laterforinspiration,orasastartingpointformodication.

Becomeanobserverandlearntothinkvisually.

How to begin? Design the Grid.

Begineverypublicationbyestablishingthemastergrid.Thegrid,amongother

elements,includesthesebasicdetails:

Thepagesize(example:7in.x9in.or8.5in.x11in.)

Themargins(outside,insideorgutter,topandbottom)

Thenumberofcolumnsonapage(2-column,3-columnormore)

Thestandardtypefaceandsizeforheadlines,subheads,bodytext,captionsorother

specialtext.


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Eight Basic Design Rules1. Use a grid base design.

Planitout,thenfollowitasyouplanyourpublication.

Fig. 1 Grid (Four-corner composed layout)

Fig.

Fig. 3

2. Control eye movementpay attention to reading patterns.

Inthelayout,controlthereader'seyemovementonapagewithplacementof

elements.Eyeowandeyedwelldescribeournaturalreadingpatterns.Usingtools

suchasplacementandemphasis,designerscan

chooseeithertoworkwithoragainstthesepatterns.

Optical Center

Whenscanning,theeyestartsattheopticalcenter

ofthepage(slightlyaboveandtotheleftoftrue

center).

Eye Flow

Theeyethensweepslefttorighttracingalazyz

patternacrossanddownthepage.

Terminal Area

Placeastronggraphicinthelowerrightquadrant,or

terminalarea,tokeeptheeyeonthepage.


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Design Basicsu 3Lincoln Public SchoolsComputing Services.u Linda Dickeson

Eye Dwell

Studieshaveshownthattheeyedwellsdifferentamountsoftimeineachquadrantofthepage

withthelowestreadingonthebottomrighthand

cornerandthelongestonthetoplefthand.

35%

25% 15%

25%

40%

60%

Fig. 4

Eyemovementisenhancedinthissampledesign(Fig.5)sincethelargegraphicnaturally

pullsthereaderfromtheheadlineintothe

comfortablezpattern.

Fig. 5

3. Balance the Elements on the page

Symmetryandasymmetryaretwoverydifferentapproachestopagelayout.

Symmetrical layoutelementsaremirroredacrossavertical,horizontalordiagonal

axis.(Fig.6&7)Thesetypesoflayoutstendtobemoreformalandstatic.If

improperlyorover-used,theycanbeboring.

Fig. 6 Elementsare mirroredvertically andhorizontally.

Fig. 7 Elementsare mirrored onthe diagonal.


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Asymmetrical layoutelementsarebalanced

usingtheprincipleofopticalweight.Theytendtobemorelivelyanddynamic.(Fig.8)

Optical Weight Referstothepowerofan

elementtoattractthereader'seye.Itcannot

bemeasured,buttherearesomeguidelines:

Large>small

Dark>light

Irregularshape>regularshape

Color>black&white

Becauseadarkelementhasmoreoptical

weightthanalighterelement,asmallerdark

shapecanbeusedtobalancealarger,lighter

coloredshape.

Fig. 8 The two smaller photographsand larger text block on the rightbalance the large photograph and the

smaller text block on the let.

Fig. 9 A large element has more opti-cal weight than a smaller element

Fig. 10 an example of balance.


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4. Keep elements in proportion

Usevaryingsizes.Avoidabsolute1to2or1

to3ratios.Splitcolumnsoccasionallywith

artwork.Useapleasingarrangementofblack

(graphics),gray(text)andwhite.(Fig.11)

5. Use repetition o elements

Repetitionofelementsprovidesmovement,

continuityandunity.Elementsthatcanachieve

thisare:

usingthesamelayoutgridpattern

usingthesametypeface(s)throughout usingasystemofrules(accentlines)

repeatingbandsofcolor

distinctivedingbatsorastyleofillustration

positioningalogoconsistentlyoneachpage

InFigure12,thereisrepetitionwithinthe

graphicelementthetipsofthedrawingtools

providerepetitivepointsandthegraphicstriping

acrossthetoolsaddsmovement.Usingthis

graphicinasmallersizethroughoutthepages

ofrelatingarticleswouldprovideunitytothepublication.

6. Provide a dominant element or shape in every layout

Fig. an example o proportion

Fig. repetition

Fig. 3 Use odominant shape


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7. Keep the design simple

Avoidclutteringthelayoutwithillustrationsorotherelements.Reducethenumberofunitsonthepage.

Fig. Simplicity

8. Use white space as a design element

Don'ttrapwhitespacebetween

elements,butletitowandaid

eyemovement.Whitespacehas

multiplefunctions:shapingand

framingcontent(aswithmargins

andcolumnspace),separating

content,providingbalancethrough

contrast,restingthereader,

relievingthereaderandmanyother

communicationeffects.

Fig. 3 Eective use o white space


7/19


Your Design ChecklistUse a checklist to evaluate your page designs:

Use o a grid

Reading patterns

Optical Center

Eye Flow

Terminal Area

Eye dwell

Balance

Symmetry

Asymmetry

Optical Weight

Proportion

Repetition

Dominance

Simplicity

White Space


8/19


Using TypeUnderstanding Fonts

Typefacesarealsocalledfontsonthecomputer.Therearethreeversionsoffonts

thatyouneedtounderstand.Theyare:

Postscript(outlinedfont)ThisAdobecreationusedtoneedtwopiecesof

information,thescreenfontandprinterle,inordertoprintproperly.Nowupdatedto

beonepieceofinformation.Looksgoodontheprinterinanysize.

True TypeApple/Microsoft'sanswertooutlinefonts.Theylookgoodonthescreenandprintinanysize.NOTpreferredwhenprintingtoanoutsideprinteror

imagesetter.

Open TypeThenewesttypeofoutlinefont,cross-platform,withmoreglyphsthan

otherfonts.UseOpenTypeorPostscriptwhensendingthejobtoanoutsideprinter.

Outline onts(PostScriptor TrueType)mathematicallycalculate an out-line rom point to

Bitmapped (screen)onts draw each pixelon the screen.

Fig. 4 Understanding the dierence between bitmapped and outlined onts


9/19


Type Categories

Generally,therearefourtypecategories:

Serifhasembellishments,extensionsorcurlyqueues.Seriffontsare

sometimesconsideredtobemoreformal,andareactuallyeasiertoreadwhen

therearelargeamountsoftext.(Times,Bookman,Palatino,etc.)

Sans serifhavingnoembellishments,noserifs.

DecorativeOnlymeantforaspecialeffect,notalwayseasytoread.

Picture/Symboltypinggivesyoupicturesorspecialsymbolsinsteadof

characters.Forspecializeduse.

T T Tdecorativesans seriseri type

Fig. 15

Seri ont amilies

Therearethreethingstolookforwhendifferentiatingseriffontfamilies:

Stroke widththewidthoftheletterstransitionfromthicktothinonthecurved

strokes(technicallycalledthe"thick/thintransition").

Stressdrawingastraightlinethroughthethinnestpartsindicatesthedirection

ofthestress(verticalorhorizontal).

Direction and thickness of serifserifscanbeangledorhorizontal,aswellas

thickorthin.

Oldstylefonts

OldstyleDiagonalStress

moderate thick/thin transition

Seris onlowercase

letters areslanted

Examples:

Palatino

Times


10/19


Modern

ModernVertical stress

Seris on lowercase lettersare thin and horizontal

Little or no thick/thin

transition in strokes

Examples:

Bodoni

Mona Lisa

Bernhard Modern

Slab Seri

Slab serifExample:

New Century Schoolbook

Lubalin Graph

Vertical stress

Seris on lowercase lettersare thick and horizontal

Radical thick/thintransition in strokes

Sans seri

Sans serif

No seris anywhere

No stressno thick/thin transition

No thick/thin transition Examples:

Arial

Trebuchet

Helvetica

Futura


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Measuring Type

Typeismeasuredinaprinter'sunitofmeasurementpoints.

12points=1pica

6picas=1inch

72points=1inch

Type sizeismeasuredfromthetopofacapitallettertothebottomofthelongest

descender.

Leading referstothelinespacing,oramountofspacebetweenlinesandismeasured

fromthebaselineofonelinetothebaselineofthenextline.Auto-leadinggivesyou

120%offontsize(10/12).

BybxCap-heightBaseline

Ascender

DescenderType size

X-height

leading

measurement

Fig. 6

Decorative/Script

New Berolina

Party

Old English

Jokerman


12/19


Type & DesignConcord, Confict, Contrast

Whenthereismorethanoneofanyelementonapagewhetheritbemorethanonestyleoffont,orfontscombinedwithgraphicsarelationshipisformed.

Aconcordantrelationshipoccurswhenonlyonetypefamilyisusedwithoutmuch

varietyinsize,weight,etc.,andallthegraphicalelementsareharmonious.The

arrangementisquiet,sedateorformal.

Aconictingrelationshipoccurswhensimilartypefacesarecombinedthatare

notquitethesame.Thevisualattractionsmaynotquitebethesametomakeit

concordant,buttheyarenotdifferentenoughtomakethemcontrasting.

Acontrastingrelationshipoccurswhenseparatetypefacesandelementsarecombinedthatareclearlydifferentfromeachother.Asyoulookatexcitingand

attractivedesigns,noticethattheytypicallyhavealotofcontrastbuiltinandthe

contrastsareemphasized.

The world of knowl-edge takes a crazyturn when teach-

ers themselves aretaught to learn.

Bertoldt Brecht

What the

teachers digest,the pupils eat.

Karl Kraus

JungleSurvivor

Concordant Conicting

Contrasting


13/19


HeadlineCentered

Fig. 6 Justifed

Youwillndonyourdesktop

systemthat youwillbe able

tochoosefrommanydifferent

typestyles. Justbecause they

arethere doesn'tmean you

havetousealloftheminyour

publication!Beconservativeand

consistent.Oneortwotypestyles

appliedinaconsistentmanner

willproducea piece thatis

pleasingtotheeye.

Plainshouldbeusedforthemain

textofapublication.

Boldcanbeusedforheadlines

andsubheads.Itcanalsobeused

forcaptionsand occasionally

foremphasisinthemiddleofa

lineoftype.Likeanythingelse

toomuch canunderminethe

intendedlook.

Italictypecanprovideasubtle

contrasttothemaintext,butit

doesn'tnotprovideemphasis.

Itisactuallysofter,notbolder,

thanroman text,anditis

moredifculttoread.Used

forcaptions,quotes,display

type,lead-ins, andother

shortitems.


systemthatyouwillbeableto

choosefrommanydifferent

typestyles.Just because

theyaretheredoesn'tmean

youhavetouseallofthem

i n y o u r p u b l i c at i o n ! B e

conservativeandconsistent.

Oneortwotypestylesapplied

inaconsistentmannerwill

p r o du c e a p i e c e t h a t i s

pleasingtotheeye.

Plainshouldbeusedforthe

maintextofapublication.

B o l d c a n b e u s e d f o r

Fig. 7 Unjustifed


systemthatyouwillbe

abletochoosefrommany

differenttypestyles.Just

becausetheyaretheredoesn't

meanyouhavetouseallof

theminyourpublication!Be



inaconsistentmanner

willproduceapiecethatis

pleasingtotheeye.



Boldcanbeusedfor

headlinesandsubheads.It

canalsobeusedforcaptions

andoccasionallyforemphasis

inthemiddleofalineof

type.Likeanythingelsetoo

muchcanunderminethe

intendedlook.

Italictypecanprovide

asubtlecontrasttothe

maintext,butitdoesn't

notprovideemphasis.Itis

actuallysofter,notbolder,

thanromantext,anditis



type,lead-ins,andother

shortitems.

Youwillndonyour

desktopsystemthatyou

willbeabletochoosefrom

manydifferenttypestyles.

Justbecausetheyarethere

doesn'tmeanyouhave

tousealloftheminyour

publication!Beconservative

andconsistent.Oneor

twotypestylesappliedin

aconsistentmannerwill

produceapiecethatis

pleasingtotheeye.

HeadlineAlsoLeftJustied

Fig. 8 Right justifed


systemthatyouwillbe

abletochoosefrommany

differenttypestyles.Just


meanyouhavetouseallof




inaconsistentmanner

willproduceapiecethatis

pleasingtotheeye.



Boldcanbeusedfor




inthemiddleofalineof

type.Likeanythingelsetoo

muchcanunderminethe

intendedlook.

Italictypecanprovide

asubtlecontrasttothe

maintext,butitdoesn't

notprovideemphasis.Itis

actuallysofter,notbolder,

thanromantext,anditis



type,lead-ins,andother

shortitems.

Youwillndonyour


willbeabletochoosefrom

manydifferenttypestyles.

Justbecausetheyarethere

doesn'tmeanyouhave

tousealloftheminyour

publication!Beconservative

andconsistent.Oneor

twotypestylesappliedin

aconsistentmannerwill

produceapiecethatis

HeadlineAlsoRightJustied

Column Readability

Multiplecolumnlayoutsonthepagemayimprovereadability,sincemorethan712wordsperlinemaybetootediousandslowdownthereadingpace.Fourtypesoftext

justicationcanchangethelookofthedocumentanditsreadability.

Justifed text(straightonbothsides)cangiveadigniedlooktoapublication.It

canevengivethefeelofstabilityanduniformity.Tolookbest,justiedtypemustbe

evenlyspacedbetweenwordsandmayrequirehyphenation.Justiedcolumnsneed

amplespacebetweensothereader'seyewon'tjumpcolumns.Cautionisadvised,

sincelargerfontsthatarejustiedcanproducetoomuchspacebetweenwords

causingtheriversofwhiteeffect,diminishingreadability."Riversofwhite"are

createdwhenthespacebetweensomewordsexceedsthespacebetweenlines.

Unjustifed text(raggedright)allowsthereadertoreadquicklyandgivesthe

publicationacontemporaryappearance.Youwillhavelesshyphenation.

Centered textgenerallyisusedtosetapartaheadlineorspecialblockofbodytext.

Centeredtextisnotveryreadableforlargeamountsoftext.

Right justifed(raggedleft)isusedonlyforspecialeffect,andcanlookvery

contemporary.(Usewithcautionitisnotasreadable.)


14/19


Guidelines or Type Use:

Althoughalldesignersdontagreeonallaspectsoftypeuse,therearesomegeneralguidelinesyoucanfollow:

1. Useonetypefaceforthetextthroughoutapublication,althoughyoucanvary

stylesandsizesinthattypeface.

Variation:useonetypefacefortextandanotherforheadlines(example:textin

serifwithheadlinesinasansserif).

Choosethetypefacetomatchthemessageofyourpublication(example:

AvantGardeforcontemporary).

2. Keepheadlineslarge,butingeneralavoidallcaps.

3. Setbylinessmallerthantheheadline,butlargerthanthetext.

4. Forgoodreadability,chooseoneofthemethodsbelowtodesignatenewpara-

graphs.Don'tuseboth!

Indenttherstlineofaparagraph.

Allowoneextralinespacebetweenparagraphs.

5. Useitalictoemphasizeawordorphraseintext(softerthanboldandhardtoread,

sousesparingly).

6. Useboldsparinglyforemphasis.Butuseitfortextwhenitwillaidreadability

(example:printingoncoloredpaper,orforoccasionalreversedtext).

Selecting Type or Publications

Whenchoosingtypeforapublication,consider:

1. Typeface:

itsformalityorinformality(Seriffontsareconsideredtobemoreformal,sans

serifarelessformal.)

itsreadabilityinthelinelengthyoullbeusing. whetheritwillappeartypographicallypleasinginthesizeyouwilluse.

Helveticaforadvertisingandwherepoorreproductionisanticipated.Timesor

NewCenturySchoolbookforperiodicals.

2. Pointsize:

atleast12pointforyoungandolderreaders

10or12pointforhighschoolthrough50s


15/19


3. Stylefortext:

Plainfortext

Italicorboldforemphasis

Boldforheadsandsubheads

Underlininganoldhabitusedontypewritersforemphasis.Underliningis

nottherecommendedchoiceforemphasis,especiallyifthetexthas

descenders.

4. Linespacing(leading):Pointsizeplusoneortwopointsinsmallertypes(1012

pt.).Thelargerthetypegets,themoreleadingpointsyouwillneedtoprovide

amplewhitespaceforreadability.

5. Linelength:Limitlinelengthtoabout65characters,orseventotwelvewords.Morethanthatistootediousforthereaderandtheywillloseinterest.(Seriftype

forbodytextcanhandletentotwelvewordsperline,wheresansserifshouldbe

limitedtosevenoreight.)

Breaking Up Text Areas

1. Pulled quotationstextthatappearedinthearticle.Pulledquotesareoftensetin

alargertypethanthebodytextandareseparatedbyrulelinesorboxes.

2. Large capital letters (caps)Thelargecapscanbesetintothetextorcansiton

therstline.Ifsetintotext,therstlineoftextshouldbeplacedclosertothecap

sothereaderknowsthecapbelongstotherstwordoftheparagraph.Largecaps

canalsobeboxed.

3. Shadowed boxescanbeusedasadesignelementtosetoffpulledquotes,large

capsorsidebars.

4. Subheads canbeusedtoidentifymajortextbreaks.

LargeDropCapso u w i l l f i n d o n y o u r


talictypecanprovidea

subtlecontrasttothemain

willbe ableto choose frommanydifferenttypestyles.Just


meanyouhaveto useallof


conservative and consistent.


ina consistentmanner will

produceapiecethatispleasing

totheeye.

Plain shouldbe usedforthe


Y

o l d c a n b e u s e d f or




inthe middleof aline of

type.Likeanything elsetoo

m u c h c a n u n d e rm i n e t h e

intendedlook.

B

Itext,butitdoesn'tnotprovideemphasis.Itisactuallysofter,

notbolder,thanromantext,

anditismoredifculttoread.

Usedfor captions,quotes,

displaytype,leadins, and

othershortitems.

Yo u w i l l f i n d o n y o u r desktopsystemthatyouwillbeabletochoosefrom

manydifferent typestyles.

Justbecausetheyare there

doesn'tmeanyouhavetouse

allofthemin

PulledQuoteYouwillndonyourdesktop

system that you willbe able

tochoosefrommanydifferenttypestyles. Justbecause they

arethere doesn't meanyou

havetouseall

oftheminyour

publication!Be

c o n s e r v a t i v e

andconsistent.

On e o r t w o

t y p e s t y l e s

a p p li e d i n a

consistentmannerwillproduce

a p i e c e t h a t i s p l e as i ng t o

theeye.

Plainshouldbeusedforthemain

textofapublication.

Boldcanbeusedforheadlines

andsubheads.Itcanalsobeused

forcaptionsandoccasionallyfor

emphasisinthemiddleofaline

oftype.Likeanythingelse

toomuchcanunderminethe

intendedlook.Italictype canprovide a

subtlecontrasttothemain

t e xt , b u t

i t d o e sn ' t

notprovide

emphasis. It

i s a c t u a l l y

s o f t e r , n o t

bolder,than

romantext,

anditismoredifculttoread.

Usedforcaptions,quotes,

displaytype, lead-ins,and

othershortitems.


systemthatyouwillbeableto

choosefrommanydifferent

typestyles.Just because

theyaretheredoesn'tmean

Italic type can provide

a subtle contrast to

the main text, but it

doesn't not provide

Fig. 9Use o pull-quotes Fig. 0 Use o large caps.


16/19


Using Illustrations Eectively

1. Useillustrationstocontroleyemovementinalayout.Focusthereader'sattentiononthepage.(Fig.21)Neveruseagraphicthatpointsoffthepage,orawayfrom

thetext.

2. Selectillustrationsthataccuratelyreectthe

contentofthearticle.

3. Uselargeillustrationsforforcefulness.

4. Usewell-drawnillustrationswithgooddetail

andproportionsoyoudon'tdetractfromyour

publication.Trytoavoidthejaggies,unlessthat'stheeffectyouwant.

5. Usegraphicssoftwareprogramstocreate

specialeffects,suchasshadowing,tilting,or

shadinginintervals.Orscanpenandinkdraw -

ings.

6. Getpermissiontouseillustrationsfromprint

sources,suchasmagazines,newspapersandbooks.

7. Usehumorousillustrationsselectively.Besuretheywillbeunderstoodbyyour

readers.

Fig.

Fig. The layout on the right is more eective due to the impact o the largergraphic and use o white space around the headline.


17/19


Choosing Photos and Illustrations

It'simportanttochoosephotosorillustrationsthatrelatetothetexttheygowith.Youcanusephotosandillustrationsinseveralwaysinapublication:

Asahooktodrawthereaderintothearticle.

Tosummarizethecontentsofthearticle.

Todemonstratehowsomethingisdone.

Todepictanevent,pastorfuture.

Toshowtheauthorasarealliveperson.

Toshowthelocation.

Tosetthemoodforthetext.

More Tips or the Layout

Forbodycopy,keeptherstparagraphofthearticleushleft.Ifyouaregoingto

indentparagraphs,indentonlytheparagraphsaftertherst.

Theparagraphindentationsshouldonlybeaswideasan"Mdash"(seebelow).

Don'tusemorethanthreesizesofheadlinetypeinonepublication.

Unlessyouaresendingthenalcopytoatypesetteroruseanotherhighreso-

lutionprintingmethod(1200dpiormore),stayawayfromusingtextovera

screened(gray)background.

Nomorethantwohyphensattheendofconsecutivelinesofbodytext.

More rules you didn't learn in typing class:

Onlyonespacebetweensentences!Typewritershadmonospacedfonts(each

letteristhesamewidth)butcomputershaveproportionalfonts(eachletterisa

differentwidth)andonlyonespaceisneededforvisualseparation.

Makesuretousesmartquotes()ratherthanregularquotesforquotations.The

genericoneslooklike"inch"and"foot"abbreviations!

Replaceusinghyphensordouble-dashes(--)fromthedaysofusingtypewriters

withthetypesetter's"Ndash"()or"Mdash"().TheNdash(orendash)is

usedbetweenwordsornumberstoindicateadurationoftime.TheMdash(orem

dash)istwiceaslongastheendashit'saboutthesizeofacapitalletterM.Use

itinamannersimilartoacolonorparentheses,toindicateanabruptchangein

thought,orinaspotwhereaperiodistoostrongbutacommatooweak. Takeadvantageofthespecialcharactersavailableonacomputer,like,,,,

etc.Researchhowtodotheseonyourcomputer.

Neverleavewidowsandorphansonthepage.Whenaparagraphendsandleaves

lessthansevencharactersonthelastline,itiscalledawidow.Whenthelastline

ofaparagraphwon'ttatthebottomofacolumnandendsatthetopofthenext

column,itisanorphan.


18/19


Mistakes o New DesignersAsyoustudypublications,you'llndtherearetrends.Thesetrendschangeconstantly.However,therearesomedesignsthataregenerallyrecognizedaspoor

onesdesignsyou'llwanttoavoid.Designstoavoidinclude:

1. Overlysymbolicillustrationsbesuresymbolsyouusehaveameaningthat

won'tbemisunderstood.

2. Clutteredillustrations.

3. Say-nothingillustrationsthatareincludedjusttollspace.

4. Unorganizedillustrationselementsplacedwithnoparticularplan.

5. Attemptstoberadicallydifferent.

6. Failuretocomplementtheaccompanyingtext.

7. Useofirregularlinespacing.

8. Useofunevencolumnsthatdon'tfollowagrid.


19/19

D i B i u 9Li l P bli S h l C ti S i u Li d Di k

ResourcesBooks

The PC (Mac) is not a TypeWriter. Williams,Robin:PeachPitPress,1992

Basic Desktop Design & Layout.Collier,DavidandCotton,Bob:QuartoPublishing,1989

How to understand and use Design and Layout.Swann,Alan:QuartoPublishing,1987

How to Create High-Impact Designs. McCleland,JaneK.:CareerTrack,Inc.1995

Looking Good in Print.Parker,RogerC.:VentanaPublishing,1997

The Makeover Book: 101 Design Solutions for Online and Desktop Publishers. Grossman,Joe:

VentanaPublishing,1996

The Non-Designer's Design Book, Williams,Robin:PeachPitPress,1994 Roger C. Parker's One-minute Designer, Parker,RogerC:MIS:Press,1997

Robin Williams Design Workshop, Williams,Robin&Tollett,John:PeachPitPress,2001

Beyond the Mac is not a Typewriter,Williams,Robin:PeachpitPress,1996

Periodicals

Publish, InternationalDataGroup,P.O.Box55400,Boulder,CO80322(800)274-5116.

Step-by-step Electronic Design, Step-by-stepPublishing,adivisionofDynamicGraphics,Inc.,

6000N.ForestParkDrive,Peoria,IL61614-3592,(309)688-2300.

Dynamic Graphics, DynamicGraphics,Inc.,6000N.ForestParkDrive,Peoria,IL61614-3592,

http://www.dgusa.com/dgm

Workshops

The Basics of Design Using Desktop Publishing,PadgettThompson,Div.ofAmericanManage-

mentAssociation,P.O.Box8297,OverlandPark.KS66208(800)255-4141

Desktop Design, PromotionalPerspectives,1955PaulineBlvd.,Suite100-A,AnnArbor,MI

48103(313)994-0007

How to design eye-catching brochures, newsletters, ads, reports,CareerTrackSeminars,3085

CenterGreenDr.,Boulder,CO80301-5408,(303)447-1696

VideoTapeTraining

Design and Layout,MacAcademyVideoTapeTrainingSeries

WorldWideWebsite:

Newsletter Design Clinic, http://desktoppub.about.com/od/newsletters/a/newsletter3c.htm

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