May 2 2010

Chinese Chef Dies From Eel Stuffed Up His Butt

Doctors in Sichuan, China, found an eel up a 59-year-old man's rectum and the creature had eaten his bowels! The unnamed chef in China was passed out drunk and his friends played a prank on him which went horribly wrong.

WTF kind of sick "friends" are those?! What happened to the classic prank of just drawing dicks on the faces of passed out drinking buddies or posing them in precarious scenarios and taking photos? Crazy, crazy world today...

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Dec 30 2009

Pigeon: Impossible

A friend sent me a link to this... pretty amazing. This 6 minute, Pixar-style video took 5 years to make. Still, amazing that 1 guy did it!

A rookie secret agent is faced with a problem seldom covered in basic training: what to do when a curious pigeon gets trapped inside your multi-million dollar, government-issued nuclear briefcase.

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Nov 16 2009

Photoshop Tips I’ve Come Across

Screen-shot-2009-11-16-at-11.25.17-AMHere are some tips I picked up recently to help speed up the design and patience aspect of redundant production processes:
  • Draw a selection, then use the shortcut Shift+CMD+C to Copy Merged. This takes every layer into the clipping, rather than just the current layer selection.
  • Go to File > Scripts > Load files into stack to open up a bunch of images and automatically place them onto individual layers.
  • With the Brush tool selected, press the [ and ] keys to increase or decrease the brush size.
  • Another handy tip for Mac users. Cycle through various full screen modes by pressing the F key.
  • Increase the size of your work area by toggling off the palettes using the Tab key. Hover over the edges of the screen to bring back palettes, which will then disappear again when the mouse is moved away.
  • Double click the Zoom icon’s magnifying glass to jump back to 100%.
  • Drag a selection with the Marquee tool, but before releasing the mouse button, press and hold the Spacebar to relocate the selection.
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Sep 8 2009

Awe-inspiring, beautiful images

I thought I'd share an amazing talent - Philippe Sainte-Laudy, who is a 49 year old photographer from Strasbourg, France.

If you like Philippe’s work, be sure to check out his website, located here: http://www.naturephotographie.net/

Enjoy, and don’t forget to subscribe and share this post if you liked it.
The House on the Lake

Summer Flotation by Phillipe Sainte-Laudy

Between the Drops by Phillipe Sainte-Laudy

Black Light by Phillipe Sainte-Laudy

Red Storm by Phillipe Sainte-Laudy

Continue reading

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Jul 24 2009

Macro Photography

I love up close and vivid images, so when I came across these images I had to share. Macro Photography is the technique of photographing a subject up close. Typically the subject fills most, if not the entire, image plane. Stunning macro photography is generally best achieved with special equipment, including a specially designed lens. However, most modern cameras (point and shoot especially) have macro setting options built into the camera; making it a very common, but no less stunning, technique.

calla la la la by Julie Scholz

Macro photography is a beautiful way to take what is often normal subject matter, and make it extraordinary, simply by offering a new perspective. Its often these types of photos that turn out the best. When we are provided a glimpse of something we might not otherwise pay much attention to is all of a sudden (in effect) shoved in our face, we cannot help but stop and take notice.

Check out these 20 spectacular macro photographs for inspiration in your own photographs.

For additional tips and techniques on macro and other photography techniques, check out the Imagekind blog, and please make sure to subscribe to the feed here!

Macro Bug by Murlon123
A Moment To Rembember by Eric Lam
Sunflower by Ben Anderman
Tools of the trade, stainless steel blades by Jessi and James Bruntz
173 ~ the big bad rubber ball by Robin Elizabeth Grausam
Macro Dy rop by F. Hatcher
Spudnik Sea Urchin... by Machel Spence
Slowness by Martino Sabia
Blue Smoke by David Lindes
Light Straws by Fergus Bailey
Soft Pastels by Annie Esentepe
Jocy's frog by Kaitlin Moreno
ladybird extreme closeup by Gianni Cerrato
Old marbles by Rick Takagi
Thai Elephant by JenFu Cheng
Grasshopper Green by Samarth Bhasin
Macro plant by Ken Simm
Left-twist by VIC Dessau
Flower: Dahlia "Inner Glow" by Soulful Photos
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Jun 24 2009

So you’re on a budget?

thumbs upHere are some pretty insightful things to look for when looking for a "deal" in asking for a designer to create a custom logo for your business.

I am posting this because recently I was approached by someone who wanted a logo and possible website created for his new business. When he finally got to the bottom line and asked my rates, he paused and said he would get back to me. I never heard from him again, and I recently saw the new company logo and "coming soon" website online. You do get what you pay for!

This article I came across on Smashing Magazine and thought I would share... the author can be reached below:

Gareth Hardy is a professional graphic designer and illustrator based in the United Kingdom. You can find Gareth at Down With Design or on a snowy mountain near you.

With the power of the Web, and more eyes watching than ever, it’s important for a business to communicate its unique message clearly. The easiest way to recognize a company and distinguish it from others is by its logo. Below, we go through 10 common logo design mistakes that you should avoid if you want to create a successful and professional logo.

1. Designed By An Amateur


Avoid websites that promote ridiculously cheap logo packages. You get what you pay for.

A professional business should look professional. New business owners often invest a lot of time and money in property and equipment, but do not often match it by investing suitably in their logo.

Here are the most common reasons why many logos look amateurish:

  • The business owner wanted to save money by designing the logo quickly themselves.
  • A friend or relative who claims to know a little about graphic design does it as a favor.
  • The wrong people are commissioned. (Local printers are not likely proficient in logo design.)
  • The business outsourced the job via one of several design competition websites, which are mostly populated by amateur designers.
  • The job was given to an online company that offers really cheap logos.

All of the above can result in disastrous outcomes. If your logo looks amateurish, then so will your business. A business should know where to look when it wants a new logo. David Airey offers great insight on how to choose the right logo designer for your requirements.

Here are the advantages of hiring an established and professional logo designer:

  • Your logo will be unique and memorable.
  • You won’t run into any problems down the line with reproducing it.
  • Your logo will have a longer lifespan and won’t need to be redesigned in a couple of years.
  • Your logo will look professional.

2. Relies On Trends


Focusing on current logo trends is like putting a sell-by date on a logo.

Trends (whether swooshes, glows or bevels) come and go and ultimately turn into cliches. A well-designed logo should be timeless, and this can be achieved by ignoring the latest design tricks and gimmicks. The biggest cliche in logo design is the dreaded “corporate swoosh,” which is the ultimate way to play it safe. As a logo designer, your job is to create a unique identity for your client, so completely ignoring logo design trends is best.

Logolounge has a great section on its website in which it updates current logo design trends every year. Being aware as a designer of the latest crazes is important, mainly so that you can avoid them at all costs.

3. Uses Raster Images


An example of how raster graphics can limit reproduction.

Standard practice when designing a logo is to use vector graphics software, such as Adobe Illustrator or Corel Draw. A vector graphic is made up of mathematically precise points, which ensures visual consistency across multiple sizes. The alternative, of course, is use to raster graphics software, such as Adobe Photoshop. A raster graphic — or bitmap, as it’s commonly called — consists of pixels.

Using raster images for logos is not advisable because it can cause problems with reproduction. While Photoshop is capable of creating very large logos, you never know for sure how large you will have to reproduce your logo at some point. If you zoom in enough on a raster graphic, it will appear pixelated, making it unusable. Maintaining visual consistency by making sure the logo looks the same in all sizes is essential.

The main advantages of vector graphics for logo design are:

  • The logo can be scaled to any size without losing quality.
  • Editing the logo later on is much easier.
  • It can be adapted to other media more easily than a raster image.

4. Contains Stock Art


Using stock vector graphics in a logo puts your client at risk.

This mistake is often made by business owners who design their own logo or by amateur designers who are not clued in to the laws on copyright. Downloading stock vector imagery from websites such as VectorStock is not a crime, but it could possibly get you in trouble if you incorporate it in a logo.

A logo should be unique and original, and the licensing agreement should be exclusive to the client: using stock art breaks both of these rules. Chances are, if you are using a stock vector image, it is also being used by someone somewhere else in the world, so yours is no longer unique. You can pretty easily spot stock vectors in logos because they are usually familiar shapes, such as globes and silhouettes.

5. Designing For Yourself Rather Than The Client


Never impose your own personality onto a client’s work.

You can often spot this logo design sin a mile away; the cause is usually a designer’s enormous ego. If you have found a cool new font that you can’t wait to use in a design, well… don’t. Ask yourself if that font is truly appropriate for the business you’re designing for? For example, a great modern typographic font that you just love is not likely suited to a serious business such as a lawyer’s office.

Some designers also make the mistake of including a “trademark” in their work. While you should be proud of your work, imposing your personality onto a logo is wrong. Stay focused on the client’s requirements by sticking to the brief.

6. Overly Complex


Highly detailed designs don’t scale well when printed or viewed in smaller sizes.

What better analogy for thumbnail images than fingerprints? You’ll notice the intricacies of your fingerprints only when looking at them really close up. As soon as you move away, those details are lost. The same holds true for highly detailed logo designs.

When printed in small sizes, a complex design will lose detail and in some cases will look like a smudge or, worse, a mistake. The more detail a logo has, the more information the viewer has to process. A logo should be memorable, and one of the best ways to make it memorable is to keep things simple. Look at the corporate identities of Nike, McDonald’s and Apple. Each company has a very simple icon that can easily be reproduced at any size.

7. Relies On Color For Its Effect


Without color, your great design may lose its identity.

This is a very common mistake. Some designers cannot wait to add color to a design, and some rely on it completely. Choosing color should be your last decision, so starting your work in black and white is best.

Every business owner will need to display their logo in only one color at one time or another, so the designer should test to see whether this would affect the logo’s identity. If you use color to help distinguish certain elements in the design, then the logo will look completely different in one tone.

8. Poor Choice Of Font


Font choice can make or break a logo.

When it comes to executing a logo, choosing the right font is the most important decision a designer can make. More often than not, a logo fails because of a poor font choice (our example shows the infamous Comic Sans).

Finding the perfect font for your design is all about matching the font to the style of the icon. But this can be tricky. If the match is too close, the icon and font will compete with each other for attention; if the complete opposite, then the viewer won’t know where to focus. The key is finding the right balance, somewhere in the middle. Every typeface has a personality. If the font you have chosen does not reflect the icon’s characteristics, then the whole message of the brand will misfire.

Bad fonts are often chosen simply because the decision isn’t taken seriously enough. Some designers simply throw in type as an afterthought. Professional font foundries, such as MyFonts and FontFont, offer much better typeface options than those over-used websites that offer free downloads.

9. Has Too Many Fonts


A logo works best with a maximum of two fonts.

Using too many fonts is like trying to show someone a whole photo album at once. Each typeface is different, and the viewer needs time to recognize it. Seeing too many at once causes confusion.

Using a maximum of two fonts of different weights is standard practice. Restricting the number of fonts to this number greatly improves the legibility of a logo design and improves brand recognition.

10. Copies Others

This is the biggest logo design mistake of all and, unfortunately, is becoming more and more common. As mentioned, the purpose of a logo is to represent a business. If it looks the same as someone else’s, it has failed in that regard. Copying others does no one any favors, neither the client nor the designer.

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Jun 23 2009

Simplistic, beautiful design

drinkswell

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Jun 23 2009

5 Pet Peeves Designers Have With Developers (and How to Avoid Them)!

Going over my morning blog rolls I came across this excellent article written in Webdesigner Depot by  Jason Cranford Teague.

I have for the longest time enjoyed designing for the web, but until two years ago really made the jump into coding and front-end development. The interesting part is that I have found it to be a bit of a struggle in that as designer I am using one side of the brain and as a developer I use the other.

Mentally this is taxing, as a designer I want it to look right and as a developer I want the website to work right. Bridging that gap and coming to a happy medium is tedious, but I find myself to be a better commodity to pitch for employment. In most cases people are either one or the other. One is design and fun and balance, where the other is logical, technical and sometimes frustrating. Hope you enjoy the article, I did.

Peeve #1: “Why can’t the developer just make it look like the comp?”

You create a great-looking design and hand off the comp to your developer, but when you get the site back, it looks like a patchwork quilt of what you designed.

Issue
Comps are not Web pages; they are not a mixture of HTML, CSS, and JavaScript code. Photoshop, Fireworks, and Illustrator can do a lot of things that are impossible (or at least wildly impractical) on the Web, which often means that developers will have to scale down the design.

Solution
Talk to your developer while you are designing, not just afterward. Ask them whether an effect you are using will be easy to accomplish or whether a better alternative exists. Also, as you learn more about Web development, you’ll be able to better tell the difference between when your design is impractical and when the developer is just slacking off.

Peeve #2: “The colors are all wrong!”

You don’t choose colors arbitrarily, but developers seem to think that “close is close enough.”

Issue
I don’t know whether this is true of all developers, but I once worked with a developer who was red-green color-blind (he was a huge fan of our content manager, who sent all of her emails in pink text on a lime-green background). However, being color-blind didn’t stop him from being a kick-ass developer.

Solution
If you want the colors to be right, then spell out all of the color values on the page. Don’t rely on your developer to eyeball the color values or to sample the colors in Photoshop.

You also need to consider that the problem may not be with the developer but with you. Colors look different on a Mac and in CMYK (if you happen to accidentally enable that color space). Make sure that your document color mode and proofs are set to generic RGB by default.

Peeve #3: “Do developers even know what ‘white space’ means?”

You’ve left plenty of breathing room around elements to create a fluid eye path and improve readability, but the developer crams everything together, telling you, “It’s the only way it will all fit.”

Issue
I once complained to a developer that he left no space between the border of a module and its content, making it really difficult for most people to read. He replied, “I don’t care about other people. I can read it.” While most developers are not quite so callous, they have not been trained in the fine art of mixing positive and negative spaces to guide the visitor’s eye around the design.

Solution
If you really want your designs to be as precise as possible, don’t just give the designer a comp and expect them to figure out the spacing. Specify the exact widths, heights, and lengths in a design specifications document. This serves as a blueprint that you and the developer agree on for how things should be spaced.

At the very least, define general rules for margins and padding. For example, “All modules must have a minimum of 10 pixels of padding between the content and the border.”

Peeve #4: “The developer can never get my designs to look the same in different browsers.”

You look at the site in Firefox and it looks fine, but when you switch to Internet Explorer it falls to pieces.

Issue
You have to be sympathetic to the plight of developers when it comes to making designs look consistent across browsers. Each browser has its own quirks with spacing. Things are getting better (especially with the slow death of Internet Explorer 6), but getting them all to completely play nice with each other is still hard.

Solution
I generally allow a few pixels of wiggle room in my designs to accommodate cross-browser issues, but it helps to know what these issues are while you’re designing, so that you can help the developer avoid them.

Don’t be afraid to point out cross-browser problems to the developer and expect them to be fixed. But resolving some of them may require that you tweak your design.

Peeve #5: “This will take how long?”

Nothing is more depressing than burning the midnight oil on double-time to get your part of a project done on schedule, only to get back a development LOE (Level of Effort) that puts the project release date back a month from the end of eternity.

Issue
In a classic episode of Star Trek: The Next Generation, Scotty explains the facts of engineering life to Geordi La Forge: “You didn’t tell him [Captain Picard] how long it would really take, did you? Oh, laddie. You’ve got a lot to learn if you want people to think of you as a miracle worker.” Some developers think of designers in the same way that Scotty thinks of Starfleet Captains.

Solution
Developers know they will encounter unforeseen problems and so tend to grossly pad their estimates. This also makes them look really good if they get their end done a lot earlier than estimated. Haggle with the developer down to a reasonable timeline and then hold them to it. As you get to know a developer, you will hopefully find your own way to be a “miracle worker”.

Special Bonus Peeve: “Developers just don’t understand designers.”

Or worse:
“The developer thinks they’re a designer!”
It’s bad enough when developers seem to simply refuse to see the designer’s point of view, but that difference of opinion can usually be mediated (usually by a good project manager). However, when the developer thinks they know more about design than the designer, tempers can flare.

Issue
I’ve had to deal with more than one developer who read an article by Jakob Nielson and then wanted to lecture me about good design practice in the middle of a meeting. This not only shows disrespect for the designer but slows down the project as debate ensues.

Solution
Working with know-it-all developers is tricky, and the way to handle these situations depends on the size of the ego you are dealing with. Generally, I find it best to simply listen to what they have to say and then, if they have a point, acknowledge it and move on. Avoid arguing with them if possible.

Often their complaint is about a design “rule” that’s been broken. Don’t be afraid to acknowledge that you broke a rule—that’s what innovative designers do—but make sure you can justify why you broke it.

Whenever I find myself in this situation, I think back to my review days in design school, when I had to defend my work against some pretty brutal criticism. These sessions were often ego-bruising, but they taught me how to quickly defend my decisions while keeping my cool.

It may seem humiliating to have to constantly justify your decisions, but the more you show the “method in your madness,” the more you will find that your colleagues value and trust your judgment.

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Jun 18 2009

The tricky part about billing & pricing

show-me-the-moneyI've come to believe it’s not just about the time spent on a project. Sometimes it’s about the value of the service rendered.
Here are some points I came across on buildinternet.com and freelanceswitch.com

  • A service with a higher price tag doesn’t automatically mean it’s a scam. Expensive without justification might fall into this category, but pricing based on expertise and experience is another story entirely.
  • A website is a digital real estate plot with a potential audience of millions. For most clients, the web will be a way of extending their business — a self-promoting salesman. This is an important thing to keep in mind when figuring out your pricing.
  • Think of the other ways that a client might reach new customers. How much would they expect to pay for a magazine spot? A TV ad? A billboard on a highway? If you’re charging less for a website than it costs to run a newspaper ad for a week, it may be time to re-evaluate your strategy.
  • Price services aggressively, and you may end up surprising yourself with the outcome. As you’ve probably heard many times before, it’s far easier to negotiate a price down than up. Stop worrying about scaring the client away and start giving quotes that are a reasonable reflection of your work.
  • Don’t get discouraged and second guess yourself when you encounter a competitor with lower rates. There will always be people charging less than you, but there will also always be those charging more. Keep that in mind the next time a client brings up the lower price of a competitor.

Even if your hourly rate is $50, someone will challenge it. The key to responding convincingly, in this case, is to be confident and act surprised:

  • “Really? I’ve found my pricing to be quite competitive in this area.”
  • Or, “Really? For (designers, writers, programmers, etc.) with my experience and skill-set, my hourly rate is very reasonable.”

Most of the time, your surprised demeanor and casual confidence will simultaneously disarm prospects and let them know that you’re worth your rate.

A diplomatic approach works best for me:

  • “It’s great that you found a freelancer within your budget. If they meet your needs and fit your style, I highly recommend working with them.”

You can get more specific if your prospect is asking for a service that is outside your specialty zone. For instance,

  • “I’m glad you’ve found an affordable designer who specializes in brochures. Please let me know if you need help with website design in the future. I specialize in websites and I’m sure I could provide you a competitive estimate.”
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Jun 15 2009

Listen and draw…

picture-2

This is really a wonderfully soothing piece of interactive art and music, enjoy!

It takes a bit to load, but I think it's worth the wait.

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