I’m realizing today, more than ever, how my education will never be complete. I started in graphic design during the pre-digital age, and so had no idea at the beginning of my career that I’d end up working in such a technical field. Sometimes I think about how much of an advantage I might’ve had if I’d taken a double major in design and computer science 20 years ago.

There will always be new versions of design software to get up to speed in using, the ongoing refinements of code languages and development protocol to be familiar with, the pressure to stay on top of the latest hardware technology (such as mobile devices), combined with the need to at least be aware of the ever-expanding array of multimedia design/advertising/communication possibilities. Phew. Kinda makes me wish I’d just decided to be a historical novel writer or something. Any traditional occupation that isn’t constantly changing and growing.

But I am well suited to my career in a way, being the sort of person who’s often on a self-improvement kick anyway. And I do learn technical subjects or new ways of working fairly quickly. Still, I feel like a dinosaur when younger designers speak in acronyms I’ve never heard before, or when a software program becomes outdated just as I’ve gotten comfortable using it.

Today I’m hoping my brain retains the keyboard shortcuts I figured out yesterday, and that our IT guy upgrades my system soon. Mac OS X 10.5.8 “Leopard” is so 2007.

Reading through old journal entries to see if any might be appropriate to include in this blog, I found “Five Minutes,” which describes a harried workday morning in 2004. I was struck by the differences between the circumstances of my life then and now, and realized how much I take for granted these days.

Such as having a job I don’t hate, where I’m regarded as an experienced design professional. A schedule that allows me to get a decent amount of sleep, and no longer being dependent on caffeine. A car that I enjoy driving and can count on to get me to work. Owning a cell phone, and having convenient access to many desktop and portable systems, including my tablet computer. Most of all, I’m realizing that I now have an income which makes scrounging for change or worrying about bounced checks a memory of the distant past.

And then I had the idea for a project: I’ll get out of bed five minutes early each morning for five workdays. After getting ready, I’ll sit back and write down some thoughts on my life, career, achievements and goals.

October 4, 2012 will be the first entry in the series.

My Pledge to Uphold the Code of Conduct of The Academy of Design Professionals

Whereas design professionals have certain fundamental obligations to society, to clients, to the profession, and to peers and colleagues, and…

Whereas in order to meet these obligations, design professionals should conform their practice according to specific moral ideals and ethical practices,

* * *

I hereby pledge my dedication to the highest standards of professionalism, integrity, and competence in design practice and promise to uphold the spirit and letter of the Code of Professional Conduct through consistent practice and habitual reflection on my actions.

– Andrea Holtz, 10/02/12

http://designproacademy.org/#pledge

If I had a basket of kittens, I would name them Ajax, Java, Div, Cache, Flash, and Mouseover.

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Paying attention to feedback from “average customers” isn’t as valuable as listening to those who are truly passionate about your brand. Paying attention to feedback from those who dislike your brand and have had bad impressions and experiences can be the most valuable input of all.

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Being around competent, assured people is comfortable. I feel like I’m in good company with many of the professionals here at my job… but watching a person attempt to learn totally new skills, and fail, and try again, and just keep at it until they’re awesome, that’s exciting.

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You know you’re in Marketing when you’re attending a project-launch planning meeting for the Christmas Gift catalog… in July.

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Common. Community. Communication… Design is Communication. Those who relate to what’s presented have reactions in Common. So thereby a potential Community can be created.

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Perhaps to be a designer who is considered skilled and talented in part requires having a “good eye”. For color, balance of space, etc… I think that some design sense is innate, and some acquired, as a “good eye” and a creative brain learn new ways to see and interpret the world.

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Dreamt that I saw a billboard with text in bad need of kerning. Flew up there, adjusted the letter spacing, soared back down & went on my way.

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Being an expert in Quark Xpress is akin to being a really good VCR repairman.

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I’ll never be that designer who forgets to pick up a kid from school because they’re arguing with a co-worker over the perfect shade of blue.

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When I have a chance to use one of the intriguing ideas that’s been living in my mind, and when I’m then able to control the art from concept to final, that’s when I truly love being a designer.

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Steam rises from my morning coffee in wisps and clouds as the fog clears from my mind. The day begins to take shape; plans and ideas are formed.

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Subtly presenting new page layout concepts, while persuading managers that it’s hardly outlandish, but rather singular and classic, is an art in itself.

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Contributing to the well-being of valued individuals doesn’t go against my self-interest: We all grow together. Leadership. Mentoring. Pride.

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It strikes me as odd when people say they’re “proud” to be a woman, or to be born an American; or are proud of their natural good looks… I usually only think of “pride” in regard to accomplishing and creating: wise choices made, prevailing against odds, solving problems, learning.

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I think of myself as openminded and considerate, with a commitment to getting quality work done while maintaining a fun-loving outlook on life. As many’d describe themselves, yet their actual views and attitude can be so radically different. For instance, I’ve observed that many other members of “Generation X” are now moving up the corporate ladder in workplaces all over the world. Some of these so-called professionals don’t seem to have a code of honor or a need for integrity. It’s expediency, making do, “blowing smoke” and office politics games… Sad.

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What is most daunting about the prospect of not compromising on my professional standards? Well, getting a reputation for being a smug, inflexible goody-two-shoes, especially in the Marketing world, where “spin” is highly valued. But good days still outnumber the bad, and I’m always working to improve the mindset of those around me.

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Thinking about my heroes and mentors, and wishing that those I respect and emulate in general weren’t so obviously wrongheaded in a few particular ways… “Believe nothing, no matter where you read it, or who said it, no matter if I have said it… unless it agrees with your own reason and your own common sense.” – Gautama Buddha

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Observing Art Directors at workplaces over the years: sometimes it’s prioritizing projects and tactful teamwork more than determining design.

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If I hear the phrase “outside the box” one more time this week, I may hurl.

Radio around here is rather pathetic. We get a lot of music stations that I never listen to (Spanish-language, Country-Western, Gospel) and I find myself longing for a Metal station, or any modern pop/rock that isn’t Hip-Hop or generic Top 40.

But this morning, driving to work, 91.9 Radio Stevenson was back on the air. This is a high-school radio station, that only plays music before 8 a.m. and again after about 3 p.m., and not in every time slot, and only during the school year of seemingly late September to mid-April. (The BBC News is on the air at that frequency during the off hours.) I’d been wondering what new songs/artists/music trends had been going on in the world outside my radio wasteland, and today I got to once more start listening to modern rock and other non-mainstream audio bliss. I even heard some Metallica. Life is good.

But then 91.9 switched to BBC at 8 a.m., so I’d changed channels to one of the more Top 40 choices. A song came over the airwaves, with belted-out lyrics sung in harmony over a simple yet dramatic syncopated beat:

“I’m still not sure what I stand for,
What do I stand for? What do I stand for? Most nights, I don’t know anymore.”

And I thought, “Really? You… don’t know?!?  And this is something you would find acceptable to share with the world, maybe hoping that many people think the same way and can relate?” Or perhaps not much thought was put into what the lyrics were at all, which is almost as sad.

I can’t imagine being confused enough to not know where I stand on the various aspects of life. I know what my core values are. I know where my views lie on any issue I am well informed on. I know the way I feel about people I’m in relationships with. I can consult the code of honor I live by and use objective, rational thought to decide where I stand in any new situation.

In my professional life, I stand for having a strong work ethic, and taking responsibility. I stand for being self-reliant whenever possible. I stand for leading by example. I stand for being thoughtful and considerate. I stand for learning, achieving and creating in a free society, and living my life to the fullest potential, to see just how far my talent and determination can take me.

At the moment I’m really appreciative of my I-tunes library, which has an excellent selection of songs by Rush, VNV Nation and other artists who have expressed admirable values and written these into lyrics to which I can happily sing along.

Whenever a graphic designer finds themselves working on a team with other creative types, there’s a likelihood that some individuals will stand out by having superior skills, knowledge and/or abilities. Having been in the business for over 20 years myself, I often realize that I’m that person in the group who has the chance to take responsibility, manage the project, motivate the team, and possibly share knowledge or teach useful skills to others.

How does a professional go about mentoring their peers, without being viewed as a bossy know-it-all or condescendingly self-righteous?  I keep three guidelines in mind when I feel compelled to teach, offer constructive criticism, or help out when those responsible for completing a task seem to be floundering.

 

1. Model yourself on your own mentors.

Remember similar situations in which you were the one who could use some help. Recall the friendly attitude and respectful word-choices of those who taught effectively and that you felt honored and comfortable learning from. Draw inspiration from those outside of your own field as well: A chef who demonstrates a recipe with a lighthearted manner that is instructive and enjoyable to watch. A trainer who realizes the differing strength and endurance levels of their class participants, and deftly structures an exercise program to be beneficial for all.

 

2. Have patience, awareness of different ways of learning, and of varying communication styles.

Frustration and stress are common when someone doesn’t have all the skills or knowledge they need to succeed at a project. The teacher can get frustrated as well. Attempting to instruct others, and having them misunderstand, or repeatedly fail at a task, can be quite stressful. It’s important to keep a calm demeanor. Coming up with alternative ways to convey information, or to go about solving a problem, will usually yield productive results eventually. Be mindful of the many styles of communication: body language and tone of voice can indicate understanding, willingness, resentment, or confusion.

 

3. Teach what you know, admit what you don’t know.

Sharing the software tips and tricks, project management methods, ways to utilize current design trends, and collection of online resources that you have accumulated can be a great help to your colleagues. But monopolizing a conversation about how to use Photoshop or insisting that others follow your ideal way to prioritize tasks keeps you from hearing the insights of your peers. An open-minded approach is key. True collaboration allows everyone involved to contribute their own expertise so that we all arrive at quality results. Similarly, realize when your knowledge of a subject is lacking. Being willing to ask for help or admit when you’re not the best person to handle a particular task goes far in establishing your credibility.

A few months ago I took on a project as an independent design professional – assisting the owner of a startup vitamin company in developing their brand identity by creating a logo design.

The project has grown with the company’s efforts at establishing a presence in the market, and at this point I’m running the social media campaign on Facebook and Twitter.

It’s been a while since I’ve had much of a profitable diversion from my usual concentration on print media. But now I’m having a great time writing copy, while figuring out the best strategies for establishing community and encouraging conversation for the brand.

Every day I’m putting in a bit of time in research on the subjects of vitamins, nutrition, health, recovery from substance abuse, wise living, recipes, and exercise. Learning a lot, and sharing it with the world at large, brings yet another level of satisfaction to the endeavor.

So here’s to the success of NSO Vitamin Company!

https://nsovitamins.com/store/

http://www.facebook.com/NSOVitamins

https://twitter.com/NSO_Vitamins

 

 

Today I completed a graphic design project which:

fulfills the stated objectives of the marketing campaign strategy,

is an innovative, creative approach to the project specifications,

contains elements known to appeal to the target demographic,

ties in well with other brand-identity statements,

looks as if it’s designed by a competent professional,

is eye-catching and dynamic,

and was completed ahead of time, within budget, and with the resources provided.

This is what I do. Every workday, pretty much. Over and over again: brainstorming, creating, and delivering.

I often encounter individuals who have difficulty understanding that Graphic Design is fundamentally results-oriented and process-based and not just “playing in Photoshop” or “making things look pretty.” (I do attempt to explain from time to time, and this essay is one such effort.)

Way back in the day, when I first started out in college, my goal was the “Associate of Arts Degree in Commercial Art.” This distinguished the course studies from the “Fine Arts” focus and degree program. Drawing classes and Art History were required for all in the Art department; but from the beginning it was clear that Commercial Art students were to focus on learning the skills that would allow us make a living with our talent in a wider field than selling artwork in a gallery. With the increasing emphasis on using design software and desktop publishing, the name of the program changed during my second year and I graduated with an “Associate of Science Degree in Graphic Design.” So I’ve long approached the world of design with the understanding that what I do is both an art and a science.

Like many other designers, I will sometimes create things (for myself and others) simply for the enjoyment of artistic expression, or the desire to have the sorts of images which delight my eyes brought to life. And I may refer to some of these works as graphic design. But when it’s something I’m getting paid to produce, there needs to be a focus on goals, strategy, and process. And that, to me, is the responsible and professional approach to commercial art.

I’m increasingly aware, through articles online and in magazines, interviews on TV and such, that many people have turned the activities and interests they love, their “passions”, into a career.

From time to time I have wondered if trying to make art, design & hands-on creativity be the skills by which I earn a living is really the most suitable path for me, and which niche of this wide field I could happily thrive in.

Do I have a true passion for anything that’s a marketable skill? Perhaps it’s not even art, but an unexplored path?

•••••••••••••••••••

From age 4 to 12, I planned to be an Illustrator. I did a lot of artwork during my spare time in those years, it was as much fun as playing with toys or riding my bike outside. I loved detailed, lifelike illustrations in the books I read, especially those starring anthropomorphic animals, and imagined myself as the next Richard Scarry or Beatrix Potter. Art, Reading, and Creative Writing were my favorite subjects in school. Part of the joy was seeing that my work was among the best of anyone in the class.

I was homeschooled from age 12 to 16, and my mother took charge of my Art education. She was a harsh critic. The class that had been an opportunity for me to show off among other grade-schoolers turned into a subject to be avoided by playing sick and misplacing course material. When I couldn’t get out of it, I wasted time sharpening pencils, staring into space dreaming of escape, mixing paints and swirling brushes around in the turpentine. I still created my own stuff privately, after schoolwork, and primarily enjoyed making sketches of interior and fashion design.

My mother had established the criteria for choosing a college and degree program: A Christian school, an Associate’s Degree program in Commerical Art or Graphic Design, with all funding to be provided through scholarships and loans (no parental contribution required due to financial hardship). I ended up at the age of 17 enrolled in a Commercial Art/Communications/and Bible program at a liberal arts college 2000 miles away in Minnesota.

The summer before starting college, I’d had my first job at a printshop. Interacting with adults who respected my artistic skills gave me some confidence back, yet I knew I was primarily there to learn the trade: printing, pre-press, advertising, marketing. (I felt like a deckhand, observing and absorbing all the skills I’d need in order to someday be the Captain.)

During my 2 years of Design studies, my favorite classes were Typography, Watercolor, Graphic Design 2 (constructing shapes out of cardboard and found objects and painting them with the airbrush), Woodcut Printmaking, Photography, and Computer Graphics (playing with a program similar to Microsoft Paint). There were perhaps 10 other art/design courses I completed, including Illustration, Art History, Sculpture, and Fine Arts Drawing 1, 2 & 3 — but either the professor’s style and coursework didn’t appeal to me, or I found those subjects to involve more tedious work. European History, and English Literature and Composition were newfound interests. Looking back, I realize how limited and behind-the-times my little college was — the Pagemaker layout software (the industry standard at the time) was not a required course for a Design degree, but an elective.

When in college full-time, studying and completing assignments is pretty much your job. So during my years of coursework, art became decidedly “work” and not “play”. Sometimes the work was absorbing and fufilling, but more often I had to force myself to do it. My free time was spent far away from the easel or drafting table. When I created anything not related to an assignment, it was not for the fun of it, but to hopefully impress somebody, or as a self-assigned exercise to refine my skills.

After graduating at 18 and returning home to Nevada, finding work in Graphic Design seemed impossible. I searched daily for a year and a half and wasn’t able to find employment in my field. Since I had to pay rent to my mother during that time, I took a lot of temp jobs. Mindless work, such as stuffing envelopes or packaging cookies off an assembly line, paid the bills. I tried to encourage myself to continue to do artwork during my free time, just to keep in practice, but eventually I stopped carrying around a sketchbook and forcing myself to put something in it anymore. For a time, I experimented with composing poems and song lyrics or writing essays in my head as I worked; sometimes these made it onto paper.

By the time I was 20, I’d managed to buy a car and save up enough money to move out of my mother’s house. Soon after, I persuaded the model railroad factory I‘d been working at to let me be part of their Art Department. I became involved in product design and technical illustration. Experimenting with writing advertising copy and product photography was another new challenge. These parts of the job were less frustrating than the painstaking work with exacto knife, technical pen and wax/rubber cement on illustration board (which was how I spent most working hours). As the company moved more into digital artwork, I quickly learned how to use Photoshop, Illustrator and Quark Xpress. When I left that job to move to California, I had the title of Assistant Art Director, but was still barely earning a living.

Finding work in my new location was almost as difficult as starting out with no experience as a teenager. But I eventually ended up with a job at a photo lab, specializing in Photoshop work. I still did a decent amount of work with page layout in Quark, and a bit of Illustrator, yet thought of myself as a graphic artist who specialized in photo restoration and retouching during this time (my early and mid-twenties). As deadline-driven and mind-numbing as it sometimes was, the work was easy, and producing an image that delighted the customer was satisfying.

Back then, my friends and I were involved in the Society for Creative Anachronism (Middle Ages re-enactment camping events), and I indulged my interest in fashion design by creating velvet and satin gowns for myself and a few tunics for my boyfriend. (I’ve never cared for sewing however, and over the years of creating Medieval Period outfits and Halloween costumes, have come to loathe the actual construction of garments.) I occasionally felt disappointed in myself that I wan’t compelled to other creative ventures, but would force myself now and then to paint a picture for my Dad or make woodcut-print Christmas cards.

As photo editing became easier for people to do for themselves on their home computer, and e-mailing image files to other countries to be retouched by individuals working for a pittance was soon standard practice for the photo lab, I was no longer able to spend my days immersed in Photoshop for a living.

So I decided to put my page layout and copywriting skills to greater use. I quit the photo lab, and took a job at a local newspaper as their Graphics Director. This was a multi-faceted job, as I wrote the Events column, worked with all the photos taken by the reporters, and placed all the copy and images for the articles on the pages. I also built ads and helped with marketing strategy for some of the businesses that advertised in the paper. At this stage in my career, I seemed to have become a print media designer with a high level of expertise in Photoshop and Quark.

A couple years later I moved on to working for a national publication, and further developed my project management skills. I soon observed that some of my co-workers at the company, who were above me in the chain of command, seemed less experienced, intelligent, or motivated than I was. Since it didn’t seem possible that I could move into management at that company myself, I started to dream of having a larger role in another company or perhaps starting a freelance design business of my own.

My next job ended up being an in-house production artist position at the corporate headquarters of a nationwide retail chain of boating supply stores. I’ve now been with this company for 5 years, and I think it’s been the best fit for my skills and interests so far. I’ve gone from production artist lackey to project manager of magazine advertising, and I’m now one of 3 designers who are senior to the production artists. (Corporate culture, and the structure/chain-of-command of a large marketing department often seems needlessly complex and compartmentalized.) I rejoice in the autonomy I now have, yet chafe at the restrictive “Brand Guidelines”. I must say I have felt comfortable being part of a cohesive, respectful team. I’ve taken every opportunity to learn new skills, such as multimedia marketing, and am grateful to my mentors here. But it seems to be time to move on to a more fufilling way of spending 8 hours a day. Frankly, in many ways I was overqualified for this job when I started in 2007.

I have spent my work hours and my free time well over the past 5 years, and am unsure which of the new subjects of interest and study (project management, marketing strategy, social media coordination, etc.) could be a divergent career path, or of use in stepping up in the design world.

There’s always been the temptation to get back into freelance work as well, and dust off my skills at meeting with clients and get back into developing logos, brochures, perhaps even websites eventually. As an occasional, on-the-side source of income, as in times past? Or I could “hang my own shingle” and hope to be able to earn a living as an independent designer, which seems dauntingly risky.

So now, as an exercise for myself, I’ve decided to make a list of things that I truly enjoy, and see if it provides any inspiration as to what I could seek out for my next adventure as a design and marketing professional:

•••••••••••••••••••

Enjoyable Things

Playing in Photoshop with effects, filters, transformations, modes, etc

Having found the ideal solution to a problem, and the satisfaction that comes from figuring it out without the help of others

Discovering a new method/trick/shortcut that is easy to apply and produces high-quality results

Looking at fonts, choosing the right one/combination

Working with deep, rich colors – and/or intense, vivid colors;
thinking up/discovering color combinations and finding something just right for a project

Using breathtaking, dynamic, or at least eye-catching photography as a large element in a design

Reading well-written, clever and/or insightful copy, and attempting to write my own

Taking pictures of cats, boats, figurines & toys, flowers, landscapes, myself

Doodling ornamental objects, animals, plants, mountains, etc., and writing in cursive, which sometimes turns into illustration or hand-lettering

Coming up with outfits, also dreaming up new garments & looks, and sometimes sketching these

Managing a project that involves working alongside competent peers

Succeeding in conveying my thoughts, insights, design concepts, or frustrations, despite being naturally reserved and unused to public speaking

Having co-workers who treat me as a highly skilled, intelligent, responsible adult

Helping others succeed, and earning their admiration

Rejoicing in the advances of technology, and succeeding at figuring out how to use the latest/coolest hardware & software

Knowing that something I have had a hand in creating will be appreciated by a large audience or be helpful to many clients/consumers.

•••••••••••••••••••

Now, after reading through that list, and all the previous paragraphs detailing my history, I am starting to think that the concept of a single “calling” or well-defined career path may be too narrow.

Perhaps I should continue on as I have been for a while: not deciding to specialize in a particular niche and just learning whatever strikes my fancy, doing whatever side projects appeal to me, while refining and perfecting the skills/knowledge base that I own here at my current job.

The only passion that stands out at the moment is that of exploration: So many options, paths in life to venture down. Maybe my only calling at this time is simply to be an explorer.

 

So what’s the image resolution, the scan quality, the output requirements? Are we talking about megabytes or megapixels? What’s the difference between dots-per-inch and pixels-per-inch? Jpeg, bitmap, tiff, gif, png or eps? Raster or vector? What are RGB and CMYK, and why should I care?

The terminology and process of digital imaging is frequently a source of confusion. I’ll discuss image quality and clarify file types first, then move on to scanning, and lastly how to prepare images for a few common forms of media – viewing on the web, photographic output, and print media (such as posters, brochures, and newspapers.)

 

Pixels

Photographic digital images are composed of pixels (short for picture element), arranged together like a grid of tiny square tiles. Each pixel has an assigned color value for each of the colors in the RGB color space (Red, Green, and Blue) or the CMYK color space (Cyan, Magenta, Yellow and Black). If the image is grayscale (black and white) it has a number describing the tonal value for each pixel.

In RGB, the opposite of red = cyan, of green = magenta, and of blue = yellow.
A lower red value increases the amount of cyan (a turquoise color).
A higher blue value decreases the amount of yellow.

In CMYK, the opposite of cyan = red, of magenta = green, of yellow = blue, and of black (K) = white.
A higher magenta value decreases the amount of green.
A lower black value increases the amount of white, and it is a lighter shade of the color.

In general, the RGB color space is used for images that will be viewed on screen, such as internet images and photo slideshows. For printed photos processed by a photo lab, RGB is the most common color space. Converting images to CMYK is often recommended for printed materials such as newspapers, magazines, and desktop inkjet printing devices.

The total number of pixels in an image is one of the factors that determine its file size in kilobytes or megabytes, and how much space the file will take up on a camera’s memory card, a computer’s hard disk, or on removable media such as a CD or USB flash drive.

The resolution of a file is expressed as the number of pixels per unit of measurement. When using inches, this would be ppi (pixels per inch).

One 4 by 6 inch image is 432 pixels wide by 288 high. The resolution is 72 pixels per inch (ppi). The file size is 212 kilobytes (213,628 bytes, or 212 K).

Another 4 by 6 inch image is 1800 pixels wide by 1200 pixels high, with a resolution of 300 pixels per inch, and has a file size of 6.18 megabytes (6,602 K, or 6.18 MB).

Bigger is not always better! If the image is destined for the internet, for example, then you may want to create a file with the smallest size possible while still retaining good color and image quality. The standard resolution for photos on the web is 72 pixels per inch, and these images are often less than a megabyte in size. Larger files mean slower download times for a webpage’s content.

However, if you wish to have your image printed on photographic paper at 8 by 10 inches, you will want a much larger file, usually from 10 to 20MB. If it will be part of a layout design for printed material (such as on a magazine or catalog page, or a poster) a resolution of 300 pixels per inch and a file size of at least 3 MB is recommended.

 

And Now Megapixels

The megapixel count of a digital camera means the number of pixels it can capture by the million. A camera with a 5 megapixel capability has a sensor that can capture an image of 2592 pixels wide by 1944 pixels tall: 2592 times 1944 = 5,038,848 pixels.

The higher the number of megapixels (MP) used by a digital camera, the higher the resolution and the larger prints you can make. But take into consideration the fact that using the highest setting/resolution available will result in the images taking up more space on the camera or removable memory card. A 3 MP image (2048 x 1536 pixels) is generally high enough resolution to be printed out at 8 by 10 inches, without looking “pixelated” or lacking in fine detail.

It is sensible to use higher resolution settings (above 3 MP) on your camera if it will be held steadily without shaking, or is set on a flat surface, or is mounted on a tripod. (Otherwise, the additional pixels-per-inch may blur detail rather than adding to it.) If you are considering using image-editing software to crop in to a small section of the photo after it is taken, a larger file will retain more detail when the cropped area is enlarged. However, many photos will never be viewed or printed above 4 by 6 inches, and a 1 MP setting will be adequate.

 

Image File Format Options

When deciding which format is appropriate for your image files, there are different data compression methods to consider, and the alternatives of raster or vector-based content.

File compression methods can be lossless or lossy. Choosing a lossless format means that the size of the image is compressed/reduced without losing detail: sharpness and color range will be not be adversely affected when saving the file. With lossy formats, image data is discarded to reduce file size.

Raster images have pixel-based content. A digital camera photo is an example of a raster image. Graphics created in Adobe Illustrator are examples of image data that tends to be vector-based. Vector art is made up of geometric objects, lines, and points rather than groups of pixels. To rasterize a file is to take vector art (or postscript text) and convert it into a pixel-based image. Raster images will usually have larger sizes than vector files.

 

Common File Types

Jpeg (Joint Photographic Group, .jpg) –images created by digital cameras are saved in this format. Selecting a higher resolution/quality setting on your camera will give you a larger .jpg file with more detail and it will be not as lossy as lower quality settings. The amount of compression desired is adjustable depending on intended use of the image. Jpegs are often used for photos on the internet and for sending in e-mail messages because of the small file size. When the file is opened in image editing software such as Adobe Photoshop, it is uncompressed and may be saved in a format which is more conducive to adjustments and to being opened and edited several times without loss of image data (such as .tif or .psd.) The uncompressed file will be larger – a 672K jpeg can become a 4 MB file when opened and saved as a tiff. Jpeg is a raster-based format.

Tiff (Tagged image File Format, .tif) — This is a lossless format that does not use compression. In some image editing programs, .tif files can have multiple layers for complex editing, but .psd files offer a greater degree of options. Tiffs are a good option for storing photos on your computer that you may be opening and working on multiple times, since it is lossless, unlike jpegs, which will degrade each time they are opened in image editing software. Tiff is a raster-based format.

Photoshop Document (.psd) – When working in Photoshop image editing software, this format is often preferred because it supports files with multiple layers. Text, color adjustments, and special effects can be saved on multiple layers in a psd. A flattened final version can then be created and saved as a different format, such as tiff, jpeg or pdf. This is a lossless, non-compressed format and files sizes can be quite large when working with layers. Psd files can contain both raster and vector-based objects.

Bitmap (.bmp) – Any pixel-based image can be considered a bitmap because the image is mapped out by individual bits or pixels. But the file type bitmap refers to an image data format developed by Microsoft Windows. This is a lossy and non-compressed format. Bmp files are more suitable for simple, non-photographic images that will be printed than for use on the web; jpeg and gif files of the same image will be much smaller. Bitmap is a raster-based format.

Graphics Interface Format (.gif) – Limited to a range of 256 colors. Photographs may look flat if saved as .gifs but this format can be adequate at small sizes (such as 200 x 300 pixels at 72 dpi). Gif supports transparency; and illustrations, logos, and ad banners designed for the internet commonly use this format, when an extensive color range isn’t required. Gif has a lossless compression only for images containing 256 colors or fewer. For a continuous tone image such as most photos, jpeg compression is preferable. Gif is a raster-based format.

Portable Network Graphics (.png) – Images designed for the internet often use this format when preservation of all the colors and details is desired (superior to gif and jpeg in this regard.) Png also supports transparency. This is a lossless format: file size is compressed by using an algorithm based on discerning patterns in the image. However, jpeg can compress photos to a greater extent, resulting in a smaller file size, even at high-quality settings. Png is a raster-based format.

Encapsulated PostScript (.eps) – This format is generated similarly to text with postscript language data. Graphics such as maps and logos are often saved in eps format. Complex objects with transparency and gradients, drawn in Illustrator, can be saved as eps files. For high resolution printing of vector-based artwork, this format is considered superior. Eps files are lossless and can include both raster and vector data.

Adobe Illustrator Artwork (.ai) – Ai files are not as large as eps files of the same image, and the images retain editing capabilities in Illustrator. However, many different graphics programs can use eps files, and ai files are less supported. Most ai files are converted to eps or pdf before use in page layout programs, and for general viewing or printing. Ai is a lossless vector-based format.

Portable Document Format (.pdf) – This file type is the standard document-exchange format; and can include many different forms of data in one image file, including text (with hyperlinks), vector graphics, and raster-based photos. Considered a final-state format for delivery to end users, pdf documents can be viewed with widely-available pdf reader software without having to open the file in a text- or image- editing program. Depending on the settings selected when creating a pdf, the file compression can be lossy or lossless. Pdf files can contain both raster and vector-based objects.

 

Some Scanning Basics

Before the days of digital cameras, the standard way to create and view a photographic image was to capture it on film (negatives or slides/positives), and then prints could be made from the film by a photo lab’s printing services. Today film photography is still an option, and we can also translate photos and artwork from a negative or a print into digital images by scanning.

Desktop flatbed scanners have become common. A quality digital image can be created by skillfully employing the software provided with the device.

Ideally, before making a scan, you should first determine what the final output will be. The scanning interface software should have options for selecting the resolution and the size in inches or pixels.

Additionally, most interfaces allow you to crop the image, adjust the color, sharpness, and tone or density (the balance of light and dark) somewhat before performing the scan.

It is often easier to fine-tune these adjustments after the scan by opening the image in photo-editing software such as Photoshop. Cropping the image can be done more precisely in the editing software; and greater control over the color balance and sharpness will be possible than with the scanning interface.

Here are a few examples:

When I’m scanning a 4- by 6- inch print of an image that I wish to put on my website, I will set the size to 100%, with a resolution of 300 pixels, and crop in to just beyond the edges of the image. Most often I’ll have the sharpness set to medium, and will adjust the tonal settings a little so that it is not too bright (loss of detail in lighter areas) or too dense (loss of detail in dark areas.) I will usually scan photos as a tiff file, but would convert this one in Photoshop to a jpeg for web use and size it down once I am done editing the image.

When I am scanning a 5 x 7 inch drawing created with pen-and-ink on paper, of which I would like to eventually print out a copy that is 8 x 10 inches, I’ll set the scan size to 200%, with a resolution of 300 pixels. I’ll use a lower degree of sharpening (so as not to enhance the grain of the paper) and adjust the tonal settings to a higher contrast to preserve the appearance of black ink on a white background.

 

Preparing Images for Viewing

Whether images are intended for viewing on a webpage, making photographic prints, or including in a graphic design layout, it’s best to have that destination in mind before the image is created. I try to take digital camera images or create scans at a slightly higher resolution/larger size than I will really need for the final product. (If you’re not sure what the image will be used for when you are taking photos, it’s better to err on the side of more data than less.)

Note: It’s not a good idea to try and “upsample” pixel-based digital images. Photoshop does a decent job of trying to create more pixels, interpolating based on the colors of surrounding pixels, but you’re never actually improving the quality. For instance, if I download an image that’s 2 by 3 inches at 72 ppi from a free stock photo website, and decide that I might like to have a print made, so I size it up in Photoshop to 8 x 10 at 300 ppi, it will not gain in detail or sharpness.

Although it could work well as an element on a webpage where it would be unlikely to be viewed on screen any larger than 3 inches wide, the small size of the photo makes it unsuitable for enlargement.

On one occasion, I wanted to use a small image of a palm tree (taken with my digital camera) on a travel article page of my website, and the original size of my digital file (920 x 690 pixels) was much larger than I really needed. After making all the desired adjustments to this picture (Tree.psd) in Photoshop (cropping, adding text on a separate layer, improving the color and sharpening), I saved my corrections. Then I sized it down to 250 x 180 pixels (about 3.4 inches by 2.6 inches at 72 ppi), flattened the layers and chose the option “Save for Web & Devices.” Sometimes sharpening an image a bit more after saving at the smaller size can help add clarity to small pictures for web viewing. It is also good practice to save the web image with a different name than the original (such as Tree_Small.jpg).

On my site, I have many “thumbnail” images, or small versions, that the viewer of a webpage can click on to see a larger image open in a new window. The larger image is a separate file that the thumbnail is linked to on the page.

In general, the basics when preparing images for web viewing are: Size it to the actual pixel dimensions it will be used at on the page, at a resolution of 72 ppi. Make sure it’s in the RGB color space and not CMYK; and save it in a file format of .jpg, .gif, .png or .pdf.

 

Preparing images for Photographic Prints

When having prints made of digital images, knowing the recommended specifications of the photographic printer that will produce the prints can help ensure quality results. For instance, a photo lab may prefer that the files you submit be in RGB color mode, in .jpg or .tif format, at a size no greater than 20MB, and sent by e-mail or provided on removable media such as a CD or flash drive. Be sure to specify the file names of the images that you wish to be printed, and the size and quantity desired of each image. Cropping, sizing to the print dimensions (such as 4 x 6 inches) and rotating images to the desired orientation (horizontal or vertical) that you want the actual prints to be will give you further control over the final printed product.

Frankly, “trial and error” is the best way to get a true understanding of what you can expect from each print device or service when it comes to color balance, density and sharpness. However, the cost of making repeat trial prints at small sizes is usually negligible (often less than 25 cents per print) so feel free to experiment.

 

Preparing Images for Print Media

Important considerations when your file is destined for print media (such as desktop printers, catalogs, and newspapers) are: determining the proper dpi, converting the image to the CMYK color space (or greyscale), and considering whether ink density is an issue.

For output devices such as web-offset printing presses, laser printers, and desktop inkjet printers, figuring out the appropriate ppi (and dpi) along with image size can help ensure the highest possible quality of the finished print.

File resolution is sometimes referred to as dpi (dots per inch) instead of ppi (pixels per inch), although technically when referring to the digital file, ppi is more correct. Dpi is used when specifying device resolution, as many output devices produce images by printing with very tiny dots.

When digital images are rendered on a printed page, these “dots” have spaces between them, and the spaces are counted as well. 300 dpi translates to approximately 150 ppi. 300 dpi is a standard for printing photographic images because the dot pattern and any white space between the dots is not readily visible at a reasonable viewing distance.

For example, if you wish to have an 18- by 24-inch poster or sign printed on a large-format inkjet printer that has an output capability of 600 dpi, you could size the image file to the exact dimensions you want the printed piece to be, and set the ppi to 300. If printing this file as a 5 x 7 on a desktop printer (a typical LaserJet prints decent quality images at 300 dpi), you could size it to those dimensions and set the ppi to 150.

Some print devices require converting the file from RGB to the CMYK color space. Red, Green and Blue are the primary colors of light which computers use to display images onscreen. The majority of printing presses create pictures using a different set of colors, the primary colors of pigment: Cyan, Magenta, Yellow and Black for a “4-color process” or “full-color” printing. Keep in mind that especially vibrant, rich colors may not translate well from RGB to CMYK, and that printing inks are not capable of creating the full range of colors that are possible on lighted screens.

Printing and publishing firms have additional specifications to be followed in order for the images to reproduce with optimal quality on a printed page. For instance, a magazine may require that image files be submitted in PDF format, sized to the desired printed dimensions, at 300 ppi.

Ink density can be an important factor in quality when an image will be reproduced in a newspaper, or when designing a page layout for a catalog or magazine. (Newsprint paper absorbs more ink than other surfaces, so it is often recommended that density not exceed 230%). To determine the ink density of your image in Photoshop, move the eyedropper tool across the darker areas of an image and view the Total Ink Readout values in the Info panel. It is recommended to do your image editing in RGB, and then under the Edit menu, select Convert to Profile and create a custom CMYK setting with the proper Total Ink Limit.

For example, when I create the design layout for pages of a product catalog, I use the Adobe InDesign layout software, and place digital photos edited in Adobe Photoshop combined with vector-based logo artwork created in Adobe Illustrator on the page. The text will be typed in on the InDesign page, and the final layouts are exported as high-resolution PDF files, ready for submitting to the printer.

 

Knowledge, Success and Satisfaction

A grasp of the possibilities and considerations for creating quality digital images can lead to better photography and the most sensible file management. Optimizing the appearance of your images and understanding output options can make your webpages and printed projects appear more professional.

For a more in-depth discussion of some of the topics I’ve covered, here are some great resources:

Digital Photography:

http://learndigitalphotographynow.com/

http://www.photoxels.com/digital-photography-tutorials/fundamentals/

The Digital Photography Book (Volumes 1,2,3,4) by Scott Kelby

Image editing in Photoshop:

http://www.photoshop.com/

http://www.photoshopessentials.com/photo-editing/

The Adobe Photoshop CS5 Book for Digital Photographers by Scott Kelby

Photoshop-Just the Skinny, Second Edition (PDF or Printed Book)

Understanding File Types:

http://www.digitoolkit.com/file%20formats.pdf

http://www.fileinfo.com/

Preparing Files for Output:

http://www.dummies.com/how-to/photography-video/digital-photography/printing-6.html

http://www.mediacollege.com/graphics/01/

http://designinstruct.com/print-design/a-guide-to-preparing-files-for-print/

 

Overall, a basic understanding of the terminology and procedures of digital imaging can lead to wiser choices and more satisfying results—whether taking pictures, scanning, saving, editing, printing, or sharing your images with others.