Every year, thousands of people voluntarily put themselves to the ultimate literary challenge: to write a novel. Last year, 21,683 did.

It’s called NaNoWriMo, which stands for National Novel Writing Month. Now an international phenomenon, over 100,000 writers, professional and amateur, have signed up at NaNoWriMo.org and pledged to do the seemingly impossible. If you can write 50,000 words in the 30 days of November, you win.

The challenge has already inspired spin-offs, from the sanctioned Script Frenzy (100 page screen- or stage-play in April), to NaNoEdMo (edit your novel) and 24-Hour Comic Day (write and draw 24 pages in 24 hours). Now designer Chris Papasadero, co-founder of design firm Fwis, has taken on his own challenge.

Papasadero is going to design 30 book covers in 30 days. Novelists who post a title and synopsis of their story are in the running for selection by the NaNoWriMo team. The plan is for one lucky novel to be transformed every day this month. As every past participant knows, November isn’t always kind to those who take on big projects.

Snap2Objects will conduct weekly interviews with Papasadero during November, to follow his progress and see how this ambitious venture fares. Read More for this week’s interview, and come back next week for part two!

First, could you recap what the 30 Covers, 30 Days project is and why you decided to take it on?

I’ve been a fan of NaNoWriMo for some time, and I often find myself appreciating volume over quality in some things, so this is a good chance to embarrass myself productively. I will be designing a cover for a NaNoWriMo writer for each day of the project.

A lot of NaNoWriMo participants have wondered, how will you select novels to be turned into cover art? Are you browsing at random, or making an effort to take a wide sampling of genres, locations, etc.?

The covers are being chosen by the NaNoWriMo head honchos; I have no idea how they’re going about it, but I have to assume they’re going for a broad variety of topics, demographics, segments, etc. to properly represent the broad range of writers participating in the project!

How did you first find out about NaNoWriMo?

I believe I heard about it four or five years ago, back when I lived in the lovely city of Portland, OR.

What is Fwis, and how long have you been involved with them?

Fwis is my design firm and we’ve been around for about seven years.

What is your background as a designer?

I’ve been working on Fwis for a long time now and have been involved primarily in the day-to-day operations of the firm and don’t do as much design as I’d like to, so this project will help me blow the dust off the ol’ visual part of my mind and maybe even sharpen it up a bit.

What sort of projects do you typically take on?

It really runs the gamut, from advertising and marketing campaigns for companies like Corbis, to package and environmental design for companies like Johnson & Johnson.

How would you characterize your work?

Conceptually relevant to the clients’ needs… humorous, ‘wonky’, colorful and optimistic. I think at the baseline the ideas are always good, truly unique and perhaps even a bit iconoclastic.

What tools do you use frequently? Do you prefer digital media, or traditional?

I definitely prefer getting away from the computer when I can, but it really speeds things up, which is appropriate for this project! I use a spiral-bound sketchpad, a Pilot Precise V5, and scotch on a daily basis.

You maintain a blog at http://covers.fwis.com/ dedicated to book cover art. What interests you about book covers?

The book cover is a perfect fusion of two creative minds; the wordsmith and the visual thinker.

I see you have a word count going at NaNoWriMo.org. Are you attempting to write a novel as well as design 30C30D? Do you think you have a better chance of finishing one or the other?

I was hoping you weren’t going to ask this question as I wanted it to be a surprise! But yes, I am also writing a novel this month as well. I clearly have no social life.

How do you plan to stretch yourself artistically with this project?

Speed, volume, experimentation. I’d like for all the covers to somehow feel a little serialized, but I’m not sure if that’s going to work out!

How does it feel to be on Day One (November 1)? Do you have any worries, or aspects you’re looking forward to?

I’m fiddling too much and need to use broader strokes, speed, and smart concept. I am so amazed at how nice the NaNoWriMo people are, they are optimistic and cheery and I hope that they all become famous, wealthy authors some day!

Follow the Project on the NaNoWriMo forums

Interview with the NaNoWriMo blog team

Do you have questions for Chris? Want to know more about NaNoWriMo? Tell us in the comments!

No related posts.

More floral vector ornaments! I love all those baroque-ish designs. These ones are just lovely. Perfect for fancy website backgrounds, for example :)

Preview

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Creative Commons Attribution 3.0 License.

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Hi everyone! We have good news for you. We’re making a Photoshop Crash Course (and soon an Illustrator version as well). In a few simple and fast articles we’ll help people with no knowledge of Photoshop learn the basics, so you can start editing and creating!

Have you always wanted to retouch and edit your photos or make simple manipulations? This guide should be a good starting place for you. Let’s do it!

INTERFACE
When you first open Photoshop, it may be scary – a lot of panels and icons you may not be familiar with. The screen is divided into areas to help you understand their functions. The image below shows the default appearance of Photoshop CS4, which is composed of these basic elements: the Menu Bar, Properties Bar, Tool Box and Palettes.

Click to enlarge

This is what we call the default Workspace. A workspace is the arrangement of palettes and bars that are visible. In Photoshop there are a lot of different palettes besides the ones above. To see the other palette options, take a look at Menu Bar > Window:

3D, Actions, Adjustments, Animation and all the others are palettes that can be turned on or off (make visible or hidden). Also, there are some preset workspaces that you can access by going to Menu Bar > Window > Workspace or by clicking on the “Essentials” button (which is part of the default Workspace) to choose one. As you are not yet familiar with the palettes, let’s stick with the Essentials Workspace.

Photoshop is very customizable. You can change palettes, open new ones, close others, and even save workspace arrangements that you like.

The big panel on the left can became a small column of icons. This leaves more space on the screen for the image we’re working on. Try clicking on the small highlighted arrows. You can also shrink the palette by clicking and dragging the border, like in the image above.

OPENING, CHANGING AND SAVING DOCUMENTS

Before we start using the tools, let’s see how to create, open and save documents. Photoshop offers a large array of formats to work with, but we’re going to focus on the most general ones. Suppose you have a photo to edit and send to your friends. Just go to Menu bar > File > Open and then browse through your folders, select the image file you want, and click on Open.

One of the first things you might need to do with a photo is change its size. For example, you may have an 8MP digital camera. When you take an 8×10in photo with this camera, the digital file will be 3264×2448px (much too big to send to friends by e-mail). Want to know how to resize it to make it smaller? Go to Menu > Image > Image Size. Set the width and height, and pay attention to the resolution (72 pixels/inch for internet) then click OK. That’s it!

There’s a similar command that often confuses people, called Canvas Size. You can see it at Menu > Image > Cavas Size, right below Image Size. What’s the difference between them? Well, it’s better to show you. This is the Canvas Size dialogue box:

If I change the height from 600px to 900px and click OK, this is what I get:

I changed the document, but not the image itself, creating this white area below and above the image.
You can make a simple border using this feature. Set the new size to about 105 percent (you must change the units in the drop-down box, from pixels/centimeters/etc to percent) for both width and height. This is my framed image:

Now you want to save a copy, but be careful! If you use the command “Save” instead of “Save as” you will lose the original file. Go to Menu > File > Save As. Check if the format is JPG and click OK. A small dialogue box should appear. Set the quality level (9 is fine for web) and click OK. You’re done.

CREATING DOCUMENTS

It’s very simple to create a new blank document to work in. A new document is like a piece of paper on which you will work. Go to Menu > File > New.

You can choose settings for your new document in this dialogue box.  You can fill in the name of the document, choose  preset options (see below), or manually set the dimensions, resolution, etc. If you’re not used to these settings, you need some key information before you make your choices.

Are you preparing your work for screen display (websites, slides, etc) or for printing?

1 – If you are preparing your work for screen display: use pixels to define the size, 72 pixels/inch for resolution and RGB for color mode.

2 – If you are preparing your work for printing: use centimeters, millimeters or inches for the size, 300 pixels/inch for resolution and CMYK mode. (You can also use RGB and convert to CMYK when the work is done.)

There are also some presets to help you with this task. I usually use “International Paper” for printing and “Web” for screen.

Now you know how to open a blank document to start creating.

UNDERSTANDING LAYERS

One of the biggest features in Photoshop is the use of layers. They make a huge difference, because you can work with separated elements, apply different behaviors (modes) to each element, resize isolated elements and much more. If you haven’t used layers before, it’s time to start.

I’m going to open an illustration I did based on an iStockPhoto vector I found. My file already has several layers, and was made in Photoshop, which means it is has a .PSD extension. PSD files are documents created and saved in Adobe Photoshop. It’s only appropriate for editing, not for sending to friends or for printing, as they can be very large.

This is the illustration and its Layers palette:

If layers were real, they would be transparent plastic sheets, like the ones used in hand-drawn animation. You can draw on the sheets, place other sheets with drawings on top of  each other, and move/edit each one separately. Together, they make one image. As you can see in my Layers palette, I have one layer for each part of the illustration (face, hair, eyes, lines and blush). Because each is in its own layer, I can turn each part on/off (visible or invisible), and move or edit each of these parts.

See the layers deconstructed below:

And an animation that shows the overlaying:

To turn off one layer (make it invisible), I just click on the tiny eye to the left of the layer, like I’ve done to the Hair layer…

Or, I can turn the Hair back on, and turn the Background off:

Curious about this chess pattern behind her? That’s the way Photoshop indicates transparency. As I turned off the white background, it became transparent. If I saved the image like this, as a png or gif, it wouldn’t have a background. (Quick tip: If you want your files to be transparent for the web, you must use png or gif format when saving.)

If you don’t want to make an element totally invisible, you can change its opacity. The command is in the top-right of the Layers palette. Here I use the dropdown/scale to set the opacity of the Eyes layer to 20%. See the result:

Nice, isn’t it? Now you can see the real magic: the blending options. It’s actually a complex setting, but we’re going to use the basics for now. The blending options affect the behavior of the layer, changing colors, mixing textures, determining how they… well, blend. Lets take a look and see some simple examples.

The Blend options are in the top-left of the Layers palette. All the options become visible when you click on the “Normal” dropdown arrow. Each of these blending modes affects the layers differently. There aren’t too many, so they’re easy to get familiar with. You can try each one in different situations and see what’s best for your work.

They are separated into groups by lines, as you can see. I would roughly describe the second group (Darken – Darker color) as working best for  dark tints, the third group (Lighten – Lighter Color) for light tints, the fourth group (Overlay – Hard Mix) for a mixture of tones, the fifth group (Difference – Exclusion) inverts the colors, and the last group (Hue – Luminosity) works only with colors, not black and white. The best way to understand what each setting does is to play with them. See how different blending modes affect the cheeks layer:

Now see how blending modes affect black and white layers (like the eyes in this case). The results can be surprising.

Interesting how the black disappears with Screen mode and white disappears with Multiply mode, don’t you think? I told you, blending layers is awesome!

Well, that’s it for now. A lot of information, but it’s worth learning. With this basic guide, you can start to understand Adobe Photoshop, which has a huge “universe” of possibilities.

In the next article we’ll start learning actions and practice making changes. Meanwhile you can experiment with what we’ve seen today: open/create/save files, edit images sizes, customize workspaces and use PSD files with layers to play around with blending modes. (If you need layered files to practice on, you can download some from sites like deviantART.)

Prepare yourself for much more information in the next article. See ya!

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2. How to create a “Fake Vector” image in Photoshop (part II of II)
3. How to create a “Fake Vector” image in Photoshop (part I of II)

9 Musical instruments silhouettes to enrich the soundtrack of your life or your projects.

Preview

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Creative Commons Attribution 3.0 License.

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Hi everyone! We have one more Design History article, talking about the postmodern movements. Many things happened in the art world after the second war. See the most important movements that are still reference for designers.

The International Style

About 1950, in Switzerland, a new style came out, very clean, objective, neutral, using sans serif type, known as the International Style or Swiss Style. It was based on the idea that type should be neutral and not a distraction from the content. Its concepts expanded to other arts, like architecture, product and graphic design, becoming a world-wide style.

Pop Art

The Pop Art movement challenged tradition, joining the popular culture with fine art. Born about 1950-1960, the Pop Art is considered one of the earliest postmodernist arts. The most known Pop Art artists in the US were Andy Warhol and Roy Lichtenstein.

Punk

Starting about 1976, the punk movement was a rebellion against traditional values, affecting different areas, from music to fashion, art and design. In fashion, it was market by intense make ups, bold hairstyles and aggressive, torn, cut, mutilated clothing.

Post Modern Architecture

The postmodernist architectural movement emerged in 1960, as a response to the International Style. It brought back the ornaments, colors, masses and texture, against the formality of the International Style. In modernism, these characteristics were seen as unnecessary, not functional and expensive.

New Wave

Wolfgang Weingart, considered the father of New Wave typography, made experiments with type, based on a huge knowledge of the functions on typography. He says that he started Swiss Typography and “destroyed” this concept, creating something new, but without the intention of creating a new style. His students were the ones to understand his ideas and spread the “Weingart style”. Among his students, the ones that most stood out were April Greiman and Dan Friedman.

Deconstruction in Literature

The French philosopher Jacques Derrida proposed the Deconstruction, as a method of analyzing literature, highly philosophical, which covers the different layers of meaning. On its approach, the text has contradictory meanings and different interpretations, showing that the language is constantly changing.

Deconstructed Typography

The deconstructivism is characterized by fragmentation, layering, non-linear shapes, distortion and dislocation. The movement initialized with Derrida’s studies had also a great importance for postmodern architecture.

References and further information:

• Design History

As you could see there were many important artistic movements since 1950 – each one with its characteristics and importance. I can say that one of my favorites is the Swiss International Style, so clean, objective and elegant. I guess, although, for most people the “deary” is the Pop Art. What’s your favorite one?

Related posts:

1. Avant-Garde Art Movements in the 20th Century
2. The Bauhaus
3. History of the posters – Part II of II

This is Another set of floral vector ornaments. This time 6 little happy flowers.

Enjoy

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Creative Commons Attribution 3.0 License.

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No more Comic Sans! Nothing personal, just kidding. Who has never needed a nice comic font for speech balloons? There are plenty of good options and styles. Make good use of these 30 comic fonts.

Shonepunk! Custom

JL Quixs

Adam Warren 0.2

Go Boom!

Vigilante Sidekick

Deeko Comic Regular

Egg’s Handwriting

Badaboom

Anime Ace

Komika Poster

BD Cartoon Shout

ACME Secret Agent

Indie Komiks Sketch

SF Comic Strip

Manga Temple

Hey Arnold

Adventure

Digital Strip

Smack Atack

Zud Juice

Damn Noisy Kids

Marooned on Mars BB

Crash Test

Aerovias Brasil

Agent Orange

Gee Whiz

Mighty Zeo

SF Slapstick Comic

Onomato Shark

Yard Sale

BONUS

A typography only for cursing.

Curses

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We’re finishing our Design History series with a more contemporary matter: the computer and the graphic design. We’re going to see some great names that we already know, like Apple, Adobe and Microsoft, and how they contributed for the graphic design. Good reading.

Computer Graphic without a Screen

Computer graphics exists even before the screens we know. In one of the firsts graphic images, created by Ben Laposky in 1950, an oscilloscope was used. Later, in 1960, William Fetter uses the term “computer graphic” as he was a graphic designer for Boeing Aircraft Co.

The Screen

The discovery of cathode rays, by Julius Plucker in 1959, made possible the creation of the CRT (Cathode Ray Tube), which allowed data visualization. The firsts screens was only one color and very crude. Later they were improved, working with the three colors RGB.

CRT

GUI – Graphical User Interface

With the GUI (pronounced “gooey”), instead of using only commands on a keyboard, the user had an interface with pictures, buttons and pointers (in 1963, Douglas Englebart created the first mouse). It made a lot easier to use a computer and explore its possibilities. In 1981, Xerox launched the Star Workstation, the first station using GUI.

Xerox’s Star workstation

Digital Type is Born

Dr. Ing. Rudolf Hell created in 1965 the first device to produce characters on a CRT with digital control: the Digiset typesetting system. Other systems appeared and evolved near the 1970’s. In 1968, the Hell Design Studio designed the first digital type, called Digi Grotesk.

Bit Map Fonts

Also called “raster fonts” or “pixel fonts”, these fonts are made from squared dots, pixels, creating the shape of each letter. They look pretty crude, due to its squared shapes. Today they are used for Flash and web design.

Post Script Language Type 1 – Adobe, 1985

There were different formats for digital fonts, till Adobe created the PostScript Type 1 for the Apple Laserwriter printer in 1985, about six years earlier than TrueType format. The format permits scaling to any size, but it’s limited to 256 characters for font. For more complex titling, accents and ligatures, a “pro” version is needed.

True Type – Apple & Microsoft, late 1980’s

TrueType (first called Royal) came as PostScript rival, using a different curve system (quadratic curves). They look sharper on screen and need only one file, different than PostScripts, which needs a bitmap suitcase and a font file. Each one had its advantages and disadvantages.
OpenType – Adobe & Microsoft, 1990’s

Both technologies from the PostScript and TrueType were combined in OpenType. OpenType’s Unicode encoding allows 65,000 characters in a single font and it’s also cross-plataform, working on Macs and PC’s. So many characters can make complex fonts with special characters, accentuation and ligatures or even Greek and Cyrillic characters.

Microsoft ClearType and CoolType, 2000

These are sub-pixel font rendering technologies, created to provide sharper visualization of fonts on screen, but they only works on LCD displays. ClearType was created by Microsoft, while CoolType was created by Adobe and were added to E-book Reader and Acrobat Reader.

Digital  Type Pioneers

Bitstream, 1981

Bitstream was the first digital type foundry, founded by Mike Parker, a traditional type designer from Linotype. His partner Matthew Carter was also a traditional type designer, that used his knowledge adapted to the new demands of digital type. Bitstream created some own fonts and also remade classic fonts in digital medium.

Macintosh”City” Type, 1983

Susan Kare designed for Apple a series of city-named fonts for screen. The main font of the series was Chicago, used for the operating system. The other ones were derivated from known fonts like New York fromm Times New Roman, Geneva from Helvetica and others.

Adobe Type Originals

Adobe started digitalizing traditional fonts, but about 1989 they started the Adobe Originals, where they produced a new series of type families. The known Adobe Garamond was one of the firsts fonts designed by Roger Slimbach for Adobe Originals. Some fonts that succeeded that were Traja, Lithos and Caslon.

The impact of the computer and digital type for graphic designers

We know that the history of graphic design comes much earlier than the computers. Then how could the computer turn everything so different? It’s hard to imagine myself doing everything without a computer, while the early designers needed to do everything by their own. Today it’s so simple to buy a beautiful font family, we don’t need to engrave letters in metal. How much is that good? I leave this question for you, to balance the good and bad aspects of “digital revolution”.

References and further reading:

• Design History
• Computer History
• Cathode Rays Tube
• MSDN
• TrueType, PostScript Type 1, & OpenType: What’s the Difference? by Thomas W. Phinney

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Some time ago, we wrote the polemic article “70 designers that shaped the world”. After suggestions, we made the “Another 30 designers that shaped the world”. One thing that called attention was the few women present on the lists. Looking at the 100 designers, only 8 were women – among them, Eileen Gray, Zaha Hadid, Jean Muir, Vivienne Westwood, Irma Boom, Matali Crasset, Ray Eames e “Coco” Chanel. Is there any prejudice with women? Are there more male or female designers on the market? Does the gender really make a difference?

We can obviously conclude that something is wrong. Either women can’t work as well as men (which we know it’s not correct) or women are treated different than men for work. Women have been treated as subordinates since prehistory, it’s understandable that it wouldn’t change suddenly. But it’s not suddenly anymore, it has passed about six thousand years since prehistory.

Today I can see in the market that some companies choose designers considering the gender, most times in these cases, they rather man. One of the reasons for that is that they claim woman to be more sensitive or unstable (like having difficult to deal with criticism). Also, this is a subjective matter. Both men and women can have this kind of problem. I’ve heard about women that was rejected for a job just for being a woman or even got the job, but with a lower salary then the men’s.

On the other hand, sometimes they say a female touch is required. I myself have gone through a job interview on which they preferred me because I’m a girl and there were only man at the agency. They said they needed a female sensitivity, softer layouts and fresh delicate ideas. Again, it’s too subjective. A good designer does any kind of work, delicate, grungy, dark, light.

I’m not being feminist, we know that men and women are different and it’s natural. But both have the same capacity to do the same job without interferences caused by the gender. We must think that each person is different – there are good male designers and good female designers. And it’s hard to believe that in the XXI century there is still discrimination for woman. I seriously hope it will be gone in a near future.

What about you? As a woman, have you ever gone by some problem (or advantage) at the job just for being a woman? As a man, have you ever seen any kind of female discrimination? I told you how I feel about this issue, now tell me your experiences and opinions.

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2. Semiotics: A Powerful Communication Tool For Designers
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Today’s article from the Design History series talks about something we’re used to see all the time in our lives but we don’t really know how it began or expanded so much: advertising. It’s an important matter for designers, advertisers, companies and customers. Check that out.

The beginning

One of the first advertisement medium was the “Pennsylvania Gazette” published in 1729 by Benjamin Franklin, containing pages with “new advertisements”. Later, in 1784, the “The Pennsylvania Packet & Daily Advertiser” started as the first successful daily American newspaper. Some newspaper banned advertising, while others not, but about 1870 many of them presented ads with an increscent demand.

Newspaper Advertising Agents

The early advertising agents were basically resellers of spaces in newspapers. The ads in general tried to convince the buyers of the qualities of the product, using images, descriptions and sometimes even testimonials. Only later they went deeper “selling” concepts like success, popularity, etc.

Early Philadelphia Agencies

The first advertising agency was opened by Volney Palmer in 1841. He possibly was the first person to use the term “advertising agency”. In 1869 Francis Wayland Ayer opens the N. W. Ayers & Son. that later bought the Volney Palmer agency and could call itself  “oldest advertising firm in the US”. They offered services for marketers from all the country. Soon agencies started expanding their services including artwork and layout.

Francis Wayland Ayer

The Science of Advertising

About 1902 the field has expanded so much that people started studying psychology for advertising – like Walter Dill Scott, that published “The Psychology of Advertising in Theory and Practice” that year. He was a pioneer in marketing and advertising studies. According to him, the advertiser should understand how the mind of the customers reacts, what attracts them.

In 1905, Earnest Elmo Calkins publishes The Art of Modern Advertising, making a link between advertising and the consumer, retailer and manufacturer with his studies.

Art Direction

With the increasing of advertising in newspapers and magazines, and their need of images as “art” elements, emerged the need of an “Art director”, responsible for the layout. In America, art direction proceeded the profession of graphic design.

American Graphic Design

The American graphic design emerged due to two main factors. One was the advances in reproductive technologies, which made possible the use of design in large scale. Other factor was the arrival of modernist émigrés from Europe, that understood graphic design as methodologies guiding a creative process, which is the basis for graphic design as a profession. Among them were Bayer, Sutnar, Burtin, Maholy-Nagy and Matter. That time clients started being persuaded to minimize text on advertisings, using only the essential.

Some relevant American graphic designers

Paul Rand

One of the biggest influences for graphic design, Paul Rand, born in 1914, contributed with works on corporate identity, prints and ads.

Lester Beall

He was one of the first American designers to have his work published in the known German Magazine Gebrauchsgraphik. He proved to American business that graphic design can solve communication problems and deal with issues like marketing and budget at the same time.

Bradbury Thompson

Known by his good taste and elegance, Bradbury Thompson had a large knowledge of the printing process and knew how to use it well for his designs. He developed the “alphabet 26” or “monoalphabet”, consisted of 26 letters mixing lowercases and uppercases.

Louis Danziger

One of the first Americans to study and teach history of design, Louis Danziger exemplified the diversity of modernism. He worked with different design areas, such as advertising, editorial design, corporate works and exhibitions. One advice he gives to students: “Work, think, feel”.

References and further reading:

Design History

Wait until next week for the last article of the series, about the digital revolution in graphic design.

Related posts:

1. History of Posters – Part I of II
2. History of the posters – Part II of II
3. American Design Awards Semi Annual Design Contest