DiMarco J. Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques
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ixContents
Retouching Basics 169
Type in Digital Imaging Applications 177
Bitmap Filters 180
Layer Effects 181
Final Output for Print 184
Final Output for Web 188
Design Assignment 190
Online Movie Lessons 191
Bibliography 191
Chapter 6 Vector Graphics 193
Chapter Objectives 193
Digital Illustration and Vector Graphics 194
Vector Graphics for Print and Web 194
Vector Graphics Techniques 196
Document Setup 197
Layers and Templates 198
Color 201
Shapes and Paths 208
Typography 221
Final Output for Print 226
Final Output for Web 226
Design Assignment 226
Online Movie Lessons 227
Bibliography 227
Chapter 7 Digital Page Layout for Print 229
Chapter Objectives 229
Page Layout Techniques 232
Document Setup 232
Using Color 240
Text and Typography 245
Working with Images 257
Design Assignment 263
Online Movie Lessons 265
Bibliography 265
Chapter 8 Web Site Design and Development 267
Chapter Objectives 267
Creating a Web Site 269
The Design and Development Process 270
Web Design and Development Techniques 276
Web Design and Graphics Techniques 276
Web Development Techniques 296
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x Contents
Behaviors 312
Uploading Files to the Internet 319
Design Assignment 322
Online Movie Lessons 322
Bibliography 322
Figure Credits 323
Index 327
Appendices and online movie lessons are available at www wiley com/
go/digitaldesign
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Preface
Digital Design for Print and Web: An Introduction to Theory, Principles, and Techniques
was written to help people succeed with digital design. It is a learning product
that incorporates both video lessons and an in-depth textbook written from two
perspectives—that of a student, and that of a teacher.
First I put myself in the shoes of a new designer or design student caught up
in a frenzy of information. The melding of new technology, techniques, and prin-
ciples causes many inexperienced designers to default to honing their computer
skills, rather than establishing their design sense. This is dangerous: it creates
a backlash against the creative process, which requires us to think creatively
and then produce—not the other way around. As tools and technology become
increasingly accessible—and powerful—I see this problem among more and
more students.
To learn design, you need to recognize it and extract its principles for use in
your own work. To be a digital designer, you must marry the principles of design
to software techniques. You are thus engaged in using theory in practice. That
is what this book is about. It will help you discover the principles of design and
understand the most vital digital design techniques used today. Along the way,
you will learn by seeing real-world design examples from highly prominent
designers and artists. Then you will learn by doing, using step-by-step examples
and tutorial movies.
As a teacher of digital design, I have come to realize that I must deliver les-
sons in principles, techniques, and technology. Having only two of the three
components in my lectures jeopardizes the learning experiences of my stu-
dents. Finding teaching resources, especially textbooks, is difcult; most simply
don’t deliver the depth and breadth of coverage needed to teach both theoreti-
cally and pragmatically. When teaching digital design in the past, I have often
been forced to use several books for a single course—or no book at all—simply
because no one book could provide both the theory and practical application
that I felt I must convey to my students. That is why I wrote this book: a text
that can be used in a classroom and that can serve as a valuable professional
resource after the formal learning concludes. This text covers and connects
introductory theoretical design foundations and industry standard techniques
for visual communication problem solving using print and Web media.
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xii Preface
Although the text presents several different industry-standard software
applications, the book is technique driven rather than software driven. The
techniques are applied to digital design problem solving across software titles
and versions. The book aims to provide value to small lab settings that demand
hands-on instructors as well as to larger courses planned around instructor-
driven lectures and demonstrations that encourage experienced students
to explore software techniques on their own. Inspiration is provided through
images from classic and contemporary designers.
Part One presents introductory design and graphic communication con-
cepts and principles. Theoretical coverage includes a concise design overview
surveying communication goals and fundamental design principles, using
historical, professional, and student images of digital print design, Web design,
Web graphics, digital imaging, and digital illustration.
Part Two introduces technical coverage, providing a primer of basic to
intermediate digital design techniques for students of communication design,
graphic design, computer graphics, and media graphics.
Unique Features
Over two hundred historical and professional illustrations of design con- •
cepts, print design, Web design, Web graphics, digital imaging, and digital
illustration from world-renowned designers and design rms as well as
students.
Coverage of theory and practice in one text. •
Online tutorial movies for each chapter to support classroom lectures, stu- •
dent assignments, and lab sessions.
Design assignments for in-class or homework assignments. •
Illustrated, step-by-step techniques. •
A comprehensive connection between theory and practice. •
Critical terms and techniques combined with short treatments to provide a •
thorough primer for new learners.
Advanced production projects online for accelerated students. •
Progression toward print and Web project development. •
Pedagogical tools including chapter objectives, key design concepts, design •
assignments, endnotes, and additional bibliographic resources.
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Acknowledgments
This book was a team effort. Following are the people who helped make it come
together.
The Team at Wiley
I am thankful to the team at John Wiley & Sons who made my vision a reality.
Senior editor Margaret Cummins and her assistants Leslie Saxman and Lauren
Poplawski worked hard to mold my ideas into a publication that would impact
the lives of students and professionals across the world. Margaret walked me
through this project, sharing her wealth of experience and expertise freely. She
challenged me to develop a book that would refresh the digital design publica-
tion market and enable people who read it to learn critical principles and tech-
niques in a way that is clear, comprehensive, and innovative. I also need to thank
senior production editor David Sassian and copyeditor Andrew Miller for polish-
ing the manuscript into a nished work.
Contributors to This Book
I was so fortunate to connect with a wealth of great creative professionals when I
was writing this book. These designers, photographers, and design history icons,
as busy as they are, were kind enough to respond to the requests I sent them for
images of their work. Those images helped make this book beautiful and practi-
cal, and I am grateful to each one of them for their contribution to my small piece
of history.
James Biber of Pentagram Design
Michael Bierut of Pentagram Design
Michael Calandra
Kristen Crawford
Hillman Curtis of Hillman Curtis Inc.
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xiv Acknowledgments
Greg D’Onofrio of Kind Company
John Fekner
Brian Fendt
Kevin Fornito
Michael Gericke of Pentagram Design
Milton Glaser of Milton Glaser Studio
Luke Hayman of Pentagram Design
Kitt Hendricks of Pentagram Design
Julia Hoffmann, Creative Director, Museum of Modern Art (MOMA)
Angus Hyland of Pentagram Design
Don Leicht
Domenic Lippa of Pentagram Design
Alvin Lustig
Elaine Lustig Cohen
Richard Kirk Mills
Justus Oehler of Pentagram Design
Susannah McDonald, Archivist at Pentagram Design
Abbot Miller of Pentagram Design
Micha Riss of Flying Machine
Stefan Sagmeister of Sagmeister Inc.
Paula Scher of Pentagram Design
Jee Won Sin
Tommy Spero of Soul Associates
DJ Stout of Pentagram Design
Lisa Strausfeld of Pentagram Design
Richard Rex Thomas
Steve Watson of Turnstyle
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xvAcknowledgments
Special Thanks
My former student, and now my friend and colleague, Kristen Crawford pro-
vided many of the illustrations and gures in this book, working through my
sometimes cryptic requests. Her tireless dedication to this project was instru-
mental to its success. I am thankful to have met Kristen and value her friendship.
My former students Brian Fendt, Kevin Fornito, and Michael Calandra gra-
ciously provided their photography and artwork for the in-text examples and
learning movies.
Richard Rex Thomas wrote a special appendix on digital photography for the
book. I am thankful to Rex for taking time out of his busy life to give my readers a
chunk of his expertise.
My Mentors
Dr. Frank Brady has given me the opportunity to succeed at the institution that
I love, St. John’s University, and the guidance I constantly need to navigate aca-
demia and achieve my goals. I cherish my relationship with him and am honored
to receive kind mentoring from such an accomplished scholar. I also need to
thank Dean Kathleen Voute MacDonald of St. John’s University, who has sup-
ported my professional projects and research efforts from the beginning of my
journey at St. John’s. Dr. Richard Smiraglia has been a foundation for learning
and taught me how to perform research and write effectively. Finally, my former
professors (whom I now call friends), John Fekner and Rick Mills have guided
me to embrace a life of creativity—something I will cherish forever.
My Students
I am grateful to the many students who inspire me every day and allow me to
pay it forward as much as I can. They make me constantly consider the clarity of
my teaching and my mission in life.
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xvi Acknowledgments
My Family and Friends
Nothing happens in my life without my most important support system, my
family and friends. My wife Kimberly is my partner, my love, and my life. My
boys, David and Jack, bring me joy and pride, and I only hope that I can help
them grow into people who nd true happiness and make a difference in
society.
My parents, John and Frances DiMarco, show me the love and support that
has helped me to pursue my dreams. My sisters, Margaret and Roseann; my
brother Jerry; Gina and Richard; Corinne, Dylan, Tristan, and Ricky; and Alexis
and Joey; Aunt Marie and Uncle Billy are constant sources of support and hap-
piness. I must sincerely thank my extended family who treat me like one of their
own: Karen, whom we miss dearly; Paul and Anell; Paul and Ginger; Brianna,
Tori, Justin, Uncle Richie, and Aunt Chrissie; Jill and Joe; Julia, Jay, and Chris;
Peyton, Josh and Matt; Aunt Barbara and Uncle Vinny; little Vinny and William;
Aunt Cynthia, Brian and Eric; the DeAngelo and Molé families; and nally, our
Babci, Florence Borowski. Our best friends and the godparents to my son, Steve
and Debbie Demeo, are truly special. I am truly grateful to have such caring
people in my life.
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Part One
Theory and Principles
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