Hope and Terror

I had a friend recently comment that I should turn my craft blog into a graphic design blog, or an entrepreneur blog since I'm doing more working than crafting. Ha. That's true, but all the good graphic design blog names are taken. And besides, this is craft anarchy, where there are no rules. That basically means I can blog about whatever I want to. That's my way of saying I'm about to rant about work. Again.

I recently was paid a visit from the president of the Chamber of Commerce (ooh - pause for dramatic effect) who sat down with me in a Closed Door Meeting. He asked if I would be his president-elect for his term as president. Which means I'd be the next president. Bewildered blink. I asked if he was sure. He gave me a thoughtful reply of why he chose me. After our lengthy discussion of what it would mean - my commitments and duties - he left asking me to give him an answer by Monday. Not exactly the way I wanted to end my Friday, with a bunch of heavy thinking for the weekend. After discussing it with my husband and business partner, my employees, my friends and family, I'm still not sure what my answer will be. I'm flattered, to be sure - but ego is not the right reason to do anything. On the other hand, the benefits both to my personal growth and to my business is huge. It sort of scares me, and that's one big reason i'm considering it. Being a mom and taking over a business are just two examples of things that terrified me and turned out to be the best things in my life. I have been considering all my current obligations - work, family and the other organizations I have become a part of that all depend on me. Do I have the time to commit to this? I have the potential to be the BNI president next year. I'm the president elect for Rotary which means I will be the president in a year. I can spend the next two years preparing myself for the time expenditure after my experiences being president of smaller things. Maybe these are great stepping stones and learning experiences preparing me for Chamber Presidency. I feel greatly underqualified - especially considering the depth and breadth of the knowledge and experience of the past presidents for over 75 years. But my peers have picked me for these tasks because they believe in me. Maybe they see something in me that I don't.
I recently had a close friend comment that what drew her to me was my charm and charisma. I have a very hard time describing myself with those two words. She was flattered and amazed that I reciprocated her feelings and we've been amazingly close friends ever since. Even despite the fact we live in different provinces we're very close. Perhaps it's time I stopped believing what I've told myself for years. Time to stop believing the lies fed to me by an abusive first spouse. Stop believing the stupid playground bullies and poisonous people I was too eager to listen to for far too long, and start listening to myself. To start telling myself that I am capable and worthy and special.
That's a hard pill for me to swallow, but it's clear that I need to start believing in myself the way others do. I owe myself that much. Respecting myself will be a learning curve. I don't know when the last time I felt worthy was. And a lot of work will have to go in to this. Taking care of my body through eating well, exercising, getting enough sleep and spending time with the people who nourish my soul. Christmas is a perfect time to start this when goodwill towards men and the peace and joy of the season is at its height.
I was sure that owning my own business would change me and help me grow as a person, but I didn't realize how dramatically it would happen. I'm honored to be chosen to represent my business community. I'm honored to take on this responsibility for the only community I've ever known. The more I think of it, the more I realize this is a path I'm meant to take.
I hope I do a good job, I hope I don't let anyone down, I hope to learn many new things, I hope to cherish the experience and gain many new friends. I hope to continue to grow. I hope.
Isn't hope wonderful?

Fate and Destiny? Confessions of a Cynic...

I think I grew up as the worlds most cynical child. Having my siblings subject me to torturous routines of playing games that were terrible, and most would require me being gullible enough to believe them (time and time again) that THIS time they would play nice. Riiight. Things like the game called "Kidnap" that would have them locking me in the shed. Nice game. They'd also play a game that would entail me drinking "potions" made of water and dirt and dandelions to make me invisible. And then, they would convince that that since my clothes were not invisible, i would need to take them off to walk around the neibourhood. Don't even GET me started on the game called Haunted House. That one drove our babysitters to tears.
Yep, I got cynical REAL fast.

Therefore, it was no surprise to me that I became the kind of young adult who did not believe in "One True Love", or "Soul Mates" and I would smile and be slightly jealous of those who did. That type of faith to me was amazing, but untouchable by me. On Valentine's Day, the one who would become my first ex-husband (and only ex husband thus far) claimed I was his soul mate and his one true love. I smiled and rolled my eyes. My second husband was not to fall to those illusions. Ever practical, pragmatic and with the mind of a scientist, he claimed there was no such thing. Ah! Blissful music to my cynical ears! You choose your best match with the options presented to you. If I never came into his life, he'd be just fine. No proclamations of me "completing him" or "changing his life". And this has suited me wonderfully. Who needs that when you're happy with who you're with? No - fate and destiny just wasn't a concept that fit me.

I have been singly career minded since high school. After thoughts of becoming a teacher, then a biologist, then a photojournalist, then a writer, I settled into thinking about becoming a graphic designer. It was a field I fell in love with, and every step I took brought me closer to that goal. Taking classes in high school towards that end, a year off of school to raise the funds for post-secondary, a graf com diploma, and an entry level position designing ads for a newspaper. After getting as far as I could there, I became the graphic designer for a small print shop. I love it. I hated it. I went from part time designer to full time designer, to manager to operations manager before my boss and the owner told me he was selling the shop. I took the plunge and decided to try to buy it. It wasn't without it's challenges. It wasn't "easy", but things seemed to fall into place whenever they needed to, and eight months later, I was signing legal documents proclaiming me as owner.
And now two years later, when the shop is doing well and is moderately successful (after a rather soul crushing economic downturn) I've used the phrase more than once that owning the shop "was meant to be".
What? Those words from a hardened cynic? But it's true. I feel that I am finally, after 32 years of life am in the exact place I needed to be. The place I was (ick) meant to be, and destiny had been preparing me for. How odd to have that concept fall into my lap after so long of not believing.
I am still a cynic. But I do believe that there are things in this world I was meant for. Owning this shop is one of them. Being Kat's mom is another. If I had lived my life the way I was trying to, I wouldn't have had a child at 20. I probably would have decided to skip the whole parenting thing, and it was never a goal of mine to be a business owner. Are you kidding? No way would I ever have planned for those things. But they are two of the things that make me happier than any other thing in the world. And I cannot deny that fate and destiny had a hand in those things.

So, do I now believe in a one true love, or a soul mate now that my eyes have opened up to the concept? Let's just say that I will remain cynically hopeful.

Answers Part Deux!

Okay, here's the answers to the last half of questions in So You Wanna Be a Graphic Designer! I hope you learned a lot from the last post, and will learn even more, since these are less known (but still should be common information for anyone who's posing as a graphic designer!)

7. Name three page layout programs.
Like the last two questions about programs, there's a huge variety of programs out there. I will list the most common and industry standard programs.
- Adobe InDesign. Adobe merged this with PageMaker, which was very popular for a long time, but with the emergence of the popularity of more versatile page layout programs, was changed into InDesign.
- QuarkXPress. Industry standard and my favorite.
- CorelDraw. I beta tested this, and it's come a long way. Can be used for vector illustration, page layout, multiple page documents, and what we use at my shop mostly because it's most cost efficient, talks well to other programs and works best with our Computer to Plate machine.
- Publisher. Okay, I'll receive a lot of flack for this one, but honestly, it's so widely used by the business universe that we have no choice but to print from it. I'll leave the rest of my critiquing about this horrible program at the door.

8. What is DPI? LPI? And the difference between the two?
- DPI stands for Dots Per Inch and is probably the most familiar and most misused measure of resolution. It specifically refers to the printed dots (from a printer, imagesetter or press) that are used to make up an image. The larger the dots, the lower the resolution of the printed image. The smaller the dots, the higher the resolution of the image. DPI is calculated using the number of dots across a linear inch. A screen that has 100 DPI is a much lower resolution than one that has 600.

- LPI stands for Lines Per Inch and is also used to measure the resolution of printed halftones by calculating the dots in an inch. The lower the LPI, the lower the quality of the printed image. The higher the LPI, well, you get the idea. Standard presses will print at approximately 120 LPI. That's the standard we use at the shop (we make adjustments depending on the length of the run, the type of paper, and the actual image that is to be printed.) Newspapers usually run at 85 lpi and magazines are around 133 to 140. The higher the LPI, the less noticable the dots are.

LPI and DPI are a physical measurement of the number of dots on a printed page. When doing graphics on the computer (like Photoshop) dpi is often confused with resolution which is different. Computer graphics have a resolution based on pixels, not dots per inch.

9. What is dot gain?
Dot gain refers to what happens to an image once it's printed on paper. Since paper is absorbant, and when ink is printed on the paper, the paper sucking up the ink leads to the dot growing slightly in size. Think about what happens when you drip a drop of water on your counter top, and then when you drip water onto a paper towel. What happens to the dot of water? The water on the counter will be a bead of one size, the paper towel drip will have been absorbed into the paper towel, and appear larger. Newsprint being low quality and very absorbant paper has a high dot gain. It's one of the reasons a newspaper will be printed at a relatively low lpi. The amount of dot gain must be taken into consideration by the designer, so that the final printed design won't appear too dark or blobby. The newspaper that I worked at previously had a dot gain of a whopping 30%. That meant that screens that were printed at 70% darkened up to a full solid by the time they were printed. Compensation for this was to over-lighten your designs, never design using a heavy screen, and use as few halftones as possible. Print shops have a relatively low dot gain. At our shop, it's about 15%. We find we have to lighten half tones quite a bit to avoid losing resolution, and changing the dpi or lpi aids in that depending on the project. The paper we use is a much higher quality as well, so less ink is absorbed into it, resulting in a lower dot gain. Graphic designers should always get familiar with their printer, and print only at places they are familiar with so they can compensate for dot gain while designing their product, and the most savvy designers will request printing at a specific dpi best suited to their project.

10. What is a bleed? What must you do to ensure your design bleeds properly?
Bleed is the term us printing folk use to indicate when color runs to the very edge of the page. Printers and presses can't print bleeds, because grippers (the fingers that pull the piece of paper through the machine) need to hold on to the very edges of the paper, and printing to the extreme edge isn't possible. In order to get a full coverage look, we must print on a larger sheet size and then cut the paper down to the finished size. Proper bleed allowance (depending on the shop) is a minimum of 1/8" of bleed past the trim area of the design. Bleeds look really nice but are also more expensive because larger paper must be used in the printing, and more time required in cutting the job to it's final size. Bleeds may also require special care, like metal plates, slower running time and more ink, which all add to the cost of the job. I can't count the number of times I've had designers in with their finished artwork that has no bleed allowance. It's very frustrating, especially since when you explain their design doesn't bleed, they all look confused.
What you must have in order to ensure your design bleeds properly is a minimum of 1/8" to 1/4" of "bleed allowance" where the design extends over the finished areas of the design. The file must be saved to the larger size (not the final size of the job, but the size including the bleed allowance) and crop marks must be properly placed so that the production team knows where you want the job to be cut to.

11. What is a gutter?
The inside margins or blank space between two facing pages is the gutter. The gutter space is that extra space allowance used to accommodate the binding in books and magazines. The amount of gutter needed varies depending on the binding method. In saddled-stitched publications the amount of gutter, as well as the outside margins are adjusted to allow for creep. Not to be confused with an alley - which is the space between the columns of text on one page. And it should not be confused with margins, which are the blank space between the edge of the finished document and where the text and graphics on the begin. Bleeds can ignore the margin, but in addition to a 1/8" to 1/4" bleed allowance, most printed designs should leave a 1/8" to 1/4" margin before the design begins. That's a whole lotta unused space! And most designers ignore those rules completely. Which leads to text being cut off, or an unbalanced, uncentered look to the finished product. Which designers will blame on the printers, leaving us shaking our heads.

12. What is production ready (or camera ready) artwork? What must it have to qualify as such?
Production ready (or camera ready) artwork refers to a file that has been completely and properly set up, ready to be put on the press, or printed digitally. All colors have been made properly. Cmyk designs should have no spot colors. A spot color design should have no extra colors or be in CMYK (all which means, color separations are done properly). Resolution should be correct for the method of printing, bleed allowances and margins should be set up properly AND crop marks be applied. I would say that less than 10% of all "production ready" files I receive are actually production ready. And that falls to the responsibility of the graphic designer.

So you should all be more informed of the responsibilities of a graphic designer. You have a lot of work to do! And please stop blaming the printers when your design doesn't go according to your plan - it's in your hands. If you submit a 1" x 2" 72 resolution design with no bleed allowances or margins to be printed at 3.5" x 2" for a business card, you will get a grainy, incorrectly cut, non bleeding card, possibly with the text cut off.

Did you pass the test? I hope so, now get designing!!

So you wanna be a graphic designer?

When I went to school to be a graphic designer, I already had a very good base of knowledge to work from. Three years of Vis Comm in high school, knew how to burn plates, take apart a press and clean it, knew some design programs already and had some knowledge of layout on screen and off. A lot of what I learned in college was building on the foundation of what I already knew. I was probably farther ahead than some of the students who came into the program with less than me. But I think it's fair to say that when we left, my graduating class and I had mostly the same knowledge of graphic design after graduating. Maybe our design abilities differed, but we had the same facts going through our cranium.

I just cannot say the same for designers coming out of schools today.

And maybe it's not their fault. Or the school's fault. As a member of the graphic designer's guild of Canada, we talk about coming up with different certifications for different classes of designers. PGD for a Print Graphic Designer, a WGC for a Web Graphic Designer, MGD for Master Graphic Designer and so on. That way, there will be a professional accredation to specify what we can do, and a governing body making sure we adhere to those rules. Then, if you're looking for a web designer, it's easy to weed out the print designers who just wouldn't be the best fit. And so on.

Problem is, most schools aren't differentiating between the two, and the waters are getting muddy. I've had to explain relatively rudimentary graphic design concepts to professionals working in the field today who call themselves graphic designers. These people shouldn't - at the very least - be working unsupervised in the print industry. Which leads to the question - who is hiring these people? Do they have a design background? Are they choosing candidates with the best skill, or prettiest portfolio? Do the candidates themselves know they're not applying in the correct industries? It's probably a bit of all of the above. The people hiring for the position aren't in a position to be print experts themselves, and are trusting that the people applying for the job know, when that's not the case. Frustrating goes around in a circle, and the end result - the printer (often me) is left cleaning up the mess.

So, I've come up with a handy dandy list of questions an interviewer hiring a graphic designer should ask them. You don't even need to know the answers - just if they don't know, or can't answer one of these questions, you're better off continuing the search.

1. What is the difference between a vector file and a rastor file? Give specific examples.

2. What is RGB color? CMYK Color? Process Color and Pantone (PMS) Color? What is spot color? (And you thought there was only primary colors that made up the color wheel! tsk tsk!)

3. Name three programs for designing vector art.

4. Name two programs for designing rastor art.

5. What is a pdf?

6. What is Adobe? (I swear, if I ask one more graphic designer what file their design is in, and they answer with "Adobe", I'm gonna hit my head with a piece of adobe!)

7. Name three page layout programs.

8. What is DPI? LPI? And the difference between the two?

9. What is dot gain?

10. What is a bleed? What must you do to ensure your design bleeds properly? (if they say cut deeper, RUN!)

11. What is a gutter?

12. What is production ready (or camera ready) artwork? What must it have to qualify as such?

I'll have the answer to these questions in a later post. And I know, I don't have all the questions - these are just the ones that I have to answer on a regular basis. Frustrating, I know. So, all you graphic designers - grab your pencil and take the test! Fun for the whole family!