Monday, 25 June 2012

CONTRACT- KATHRYN AND I

I have been thinking about contracts that designers sign with clients, so IF I WAS TO SIGN A REAL CONTRACT with MY CLIENT it would look like the one below I have experimented with: 



CONTRACT BETWEEN MYSELF AND Kathryn O'Kell 
Before proceeding with my work I need you to agree with this contract 

MY AGREEMENT:
I, Kashka Neri, agree to create your brand for your business identity including: logo, business card, letterhead as well as logo stamp for you to use on your artwork. I will provide high quality work. If time permits, I will create a photo book so to increase your brand identity to a higher and more sophisticated level.
I promise to deliver your finished design in digital image form; stationary items to be printed on quality paper upon full payment from you. 

CONCEPTS:

LOGO- Within “x amount of days’ of receiving your details and ‘x amount of’ deposit I will create “x amount” of different logo concepts for you to view. When I receive your feedback on the design I will make necessary changes until your complete satisfaction.

LETTERHEAD, BUSINESS CARD, COMPLIMENT SLIP– I will show you “x amount of” different ideas for letterhead and business card designs for you to view. When I receive your feedback on the design I will make necessary changes until your complete satisfaction.

METAL HAND STAMP – I will research variety of companies and send you a quote given together with the concept of the stamp for you to approve.

PHOTO BOOK – Within ‘’X amount of’ days I would like to see you in person and discuss the idea for your photo book, amount of photos used, and the price. I will send you photos via e-mail for you to agree which one can be used and their order. I will use a Printing Company to create the book – it usually takes up to 2 weeks for the book to arrive. Please note that sometimes while processing the book there might be slight colour modifications. I will send the book to you by post by recorded delivery/or in person if possible.

FILE FORMATS - After finalizing the design of your logo, letterhead I can to deliver the designs to you in digital form: png. and/or jpeg., gif., ai., eps.file format if you wish.

OWNERSHIP – I give you the right to use your design in all media used for promoting your business. I ask you if your new logo image and business name can be displayed on my website purely for my own business promotion purposes.

I own the rights granted under this agreement, and that the rights granted do not conflict any other agreement.

YOUR AGREEMENT:
You…. Agree to all the above designs and payments: deposit “of X aount”to be paid prior showing you my concepts and ideas, and remaining fees to be paid by you after the designs have been approved by you but before the deliverance of it to you.

OWNERSHIP – I understand that the final designs belong to Kashka Neri. In case of termination of this agreement I understand that Kahska Neri owns the designs and all initial concepts created, and has the right to use, exhibit, complete and sell the designs if she chooses.

USE OF DESIGNS – Once I have paid in full, I understand that I have the right to use them in all media to promote my business and that Kashka Neri has the right to display these on her website or in print, for her own business promotion. I give my permission for her to use my full name, and my designs for testimonial purposes.

RIGHT TO MODIFICATIONS: I understand that I have no rights to modify the final designs in anyway except to change their size for printing or digital display purposes. In case of modification I will contact Kashka Neri on first instance via e-mail or in writing in order to make changes and I understand that she will require additional payments. I also understand that she might not choose to do the alterations and if that will be the case I might use other graphic designer. 

DELAYS – I agree to allow Kashka Neri extra time if she becomes ill, or when the events are beyond her control: theft, computer failure, accidents.  

TERMINATION – I have the right to terminate this Contract if Kashka Neri fails to complete her work within 90 days. Unless discussed otherwise. 
If terminated, Kashka Neri will return one half of the deposit fee, and I cannot claim any other additional expenses based on the failure to complete the designs. 
This contract will be automatically terminated upon death of Kashka Neri and no additional expenses or claims can be claimed.

FINALLY – before you sign this contract please, make sure you understand all of the above. If you would like any changes, please contact me with your suggestions.
If you accept the terms, please sign it and make the deposit of ‘X amount of money” (or 50% of designed package)  into my “x”account. 



SIGNATURE: ………………. DATE:…………….





Wednesday, 20 June 2012

SWISS STYLE - MY KIND OF STYLE

I have always been inspired by minimalism in design, and such I found in Swiss Design. Simplicity, clarity and legibility are one of the factors that I pay a lot attention to.

I believe that this approach is best and results are astonishing! Attention to details, precition and creativity so to create harmony also play a big role in such Legacy.
 
http://www.graphicmania.net/understanding-swiss-style-graphic-design/
"Understanding Swiss Style Graphic Design
The Swiss Style of Graphic Design, as its name itself implies was developed in Switzerland during the 1950’s and became popular worldwide because of its precision, clarity, readability and typography.
Understanding Swiss Style Graphic Design
It is also known as the International Typographic Style. It became a new revolution in the world of graphic design and was instantly adopted by artists all over the world.

History and Background
This style originated in Russia, Germany and the Netherlands during the 1920’s and it spread to Switzerland after the World War II. The world-class Swiss designers improvised this design and came out with a new wave of graphic language. This was evident in not only the posters, but also was prevalent in designing train tickets, travel pamphlets, drug labels and even bank notes. This style, otherwise known as, “Neue Grafik” encompassed a formal discipline and had a profound impact on the world of graphic design for the next three decades. It continues to inspire graphic designers even today.

Swiss Style Design Elements and the Web
Early Swiss style artists used this form of design to capture the attention of users for posters and brochures. In the process, they had created the basic forms of user interface and it is only logical that Swiss design is extended to the web. The central element of Swiss style design is uniformity. All design elements adhere to geometric shapes and grid lines. This has been interspersed with text, patterns, colors and photographs to create abstract and unusual images. Some of the Swiss style elements that can be used to design a web page to look attractive are grids, white spaces, a defined structure and sans-serif fonts.

Grid lines
Grid lines form the foundation for Swiss style design and they present a sense of uniformity to the viewers. It serves as a framework for designers to organize their information and make it more presentable to the viewers. When grids are used, it gives a defined structure to the page and makes it easy to group related information. It also gives an overall balance to the entire design and makes it appealing as well as user-friendly.

White spaces
White spaces are essential for any design because it helps the mind perceive different groups of information. The right amount of white spaces at the right places can create a first good impression and this can motivate any visitor to read through the web page and linger on it for a longer period of time. So, white spaces are vital for a good design and the Swiss style design lays a lot of emphasis on it. This style advocates the use of extensive white spaces between texts to differentiate them and to give a boost to the overall quality of the design. It also suggests the use of white spaces between images to enhance the look of the page.

Structured Design
The cornerstone of Swiss style is structured design. Websites that follow this style should use a high amount of definition lists and other HTML structure elements. There are a wide variety of uses for these elements and most design styles tend to avoid using a good part of these elements. However, these elements are vital for Swiss style and the more you incorporate, the better will be the outcome.

 - Minimalistic
The Swiss artists are well-known for their minimalistic and elementary approach to design and this design naturally follows that trend. This design is all about simplicity expressed in the most attractive manner. Designs based on the Swiss style use the least number of elements required to create the best designs.

 - Fonts
Fonts are the most defining aspect of Swiss style. The developers of this style believed that an attractive image can be created using precise words, the best typeface and the designs will be an ample proof that they will hit the bull’s eye!
Most Swiss artists prefer to use the sans-serif typefaces to give a sense of clarity and universality to the design. Different font sizes and typefaces were used in a single design to bring more depth and to act as a true avenue of expression. Also, differing font sizes were used to group different kinds of information and it added more readability to the design.

 -Images
Images and photos are surprise elements of the Swiss design. The Swiss artists felt that photos are better ways to portray an idea than illustrations and drawings. It also opened up numerous possibilities for the designers to incorporate unique photos into their design. This improved the aesthetics of the design and brought in a unique versatility to it.

examples:
Understanding Swiss Style Graphic Design

Understanding Swiss Style Graphic Design

'''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''

other website where research was used: http://www.smashingmagazine.com/2009/07/17/lessons-from-swiss-style-graphic-design/

similarly highlights the history and underlined the main characteristic of Swiss design:

Lessons From Swiss Style Graphic Design
 ''.....................As a result of that, Swiss Style artists tend to put their artistic efforts in that the content they are conveying delivers its intended message in a clear, unobtrusive fashion. One can make the point that they were thinking, in a broader sense, about usability long before the web even existed. How can we not learn from these great masters?

Uniformity and geometry
Even a quick study of classic Swiss style works reveals a strong attention of graphic designers to uniform design elements and strong geometric shapes. Graphic artists have experimented with abstract geometric patterns, uncomon color combinations, text manipulations and striking abstract visuals that were used to clearly convey their purpose in a very remarkable way.

 

Sunday, 17 June 2012

RESEARCH - LAYOUTS,


THIS IS A VERY INTERESTING BOOK FULL OF LAYOUTS, SYMMETRY AND APPEALING OUTLOOK. I CAN LOOK INTO MANY MAGAZINES ABUT THIS BOOK OFFERS COMBINED IDEAS - ALL-IN-ONE! IT CONTAINS TEMPLATES, THINKING STYLES AND SPATIAL SOLUTIONS TO MANY DESIGNS. I LOVE THIS BOOK! HERE ARE SOME EXAMPLES FROM IT:




Friday, 15 June 2012

RESEARCH - BUSINESS CARDS

To fulfil criteria of a graphic designer these WILL BE POINTS FOR ME TO REMEMBER WHEN CREATING BUSINESS CARD FOR MY CLIENT.

FROM: http://www.greatfxbusinesscards.com/articles/business-card-retention.htm

8 Reasons Why People Retain Business Cards... How to Get Them to Keep Yours


by Diana Ratliff

Do you remember how proud you were the first time you saw your name in print?

Most entrepreneurs feel that same flush of pride when they gaze on their new business cards. That small piece of paper represents years of planning and effort and hard work and dreams. The thrill of seeing "your name in print" on a business card is hard to beat.

Unfortunately, other people couldn't care less. Your business card, the one you're so proud of, is just another advertisement... another piece of clutter to file. It's no more or less important than any of the many business cards that cross a prospect's desk at any given point in time.

The psychology of business cardsHow do you make sure that your card is one of the few that attracts attention, gets kept, filed, and actually used when your prospect needs your product or service?

It pays to think about the reasons people keep cards to begin with. Often, it's not for the reason you expect. Understanding this critical concept can dramatically affect the design and ultimate effectiveness of your card.


Let's say that you install and maintain swimming pools. You meet Nancy Newcomer and have a great conversation about landscaping around in-ground pools. You're eager to conclude the conversation by giving her your business card because she certainly displays a lot of interest in your service. She's a "hot prospect" for sure -- Not necessarily.

Nancy could just as easily be asking because her neighbor has a pool, or because her mom had a bad experience when they installed their pool, or because she's always liked to swim and loves plants too, or because she collects business cards and doesn't have one with a pool on it, or because she's new in town and you're the only friendly person she met today.

In fact, according to Dr. Lynella Grant, author of "The Business Card Book", there are eight reasons that someone may decide to keep your business card.1) As a link to a potential customer or client.

Let's say you're in network marketing, and John Johnson mentions that his wife used to be in MLM, too. She liked the business model but just wasn't happy with the company. Odds are you'll keep John's card because it's a means of contacting John's wife about your own business opportunity.
2) As a link to a resource or a supplier.

If you're in the construction business and meet someone who sells hard-to-find lighting and fixtures, you'll probably keep their business card.

3) As a link to a colleague.

Many business people keep business cards of colleagues and competitors. Perhaps you refer business to each other during busy periods, or work together as members of an industry association.

4) For social, non-business reasons.

Maybe you couldn't care less that Kelly sells car insurance. She's awfully cute, though...

5) For referring business - it may be passed on to someone else.

If your neighbor has had a hard time finding someone who washes windows, and you meet someone who's just started a residential window washing service, you'll probably accept their business card and pass it on to your neighbor.

6) To update information they already have.
Maybe they have an old card of yours with your old phone number on it, or without your website address.7) Just in case.

Some people have a hard time parting with anything because they might need it someday.

8) Something likable, unusual or useful about the person or their card.

I kept the business card of a police officer named "Sarah Justice" just because I think she's got a great name for her line of work (it's called an "aptronym"). Other people keep business cards that contain useful information such as amortization schedules or lists of emergency phone numbers.

Keep these reasons in mind when designing your card. Make it clear what you do and who you do it for. Your card may be passed on to someone else, or the recipient may be trying to remember you later after a long day of meeting people at a convention.

More marketing strategies:

  • Add useful information to the back of your card.
  • Get in the habit of jotting notes on the back of business cards ("Likes football. Send catalog.") Encourage card recipients to do the same.
  • Ask people who receive your cards to pass them on and reward them for referring business.
  • Develop and memorize a catchy tagline to say as you hand out your card, especially if your card isn't particularly unusual or useful.
Now that you know why they are retained, use this knowledge to create business cards that will be noticed, kept, and used for years to come.




*************************************

RESEARCH - TYPES OF PAPER

WOW! I ACTUALLY DID NOT KNOW THAT THERE IS SUCH A VAST VARIETY OF PAPERS!
SHOCKING!!! I SUPPOSE ALL DEPEND WHAT IS THE PURPOSE, AND WHAT HAS BEEN ADDED TO IT!
I WOULD LIKE MY CLIENT TO HAVE PAPER THAT PERHAPS HAS SOME TEXTURE IN IT - TO REPRESENT THE WORK THAT SHE DOES - PERHAPS WITH SOME TRACE OF WOOD IN IT, AND THE COLOUR I WOULD LIKE TO BE LIGHT BEIGE, NOT PARTICULARLY WHITE

FROM: http://www.oldandsold.com/articles10/paper-making-14.shtml


WHEN starting to write this chapter the main object was to give the reader a general idea of the variety of products made by the paper industry and the multiplicity of their uses. A mere list of names would be of some help, but it would be insufficient, and might even be misleading in some cases; for example, "chipboard" is not a board made from chips, and "fish paper" has nothing to do with fish, but is used in electrical work. Rating the products ac-cording to their price range would also be unsatisfactory, for this is constantly changing according to economic conditions. Use considerations seems about as bad as a list of names, for it tells very little because one paper may serve so many purposes, or so many different papers may be used for the same work. Classification according to physical and chemical properties is objection-able because there are so many intangible characteristics in paper which are not subject to close definition. Finally the list might be made on the basis of the history of the papers, such as the raw material used, the manufacturing processes employed and the type of equipment and paper machine employed. This would lead to endless complications and because of rapid changes in methods of manufacture it would soon be obsolete.
Since no one of these methods seemed entirely suitable a little has been taken from each and the following list of products and definitions made up on the "hit-or-miss" basis. In doing this, great help was obtained from "The Dictionary of Paper," published by the American Paper and Pulp Association in 1951, and from `A Dictionary of Paper and Paper-Making Terms" by E. J. Labarre published in Amsterdam in 1937. No claim is made that the information which follows covers the field at all completely, but it is safe to say that the errors of omission are more numerous than those of commission. To make it as complete as might be desired would be to duplicate the dictionaries cited. It is hoped that it may be of some help to the uninitiated reader.
ABRASIVE PAPERS. Heavy, strong, hard-sized rope or kraft paper, coated on one side with glue and some abrasive material, such as flint, garnet, aluminum oxide or silicon carbide, in varying degrees of fineness to suit the work to be done. For wet use the adhesive may be a varnish-resin compound. Sold under various trade names as Sand paper, Flint paper, Emery paper, Garnet paper, Carborundum paper, etc.
ABSORBENT PAPERS. Soft, loosely felted, unsized, spongy papers which have the property of absorbing water or special chemicals. Included are blottings, filter papers, toweling, matrix paper and papers used for impregnating with resins, for vulcanizing, and for the manufacture of vegetable parchment.
ALBUM PAPER. A heavy cover paper made in solid colors, especially black and gray, and used in photographic albums. It requires a soft surface which will take paste without cockling, and freedom from materials which will discolor prints.
ALKALI-PROOF PAPER. A paper, either white or colored, which does not discolor when in contact with alkaline materials, such as soap. Careful selection of fibers and coloring matters is necessary, but no particular strength requirements need be met. Many book papers are sufficiently alkali-proof and glassine and waxed papers are also satisfactory.
ANTIQUE PAPERS. Any paper with a rough surface resulting from the use of press felts with long nap, and run with little pressure on the presses and calenders. No particular fiber furnish is implied by this name.
ANTI-TARNISH PAPER. A term originally applied to tissues used for wrap-ping silverware, but now used for all papers so prepared that they will not rust or discolor razor blades, needles, silverware, etc. Various fibers are used and weights of paper made; the chief requirements are freedom from acidity and reducible sulfur compounds. Copper salts or other inhibitors are sometimes used for silver tissues.
ART PAPER. An English term applied to a coated paper or board. In America it may mean a coated paper or a drawing paper with a high finish and smooth surface.
ASBESTOS PAPER. A fire retardant and heat insulating paper made chiefly from asbestos fiber on a cylinder machine. Generally not over 0.06 of an inch thick.
ASPHALT PAPERS. Under this term are included papers which are coated, saturated or laminated with asphalt or similar bituminous material. Among them are sheathing paper saturated with asphalt; duplex water-proof which consists of two sheets of paper made to adhere by a layer of asphalt; house sheathing paper which is saturated with more than its own weight of asphalt, then coated on both sides with asphalt and finally dusted with talc; roofing paper, which is generally a soft, porous, rag paper saturated and coated with asphalt and with crushed slate or other grit embedded in the asphalt surface.
BAG PAPER. Paper used for making bags for use by grocers is normally of kraft paper, the weight depending on the size of the bag. Many other types of paper are employed for other kinds of bags, such as greaseproof for salted nuts; water resistant paper for garbage bags; bleached paper for candy bags, etc. The term does not denote any one kind of paper or any special strength requirement.
BARYTA PAPER. A paper coated with barium sulfate to give a smooth, low-gloss surface; used chiefly as a base for photographic emulsions.
BASIC SIZE. The trade custom for size of sheet and number of sheets in a ream; it is used for calculating the basis weight. A few of the specifications are as follows: 25 x 38 inches, 500 sheets for Bible, book, gummed and offset papers. 24 x 36 inches, 500 sheets for glassine, news, hanging, poster, tissue, waxing, and wrapping papers. 20 x 26 inches, 500 sheets for cover and box cover papers. 17 x 22 inches, 500 sheets for bond, ledger, manifold, mimeograph, railroad manila and writing papers.
BASIS WEIGHT. The weight in pounds for a ream of paper cut to a definite size—generally that noted under "Basic Size." " In Europe and South America the weight is expressed in the metric system as grams per square meter (1 gm. per sq. m. = 0.678 lb. per rm.-25 x 38-500).
BIBLE PAPER. An opaque, light weight, printing paper for use where low bulk is an essential, as in Bibles, insurance rate books, encyclopedias, etc. The basis weight is generally from 14 to 30 pounds (25 x 38-500); the preferred fiber stock is linen or hemp, very carefully beaten to fibrillate rather than cut it; and titanium dioxide is often used as a filler. This type of paper was developed in England and first known as Oxford India paper.
BLANKS. A name applied to thick cardboards, coated or uncoated, pasted or unpasted, and made in standard thicknesses with either white or colored liners. They should have maximum smoothness of surface and stiffness. They range from 0.012 to 0.078 of an inch with corresponding ream weights of 120 to 775 pounds (22 x 28-500). Their use is for calendar backs, signs, and window displays.
BLOODPROOF PAPER. A strong wrapping paper, hard sized with wax, or otherwise treated, to render it resistant to blood; used in stores on scales where meat is weighed, and for separating layers of meat in a package.
BLUEPRINT. The base stock for blueprint paper must be well-formed and have a good surface, good wet strength and, even though well sized, have a uniform surface absorbency. A prime essential is freedom from chemicals which would affect the sensitizing materials. Good papers of this type cannot be made without special precautions in the paper mill.
BOARDS. The difference between paper and boards is not sharply defined, but in general boards are heavier, thicker and more rigid than papers. The varieties of board are almost as numerous as those of paper, and they may be made on either a cylinder or a fourdrinier machine. The materials used in their manufacture are extremely varied and many are not sufficiently purified for use in high grade papers. Boards are known by various names which may indicate the name of the material used, the purpose served, the nature or appearance of the board, the name of the inventor, or even some fancy name. On the other hand the name may be misleading as, for example, "chipboard" which is not made from chips, but from old waste papers. Boards are seldom specified by ream weight, but are designated by their thickness in "points," a point being a thousandth of an inch. They are used for innumerable purposes, with appropriate specific names.

BOND. Originally this term was applied to papers of high strength, permanence and durability such as those used for government bonds and legal papers. It now includes a wider variety of papers for business letterheads, forms, etc. Bond papers are essentially writing papers, so they must take ink well and have good erasing properties, but as most of their uses involve some printing, this property is also of importance. The fibers used for the best grades of bond paper are from rags, but many grades are made from high-grade bleached chemical wood pulps.
BOOK PAPER. This general term covers both uncoated and coated papers with the characteristics required for printing purposes, with the exception of newsprint. The fiber composition, the weight per ream and the surface finish vary greatly and are adjusted to suit the kind of printing to be done and the requirements of the particular job.
BREAD WRAPPERS. A thin, waxed paper, generally made opaque by titanium dioxide and printed with the desired characters. The basis weight is about 30 to 35 pounds, including 9 to 10 pounds of wax, and the paper is sold in sheets or rolls.
BRISTOLS. A name given to a cardboard of 6 points or more. First made as a pasted board in Bristol, England.
BUILDING PAPERS. Papers produced from strong fibers ranging from rags to pulp screenings, and used in the construction of buildings as sheathing and under floors.
CABLE PAPER. A strong paper suitable for cutting into narrow strips and winding on wire as insulation. High tensile strength is essential.
CANDY TWISTING TISSUE. A light-weight paper, generally waxed for wrap-ping candy kisses, taffy, etc.
CARBON TISSUE. A tissue of 4 to 10 pounds weight, used for coating with carbon black or other coloring matter in a vehicle which is usually wax or oily material. The final paper is CARBON PAPER and is used for making duplicate copies by pen, pencil or typewriter.
CARTRIDGE PAPER. Paper employed for making the tubular section of shot-gun shells. It is made on a cylinder machine, from 0.008 to 0.012 of an inch thick, unsized and lightly calendered.
CATALOG PAPER. A light paper, either English finish or coated, usually made with a considerable proportion of groundwood, and used for mail-order catalogs, telephone directories, etc. Uniformity of weight, opacity, finish and formation are requisites.
CHART PAPER. A paper with the characteristics of bond or ledger papers. It must have good printing and erasing properties and low expansion and contraction with changing humidities. Used for making charts and graphs.
CHECK PAPER. A bond paper often treated with chemicals or dyes to make alteration of writing difficult or impossible.
CHROMO PAPER. Any paper or board which is especially suitable for printing with colors; the term is generally applied to coated papers.
CIGARETTE PAPER. A strong tissue of uniform, close texture, used to cover the tobacco in cigarettes. It is generally made from linen or flax tow which has been very highly beaten, and usually contains from 15 to 30 per cent of calcium carbonate filler.
COARSE. This term applies to wrappings, towels, tags, toilet tissues, gummed tape, etc., to distinguish them from FINE PAPERS, which include book, bond, ledger and cover papers.
COATED. A term applied to any paper or board whose surface has been covered with a coat of adhesive and mineral pigment. The term is some-times applied to lacquered and varnished papers.
CONDENSER TISSUE. A very thin paper of uniform thickness, good formation, and especially free from conducting particles. Used as a dielectric between the foils of condensers.
CORRUGATED PAPER. Paper which has been passed through rolls with alternate ridges and grooves which run in mesh with each other, and give the paper a permanently fluted contour. Such paper or board may be used as a wrapping or it may be faced on one or both sides to form a sturdier structure for heavier packing or cartons.
CREPED PAPER. Paper which is given a rough, crimped surface by crowding it against a doctor blade on a press during its manufacture, generally while in the wet condition. The process shortens the web in the direction of its length and produces a soft, pliable sheet which will stretch very greatly before breaking.
CURRENCY PAPER. A bond type paper used for printing currency, bonds and government securities. In the United States it is made from new rag cuttings, is tub sized with glue, loft dried and plate finished. It must have high tensile and folding strength and exceptional resistance to wear.
DEADENING FELT. A very heavy paper made from rags and old papers and used in construction work to keep out drafts and deaden sounds.
DECALCOMANIA PAPER. An unsized paper of smooth, uniform finish, used as a base for the decalcomania coatings of starch and gum arabic. After printing the print may be transferred by soaking the paper in water, and slipping the print with its gum backing onto the article to be decorated.
DECKLE EDGE. The feathery, untrimmed edge of a sheet of paper formed by the flow of the stock against the deckle strap, or imitated by means of a jet of air or water. The term is also applied to paper showing such an edge.
DRAWING PAPER. A general term applied to paper used for pen or pencil drawing. There are numerous grades for different types of work and the fiber composition ranges all the way from rag stock to groundwood.
DUPLEX. A term applied to papers or boards differing in color, finish, or texture on the two sides. Such differences may be obtained on the paper machine, during finishing, or by pasting.
EGG-CARTON BOARD. A board made from old papers used for making car-tons for holding eggs. It must have good folding properties.
EMBOSSED. A term applied to a paper or board on which a design has been impressed by passing between an engraved roller and one of soft, compressible material. The effect is also obtainable by pressing the paper between strong, coarse fabrics.
ENVELOPE PAPER. Because of the wide variety of envelopes, this term covers a large number of grades of paper which fulfill the demands for strength and writing qualities.
FEATHERWEIGHT. A term applied to light weight papers, but more especially to those of extreme lightness in proportion to bulk.
FILTER PAPER. An unsized, porous paper used for the separation of solid particles from fluids or gases. It comes in many grades of porosity, chemical purity and fiber furnish according to the work it has to do.
FINE PAPERS. Papers of the grades used for writing and for book printing. Included are bond, ledger, cover and book papers.

FIREPROOF. A term applied to paper so treated that it will not burn with a flame, though it will char.
FLINT GLAZING. A method of imparting a very high polish to paper, especially coateds, by rubbing with a smooth, polished flint.
FLOCK PAPER. Paper prepared by covering the whole or a part of its surface with an adhesive and dusting the surface while sticky with powdered fibers of various kinds.
FLY PAPER. Paper coated with a permanently sticky material to kill flies by entanglement; or treated with a poisonous substance and a fly attractant, to kill by poisoning.
FOIL PAPER. A paper to which a metal foil is laminated.
FOLDER STOCK. Board or bristol of high tearing strength and stiffness, and good folding properties; used for folders in filing cabinets, etc.
FRUIT WRAP. A lightweight tissue used for wrapping fruit for shipment. Sometimes treated chemically to retard decay of the fruit with which it is in contact.
GLASSINE. A very dense, semitransparent paper, generally made from chemical woodpulp which is beaten to give a high degree of hydration. The paper is grease resistant, not readily penetrated by air, and if waxed is highly resistant to moisture vapor. It is used to wrap foods, tobacco, chemicals, etc., and for purposes where transparency is helpful.
GRANITE PAPER. A paper containing a small percentage of deeply dyed fibers to give a characteristic mottled effect.
GREASEPROOF. Any paper which has been treated in any way during its manufacture to make it resistant to the penetration of grease or oil.
GROUNDWOOD PAPERS. Any paper containing a substantial proportion of mechanical wood pulp. Standard newsprint contains 70 per cent or more, and groundwood book papers from 20 to 75 per cent.
GUMMED PAPER. Any paper coated on one side with an adhesive, such as fish glue, dextrin or animal glue. Various kinds of paper are used according to the use requirements such as labels, sealing tape, etc.
HANGING PAPER. The raw stock used in making wall paper. The converter usually coats it with a ground coat of clay, and then prints it with any decorative design desired.
HEAT-SEALING PAPERS. Papers coated or impregnated with material which becomes adhesive on the application of heat. Paraffin waxed paper is self-sealing; varnished or lacquered papers may be made heat sealing by proper additions to the lacquer; and papers coated with resin compositions which are activated by heat are widely used.
IMITATION ART. Printing paper with a high finish, prepared by loading very heavily with clay and calendering very hard, usually with a water finish.
INSULATING BOARD. A type of board used for interior walls and ceilings. It should be moisture and fire resistant, have strength but low thermal conductivity, and be insect and vermin resistant. Such boards are made from a large number of fibrous materials and sold under numerous trade names.
JAPAN PAPER. An imitation of the Japanese vellum paper in which the fibers are very long and have a very irregular formation, giving the surface a characteristic mottled effect. Used for greeting cards, novelties and artistic printing of various types. The real Japanese paper is made from very long native fibers, such as paper mulberry, mitsumata, etc.
JUTE PAPER. Any paper made from jute fiber or burlap waste. The fiber is long and the paper has high strength and good folding properties. The name is becoming misleading because of its application to fiber furnishes which contain little or no jute.
KRAFT. A term originally applied to very strong papers made from pulp cooked only lightly by the sulfate process. It has been extended to include all grades of pulp cooked by this process, and to most of the papers made from them, but its most generally understood meaning is that of a heavy, coarse, strong, dark colored paper used chiefly for wrapping purposes.
LAMINATING. In the paper industry this applies to building up a thicker board or paper structure by combining two or more layers with an adhesive.
LEATHERBOARD. A board made for use in shoes as counters, heeling, inner-soles, etc. It may or may not contain leather waste in its fiber furnish.
MACHINE GLAZED. Applies to paper made on a Yankee drier, which has a high glaze on one side and a rough finish on the other.
MANILA. This term originally applied to paper made from manila hemp. It now has no significance as to fiber furnish, but is more often used to designate a color resembling that of the paper originally made from manila hemp rope.
MAP PAPER. Paper used for making maps must be subject to minimum change in dimensions with moisture to avoid poor register of colors. Wet strength properties are often demanded.
MATRIX PAPER. A bulky, absorbent paper used for making molds for casting printing plates. It must have high compressibility and strength when wet, and become rigid and hard when molded and dried. It is sometimes made by allowing a thin web to wind up on the cylinder of a wet-machine and cutting it off when of the proper thickness.
MUSIC-ROLL PAPER. A hard, tough paper resistant to changes in dimension with changing humidity and capable of being perforated cleanly and sharply. Used for player pianos and organs.
NEEDLE PAPER. A black wrapping paper of the anti-tarnish class.
NEWSPRINT. The type of paper used in printing newspapers. Weight per ream 30 to 35 lb. (24 x 36-500); fiber composition at least 70 per cent groundwood and the rest unbleached sulfite.
OATMEAL PAPER. A hanging paper in which fine sawdust is added to the fiber furnish.
OFFSET PAPER. Paper made for printing by the offset lithographic process. It may be coated or uncoated and must be strong enough to resist the pull of the tacky types of ink used.
ONIONSKIN. A lightweight, bond-type, thin and semitransparent paper used for duplicate copies of typed matter to save filing space.
PAPETERIE PAPERS. A class of papers for greeting cards, or for writing, in which case they are usually cut to size, boxed and sold for use in correspondence.
PAPIER-MACHE. Pulp suitable for molding or die-cutting into various articles of commerce. Generally made by boiling waste paper with water and glue and treating the semi-dried product with linseed oil.
PARCHMENT. A sheet of writing material made from the skins of goats or other animals. Vegetable or imitation parchment is made to resemble animal parchment by passing a sheet of unsized, pure fiber paper through a bath of sulfuric acid and then washing it very thoroughly and drying. The acid gelatinizes the surface fibers and the dried surface is grease-proof, has a high wet strength and is very resistant to disintegration by water and many solutions.
PATENT COATED. A term applied to a board which was lined on one or both sides with a white stock while run on a cylinder machine. It is not a coated grade.
PHOTOGRAPHIC PAPER. The base paper for making sensitized paper for photography. It must have good wet strength and exceptional chemical purity as well as very even formation and surface.
PLATE FINISH. The surface obtained by placing sheets of paper between polished sheets of zinc or copper and then passing a pile of these between rolls which apply high pressure. The finish varies greatly with the pressure applied and the number of passes given.

LAYING-CARD STOCK. A stiff board, usually made by pasting sheets of fourdrinier paper, and given a coating which will take a high polish.
POSTER PAPER. Paper especially suited for billboard work. It must have strength, both wet and dry, be fast in color, and free from curl when wet by the paste used to attach it to the board.
PROOFING PAPER. This term applies to such different products as a high-grade coated for making engraver's proofs, and a cheap book or news-print used for galley proofs.
RAG-CONTENT PAPERS. These contain a minimum of 25 per cent rag fiber. They are usually made with 25, 50, 75 or 100 per cent rag fiber.
REINFORCED PAPER. A duplex, asphalt laminated paper with string, sisal, synthetic fiber or other reinforcing material embedded in the asphalt. Also a paper with cloth on one or both sides.
RICE PAPER. A non-fibrous sheet made from the pith of a tree which is cut into a thin layer of ivory-like texture by means of a sharp knife. Not a true paper.
STRAWROARD. A board made from straw which has been chemically treated, generally with lime, and then made into board as usual. It is a coarse, hard board used for boxes and corrugating purposes.
TISSUE PAPER. In general this term applies to any light, gauzy paper weighing less than 18 pounds (24 x 36-500). Used for many purposes and sold under various names.
TWISTING PAPER. A paper of high tensile strength in the machine direction which is cut into narrow widths and spun or twisted into yarn or twine.
VELLUM. A term used more in respect to finish than as a paper grade. It is generally applied to strong, cream-colored paper made to resemble parchment.
VULCANIZED FIBER. This is a hard, dense board used in electrical work and for boxes, trunks, etc. It is made by treating cotton paper with zinc chloride and winding it up to the desired thickness; it is then cut off, thoroughly washed, dried and finished. Thicknesses up to 2 inches may be produced.
WATER FINISH. A very high finish applied to board or paper by wetting the surface as it passes through the calenders. The surface is not as uniform as that of a supercalendered sheet, but is more compact and glossy.
WAXED PAPER. Paper which has been treated with wax either by passing it through a bath of the wax and at once chilling it by cooling rolls (wet waxing), or by passing through rolls as soon as waxed so that the wax is driven in and the paper feels dry (dry waxing).
WILLESDEN PAPER. Paper made waterproof by immersing in a bath of cuprammonium hydroxide, washing and drying. The treatment partially dissolves and gelatinizes the surface and the final paper is parchment-like, tough, waterproof, rotproof and distasteful to insects. It is used for roof covering and insulating purposes.
****************************
 

RESEARCH - WHAT'S IN THE PORTFOLIO?



While anyone with a computer and a working knowledge of Quark or Photoshop could call himself a graphic designer, truly talented freelance graphic designers have portfolios to back up their experiences. Confused about what skills they should possess? Use the following guide: 
A beginning graphic designer should have, at minimum, comps and art-school drawings. Ideally he or she should also have black & white or 2-color printed flyers, postcards, or mailers.
Second-tier graphic designers should have originally designed logos in their portfolios as well as the things a beginner should have.
More experienced designers will have various bindings, die-cuts, varnishes, inserts, and possibly complex packaging designs on top of all of the things listed above.
The top-level designers have usually worked for Fortune 500 clients or perhaps has launched the style for major brand products, so their portfolio should reflect this.
One way to keep the freelance graphic artist jobs rolling in is to take the time to write up a brief newsletter. Let your clients know what you have been working on!
Another suggestion is to post press releases. These can be particularly helpful when something new has occurred in your career. And, if you've won an award or launched a Web site, keep your clients in the loop. And remember, when you write about your clients you will please them by giving them good press.
 
For those who categorize themselves as "doers," joining an organization of your professional peers might pump up your career. There is an organization called The Graphic Artists Guild for graphic artists and other design types. The Graphic Artists Guild is a national union of illustrators, designers, web creators, production artists, surface designers and other creatives who have come together to pursue common goals, share their experience, raise industry standards, and improve the ability of visual creators to achieve satisfying and rewarding careers."

The Guild gives direct connection to a designer's peers. Workshops and events sponsored at the local chapter levels provide colleagues an opportunity to meet in a noncompetitive environment, network, and take action on issues of concern. Members appreciate a community where information on business practices, employment opportunities, clients, vendors, and technology is shared.