Now I am not going to quote SPECfp or SPECint benchmark testing that indicates that the Mac Pro should handle complex tasks better – because it probably can – nor even refer to a recent MacWorld article that showed a significant bias toward the iMac but on simple single-threaded tasks.

Nope, I wanted a real world graphics test and so was privileged enough to get access to both an iMac and Mac Pro tower with CS4 for testing. I am posting these results specifically for the Graphic Artists out there who need to know how these computers will handle that really big PSD file they are working on.

We used a completely unscientific stopwatch (provided by my iPhone) and a couple of actual production files that have given us trouble due to their size and complexity. We ensured all other applications were closed and had both computers in the same room in the same networks.

Here are the results

iMac vs Mac Pro real world produciton environment tests. We loaded up these 2 computers with identical software and opened the same files hand-picked from our archives as being pain in the butt large files. Despite expert predictions of a sweep by the Mac Pro the GOLD MEDAL winner is the iMac.

Question: Why is the RAM config different?

We were advised that by installing 12 GB RAM in the tower in a specific configuration per core that it would perform better than if we installed 16 GB RAM. Again, this is not a technical article so I am not going to get into more detail. Suffice it to say the experts told us it would be no contest. They were wrong as far as CS4 was concerned.

Cost is another factor

Apple has out done themselves. The iMac while not significantly better in dealing with the Photoshop file, more than held its own with the Vector file. For me, dollar for dollar, the iMac i7 is my mid-level production machine of choice. If you have the budget and need super power you could spend more than double the cost of the iMac for the Tower alone (without monitor) before you see better results. The new towers purported to be coming out soon may change all this but for now we have what we have.

iMac Cost – Canadian Dollars $3,859

Mac Pro Tower Cost (as configured above in the chart) $4,180

Add a 24″ monitor to that = $5,179

That’s an extra $1,320 CAD for a comparable (and yes, more expandable) machine and a slightly smaller monitor. Not a huge difference but consider this: If you have 10 artists that’s $13,320 in savings and the iMacs would make useful admin machines when their production life is over – again, without having to shell out for more monitors for your admin staff if you decided to do the same with your towers.

The Mac Olympics are over and iMac wins hands down!

David

There are a few situations that can be difficult to deal with and must be handled carefully:

1) Demands for a quote with no parametres. Not able or willing to discuss their project or vision in order for you to hone in on a budget or cost. The simple but telling “How much for a website?” is as vague as “how much for a piece of string?” Both questions need some specific criteria to answer.

Instead of arguing or getting frustrated with this approach, educate your clients on what is involved in their project and have a series of questions ready to go over with them – pull the details you need out of that conversation. Often a client is not actually being difficult – they just need help organising their ideas, needs, wants and budgets.

2) “I need you to produce 3 designs, then I’ll decide if I will hire you.” Professionally I never work for spec (eg. for free in return for the promise of future work). Your time has value – if a client is not sure of your qualifications have a professional portfolio presentation ready for them or create a business pitch, discuss your challenges and solutions fostering more confidence in your abilities.

Stick to this rule, never undervalue your work, even at the creative stages. Set an opt-out clause and minimum charge for your consulting time. Stand behind your experience and don’t back down. Newer artists are often pressured to work for free but once you undervalue yourself the client will never pay full value or respect your work.

Protect Your Creative
I’ve actually had designs handed over by a client for me to produce with the originating artist’s slug still on it. I called the designer to discuss their vision and they accused me of stealing their art. That was a situation I did not want to get into the middle of and so declined the project. The lesson here is that besides valuing your time, value your creative remembering that no matter how many ideas you may present, the client “buys” only one of them – the other presented and rejected ideas should remain your property. See my tutorial on Protecting Your Creative for some helpful tips.

3) Refusal to sign anything. We’d all like to trust people and 99% of the time that trust if rewarded. But it is better to be consistent and ask all your clients to at least sign a letter of understanding. Clearly describe what you are doing, when the client expects it to be done, ownership and usage limitations, and how much you’ve agreed on for payment. If the project is larger, create a payment schedule. You can also offer the client an “out”.

But if the client refuses to sign even a basic letter (not full of legal jargon) by saying “I never sign anything”, that’s a red flag. Trust me.

4) A promise of future work. This is a big one. The carrot dangled in front of the supplier’s face in return for freebies, discounts or adhering to difficult deadlines. In my experience, underpaid work now stays underpaid later. In general, I say don’t go there. Obvious exceptions may be a charitable job for an established and respected client but that’s up to you.

5) Overwhelming your time to the exclusion of all other clients. I have seen this a lot, when a client demands ALL your time to the point where you have no time for other clients – and you let them do that to you – then you have already lost. It is not necessarily a step towards success. You cannot survive with one client, and often they will start demanding you lower your prices because they give you so much work, eroding your income. The other danger is that alienating your other clients as this happens kills your referral network.

Finally, when the work from your demanding client dries up – and it will – you will have nothing to fall back on. The solution is to treat this demanding situation professionally and become this client’s premiere supplier with your service and professionalism but staff up in order to handle the increased work flow to keep your pre-existing client base happy.

My advice in developing a good client base:

• Educate your clients to give you the information you need to help them manage their budgets and expectations.
• Be consistent with your paperwork and commit all understandings with your client to writing.
• Value your work and your time. Be professional and stay more organised than your client – making you invaluable to them.
• Maintain a diverse client base and multiple streams of income.
• Be a good client to your suppliers and treat them as partners in your mutual success.

Every difficult situation has an out – even if that out is to simply walk away. But if you can diffuse the situation and impress the client you have a greater chance of long term success. Good luck.

David

As a follow up to my article on Communication Design, which related to my discovery of the term, I Googled it to see what its current status was in the industry and who was using it.

The top result is a definition:
From: Wikipedia

Communication design is a mixed discipline between design and information-development which is concerned with how media intermission such as printed, crafted, electronic media or presentations communicate with people. A Communication Design approach is not only concerned with developing the message aside from the aesthetics in media, but also with creating new media channels to ensure the message reaches the target audience… Its process involves strategic business thinking, utilizing market research, creativity, and problem-solving.

New York’s Heller Communication Design, Richmond VA’s Communication Design Inc., and Vancouver BC’s Metaform Communication Design have integrated this term into their names but their websites offer little in specifically defining the term for their clients – outside of the services they offer. Perhaps it is not even necessary.

But who, as individuals, are calling themselves Communication Designers, besides myself?

The Society of Graphic Designers in British Columbia asked that very question. Responses were mixed with some commenters suggesting that using the term Communication Designer is more confusing that the more universally understood terms “Graphic” or “Visual”.

One respondant, “Cat”, says:

Google ‘Communication Design’ or ‘Visual Communication Design’ and you’ll find that schools already have degreed programs in place, and have had for years.

Meaning our industry is filling up with students who will not be familiar with being called ‘graphic designers’, but are sporting ‘Communication Design’ degrees.

There’s more, and the comments are definitely worth a read, but I wonder due to the broad definition of the term, if using the term Communication Design will take hold faster as a corporate term, a service offered, rather than as a description of what an individual does for a living.

Many artists: ‘graphic’, ‘web’, and ‘production’ have worked in single mediums for years, or have not had a broad range of experience but nevertheless remain competent and even expert in their niches. So the broad ranged term Communication Design might not apply to them as much as it may apply to the total range of services their firms will offer their clients.

If an artist can look upon their career, experience, industry knowledge and abilities and see a broad range of experiences, projects and challenges spanning many media and mediums then perhaps they can be comfortable calling themselves a Communication Designer, but they should also be prepared for and comfortable with explaining the term and what it means to the clients who may wish to hire them.

The explanation may boil down to saying: “I am a Graphic Artist who offers Communication Design services.”

They key, for me, seems to be “Cat’s” response on the SGD site. It lies in the schools. The next generation of artists will have to be savvy with more ways to communicate, market and sell than were dreamed of when I was at school. As the people at WhyHire.me suggest, a integrated approach to personal marketing for new graduates will involve the marriage of social networking, personal branding and personal experience. This could also apply to corporate marketing. This integrated multi platform approach to branding seems to fit in well with Wikipedia’s opening statement on Communication Design:

Communication design is a mixed discipline between design and information-development which is concerned with how media intermission such as printed, crafted, electronic media or presentations communicate with people.

Terms come and go but we must shift with the times, and not get left behind. My closing advice: Keep on top of it and ensure that your own personal marketing as a “Whatever” Artist remains clear, up to date and relevant.

david

Something as simple as the definition of a printing term would cause so much discussion. Once, a heated discussion was had at the office over the use of the word LIVE AREA.

Now, to clarify this is what I think it is in my own words:
Live Area: Also known as a visible or image area. The term is often used in a situation where part of your creative may be covered… ie in framed poster media the live or visible area is the part of the creative that is seen and not hidden by the frame.

Safe Area: An area within the live or visible area in which you must keep all your text or important graphics to avoid them being trimmed, cut off, or too close to the edge.

The Alternate Definition
The dissenting viewpoint insists that LIVE is the same as SAFETY.

Problem is that in checking on 2 printing term glossary sites, One agreed with me and the other with my counterpoint.

http://www.cdlinc.com/glossary.htm says:

Live area. Alternate term for Image area.

Image area. Portion of a negative or plate corresponding to inking on paper; portion of paper on which ink appears.

But http://www.printindustry.com/glossary.htm#L says:

Live Area: Area on a mechanical within which images will print. Also called safe area.

So who is right?

I would think that if I researched it enough I would find that one definition is more prevalent than the other. But not all glossaries deals with the term. On two pages of GOOGLE search results for the string “print terms glossary” I found only one other site which defined “Live area” and THAT site was a carbon copy of the printindustry.com definition so it is from the same source but not an independant voice:

http://www.morganpress.com/glossary.html#L says:

Live Area: Area on a mechanical within which images will print. Also called safe area.

So they are saying that live is defined as both the entire image area and the safe area. Now if they had said INCLUDING the safe area I would have agreed with them and even though it is 2 to 1 against my definition I still do not agree (I am stubborn and need more proof)

So what’s an artist to do until the Globe and Mail prints an exposé on the strife within our industry and sets the record straight?

I have said it before in posts on preflight and shipping files. Overstate your intentions, add notes to everything that is leaving your hands and try to be as clear as possible as to the intention of what you are trying to convey.

Ultimately you can argue the definitions of industry terminology all day or you can simply clarify what you mean by saying something like “Live / Visible Area” and “Type / Graphic Safety” and move on.

LIFE’s too short to argue about LIVE.

david

The news of this little freebie has been making the rounds so I thought I would share it here as well. Thus is the way of all things viral.

Sitepoint is offering a copy of their book “The Photoshop Anthology: 101 Web Design Tips, Tricks & Techniques” as a free download in PDF format.

According to their site:

It’s brimming with tried and tested real-world Photoshop solutions that will add impact to your next web design project. If you’ve ever been stuck for inspiration, have puzzled over just how to create a shiny aqua-style button, or wanted to create that seamlessly tiling background image you saw on a site recently, you need download this book.

The giveaway is sponsored by 99 Designs and expires in 22 days!!

Click here to go to their site.

david

It seemed like a good idea, although I really didn’t expect to find anything. But I did.

24 hours after posting my Blog entry on preflight MARKZWARE.com posted a word for word copy of my own article INCLUDING MY NAME AT THE BOTTOM but did not request permission, credit the source or link back to my site.

I have contacted them and asked for a response (see comments below for their impressively speedy and positive response). I must say I am flattered that my preflight methodology is considered worthy of posting on that site but content usage without permission is unacceptable no matter how you look at it.

Here is a screenshot of the page as I found it (it has since been updated).

david

Never have I enjoyed a toilet website so much. It’s fair to say that the bum, in all its shapes and sizes, has many fans out there who enjoy the various views, clothed or naked. But the topic of keeping that area clean, and the why, tends to elicit not a little embarrassment.

Last year, Toto Ltd., launched a campaign, created by ML Rogers Agency, to try and change that.

The result online is the Washlet website, a fun, informative website on a topic that is all too often avoided. The site features men and women of various ages, races and bum shapes (I’ll refrain from telling you my favourite – hint… tattoo). Each personality presents a short Flash video on various features and models of the toilet. They even have one section on HAPPINESS, telling you how the Washlet elevates the process of – ahem, you know – well… takes it to a whole new level.

Personally I think the site achieves its goal remarkably well. Just yesterday, we had a conversation in front of our home with our neighbours on the very topic of these lovely all purpose bum warming cleaning and pampering wonders. It was a nice change from the usual “how’s the weather” and “lovely garden” conversations.

The happy naked (and clean) behinds have not come to North American without a bit of controversy. On July 10, 2007 the New York Times published an article about the Times Square Church’s objections to a billboard of the naked behinds being posted. A judge at the time “issued a temporary restraining order banning the advertisement from going up.”

According to the Japan Times Toto ultimately decided to run with a covered version of the “Happy Buttocks” billboard.

Regardless of all the controversy, I have decided that – although the prices start at over $500 – the kids can do without shoes for a few years. I want one, my bum wants one, and I’m not afraid to say it!!

david

“OGC unveils new logo to red faces”
– telegraph.co.uk

Click to read more and find out why

So remember… have a look at every possible angle before you print : )

david

I had registered his domain with another provider and he was wondering who the Domain Registry of Canada was and why he owes them money. A quick Google of that company revealed a lot of hits with the word SCAM on it. I also contacted our web host and they also replied that it is a “SCAM” (they wrote it in caps themselves.)

How do they get your info?
They obtain it through the publicly accessible WHOIS database, and then send renewal notices through regular post on stationary that is designed to look like an official notice.

The wording of the letter goes like this:

“As a courtesy to domain name holders, we are sending you this notification of the domain name registration that is due to expire in a few months.”

beyond that opening salvo their wording remains confusing as to who to register with: ie “now is the time”.

“You must renew your domain name to retain exclusive rights to it on the web, and now is the time to renew your name from your current registrar to the Domain Registry of Canada”

but they are careful not to state any absolutes.

“Domain name holders are not obligated to renew their domain name with their current Registrar or with the Domain Registry of Canada.”

My client is not very internet savvy and this letter was very confusing for him. Their letter is carefully worded and if you read it, it absolutely does NOT insinuate that you must use them to renew. But the large DOMAIN NAME EXPIRATION NOTICE at the top is certainly misleading and to me it insinuates that they are the ones to use to renew it. I would venture to say that their careful wording is not clear enough or the word SCAM would not be showing up so often on the first page of a Google search.

If they had simply said YOUR DOMAIN IS EXPIRING SOON, SWITCH TO US AND SAVE! or something like that then their direct mail campaign would go from being a confusing and misleading document to being a legitimate sales pitch. In my opinion they prey on people’s confusion and misunderstanding of how the internet works. The official sounding “Domain registry of Canada” and the maple leaf logo only add to the confusion.

I won’t even comment on their expensive renewal fees.

I have written the Domain Registry of Canada asking if they would like to respond to the complaints about their confusing wording and be quoted here in the BLOG. If they reply and give permission to be quoted I will publish it here.

As a final note, a company associated with or owned by them and who shares all their phone and fax numbers, Domain Registry of America, is under scrutiny from the American Goverment for deceptive conduct.

http://www.ftc.gov/opa/2003/12/domainreg.shtm

I would stay away from them, far away.

david

It could easily be one of my images, or yours.

After finding out how widespread the use and abuse of Flickr images are, I have taken steps to minimise my risk. Not allowing all sizes to be viewed and watermarking my images. Some people subscribe to the “Creative Commons” philosophy, but as someone who has built a career around my ideas and my production or finishing work, I must confess to being a little selfish in that regard. I have mouths to feed.

you are sending editable proofs

Which brings me back to my point. Not only do you have to take precautions with your photography but also your creative. I know design firms who have found their portfolios on other people’s websites – out of country. I also know that when you send a digital proof to someone not only do they have a clear image of your creative but you also may be unwittingly sending them editable files, which may leave you out in the cold.

When I first started in this industry, proofs were presented to clients via marker rendings, faxes, laser prints. The idea of sending electronic files is relatively new. Did you know that if you create a PDF in InDesign, XPress or Illustrator you can also re-open that PDF in Illustrator, and it is fully editable? In other words, if a client wanted to, they could use and re-use your creative or production files without involving you. There goes your income!

protecting your PDFs

I have developed a habit of protecting my PDFs and I always know when someone is trying to “use” my creative as they complain their artist cannot open the file in anything but Reader (“to make some changes or tweaks” they say). The simple extra step I take is PDF SECURITY which can be implemented while creating your PDF or you can do it later through Acrobat Professional.

Here’s what I do:

When creating your PDF go to the “Security” tab as shown in the above Image. Click on the “Use password to restrict editing” radio button and enter a password (I use the same private password for all my creative so I don’t forget). Then Choose the following options:

• Printing Allowed: Low Resolution so no one decides to send your piece to final print.
• Changes Allowed: Commenting, filling in form fields, and signing. This allows your client to mark up the PDF but not to edit it or open it in anything but Reader or Acrobat.
• Enable text access of screen reader devices for the visually impaired. You never know who needs to proof it.

You will have to re-confirm your password when you go to save the PDF and you are done. You now have one NON-EDITABLE PDF proof.

Acrobat Professional
In Acrobat Professional you will find the same menu under FILE/PROPERTIES/SECURITY (see below).


other protections

• Another good habit to get into would be to create low resolution versions of your images for layout during production and then subbing them for high resolution when you are ready to go to print. The added bonus is that it speeds up printing and saving time while you are tweaking the layout.
• Add a watermark of your logo in the background of your creative and slug everything with your company name, docket number, logo etc.
• Be clear with your client what your expectations are about your creative. Add this note to your slugs: Ownership of Conceptual work: All designs and or creative concepts remain the copyright and property of YOUR COMPANY NAME unless otherwise specified in writing.
• And of course you could also export your proof as a JPEG but that’s not as practical for mark-ups or multiple pages.

david




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