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    "title": "Tanya Sokolovskaya's blog",
    "_rss_description": "On editorial and graphic design",
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    "authors": [
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            "name": "Tanya Sokolovskaya",
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            "id": "35",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/text-design\/",
            "title": "Text formatting: essential tips for everyone working with text",
            "content_html": "<p>A well-formatted text is pleasing to the eye and easy to read. This post covers the basics of text formatting and when to apply different elements. It’s useful not only for designers but for anyone who works with text or writes regularly, whether it’s for emails, business correspondence, or documents.<\/p>\n<h2>Paragraphs<\/h2>\n<p>In print, paragraphs are typically indented on the first line to improve readability and conserve paper, a practice originating from typographers. In web formatting, where saving paper isn’t a concern, paragraphs are usually separated by spaces. It’s unnecessary to use both methods; one is sufficient.<\/p>\n<p><b>For print<\/b>: use indentations for the first line. But remember, you don’t need to indent the first paragraph. There’s nothing to indent it from.<br \/>\n<b>For web<\/b>: separate paragraphs with spaces.<\/p>\n<div style=\"max-width: 800px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_9.jpg\" width=\"1200\" height=\"830\" alt=\"\" \/>\n<\/div>\n<\/div><h2>Word breaks<\/h2>\n<p>When breaking text onto a new line, prepositions, initials, phone numbers, dates, and units of measurement should be moved together.<\/p>\n<p><b>A non-breaking space<\/b> keeps words linked &ndash; related words are carried to the next line as a single unit. Use non-breaking spaces to ensure prepositions or pronouns stay with the words they modify. Although there is no specific rule in English about orphaned prepositions, I believe they should not be left at the end of a line, as they disrupt the flow of reading and are visually unappealing.<\/p>\n<p>Compare the two paragraphs, one with orphaned prepositions and one without:<\/p>\n<div style=\"max-width: 500px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_1.jpg\" width=\"1717\" height=\"1761\" alt=\"\" \/>\n<\/div>\n<\/div><p>Dashes, unlike prepositions, are not split across lines.<\/p>\n<p>Correct:<\/p>\n<blockquote>\n<p>The event &ndash;<br \/>\na grand success.<\/p>\n<\/blockquote>\n<p>Incorrect:<\/p>\n<blockquote>\n<p>The event<br \/>\n&ndash; a grand success.<\/p>\n<\/blockquote>\n<pre class=\"e2-text-code\"><code class=\"\">HTML: &amp;nbsp;\nMac: ⌥ Option+Space\nMS Word: Ctrl+⇧ Shift+Space<\/code><\/pre><p>If you cannot use a non-breaking space, you can use a <b>non-breaking range<\/b> (nobr) as an alternative:<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">&lt;nobr&gt;123–4567&lt;\/nobr&gt;\n&lt;nobr&gt;New York–London&lt;\/nobr&gt;<\/code><\/pre><h2>Dashes, hyphens, and minus signs<\/h2>\n<p>There are four commonly used horizontal line symbols:<\/p>\n<p>Em Dash (—)<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">HTML: &amp;mdash;  \nMac: ⌥ Opt+⇧ Shift+-  \nMS Word: Ctrl+Alt+Num -  \nWindows: Alt+0151<\/code><\/pre><p>En Dash (&ndash;)<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">HTML: &amp;ndash;  \nMac: ⌥ Opt+-  \nMS Word: Ctrl+Num -  \nWindows: Alt+0150<\/code><\/pre><p>Hyphen (-)<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">HTML: &amp;#x2010;  \nAvailable on the keyboard.<\/code><\/pre><p>Minus sign  (−)<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">HTML: &amp;minus;\nWindows: Alt+8722<\/code><\/pre><p>These symbols differ in length and usage:<\/p>\n<div style=\"max-width: 400px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_2.jpg\" width=\"600\" height=\"937\" alt=\"\" \/>\n<\/div>\n<\/div><p>If you line up the symbols on a single line, you’ll notice that the minus sign, like the plus sign, sits slightly higher than the others. They’re aligned relative to uppercase letters and numbers:<\/p>\n<div style=\"max-width: 600px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_3.jpg\" width=\"1000\" height=\"273\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Dash, en dash, hyphen, minus sign, plus sign<\/div>\n<\/div>\n<\/div><p>The em dash is used  to clarify sentence structure, to express a more pronounced break in sentence structure than commas, and to draw more attention to the enclosed phrase than parentheses:<\/p>\n<blockquote>\n<p>The party lasted—we knew it would!—far longer than planned.<br \/>\nGoing—going—gone!<br \/>\nThere is nothing—absolutely nothing—half so much worth doing as simply messing about in boats.<\/p>\n<\/blockquote>\n<p>The em dash may be used to introduce a phrase at the end of a sentence or replace an introductory colon:<\/p>\n<blockquote>\n<p>She has but one hobby—chocolate.<br \/>\nIn England, justice is open to all—like the Ritz Hotel.<\/p>\n<\/blockquote>\n<p>Most British publishers instead of the em dash use the en dash with space on either side:<\/p>\n<blockquote>\n<p>But he didn’t know any magic yet – what on earth would he have to do?<\/p>\n<\/blockquote>\n<p>Also, the en dash is used to denote ranges (e. g., dates, times, numbers) and connections between words, especially in compound adjectives:<\/p>\n<blockquote>\n<p>The train runs from London&ndash;Edinburgh.<br \/>\nThe conference is scheduled for June 1&ndash;5.<br \/>\nThe 9:00&ndash;11:00 meeting.<br \/>\nThe New York&ndash;Los Angeles flight.<br \/>\n2015&ndash;2017.<br \/>\nMonday&ndash;Saturday.<\/p>\n<\/blockquote>\n<p>The hyphen is used to join words in compound terms, split words at the end of a line, and connect parts of words:<\/p>\n<blockquote>\n<p>A high-quality product.<br \/>\nA well-known author.<br \/>\nThe fast-paced movie.<\/p>\n<\/blockquote>\n<p>Use hyphens in spelt-out numbers from twenty-one to ninety-nine (twenty-three, four hundred and sixty-eight, fifty-three thousand), and in fractions, unless the numerator and denominator are already hyphenated (one-half, two-thirds, three thirty-seconds, four and five-eighth).<\/p>\n<p>Hyphens may also be used in a sequence of non-inclusive numbers:<\/p>\n<blockquote>\n<p>ISBN 0-123-45678-9<\/p>\n<\/blockquote>\n<p>It’s important not to use an en dash when you need a hyphen and the other way around.<\/p>\n<p>The minus sign is used in mathematical contexts to denote subtraction or negative values:<\/p>\n<blockquote>\n<p>The result was &minus;5°C.<br \/>\nThe stock price dropped to &minus;$20.<br \/>\n10 &minus; 3 = 7<br \/>\n7 &minus; 2 = 5<\/p>\n<\/blockquote>\n<h2>Ellipsis<\/h2>\n<p>An ellipsis indicates an omission in the text, an unfinished thought, or a pause, and is represented by three dots: …<\/p>\n<p>An ellipsis is different from simply typing three dots in a row:<\/p>\n<div style=\"max-width: 500px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_4.jpg\" width=\"600\" height=\"266\" alt=\"\" \/>\n<div class=\"e2-text-caption\">An ellipsis and three dots<\/div>\n<\/div>\n<\/div><p>Sometimes, an ellipsis is used along with a question mark or an exclamation mark, in which case the ellipsis is before the question or exclamation mark: ...? or ...!<\/p>\n<blockquote>\n<p>Are you really sure about this…?<br \/>\nYou actually did it…!<\/p>\n<\/blockquote>\n<p>It’s incorrect to write two dots (..) or more than three dots (…...) – this is considered poor grammar.<\/p>\n<p>Ellipses can show the omission of one or more whole paragraphs of prose. This passage, for example, contains two ellipses:<\/p>\n<blockquote>\n<p>The fact is, Lady Bracknell, I said I had lost my parents. It would be nearer the truth to say that my parents seem to have lost me... I don’t actually know who I am by birth. I was... well, I was found.<\/p>\n<\/blockquote>\n<p>In the following extract, the square brackets make clear which are in the original and which have been added subsequently:<\/p>\n<blockquote>\n<p>The fact is, Lady Bracknell, [...] my parents seem to have lost me... I don’t actually know who I am [...]. I was... well, I was found.<\/p>\n<\/blockquote>\n<h2>Brackets<\/h2>\n<p><b>Parentheses or  round brackets ( )<\/b><br \/>\nParentheses are used to include supplementary information, explanations, or clarifications that are not essential to the main text:<\/p>\n<blockquote>\n<p>The project was completed on time (despite some minor delays).<br \/>\nShe arrived late (after the meeting started).<\/p>\n<\/blockquote>\n<p><b>Square brackets [ ]<\/b><br \/>\nSquare brackets are used to insert editorial comments or clarifications into quoted text or to make changes to a quotation:<\/p>\n<blockquote>\n<p>He said, &#8216;She [the manager] will handle the request.&#8217;<\/p>\n<\/blockquote>\n<p>If both parentheses and square brackets are used in the same text, the parentheses are typically used inside the brackets for nested information:<\/p>\n<blockquote>\n<p>The email [which I received last week (on Friday)] was quite detailed.<\/p>\n<\/blockquote>\n<p><b>Angle brackets < > and curly brackets { }<\/b><br \/>\nThese brackets are mainly used in technical, mathematical, and programming contexts. They are not commonly used in regular text.<\/p>\n<h2>Quotation marks<\/h2>\n<p><b>British English: <\/b>&#8216;Single quotes&#8217; for primary use, &#8220;double quotes&#8221; for quotes within quotes. Commas and full stops go inside only if they are part of the quoted material.<\/p>\n<blockquote>\n<p>&#8216;I can’t believe it’s raining,&#8217; she said.<br \/>\n&#8216;She said, &#8220;I can’t believe it’s raining.&#8221;&#8217;<br \/>\nLook at the letters &#8216;A&#8217;, &#8216;C&#8217;, and &#8216;M&#8217;.<\/p>\n<\/blockquote>\n<p><b>American English:<\/b> &#8220;Double quotes&#8221; for primary use, &#8216;single quotes&#8217; for quotes within quotes. Commas and full stops go inside quotation marks.<\/p>\n<blockquote>\n<p>&#8220;I can’t believe it’s raining,&#8221; she said.<br \/>\n&#8220;She said, &#8216;I can’t believe it’s raining.&#8217;&#8221;<br \/>\nLook at the letters &quot;A,&quot; &quot;C,&quot; and &quot;M.&quot;<\/p>\n<\/blockquote>\n<p>Question marks and exclamation marks are placed inside if they are part of the quoted material for both British and American English; otherwise, they go outside.<\/p>\n<blockquote>\n<p>&#8216;Are you coming?&#8217; she asked.<br \/>\nDid he really say, &#8216;It’s raining&#8217;?<br \/>\n&#8220;Are you coming?&#8221; she asked.<br \/>\nDid he really say, &#8220;It’s raining&#8221;?<\/p>\n<\/blockquote>\n<p>Single quotation marks:<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">&amp;#8216; and &amp;#8217;<\/code><\/pre><p>Double quotation marks:<\/p>\n<pre class=\"e2-text-code\"><code class=\"\">&amp;#8220; and &amp;#8221;<\/code><\/pre><p><b>Guillemets<\/b> (« ») are used in several languages for quotations and direct speech. Their usage can vary, so it’s important to follow the conventions of the specific language or style guide you are using.<\/p>\n<blockquote>\n<p>Russian: «Привет, как дела?»<br \/>\nFrench: « Bonjour, comment ça va ? »<br \/>\n-In French typography, the non-breaking space after the opening guillemet and before the closing guillemet is essential for maintaining the text’s visual balance and readability.<\/p>\n<\/blockquote>\n<h2>Quotes<\/h2>\n<p>When including quotations in your text, you typically use standard quotation marks to set them off from the rest of the content. However, to draw more attention or add a stylistic touch, you can use decorative quotation marks:<\/p>\n<div style=\"max-width: 500px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_5.jpg\" width=\"1072\" height=\"506\" alt=\"\" \/>\n<\/div>\n<\/div><p>Feel free to experiment with decorative ones to fit your design needs.<\/p>\n<h2>Lettering<\/h2>\n<p><b>Uppercase letters<\/b> are great for headings or short quotes, but they shouldn’t be used for body text. They tend to shout and grab attention, so use them sparingly. Make sure to add extra letter spacing to ensure they remain legible.<\/p>\n<div style=\"max-width: 500px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_6.jpg\" width=\"1981\" height=\"255\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Without proper spacing, uppercase letters can merge and become difficult to read<\/div>\n<\/div>\n<\/div><p><b>Lowercase letters<\/b> should not be spaced out. Text with wide tracking is harder to read and looks untidy:<\/p>\n<div style=\"max-width: 700px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_7.jpg\" width=\"1999\" height=\"481\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Text with wide tracking on the right<\/div>\n<\/div>\n<\/div><p>To highlight a word in lowercase, use italics or bold instead.<\/p>\n<p><b>Italic<\/b> type is used to indicate emphasis or heavy stress in speech; to style titles, headings, indexes, and cross-references generally; and to indicate foreign words and phrases.<\/p>\n<blockquote>\n<p>I don’t care <i>how<\/i> you get here, just <i>get<\/i> here.<br \/>\nSuch style, such <i>grace<\/i>, is astounding.<\/p>\n<\/blockquote>\n<p><b>Bold<\/b> is used to attract attention and is ideal for headings.<\/p>\n<p><b>Small caps<\/b> are perfect for abbreviations, Roman numerals, or highlighting names. Like uppercase letters, small caps should have extra spacing. They differ in height from regular uppercase and lowercase letters:<\/p>\n<div style=\"max-width: 1000px;\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Text-formatting_8.jpg\" width=\"2560\" height=\"270\" alt=\"\" \/>\n<div class=\"e2-text-caption\"><\/dive><\/div>\n<\/div>\n<p>Avoid using small caps for body text, as they can be challenging to read.<\/p>\n<h2>Lists<\/h2>\n<p>A list is made of an introductory paragraph followed by a series of points. Here’s a quick guide to ordered and unordered list types.<\/p>\n<h3>Ordered lists<\/h3>\n<p>Use numbers or letters when the sequence is important, or when many items need referencing.<\/p>\n<p>A numbered list is ideal when each item is a complete sentence.<\/p>\n<blockquote>\n<p>To make a delicious eggs in three steps:<\/p>\n<ol start=\"1\">\n<li>Place a knob of butter in a pan on a high hit.<\/li>\n<li>Once the butter is melted, crack eggs into the pan and reduce the heat to medium.<\/li>\n<li>Wait until the white of the eggs is fully cooked. Enjoy!<\/li>\n<\/ol>\n<\/blockquote>\n<p>You can also use Roman numerals (I, II, III) or capital letters if preferred (A, B, C).<\/p>\n<p>Ordered lists with right parentheses are useful when the items are part of a single sentence. End each item with a comma or semicolon, and finish the last item with a full stop.<\/p>\n<blockquote>\n<p>There are four terrestrial planets in our solar system:<br \/>\n1) Mercury,<br \/>\n2) Venus,<br \/>\n3) Earth,<br \/>\n4) Mars.<\/p>\n<\/blockquote>\n<blockquote>\n<p>Before leaving the house, don’t forget to:<br \/>\na) turn off all electrical devices;<br \/>\nb) take your phone and headphones;<br \/>\nc) close the door and take the keys out of the lock.<\/p>\n<\/blockquote>\n<h3>Unordered lists<\/h3>\n<p>Use bullet points when the order isn’t important. Items can end with a comma, semicolon, or full stop, depending on whether they are complete sentences. Traditionally, the black dot (•) is used as a marker in bullet point lists.<\/p>\n<blockquote>\n<p>Apple produces and sells:<br \/>\n• laptops,<br \/>\n• phones,<br \/>\n• desktops,<br \/>\n• tablets,<br \/>\n• watches.<\/p>\n<\/blockquote>\n<p>You can also omit the bullet symbol altogether and use indentation for a cleaner look:<\/p>\n<blockquote>\n<p>Apple produces and sells:<\/p>\n<ul>\n<li>laptops,<\/li>\n<li>phones,<\/li>\n<li>desktops,<\/li>\n<li>tablets,<\/li>\n<li>watches.<\/li>\n<\/ul>\n<\/blockquote>\n<p>Other symbols like dashes (–), circles (◦), squares (▪), or arrows (→) can be used, though it’s best to stick with traditional bullet points as other symbols can be distracting and clutter the text.<\/p>\n<h2>Numbers<\/h2>\n<p>In English text, numbers can be written in words or numerical form. Here’s how to choose the appropriate format:<\/p>\n<p><b>Writing numbers in words<\/b><br \/>\nWrite numbers in words when it makes the text easier to read or understand:<\/p>\n<blockquote>\n<p>We bought four bottles of water for the hike. (Instead of: We bought 4 bottles...)<\/p>\n<\/blockquote>\n<p>Write out simple numbers, especially when they are under ten or when clarity is important:<\/p>\n<blockquote>\n<p>I saw seven birds.<\/p>\n<\/blockquote>\n<p><b>Using numerical form<\/b><br \/>\nUse numerals for more complex numbers, particularly with units of measurement or monetary amounts:<\/p>\n<blockquote>\n<p>The Christmas tree cost £345, but we got a 50% discount.<\/p>\n<\/blockquote>\n<p>Separate thousands with a comma for clarity:<\/p>\n<blockquote>\n<p>12,000<\/p>\n<\/blockquote>\n<p><b>Decimal points and fractions<\/b><br \/>\nUse a decimal point to separate digits:<\/p>\n<blockquote>\n<p>1.25<\/p>\n<\/blockquote>\n<p>Fractions should be written with a horizontal line, or in some contexts, use a forward slash. Do not use the word &#8216;part&#8217; or &#8216;fraction&#8217;:<\/p>\n<blockquote>\n<p>½ of the area (or: 1\/2 of the area)<\/p>\n<\/blockquote>\n<p><b>Range of values<\/b><br \/>\nUse en dash (&ndash;) for ranges or spans, such as dates, numbers, or time periods, an en dash is commonly used:<\/p>\n<blockquote>\n<p>The event runs from 1:00 p.m. &ndash; 3:00 p.m.<br \/>\nThe years 2000&ndash;2017.<\/p>\n<\/blockquote>\n<p>Use plus-minus (±) to show acceptable variation in measurements:<\/p>\n<blockquote>\n<p>20±3 units (means the value is between 17 and 23 units, including the margin of error or tolerance).<\/p>\n<\/blockquote>\n<p>Use &#8216;From&#8217; and &#8216;To&#8217; when writing ranges in full sentences or when clarity is needed:<\/p>\n<blockquote>\n<p>The store is open from 9 a.m. to 5 p.m.<br \/>\nThe temperature will be between 30 to 70 degrees.<\/p>\n<\/blockquote>\n<h2>Phone numbers<\/h2>\n<p>In phone numbers, hyphens and spaces are commonly used to enhance readability.<\/p>\n<p>UK format:<\/p>\n<blockquote>\n<p>Standard: 020 1234 5678<br \/>\nInternational: +44 20 1234 5678<\/p>\n<\/blockquote>\n<p>US format:<\/p>\n<blockquote>\n<p>Standard: 123-456-7890<br \/>\nWith area code: (123) 456-7890<br \/>\nInternational: +1 123-456-7890<\/p>\n<\/blockquote>\n<p>When a phone number includes a memorable or advantageous combination of digits, such as a repeating sequence or a pattern, it’s often highlighted for marketing or branding purposes:<\/p>\n<blockquote>\n<p>0780 2222 444<\/p>\n<\/blockquote>\n<h2>Dates and times<\/h2>\n<p><b>British English date formats<\/b><br \/>\nDay-Month-Year:<\/p>\n<blockquote>\n<p>4 August 2024<br \/>\n4\/8\/2024<\/p>\n<\/blockquote>\n<p>Day of the Week, Day Month Year:<\/p>\n<blockquote>\n<p>Saturday, 4 August 2024<\/p>\n<\/blockquote>\n<p>In formal contexts, writing out the full month is preferred:<\/p>\n<blockquote>\n<p>4th of August 2024 (not 4 August, 2024 or 4\/8\/2024)<\/p>\n<\/blockquote>\n<p><b>American English date formats<\/b><br \/>\nMonth-Day-Year:<\/p>\n<blockquote>\n<p>August 4, 2024<br \/>\n8\/4\/2024<\/p>\n<\/blockquote>\n<p>Day of the Week, Month Day, Year:<\/p>\n<blockquote>\n<p>Saturday, August 4, 2024<\/p>\n<\/blockquote>\n<p>In formal contexts, writing out the full month is preferred:<\/p>\n<blockquote>\n<p>August 4, 2024 (not August 4th, 2024 or 8\/4\/2024)<\/p>\n<\/blockquote>\n<p>When it comes to formatting decades and academic years, both British and American English have specific conventions:<\/p>\n<blockquote>\n<p>the 1980s – the ‘80s<br \/>\nthe 1990s – the Nineties<br \/>\n2023–2024 academic year<br \/>\n2023\/24 tax year<\/p>\n<\/blockquote>\n<p><b>Time formats are similar<\/b><br \/>\n12-Hour clock: Commonly used with &#8216;am&#8217; and &#8216;pm&#8217;:<\/p>\n<blockquote>\n<p>3:30 pm or 7:15 am<\/p>\n<\/blockquote>\n<p>24-Hour clock: Less commonly used, except in certain contexts like timetables:<\/p>\n<blockquote>\n<p>15:30 (3:30 pm) or 07:15 (7:15 am)<\/p>\n<\/blockquote>\n<p>Use &#8216;o’clock&#8217; when writing time in words:<\/p>\n<blockquote>\n<p>The meeting is at three o’clock.<\/p>\n<\/blockquote>\n<h2>Symbols in text<\/h2>\n<p>Use the correct symbols in the text instead of letters with parentheses.<br \/>\nIncorrect:<\/p>\n<blockquote>\n<p>(C) 2017 Tanya Sokolovskaya(R)<\/p>\n<\/blockquote>\n<p>Correct:<\/p>\n<blockquote>\n<p>© 2017 Tanya Sokolovskaya®<\/p>\n<\/blockquote>\n<h2>Links in text<\/h2>\n<p>When including links in the text, it’s a good idea to highlight them with colour and underlining. If colour isn’t suitable, just underline the links to make them stand out.<\/p>\n<h2>Currency formatting<\/h2>\n<p>The currency symbol is placed directly before the number without a space:<\/p>\n<blockquote>\n<p>£100<br \/>\n$100<br \/>\n€100<\/p>\n<\/blockquote>\n<p><b>Use a comma<\/b> to separate thousands in large numbers for clarity:<\/p>\n<blockquote>\n<p>£3,000<\/p>\n<\/blockquote>\n<p><b>Use a point<\/b> to separate the whole number from the decimal fraction:<\/p>\n<blockquote>\n<p>£3.14<\/p>\n<\/blockquote>\n<p><b>The currency code<\/b> (e. g., GBP, USD, EUR) is placed before the amount, with a space in between.<\/p>\n<blockquote>\n<p>GBP 3,000<\/p>\n<\/blockquote>\n<h2>Titles<\/h2>\n<p>In both British and American English, titles such as Mr, Mrs, Miss, and Ms are used to address individuals with respect.<\/p>\n<p><b>Ms<\/b> a neutral option used for women regardless of marital status:<\/p>\n<blockquote>\n<p>Ms Sarah Johnson<\/p>\n<\/blockquote>\n<p><b>Mr<\/b> for men, regardless of marital status:<\/p>\n<blockquote>\n<p>Mr John Smith<\/p>\n<\/blockquote>\n<p><b>Mrs<\/b> for married women:<\/p>\n<blockquote>\n<p>Mrs Jane Smith<\/p>\n<\/blockquote>\n<p><b>Miss<\/b> for unmarried women:<\/p>\n<blockquote>\n<p>Miss Emma Brown<\/p>\n<\/blockquote>\n<p><b>Titles for professional use,<\/b> related to a person’s profession or status:<\/p>\n<blockquote>\n<p>Dr Robert Green<br \/>\nProf. Helen Carter<br \/>\nPh.D. Jane Doe<\/p>\n<\/blockquote>\n<p>In British English, a full stop is used only if the abbreviation differs from the full word. For example, Dr (<b>D<\/b>octo<b>r<\/b>) has no full stop, but Prof. (<b>P<\/b>rofesso<b>r<\/b>) does.<\/p>\n<p>In American English, a full stop always follows abbreviations:<\/p>\n<blockquote>\n<p>Miss. Emma Brown<br \/>\nDr. Robert Green<\/p>\n<\/blockquote>\n<h2>Address formatting<\/h2>\n<p><b>In British English,<\/b> write each part of the address on a new line: Name, House number and street name, County (if applicable), City, and Postcode:<\/p>\n<blockquote>\n<p>Mr John Smith<br \/>\n123 High Street<br \/>\nSpringfield<br \/>\nEssex<br \/>\nSS1 2AB<br \/>\nUnited Kingdom<\/p>\n<\/blockquote>\n<p>When an address has additional details such as building names, blocks, or units, it should be placed before the building name or street name:<\/p>\n<blockquote>\n<p>Mr John Smith<br \/>\nFlat 4, The Grand Building<br \/>\n123 High Street<br \/>\nSpringfield<br \/>\nEssex<br \/>\nSS1 2AB<br \/>\nUnited Kingdom<\/p>\n<\/blockquote>\n<p><b>American English<\/b><br \/>\nName<br \/>\nStreet address (including house number)<br \/>\nCity, state, ZIP code<\/p>\n<blockquote>\n<p>Mr John Smith<br \/>\n123 High Street<br \/>\nSpringfield, IL 62704<br \/>\nUnited States<\/p>\n<\/blockquote>\n<hr \/>\n<h3>Sources<\/h3>\n<p>Oxford Guide to Style by R. M. Ritter: A comprehensive guide on style conventions, including those relevant to typography and publishing.<\/p>\n<p>The Form of the Book and Treasury Of Alphabets & Lettering by Jan Tschichold: Essential works on book design and typographic lettering.<\/p>\n",
            "date_published": "2024-08-04T21:18:32+01:00",
            "date_modified": "2024-08-05T12:32:29+01:00",
            "tags": [
                "Advice"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1*KRwrcQTsQiAcsCZhTUxGXA.jpeg",
            "_date_published_rfc2822": "Sun, 04 Aug 2024 21:18:32 +0100",
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        {
            "id": "70",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/catandala-cat-spirit-mandalas\/",
            "title": "Introducing Catandala: cat-spirit mandalas",
            "content_html": "<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/970x600.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<\/div>\n<p>I’m excited to share my latest creation with you – a delightful adult colouring book featuring beautifully crafted mandalas, each adorned with charming cats. You can find it on <a href=\"https:\/\/amzn.eu\/d\/cw07PS2\">Amazon<\/a>.<\/p>\n<p>A bit of backstory: I recently came across an old illustration of mine from over a decade ago:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2220.jpg\" width=\"1649\" height=\"1167\" alt=\"\" \/>\n<div class=\"e2-text-caption\">It’s a gel pen drawing on A4 paper<\/div>\n<\/div>\n<p>And it sparked a wave of nostalgia. I was inspired to bring these feline friends to life once more. That’s when the idea came to me – why not create a unique adult colouring book that blends mandala patterns with the irresistible charm of cats? :-)<\/p>\n<p>Here are some of the designs you’ll find in the book:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1500\" data-ratio=\"1.6163793103448\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-16.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-14.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-8.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-11.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-12.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-14.jpg\" width=\"1500\" height=\"928\" alt=\"\" \/>\n<\/div>\n<\/div>\n",
            "date_published": "2024-02-14T15:15:52+01:00",
            "date_modified": "2024-07-25T17:07:19+01:00",
            "tags": [
                "Amazon",
                "My books"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/970x600.jpg",
            "_date_published_rfc2822": "Wed, 14 Feb 2024 15:15:52 +0100",
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        {
            "id": "27",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/cover-artwork-using-ai\/",
            "title": "Designing label cover artwork series using AI: my step-by-step experience",
            "content_html": "<p>In this blog post, I’ll share my experience using AI image generators to create release cover artwork for <a href=\"https:\/\/linktr.ee\/joofrecordings\">JOOF Recordings<\/a>, a UK record label run by <a href=\"https:\/\/www.facebook.com\/john00fleming\">John 00 Fleming<\/a>. I was approached by a JOOF manager with the task of creating a new artwork design by continuing the theme of the current covers. Unlike using dramatic changes and coming up with something entirely different, the challenge was to provide a fresh look while maintaining the previous style. The initial covers were hand-drawn by an illustrator, which was time-consuming and expensive. So, I proposed using AI as a cost-effective and quicker alternative.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/0tsokolovskaya-Large.jpeg\" width=\"1280\" height=\"637\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Cover artwork references<\/div>\n<\/div>\n<p>I compared three AI image generators: Midjourney, Leonardo, and DALL·E. I chose Midjourney for its alignment with my project needs.<\/p>\n<p>For those of you not familiar with Midjourney, let me quickly explain what it is. In a nutshell, Midjourney is a chatbot hosted on Discord servers, and you can operate it using chat commands called “prompts”. One of such prompts, for example, is “\/imagine”, which makes Midjourney create an image based on the input parameters.<\/p>\n<p>The process started with me uploading the original covers as references into Midjourney. My first attempt involved simply generating similar images. However, the results were far from what I expected:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1tsokolovskaya_56667_None_6c19f82d-01e3-415f-8469-290fb3e5861f-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2tsokolovskaya_56667_None_7e4b5bfa-8201-4877-9b26-9229f1eda52e-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3tsokolovskaya_56667_None_ff754d9c-3c7d-4886-907c-97945c031410-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I began with the original prompts but soon realized that a white background would make my task easier. The results, however, turned out quite different from the initial step:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4tsokolovskaya_56667_white_background_5150fe2a-553b-47e1-a77f-24532507cc5b-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5tsokolovskaya_56667_white_background_bcc91b5f-978c-468d-bc97-ec23277ab5ec-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I asked the bot to describe one of the original covers and generated images based on those descriptions:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6Screenshot-2023-12-17-at-12.20.21-Large.jpeg\" width=\"614\" height=\"685\" alt=\"\" \/>\n<\/div>\n<p>The results varied widely:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7tsokolovskaya_56667_black_and_white_photo_of_a_man_standing_in__7976af94-45f0-47a8-b9d4-5b7203afe327-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8tsokolovskaya_56667_a_man_standing_in_water_with_a_circle_in_th_5a716f9d-2506-48f6-bb90-ab1f277e7f2b-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9tsokolovskaya_56667_black_and_white_drawing_of_a_man_standing_n_f96b0070-2c71-4444-9196-cef202091e2c-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10tsokolovskaya_56667_a_black_and_whitememe_artwork_by_kim_nguyen_1078fe23-6de4-45dd-b351-bb87d96c606f-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I uploaded another cover for description and generated images with the new prompts:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11Screenshot-2023-12-17-at-12.23.18-Large.jpeg\" width=\"562\" height=\"706\" alt=\"\" \/>\n<\/div>\n<p>But again, the outcomes were not as expected:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12tsokolovskaya_56667_an_image_of_an_artist_that_is_holding_up_a__becd01ea-ff46-4533-b50b-07a1eb4388f1-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13tsokolovskaya_56667_a_person_staking_out_a_large_earth_with_his_279b4edb-ece8-4cd1-b9e6-3dc28cdd755a-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14tsokolovskaya_56667_the_mercurial_man_holding_the_planet_in_his_7888a8b4-73f1-4ef5-aac6-80834c313932-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15tsokolovskaya_56667_one_hand_holding_the_world_above_in_the_sty_15179a88-542a-43c2-b585-ddee9c428015-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>And I repeated the process with a third cover:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16Screenshot-2023-12-17-at-12.24.36-Large.jpeg\" width=\"562\" height=\"734\" alt=\"\" \/>\n<\/div>\n<p>But the results still missed the mark:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17tsokolovskaya_56667_man_in_white_flying_above_him_with_red_clou_74790d60-c753-4f11-90c1-2ef61fe9942c-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18tsokolovskaya_56667_the_front_cover_of_the_album_of_the_starlin_a8329909-2850-4c50-a460-e474f4132f8b-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19tsokolovskaya_56667_edward_swenson_nathea_live_album_live_in_co_69c12440-ffa3-4c26-aa4e-fac12443c3fb-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20tsokolovskaya_56667_in_the_clouds_by_laurence_johnson_in_the_st_d1f759bd-1a1e-4181-a9de-442c45c7d9be-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Then I returned to the first prompt but excluded the colour pink and added “charcoal drawing” to the prompt, followed by “charcoal style, minimal, no faces, girl, man”:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21tsokolovskaya_56667_pink_6b72fee2-362c-44c7-b5f1-30eea9238976-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22tsokolovskaya_56667_charcoal_drawing_0c7081a0-1fbb-4b3b-ad13-8127b43eedcc-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23tsokolovskaya_56667_charcoal_style_minimal_d692598f-f7e3-4e31-82fa-01c87885bd2f-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/24tsokolovskaya_56667_ttpss.mj.runhs8F5wI6QHM_26ff6425-1978-44cd-a40a-bb106db3fcd5-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I also tried “charcoal style, minimal, flat,” which brought back faces:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25tsokolovskaya_56667_charcoal_style_minimal_flat_eb23bea3-d346-40ed-9e47-410951da969d-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<p>So I added “no faces” again:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/26tsokolovskaya_56667_charcoal_style_minimal_flat_93eee550-ceb2-4f9e-bc49-ab6e4e8db878-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<p>And I included words like “silhouettes” and “abstract” in the prompt:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/27tsokolovskaya_56667_charcoal_style_minimal_flat_Silhouettes_84ee1ebd-89d5-4bef-b3f3-78c1c262ebb5-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/28tsokolovskaya_56667_minimalist_charcoal_flat_Silhouettes_abstra_1d0e4d40-53f9-4b94-91fe-4aed213378b3-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>However, the silhouettes became too human-like, so I added “alien flat silhouette”:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/29tsokolovskaya_56667_charcoal_style_minimal_alien_flat_silhouett_2dc87b70-3911-40ec-addc-a3619356b337-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<p>Changing the order of words in the prompt influences the results: “charcoal style, <b>minimal<\/b>, alien flat silhouette, no faces” → “<b>minimal<\/b>, charcoal, abstract, alien flat silhouettes, no faces”. And the results are getting closer and closer to the desired ones:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/30tsokolovskaya_56667_minimalist_charcoal_abstract_alien_flat_sil_a618b7bb-564d-4d86-8b02-6d06fc9e58e4-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<p>I switched from “flat” to “blurred”:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/31tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__354bcdb5-32ec-4e13-8d92-bad24aac5931-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<p>And continued to tweak the prompt, which now looks like “link_image_1 link_image_2 link_image_3 link_image_4 minimalist, charcoal, abstract, alien blurred silhouette, flat, no faces”. Here are some of the covers in the links. I added the image weight parameter to the prompt to make the covers have more influence on the result and I got this:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/32tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__63161c69-1913-4851-8636-4a121d0eef57-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/33tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__33d95095-6a63-4d42-90e8-a16828ed88d1-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I adjusted the influence of the original covers in the prompt and experimented with different parameters like “weird” with values of 2000 and 3000:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/34tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__4ab9a542-c9e2-424f-859d-dd4f0114dbaf-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/35tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__d2626005-fe39-4f85-b4bc-6a0314dfe9c1-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>And added words like “dust” and “scratches”:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/36tsokolovskaya_56667_minimalist_charcoal_abstract_alien_blurred__f0eb780c-832b-48dd-975b-feb1fe2a955e-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/37tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_silhou_51edf027-3c12-45bf-8c91-32dcd6c4400b-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I replaced “alien” with “ghost” and generated more variants with the latest prompt:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/38tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__fea69bd9-3213-49fd-a279-443ebf33c8b3-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/39tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__fa481a6f-d44f-4e0b-88e0-51804461f582-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Also I introduced the “chaos” parameter with varying values, leading to a range of intriguing images:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/40tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__677c0ca9-c758-47a5-9b31-d21c175d637d-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/41tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__ca1501b6-9f14-4ce4-a198-56cd11d6bd86-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/42tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__312007fa-c8b9-45ac-89d1-69077e476bbf-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/43tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__862ad83d-3f27-434b-9dc4-85fe7d55bb42-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/44tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__bd5bd717-a1ba-4d86-b68b-dace1dceac1a-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/45tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__2b5b063a-6ed4-4164-9b2a-a4e5e8d2199d-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/46tsokolovskaya_56667_minimalist_charcoal_e97f4210-fc7a-442a-8a65-4d5eb1e37f28-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/47tsokolovskaya_56667_minimalist_charcoal_297a6f82-06cb-4593-a57f-2475263f4289-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/48tsokolovskaya_56667_minimalist_charcoal_428483b0-1318-410d-b132-662cefb614b2-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Some images caught my attention, so I generated variations and added “no faces, hands, legs” to the prompt:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/49tsokolovskaya_56667_minimalist_charcoal_fa665702-e5d9-44e2-9a47-2a171d94eefa-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/50tsokolovskaya_56667_minimalist_charcoal_db59c747-dd34-44bf-b0f7-a857a80a1b10-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/51tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__d6b6a7b4-86aa-4ac2-9b6b-4ac519c3e69c-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/52tsokolovskaya_56667_None_d7c059f0-18d9-493a-85c8-366d187f0f65-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/53tsokolovskaya_56667_None_af78c4f0-60f1-4072-987d-2ee5de8ed4b0-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/54tsokolovskaya_56667_minimalist_charcoal_abstract_blurred_ghost__06a9dd8e-e89b-4ba9-b0ce-a3c6dbbc890f-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Then I upscaled the most suitable images for further work:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/55tsokolovskaya-Large.jpeg\" width=\"2030\" height=\"2030\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The images I selected from the generation process for further work<\/div>\n<\/div>\n<p>Finally, I took these generated images into Photoshop to unify their style and appearance. The end result was a series of unique and stylistically consistent album covers, all created with the aid of AI technology:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1280\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-Large.jpeg\" width=\"1280\" height=\"1280\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The client at JOOF loved the result so much so then they asked me to make a refresh artwork for their sub-label too called JOOF Aura.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Covers_old.jpg\" width=\"1200\" height=\"1200\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Cover artwork references<\/div>\n<\/div>\n<p>With these design I went through pretty much the same process, so let fast-forward you to the final result:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1000\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-15.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-13.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-7.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-10.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-11.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-13.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-10.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-12.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-8.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-4.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>My opinion about AI is that the future lies in this technology. However, it’s important to note that it’s not as simple as generating designs with a single click. It involves a substantial amount of work. Even for this artwork, it took me many hours across multiple days to control the visual output guided by my vision, master the prompts and get the result done right. Which is surely faster if I were drawing this by hand, but still not as easy as it might seem when someone hears the words “AI” being involved.<\/p>\n<p>I believe that designers who master this technology will undoubtedly have an edge in the future. AI doesn’t just replace hours of manual labour; it becomes an invaluable tool in a designer’s arsenal. The era of relying solely on Photoshop is evolving into one where AI complements Photoshop.<\/p>\n<p>Nevertheless, it’s crucial to understand that professional skills are still required to effectively use these tools. A manager, for instance, can’t just generate the needed images without a background in design and a trained eye. The role of the designer is not diminished but enhanced, requiring a blend of artistic sense and technical know-how to harness the full potential of AI in creative design.<\/p>\n",
            "date_published": "2024-02-06T10:14:06+01:00",
            "date_modified": "2024-02-06T11:09:55+01:00",
            "tags": [
                "AI",
                "John 00 Fleming",
                "Process"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/0tsokolovskaya-Large.jpeg",
            "_date_published_rfc2822": "Tue, 06 Feb 2024 10:14:06 +0100",
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            "id": "67",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/self-published-on-amazon\/",
            "title": "My self-publishing experience on Amazon",
            "content_html": "<p>I am delighted to share that I am now a self-published <a href=\"\/amazon\">author<\/a> on Amazon! I have published two children’s books — the counting book “<a href=\"\/blog\/all\/one-to-ten\/\">One to Ten<\/a>” and “<a href=\"\/blog\/all\/abc-first-workbook\/\">ABC First Workbook<\/a>”. Here is what this process looked like for me and what I have learned.<\/p>\n<p>My journey began a decade ago when I wrote a children’s fairy tale. Rediscovering it recently sparked the idea to bring it to life with illustrations and share it with the world. That’s when I stumbled upon Amazon Kindle Direct Publishing (KDP). Illustrating the story presented its challenges, making the book “One to Ten” a sort of trial run.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8505.jpg\" width=\"1000\" height=\"700\" alt=\"\" \/>\n<\/div>\n<p>KDP, the platform by Amazon, allows authors to publish and market their books, with Amazon handling order processing, printing, and delivery. This streamlined process captivated me. The dashboard is user-friendly, you fill in the information, upload files, wait for approval, and that is pretty much it!<\/p>\n<p>One notable perk is Amazon’s provision of ISBN (The International Standard Book Number) at no cost, although with the caveat of exclusive selling on their platform. In the UK, obtaining an ISBN independently would come with a hefty £91 price tag, a significant consideration given my plans for multiple book releases.<\/p>\n<p>I also liked the option to order a Proof of Print for proofreading and visual checks before publishing. However, my enthusiasm waned when I faced with the limited printing options offered by Amazon:<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screenshot-2024-01-24-at-20.09.38-1.png\" width=\"1000\" height=\"1180\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The only printing options available on Amazon KDP<\/div>\n<\/div>\n<\/div><p>“One to Ten” is designed for shared reading with 2–3-year-olds, necessitating durability. Unfortunately, Amazon’s paper is notably thin, similar to office-grade paper. Additionally, the absence of options for glossy or matte pages is disappointing, with the choice only extending to the cover.<\/p>\n<p>I ordered Proof of Print twice on separate occasions and also placed an order as a customer to see what the real copy would look like. Here is what I have got:<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8497.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Three copies of my first book, all look a bit different<\/div>\n<\/div>\n<\/div><p>The first proof of print was pretty decent with precise trimming. However, the thin paper and the colour reproduction are something I didn’t quite expect. As I later found out, Amazon removes embedded colour profiles resulting in unpredictable hues.<\/p>\n<p>Mindful of the colour profile removal, for the second proof of print I adjusted images for improved shades, yet the improvement turned out to be quite marginal. While the overall colour in the book remained vibrant, the illustration featuring the number 7 saw the deep dark blue of the night sky transform into a mundane black in print, which was upsetting.<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8498.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<div class=\"e2-text-caption\">That black sky is supposed to be deep dark blue<\/div>\n<\/div>\n<\/div><p>I also noticed another drawback in the form of unevenly trimmed pages. Despite incorporating proper trim margins in the layout, it failed to rectify the issue, as echoed in customer complaints on Amazon.<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8495.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Unevenly trimmed pages on the second proof copy<\/div>\n<\/div>\n<\/div><p>Last but not least, the third copy I ordered after publishing the book as a customer came with well-trimmed pages, so it wasn’t too bad after all!<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screenshot-2024-01-27-at-16.50.39.jpg\" width=\"1000\" height=\"890\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The customer copy is looking good<\/div>\n<\/div>\n<\/div><p>The sheer satisfaction of holding my 100% self-created product fueled my determination. Despite that Amazon’s print quality is lacking, I decided to pivot my approach. While influencing print quality might be beyond my control, shaping the content remains within reach.<\/p>\n<p>This decision led to the creation of my second book, “ABC First Workbook” – a comprehensive workbook guiding children through the art of writing letters, honing hand control on designated lines, and offering a delightful colouring experience. As a rewarding conclusion, children are presented with a certificate!<\/p>\n<p>So once again I ordered a proof of print followed by a customer copy to spot potential errors and compare the two. Just as with the first book, these came with white margins from trimming, though the customer copy was certainly cropped better:<\/p>\n<div style=\"max-width: 720px\"><div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1000\" data-ratio=\"0.75018754688672\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8499.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8500.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<\/div>\n<\/div>\n<\/div><p>Despite that, I really loved the book and it delighted me as a creation.<\/p>\n<p>This experience made me conclude with the following:<\/p>\n<ul>\n<li>Steer clear of complete background fill for bleed areas.<\/li>\n<li>Develop content for books with an awareness of the characteristics of thin pages.<\/li>\n<li>Workbooks, colouring books and activity books (for children and adults alike) probably suit best for Amazon’s printing capabilities.<\/li>\n<\/ul>\n<hr \/>\n<p>If you have any questions or thoughts, feel free to share them in the comments section :-)<\/p>\n",
            "date_published": "2024-01-28T16:45:16+01:00",
            "date_modified": "2024-01-28T19:47:18+01:00",
            "tags": [
                "Amazon",
                "My books",
                "Self-publishing"
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            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8466.jpg",
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            "id": "69",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/abc-first-workbook\/",
            "title": "ABCs workbook",
            "content_html": "<p>I have made the best workbook for learning ABCs ;-) And this book is best because:<\/p>\n<ul>\n<li>There are big letters for the first writing.<\/li>\n<li>Inside letters are numbered arrows to show the correct way to write.<\/li>\n<li>The different tracing lines for each letter.<\/li>\n<li>Funny colouring illustration for relaxing between learning letters.<\/li>\n<li>Lined pages for more training.<\/li>\n<li>And the certificate for successfully learning ABCs.<\/li>\n<\/ul>\n<p>The book is available on <a href=\"https:\/\/www.amazon.co.uk\/dp\/B0CSYLK1XJ\">Amazon<\/a>.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8480-1.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1000\" data-ratio=\"1.3333333333333\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8510.jpg\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8511.jpg\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8512.jpg\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1000\" data-ratio=\"0.75018754688672\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8487.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8489.jpg\" width=\"1000\" height=\"1333\" alt=\"\" \/>\n<\/div>\n<\/div>\n",
            "date_published": "2024-01-28T16:43:45+01:00",
            "date_modified": "2024-01-28T19:48:02+01:00",
            "tags": [
                "Amazon",
                "My books"
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            "id": "68",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/one-to-ten\/",
            "title": "My first book “One to Ten”",
            "content_html": "<p>I am happy to share that I designed and published my first real book “One to Ten: a Rhyming Journey”! It is a toddler’s book for learning numbers from one to ten. There are beautiful illustrations and a short poem for funny learning. The book is now available on <a href=\"https:\/\/www.amazon.co.uk\/dp\/B0CRVM6Y9T\">Amazon<\/a>.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8466-1.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1000\" data-ratio=\"1\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8475.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8477.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8478.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_8479.jpg\" width=\"1000\" height=\"1000\" alt=\"\" \/>\n<\/div>\n<\/div>\n",
            "date_published": "2024-01-28T16:25:39+01:00",
            "date_modified": "2024-01-28T16:27:10+01:00",
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                "My books"
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            "id": "1",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/black-and-white-printing\/",
            "title": "How to prepare monochrome photos for print",
            "content_html": "<iframe width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/9HywmVX4tyY?si=4GBVQcwlM9NQg4wh\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>Following the post <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/images-and-offset-printing\/\">about preparing images for offset printing<\/a>, I want to show how to prepare monochrome photos to get a beautiful rich black colour in print.<\/p>\n<p>I have a picture in the RGB colour model:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<\/div>\n<p>Let’s convert it from RGB to CMYK and compare:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"700\" data-ratio=\"0.66666666666667\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-copy.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-cmyk.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">First — RGB<br \/>\nSecond — CMYK<\/div>\n<\/div>\n<p>We can see that the black colour has become paler, but it’s okay, the main problem lies in the channels.<br \/>\nLet’s look at the Triad and Black channels separately:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-15.36.11.jpg\" width=\"700\" height=\"1049\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The triad colours kept all the details of the photo<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-15.36.26.jpg\" width=\"699\" height=\"1051\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The black colour gets a ‘skeleton’ of the darkest shades<\/div>\n<\/div>\n<p>The problem here is that there is always the possibility of colour variations when printing, which will result in a corresponding shade. Let’s look at an example using curves. I moved the Cyan and Magenta curve up and down:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"700\" data-ratio=\"0.66666666666667\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-cmyk1.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-cmyk2.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-cmyk3.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-cmyk4.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<\/div>\n<\/div>\n<ol start=\"1\">\n<li>More blue paint<\/li>\n<li>Less blue paint<\/li>\n<li>More purple paint<\/li>\n<li>Less purple paint<\/li>\n<\/ol>\n<p>Any jump in colour will tint the picture, and to avoid this, you need to transfer most of the detail in the photo to the Black channel. To do this, go into Photoshop and duplicate the image, as we will perform colour separation twice in different channels and then merge them.<\/p>\n<p>We’re working with the first copy now. Convert the picture to CMYK and create a Channel Mixer adjustment layer to move the Triad colours into the Black:<\/p>\n<div class=\"e2-text-video\">\n<video src=\"https:\/\/tsokolovskaya.com\/blog\/video\/Screen-Recording-2022-09-17-at-16.29.31.mov#t=0.001\" width=\"1127\" height=\"652\" controls alt=\"\" \/>\n\n<div class=\"e2-text-caption\">The values I have set are average and may vary. They can be tweaked at the end<\/div>\n<\/div>\n<p>Turn off the Black channel and see what we get at the Triad:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"700\" data-ratio=\"0.66730219256435\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-15.36.11.jpg\" width=\"700\" height=\"1049\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.26.49.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">The first photo — before, second — after<\/div>\n<\/div>\n<p>The Triad underlay became lighter and less detailed.<\/p>\n<p>Open a second copy of the image and convert it to CMYK but with maximum black generation. To do this, you need to create an appropriate colour profile — go to Edit → Color Settings and create a new CMYK profile with the settings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.41.04.jpg\" width=\"923\" height=\"575\" alt=\"\" \/>\n<\/div>\n<p>Convert the picture to CMYK with maximum black generation — Edit → Convert to Profile → select the created profile and look at the picture in the black channel:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.47.59.jpg\" width=\"700\" height=\"1048\" alt=\"\" \/>\n<\/div>\n<p>You can see that the entire picture has gone into the black channel. Now we need to merge it with the already prepared triad substrate. Open the first file and create a new layer there. Go to Image → Apply Image and copy only the black channel from the second file:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.55.44.jpg\" width=\"697\" height=\"1049\" alt=\"\" \/>\n<\/div>\n<p>The result is a black mess, and to fix it, you have to enable this layer to be displayed in the black channel only:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.58.08-1.jpg\" width=\"781\" height=\"483\" alt=\"\" \/>\n<\/div>\n<p>Let’s compare the result with the RGB picture:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"700\" data-ratio=\"0.66666666666667\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman-copy.jpg\" width=\"700\" height=\"1050\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-16.59.38.jpg\" width=\"699\" height=\"1052\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">The first is RGB, the second CMYK<\/div>\n<\/div>\n<p>You can see that in CMYK, the picture has a brownish tint, but this can easily be corrected in the Channel Mixer adjustment layer that has already been created:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-17-at-17.06.38.jpg\" width=\"701\" height=\"1048\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I reduced Magenta and Yellow slightly and added a little Cyan<\/div>\n<\/div>\n<p>For interest, I move the curve to see how the picture changes with paint fluctuation:<\/p>\n<div class=\"e2-text-video\">\n<video src=\"https:\/\/tsokolovskaya.com\/blog\/video\/Screen-Recording-2022-09-17-at-17.12.22.mov#t=0.001\" width=\"1600\" height=\"1065\" controls alt=\"\" \/>\n\n<div class=\"e2-text-caption\">The prepared picture hardly changes its hue, and I move the curve quite a lot — in printing it’s unlikely that such a fluctuation of colours will happen. To compare it with the second picture, which I simply converted from RGB to CMYK<\/div>\n<\/div>\n<p>So, you get an image with saturated black that looks as good in print as it does on the screen.<\/p>\n<p>Some may decide to print monochrome in one colour with pure black but do not do so. The result will be a pale and most likely grainy image.<\/p>\n<p>This treatment is appropriate for monochrome and mixed images with a colour part and a large monochrome area. In that case, combine the Channel Mixer adjustment layer and the Black Channel layer into a single folder and set it to only display a mask on the monochrome parts of the image.<\/p>\n",
            "date_published": "2022-09-17T21:24:00+01:00",
            "date_modified": "2024-08-30T14:23:31+01:00",
            "tags": [
                "Advice",
                "Printing"
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            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/black-and-white-woman.jpg",
            "_date_published_rfc2822": "Sat, 17 Sep 2022 21:24:00 +0100",
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            "id": "2",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/images-and-offset-printing\/",
            "title": "How I prepare magazine images for offset printing",
            "content_html": "<iframe width=\"1000\" height=\"563\" src=\"https:\/\/www.youtube.com\/embed\/AwOpRX2CxQA?si=M8PK34REL1J0s8gA\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<p>This video contains updated and more relevant information on preparing images for offset printing. The post itself needs an update, so make sure to check out the video for the latest tips and techniques.<\/p>\n<p>Images in a multi-page publication must be prepared to look good when printed. Typically, print shops have different requirements for offset printing, but the general principle of preparation is pretty much the same for all of them. I’ll give you an example <a href=\"https:\/\/tsokolovskaya.com\/blog\/tags\/agroinvestor\/\">of my work for Agroinvestor magazine<\/a> so that the print shop accepts the layout for the first time and the images remain high quality.<\/p>\n<p>There are four essential points in image preparation: the resolution (300 dpi), the colour model (CMYK), the colour profile (for our print shop, this is ISO Coated v2 300 % (ECI)) and the sum of the colours (no more than 300 %). At first glance, nothing complicated: take a picture of a suitable resolution, do colour separation in the right profile, and that’s it. However, apart from these points, there is an essential aspect of offset printing that I want to talk about, but let’s go through it one by one.<\/p>\n<h2>layout stage<\/h2>\n<p>During the layout stage, I use low-resolution photos. Most of them even have the watermarks of photobanks, and it doesn’t matter at this stage. This is what the linked files look like in the document:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-3.jpg\" width=\"415\" height=\"565\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The two right-hand columns show the actual resolution (left) and the effective resolution (right)<\/div>\n<\/div>\n<p>As you can see, all the images are in an RGB colour scheme, and most have a resolution of 72 dpi. This resolution is optimal for screens but very low for printing. And the effective resolution, in general, jumps around a lot. Let me explain, the actual resolution is the actual size of the picture, while the effective resolution is the size of the picture in the layout. If the actual resolution is 72 dpi and the effective one is 117, the layout picture is reduced by half. And vice versa, the picture is enlarged if the actual resolution is higher than the effective one. In the finished layout, their values should be the same.<\/p>\n<h2>Exporting images<\/h2>\n<p>I prefer to prepare the images for printing once the layout of the whole issue has been approved. That has its advantages:<\/p>\n<ul>\n<li>Things can change in the process: an article is replaced, strips are removed or added, pictures are sent in differently, ads are unexpectedly up, and so on.<\/li>\n<li>The original images are collected and sent to the photo editor, so it’s more convenient for me to get all the pictures at once rather than after each approved article. Also, if a photo from a photobank is suddenly replaced and has already been bought, then the money is spent for nothing.<\/li>\n<li>At any time, the chief editor can remove or add a piece of text within an article, which means that the size of an image will have to be changed because space on the page is limited. If the images were already ready to be printed, this work would have to be done again.<\/li>\n<\/ul>\n<p>When all the articles are collapsed, I proceed to process the images. As you may remember, the images are of poor quality, and to send them to the photo editor for redemption, I need to gather all the images of the issue into one folder. To do this, I pack the files in print:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-07-31-at-17.38.10.jpg\" width=\"616\" height=\"559\" alt=\"\" \/>\n<\/div>\n<p>Next, check Copy Linked Graphics. No other checkboxes are needed:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-07-31-at-17.39.21-3.jpg\" width=\"841\" height=\"592\" alt=\"\" \/>\n<\/div>\n<p>The result is a Links folder with all the images, which I hand over to the photo editor, who sends me the original high-resolution images.<\/p>\n<p>I also create three additional folders: PSD RGB, TIF Lab, and TIF CMYK.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-11.36.16.png\" width=\"680\" height=\"139\" alt=\"\" \/>\n<\/div>\n<p>Links contain all the images in the issue; Photos — the images to be redeemed; Photos Original — their originals. The PSD RGB, TIF Lab and TIF CMYK folders are needed so that I can return to them at each stage of processing the photo and, if necessary, make changes. I’ll go into more detail about these stages next.<\/p>\n<h2>Resolution<\/h2>\n<p>Next, pay attention to the resolution. There are several sources of images: for example, pictures from photobanks are of high quality, but pictures from agro-companies or their websites are often in low resolution, and it’s almost impossible to get the originals.<\/p>\n<p>Let’s say I was sent a photo at 72 dpi, but the picture itself is quite large 67×38 cm:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-12.39.31.png\" width=\"1079\" height=\"606\" alt=\"\" \/>\n<\/div>\n<p>I unchecked Resample and changed the resolution from 72 to 300. The image size is now considerably smaller — 16×9 cm:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-12.43.20.png\" width=\"1080\" height=\"605\" alt=\"\" \/>\n<\/div>\n<p>Ideally, this picture at 100% should be no larger than 16×9 cm in a layout. But what if I need it in a larger format? In such a situation, I enlarge the image by 15-20%. If an even larger format is required, the photo editor asks for the source, and if it’s not available, we look for a replacement image.<\/p>\n<p>It may also be that an image is sent with a dpi value between 200 and 300. In that case, I increase the dpi value to 300, which will also not appear in the printout. When the dpi is less than 200, it’s not worth enlarging the picture, we will not see pixels in print, but there will be some graininess.<\/p>\n<h2>Colour profile and ink sum<\/h2>\n<p>Our print shop has a requirement to use the ISO Coated v2 300 % (ECI) colour profile. This profile makes my job easier: by running the images through it, the sum of the colours in the overprints automatically becomes less than 300 %. The ink sum is the amount of ink applied to the paper. The image will be pale if the value is less than 300%. If the ink sum exceeds 300%, the sheet risks soaking through and staining the adjacent pages.<\/p>\n<p>You can determine the amount of colour in an image in several ways in Photoshop, but I find it much more convenient to do it through Indesign. Go to Window → Output → Separations Preview:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-14.54.07.jpg\" width=\"462\" height=\"442\" alt=\"\" \/>\n<\/div>\n<p>And in Ink Limit mode, select the desired percentage:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-14.56.58.jpg\" width=\"1141\" height=\"564\" alt=\"\" \/>\n<\/div>\n<p>Red spots in the image indicate that the colour limit has been exceeded in these areas. This way, even at the layout stage, I can quickly check all the images in the article.<\/p>\n<p>I have the required CMYK profile in Photoshop by default. This is done in the settings: Edit → Colour Settings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.02.04.jpg\" width=\"884\" height=\"558\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I downloaded the profile online beforehand<\/div>\n<\/div>\n<h2>From RGB to CMYK<\/h2>\n<p>All images can be divided into simple and complicated.<\/p>\n<p><b>Simple<\/b>— converts from RGB to CMYK with no problems:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/117093432_l-rgb.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/117093432_l-cmyk.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB, and the second one is CMYK. There is practically no difference between them.<\/p>\n<p><b>Complicated<\/b> — includes unprintable colours that are lost in offset printing:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5189873417722\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-rgb.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB, and the second is CMYK. As you can see, the bright green and red are “eaten away” in the second one, and the detail and volume in these areas are lost. You can solve this problem by contaminating the colours.<\/p>\n<p>Open our photo in Photoshop and work in the RGB colour model. To quickly see if there are any unprintable colours in the picture, go to View → Proof Setup and select Working CMYK (you already have the right colour profile for it):<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.26.19-1.jpg\" width=\"624\" height=\"298\" alt=\"\" \/>\n<\/div>\n<p>And with the Proof Colours command, we can switch between modes:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.32.12.jpg\" width=\"1081\" height=\"769\" alt=\"\" \/>\n<\/div>\n<p>Reminder: work in RGB. To get rid of the unprintable colour, create a Selective Colour adjustment layer:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.46.50.jpg\" width=\"280\" height=\"564\" alt=\"\" \/>\n<\/div>\n<p>We have two unprintable colours — red and green, so it’s these that we will “pollute”. And we do it with opposite colours — for red, we raise Cyan, and in green, we increase Magenta:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-08-at-15.52.31.jpg\" width=\"587\" height=\"308\" alt=\"\" \/>\n<\/div>\n<p>Let’s compare the three pictures now:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.5189873417722\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-rgb.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/plant-fruit-food-red-produce-vegetable-1221993-pxhere.com-cmyk2.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The first picture is RGB.<br \/>\nThe second is direct conversion to CMYK.<br \/>\nThe third one is converted to CMYK with an adjustment layer Selective Colour. Our picture is a bit darker, you can fix it if you want, but the tomatoes are still rich, and the leaves show details.<\/p>\n<p>Let’s look at another example:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1200\" data-ratio=\"1.7777777777778\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/sea-ocean-horizon-light-cloud-sky-795494-pxhere.com.jpg\" width=\"1200\" height=\"675\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.54.15.jpg\" width=\"1200\" height=\"676\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/sea-ocean-horizon-light-cloud-sky-795494-pxhere.com_2.jpg\" width=\"1200\" height=\"675\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>This is where I contaminated yellow and red:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-17.38.39.jpg\" width=\"583\" height=\"319\" alt=\"\" \/>\n<\/div>\n<p>The first picture is the original.<br \/>\nThe second picture is the Proof Colours view. You can see how the brightest areas get soapy, and the smallest details disappear.<br \/>\nThe third picture is corrected. It’s not as colourful and bright now, but printing such colours is impossible. I think it’s more critical to preserve details.<\/p>\n<h2>Feature of offset printing<\/h2>\n<p>The sharpness of offset printing decreases quite dramatically, which means it should be compensated technically. This is done in Photoshop with Unsharp Mask and must be done in several steps — separately in the Lab Lightness and CMYK Black channels.<\/p>\n<p>I’ve taken a rather dark picture with a black object to show the impact of the sharpening more clearly.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-14.jpg\" width=\"2539\" height=\"1693\" alt=\"\" \/>\n<\/div>\n<p>So, open the picture in Photoshop and create two duplicate layers:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.32.03.jpg\" width=\"277\" height=\"237\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I renamed them Lab and CMYK to make it clearer<\/div>\n<\/div>\n<p>Convert the image from RGB to Lab without merging layers. Go to the Lightness channel, apply the Unsharp Mask filter with an impact strength of 100, radius 3 px:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.11.57.jpg\" width=\"683\" height=\"484\" alt=\"\" \/>\n<\/div>\n<p>This is what we see:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.20.51.jpg\" width=\"1373\" height=\"967\" alt=\"\" \/>\n<\/div>\n<p>Next, convert the image from Lab to CMYK without merging the layers again. Go to the Black channel and apply the Unsharp Mask filter with a value of 300% and a radius of 1 px:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.13.21.jpg\" width=\"691\" height=\"492\" alt=\"\" \/>\n<\/div>\n<p>The values for Unsharp Mask in the Lightness and Black channels may differ. I have taken the average as an example.<\/p>\n<p>The picture looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.20.58.jpg\" width=\"1370\" height=\"1005\" alt=\"\" \/>\n<\/div>\n<p>A bright white border surrounds the black details, but you don’t have to be afraid to sharpen the black channel. The triad colours will underlie this white border, and the result will be a soft glow that will accentuate the darker objects:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1363\" data-ratio=\"1.4183142559834\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.48.30.jpg\" width=\"1363\" height=\"961\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1working-sand-sunset-tractor-night-morning-793868-pxhere.com.jpg\" width=\"1363\" height=\"961\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>You can optionally enable the display for Lab layers in triad only and CMYK in black only:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.28.30.jpg\" width=\"1063\" height=\"482\" alt=\"\" \/>\n<div class=\"e2-text-caption\">You can add a little transparency to this layer to soften the sharp effect<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-18.28.41.jpg\" width=\"1063\" height=\"484\" alt=\"\" \/>\n<\/div>\n<p>You may think the picture is heavily sharpened, but in offset printing, the sharpness will drop a lot, and this sharpening will make the picture clear. Also, remember that on the screen, we see an image at 300 dpi, in reality, it will be three times smaller. You can move away from the screen by 1.5–2 metres and look at the image. Everything will be okay in print if it looks good from a distance.<\/p>\n<p>I’ll show you an example of a magazine photo that I processed. Here’s a sharpened photo:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.00.12.jpg\" width=\"1031\" height=\"1160\" alt=\"\" \/>\n<\/div>\n<p>And this is the photo in the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_3498.JPG\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<\/div>\n<p>As another example, I’ll show you a piece of advertising that was sent in ready to print, and I can’t intrude on it:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.16.32.jpg\" width=\"962\" height=\"609\" alt=\"\" \/>\n<\/div>\n<p>On the left is a fragment of advertising layout, and on the right is a photo from a magazine. As you can see, the layout was not sharpened, and the output was blurred.<\/p>\n<p>Do not sharpen an RGB image. Otherwise, you risk having white ghosting around dark objects, which will not disappear when printed because there is no triadic backing:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-19.34.54.jpg\" width=\"1200\" height=\"848\" alt=\"\" \/>\n<div class=\"e2-text-caption\">So please don’t do it<\/div>\n<\/div>\n<p>Another thing I want to point out is the exposure. The printed image will always be darker than what we see on the screen. So if the picture seems dark, you need to lighten it up a bit. Otherwise, it might turn out to be a completely black nothing. For example, I sent the picture above to print like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-09-at-20.09.55.jpg\" width=\"1478\" height=\"1064\" alt=\"\" \/>\n<\/div>\n<p>It’s darker in the magazine, but the grasses are still visible:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_3498.JPG\" width=\"1000\" height=\"750\" alt=\"\" \/>\n<\/div>\n<p>This is all about the basics of image preparation. There are nuances in converting monochrome images from RGB to CMYK, but we don’t see those in our magazine, so I’ve written about that <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/black-and-white-printing\/\">separate post<\/a>.<\/p>\n<h2>Stages of work and their automation<\/h2>\n<p>Now, point by point, what and in which order I do when I get the original photos from the photo editor, and the layout is approved.<\/p>\n<h3>1. Resolution and processing<\/h3>\n<p>I open my first image in Photoshop, check its resolution, correct it if needed and start processing. Processing can include anything: clipping, cleaning of unnecessary elements, sometimes I make a collage of several photos or changing the background, somewhere you want to pull the black point and correct the ragged horizon — in general, there are all the necessary aesthetics.<\/p>\n<h3>2. Unprintable Colours and Exposure<\/h3>\n<p>I use Proof Colours to check my image for unprintable colours and correct it with Selective Colours if necessary. I lighten the image a little. In my experience with our print shop, I prefer to lighten almost all images. Otherwise, even light images in print come out darker than the screen.<\/p>\n<p>I save the Photoshop file in a PSD RGB folder when I am visually happy with everything. Now I have a finished image in full size that I can return to at any time.<\/p>\n<h3>3. Image size<\/h3>\n<p>In Indesign, I look at the actual size of the previously processed image within the layout:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-14.30.22.jpg\" width=\"496\" height=\"520\" alt=\"\" \/>\n<\/div>\n<p>I go to Photoshop, crop the image and resize it according to the layout:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-14.56.11.jpg\" width=\"1000\" height=\"751\" alt=\"\" \/>\n<\/div>\n<p>All the images in the print-ready file must be at 100% scale, and the effective resolution is 300 dpi. Right now, the effective resolution of my picture in Indesign is twice as high:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.06.42.jpg\" width=\"419\" height=\"90\" alt=\"\" \/>\n<div class=\"e2-text-caption\">It shouldn’t be like this<\/div>\n<\/div>\n<p>If you skip that step and leave the images at their original size, the resulting file will weigh a lot. It will be hard to work with, and the print shop will scold you :-)<\/p>\n<p>And here is an important point, when the image size fits the layout, I create a new action in Photoshop and call it Sharp:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2022-09-12-at-15.13.57.jpg\" width=\"398\" height=\"158\" alt=\"\" \/>\n<\/div>\n<p>Now all my actions are recorded. I converted the picture from RGB to Lab, merged all the layers, and saved the file in TIF format in the TIF Lab folder.<\/p>\n<h3>4. Sharpness<\/h3>\n<p>I go to the Lab Lightness channel and sharpen the picture. Convert from Lab to CMYK, sharpen the black channel, and save the image in TIF format to the TIF CMYK folder. I closed the file and stopped the action recording. Now I have action, which I apply to all further images after their initial processing.<\/p>\n<p>When all the images are ready, I go to Indesign and replace all the images with those in the TIF CMYK folder. At this stage, I review each image, and if I don’t like something, I can always go back to any stage of its processing and correct it. That’s why I save files separately in additional folders.<\/p>\n<p>And this is what the linked files look like after their preparation for printing:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-4.jpg\" width=\"419\" height=\"548\" alt=\"\" \/>\n<\/div>\n<p>If you have any questions, let me know, I’ll try to help :-)<\/p>\n",
            "date_published": "2022-09-13T11:26:00+01:00",
            "date_modified": "2024-09-12T12:10:34+01:00",
            "tags": [
                "Advice",
                "Agroinvestor",
                "Layout Design",
                "Magazine",
                "Printing"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/18-3.jpg",
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            "id": "3",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/prepress-indesign\/",
            "title": "Pre-press in InDesign",
            "content_html": "<p>Preparing a design correctly for printing is a time-consuming task. You need to check fonts, images, colours, and format, consider transparent elements, and adjust exports so that the print shop accepts the file for printing. Let me tell you what I do for the periodical Agroinvestor and how I do it.<\/p>\n<h3>Bleed parameter<\/h3>\n<p>The Bleed parameter must be set when creating a new document. The value can be obtained from the print shop, usually 3–5 mm:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-10.jpg\" width=\"417\" height=\"591\" alt=\"\" \/>\n<\/div>\n<p>This is to control the elements that go under the crop. In the document, Bleed is shown with a red border around the outline of the workspace. In the image below, you can see that the line in the header extends beyond the sheet and reaches the red border:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-12.jpg\" width=\"764\" height=\"701\" alt=\"\" \/>\n<\/div>\n<p>This means that in printed form, the page will look like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-9.jpg\" width=\"733\" height=\"706\" alt=\"\" \/>\n<\/div>\n<p>If the line is not brought to the red frame but left at the edge of the sheet:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-11.jpg\" width=\"796\" height=\"724\" alt=\"\" \/>\n<\/div>\n<p>In print, we run the risk of getting this result:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-7.jpg\" width=\"721\" height=\"711\" alt=\"\" \/>\n<\/div>\n<p>The fact is that there is always an error of 2–3 mm when printing undercuts, both in and outside the working area. The Bleed parameter helps to eliminate it.<\/p>\n<h3>Preview mode<\/h3>\n<p>During the layout process, I always switch between Normal and Preview modes. Preview mode helps to ensure that all the trim lines are trimmed and that the relevant elements stay within the printable area. In the images below, you can see that the lines in the header and footer extend beyond the printable area, which means they will be cropped correctly. The Preview shows how the finished spread will look in print:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1441\" data-ratio=\"1.4438877755511\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-13.jpg\" width=\"1441\" height=\"998\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-12.jpg\" width=\"1441\" height=\"998\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Normal — Preview<\/div>\n<\/div>\n<h3>High-Quality Display mode<\/h3>\n<p>To control the resolution of images, I work in High-Quality Display mode. If an image is blurry or pixelated, you must pay attention to it. I’ll talk about more precise control of images below, but for the layout phase, High-Quality Display mode is sufficient:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"734\" data-ratio=\"0.73620862587763\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-6.jpg\" width=\"734\" height=\"997\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-9.jpg\" width=\"734\" height=\"997\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">In High-Quality Display mode, you can see that the image is of high quality<\/div>\n<\/div>\n<h3>Text and spelling<\/h3>\n<p>During the layout process, I always check the tails of text boxes. The red plus sign in the bottom right corner means that there is hidden text inside the box — this should be corrected:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-3.jpg\" width=\"387\" height=\"678\" alt=\"\" \/>\n<\/div>\n<p>To see how much text is hanging by the tail, you can click on the plus sign to create another text box, and you can also turn on the Story Editor:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-5.jpg\" width=\"622\" height=\"775\" alt=\"\" \/>\n<\/div>\n<p>A window will open with all the text in the frame. The grey horizontal Overset line and the red vertical line indicate a piece of text that is not displayed:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14-4.jpg\" width=\"689\" height=\"375\" alt=\"\" \/>\n<\/div>\n<p>To control spelling, I switch on Dynamic Spelling mode:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15-3.jpg\" width=\"671\" height=\"787\" alt=\"\" \/>\n<\/div>\n<p>It automatically underlines unfamiliar words and words that may contain an error, just like a text editor:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-4.jpg\" width=\"800\" height=\"603\" alt=\"\" \/>\n<\/div>\n<p>A red underline indicates a grammatical error. A green underline indicates that the word is preceded by a full stop, meaning it should start with a capital letter. In my case, it’s not considered a mistake :-)<\/p>\n<p>If you select Check Spelling, you can manually go through all underlined words and replace them if necessary.<\/p>\n<h3>Image check<\/h3>\n<p>The High-Quality Display mode allows you to monitor the quality of images visually. I have a Links panel set up for more accurate monitoring:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-4.jpg\" width=\"252\" height=\"490\" alt=\"\" \/>\n<\/div>\n<p>I am comfortable seeing the following values:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-4.jpg\" width=\"429\" height=\"474\" alt=\"\" \/>\n<\/div>\n<p>This is how it appears in the working document:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-2.jpg\" width=\"415\" height=\"565\" alt=\"\" \/>\n<\/div>\n<p>You can see that the colour schemes of the images are RGB, and the quality is poor, so you can’t print them. After preparing the images for printing (there is <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/images-and-offset-printing\/\">a post about it<\/a>), the values look like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-2.jpg\" width=\"419\" height=\"548\" alt=\"\" \/>\n<\/div>\n<p>I can now see that all the document’s images are ready to print.<\/p>\n<h3>Checking fonts<\/h3>\n<p>When I work on a periodical, I use text styles. I wrote about them <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/optimizing-magazine-process\/\">in a post about optimizing for a magazine<\/a>, so I always keep my fonts in order. But if the project is new, I always check which fonts are used in the document before sending it to the print shop. This is to avoid accidentally printing any incorrect font without the appropriate license. You can see the fonts in the document itself:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21-2.jpg\" width=\"326\" height=\"688\" alt=\"\" \/>\n<\/div>\n<p>And if necessary, immediately replace the random font:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20-2.jpg\" width=\"472\" height=\"364\" alt=\"\" \/>\n<\/div>\n<p>You can also view all the fonts just before exporting the file to print, which I will explain further.<\/p>\n<p>You should also check whether the fonts are OpenType or TrueType. Some print shops may not accept a layout if it contains TrueType fonts, for example. Such fonts can be converted to curves.<\/p>\n<h3>Checking for errors<\/h3>\n<p>I keep track of errors in the file in the bar at the bottom left:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22-2.jpg\" width=\"567\" height=\"49\" alt=\"\" \/>\n<\/div>\n<p>If I can’t find an error visually, the Preflight panel rescues me. It’s also handy to use if there are a lot of errors:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/24.jpg\" width=\"434\" height=\"259\" alt=\"\" \/>\n<\/div>\n<p>It’s OK when the indicator light in the bottom panel glows green:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23-1.jpg\" width=\"576\" height=\"38\" alt=\"\" \/>\n<\/div>\n<p>The Preflight panel can be adjusted for each new project, but the basic settings are generally sufficient.<\/p>\n<p>Errors can also be tracked right at the stage of packing files for printing, as I will discuss next.<\/p>\n<h3>Black control<\/h3>\n<p>The print shop requires that the ink sum for the black colour in the images should not exceed 300%. You can check this with the Separations Preview panel. I have set the Ink Limit to 300%. This is how I can see parts of the image that exceed the Ink Limit — they are highlighted in red:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25-2.jpg\" width=\"1047\" height=\"984\" alt=\"\" \/>\n<\/div>\n<p>To fix this, I saved the image in the ISO Coated v2 300 (ECI) colour profile, which our print shop uses. I’ll talk more about colour profiles in a separate post. I refreshed the image and looked again with Separations Preview:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/26-1.jpg\" width=\"1047\" height=\"984\" alt=\"\" \/>\n<\/div>\n<p>If you have a solid black somewhere, it’s important to remember to make it composite, e. g. 50 50 50 100 (CMYK). If you take black with a composition of 0 0 0 100, i.e. 100% black ink only, you risk getting a poor colour in printing:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/27-1.jpg\" width=\"295\" height=\"124\" alt=\"\" \/>\n<\/div>\n<h3>Transparency<\/h3>\n<p>Another point is to check the layout for transparent objects. This ensures that all transparent objects and the elements they affect are printed correctly — as the design intends. For example, I added a transparent rectangle to the layout. In Flattener Preview mode, all transparency is highlighted in red:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/28-1.jpg\" width=\"1707\" height=\"989\" alt=\"\" \/>\n<\/div>\n<p>There you can also see all the transparent elements, i.e. those that are touched by the transparent rectangle:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/29-1.jpg\" width=\"1701\" height=\"996\" alt=\"\" \/>\n<\/div>\n<p>It’s crucial to check transparency if the print shop requires a file compatible with Acrobat 4 (PDF 1.3), as this version does not support transparent objects. All transparency will be rasterized when exported, and you must set export parameters. This can be done in the Flattener Preview panel:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/30-1.jpg\" width=\"668\" height=\"699\" alt=\"\" \/>\n<\/div>\n<p>This is how to create a preset with the right settings and use it when exporting. I know that “Agroinvestor” magazine has no transparency in its layout, so I don’t bother with the preset but use the built-in High Resolution preset:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/31.jpg\" width=\"672\" height=\"661\" alt=\"\" \/>\n<\/div>\n<h3>Export<\/h3>\n<p>I use the Book format in InDesign in my periodical work (I’ll talk about it in a separate post), so I use the Package Book For Print command to export the file to print. A window pops up where I can tick all the checkboxes I want to get into the export package — I only want the PDF file, and I also select a pre-saved export preset for Agroinvestor:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/32-1.jpg\" width=\"841\" height=\"592\" alt=\"\" \/>\n<\/div>\n<p>The preset settings are like this:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"674\" data-ratio=\"1.0181268882175\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/33-1.jpg\" width=\"674\" height=\"662\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/34-1.jpg\" width=\"674\" height=\"662\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/35-1.jpg\" width=\"674\" height=\"662\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/36-1.jpg\" width=\"674\" height=\"662\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Compatible with Acrobat 4 (PDF 1.3) for print shop requirements and ZIP compression for images.<br \/>\nUse the blends installed in the layout.<br \/>\nExport images in the desired colour profile (this setting is just in case, all images <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/images-and-offset-printing\/\">I prepare in advance<\/a>.<br \/>\nUse High Resolution preset for transparent objects.<\/div>\n<\/div>\n<p>And finally, a final check for errors:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"568\" data-ratio=\"1.2511013215859\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/37-1.jpg\" width=\"568\" height=\"454\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/38-1.jpg\" width=\"568\" height=\"454\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/40-1.jpg\" width=\"568\" height=\"454\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/39-1.jpg\" width=\"568\" height=\"454\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Here you can see that there are no errors, the fonts are OK, the images are OK too<\/div>\n<\/div>\n<p>I get the file and send it to the print shop :-)<\/p>\n",
            "date_published": "2022-08-05T11:30:00+01:00",
            "date_modified": "2023-06-02T13:02:15+01:00",
            "tags": [
                "Advice",
                "Agroinvestor",
                "Layout Design"
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            "_date_published_rfc2822": "Fri, 05 Aug 2022 11:30:00 +0100",
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            "id": "4",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-spread\/",
            "title": "Magazine layout. Spread",
            "content_html": "<p>The magazine spread is a single entity. Even if the left and right pages are very different in content, it’s essential to “connect’ them visually. This can be achieved by repeating a font, colour or some graphic element. For example, yellow bars are on this spread’s left and right pages. They are the ones who give the impression of cohesion:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2cffb4745ba9ca973f9ff52ce889945f.jpg\" width=\"1494\" height=\"897\" alt=\"\" \/>\n<\/div>\n<p>Today I will talk about the elements found in a magazine spread. Three main elements in the centrefold influence the reader’s attention: the image, the composition of the layout, and the headline. In addition, there may be a kicker, an intro, an author line, an article body and, of course, a header. Let’s look at each of these elements in more detail.<\/p>\n<h3>Image<\/h3>\n<p>The main image usually occupies an entire page or almost a whole page. It’s the first thing that catches the reader’s eye and hints at what the article is about.<\/p>\n<h3>Header<\/h3>\n<p>The header is the largest text element. It can be located anywhere in the spread. It makes sense to use the left-hand page, as we are used to reading from left to right, but not necessarily so. In the example above, the image occupies the left-hand page, while the header and everything else are on the right. The header must stand out from the rest of the elements. You can do this by using a larger size, a different font, a different colour, or even expanding it vertically.<\/p>\n<h3>Kicker<\/h3>\n<p>The kicker is the header. It’s not always used. It’s usually printed in smaller font sizes. It can point to a heading or directly relate to the article’s subject.<\/p>\n<h3>Intro<\/h3>\n<p>An intro is an introductory paragraph connecting the title and the article. It’s usually typed in a different typeface and\/or font than the main text.<\/p>\n<h3>Article body<\/h3>\n<p>A two or three-column layout is most common in magazines, depending on the format. I’ve written about the optimum line length <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/better-typography\/\">in a typography tip for the layout<\/a>.<\/p>\n<h3>Subheadings<\/h3>\n<p>Subheadings are used in the body of the article, and there can be several subheadings. They control the reader’s attention and help them find the information they want.<\/p>\n<h3>Quotes<\/h3>\n<p>Like subheadings, quotes control the reader’s attention. Typically, quotations highlight some exciting fact or meaningful phrase that can ‘get’ the reader to explore the article.<\/p>\n<h3>Page header<\/h3>\n<p>A header is an information block that is attached to some edge of the spread. It may include the title of the section, the heading, the name of the magazine, the issue number and the page numbering.<\/p>\n",
            "date_published": "2021-06-29T18:11:00+01:00",
            "date_modified": "2023-12-13T12:35:26+01:00",
            "tags": [
                "Magazine"
            ],
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            "_date_published_rfc2822": "Tue, 29 Jun 2021 18:11:00 +0100",
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            "id": "5",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/optimizing-magazine-process\/",
            "title": "How to optimise work on a magazine",
            "content_html": "<p>I recently told you <a href=\"https:\/\/tsokolovskaya.com\/blog\/all\/agroinvestor-test\/\">how I completed a test assignment and got a job<\/a> at a publishing house, and today I’m going to tell you about preparing my first issue of the magazine.<\/p>\n<p>I looked at the previous designer’s source files and realised this format would be awkward. This is what a folder of one issue looks like:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-11.jpg\" width=\"256\" height=\"576\" alt=\"\" \/>\n<\/div>\n<p>Each magazine article is in a separate folder, and inside each folder are subfolders with images and fonts and a file with some instructions. It so happened that I was not handed the files correctly. I could not communicate with the ex-designer to clarify anything and could only guess at his processes.<\/p>\n<p>So the first thing I did before starting work was to optimise everything as much as possible.<\/p>\n<p>To do this, I created one InDesign file (ai_temp.indd) in which I configured the following:<\/p>\n<ul>\n<li>page header templates,<\/li>\n<li>paragraph styles,<\/li>\n<li>GREP styles,<\/li>\n<li>all the necessary graphics.<\/li>\n<\/ul>\n<p>Let me explain each of these points in detail.<\/p>\n<h3>Page header templates<\/h3>\n<p>The periodical has two dynamic elements on all pages and needs to be changed in each issue — the issue number and the headings. These elements are located in the header and footer:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-5.jpg\" width=\"1200\" height=\"890\" alt=\"\" \/>\n<\/div>\n<p>I saved the header in the A-master template, in which I will change the month and publication number. And based on this A-master, I created templates with a header in which I prescribed the possible headings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-11.jpg\" width=\"240\" height=\"636\" alt=\"\" \/>\n<\/div>\n<p>So, when starting a new issue, I copy my ai_temp.indd file and change the month and number in the A-Master template. Next, I assign the header template to the pages when starting the new article.<\/p>\n<h3>Paragraph styles<\/h3>\n<p>To make it easy to work with the text and avoid confusing its layout, I have created all the possible styles in the magazine in the file ai_temp.indd. It looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-8.jpg\" width=\"239\" height=\"523\" alt=\"\" \/>\n<\/div>\n<p>Absolutely all styles are based on Basic Paragraph, in which GREP styles are prescribed for correct hyphenation within the text.<\/p>\n<h3>GREP styles<\/h3>\n<p>To remove dangling characters at the end of a line, I created five hyphenation rules:<\/p>\n<ul>\n<li><b>for prepositions with a lowercase letter:<\/b> (?<= )((в|во|без|до|из|к|ко|на|по|о|от|перед|при|через|с|у|не|за|над|для|об|под|про|и|а|но|да|или|ли|бы|то|что|как|я|он|мы|они|ни)( |\\. |, ))+<\/li>\n<li><b>for prepositions with a capital letter:<\/b> ((?<= )|(?<=^))((В|Во|Без|До|Из|К|Ко|На|По|О|От|Перед|При|Через|С|У|Нет|За|Над|Для|Об|Под|Про|И|А|Но|Да|Или|Ли|Бы|То|Что|Как|Я|Он|Мы|Они|Ни) )+<\/li>\n<li><b>for numerical values:<\/b> (?<=\\d)(.)<\/li>\n<li><b>for the dash:<\/b> (?<=) (—)<\/li>\n<li><b>for units of measure:<\/b> (?<= )((га|гг.|дм|долл|др.|же|кг|мг|мл|млн|млрд|мм|нм|с.|см|стр.|руб.|тыс.)( |\\. |, ))+<\/li>\n<\/ul>\n<p>It looks like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-9.jpg\" width=\"917\" height=\"709\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I add new values as needed<\/div>\n<\/div>\n<h3>Graphics<\/h3>\n<p>In CC Libraries, I have kept the colour palette and graphic elements that are most common in articles:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-8.jpg\" width=\"245\" height=\"658\" alt=\"\" \/>\n<\/div>\n<p>There are also icons inside some of the headings. I’ve put them in a separate Illustrator file so that I can edit them:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-11.jpg\" width=\"732\" height=\"811\" alt=\"\" \/>\n<\/div>\n<p>This way, all the elements are at your fingertips, and you don’t have to search for them every time in old releases and go to the source files to copy them.<\/p>\n<p><hr\/><\/p>\n<p>Next, I created a new book (New Book) in InDesign for the magazine’s new issue and named it AI_June-07.indb. I copy my file ai_temp.indd and give it the name ai_6-13_sobitiya.indd, where “ai” is agroinvestor, “6-13” — page numbers for a particular article, “sobitiya” — rubric. I added this file to the book and gave it the correct page numbering.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-10.jpg\" width=\"613\" height=\"509\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-6.jpg\" width=\"446\" height=\"467\" alt=\"\" \/>\n<\/div>\n<p>Then I assign the pages a template with the required header and proceed with the layout.<\/p>\n<p>The book format is helpful for multi-page publications if they have chapters or headings. I will discuss this in more detail in a separate post.<\/p>\n",
            "date_published": "2021-06-10T14:56:00+01:00",
            "date_modified": "2023-06-06T11:30:03+01:00",
            "tags": [
                "Advice",
                "Agroinvestor",
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-11.jpg",
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            "id": "6",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/agroinvestor-test\/",
            "title": "Completed a test assignment for a publisher and got the job",
            "content_html": "<p>I decided that the best way to understand the workings of periodicals was to look at the process from the inside, so since May, I have been working as a layout designer for a business magazine <a href=\"https:\/\/www.agroinvestor.ru\">Agroinvestor<\/a>. This is now my main activity, and the blog posts will focus on it. I will show you how the processes of publishing a magazine are arranged, what is essential in the layout and preparation of the publication for printing, and how to optimise your work from issue to issue.<\/p>\n<h2>How I got into publishing<\/h2>\n<p>I want to give some confidence to newcomers who wish to work on a periodical. At the time of my job search, I had no experience in this field. Orders for multi-page layouts were, of course, but still, periodicals work differently. After two months of searching, I was interviewed by the chief editor, who gave me a test assignment. To my surprise, even just getting a test assignment proved problematic if you didn’t have the necessary experience. So anything is possible, as long as you keep at it :-)<\/p>\n<h3>Test Assignment<\/h3>\n<p>The essence of the test assignment is to repeat the current layout. The chief editor sent me a text to be layout and some magazine pages:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1191\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-10.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-10.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-4.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Agroinvestor, May 2021<\/div>\n<\/div>\n<p>Before starting work, I “deconstructed” the layout and identified the grid, fonts, styles, and bad points I could already correct.<\/p>\n<p><b>A five-column grid<\/b> in the body of the article, with the speaker box at the bottom of the page taking on a life of its own and defying any logic:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-8.jpg\" width=\"597\" height=\"794\" alt=\"\" \/>\n<\/div>\n<p><b>I recognised the fonts<\/b> in Adobe Acrobat. I was lucky because they sent me a pdf file, but they could have also sent me a jpeg. This is how I identified all the fonts in the document:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-10.jpg\" width=\"1114\" height=\"1758\" alt=\"\" \/>\n<\/div>\n<p><b>The styles<\/b> include a three-line drop cap, colour palette, font size and styles for body text, headings, headers, text within illustrations with tables, and line widths in the design.<\/p>\n<p>The <b>unfortunate points<\/b> caught my eye immediately — the lack of optical alignment and block alignment in general, the holes within the text canvas and, of course, the dangling prepositions. The thinned lowercase also caught my eye, but there’s nothing I can do about them (yet) — they’re design elements:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-7.jpg\" width=\"800\" height=\"1051\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Highlighted some points<\/div>\n<\/div>\n<p>In this post, I won’t describe the layout of the test job itself. I’ll talk about the layout and the nuances at another time. Below are a couple of spreadsheets of my layout:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1191\" data-ratio=\"1.5\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-8.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-5.jpg\" width=\"1191\" height=\"794\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I sent the final work to the chief editor and told him about the design improvements. A couple of days later, I received an invitation :-)<\/p>\n<h3>What else do you need to know about working on a periodical<\/h3>\n<p>In addition to being able to layout InDesign, you need to understand the principles of offset printing, prepare images for offset printing, and upload a file for the print shop to meet their requirements. I’ll go on to cover all of this in detail over time.<\/p>\n",
            "date_published": "2021-05-26T13:24:00+01:00",
            "date_modified": "2023-06-06T11:23:21+01:00",
            "tags": [
                "Agroinvestor",
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-10.jpg",
            "_date_published_rfc2822": "Wed, 26 May 2021 13:24:00 +0100",
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        {
            "id": "7",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-rhythm\/",
            "title": "Magazine layout. Rhythm",
            "content_html": "<p>Continuing <a href=\"http:\/\/tsokolovskaya.com\/blog\/tags\/magazine\/\">magazine theme<\/a> :-) I first discovered rhythmic layout in 2016 in the book “Editing by Design” by Jan V. White. It was a revelation because I wasn’t familiar with multi-page layouts. Now I look through the magazines and realise how the rhythm makes the publication interesting and contributes to the study of the magazine.<\/p>\n<p>Composing a publication is like making a movie storyboard — the dynamics and changes of plans are important. The magazine should not be seen as separate pages but as a single organism. If you take a magazine and hang its pages on the wall, preferably in a single line, stand back and look at that line, you can see the overall dynamics.<\/p>\n<h2>Elements that influence dynamics<\/h2>\n<p>A good dynamic is when the illustrations alternate with text blocks when large elements alternate with small, dark elements alternate with light, and so on. This creates a contrast that prevents the reader from getting bored. Here are some of the elements:<\/p>\n<h3>Speed<\/h3>\n<p>Movement in the left-to-right direction is faster than in the opposite direction. This is because, as children, we learn to read from left to right. You can control the speed of the movement by alignment and spacing. The closer the elements are to each other, the faster the flow of these elements moves. If the elements overlap each other, the movement becomes even faster and easier:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-9.jpg\" width=\"600\" height=\"439\" alt=\"\" \/>\n<\/div>\n<h3>Shade<\/h3>\n<p>Shades allow you to manipulate the distance, how close or far away the objects are. The darker the element, the closer it appears, and vice versa:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-9.jpg\" width=\"600\" height=\"166\" alt=\"\" \/>\n<\/div>\n<h3>Shape<\/h3>\n<p>The shapes of the repeating elements can be changed slightly and shifted up or down — this will add dynamics and enhance the impression:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-3.jpg\" width=\"600\" height=\"224\" alt=\"\" \/>\n<\/div>\n<h3>Size<\/h3>\n<p>Manipulating size can lead to a decline or, conversely, to growth, to show decay and improvement:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-6.jpg\" width=\"600\" height=\"83\" alt=\"\" \/>\n<\/div>\n<h3>Repetition<\/h3>\n<p>The frequency of repetition of elements indicates acceleration or deceleration:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-7.jpg\" width=\"600\" height=\"259\" alt=\"\" \/>\n<\/div>\n<h3>Direction<\/h3>\n<p>Upwards direction means improvement and downward direction means decline:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-9.jpg\" width=\"500\" height=\"330\" alt=\"\" \/>\n<\/div>\n<h3>How and where to apply<\/h3>\n<p>Dynamic elements can be used in magazines and any publication with more than two pages. They also fit perfectly into web design — websites and applications will become more dynamic and exciting. You can use a single element or several elements at once. The combinations create an amplified rhythmic effect.<\/p>\n<h2>Parsing the magazine<\/h2>\n<p>I became interested in tracing the rhythm of a real magazine. I chose to research National Geographic magazine and paged it:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/psy-rhythm.jpg\" width=\"2000\" height=\"1102\" alt=\"\" \/>\n<\/div>\n<p>The main elements of dynamism in this magazine were shade and size.<\/p>\n<p><b>Shades<\/b>. The shades set the main dynamic of the magazine. Light and dark pages alternate throughout the publication. Text pages alternate with photographs and vice versa. This quick change of contrasts keeps the reader interested.<\/p>\n<p><b>Size<\/b>. Close-up photos of birds alternate with medium and long-range shots of birds in full size or with more than one bird in the photo. The type of people’s photos changes — large portraits alternate with full-length silhouettes. The photos of buildings also alternate — from afar and inside details of the building.<\/p>\n<p><hr\/><\/p>\n<p>I’m so passionate about magazine layout that I got a job at a publishing house and designed my first magazine. I’ll tell you and show you all about it soon! :-)<\/p>\n",
            "date_published": "2021-05-21T12:32:00+01:00",
            "date_modified": "2023-06-07T21:31:08+01:00",
            "tags": [
                "Magazine"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-9.jpg",
            "_date_published_rfc2822": "Fri, 21 May 2021 12:32:00 +0100",
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            "id": "8",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-drop-cap\/",
            "title": "Magazine layout. Initial",
            "content_html": "<p>Continuing <a href=\"http:\/\/tsokolovskaya.com\/blog\/tags\/magazine\/\">the theme of journals<\/a>, I will tell you about the initials. An initial is the large first letter of a chapter or section of a book. It originally appeared in books. At that time, they were handwritten and decorated with different ornaments and miniatures:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-8.jpg\" width=\"1000\" height=\"470\" alt=\"\" \/>\n<\/div>\n<p>Today the chance of finding a drop cap in a book tends to be zero, but you can see them in magazines and newspapers. A drop cap in an article grabs the reader’s attention and invites them to study the material. Externally modern initial, of course, differs from its predecessor. I looked through different magazines and identified five types of lettering in the design of articles — I will talk about them.<\/p>\n<h3>Enlarged letter size<\/h3>\n<p>An enlarged first letter is probably the most common variant. It’s usually the same font as the typesetting but can be different. The letter can remain inside the text block and seem to shift a few lines to the side:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-8.jpg\" width=\"1200\" height=\"958\" alt=\"\" \/>\n<\/div>\n<p>Or it can extend beyond the text block:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-2.jpg\" width=\"1805\" height=\"1537\" alt=\"\" \/>\n<\/div>\n<h3>Overlapped letter<\/h3>\n<p>The first letter of an article is duplicated and enlarged, and the text overlaps it. The letter is usually a bright accent colour:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-4.jpg\" width=\"1200\" height=\"851\" alt=\"\" \/>\n<\/div>\n<h3>Text envelopes the letter<\/h3>\n<p>The first letter of an article is enlarged, most often to the full height of the page, and the text canvas envelopes it in shape:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-6.jpg\" width=\"1200\" height=\"1386\" alt=\"\" \/>\n<\/div>\n<h3>Large initial<\/h3>\n<p>The first letter is duplicated and greatly enlarged, positioned beside or above the text block:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-7.jpg\" width=\"1200\" height=\"790\" alt=\"\" \/>\n<\/div>\n<p>In my opinion, large initial looks quite effective. It can be classic lettering or combined with an illustration. I like these ideas:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-8.jpg\" width=\"1200\" height=\"1142\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-6.jpg\" width=\"1000\" height=\"1388\" alt=\"\" \/>\n<\/div>\n<h3>Letter-shaped text<\/h3>\n<p>The first letter is duplicated and enlarged as much as possible. The text is aligned to it and follows the shape of one of its strokes:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-4.jpg\" width=\"736\" height=\"1081\" alt=\"\" \/>\n<\/div>\n<p>This is a creative layout option, but not all publications can afford to waste space like that. Speaking of page layout, I found some pretty interesting variations. I’ll show them next time  :-)<\/p>\n",
            "date_published": "2021-03-21T15:53:00+01:00",
            "date_modified": "2023-06-08T10:52:35+01:00",
            "tags": [
                "Magazine",
                "Typography"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/1-8.jpg",
            "_date_published_rfc2822": "Sun, 21 Mar 2021 15:53:00 +0100",
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            "id": "9",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/magazine-cover\/",
            "title": "Magazine layout. Cover page",
            "content_html": "<p>I’m exploring a new direction in layout for me — magazines. My love for them was sparked by the book “Editing by Design” by Ian V. White, which I read in one breath back in 2016.<\/p>\n<p>At that time, I was working more on web projects and identity, so the book settled on the shelf, and I had never read any magazines. Now I realise that the magazine layout appeals to me the most. And I will begin my journey by drawing up a structure using examples from real magazines.<\/p>\n<p>I have studied the covers of 27 different publications and identified the 16 elements that are most often found in them. I do not claim to be correct — these are my observations. I will go into more detail about each element.<\/p>\n<h3>Journal name<\/h3>\n<p>The name is always at the top and occupies either the full width of the format or the left-hand corner if it’s short. Let’s look at some examples:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"680\" data-ratio=\"0.69035532994924\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-5.jpg\" width=\"680\" height=\"985\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-1.jpg\" width=\"960\" height=\"1265\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-7.jpg\" width=\"1006\" height=\"1280\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-3.jpg\" width=\"960\" height=\"1305\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-7.jpg\" width=\"800\" height=\"1122\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>The magazine name’s font and style do not change from issue to issue like the classic logo. However, the layout in the header area or the colour may change slightly to match the style of the main image. For example:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-6.jpg\" width=\"2000\" height=\"655\" alt=\"\" \/>\n<\/div>\n<h3>Slogan<\/h3>\n<p>Not all magazines have a slogan, but if one is present, it’s next to the magazine name:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.76628352490421\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-3.jpg\" width=\"800\" height=\"1044\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-5.jpg\" width=\"1000\" height=\"1381\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-6.jpg\" width=\"1000\" height=\"1365\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Issue information<\/h3>\n<p>The issue information includes the date, price and issue number. All information may be present at once, but most often, only the date or date and cost are given. It’s usually located next to the name of the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-4.jpg\" width=\"1200\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<p>Sometimes they are indicated in the barcode area:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14-3.jpg\" width=\"900\" height=\"1241\" alt=\"\" \/>\n<\/div>\n<p>Or separate — for example, the date stays near the name and the price in the barcode area:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15-2.jpg\" width=\"900\" height=\"1173\" alt=\"\" \/>\n<\/div>\n<p>This information may also be at the bottom of the page:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-3.jpg\" width=\"1497\" height=\"671\" alt=\"\" \/>\n<\/div>\n<p>And vertically near the left or right edge:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-2.jpg\" width=\"900\" height=\"1188\" alt=\"\" \/>\n<\/div>\n<h3>Barcode<\/h3>\n<p>There may or may not be a barcode on the cover. Usually located somewhere on the bottom horizontally or vertically:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-1.jpg\" width=\"1200\" height=\"726\" alt=\"\" \/>\n<\/div>\n<h3>Link to the publication’s website<\/h3>\n<p>The link is not present in all magazines. It’s usually located next to the title but can also be at the bottom of the page or vertically on the side:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-1.jpg\" width=\"1200\" height=\"526\" alt=\"\" \/>\n<\/div>\n<h3>Banner<\/h3>\n<p>A banner briefly explains what the magazine is about, something similar to the content. The banner, like the slogan, is not always present. It may include the magazine’s main themes or the theme of a particular issue. It’s usually placed at the top or bottom of the page:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"788\" data-ratio=\"0.76953125\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-3.jpg\" width=\"788\" height=\"1024\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-3.jpg\" width=\"1000\" height=\"1302\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-2.png\" width=\"800\" height=\"1059\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Label<\/h3>\n<p>The label is a contrasting rectangle designed to attract attention and stand out from the background. It’s usually placed in the upper left-hand corner. This element indicates some features of the magazine. For example, it may indicate that the magazine is free:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20-1.jpg\" width=\"1200\" height=\"745\" alt=\"\" \/>\n<\/div>\n<p>Or the magazine issue includes the juiciest of the past year:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21-1.jpg\" width=\"900\" height=\"1190\" alt=\"\" \/>\n<\/div>\n<p>The tag can also be attached to the main heading:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/27.jpg\" width=\"1200\" height=\"776\" alt=\"\" \/>\n<\/div>\n<h3>Sticker<\/h3>\n<p>The sticker has about the same function as the plaque. Practically never used in expensive editions, but if so, it’s used in a single copy:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22-1.jpg\" width=\"800\" height=\"1053\" alt=\"\" \/>\n<\/div>\n<p>The sticker can also be in the form of a simple text block with an asterisk (*). It looks more elegant this way:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23.jpg\" width=\"800\" height=\"1088\" alt=\"\" \/>\n<\/div>\n<h3>Main theme of the issue<\/h3>\n<p>The block with the issue’s main theme includes a header and a small intro. If it is about a person, the block will include their name:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25-1.jpg\" width=\"800\" height=\"1048\" alt=\"\" \/>\n<\/div>\n<h3>Authorship<\/h3>\n<p>This may include the article’s author or the cover photo’s photographer. Authorship is not always indicated.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/26.jpg\" width=\"800\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<h3>Bonus<\/h3>\n<p>A bonus block is usually unrelated to the magazine’s general theme. It may include some exclusive, special reportage or just something interesting:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/28.jpg\" width=\"1200\" height=\"746\" alt=\"\" \/>\n<\/div>\n<h3>Main image<\/h3>\n<p>The main image can be a photo:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.73529411764706\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/29.jpg\" width=\"800\" height=\"1088\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/30.jpg\" width=\"800\" height=\"1060\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/31.jpeg\" width=\"800\" height=\"1067\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Illustration:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.69991251093613\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/32.jpg\" width=\"800\" height=\"1143\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/33.jpg\" width=\"800\" height=\"1081\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/34.jpg\" width=\"800\" height=\"1036\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Typography:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.74976569821931\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/35.jpg\" width=\"800\" height=\"1067\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/36.jpg\" width=\"800\" height=\"1045\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/37.jpg\" width=\"800\" height=\"1163\" alt=\"\" \/>\n<\/div>\n<\/div>\n<h3>Air<\/h3>\n<p>Air is the kind of empty space that reinforces the main theme, putting even more focus on it. You don’t often see empty space on the cover of a magazine — there’s not much space, but quite a lot of information. Let’s look at some examples:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/38.jpg\" width=\"1206\" height=\"1550\" alt=\"\" \/>\n<\/div>\n<h3>Additional images<\/h3>\n<p>Additional images are pretty rare, at least amongst respected publications.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/39.jpg\" width=\"1200\" height=\"779\" alt=\"\" \/>\n<\/div>\n<p>The more images on the cover, the cheaper the magazine looks:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/40.jpg\" width=\"1200\" height=\"799\" alt=\"\" \/>\n<\/div>\n<h3>Frame<\/h3>\n<p>Sometimes a frame is present in the design, which surrounds the cover. It highlights the content while making it slightly smaller:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/42.jpg\" width=\"1200\" height=\"816\" alt=\"\" \/>\n<\/div>\n<p>The frame helps to make the magazine stand out when it is on the same shelf as the others as if to cover each other:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/43.jpg\" width=\"459\" height=\"612\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Did you quickly find the magazine I inserted in the picture? :-)<br \/>\nOriginal photo: iStockphoto<\/div>\n<\/div>\n<h3>Country<\/h3>\n<p>If the magazine is published in different countries, the cover indicates which country the particular edition belongs to. It is usually located somewhere near the name of the magazine:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.75471698113208\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/44.png\" width=\"800\" height=\"1060\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/45.png\" width=\"800\" height=\"1073\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/46.jpg\" width=\"800\" height=\"1036\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/47.jpg\" width=\"800\" height=\"1044\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/48.jpeg\" width=\"800\" height=\"1051\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>In conclusion, I would like to say that I have madly enjoyed exploring the journals. Many new topics for posts have matured in the process. It will be interesting :-)<\/p>\n",
            "date_published": "2021-03-07T23:43:00+01:00",
            "date_modified": "2023-06-08T11:11:58+01:00",
            "tags": [
                "Magazine",
                "Typography"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/5-5.jpg",
            "_date_published_rfc2822": "Sun, 07 Mar 2021 23:43:00 +0100",
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            "id": "10",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/better-typography\/",
            "title": "How to improve layout typography in InDesign",
            "content_html": "<p>How a page of text looks, whether a print publication or an article on a website, determines whether someone will read it. Typography in the layout is not just about aesthetics. It’s also a tool for managing attention. I’ve identified six basic principles of typography that will help make layouts more confident and readable:<\/p>\n<ul>\n<li>Always mark paragraphs in your text.<\/li>\n<li>Make the line length optimal for reading.<\/li>\n<li>Choose appropriate alignment.<\/li>\n<li>Type the main text in lowercase.<\/li>\n<li>Keep an eye on the height of lowercase text by using different fonts.<\/li>\n<li>Include optical margins alignment.<\/li>\n<\/ul>\n<h2>Always mark paragraphs in the text<\/h2>\n<p>Take a canvas of text:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<p>Although not noticeable, there are paragraphs there. I’ll include hidden characters in Indesign for clarity:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-2.png\" width=\"539\" height=\"808\" alt=\"\" \/>\n<\/div>\n<p>The text is difficult to read and comprehend in this way. Paragraphs need to be clearly separated. There are two ways to do this — indent and break line.<\/p>\n<p>Let’s add an indent:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-2.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<p>That’s better. But remember, you don’t need to indent the first paragraph. There’s nothing to indent it from. The correct way to do it is this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-4.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<p>Let’s add a break line:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-3.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<p>Paragraphs read even better this way. But you shouldn’t use both methods simultaneously — it’s overkill. Let’s remove the indent:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-3.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<p>Now it’s perfect.<\/p>\n<p>You can use both indent and break lines together if you want to separate an introductory paragraph from the bulk of the text. This would look like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-3.png\" width=\"550\" height=\"840\" alt=\"\" \/>\n<\/div>\n<h2>Make the line length optimal for reading<\/h2>\n<p>It’s difficult to read text when the line is too long, and the font size is quite small. In the example below, we see that there are ~120 characters per line:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-2.png\" width=\"1202\" height=\"488\" alt=\"\" \/>\n<\/div>\n<p>The text becomes easy to read if you increase the font size for the same line length. There are ~90 characters per line:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-3.png\" width=\"1233\" height=\"719\" alt=\"\" \/>\n<\/div>\n<p>And if you reduce the line length, the text is hard to read. This may be justified when little text, for example, is in a footnote in the margin but not in typesetting. The eye jumps from line to line too often — it’s quite stressful:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-2.png\" width=\"621\" height=\"618\" alt=\"\" \/>\n<\/div>\n<p>I recommend a balance — aim for 45-90 characters per line:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-2.png\" width=\"852\" height=\"898\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-1.png\" width=\"996\" height=\"767\" alt=\"\" \/>\n<\/div>\n<p>The text is easy to read this way, the line doesn’t get lost, and your eyes don’t get tired from the constant bouncing.<\/p>\n<h2>Choose the appropriate alignment<\/h2>\n<p>Alignment can be left, centre, right, and justified:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-3-2.jpg\" width=\"1000\" height=\"1047\" alt=\"\" \/>\n<\/div>\n<p><b>Left align and left-justify<\/b> are commonly used for typesetting. I like the left-hand margin. I find it most comfortable and aesthetically pleasing.<\/p>\n<p><b>Centring<\/b> can be found in headings, quotations or footnotes.<\/p>\n<p><b>Right align<\/b> is also used for headings, quotations or footnotes and rarely for typeset text.<\/p>\n<p><b>Justify all lines<\/b> is used quite rarely. I’ve seen it in PTYUCH magazine. Generally, it’s pretty hard to find anything resembling an adequate layout in that magazine, but that’s what PTYUCH is all about:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"800\" data-ratio=\"0.77594568380213\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.32.53.png\" width=\"800\" height=\"1031\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.33.06.png\" width=\"800\" height=\"1028\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.33.17.png\" width=\"800\" height=\"1033\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.33.30.png\" width=\"800\" height=\"1031\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.33.46.png\" width=\"800\" height=\"1030\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-19.18.48.png\" width=\"800\" height=\"1024\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-23.52.59.png\" width=\"800\" height=\"1045\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-caption\">Issues No. 9 from 1996, No. 2 and No. 5 from 1998<\/div>\n<\/div>\n<p>I’ve also noticed that the Russian edition of Vogue also likes to justify all lines, especially the frequent use of it in the headlines:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"700\" data-ratio=\"0.77007700770077\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/04.jpg\" width=\"700\" height=\"909\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/05-1.jpg\" width=\"700\" height=\"912\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/06-1.jpg\" width=\"700\" height=\"949\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/01-1.jpg\" width=\"700\" height=\"897\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/02-1.jpg\" width=\"700\" height=\"905\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/03-1.jpg\" width=\"700\" height=\"903\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>I recommend not using justify all lines at all unless for some special effect.<\/p>\n<p>I’ll elaborate on the right alignment and the left justification — these two options seem to be the most difficult.<\/p>\n<h3>Right Alignment<\/h3>\n<p>You can forget about indent by aligning the text to the right edge. They are not visible because of the torn edge:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14-1.png\" width=\"536\" height=\"693\" alt=\"\" \/>\n<\/div>\n<p>An indent should be used:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15-2.png\" width=\"507\" height=\"701\" alt=\"\" \/>\n<\/div>\n<p>And it is especially important to balance the lines by ticking the Balance Ragged Lines box:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-3.png\" width=\"325\" height=\"578\" alt=\"\" \/>\n<\/div>\n<p>Without this checkbox, the lines vary greatly in length, and dangling prepositions appear:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-1.png\" width=\"541\" height=\"727\" alt=\"\" \/>\n<\/div>\n<p>This is what it looks like when you increase the line length:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-2.png\" width=\"687\" height=\"746\" alt=\"\" \/>\n<\/div>\n<p>And here I’ve balanced the lines again:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-1.png\" width=\"681\" height=\"732\" alt=\"\" \/>\n<\/div>\n<h3>Justify with the last line aligned left<\/h3>\n<p>It reminds me of a brick, so stable and serious:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20.png\" width=\"552\" height=\"719\" alt=\"\" \/>\n<\/div>\n<p>Two main problems can arise with this formatting: holes in the lines and overly compressed lines:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21.png\" width=\"524\" height=\"690\" alt=\"\" \/>\n<\/div>\n<p>I’ll switch on highlighting problem areas in the text in InDesign. This is done in the settings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/26.png\" width=\"746\" height=\"696\" alt=\"\" \/>\n<\/div>\n<p>Almost everything glows yellow — this means the formatting is unsuccessful. The maximum and minimum values for Glyph Scaling in the paragraph styles are now 100%:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22.png\" width=\"1492\" height=\"825\" alt=\"\" \/>\n<\/div>\n<p>By changing these parameters, you can achieve a text that is easy to read:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23.png\" width=\"1525\" height=\"848\" alt=\"\" \/>\n<\/div>\n<p>As you can see in the image above, the yellow backlight is gone. According to InDesign, everything is fine now, although it’s still not perfect for me.<\/p>\n<p>It is also essential to use hyphenation in format alignment. If they are switched off, words in some lines will stick together:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/24-1.png\" width=\"1537\" height=\"807\" alt=\"\" \/>\n<\/div>\n<p>You can try to fix this in the Glyph Scaling parameter, but then holes appear:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25.png\" width=\"1512\" height=\"807\" alt=\"\" \/>\n<\/div>\n<p>All in all, it’s not that simple with this type of alignment.<\/p>\n<h2>Type the main text in lowercase<\/h2>\n<p>When you use uppercase letters for typesetting, you create a “scream” that is impossible to read:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/27.png\" width=\"568\" height=\"751\" alt=\"\" \/>\n<\/div>\n<p>You should also avoid capital letters if you want to highlight a word or phrase within the text:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/28.png\" width=\"573\" height=\"705\" alt=\"\" \/>\n<\/div>\n<p>Using a font style two steps apart from the main text is best. For example, if you have Light for the main text, you could use SemiBold for selection:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/29.png\" width=\"570\" height=\"692\" alt=\"\" \/>\n<\/div>\n<h2>Watch the height of lowercase letters by using different fonts<\/h2>\n<p>Suppose you must use two different fonts in the same text — one with serifs, the other without. Try to use fonts from the same font family:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/30.png\" width=\"538\" height=\"702\" alt=\"\" \/>\n<\/div>\n<p>I inserted the word from the second paragraph into the first. As you can see, the letters are the same height:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-03-04-at-20.50.49.png\" width=\"914\" height=\"775\" alt=\"\" \/>\n<\/div>\n<p>When the heights of the lowercase letters are different, it doesn’t look good. The fonts don’t seem to be friendly. The font size is the same:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/31.png\" width=\"1003\" height=\"723\" alt=\"\" \/>\n<\/div>\n<h2>Switch on optical margin alignment<\/h2>\n<p>Use optical margin alignment regardless of whether text alignment. It can be switched on by selecting this check box:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/32.png\" width=\"241\" height=\"98\" alt=\"\" \/>\n<\/div>\n<p>With it, punctuation marks and some letters extend beyond the text frame, making the margins visually smooth.<\/p>\n<p>Here the alignment is off. The right-hand edge seems perforated where the transfer signs stand:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/34.png\" width=\"622\" height=\"459\" alt=\"\" \/>\n<\/div>\n<p>And here it’s on, visually the edge has become even:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/35.png\" width=\"621\" height=\"471\" alt=\"\" \/>\n<\/div>\n<p>Take a look at the comparison:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/33.gif\" width=\"1457\" height=\"695\" alt=\"\" \/>\n<\/div>\n<h2>Enable align to baselines<\/h2>\n<p>When you layout in multiple columns, enable baseline binding. This is done in the paragraph settings:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/37.png\" width=\"920\" height=\"713\" alt=\"\" \/>\n<\/div>\n<p>This is how the columns look without the binding:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/36.png\" width=\"1163\" height=\"502\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/40.png\" width=\"1226\" height=\"559\" alt=\"\" \/>\n<\/div>\n<p>And this is what the columns look like with the binding:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/38.png\" width=\"1193\" height=\"529\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/39.png\" width=\"1215\" height=\"595\" alt=\"\" \/>\n<\/div>\n<p><hr\/><\/p>\n<p>If you have any questions on the subject, feel free to post in the comments, I’ll be happy to answer them :-)<\/p>\n",
            "date_published": "2021-03-04T23:50:00+01:00",
            "date_modified": "2023-06-09T11:51:20+01:00",
            "tags": [
                "Advice",
                "Typography"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/13-3.jpg",
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        {
            "id": "11",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/font-logo\/",
            "title": "What is the difference between letters in a font and a logo",
            "content_html": "<p>Sometimes clients don’t understand the difference between a font and a logo because both use letters. I’ll tell you what the difference is between them.<\/p>\n<p>When working on letters, a typographer tries to achieve maximum harmony and combination of any letters standing next to each other. In contrast, a graphic designer creates letters for a logo that only works in a given order and arrangement. <\/p>\n<p aside>Read also  <a href=\"http:\/\/tsokolovskaya.com\/blog\/all\/gordon-part1\/\">synopsis of a book about letters<\/a>.<\/p>\n<p>Yuri Gordon writes very precisely about this in The Book of Letters (Cyrillic alphabet): <\/p>\n<p>“A font is a unique art form, an endless puzzle where all the details in any combination must form a plastically complete whole. A logo needs maximum purity and the expressiveness of characters. Therefore, even if the letters are taken from a ready-made font, it’s always desirable, on the one hand, to remove everything superfluous from them and, on the other hand, to strengthen their conformity by adding rhymes. In addition, since the letters stand in strictly defined places, opportunities arise to rhyme them in various ways.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-gq9mr4ZKkLLG3ilgC-h8yA.jpg\" width=\"800\" height=\"977\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Illustration from The Book of Letters<\/div>\n<\/div>\n<p>A letter that is part of a logo is important where it stands. It’s made to work only at its position in a single word. In a font, the letters must hold any position in any word equally well.”<\/p>\n<h2>How I work<\/h2>\n<p aside>Read more about the process <a href=\"http:\/\/tsokolovskaya.ru\/blog\/all\/joof-mantra-process\/\">on the JOOF Mantra logo<\/a>.<\/p>\n<p>Most of the time, I draw the letters for the logos myself, and the result is a unique work. Like the logo for the music label JOOF Mantra, for example:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1*vgy6Ehw_Ac8bkUVVUeJz1Q.jpeg\" width=\"629\" height=\"294\" alt=\"\" \/>\n<\/div>\n<p>But this approach is not always necessary. In some cases, I take a ready-made font as a basis, modify it, refine the letters, and get a unique work. For example:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-65V2NpqoT-XdJ7WqLSDmhA.jpg\" width=\"772\" height=\"557\" alt=\"\" \/>\n<\/div>\n<p aside>Read about the process <a href=\"http:\/\/tsokolovskaya.ru\/blog\/all\/daniel-lesden-logo\/\">on the Daniel Lesden logo<\/a>.<\/p>\n<p>Again, in both cases, the logos are unique. And even if it’s based on a ready-made font, it doesn’t mean the logo is inferior. Sometimes it’s easier to render it yourself than to look for the right font. In the case of the JOOF Mantra label logo, for example, I had no options. I would not have found a ready-made font that would reflect the idea. That said, the Daniel Lesden logo is based on simple letters, and there was no point in drawing them. The ready-made font did a great job of giving me the shape I needed to work with.<\/p>\n<p>A logo is a single item that is convenient to use at all times and everywhere. On the other hand, a font comprises many parts, each of which is meaningful and has a finished form. These parts can be rearranged in any order, but the overall shape will always be equally good.<\/p>\n",
            "date_published": "2021-02-27T22:44:41+01:00",
            "date_modified": "2023-06-15T09:25:23+01:00",
            "tags": [
                "Advice",
                "Logotypes"
            ],
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        {
            "id": "12",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/isonscope-logo-process\/",
            "title": "Created the logo for the ISONscope space project",
            "content_html": "<p>ISONscope is a joint project of the United Nations for Outer Space Affairs (UNOOSA) and the Keldysh Institute of Applied Mathematics of the Russian Academy of Sciences. The project’s name comes from the acronym ISON (International Scientific Optical Network) and the word telescope. ISON is an existing initiative of the Institute’s staff to observe near-Earth space.<\/p>\n<p>ISONscope will provide small telescopes and associated equipment on a competitive basis to scientific or educational institutions in developing countries. This will enable them to observe satellites and space debris in high Earth orbits, as well as asteroids and comets.<\/p>\n<p>We have a very tight deadline — we have three weeks to do everything, so we must hit the mark the first time. The logo should be the face of ISONscope, part of the UNOOSA Access to Space for All initiative <a href=\"https:\/\/www.unoosa.org\/oosa\/en\/ourwork\/access2space4all\/index.html\">Access to Space for All initiative<\/a>.<\/p>\n<p>As usual, I started the work with questions. The project team explained everything to me in great detail. The logo must have a telescope, a name and objects that can be observed through the telescope. They need a so-called logo emblem. They also sent me pictures of the telescopes themselves:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_4598.JPG\" width=\"1000\" height=\"667\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-01-01-at-21.37.36.png\" width=\"471\" height=\"596\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2021-01-01-at-21.37.48.png\" width=\"593\" height=\"443\" alt=\"\" \/>\n<\/div>\n<p>I take up a pencil and sketch. The task is quite narrow, so I don’t experiment too much but try to incorporate the necessary elements from the discussion with the client. This is what came out:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_0233.jpg\" width=\"1200\" height=\"851\" alt=\"\" \/>\n<\/div>\n<p class=\"loud\">I made a video of sketching for the logo: take a look <a href=\"https:\/\/www.youtube.com\/watch?v=lN_ov6JaDYw\">on YouTube<\/a>.<\/p>\n<p>I also sketched the telescope itself, but in a vector:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-3.png\" width=\"419\" height=\"547\" alt=\"\" \/>\n<\/div>\n<p>I immediately knew the logo’s shape: I decided to make it in a circle and combine the letter I and the telescope into one element. At this stage, I took a ready-made IBM font:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-2.png\" width=\"1062\" height=\"305\" alt=\"\" \/>\n<\/div>\n<p>Now I had to sketch additional objects that would be present in the logo – an asteroid, space debris and a satellite. I wanted to draw a complete picture of the Sun and the Earth to make it clearer:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-1.png\" width=\"849\" height=\"1144\" alt=\"\" \/>\n<div class=\"e2-text-caption\">The dotted lines are the orbits of the asteroid and satellite, and in green, I have highlighted the area that will go into the logo<\/div>\n<\/div>\n<p>Putting together a logo. Additional signatures need to be placed around the circle: United Nations Office for Outer Space Affairs and Keldysh Institute of Applied Mathematics. Here’s what I’ve got:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-1.png\" width=\"683\" height=\"584\" alt=\"\" \/>\n<\/div>\n<p>I like the result, so I continue working and painting the letters:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-2.png\" width=\"1827\" height=\"443\" alt=\"\" \/>\n<\/div>\n<p>Here’s what came out when combining the telescope with the new letter I:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-1.png\" width=\"612\" height=\"353\" alt=\"\" \/>\n<\/div>\n<p>Updating the logo and changing the layout of the circular text:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-1.png\" width=\"452\" height=\"408\" alt=\"\" \/>\n<\/div>\n<p>I try the result on a mock-up and send it to the client:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-2.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-2.jpg\" width=\"1200\" height=\"768\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Looking at the logo in colour and without the caption<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/14-1.jpg\" width=\"1200\" height=\"801\" alt=\"\" \/>\n<\/div>\n<p>Testing the reverse logo on the media:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/15-1.jpg\" width=\"1200\" height=\"857\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-2.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-1.jpg\" width=\"1200\" height=\"800\" alt=\"\" \/>\n<\/div>\n<p>I got an answer — they like the logo, but they wanted to make the satellite more obvious, darken the colour and perhaps add a signal from the satellite.<\/p>\n<p>Trying different shapes of satellites, moving elements slightly and adding a signal (it looks like a wifi icon), also updating the colour:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-1.png\" width=\"1323\" height=\"443\" alt=\"\" \/>\n<\/div>\n<p>The signal is definitely not needed — too much detail. I chose a satellite with solar panels in the shape of paddles and sent it to the client again:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19.jpg\" width=\"1200\" height=\"801\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20.jpg\" width=\"1200\" height=\"813\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/21.jpg\" width=\"1200\" height=\"900\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/22.jpg\" width=\"1200\" height=\"801\" alt=\"\" \/>\n<\/div>\n<p>The logo is approved!<\/p>\n<p>While we were working, UNOOSA presented the logo for the Access to Space for All initiative:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/23.jpeg.jpg\" width=\"2560\" height=\"2559\" alt=\"\" \/>\n<\/div>\n<p>It turns out our logos are pretty similar, which was nice :-)<\/p>\n<p>UNOOSA soon sent us their brand book, and we updated the circular signature font and colour to match their style more.<\/p>\n<p>We replaced the font with Avenir. The colour is a bit harder, we liked our deep blue, and it wasn’t there. We looked at a few colour options:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/24.png\" width=\"596\" height=\"806\" alt=\"\" \/>\n<\/div>\n<p>We decided on purple as the closest thing to our blue.<\/p>\n<p>The logo is ready!<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/25.jpg\" width=\"1200\" height=\"768\" alt=\"\" \/>\n<\/div>\n<p>The competition starts on 27 January, and the results will not be announced until October. I’ll keep an eye out :-)<\/p>\n<p>I was extremely excited to work on the project. Space is my love!<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_0420-1.jpg\" width=\"700\" height=\"933\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Wearing the solar system on my back<\/div>\n<\/div>\n",
            "date_published": "2021-01-24T22:50:00+01:00",
            "date_modified": "2023-06-15T09:24:49+01:00",
            "tags": [
                "Logotypes",
                "Process"
            ],
            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_4598.JPG",
            "_date_published_rfc2822": "Sun, 24 Jan 2021 22:50:00 +0100",
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            "id": "13",
            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/miagkova-logo-process\/",
            "title": "How I created a stylist’s logo",
            "content_html": "<p>Natasha came to me with the task of designing a personal logo. She tailors her clients’ style of clothing and plans entire dressing rooms. There is more to her work than just changing clothes. Each client changes from the inside out and works through specific challenges and fears through the image. One day I would like to see such a specialist too :-)<\/p>\n<p>I started the job with a conversation, of course. Natasha talked about herself, her work, her values, her plans and wishes, and the process began.<\/p>\n<p>When working on a personal logo, it’s difficult to get an idea right the first time; it depends a lot on the client’s inner feelings. That’s why, more often than not, the first choice is like a finger in the sky. In this case, I took as my image the first association with a wardrobe — a coat rack.<\/p>\n<p>Google showed me dozens of hangers-on and logos with them:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-09-29-at-20.13.32.png\" width=\"1200\" height=\"757\" alt=\"\" \/>\n<\/div>\n<p>I noticed that the hangers were all at the same angle. Then I found a photo like this:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Frete-Gr-tis-de-Alta-Qualidade-Branco-Ternos-Cabide-De-Madeira-para-Crian-as-Crian.jpg\" width=\"680\" height=\"680\" alt=\"\" \/>\n<\/div>\n<p>That’s the angle I decided to work with.<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_9887.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I also made up the initials (Natasha Miagkova)<\/div>\n<\/div>\n<p class=\"loud\">I’ve made a video of sketching the logo: Watch this on <a href=\"https:\/\/www.youtube.com\/watch?v=uDQXPav3daM\">YouTube<\/a>.<\/p>\n<p>I drew one hanger:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.10.38.png\" width=\"441\" height=\"355\" alt=\"\" \/>\n<\/div>\n<p>Put the three together in a row as if they were hanging on a bar but didn’t like the way they stuck together:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.11.19.png\" width=\"561\" height=\"398\" alt=\"\" \/>\n<\/div>\n<p>Separated the hangers:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.26.56.png\" width=\"392\" height=\"232\" alt=\"\" \/>\n<\/div>\n<p>I’m trying different variations — with a bar, thinner, thicker, reflected on the left, on slats:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.58.11.png\" width=\"1132\" height=\"430\" alt=\"\" \/>\n<div class=\"e2-text-caption\">None of this hooks me<\/div>\n<\/div>\n<p>Drawing a hanger with parallel lines:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.11.50.png\" width=\"1146\" height=\"520\" alt=\"\" \/>\n<\/div>\n<p>Putting together three hangers on a bar:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.12.13.png\" width=\"876\" height=\"463\" alt=\"\" \/>\n<\/div>\n<p>I also saw this connection:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.26.02.png\" width=\"1204\" height=\"638\" alt=\"\" \/>\n<\/div>\n<p>At the same time, I’m considering a couple of options with initials, but I don’t like them:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.55.27.png\" width=\"403\" height=\"265\" alt=\"\" \/>\n<\/div>\n<p>I go back to the hangers and assemble the logo with different fonts:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.18.37.png\" width=\"743\" height=\"828\" alt=\"\" \/>\n<\/div>\n<p>I choose the middle option and put together a presentation:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-2.jpg\" width=\"1932\" height=\"1000\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-6.jpg\" width=\"2560\" height=\"1829\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-6.jpg\" width=\"1500\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-2.jpg\" width=\"2560\" height=\"1877\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-5.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-4.jpg\" width=\"2560\" height=\"1793\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-4.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-2.jpg\" width=\"2560\" height=\"1709\" alt=\"\" \/>\n<\/div>\n<p>I get comments from Natasha — the image doesn’t fit and seems harsh. Natasha also asks for a font where all the letters “A” would be without a horizontal stroke. I show her:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-22.48.42.png\" width=\"312\" height=\"102\" alt=\"\" \/>\n<div class=\"e2-text-caption\">There were too many “roofs”, so I rejected it, and Natalia agreed<\/div>\n<\/div>\n<p aside>Natasha is the type of client I love the most! She is involved in the process and works with me while subtly respecting the boundaries while remaining precisely a client :-) <\/p>\n<p>We discuss where we are going next. Natasha is also active, which helps the process a lot. She has found images and logo options that she likes in some way, and we have identified three types of logos that we will try to make:<\/p>\n<ol start=\"1\">\n<li>A variant with handwritten initials or last name.<\/li>\n<li>A logo with a monogram sign.<\/li>\n<li>A variant with a sign consisting of two images — a lotus and a corset. The lotus image she likes and the corset is an attributes of a woman’s wardrobe.<\/li>\n<\/ol>\n<p>I decided to start with options two and three, but first, I google what monograms already exist. There are, of course, a great many of them:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1459\" data-ratio=\"1.5041237113402\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.08.18.png\" width=\"1459\" height=\"970\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.08.34.png\" width=\"1458\" height=\"858\" alt=\"\" \/>\n<\/div>\n<\/div>\n<p>Sketched out a new batch of sketches:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/IMG_9888.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<p>Drawing a monogram and a lotus corset in a vector:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.21.02.png\" width=\"1101\" height=\"234\" alt=\"\" \/>\n<div class=\"e2-text-caption\">In the monogram, it’s as if the letter n is standing, and its “foot” is reflected in the mirror, and that’s how m is formed (what a twist!)<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.21.38.png\" width=\"953\" height=\"285\" alt=\"\" \/>\n<\/div>\n<p>And there are three images hidden in the lotus:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.22.14.png\" width=\"935\" height=\"272\" alt=\"\" \/>\n<\/div>\n<p>These options don’t work for us because the lotus has a different association than we need, and there’s probably already a monogram like that somewhere :-)  I decide to show the options to the client but not to use them:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/lotos.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/monogramma.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/monogramma-mirror.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<p>Parallel drawing of a variant with initials in the lines, but rejected:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-21-at-23.22.02.png\" width=\"753\" height=\"205\" alt=\"\" \/>\n<\/div>\n<p>I finally got around to the handwritten options. Found a font for an example:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.02.09.png\" width=\"607\" height=\"339\" alt=\"\" \/>\n<\/div>\n<p>I’m trying to combine it with the name:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.02.47.png\" width=\"548\" height=\"297\" alt=\"\" \/>\n<\/div>\n<p>I want M to complement the first letter A in the name, drawing my M:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.03.03.png\" width=\"527\" height=\"281\" alt=\"\" \/>\n<\/div>\n<p>I’ll leave this one for now and proceed with the handwritten initials:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.07.01.png\" width=\"684\" height=\"343\" alt=\"\" \/>\n<div class=\"e2-text-caption\">This is the logo<\/div>\n<\/div>\n<p>In the process, a different version in the shape of a circle was formed:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.07.16.png\" width=\"1148\" height=\"403\" alt=\"\" \/>\n<div class=\"e2-text-caption\">I just deformed the letters for now, but you can’t do that in the finishing work :-)<\/div>\n<\/div>\n<p>I compile the options into a presentation and show them to the client:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-copy.jpg\" width=\"2560\" height=\"1829\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-copy.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-copy.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-copy.jpg\" width=\"1500\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/12-copy.jpg\" width=\"2560\" height=\"1829\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-copy.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/6-copy.jpg\" width=\"1500\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-copy.jpg\" width=\"1500\" height=\"1067\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-copy.jpg\" width=\"2560\" height=\"1707\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/8-copy.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<p>Natalia asks to see the first version with a sans-serif font. I show her:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.15.32.png\" width=\"571\" height=\"311\" alt=\"\" \/>\n<\/div>\n<p>I liked the version with the additional circle-shaped sign better. I am continuing to work on it.<\/p>\n<p>At this stage, I draw the letters:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.22.28.png\" width=\"1412\" height=\"369\" alt=\"\" \/>\n<\/div>\n<p>I add the accent, the diacritical mark and the descriptor to the surname. The diacritical mark is taken from the Ukrainian language — Ї, Natasha lives and works in Kyiv. Looking at different positions:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.24.37.png\" width=\"1113\" height=\"508\" alt=\"\" \/>\n<\/div>\n<p>Trying to insert the font part in the initials:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.27.51.png\" width=\"674\" height=\"569\" alt=\"\" \/>\n<\/div>\n<p>I’m also looking at framed options:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.33.00.png\" width=\"457\" height=\"410\" alt=\"\" \/>\n<\/div>\n<p>I decided to flatten the handwritten part a bit:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.30.06.png\" width=\"1564\" height=\"374\" alt=\"\" \/>\n<\/div>\n<p>Drawing letters for the descriptor:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.32.27.png\" width=\"1327\" height=\"327\" alt=\"\" \/>\n<\/div>\n<p>Putting together a version of the logo in a round shape:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.31.18.png\" width=\"457\" height=\"404\" alt=\"\" \/>\n<\/div>\n<p>But that’s not the end :-)<\/p>\n<p>I decided to add “life” to the initials by imitating writing with a nib, as the lines flow from thin to thicker and then back to thin again:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.34.12.png\" width=\"972\" height=\"693\" alt=\"\" \/>\n<\/div>\n<p>I like it much better that way:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.43.42.png\" width=\"769\" height=\"364\" alt=\"\" \/>\n<\/div>\n<p>Transforming the handwritten part a bit:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.45.53.png\" width=\"1092\" height=\"231\" alt=\"\" \/>\n<\/div>\n<p>Looking at the logo in different forms:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.50.22.png\" width=\"1529\" height=\"370\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-0.51.47.png\" width=\"504\" height=\"450\" alt=\"\" \/>\n<\/div>\n<p>Putting together a presentation. I tell the client that I have decided to revive the thin line in the handwritten part and imitate writing with a nib. This way, the sign looks more confident, and we can continue to work with it. I present all the options for clarity:<\/p>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1500\" data-ratio=\"1.5625\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/1-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/2-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/9-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/3-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/7-copy1.jpg\" width=\"1890\" height=\"1417\" alt=\"\" \/>\n<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<div class=\"fotorama\" data-width=\"1500\" data-ratio=\"1.5625\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/4-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/11-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/20-copy1.jpg\" width=\"1500\" height=\"960\" alt=\"\" \/>\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/10-copy1.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/5-copy1.jpg\" width=\"1890\" height=\"1417\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/17-copy1.jpg\" width=\"2560\" height=\"2048\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/18-copy1.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/19-copy1.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/16-copy1-1.jpg\" width=\"2560\" height=\"1920\" alt=\"\" \/>\n<\/div>\n<p>Natalia decided on a version where the handwritten part is linked to the typographic part:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/13-copy1.jpg\" width=\"1500\" height=\"1043\" alt=\"\" \/>\n<\/div>\n<p>However, after living with this variation for a couple of days, we saw that the vertical line with the tail, which divides the typographic part in half, was too massive and took on a lot of emphases. I went ahead and made three new variants of this ponytail:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-11.58.10.png\" width=\"1520\" height=\"339\" alt=\"\" \/>\n<\/div>\n<p>Stop at the first option and see it in colour:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.04.01.png\" width=\"520\" height=\"256\" alt=\"\" \/>\n<\/div>\n<p>Changing the letters in the descriptor from lowercase to uppercase so the logo is more harmonious:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.05.22.png\" width=\"608\" height=\"349\" alt=\"\" \/>\n<\/div>\n<p>Trying on an additional round version of the logo with the modified handwritten part, but it doesn’t fit:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.06.43.png\" width=\"821\" height=\"436\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Leaving it as it was<\/div>\n<\/div>\n<p>Done. Natasha accepts the job! The final result is the basic logo, the other round version and the version without the descriptor:<\/p>\n<div class=\"e2-text-picture\">\n<img src=\"https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-11-22-at-12.12.56.png\" width=\"1449\" height=\"400\" alt=\"\" \/>\n<div class=\"e2-text-caption\">Final versions of the logo<\/div>\n<\/div>\n",
            "date_published": "2020-12-05T19:18:00+01:00",
            "date_modified": "2023-06-28T10:46:42+01:00",
            "tags": [
                "Logotypes",
                "Natasha Miagkova",
                "Process"
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            "image": "https:\/\/tsokolovskaya.com\/blog\/pictures\/Screen-Shot-2020-09-29-at-20.13.32.png",
            "_date_published_rfc2822": "Sat, 05 Dec 2020 19:18:00 +0100",
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            "url": "https:\/\/tsokolovskaya.com\/blog\/all\/no-brif\/",
            "title": "What is a design brief and why is it unnecessary",
            "content_html": "<p>A design brief is a questionnaire designers ask their clients to fill in. It may consist of five questions, or it may consist of twenty-five. Typically, designers make templates for different types of tasks. For example, a brief for a logo, a brief for corporate identity, a brief for a website, and so on. The brief contains the questions that seem important to the designer for the task.<\/p>\n<p>When I started as a designer, I also made such templates but pretty quickly removed them and replaced them with human dialogue. Here’s why:<\/p>\n<ul>\n<li>One brief template for two different clients will not be equally effective. The questions posed psychologically frame the client as having to answer only a specific question. Doing so may solve the task for one client but not for another. For example, the client thinks he needs a website, but an interactive catalogue for mailing better solves the task. It is impossible to figure this out at the briefing level.<\/li>\n<li>By communicating directly and asking the same questions as in the brief, you can always add and ask the client for more detail. Depending on the task, I can ask 30–70 questions. No one will answer such a mass of questions in writing, but it is not felt in a dialogue. People like to talk about themselves and their businesses.<\/li>\n<li>It is usually easier to call than to fill in some form with questions.<\/li>\n<\/ul>\n<p>I am an introvert. Every phone call is very stressful; I find it easier to communicate in writing. But I step out of my comfort zone to understand a new client and his task. Nevertheless, it is good for me because it is the only way I grow.<\/p>\n<p>Is it easier for you to communicate in person or writing? Have you ever filled out a design brief? ;-)<\/p>\n",
            "date_published": "2020-09-25T15:21:06+01:00",
            "date_modified": "2023-07-06T10:05:42+01:00",
            "tags": [
                "Clients"
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