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Monday, 3 June 2013

New Magazine Startup Guide


Having the text keyed-in and thoroughly proofed before it goes to production can help reduce errors and costs associated with revising proofs.


Many people have a "Great Idea" for a magazine but before you begin a magazine launch there is a lot you need to know and plenty of financial support will be required.
Unfortunately, there is no guide book, start up course, or specialized business consultants to help new magazine developers learn the terminology of the industry or the perils that could lie ahead. Unless you have been involved in the magazine business in some form - everything will be new and unfamiliar.
Approximately only one out of ten new magazine ventures will ever be successful. If an individual or business entity cannot absorb the loss of investment in starting and growing a magazine venture, then such a venture should never be undertaken. Magazine publishing is both speculative and risky.
Successful magazines seem to find a special niche or have an identifiable difference from magazine titles that are currently on the market. Also - the successful titles seem to serve a relevance or a need for the consumer market they cover. Many magazine titles serve consumer's passions with increasing numbers focusing on very specific niches. Give your magazine the difference and relevance test.
Magazine Publisher's Startup Guide is just an overview. It was written to help individuals and businesses looking to develop a magazine get a better understanding to what is involved and needed in a magazine startup. It is intended to give you a better overview of the new challenges ahead and a better understanding of magazine requirements and terms. After which you can find more detailed and useful magazine information within web site www.MagazinePublisher.com
Let's Do It!
Design & Layout
You can hire a professional production company to design and layout your magazine pages...or do the work yourself. Keep in mind there are technical specs in which magazines must be submitted in order to print. Only a few layout programs are acceptable. For complete details see Magazine Publisher's "Custom Magazine Design" or "Submitting Print Ready files".
Content
Organizing content for your issues can be a detailed application. It is your responsibility to pull together all editorial and advertising content to be used in each issue. If you have multiple writers it is important to convey to them how you want their stories submitted. It is important that advertisers supply their ads in proper formats. Clearly communicating on the front end what you expect will help eliminate headaches.
It is best to first organize all advertisers that will be included in the upcoming issue of your magazine. Identify placement (if the advertiser has requested a specific location like inside the cover) and verify that all the digital art for each advertisement is complete. Any ads needing creation by the digital department will need to be done first so the advertiser has time to approve the layout. The next step is to categorize your articles and pull together the text files and accompanying photos to be used. Having the text keyed-in and thoroughly proofed before it goes to production can help reduce errors and costs associated with revising proofs. 
Once completed and organized it is time to turn over the files for issue production to your production staff. Remember a clear identification of stories text, photos, captions and ad placements can help direct production artist as they begin to digitally create each page for the magazine. A small hand-made "mock-up" magazine can even be put together with notations on what goes where to help direct the production artist.

‘sketching’ will really help you when creating a CANVAS from scratch.


ARTISTIC  language or taking a course of  design sessions
 
 For a lot of Sketches document, the most useful reference and the most effective method to learn about sketch is through design tutorials instead of just reading a publication on a particular ARTISTIC  language or taking a course of  design sessions. Similar to some other type of tutorials, they are created to guide you through the detailed processes to let you see everything you need to undertake to get from beginning to finish
In today’s post, we provide you once again with a new compilation of ‘sketching’ that will really help you when creating a CANVAS from scratch. These description or outline are free to experiment with. Thus, take time to master every procedure so that you will be able to create an effective IN ‘sketching’   without having to spend a great amount of money or assistance of an expert.
Here is essential which provides cool tips in creating a ART. 
If you are planning to BE AN ARTIST  then better browse this post as the description  listed below give a simple and faster way to get your CANVAS done while not having to undergo a lengthy process. Have a great time browsing
  • The word ‘drawing’ presents a general term, whereas ‘sketching’ focuses on a specific technique. Both can take the form of an action or object, verb or noun, as each can imply movement. 
  • The Oxford English Dictionary defines a sketch as a brief description or outline ‘to give the essential facts or points of, without going into details.’ Sketches document the primary features of something or are considered ‘as preliminary or preparatory to further development’(1985).
  •  Historically, the act of sketching or drawing on paper involves line. At its most basic level, the production of line constitutes making marks with a pointed tool, initiated by movement and force. 
  • In reverse, eyes follow a line and with that action the ‘line’s potential to suggest motion is basic’ (Lauer, 1979, p. 151). A line, or mark, made with the bodily action of the hands, demonstrates its ability to cause reflective action, as it attracts the human eye to follow it. 
  • This cognition spurs associative thoughts, as the line suggests new forms (Lauer, 1979). Much of the ‘motion’ of a sketch comes from the physical action of the hand; in this way, the tool becomes an extension of the body and reflects the human body. James Gibson, the psychologist and philosopher, writes concerning human contact with a drawing and suggests that making marks is both viewed and felt (1979). 
  • The ‘gesture’ of this intimate participation with a sketch gives it meaning and individuality. The control of a hand on the drawing tool yields not a consistent line, but one that is varied, thick or thin.
  •  The quality of the mark is important, since individual lines produce association in the minds of architects. Gibson believes, in company with philosophers such as Aristotle, that it is reasonable to suppose that humans can think in terms of images (1982). Conversely, but consistent with his theories of visual perception, there cannot be vision without the cognitive action of thought. Sketches can be analogous for actions that do not involve a mark on paper. For example, a quick skit by a comedian may be deemed a ‘sketch,’ although it does not involve the mark on a surface. 
  • Thus, a sketch may be defined by its preliminary and essential qualities. Sketches may also comprise three-dimensional actions preliminary to architecture, such as the fast ‘sketch’ model, or be conceived of digitally as a wire-frame massing in the computer. In such ways, the intention takes precedence over the media. 
  •  How sketches act to assist design thinking designates their value. As these definitions imply, sketches are notoriously imprecise; valueless physically, and seen as a means to find something or communicate rather than as prized objects in and of themselves. 
  • They are usually, but not necessarily, loose and lacking in detail. Some architects make simple but precise diagrams, while others may use sketches purely for communication
  •  HOPE WE MAKE SENSE !!! SAY A WORD ABOUT IT AND SHARE WHATS OWN YOUR HEART…



Psychological pain is a warning that we are not meeting our primeval needs


If we persistently do things in the wrong order, psychological problems may arise. 
         Psychological pain is a warning that we are not meeting our primeval needs and we need to address this.
        The needs at the bottom of the hierarchy, Alexander argues, are broadly speaking met by modern cities, but further up needs are not being met consistently for most of us.
However, within this basic hierarchy our needs should change with age, as we develop. 
The psychologist Erikson famously defined four main stages of adult development.56 He proposed that we could not pass through the latter stages until we had passed through the former ones.
An ascetic essay from 1966 called ‘Planners’ People’ proves that planners had always aroused suspicion from those who questioned their objectivity. In this case criticism came from within their own profession. 
    The authors – professional town-planners - asked why it was that planners’ drawings for downtown development schemes were always populated with the same ‘stock-cast ‘of six characters.   These were always white, upper middle-class, law-abiding, cultured, and professional - just like the planners themselves.
They concluded that included only those ‘types’ amenable to their own ideals of urban living and overlooked the true heterogeneity of the city. Nevertheless, they placed these ‘stock characters’ in real urban vistas, to lend them credibility.
     In his paper ‘Creating places or designing spaces?’
      Jonathan Dime considers the process of ‘place making’ and tests the degree to which an architect can design a place’ independently of the people who will actually use it.
He argues that while modern architecture has concentrated on the properties of geometric space, psychology has neglected to look at the physical context of behavior.  
   He concludes, not surprisingly, that we can not create a place.

The reason why three-dimensional visualization is better than the other techniques


 The human visual cognition process is studied to find the solution to the current architectural communication issues.

Three-dimensional visualization has been employed extensively by architects as a medium for explaining architectural concepts since the availability of computer-aided design.
         It has been proved to be a far more effective communication technique compared with the conventional methods such as technical drawings and lexical documentation. However, the reason why three-dimensional visualization is better than the other techniques has not been explicitly examined.
             This article describes the problems in the current architectural communication process. It starts with the discussion of the problem of the current communication methods used in architectural design followed by the discussion of the popular communication theory. After that, the human visual cognition process is studied to find the solution to the current architectural communication issues.
           At the end, we three-dimensional architectural visualization as a solution to improve the current architectural communication method

In what ways can architecture impact human behavior?


Social scientists or psychologists links between the design of the built environment and our behavior, both individually and socially

    Designing and constructing environments in which people live and work, architects and planners are necessarily involved in influencing human behavior.
 While Sommer (1969, p.3) asserted that the architect “in his training and practice, learns to look at buildings without people in them,” it is clear that from, for example, Howard’s Garden Cities of To-morrow (1902), through 
Le Corbusier Ville Contemporaine and La Ville radieuse, to the Smithson's’ ‘Streets in the sky’, there has been a long-standing thread of recognition that the way people live their lives is directly linked to the designed environments in which they live. Whether the explicit intention to influence behavior drives the design process—architectural determinism (Broadly, 1966: see future blog post ‘POSIWID and determinism’)—or      whether the behavior consequences of design decisions are only revealed and considered as part of a post-occupancy evaluation (e.g. Zeisel, 2006) or by social scientists or psychologists studying the impact of a development, there are links between the design of the built environment and our behavior, both individually and socially

How a space gains meaning-Ideal spaces for peace and happiness


 The psychological and social aspects of space when two disciplines meet real innovations can be made

           A recent review suggests that patients have recover quickly after surgery if they had access to a window with a view of the natural landscape, that certain light and color combinations increase immunity and that patients are more confident of being looked after well if they are pleasant, calming environments.
Conversely, poorly designed or dilapidated environments dissuade people from seeking help.
               Artistic, aesthetic aspirations and theories about form are in tension with the psychological and social aspects of space, but they are not eclipsed by them. The science of psychology provides some parameters for design without prescribing the end result
            When two disciplines meet real innovations can be made. Certain elements of environmental determinism can be usefully combined with a flexible system, which truly evolves with the user.
As a result of this review I would like to set out a modest manifesto. 
If architects are to design for people they should: 
  •  Be aware that psychologically healthy spaces need to be flexible enough to allow for individual differences, sub cultural differences and changing needs over time, in order to achieve a sense of ‘place’ 
  •  Be aware of certain core, universal human needs while accepting individual and cultural differences,
  • Avoid writing their own subjective scripts for what they perceive to be psychologically healthy buildings or cities, and 
  • If they can not design ideal spaces for peace and happiness, at least aim to minimize psychological and social harm by understanding how a space gains meaning.