diScoNneCt.d0t

Indonesia Berhasil Mengganyang Malaysia sampai mereka Minta Ampun! (dalam eRepublik)

2009-12-20T17:42:00.003Z

Bosan pemerintah berpangku tangan saja soal Malaysia?
Batik kemarin berhasil diakui sebagai warisan budaya khas Indonesia oleh UNESCO.
Tapi belum ada kabar berita lain mengenai budaya-budaya lain yang diklaim Malaysia.
Mana upaya dari kita sendiri?
Mana upaya dari pemerintah? Belum lagi ada kabar berita lain mengenai budaya-budaya lain yang diklaim Malaysia.
Ratusan jumlahnya.
Belum kasus kekerasan, skandal peradilan, para TKI kita di sana. Apakah kita dianggap manusia oleh para Malon?

Kesal? Tidak berdaya?

Mengapa tidak melampiaskan kekesalan dan patriotisme anda secara positif!
Bergabunglah sebagai warga negara dan laskar eIndonesia dalam permainan eRepublik!
Sekalian belajar berdinamika, berpolitik, serta mengembangkan jiwa patriotisme anda dalam permainan eRepublik. Bagi yang senang strategi berperang, simulasi ekonomi via system perusahaan dan monex yang mutakhir, atau dinamika pers, media, koran yang hidup, atau sekedar mencari komunitas yang hangat, gokil, dan penuh semangat juang, semua ada di eRepublik.

Kami Tidak Lupa...
Sementara negeri ini lupa akan kebejatan Malaysia, terlena oleh Cicak dan Buaya, kriminalisasi, dan berbagai macam skandal, PLN, bahkan kelesuan ekonomi,

Tapi… kami tidak pernah lupa.
Kami pegang teguh janji kami menghantam negeri pencuri.

Malaysia kami embargo, kami boikot, media kami hujani kecaman, cacian intelek, pukulan argumen logik yang telak dan dingin, menusuk tembus dan membuat mereka murka. Lalu kami menerbangkan pasukan paying membebaskan jajahan mereka di Thailand, dan ULTIMATELY…

Dalam sebulan terakhir ini Perang negeri eIndonesia bertempur, BERPERANG melawan eMalaysia.

Medan pertempuran

Sabah,

Semenanjung Malaya,
Sarawak,

Membara penuh peperangan.

Jutaan peluru kami lontarkan, ribuan tentara kami bertarung dahsyat melawan Malaysia dan sekutu-sekutunya (yang kalau dikumpulkan sudah bisa bikin World Cup di Kuala Lumpur) ang 10x lipat lebih banyak daripada penduduk eIndonesia:

Inilah daftar antek Malaysia:

USA (yang dendam sama kita)
Kroasia (antek USA dan Malaysia)
Ukraina
Polandia (benderanya kebalik, tapi musuh bebuyutan kita)
Bosnia dan Herzegovina
Rumania (Lawan berat kita)
Mexico
Yunani
Kolombia
Finlandia
Thailand (dipaksa aliansi padahal gak rela)
Irlandia
Spanyol
Uruguay
Austria
Bolivia
Peru
Korea Utara (nah, lihat tuh! Kim Jong Il aja ikut Malaysia!)
Swedia
Perancis (Pengkhianat tengik, dulu udah kita bantuin skrg stab back)
Italia
Jepang (Pengkhianat, next bakal kita libas juga negeri Miyabi ini)
Venezuela (telenovela)

Ngeri? Takut? Tidak lagi kami rasakan!

Melalui perjuangan dahsyat, pada tanggal 28 Oktober lalu Laskar eIndonesia melakukan puputan melawan Malaysia! Dengan pengurbanan luar biasa atas cinta kepada tanah air dan bangsa, dengan segenap tumpah darah, raga, harta, dan jiwa,

Pasukan eIndonesia berhasil merebut Sabah dan Semenanjung Malaysia! )

(gambar peta kerebutnya)

Spoiler for daerah yang berhasil dikuasai:

(yang warna biru Indonesia, yang warna hijau malaysia)

Kalau saja bukan karena pengkhianatan France dan Jepang tentu Sarawak juga telah kita rebut. MALAYSIA NYARIS RATA OLEH KITA!

bukti:

Spoiler for battle of sarawak 5 menit terakhir:

Tapi Malaysia udah keburu jiper. Mereka meminta damai kepada kita. Takut akan kekuatan kita. Karena itu kita melepakan wilayah kita kepada mereka yang sudah mengaku kalah kepada kita.

Ini membuktikan bahwa eIndonesia telah MERAIH KEMENANGAN TERHADAP MALAYSIA WALAU PARA MALON DIDUKUNG ANTEK 29 NEGARA!

PERJUANGAN MASIH BELUM TUNTAS! KEMENANGAN TOTAL BELUM BERHASIL KITA RAIH!
PERANG DENGAN MALAYSIA MASIH TETAP LANJUT!!
Mengenai Kita, Bangsa eIndonesia…

Kita bangsa eIndonesia, adalah salah satu dari negara Adidaya di eRepublik.
Sepanjang sejarah New World, kita sudah pernah menjajah : Australia, South Afrika, Argentina, India, Pakistan, sebagian RRC, pernah juga melintas Jepang dan menguasai Pearl Harbor-Hawaii, California, sampai ke Texas.

Spoiler for Daerah kita dulu::

Kami memerlukan saudara-saudara semua bergabung dalam komunitas kami yang unik dan hangat ini. Kami memerlukan segenap rakyat eIndonesia, memulai perjuangan meraih kemenangan dan kejayaan bangsa melawan Malaysia, melawan negeri-negeri luar yang mengancam kita (Amerika Serikat, Rumania, Kroasia, Polandia, dan Yunani).

Jadi tunggu apa lagi! Bergabunglah dengan mengklik referral di bawah ini:

(referral)

Salam

Presiden eIndonesia,

Wonder Forward

-------------------------------------------------------------------------------
• Pastikan anda mendaftar jadi warga negara Indonesia, masuk ke Karnataka.
• Baca pesan warga baru baik-baik dan bertanya jika ada yang bingung.
• Ikuti instruksi dan panduan tutorial di sana.
• Masuk ke markas besar dan komunitas kami dim IRC atau www.mibbit.com/chat, server rizon, #mentornubi dan #erepindo.

Bisa juga lewat link berikut:
Kelas Newbie

Thread ini sengaja dipost di Lounge karena kami butuh perekrutan. Untuk mengunjungi Thread resmi eRepublik di Kaskus, kunjungi:
Thread eRepublik eIndonesia di Kaskus -> eRepublik eIndonesia

Grup Facebook kami, kunjungi:
http://www.facebook.com/group.php?gi...0027202&ref=ts

Wikipedia erepublik Indonesia:
http://wiki.erepublik.com/index.php/Indonesia[/quote]

Spoiler for foto komunitas:

---------------------------------------------------------------------
Tutorial:
http://docs.google.com/View?id=ddwhth5k_0f9kx77d3
http://docs.google.com/View?id=dczfs2p7_18d6ctbtcw
http://docs.google.com/View?docid=dczfs2p7_10gcsk4wfv

LOMBA CIPTA SLOGAN, MASKOT, dan FOTOGRAFI

2009-05-08T21:37:00.006+01:00

PERSYARATAN LOMBA SLOGAN

Lomba terbuka untuk umum
Tema lomba : Jembatan Nasional Suramadu, Kokoh Berdiri sebagai Wujud Nyata Pembangunan untuk Pengembangan Wilayah dan Peningkatan Ekonomi serta Pemersatu Budaya dan Bangsa
Lomba dimulai dari tanggal 13 April 2009
Pengiriman terakhir slogan pada tanggal 13 Mei 2009 pukul 15.00 wib.
Jumlah kata dalam slogan maksimal 5 kata
Slogan tidak bermakna bias
Slogan tidak berkonotasi negatif
Slogan harus hasil karya sendiri (original), belum pernah dipublikasikan dan belum pernah diikutsertakan pada lomba apapun juga
Apabila terdapat slogan yang sama, maka yang berhak diikutsertakan dalam penjurian adalah slogan yang pertama kali diterima panitia
(sesuai pencatatan waktu di tempat penerimaan slogan)
Satu orang peserta diizinkan mengirim maksimal 3 (tiga) slogan
Mekanisme pengiriman slogan:
Hanya dengan menggunakan telepon seluler atau SMS dengan cara:
Ketik LCSNamaAlamatKota#slogan
kirim sms ke nomor 0812 3306 5656
Pengumuman pemenang tanggal 23 Mei 2009 melalui website www.suramadu.com, www.semengresik.com, www.suarasurabaya.net
Keputusan Dewan Juri berlaku mutlak dan tidak dapat diganggu gugat
Lomba ini tertutup bagi Karyawan dan keluarga Direktorat Jendral Bima Marga Departemen Pekerjaan Umum, PT Semen Gresik (Persero) Tbk dan Panitia Lomba
Dokumen dan Materi Lomba yang dimasukkan menjadi hak dan milik Direktorat Jendral Bina Marga Pekerjaan Umum dan PT Semen Gresik (Persero) Tbk

DAFTAR JURI:

Prof. Sutandyo Wignyo Subroto MPA (Guru Besar Sosiologi Universitas Airlangga, Surabaya)
Ronny H. Mustamu, M.Mgt. (Chair, Center for Leadership and Executive Development, Universitar Kristen Petra, Surabaya.)
Diah Dharmayanti, SE, MSi (Ketua Program Manajemen Pemasaran, Universitas Kristen Petra, Surabaya)
Rachmah Ida, PHd. (Ketua Departemen Komunikasi, Universitas Airlangga, Surabaya)
IGAK. Satria Wibawa, MCA (Staf Pengajar Departemen Ilmu Komunikasi, dan Kepala Bidang Kerjasama dan Hubungan Internasional Universitas Airlangga, Surabaya)

PERSYARATAN LOMBA MASKOT

Lomba terbuka untuk umum
Tema lomba : Jembatan Nasional Suramadu, Kokoh Berdiri sebagai Wujud Nyata Pembangunan untuk Pengembangan Wilayah dan Peningkatan Ekonomi serta Pemersatu Budaya dan Bangsa
Lomba dimulai dari tanggal 13 April 2009
Pengiriman terakhir slogan pada tanggal 13 Mei 2009 pukul 15.00 wib.
Maskot minimal dalam bentuk 2 (dua) dimensi berwarna, namun masih tampak jelas apabila di fotokopi hitam-putih
Dimensi Maskot:
• Dibuat di atas kerta putih 100 gram ukuran A3
• Ditempel di atas karton tebal warna hitam
• Softcopy Maskot disertakan dalam format JPEG resolusi 72 dan 300 dpi dalam cakram padat (CD)
Maskot wajib disertai deskripsi tertulis tentang bentuk, warna dan makna pada kertas putih ukuran A4
Satu orang peserta diizinkan mengirim maksimal 3 (tiga) maskot dalam amplop terpisah
Mekanisme Pengiriman:
• Maskot dimasukkan dalam amplop coklat tertutup
• Pada sudut kiri atas ditulis LMS
• Dialamatkan ke Radio Suara Surabaya, Jl Wonokitri Besar 40 C, Surabaya 60256
Maskot harus hasil karya sendiri (original), belum pernah dipublikasikan dan belum pernah diikutsertakan pada lomba apapun juga
Apabila terdapat Maskot yang sama, maka yang berhak diikutsertakan dalam penjurian adalah Maskot yang pertama kali diterima panitia
(sesuai pencatatan waktu di tempat penerimaan Maskot)
Pengumuman pemenang tanggal 23 Mei 2009 melalui website www.suramadu.com, www.semengresik.com, www.suarasurabaya.net
Dewan Juri : Ronny Mustamu (UK Petra), Diah (UK Petra), Satria Wibawa (Unair)
Keputusan Dewan Juri berlaku mutlak dan tidak dapat diganggu gugat
Lomba ini tertutup bagi Karyawan dan keluarga Direktorat Jendral Bima Marga Departemen Pekerjaan Umum, PT Semen Gresik (Persero) Tbk dan Panitia Lomba
Dokumen dan Materi Lomba yang dimasukkan menjadi hak dan milik Direktorat Jendral Bina Marga Pekerjaan Umum dan PT Semen Gresik (Persero) Tbk

DAFTAR JURI:

Ir. Baroto Tavip, MSi (Ketua Jurusan Design Produk ITS)
Rachmah Ida, PHd. (Ketua Departemen Komunikasi, Universitas Airlangga, Surabaya)
Mufid Wahyudi, Dipl Adv, BA (Ketua Persatuan Perusahaan Periklanan Pengda Jawa Timur)
Adjid Swastedi (Director Energi Creative Communicatons)
Deddy Duto Utomo, SSn. MSi. (Pengajar Design Komunikasi Visual Universitas Kristen Petra)

PERSYARATAN LOMBA FOTO

Lomba terbuka untuk umum
Lomba terbagi dalam 2 (dua) kategori:
• Foto Jurnalistik
• Foto Umum
Tema lomba : Jembatan Nasional Suramadu, Kokoh Berdiri sebagai Wujud Nyata Pembangunan untuk Pengembangan Wilayah dan Peningkatan Ekonomi serta Pemersatu Budaya dan Bangsa
Foto harus hasil karya sendiri (original)
Untuk kategori Foto Jurnalistik, foto sudah pernah dimuat pada media massa resmi dan berbadan hukum
Untuk kategori Foto Umum, foto belum pernah dipublikasikan dan belum pernah diikutsertakan pada lomba apapun juga
Lomba dimulai dari tanggal 13 April 2009
Pengiriman terakhir slogan pada tanggal 13 Mei 2009 pukul 15.00 waktu Radio Suara Surabaya.
Format Foto:
• Foto harus hasil karya sendiri (original)
• Foto bukan merupakan rekayasa fakta (penambahan ornamen atau item tertentu dari sumber lain) dan bukan merupakan foto studio • Foto dicetak dengan ukuran 10 R
Mekanisme pengiriman
a. Foto dimasukkan dalam amplop coklat, disertai dengan:
i. softcopy berupa keping padat (CD) dengan resolusi 72 dan 300 dpi
ii. keterangan foto (caption) yang berisikan pada kertas putih yang ditempelkan di belakang foto:
1. Judul
2. Lokasi Pemotretan
3. Data teknis
4. Identitas Peserta (nama, alamat, nomor telepon)
b. Pada sudut kiri atas ditulikan
i. Kategori Foto Jurnalistik : LFJS
ii. Katerogi Foto Umum : LFUS
c. Dialamatkan ke Radio Suara Surabaya, Jl Wonokitri Besar 40 C, Surabaya 60256
Apabila terdapat foto yang sama, maka yang berhak diikutsertakan dalam penjurian adalah foto yang pertama kali diterima panitia
(sesuai pencatatan waktu di tempat penerimaan slogan)
Satu orang peserta diizinkan mengirim maksimal 3 (tiga) foto dalam amplop yang terpisah
Pengumuman pemenang tanggal 23 Mei 2009 melalui website www.suramadu.com, www.semengresik.com, www.suarasurabaya.net
Keputusan Dewan Juri berlaku mutlak dan tidak dapat diganggu gugat
Lomba ini tertutup bagi Karyawan dan keluarga Direktorat Jendral Bima Marga Departemen Pekerjaan Umum, PT Semen Gresik (Persero) Tbk dan Panitia Lomba
Dokumen dan Materi Lomba yang dimasukkan menjadi hak dan milik Direktorat Jendral Bina Marga Pekerjaan Umum dan PT Semen Gresik (Persero) Tbk

DAFTAR JURI:

Oscar Motuloh (Direktur Eksekutif Galeri Foto Jurnalistik Antara)
Mamuk Ismuntoro (Editor Foto Surabaya Post)
Agus Leonardus (Profesional Fotografer)

HADIAH

Lomba Fotografi (untuk setiap kategori)

Juara I : Rp. 15 Juta

Juara 2 : Rp. 10 Juta

Juara 3 : Rp. 7,5 Juta

Juara Favorit : Rp. 5 Juta

50 karya nominasi akan mendapat piagam dan souvenir

Lomba Slogan dan Maskot (untuk setiap jenis lomba)

Juara I : Rp. 10 Juta

Juara 2 : Rp. 3 Juta

Juara 3 : Rp. 2 Juta

(Pajak hadiah ditanggung pemenang)

CATATAN

Lomba tidak berlaku untuk keluarga besar Direktorat Jendral Bina Marga Departemen Pekerjaan Umum, PT Semen Gresik (Persero) Tbk dan panitia.
Keterangan lebih detail kunjungi www.suramadu.com, www.semengresik.com atau www.suarasurabaya.net
Panitia tidak mengadakan korespondensi
Keputusan Dewan Juri berlaku mutlak dan tidak dapat diganggu gugat
Dokumen dan materi lomba yang dimasukkan menjadi hak dan milik Direktorat Jendral Bina Marga Departemen Pekerjaan Umum dan PT Semen Gresik (Persero) Tbk.

cek disini

MacBooK aiR

2009-03-26T20:35:00.001Z

PEMILU 2009

2009-03-01T09:09:00.004Z

Tak Ada yang Bisa - Andra and The Backbone

2009-02-19T18:25:00.002Z

D
Saat ku pejamkan kedua mataku

F Bm
Dan kubayangkan di sampingmu

G Em D
Kurasakan slalu hangatnya pelukmu itu

D
Dan ku genggam lembut kedua tanganmu

F Bm
Seakan takut kehilanganmu

G Em A
Kuingin selalu hatimu untukku

Reff:

D Bm - G - Em - A
Tak ada yang bisa......

D Bm - G - Em - A
menggantikan dirimu....

Bm A Em G
Tak ada yang bisa membuat diriku

D
jauh darimu...

D
Dan ku genggam lembut kedua tanganmu

F Bm
Seakan takut kehilanganmu

G Em A
Kuingin selalu hatimu untukku

Reff:

D Bm - G - Em - A
Tak ada yang bisa......

D Bm - G - Em - A
menggantikan dirimu....

Bm A Em G
Tak ada yang bisa membuat diriku

D
jauh darimu...

Interlude : Bes - C - D (3x)
Bes - C - G - A

Reff:

D Bm - G - Em - A
Tak ada yang bisa.....

D Bm - G - Em - A
menggantikan dirimu.....

D Bm - G - Em - A
Tak ada yang bisa.....

D Bm - G - Em - A
menggantikan cintamu.....

D Bm - G - Em - A
Tak ada yang bisa.....

D Bm - G - Em - A
menggantikan hatimu.....

Bm A Em G
Tak ada yang bisa membuat diriku

D
jauh darimu...

Ello / Masih Ada

2009-02-17T20:52:00.001Z

E—————-3————————-
A—2——–5—————————–
D—2——–5———–3—————–
G—–1——–4———3———-5——
B—————-3——-3———-5——
E—————-3———-1———-3—

intro: E C#m
E B
hari-hari ku lewati
F#m A
hanya sendiri tanpa kekasih
E B
tapi tetap ku nikmati
F#m A
indahnya hari tanpa tambatan hati

reff:
E
aku ingin menjadi
C#m F#m - A
setitik awan kecil di langit
F#m A
bersama mentari
E
walaupun kusendiri
C#m F#m
tapi aku masih ada
A E
masih ada cinta di hati
E B
kadang aku merindukan
F#m
merindukan sentuhan
A
sentuhan wanita
E B
ingin ku curahkan semua
C#m
semua hasrat di jiwa
A
yang t’lah lama ku pendam
back to reff
interlude : E C#m A E
E B
hari-hari ku lewati
F#m A
hanya sendiri tanpa kekasih
E B
walaupun ku sendiri
F#m A
tapi ku masih bisa bahagia
interlude : E C#m A E
Back to reff
C#m A E
di hati, di hati, di hati

Download: Ello Masih Ada MP3

[PSP Games] Tony Hawk's Project 8

2009-01-08T10:05:00.002Z

http://rapidshare.com/files/45728403...k_P8.part1.rar
http://rapidshare.com/files/45918097...k_P8.part2.rar
http://rapidshare.com/files/45749172...k_P8.part3.rar
http://rapidshare.com/files/45761355...k_P8.part4.rar
http://rapidshare.com/files/45770283...k_P8.part5.rar

iseng buat 'ponakan

2009-01-06T18:42:00.004Z

2009

2008-12-31T23:51:00.001Z

HAPPY NEW YEAR 2009....
i hope u changed in 2009....

Travian (versi english)

2008-12-29T20:21:00.004Z

Travian is an award-winning German massively multiplayer online browser-based game developed by Travian Games GmbH.^[2]

The game's developers drew roughly from Classical antiquity and particularly from the Roman Empire to create a predominantly militaristic real-time strategy. Along with three English versions, and the original German version, the game has been translated into 30 other languages^[3]^[4] and today has over 3 million players and over 250 servers worldwide.^[5]^[6] In 2006, it won the Superbrowsergame Award, in the large games category.^[1]^[6]^[7]^[8]

Travian is programmed in PHP and runs in most modern browsers (such as Camino, Firefox, Internet Explorer, or Safari.) Travian was also the first game of its type to be playable on mobile phones. When played on a cell phone, it uses Java.^[9]

The game

Every player enters Travian as a leader of a small village as a Roman, Gaul or Teuton^[10] with two people (or a population of two, as referred to in Travian) in their village. The village has only one building, known as the Main Building. Around the Main Building are spaces for further buildings to be constructed. Around the outside of the village there are 18 resource fields that are level 0. Each resource field is either a Woodcutter (produces Wood/Lumber), Clay Pit (produces Clay), Iron Mine (produces Iron) or Cropland (produces Crop). These fields produce a certain amount of resources per hour, depending on their levels. At level 0, each resource field produces two units per hour. Resources are required to construct buildings, to sustain the population and to train and feed troops (see below). A player can increase the production rate by upgrading the fields.^[11]

At the start of the game, the selection of buildings a player can construct is very limited. As the village is developed, a wider range of buildings become available for construction.

A greater aspect for the game is its troops. Troops are produced in the Barracks. They allow a player to raid other villages and steal their resources, which will benefit the attacker. When the Barracks have been upgraded to a certain level, the player may build an Academy, which allows them to research new types of troops;^[12] the player may also construct new types of buildings (such as the Armoury ^[13] and Blacksmith ^[14]) once the Academy has been upgraded to a sufficient level.

Goal

The goal of Travian is to construct and upgrade a World Wonder to level 100 and achieve a high population. The World Wonder requires millions of resources and takes a large amount of time to complete. Once a World Wonder is upgraded to level 100, the game ends and the winner and his/her alliance is announced. In order to construct a World Wonder, a player must steal an artifact from the Natars.

An appropriate ranking system has been created that determines the players rank from raiding, attacking, defending and building. Players can earn medals for their profile page by taking a certain place in the ranks.

Factions

There are three tribes available to be played, the Romans, the Gauls, and the Teutons. Each has their own characteristics. The Romans complete upgrades faster than other tribes, the Gauls defend better than the others, and the Teutons are geared towards an aggressive style of play.

However, the actual style always comes down to the player, and his/her style of play. The fourth tribe, known as the "Natars", are an NPC tribe who are—according to the game—the predecessors of the three playable tribes. The Natars enjoy many benefits normal tribes do not, but only come into the game as part of the end game sequence, more specifically, 300 days after account activation (except if the player is on a speed server, in which case they appear after 100 days).

The Natars must be killed and an artifact stolen for a World Wonder to be built.

Villages

A player is able to found more than one village. Additional villages increase total resource production, causes population growth and help support larger armies. To found an additional village the player must first create and extend a Residence or Palace to level 10, and also have 2,000 (500 for Speed server) Culture points. Culture points are automatically produced daily and accumulated, based on the buildings in the village(s).

To create another village after the second, progressively more culture points are needed. Almost all buildings made in Travian give the village culture points. After the amount of culture points are achieved, the player may train 3 Settlers to go and found a new village at any vacant area chosen. Settlers must be given 750 of every resource before they start their journey. A player may also create an Administrator (Senator, Chief or Chieftain) instead. These units need a level 20 Academy first. They allow the player to conquer another player's village and make it their own, but a player's last or only village cannot be conquered this way.

Alliances

The game is heavily geared towards cooperative play. In fact the only likely way to win the game is through cooperation with an alliance. It's nearly impossible for single players to win, but an alliance can win together.

Resources can be traded between players, and towns can be reinforced with another player's troops. An in-game alliance feature is also available, providing the main catalyst for strategic play within Travian; players join and fight together for mutual benefit. Within an alliance, players can view attack and defense information for all alliance members, and also benefit from improved communication tools such as mass alliance-wide in-game messages.

Since the maximum number of members in an alliance is 60, 'wings' tend to form as an alliance develops. Being a wing entitles having multiple sub-alliances, often with similar names, acting as one alliance but in different areas of the game. Wings may not fight and destroy each other due to the friendly fire rules. Towards the end of a round, different alliances often join together, resulting in larger coalitions (meta alliances); other diplomatic agreements include Non Aggression Pacts (NAP) and Confederations (Confeds).

End game

Each Travian server ends with the "end game" sequence. For normal servers it ends after about 300 days, and for speed (3x) servers,^[15] it ends after about 100 days. After this time has elapsed the Natars, a vicious tribe controlled by the computer, are released. As the players on the server begin to build the Wonder of the World that they had captured the plans for from the Natars, they meet resistance. The Natars will, every 5 levels of the Wonder being built, attack the villages with wonders until level 95 when they will then attack every new level. The first alliance that builds their World Wonder to level 100 wins the server, which stops and restarts. Then a new game begins.

Financing

Travian was initially financed through players upgrading accounts with Travian Plus and Web banners. Later, an option for purchasing 'Gold' replaced the one for buying 'Plus'. The introduction of 'Gold' allowed players to directly influence the game mechanics: for instance, by increasing resource production, instant completion of building and researches or applying a strength bonus to troops. Travian has also expanded to include a "Travian Shop" which includes Travian-related items like clothing and mugs.

Criticism

Travian has been criticized for the in game purchase of ‘Gold’. The selling of Gold pays for the some of the staff (most Travian staff are volunteers) server and bandwidth costs for the game but gives the purchaser an advantage over players who have not purchased gold, this advantage some feel is unfair.^[16]

However, many of the functional abilities (attack, defense and crop bonuses are not functional abilities) the Plus options give can be easily replicated with the use of browser-based scripts. These scripts are easily found online. However, use of any scripts to play the game, whether browser based or otherwise, is against Travian's terms of use, and can result in the player being banned from the server and possibly a full multi-server ban.

Travian

2008-12-29T20:06:00.002Z

Travian adalah permainan browser-based game Jerman yang dikembangkan oleh Travian Games GmbH^[1] yang sebagian besar berhubungan dengan permainan pendahulunya yang disebut Tribal Wars. Pada tahun 2006, permainan ini mendapat peringkat satu dalam "permainan browser-based terbaik dengan lebih dari 10.000 pemain".

Permainan

Pemain dapat memilih salah satu dari tiga suku, suku tersebut yaitu: Romawi, Teuton dan Galia. Para pemain memulai dari sebuah desa kecil yang hanya memiliki 2 populasi. Desa tersebut hanya awalnya mempunyai satu bangunan utama, dan mempunyai 18 sumberdaya, masing-masing sumberdaya adalah: besi, gandum, tanah liat, dan penebangan kayu. Tentara dapat dibuat jika telah mempunyai barak dan titik temu. Tentara lainya tersedia jika sudah membuat akademi dimana tentara dapat diriset.

Akhir permainan

Server akan dimulai kembali ketika pembangunan Keajaiban Dunia (Wonder of World) mencapai level 100. Keajaiban Dunia memerlukan beberapa artifak dan hanya dapat dibangun di daerah suku Natarian. Setiap pemain harus menguasai desa milik suku Natarian dan harus mempertahankan dari serangan suku Natarian dan pemain-pemain lainnya. Natarian adalah suku yang dimainkan oleh NPC dan hanya muncul setelah 300 hari setelah server normal dimulai sedangkan untuk server speed hanya membutuhkan waktu selama 100 hari setelah server dimulai.

Nama suku

Travian mempunyai 3 suku yang dapat dimainkan oleh semua orang dan mempunyai 1 suku yang hanya dapat dimainkan oleh NPC :

Romawi

Romawi adalah salah satu suku yang sangat maju dan ahli dalam pembangunan, Romawi mempunyai keistimewaan sebagai berikut:
Bisa membangun lahan sumberdaya dan bangunan secara bersamaan.
Bonus bertahan tinggi-bonus dari Pagar Batu
Pedagang bisa membawa sumberdaya sebanyak 500 unit (kecepatan: 16 bidang/jam)
Infantri sangat kuat, pasukan berkuda rata-rata,

Kekurangan:

Pengembangan mahal dan memakan waktu yang lama.

Galia

Galia adalah suku terdamai di Travian, Galia adalah pasukan tercepat (rata-rata 6 bidang perjam). Galia sangat ahli dalam pertahanan. Keistimewaan suku galia adalah sebagai berikut:

Bonus kecepatan: Pasukan tercepat dalam Travian
Pertahanan rata-rata-bonus karena pagar kayu
Pedagang bisa membawa 750 unit sumberdaya (kecepatan: 24 bidang/jam)
Cranny 2 kali lebih besar
Expensive siege weapons
Settler yang murah

Teuton

Teuton adalah suku yang selalu menjarah, Teuton ahli dalam menyerang tetapi pertahanan Teuton sangat lemah. Sehingga pasukan Teuton dapat dikalahkan. Keistimewaan suku Teuton adalah sebagai berikut:

Bonus rampasan: cranny musuh hanya bisa menyembunyikan 2/3 dari kemampuannya.
Pagar Tanah hampir tidak bisa dihancurkan, tetapi hanya memberikan bonus bertahan minimal
Pedagang bisa membawa 1000 unit sumberdaya (kecepatan: 12 bidang/jam)
Pelatihan pasukan yang sangat murah dan cepat yang menjadikannya perampas yang hebat

Kelemahan suku Teuton sebagai berikut:

Pertahanan lemah

sumber : Wikipedia

Game Online Travian

2008-12-28T02:26:00.003Z

udah ada yang pernah coba game ini g yach......

permainan dengan mengggunakan browser yang memberikan dunia dengan ribuan pemain lainnya. Bermula dengan memimpin sebuah desa kecil.

bergabung tekan ini (*silakan klo pengen coba2 dijamin SERU...)

Articles Previous Browse Next Tip: 10 Realizations For Productivity & Making Ideas Happen

2008-12-25T05:26:00.000Z

There are too many ideas in the world, and not enough action. If we consider every idea as part of a project - and then consider all we must do to manage our various projects, we realize the many challenges standing in the way of productivity. As a company founded "to help organize the creative world to make ideas happen," we believe that organization and productivity ultimately determine whether a brilliant idea ever actually happens. We have interviewed hundreds of the most productive individuals and teams in the world, and have discovered best practices across industries for managing everyday projects.

In this post, we will share ten of these discoveries, and also provide the first glimpse of a new (not yet launched) product, “Action Method Online”: a bold approach to everyday productivity that challenges the notion of typical project management.

Our years of research have caused us to question the status quo of everyday project management:

What if compulsive filing yields little benefit?
What if priority matters more than context?
What if the success of every project (and life) ultimately comes down to organizing actions you must take?
What if the design of the method we use for productivity influences our psychology for getting stuff done?

Questions such as these have led our team to some very important realizations:

1. Actions should be kept separate from email.
Email can kill productivity, because the actions you must take are buried in regular communication. An inbox full of email - even well-filed emails - still forces you to dig through every communication to find the hidden task. Tasks to be completed, or “Action Steps,” should have a management system of their own.

2. People should NOT share whole projects, just relevant items within projects.
Until now, all project management systems were made up of projects that were shared among different people. However, the way people really THINK about their work is more personal: we define our projects in our own terms - and it is rare that 100% of any project is relevant to all involved. Rather than share entire projects, we now have the technology to share just the relevant components of projects - action steps, reference items, discussions, milestones - and the recipient can then organize these components in a way that makes sense for his/her system.

3. Good design is great for productivity.
Through witnessing all of the elaborate systems for productivity, we realized that the most effective systems are distinguished by their design. It’s very simple: If a system functions properly and is attractive, you are more likely to stay loyal to it.

4. Actions are only truly “delegated” when they are accepted.
While many collaborative tools support “to-do lists” that multiple people can see, true accountability is never achieved unless the designee chooses to accept the action step that he/she has been given. The rise of social networks has taught us that control over what we accept from others (or who has befriended us) preserves the sanctity of any system.

5. A degree of voyeurism and transparency keeps us engaged.
Twitter and other online “activity feeds” prove that the future of communication is passive as well as active. Being able to tune in and search everything that happens around you is more valuable than getting emails or holding “status posting” meetings.

6. When it comes to taking action, work and personal life collide (and that’s ok).
People tend to separate the actions they must take in their personal lives from their professional lives. While formal “to-do” lists and applications empower you at work, your little post-it notes on your refrigerator keep you on task at home. But after observing the uber-productive, we have come to believe that action steps are action steps, regardless of their context. Priorities may change, but having everything actionable in one system is your best bet for anxiety-free living.

7. Darwinian productivity: The “nag” and natural selection.
As great as you think you are, nobody can nail prioritization 100% of the time. The truth is that the importance of a particular action step is sometimes demonstrated by how badly other people need it done. Typical project management systems and office environments assume that dividing tasks is enough. However, we have found that “nagging” plays a key role in productivity - the forces around us help determine which action steps are most important. Nagging should be a formal part of project management.

8. Appreciation is the greatest non-financial reward for achievement.
If you have a formal way to nag your colleagues when necessary, why not also show some formal appreciation when something is done well? We think that project management systems need to have a fully integrated appreciation mechanism that rewards productivity.

9. No more email-chains - make it a real discussion!
Ideas that are discussed via email often become cut-up, convoluted, and lost. They also fill up our inbox and consume our time as we try to parse it all out. Instead, what if you could start a discussion at any moment - share it with anyone in the world - and organize it within your own projects? Technology now enables us to start, track, and search discussions online. It is time.

10. And if nothing else…ACTION ACTION ACTION
Too many project management systems either exclude a “task” functionality or minimize its importance. The main page in an office system is often the deadlines, the project list, and more static data related to roles and responsibilities. However, we have found that the most productive creative teams eliminate a lot of the “overview,” and start with what needs to get done, and who is doing it. What if we managed projects STARTING from action steps before anything else?

We've been writing tips for years on productivity and organizing the creative world, but we rarely write about our own products. However, as you can see, we are pretty passionate about the problems with project management. For the past year, we have been designing, developing, testing, and tweaking a new platform for productivity and project management. It is based on our Action Method methodology and the design of our paper product line, but the technology itself is revolutionary.

We are pleased to introduce publicly, for the first time, Action Method Online (AMO). Now being beta-tested by a select group of people and teams, AMO is a web-based application that offers a radically different approach to managing projects and collaborating with others. We invite you to see a gallery of screenshots (above), and sign up to be notified when we’re ready to launch.

Of course, the realizations we’ve shared above are relevant to any approach to managing projects. Even if you can’t change the way your company works, productivity is a personal pursuit that must allow for experimentation and (gasp) change when necessary.

This tip was co-written by Scott Belsky of the Behance team. Explore more Behance tips, and check out Behance's guest postings for small businesses trying to make ideas happen, hosted at American Express' OpenForum.

5 Amazing Graphic Design Magazines

2008-12-24T22:04:00.002Z

Graphic Design Magazines are a key way for active graphic designers to further immerse themselves into the design community. They can inspire you, inform you and keep you up to date on the latest trends, hottest studios and new design talent.

They are often filled with great interviews, designer spotlights, graphic design news, current events, contests and everything else a graphic designer would want. The graphic design magazine list below contains a variety of top-notch publications I highly recommend having a look at.

Amazing Graphic Design Magazines

1. PRINT Magazine

PRINT is an extremely popular bimonthly graphic design magazine about visual culture and design.

2. I.D. Magazine

I.D Magazine is a leading critical magazine covering the art, business, and culture of design.

3. HOW Design

HOW magazineâ€™s goal is to help designers run successful, creative, profitable studios and much more.

4. Communication Arts

Communication Arts is an amazing art and design magazine that consists of eight issues and includes the Design, Advertising, Illustration, Photography and Interactive annuals.

5. Computer Arts

Computer Arts is a kick-butt mag filled with tons of great advice for freelance designers of all levels and ages.

How to Create a Graphic Design Project Outline

2008-12-24T21:53:00.001Z

Before beginning the design phase of a job, it is helpful to create a graphic design project outline. It will provide you and your client with some structure when discussing and creating the pages and elements of a project.

Format of a Graphic Design Project Outline

How you format and present your outline is up to you. Make sure it is clear, to the point and easy to follow. You don’t want there to be any confusion as to what is included in the project, as that can lead to problems later on in the process.

What to Include in a Graphic Design Project Outline

What you include in the outline will vary depending on the type and size of the job. Remember that the idea is to get in writing what you, as the designer, are responsible for creating. This will give the client peace-of-mind as well, since they will know what is included in their project and that it is headed in the right direction. Here are just a few examples of what to include for different types of projects:

Website design: For a website project, include each section of the site with a detailed description of the content and pages. It is important to know how many unique designs and layouts you need to provide.
Book design: Include an approximate number of unique page designs and standard page layouts you will be providing, as well as additional elements such as the cover and jacket. If you have discussed it in more detail, include the chapters and sections of the book and what is required for each.
Postcards, Business Cards, and Posters: For one-page jobs, the outline will be fairly simple. It should include what content needs to be presented and in what format.
Package design: For packaging, include each element to be designed. For a CD package, for example, you would include the liner notes, spine, back cover and CD label.
Brochures: For brochure and other foldout designs, include the number of panels and what content will appear on each.

How to Use the Outline

The graphic design project outline has several uses, including:

Help to determine the estimate and timeframe: It is often a good idea to get an outline approved before quoting a price, as it will help you determine the time necessary to complete a job.
Include it in your Proposal: Once approved, the outline can be part of your final contract or proposal so the scope of the project is officially agreed on.
Keep the project on target: As you work on the project, you can refer to the outline to stick to the original plan. If the amount of content changes, this may affect the budget or timeframe.

Get into the habit of creating outlines for your graphic design projects, whether they are personal, for school or for clients. This will help to insure that the design process goes smoothly.

What to Ask Graphic Design Clients

2008-12-24T21:51:00.000Z

At the start of a project, it is important to know what to ask graphic design clients to gather as much information as possible. This will often occur before you have landed the job, as it is necessary to have a meeting to help determine the cost and timeframe of the project. Once you have answered some or all of the research questions below, you can provide an accurate estimate in your proposal, as well as have a solid understanding of what the client is looking for.

Who is the target audience?

Find out who you are designing for. This will have a great impact on the style, content and message of the project. For example, a postcard aimed at new customers will be completely different from one aimed at existing customers. Some variables that can impact design include:

Internal (i.e. employees of the company) or external customers
Age
Geographic location
Gender
Depending on the project, factors like economic status and religion may also come into play.

What is the message?

Find out what message your client is trying to get across to the target audience. The overall message can be something as simple as thanking customers or announcing a new product. Once that is established, go beyond it to find out the “mood” of the piece. Is it excitement? Sadness? Compassion? Gather some keywords that will help with the overall style of your design. If you are in a meeting with a group of people, consider asking each person to come up with a few words that they think describe the mood of the message, and brainstorm from there.

What are the specs of the project?

The client may already have an idea of specifications for a design, which is helpful for determining the time involved in the project, and therefore the cost. For example, a 12-page brochure will take much longer than a 4-page foldout. If the client doesn’t know exactly what they are looking for, now is the time to make some recommendations and to try to finalize these specs. The amount of content to present, budget, and final use of the design may all affect these decisions. Determine:

Dimensions
Number of pages
Black and white vs. 2-color vs. 4-color printing
Paper stock
Size of print run (the number of pieces to print)

What is the budget?

In many cases, the client will not know or disclose their budget for a project. They may either have no idea what a design should cost, or they may want you to say a number first. Regardless, it is usually a good idea to ask. If a client has a specific budget in mind and tells you, it can help to determine the scope of the project and your final cost. This is not to say you should do the project for whatever the client says they can pay. Instead, you may alter some parameters (such as timeframe or the amount of design options you provide) to fit within the budget.

Whether they reveal a budget or not, it is ok to say you need to review the project and will get back to them with a quote. You don’t want to throw out a number that will have to change once you’ve had more time to think about it. Sometimes, the client budget will be much lower than you were expecting for a project, and then it is up to you if you want to take the work below your costs for the experience or your portfolio. In the end, you should be comfortable with what you are making for the amount of work, and it should be fair to the client.

Is there a specific deadline?

Find out if the project needs to be done by a specific date. The job may coincide with a product launch, or another important milestone, for your client. If there is not a deadline, you will want to create a timeframe for completing the project and present it to the client. This, much like your estimate, can be done after the meeting. If there is a deadline and you feel it is not reasonable, it is not uncommon to charge a rush-fee to finish it in time. All of these variables should be discussed prior to the start of the work, so everyone involved is on the same page and there are no surprises.

Can the client provide creative direction?

Whenever possible, it is helpful to get at least a little creative direction from the client. Of course, you will be creativing something new and unique for them, but some ideas will help you get started. Ask if there are any designs, design elements or other cues they can give you, such as:

Colors
Fonts
Works of art
Other designs
Websites

It is also important to find out if there is an existing brand that you need to match. The client may have a color scheme, typefaces, logos or other elements that need to be incorporated into your design. Larger clients will often have a style sheet you can follow, while others may just show you some existing designs.

Collecting this information, and any other ideas, from your potential clients will help the working relationship and design process go smoothly. Be sure to take detailed notes when asking these questions, and include as much information as possible in your proposal.

The Graphic Design Process

2008-12-24T21:39:00.002Z

The Benefit of the Graphic Design Process

When starting a new design project, there are steps of the graphic design process to follow that will help you to achieve the best results. Rather than jump right into a graphics software program to try to create a final version, you can save yourself time and energy by first researching the topic, finalizing your content, starting with simple sketches and getting several rounds of approval on designs.

Gather Information

Before you can start a project you of course need to know what your client needs. Gathering information is the first step of the graphic design process. When approached for a new job, set up a meeting to discuss the scope of the work. Be sure to gather as much information as possible:

What to Ask Graphic Design Clients

Aside from the product your client needs (such as a logo or a website), ask questions such as:

Who is the audience?
What is the message?
How many pages is the piece?
What are the dimensions?
Is there a specific budget?
Is there a deadline for completion?
Can the client provide examples of design they like?
Is there an existing corporate brand that needs to be matched?

Take detailed notes, which you can use later for the next step of the design process.

Create an Outline

Using the information collected in your meeting you'll be able to develop an outline of the content and goal of the project, which you can present to your client for approval before proceeding. For a website, include all of the major sections and the content for each. Include the dimensions and technical specifications for print or web work as well. Present this outline to your client, and ask for any changes. Once this is finalized, you know you are in agreement on what the piece will include and can proceed to the next step of the graphic design process.

How to Create a Graphic Design Project Outline

NOTE: It is at this time that you would provide a proposal to your client as well, including the cost and timeframe for the work, but here we are focusing on the design process.

Harness Your Creativity!

Design should be creative! Before moving on to the design itself (don't worry, that's next) take some time to think about creative solutions for the project. You can use the client's examples of favorite work as guidelines for what they like and don't like, but your goal should be to come up with something new and different that will separate them from the rest (unless of course they specifically asked to fit in). Ways to get the creative juices flowing include:

Brainstorming: Get together with a group and throw out any and all ideas
Visit a museum: Get inspired by the originals
Read a book: Something as small as a color or shape in a graphic design book could spark a completely original idea
Take a walk: Sometimes its best to get outside and watch the world...you never know what will spark your imagination
Draw: Even if you're not an "artist," doodle some ideas on a page

Once you have some ideas for the project it's time to start creating a structured layout.

Sketches and Wireframes

Before moving into a software program such as Illustrator or InDesign, it is helpful to create some simple sketches of the layout of a piece. This way, you can show your client some ideas without spending too much time on design. Find out if you are headed in the right direction by providing quick sketches of logo concepts, line drawings of layouts showing where elements will be placed on the page or even a quick handmade version of a package design. For web design, wireframes are a great way to start with your page layouts.

Design Multiple Versions

Now that you've done your research, finalized your content and gotten approval on some sketches you can move on to the actual design phases of the graphic design process. While you may knock out the final design in one shot, it's usually a good idea to present your client with at least two versions of a design. You can agree on how many unique versions are included in a job in your proposal. This gives the client some options and allows you to combine their favorite elements from each.

TIP: Be sure to keep even the versions or ideas that you choose NOT to present and that you might not even like at the time, as you never know when they'll come in handy.

Revisions

Be sure to let your client know that you encourage "mixing and matching" the designs you provide. They may like the background color on one design and the font choices on another. From their suggestions you can present a second round of design. Don't be afraid to give your opinion on what looks best...after all, you're the designer! After this second round, it isn't uncommon to have a couple more rounds of changes before reaching a final design.

Stick to the Steps

When following these steps, be sure to finish each one before moving on to the next. If you conduct solid research, you know you can create an accurate outline. With an accurate outline, you have the information necessary to sketch out some ideas. With the approval of these ideas, you can move on to create the actual design, which once revised, will be your final piece. That's much better than having a client say "Where's the Logo?" after the work is already done!

Brainstorming in Graphic Design

2008-12-24T21:35:00.000Z

Before you even begin to create a first version of a design in graphics software, it is important to harness your creativity to come up with concepts and ideas for a project. Unless the winning idea simply pops into your head (it has been known to happen), it is often difficult to sit down and start designing without a brainstorming session.

* The Goal of Brainstorming

The goal of brainstorming is to throw out any and all ideas related to a project, eventually leading to one or several to take further. This is certainly not the time to hold back… ideas that may seem risky, unrealistic or even downright stupid should be jotted down. Any one of them can lead to your best work. These ideas can be:

Overall concepts and styles
Layouts
Color schemes
Images
Typeface options
Project goals
Ideas related to the mood or emotional feel of the work

This list goes on. Just remember to record everything, and worry about trimming it down later.

* Who to Brainstorm With

Brainstorming can be done alone or with anyone who is willing to listen to, and contribute to, the brainstorming process. This includes:

Other designers and creative professionals
Co-workers
The client
People in an industry related to the project
Family
Friends

You never know who will help lead you on the train of thought towards a final idea.

* How to Brainstorm

All you need to brainstorm is a pad and pencil. Whether you are alone or in a group, brainstorming includes:

Writing down any idea that comes up
Doodling or sketching
Relating ideas to the goal of the project
Elaborating on concepts that are the most promising
Looking for connections between your ideas
Combining ideas and concepts that are related

While brainstorming continues throughout the design process, you can consider yourself done with the initial brainstorm when you feel you have the right ideas and concepts to move forward. Don’t hesitate to take a break or go straight through the night… you never know when the right idea will strike.

Graphic design history

2008-12-24T21:31:00.001Z

Although the term 'graphic designer' was first coined in the 20th century, the story of graphic design spans the history of marks of humankind from the magic of the caves of Lascaux to the dazzling neons of Ginza. In both this lengthy history and in the relatively recent explosion of imaging in the 20th and 21st centuries, there is sometimes a blurring distinction and over-lapping of advertising art, graphic design and fine art. After all, they share the same elements, theories, principles, practices and languages, and sometimes the same benefactor or client. In advertising art the ultimate objective is the sale of goods and services. In graphic design, "the essence is to give order to information, form to ideas, expression and feeling to artifacts that document human experience."^[1] "Fine art refers to arts that are 'concerned with beauty'..."

The paintings in the caves of Lascaux around 14,000 BC and the birth of written language in the third or fourth millennium BC are both significant milestones in the history of graphic design and other fields which hold roots to graphic design.

The Book of Kells is a very beautiful and very early example of graphic design. The Book is a lavishly decorated hand-written copy of the Gospels of the Christian Bible created by Celtic monks around 800AD.

Johann Gutenberg's introduction of movable type in Europe made books widely available. The earliest books produced by Gutenberg's press and others of the era are known as Incunabula. The Venetian printer and publisher Aldus Manutius developed a design style and structure for the book that remains largely intact to the present day. Graphic design of this era is sometimes called either Old Style (after the Gothic and handwriting-based typefaces which the earliest typographers used), or Humanist, after the new typefaces imitating the lettering in Roman carved inscriptions. These were introduced as part of the revival of classical learning, and still form the basis of the most commonly used Western typefaces.

Graphic design after Gutenberg saw a gradual evolution rather than any significant change. In the late 19th century, especially in the United Kingdom, an effort was made to create a firm division between the fine arts and the applied arts.

From 1891 to 1896 William Morris' Kelmscott Press published books that are some of the most significant of the graphic design products of the Arts and Crafts movement, and made a very lucrative business of creating books of great stylistic refinement and selling them to the wealthy for a premium. Morris proved that a market existed for works of graphic design and helped pioneer the separation of design from production and from fine art. The work of the Kelmscott Press is characterized by its obsession with historical styles. This historicism was, however, important as it amounted to the first significant reaction to the stale state of nineteenth-century graphic design. Morris' work, along with the rest of the Private Press movement, directly influenced Art Nouveau and is indirectly responsible for developments in early twentieth century graphic design in general.

Piet Mondrian, born in 1872, was a painter whose work was influential in modern graphic design. Although he was not a graphic designer his use of grids inspired the basic structure of the modern advertising layout known also as the grid system, used commonly today by graphic designers.

Modern

Modern design of the early 20th century, much like the fine art of the same period, was a reaction against the decadence of typography and design of the late 19th century. The hallmark of early modern typography is the sans-serif typeface. Early Modern, not to be confused with the modern era of the 18th and 19th centuries, typographers such as Edward Johnston and Eric Gill after him were inspired by vernacular and industrial typography of the latter nineteenth century. The signage in the London Underground is a classic of this era and used a font designed by Edward Johnston in 1916.

In the 1920s, Soviet Constructivism (art) applied 'intellectual production' in different spheres of production. The movement saw individualistic art as useless in revolutionary Russia and thus moved towards creating objects for utilitary purposes. They designed buildings, theater sets, posters, fabrics, clothing, furniture, logos, menus etc.

Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography. He later repudiated the philosophy he espoused in this book as being fascistic, but it remained very influential. Tschichold, Bauhaus typographers such as Herbert Bayer and Laszlo Moholy-Nagy, and El Lissitzky are the fathers of graphic design as we know it today. They pioneered production techniques and stylistic devices used throughout the twentieth century. Although the computer has altered production forever, the experimental approach to design they pioneered has become more relevant than ever.

The following years saw graphic design in the modern style gain widespread acceptance and application. A booming post-World War II American economy established a greater need for graphic design, mainly advertising and packaging. The emigration of the German Bauhaus school of design to Chicago in 1937 brought a "mass-produced" minimalism to America; sparking a wild fire of "modern" architecture and design. Notable names in mid-century modern design include Adrian Frutiger, designer of the typefaces Univers and Frutiger; Paul Rand, who, from the late 1930's until his death in 1996, took the principles of the Bauhaus and applied them to popular advertising and logo design, helping to create a uniquely American approach to European minimalism while becoming one of the principal pioneers of the subset of graphic design known as corporate identity; and Josef Müller-Brockmann, who designed posters in a severe yet accessible manner typical of the 1950s and 1960s.

The reaction to the increasing severity of graphic design was slow but inexorable. The origins of postmodern typography can be traced back as far as the humanist movement of the 1950s. Notable among this group is Hermann Zapf who designed two typefaces that remain ubiquitous — Palatino (1948) and Optima (1952). By blurring the line between serif and sans-serif typefaces and re-introducing organic lines into typography these designs did more to ratify modernism than they did to rebel.

An important point was reached in graphic design with the publishing of the First things first 1964 Manifesto which was a call to a more radical form of graphic design and criticized the ideas of value-free design. This was massively influential on a generation of new graphic designers and contributed to the founding of publications such as Emigre magazine.

Saul Bass designed many motion picture title sequences which feature new and innovative methods of production and startling graphic design to attempt to tell some of the story in the first few minutes. He may be best known for his work for Otto Preminger's The Man with the Golden Arm (1955).

Milton Glaser designed the unmistakable I Love NY ad campaign (1973) and a famous Bob Dylan poster (1968). Glaser took stylistic hints from popular culture from the 1960s and 1970s.

David Carson has gone against the restrictiveness of modern designs. Some of his designs for Raygun magazine are intentionally illegible, featuring typography designed to be visual rather than literary experiences.

link : wiki

Mac vs. PC

2008-12-21T22:16:00.002Z

One of the most common ongoing debates in the computer world is "Mac vs. PC." Macs, produced by Apple, have often been used in the design world, with the PC (running the Windows operating system) dominating most of the business world. When looking at the two for graphic design work, the focus is on the handling of graphics, color, and type, the availability of software, and overall ease of use.

Graphics, Color and Type

The handling of graphics, color and type is a significant portion of a graphic designer’s job. Because of Apple’s long history of being the “designer’s computer,” they have focused on improving their handling of colors and fonts, especially when going from screen and file to print. If you had to choose between a Mac and a PC on this factor alone, Apple has the edge. However, the same results can be achieved on a PC. For web design, neither wins out, though be sure to have access to both operating systems to test your sites across all platforms.

Mac vs. PC Software

As far as graphic design is concerned, there is no significant difference in the software available for the Mac or PC. All of the major applications, including the Adobe Creative Suite, are developed for both platforms. Because the Mac is often considered the designer’s computer, there are some handy tools and applications that are Mac-only. Overall, there is more software available for the PC, especially if you are focused on a particular industry, gaming or 3-D renderings (such as for architecture).

Ease of Use

Apple has clearly focused their operating system on ease of use, introducing new features with each release that improve the user experience. Their integration from application to application enables a clean workflow. While this is most apparent in their consumer applications such as iPhoto and iMovie, it continues through to professional tools and third-party products. While Microsoft has improved the user experience in the Windows operating system, I would give the edge to Apple on ease of use.

Mac vs. PC Conclusion

Generally, “Macs” are mentioned in the same sentence as “graphic design,” and rightfully so for their excellent graphics and font capabilities, and ease of use. The drawback of the Apple used to be the price, but if you do want a Mac and are tight on budget consider the “consumer” level iMac, which is powerful enough for graphic design tasks, or a refurbished model. In the end, especially when starting out, you will probably do just as well with a PC. With some smart shopping you can get a powerful one for less money than a Mac, and you will be using the same design software… your creativity, and not the cost of your computer, will determine the outcome of your work.

Types of Graphic Design Portfolios

2008-12-21T22:12:00.000Z

When trying to break into the field of graphic design, having a solid portfolio is crucial. If you are job-hunting, your portfolio is what employers will be looking at to decide whether or not to give you an interview. If you are starting a freelance business, potential clients will be comparing portfolios to choose a designer for a project. There are several choices for what type of portfolio to build, and each has their own benefits and drawbacks.

Website

Online portfolios are probably the most popular type today. As a graphic designer, some will even assume you have a web site. If your focus is web design, an online portfolio is the choice for you, as it serves as an example of your work.

Benefits:

Easy to send out…it’s just a link
Can provide a look into your personality
Allows for an interactive presentation of your work

Drawbacks:

The most time consuming to create
You have to worry about it looking or behaving differently from computer to computer
You need the technical knowledge to set it up
Expensive to hire someone to develop it for you
You will have to pay for a domain name and monthly web hosting

PDF

Creating a portfolio as a PDF is becoming more and more popular. Using Acrobat, multi-page PDFs can be created from layouts created in a graphics software program (such as InDesign or Photoshop). The result is a brochure style piece that shows examples of your work along with descriptions of projects and related information.

Benefits:

Easy to email
Control over layout without having to worry about browser and web issues
The PDF itself serves as an example of your layout and typography skills
Can be printed with consistent results
Relatively quick and free to create

Drawbacks:

Relies on the user to save and open the file
Less effective for showing web design projects

The Classic Portfolio

The classic portfolio, an actual book of various sizes with printed examples of your work, still serves a purpose in today’s “digital world.” There are several ways to present such a portfolio, from placing prints in a pre-made book with sleeves, to creating your own custom, bound book.

Advantages:

Shows your work in its actual, final format
Great for showing off print design
Can be brought to a meeting and shown without a computer

Drawbacks:

Must be delivered by mail or in person
If you leave with a potential client or employer, you are left without a portfolio

In the end, the type of portfolio you choose to have will depend on your budget, available time and type of work. For web designers, an online portfolio is a no-brainer. If you don’t have the time or budget to set up a web site right now, you should at least have a PDF so you have something to email. A classic portfolio is great to bring to a meeting and show off your best print work. As a portfolio is a key marketing piece, it should be taken seriously, and a combination of the options above might be the right choice to get you your dream job or client.

print media vs designing for the web

2008-12-21T21:57:00.003Z

Designing for print media versus designing for the web can be a completely different experience. To better understand these differences, the two can be compared in major topic areas: types of media, audience, layout, color, technology and careers. Remember we’re looking at the graphic design side of web design, not the technical side. For more about the programming end of web design visit the web design section of About.com.

Types of Media

Before looking at the actual differences in design, it is important to know what type of work you may find yourself doing in each field.

As a print designer, you may work on:

Magazine advertisements
Product design and packaging
Business cards
Logos

As a web designer, you may work on:

Standard HTML websites
Flash websites
Email newsletters
Banner advertising

Of course the list for can go on for both, but the basic difference is that when designing for print you will end up with a finished product that someone can hold in their hand, and when designing for the web you will generally work on an ever-evolving piece viewed on a computer display.

Audience

When beginning a project, it is important to think about the experience of your audience, which differs greatly between print and web design. At the most basic level, the web is interactive and print pieces are usually not.

In print, you are trying to get your audience to stay on a page long enough to get a marketing message across. You are often faced with a limited area in which to achieve this, such as a one-page magazine ad. In some cases, you are trying to catch their attention and have them dive deeper into your product, as with a book cover or the first page of a brochure. One of the benefits of print design is that you are dealing with a physical product, so physical properties such as texture and shape can help you achieve your design goals. As an example, paper companies will take out magazine ads printed on their own paper, allowing the audience to feel the weight and texture of their product.

On the web, you are generally trying to keep your audience on a specific website for as long as possible. The amount of pages to work with can be unlimited, so you ‘tease’ the audience with snippets of content to entice them into clicking further into your site. Clear navigation (buttons that users click to get to the sections of your site), animation, sound and interactivity all come into play.

Layout

Both print and web design require clear and effective layout. In both, the overall goal is the same…use elements of design (shapes, lines, colors, type, etc) to present content to your audience.

The differences start in the available space to create your design:

In print:

Your space is generally measured in inches.
You can be dealing with anything from a business card to a highway billboard.
You know the space allowed from the start and that your finished product will look the same to everyone who sees it.
You must have bleed and safety areas to guarantee print results (learn more about this in the “printing process” section of this site).

On the web:

You are measuring your space in pixels.
You are faced with a challenge…designing your sites to look the best on all size monitors and at all monitor resolutions.
A consistent design, with consistent navigation (always in the same place) is key to keeping people on your site.

Another major difference is how you actually achieve your layout. As a print designer, you know the final piece will be delivered as-is to the printer, though you must make the final print job appears as intended. As a web designer, you must keep in mind that you will deliver your design to a programmer (if not doing it yourself) who will prepare it for the web.

Color

Dealing with color can be very tricky in both print and web design. It is important to understand each of the color models and spaces, such as RGB, CMYK and HSV. Below are some of the choices, issues and concerns when dealing with color in print versus web design.

In Print Design:

Consider the difference between your colors on screen and on paper.
Again, a “proof” can help ensure you are getting the desired results.
You often choose “spot” or “process” colors for your printer to use. These are colors you choose from a palette and identify with a code that you provide to your printer.

In Web Design:

Consider the difference in colors from monitor to monitor.
How color will be affected by brightness and contrast changes.
Colors are represented by “hexadecimal values” (6 digit numbers). Again, this responsibility may fall on a programmer, but you may be providing these values to them.

Technology

Keeping up with the latest technology is necessary in both print and web design. For both, it is important to work in graphic programs such as Adobe Photoshop, Illustrator, and InDesign. For print designers, knowing the latest advances in the printing process will help you to achieve the best results in your work. For web designers, knowing what your programmer (if not yourself!) can and cannot do will help you to provide the most effective designs.

Careers

A career in graphic design can mean many things. Below are just a few examples of specific jobs in print and web design.

Print:

Art Director at a magazine
Ad designer at an ad firm
Package designer for a cosmetics company
Designer for a t-shirt company

Web:

Web designer for a social networking site
Flash designer for movie websites
Banner ad designer for a marketing firm

Which to Choose?

Ideally, deciding which type of design to pursue will be based on experience. Even if you create your own personal projects, try creating some print pieces (such as your own business card) and websites (create a mockup of your online portfolio). See what you enjoy, and learn more about it! Think about the differences in this article and what you’d like to focus on.

Learning both print and web design will make you even more marketable. In today’s job market, listings often ask for a focus on one, but knowledge of both. As a freelancer, being able to offer a client a full marketing package, with print materials and a website to match, will only help to grow a business and build an impressive portfolio.

Software Recommended From a Graphic Desinger

2008-12-21T21:47:00.000Z

Software needed to be a top graphic designer in today's competitive market. If you are brand new to design, this is what I recommend.

For Graphic Print Design:

All serious graphic designers know that the industry standard for graphic design software is Adobe Photoshop, Adobe Illustrator and QuarkXpress or Adobe InDesign. If you are not familiar with these products here is a quick overview. Adobe Photoshop is photographic image manipulation software. Photoshop is where you will manipulate, clean up, re-touch, or re-color all the bitmap photographic images for your design project. Adobe Illustrator is vector art software and you will use it to create vector images such as logos and illustrations for you design project. QuarkXpress and Adobe InDesign are graphic layout programs. This is where you will literally combine all the pieces for a design project and lay them out. You will add your text, manipulated Adobe Photoshop images, and created Adobe Illustrator vectors images to this program and layout the finished product, which may be a brochure, flyer, etc.

For Graphic Web Design:

Graphic web design has more options for software. Web design is not quite as specific with their software requirements as print design. As far as industry standard, the industry has really left it up to the designer to decide. I prefer to use Adobe Photoshop to create most of my imagery and then use Adobe ImageReady (which comes with Photoshop) to make my files optimized for the web and then use Adobe GoLive for my web site layout. Adobe GoLive is a great software product for designers who are not as skilled with HTML coding because GoLive does the coding for you, but if you prefer to do the coding yourself you are given the option of doing this as well. Another fun software program for web design is Macromedia Flash. Flash creates very fun animation and mini movies that give your site movement, but is not recommended that you design your entire site in Flash because of poor search engine optimization. Macromedia also has a product called DreamWeaver that is a web site creation and layout program.

Logo facts you should know

2008-12-21T21:36:00.001Z

A Logo can symbolically or pictorially represent a company. A Logo can be as simple as a dot or as complex with maze of colors and patterns.

Have you ever thought how may logos you might be exposed to daily? Have you guessed? Many people guess for only several in number.

According to one research, it is estimated that most people are exposed to over 200 logo designs or brand marks per hour.

Find it hard to believe? Well, here are some examples to make you comprehend its possibility: you get up and have a cup of tea or coffee which have their own logos. After, you shower and wash with your branded shampoos and deodorants. You get ready with your branded dress, shirt, shoes, watch, etc. You are now ready to go to the office in your branded car into our world presented with logo after logo after logo.

Reference:
http://www.thelogofactory.com/library/articles/who_needs.html
http://ezinearticles.com/?Logos&id=200344

Skills of graphic design

2008-12-21T21:31:00.002Z

A graphic design project may involve the stylization and presentation of existing text and either preexisting imagery or images developed by the graphic designer. For example, a newspaper story begins with the journalists and photojournalists and then becomes the graphic designer's job to organize the page into a reasonable layout and determine if any other graphic elements should be required. In a magazine article or advertisement, often the graphic designer or art director will commission photographers or illustrators to create original pieces just to be incorporated into the design layout. Contemporary design practice has been extended to the modern computer, for example in the use of WYSIWYG user interfaces, often referred to as interactive design, or multimedia design.

Visual arts

Before any graphic elements may be applied to a design, the graphic elements must be originated by means of visual art skills. These graphics are often (but not always) developed by a graphic designer. Visual arts include works which are primarily visual in nature using anything from traditional media, to photography or computer generated art. Graphic design principles may be applied to each graphic art element individually as well as to the final composition.

Typography

Typography is the art, craft and techniques of type design, modifying type glyphs, and arranging type. Type glyphs (characters) are created and modified using a variety of illustration techniques. The arrangement of type is the selection of typefaces, point size, line length, leading (line spacing) and letter spacing.

Typography is performed by typesetters, compositors, typographers, graphic artists, art directors, and clerical workers. Until the Digital Age, typography was a specialized occupation. Digitization opened up typography to new generations of visual designers and lay users.

Page layout

Page layout is the part of graphic design that deals in the arrangement and style treatment of elements (content) on a page. Beginning from early illuminated pages in hand-copied books of the Middle Ages and proceeding down to intricate modern magazine and catalog layouts, proper page design has long been a consideration in printed material. With print media, elements usually consist of type (text), images (pictures), and occasionally place-holder graphics for elements that are not printed with ink such as die/laser cutting, foil stamping or blind embossing.

Interface design

Graphic designers are often involved in interface design, such as web design and software design when end user interactivity is a design consideration of the layout or interface. Combining visual communication skills with the interactive communication skills of user interaction and online branding, graphic designers often work with software developers and web developers to create both the look and feel of a web site or software application and enhance the interactive experience of the user or web site visitors.

Printmaking

Printmaking is the process of making artworks by printing, normally on paper. Except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each piece is not a copy but an original since it is not a reproduction of another work of art and is technically known as an impression. Painting or drawing, on the other hand, create a unique original piece of artwork. Prints are created from a single original surface, known technically as a matrix. Common types of matrices include: plates of metal, usually copper or zinc for engraving or etching; stone, used for lithography; blocks of wood for woodcuts, linoleum for linocuts and fabric plates for screen-printing. But there are many other kinds, discussed below. Works printed from a single plate create an edition, in modern times usually each signed and numbered to form a limited edition. Prints may also be published in book form, as artist's books. A single print could be the product of one or multiple techniques.

reference : http://en.wikipedia.org/wiki/Graphic_design#Skills

Factors that make a good logo

2008-12-21T21:30:00.001Z

A Logo is a graphic image representing a business organisation. Business logos are used in various purposes like within business cards, outdoor designs, the Internet, as well as more common items like promotional items such as T-shirts and mugs.

Some of the factors that are essential for success of a business that overlap with the success of a good logo are:

Consistency
Memorability
Meaningfulness.
Uniqueness
Professionalism
Timelessness
Contrast
Scalability

In addition to these, there are several more factors that are very important to get excellent logo:

Long lasting style.
Distinctiveness.
Appealing to consumers.
Conveys the right image.
Legibility

However, the above steps may not necessarily result in a design of a logo that works in each and every case. But the specified factors outlined above help you conceptualise a logo design that is acceptable by your present and perspective clients more efficiently and successfully. Thus we hope this helps you with making your order with us.

References:
http://www.elf-design.com/article-Logo-Without-Name.html

http://www.elf-design.com/article-9-Logo-Keys.html
http://www.kumbhdesign.com/design/

What makes a good logo?

2008-12-21T21:27:00.001Z

A logo is the symbol or trademark of a company. Logo design is one of the important parts of graphic design. A logo gives graphical and pictorial representation of a business.

When establishing a business, the first thing a company should consider is the logo design. The logo should be designed according to the name of the company and the business product.

A logo is said to be good logo if it has following features:

Firstly a logo should be eye catching and simple.
Simple color pattern and short text should be used.
A logo must be strongly relevant to the business nature.
It can be abstract or realistic.
A logo designed with limited colors works more successfully.
A logo must be able to convey a company’s mission and service.
A good logo builds your brand and gives more professional look to your business.
A good logo design should also works well in black and white. Colors are not that much important in a good logo design.
If a logo does not look good in black and white, it won't look good in any color.
It is better if you avoid being too 'modern'. A trendy look might work now but fashions change.
A logo of your company should be unique and be timeless for sustained business growth.

References
http://www.businesstoolchest.com/articles/data/20031209025648.shtml
http://www.teachingonline.org/Logodesign.html
http://www.smallbusinessbible.org/whatpurpose_logodesign.html.

What colors are suitable for logos?

2008-12-21T21:25:00.001Z

Whilst designing one of the most important factors is to consider the color(s). For this, its fundamental to understand the psychology of color choices.

Colors suggest feelings and represent ideas. Knowledgeable and appropriate use of color plays a vital role in designing. Thoughts about color are different among different cultures and this must be taken into account. For example, white is the color of death in Chinese culture whereas purple represents death in Brazil. Yellow represents sacred to the Chinese which signifies sadness in Greece and jealousy in France. In North America, green is typically associated with jealousy. People from tropical countries respond most favourably to warm colors; people from northern climates prefer the cooler colors.

What color signifies what?

Red:
Aggressive, assertive, courageous, insightful, intense, strength, vitality, life-sustaining, passionate,

Black and grey:
a corporate mentality, authority, boldness, distinctiveness, elegant, formal, mournful, practicality, rich, serious, seriousness, and sombreness.

Pink:
Femininity, innocence, softness.

Blue:
Authority, belonging, coolness, dignity, faithfulness, reliability, security, trust.
Deep blues: Academic Analytical, naval, regal, serious. Scholarly
Pale blues: Calm, clean, cool, ethereal, fresh, pacific

Purple:
Royalty, spirituality, dignity, sophistication, costliness and mystery.

Yellow:
cowardice, discovery, healing, illuminated, positively, sunlit, tropical, sunshine.

Brown:
authentic, earthiness, natural, somber, utility, woodiness and subtle richness.

Green:
Environmental, freshness, health, motion, mobility, natural, wealth, tranquillity

Orange:
cautious, cozy, cheeriness, energetic, fun, hazardous, warm

How to Design a Print Ad

2008-12-09T20:27:00.002Z

In past issues of Newslettering, we discussed ways to use advertising in your newsletter, and how to solicit advertising. In our continuing series, we will look at designing an ad from scratch. There are several cases where this would be necessary. You may want to place your own ad. After all, your audience is a captive one and one that is very familiar to you. If you offer special services that would interest your readers, an ad is the perfect way to let them know. You may also be approached by a potential advertiser who wishes to advertise to your readers, but does not have an ad available for you to use. Or you may have an ad sent to you in an unusable format. For example, a faxed ad usually needs to be redone to make it legible and clean.

If you have never designed a print advertisement, it can be somewhat intimidating at first. But by following some simple guidelines, you can be sure to have clear and effective ads in every issue of your newsletter. Be sure to check out our before and after redesign of a sample ad at the end of this article!

Contrast is Good
Space is at a premium for any print ad. How do you get your reader's attention working with such little room? The first step is to emphasize contrast. Although there are thousands of fonts available now, it is still important to remember to use only one or two in an ad. Too many typefaces can distract the reader and make your ad difficult to read.

Placing any type in all capitals is generally a bad idea as well. Text in all capitals has little contrast, as all the letters are the same height. Studies show that people’s brains process text written in lower case letters much better. In fact, the brain processes familiar words partly by the shape they form when written in lower case letters. By using all capitals, you slow your reader down, making it less likely he or she will actually read and comprehend your ad.

White space is also an important element to include in your ad. White space is essentially empty space. While it may seem to be a waste of precious space in so small an area, white space actually will make your ad clearer and more easily understood. Remember that, although you are trying to squeeze in all your information, a solid block of text won’t be read at all.

Balancing Act
Balance in a print advertisement is an important element as well. And this doesn’t mean you necessarily have to center everything in your ad. In fact, it is often more interesting to place elements of your ad aligned all to the right or all to the left. Try to get balance from strategically placing elements such as graphics, type, and logos in such a way that your ad flows well and is balanced across the space. If one side is heavy in type, place a large-scale logo or graphic on the other side.

Picture This
Studies show that ads with graphics or illustrations get read more often than ads with only text. And the best ads of all use images that are interesting and large! As a general rule, your graphics should take up at least a quarter of your available space and can go up from there. Small graphics are distracting to your readers and do not have enough interest to draw a reader into the ad.

Follow the Reader
When consider how to design an ad, it is helpful to know what type of market you are speaking to. Some ads need to take a formal tone, while others can benefit from being playful and fun. In general, though, all readers follow the same type of pattern when scanning an ad. Most people read ads in a kind of reversed “S” pattern. That is, they scan an ad beginning at the top left and end up down at the bottom right. It is helpful to remember this pattern when you are laying out your ad.

Call to Action
When designing a print ad, don’t forget the main purpose of the ad—to sell! You have to give the reader a clear path to take. This can be as simple as remembering to place a phone number in a prominent place in the ad. Or it can be more detailed and can include such elements as coupons, special offers, or a web address. This should be both the starting and ending point of your print ad design. Know before you start what your objective is, and end by critically examining your ad to make sure that it meets that goal.

Mistakes to Avoid
Too much clutter – Don’t forget the importance of white space. If you can’t fit in all the information you had hoped to, consider going with a larger sized ad, or editing down your information to a more manageable amount.

Unclear message – Make sure you know what you are trying to get your reader to do before you start to design your ad. Keep this objective in mind at all times and review your ad when you are done to make sure this has been accomplished.

Errors – Even though it may seem easy to proofread such a small set of type, sometimes errors show up and are glossed over through every time. To be safe, have someone else review your ad for you also.

Lack of contact information – This common error is particularly frustrating for readers. You may have convinced your reader to contact you or purchase your products, but if they can’t easily find contact information, they will probably not bother to look much further.

Before & After
Below is an ad before a redesign and after some changes. The ideas presented above were used to clean up this ad and make it more effective, clear, and more likely to be read. Notice that, even though, there seems to be less text in the after ad, in fact they both give the same information. Which ad do you prefer? Which do you think is more likely to be read?

Creating Print Ads

2008-12-09T20:24:00.002Z

Learn how to write and design print ads that get noticed.

Most print ads out there are poorly conceived and, as a result, perform badly. If an ad lacks a strong motivating message, especially in the crowded marketplace of a newspaper or magazine, it becomes a costly lesson-one the business will be lucky to survive. The good news? With so many bad ads out there, if you can put together a good one, you're way ahead of the game. Whether you are developing an ad yourself or having someone else craft it for you, make sure it follows the five fundamentals of successful ads.

1. It should attract attention. That sounds obvious, but nothing else matters unless you can do this. And that means having a truly arresting headline and visual element

2. It should appeal to the reader's self-interest or announce news. An ad that takes the "you" point of view and tells readers how they will benefit from your product or service piques and keeps their interest. And if, in addition, it has news value ("Announcing a bold new breakthrough in moisturizers that can make your skin look years younger"), your ad has a better than fighting chance.

3. It should communicate your company's unique advantage. In other words, why should the prospect pick your firm over a competitor's?

4. It should prove your advantage. The most convincing way to do that is through testimonials and statistics.

5. It should motivate readers to take action. This is usually accomplished by making a special offer that "piggybacks" your main sales thrust. Such offers include a free trial, a discount or a bonus.

Design and Copywriting for Effective Print Advertising

2008-12-09T20:12:00.001Z

"Good advertising" is certainly a subjective term. Different layouts, font styles, images, and copywriting styles appeal to different audiences. You can run the most visually stunning, well-written ad ever crafted, but if it's aimed at the wrong audience, it's not a good ad.

I define good advertising as that which moves a prospect or client to action. Action can be picking up the phone, visiting a retail location, or requesting additional information. For tips that will help you create ads that will be noticed and acted upon, read on.

Know as much about your audience as possible before writing or designing anything. This is elementary marketing, but it's easy to lose sight of it in the day-to-day management of your business priorities. If you're targeting the youth market, your approach and design elements will be vastly different than if you're after the 50+ crowd. And if your product is aimed at the business-to-business segment, you'll use different techniques than if you're selling to the consumer market.
Advertising is about selling. The point of your ad is to generate interest in your product or service. You are not trying to win awards, be the next Matisse, or conquer the ad world. Don't get me wrong - advertising can be visually stunning as well as effective, but don't get so caught up in the minutiae that you forget that the point is to sell.
Unless you are very capable, hire a freelance designer or agency to create your ads. With the proliferation of desktop publishing tools, many small-business owners have started creating their own ads. I strongly advise you not to do this unless you are very proficient. The reason is simple: be an expert at what you do best. Do you really have the time to keep up-to-date and educated on all the latest design software? The money you save on design fees is nominal compared with what running a bad ad costs you.
Speak clearly and concisely in your copy. Avoid buzzwords, clichés, and puns. Speak to one person, not the masses - make your ads feel personal to your intended readership. If copy isn't your bag, work with a copywriter to create the wording of your ad.
Don't go overboard with graphics. This is especially tempting if you're creating your own ads - all that clip art just crying out to be used! Graphics should enhance your advertising and help draw people into the ad, not overwhelm it.
Take the time to write a strong headline. Keeping in mind your audience, and write several headlines until you come up with a particularly compelling one. Test headlines on your friends and colleagues. Beware of overused words (although "free" is an oldie but goodie) and any humor that your audience could construe as offensive.
Pick one message and one message only. Don't try to cram everything into your advertising. Select one point, product, or offer in your ad, and build the copy and design elements around it. Ads that try to be all things to all people usually fail to reach anyone.
Consider the 40-40-20 rule. The catalog industry believes that there's a 40-40-20 mix in creating a successful catalog: 40% is offering the right product, 40% depends on the right list, and 20% is creative. Translate the list to media placement, and this formula will help you in putting together your ads.

5 vital logo design tips

2008-12-09T19:24:00.001Z

In this guest article, Jacob Cass briefly covers five tips for creating a professional logo design. He also mentions some useful logo design resources.

1. Learn what a logo is and what it represents

Before you design one, you must understand what a logo is, what it represents and what it is supposed to do. A logo is not just a mark – it reflects a business’s commercial brand through the use of shape, fonts, colour, and / or images.

A logo is for inspiring trust, recognition and admiration for a company or product and it is our job as designers to create an identity that will do its job.

One must first know what a logo is before continuing.

For further Reading on what a logo is, check out Wikipedia’s definition or CreativeBits’s discussion on what is a logo?

2. Know the rules and principles of logo design

Now that you know what a logo is supposed to do, and what it should represent, you now must learn what makes a great logo aka; the basic rules and principles.

As David says:

A logo must be describable
A logo must be memorable
A logo must be effective without colour
A logo must be scalable i.e. effective when just an inch in size

For Further reading on the rules and principles of great logo design I highly recommend reading these logo design tips from Logo Factory before continuing.

3. Learn off other’s successes and mistakes

Successful Logos

Now you know what the rules are, you can distinguish the difference between a good and a bad logo. Knowing which logos have succeeded, and why, gives an insight into what makes a good logo.

For example, let’s look at the classic Nike Swoosh (shown above). This logo was created by Caroline Davidson in 1971 for only $35, yet it’s still a strong, memorable logo, effective without colour and easily scalable. It is simple, fluid and fast, and represents the wing in the famous statue of the Greek Goddess of victory, Nike (something perfect for a sporting apparel business). The Nike logo is just one of many great designs, think about other famous brands that you know about and check out their logos. What makes them successful?

For more quality, lesser known logos I recommend browsing LogoPond or visiting your local book store or library and reading some books on logo design.

The Not So Successful Logos

We can also learn from logos that have not been too successful, such as the ones on the right of the above picture. Some more very bad logos can be seen in the post is your logo design phallic? As seen in that post, some logos can depict things that may not always be noticeable to the designer (as in the middle logo above) or they could just be plain bad design, as in the logo to the right (above).

4. Establish your own logo design process

Now that we know what a logo is, what the principles and rules of logo design are and what makes a successful logo, we’re now prepared to begin the design process. This is the hardest part of these 5 tips, and is a whole topic in itself. Each person’s process is different and experience is usually the key factor when creating your own logo design process. For an example of a well established method, take a look at David Airey’s logo design process.

In short, a logo design process usually consists of:

The Design Brief
Research and Brainstorming
Sketching
Prototyping and Conceptualising (See Step 5)
Send to Client for Review
Revise and Add Finishing Touches
Supply Files to Client and Provide Customer Service

If you ever get stuck before or during your design process, I’ve provided some tips on How To Boost Your Creativity.

5. Learn the software and complete the logo

After you have got your design process sorted out, it is usually a good time to begin mastering your software (here’s a selection of Adobe Illustrator tutorials for reference). But before I get to that, I want to point out that Step 4 and Step 5 overlap, as it’s a catch 22 situation – you can’t design a logo by just hopping straight onto the computer, nor can you complete a logo design without knowing your software (the Adobe Creative Suite is a popular choice with professional designers).

Putting this aside, once you have arrived at your initial ideas and sketches from brainstorming, you can then move onto the computer to start digitizing your logo. After you have digitized the great concept(s), your client is ready to review your work, ask for possible revisions, and complete the design project. Thus, you have successfully created a professional logo.

Do you have any other tips or suggestions on how to create a professional logo?

Jacob is graphic design student from Australia, and you can view his website here: Just Creative Design.

Design a Logo - The Ultimate Guide

2008-12-09T19:17:00.001Z

Logo design is arguably one of the most important and valued areas of design. A quality logo design combined with the branding of an organization or company can become one of the most powerful forces in todayâ€™s society. If you love logo design as much as I do, then I am sure you will enjoy these logo design tips and resources.

LOGO DESIGN TIPS

Concepts, Concepts, Concepts!

I like to believe thereâ€™s a perfect concept out there for every project, but the hard part is finding it - or at least something close to it. The only way to do this is to brainstorm like crazy. Start looking up competitors, do Google image searches, write down keywords, do some mind mapping, and make sure you put everything down on paper! You donâ€™t want to come up with a great idea only to forget it the next morning.

Nothing like Sketching

A lot of designers like to go straight to the computer, but the power of sketching is often underestimated. You can quickly sketch out multiple concepts and create variations to see what works and what doesnâ€™t - in a matter of minutes. The computer will slow you down so be sure to break out the sketch pad, colored pencils, markers or whatever you prefer - and start sketching away.

Did you know? Large design companies will often sketch out dozens of pages of logo concepts before they even touch a computer mouse. Take a tip from the pros and focus on your sketches first.

Research the End Requirements

Itâ€™s always a good idea to talk to your client at the start to see what they plan on doing with the logo. Ask them if it going to just be on stationary, logo items or is it going to be on billboards and banners and such. This can help you better fine tune the logo for them to make sure it will look right in multiple instances.

Use the Most Professional Program

Although it can be tempting to use a program like Adobe Photoshop to design logos when starting out, mastering Adobe Illustrator and its pen tool will be essential if you are serious about logo design. Adobe Illustrator has a vector format that will allow your logo to be scaled up and down with no loss of quality.

Keep it Simple

In general itâ€™s better to keep logo design simple. The main idea behind this is that you want the logo to be able to hold up well at very tiny sizes. A good test is to create a 16×16 pixel â€œfaviconâ€� of the logo and see how it looks. This is the smallest size the logo will probably ever be in.

Test it at Varying Sizes

Similar to the above mentioned, you should physically test the logo yourself by printing it in varying sizes. Also take a look at the logo from different distances to see how it would look on a poster, or on a t-shirt and stationary.

Test it in Multiple Colors

Clients always have different needs and different budgets and a quality logo design will be able to adapt to these circumstances and still look great. Test the logo in a variety of color printing processes, such as one-color, two-color, four-color and so on.

Test with Surrounding Text

Logos will rarely be seen totally alone, most of the time they will have taglines or other text nearby. So, why not test the logo ahead of time and see how it looks in different situations? Add a temporary tagline and see where it looks best. Justify the logo and text to the left, to the right, center it, and try out any other combinations of text and sizes.

link : http://www.youthedesigner.com

Graphic Design vs. Illustration

2008-12-09T18:57:00.003Z

The professional world of illustration is widely believed to be in poor shape. As Steven Heller noted recently: "I am an advocate of illustration and saddened by its loss of stature among editors who feel photography is somehow more effective (and controllable)." There are, of course, many reasons for illustration's fading stature other than the commercial world's hard-nosed preference for photography over the arty vagueness of hand-rendered imagery. The ubiquity of software that allows graphic designers to generate their own imagery is another factor, as is the rise of illustration stock libraries. Yet perhaps illustration's current status owes most to its near-total eclipse by graphic design. To understand the contemporary state of illustration, we need to look at its relationship with graphic design.

There was a time when graphic design and illustration were indivisible. Many of the great designers of the 20th century were also illustrators and moved effortlessly between image-making and typographic functionalism. Traditionally, most designers viewed illustration with reverence; many even regarded it as inherently superior to design. And with good reason: design was about the anonymous conveying of messages, while illustration was frequently about vivid displays of personal authorship. Like artists, illustrators signed their work, and some were even public figures (no graphic designer ever enjoyed the fame of Norman Rockwell, for example). As Ed Fella, a practitioner with feet in both camps, sagely noted: "Whereas graphic design is more anonymous, all illustration is sold for its particular and individual style."

But during the 1990s, illustration's "individual style" became a liability. Visual communication was colonized by tough-minded, business-driven graphic designers who gave their clients what they wanted: branding, strategy and the precision-tooled delivery of commercial messages. Even amongst more idealistic designers — designers who embraced theory, political activism (no big-name illustrators signed the First Things First manifesto), and notions of self-authorship — it became apparent that highly expressive graphic design could achieve some of the conceptual and aesthetic impact of illustration. The outcome of all this was that designers seemed to lose the habit of commissioning illustration, and most illustration was relegated to mere decoration.

Buy why?

It's a much-touted nostrum that we live in a visual world. Sure, the media landscape is saturated with images, but these images are nearly always accompanied by words signposting us to some sort of financial transaction. Graphic design's eclipsing of illustration is explained by illustration's lack of verbal explicitness. Graphic design is almost exclusively about precise communication, and its facility to combine words and images makes it a far more potent force than illustration. Milton Glaser has said: "In a culture that values commerce above all other things, the imaginative potential of illustration has become irrelevant... Illustration is now too idiosyncratic."

I was made aware of the main reason for graphic design's supremacy in the commercial world from an unlikely source. In his book What Good Are the Arts, the English academic John Carey sets out to discover an absolute measure for artistic worth. Dealing with the visual arts, Carey concludes that there is no defining yardstick: anything we choose to call art, is art. It's really a matter of personal choice. But halfway through his book Carey puts the case for literature. He sets out "to show why literature is superior to the other arts and can do things they cannot do."

For Carey, literature is the pre-eminent art form: "unlike the other arts," he writes, "it can criticize itself. Pieces of music can parody other pieces, and paintings can caricature paintings. But this does not amount to a total rejection of music and painting. Literature, however, can totally reject literature, and in this it shows itself more powerful and self-aware than any other art."

The attributes Carey applies to literature also apply to commercial communications. Words rule. Explicit language coupled with explicit images (devoid of ambiguity and nuance) is the lingua franca of advertising and marketing. We seem to have reached a point in Western culture where the abstract is no longer tenable. We demand explicitness in everything, which perhaps explains the contemporary appetite for endless news, reality television, the depiction of graphic violence and hardcore pornography.

Graphic design's ability to deliver explicit messages makes it a major (if little recognized) force in the modern world: it is embedded in the commercial infrastructure. Illustration, on the other hand, with its woolly ambiguity and its allusive ability to convey feeling and emotion, makes it too dangerous to be allowed to enter the corporate bloodstream. Our visual lives are the poorer for this.

link: http://www.designobserver.com/index.html

2008-12-08T07:58:00.000Z

SELAMAT HARI RAYA IDUL ADHA

clone

2008-12-06T19:27:00.001Z

illustrator nikon

2008-12-06T19:18:00.002Z

HOW TO BE CREATIVE by Hugh MacLeod

2008-12-05T04:42:00.000Z

1. Ignore everybody.
The more original your idea is, the less good advice other people will be able to give you.
When I first started with the cartoon-onback- of-bizcard format, people thought I
was nuts. Why wasnʼt I trying to do something more easy for markets to digest, i.e.,
cutie-pie greeting cards or whatever?
You donʼt know if your idea is any good the moment itʼs created. Neither does anyone else.
The most you can hope for is a strong gut feeling that it is. And trusting your feelings is not
as easy as the optimists say it is. Thereʼs a reason why feelings scare us.
And asking close friends never works quite as well as you hope, either. Itʼs not that they
deliberately want to be unhelpful. Itʼs just they donʼt know your world one millionth as well as you know your world, no matter how hard they try, no matter how hard you try to explain.
Plus, a big idea will change you. Your friends may love you, but they donʼt want you to
change. If you change, then their dynamic with you also changes. They like things the way
they are, thatʼs how they love you—the way you are, not the way you may become.

2. The idea doesn’t have to be big.
It just has to change the world. The two are not the same thing. We all spend a lot of time being impressed by folks weʼve never met.
Somebody featured in the media whoʼs got a big company, a big product, a big movie, a big bestseller. Whatever. And we spend even more time trying unsuccessfully to keep up with them. Trying to start up our own companies, our own products, our own film projects, books and whatnot.
Iʼm as guilty as anyone. I tried lots of different things over the years, trying desperately to pry my career out of the jaws of mediocrity. Some to do with business, some to do with art, etc.
One evening, after one false start too many, I just gave up. Sitting at a bar, feeling a bit
burned out by work and life in general, I just started drawing on the back of business cards
for no reason. I didnʼt really need a reason. I just did it because it was there, because it
amused me in a kind of random, arbitrary way.

3. Put the hours in.
Doing anything worthwhile takes forever. 90% of what separates successful people and failed people is time, effort, and stamina.
I get asked a lot, “Your business card format is very simple. Arenʼt you worried about somebody ripping it off?” Standard Answer: Only if they can draw more of them than me, better than me. What gives the work its edge is the simple fact that Iʼve spent years drawing them. Iʼve drawn thousands. Tens of thousands of man-hours. So if somebody wants to rip my idea off, go ahead. If somebody wants to overtake me in the business card doodle wars, go ahead. Youʼve got many long years in front of you. And unlike me, you wonʼt be doing it for the joy of it. Youʼll be doing it for some self-loathing, ill-informed, lame-ass mercenary reason. So the years will be even longer and far, far more painful. Lucky you.

4. If your biz plan depends on you suddenly being “discovered” by some big shot, your plan will probably fail.
Nobody suddenly discovers anything. Things are made slowly and in pain.
I was offered a quite substantial publishing deal a year or two ago. Turned it down. The company sent me a contract. I looked it over.

5. You are responsible for your own experience.
Nobody can tell you if what youʼre doing is good, meaningful or worthwhile. The more
compelling the path, the lonelier it is. Every creative person is looking for “The Big
Idea.” You know, the one that is going to catapult them out from the murky depths of
obscurity and on to the highest planes of incandescent lucidity.
The one thatʼs all love-at-first-sight with the Zeitgeist. The one thatʼs going to get them invited to all the right parties, metaphorical or otherwise.

6. Everyone is born creative; everyone is given a box of crayons in kindergarten.
Then when you hit puberty they take the crayons away and replace them with books
on algebra etc. Being suddenly hit years later with the creative bug is just a wee
voice telling you, “Iʼd like my crayons back, please.”
So youʼve got the itch to do something. Write a screenplay, start a painting, write a book, turn your recipe for fudge brownies into a proper business, whatever. You donʼt know where the itch came from; itʼs almost like it just arrived on your doorstep, uninvited. Until now you were quite happy holding down a real job, being a regular person...Until now.

7. Keep your day job.
Iʼm not just saying that for the usual reason i.e., because I think your idea will fail. Iʼm
saying it because to suddenly quit oneʼs job in a big olʼ creative drama-queen moment is
always, always, always in direct conflict with what I call “The Sex & Cash Theory.”

THE SEX & CASH THEORY: The creative person basically has two kinds of jobs. One is the sexy, creative kind. Second is the kind that pays the bills. Sometimes the task in hand covers both bases, but not often. This tense duality will always play center stage. It will never be transcended.

8. Companies that squelch creativity can no longer compete with companies that champion creativity.
Nor can you bully a subordinate into becoming a genius.
Since the modern, scientifically-conceived corporation was invented in the early half
of the Twentieth Century, creativity has been sacrificed in favor of forwarding the interests of the “Team Player.”

9. Everybody has their own private Mount Everest they were put on this earth to climb.
You may never reach the summit; for that you will be forgiven. But if you donʼt
make at least one serious attempt to get above the snow line, years later you will
find yourself lying on your deathbed, and all you will feel is emptiness.
This metaphorical Mount Everest doesnʼt have to manifest itself as “Art.” For some people,
yes, it might be a novel or a painting. But Art is just one path up the mountain, one of many.
With others, the path may be something more prosaic. Making a million dollars, raising a
family, owning the most Burger King franchises in the Tri-State area, building some crazy
over-sized model airplane, the list has no end.

10. The more talented somebody is, the less they need the props.
Meeting a person who wrote a masterpiece on the back of a deli menu would not surprise
me. Meeting a person who wrote a masterpiece with a silver Cartier fountain pen on an antique writing table in an airy SoHo loft would SERIOUSLY surprise me.
Abraham Lincoln wrote The Gettysburg Address on a piece of ordinary stationery that he had
borrowed from the friend in whose house he was staying. James Joyce wrote with a simple pencil and notebook. Somebody else did the typing, but only much later.

earn money with myhpf

2008-12-01T19:48:00.000Z

searching with myhpf you will get money......

Lomba Perbankan diundur.....

2008-11-18T18:55:00.001Z

Tema Poster “Aku dan Bank” yang isinya merupakan ekspresi, pengalaman maupun persepsi masyarakat terhadap produk dan jasa perbankan antara lain: Tabungan, Kartu Kredit, ATM, Customer Service, Kasir Tanpa Agunan dan Produk Bank Syariah.

Kategori Peserta:

Wartawan media nasional atau daerah yang meliput bidang ekonomi, keuangan, perbankan dan hukum (kode: PW)
Mahasiswa dari perguruan tinggi negeri/swsta di seluruh Indonesia daris egala jurusan dan disiplin ilmu (kode: PM)
Pelajar Sekolah Menengah Atas di seluruh Indonesia (kode: PA)
Pelajar Sekolah Menengah Pertama di seluruh Indonesia (kode: PP)
Masyarakat Umum (kode: PU)

Syarat Pembuatan Poster:

Poster dibuat sesuai dengan tema yang dipilih, merupakan karya asli yang dapat dipertanggungjawabkan, belum pernah dilombakan dan dipublikasikan.
Peserta dapat mengirimkan maksimal 3 poster
Ukuran poster A-3
Poster berwarna dan menarik

Kriteria Penilaian:

Kesesuaian gambar dengan tema yang dipilih
Kejelasan pesan yang disampaikan
Unik
Kreatifitas

Peserta Wajib:

Mengirimkan poster asli dalam bentuk hard copy dan/atau softcopy kepada panitia dalam amplop tertutup dengan pojok kiri atas diberikan kode kategori peserta;
Mencantumkan nama, nomor telepon/HP, alamat surat dan kode peserta pada bagian belakang poster
Melampirkan fotocopy tanda pengenal diri (KTP, Kartu Pelajar, Kartu Mahasiswa, atau Kartu Wartawan)

Lomba tertutup bagi keuarga besar Dewan Juri dan Bank Indonesia

Dewan Juri terdiri dari:

Anggota kelompok kerja Edukasi Perbankan

Semua materi yang diterima panitia menjadi hak milik panitia, dan panitia dapat menggunakan materi tersebut untuk kepentingan apapun.

Keputusan Dewan Juri tidak dapat diganggu gugat.

Hadiah Lomba

Pelajar SMP (Kode: PP)

Juara I: Rp 7,500,000
Juara II: Rp 5,000,000
Juara III: Rp 3,000,000

Pelajar SMA (Kode: PA)

Juara I: Rp 10,000,000
Juara II: Rp 7,500,000
Juara III: Rp 5,000,000

Pelajar Mahasiswa (Kode: PM)

Juara I: Rp 12,500,000
Juara II: Rp 10,000,000
Juara III: Rp 7,500,000

Pelajar Wartawan (Kode: PW)

Juara I: Rp 15,000,000
Juara II: Rp 12,500,000
Juara III: Rp 10,000,000

Pelajar Masyarakat Umum (Kode: PU)

Juara I: Rp 15,000,000
Juara II: Rp 12,500,000
Juara III: Rp 10,000,000

Pajak hadiah ditanggung pemenang

Batas waktu penerimaan poster selambatnya pada tanggal 10 November 2008 stempel pos yang dialamatkan ke:

Panitia Lomba Pembuatan Poster Edukasi Masyarakat di Bidang Perbankan
Tim API - Lantai 2 Gedung Radius Prawiro Bank Indonesia
Jl. MH. Thamrin No. 2
Jakarta 10110

Pemenang akan diumumkan melalui surat dan website Bank Indonesia (www.bi.go.id) pada tanggal 15 Desember 2008

LOMBA DESAIN LOGO PT POS INDONESIA

2008-11-18T18:30:00.000Z

KETENTUAN DAN PERATURAN LOMBA DESAIN LOGO PT POS INDONESIA

Persyaratan Peserta
• Terbuka untuk umum, WNI, perorangan maupun kelompok, kecuali panitia, dewan juri dan keluarganya.
• Tidak dipungut biaya pendaftaran
• Peserta melampirkan identitas diri (fotokopi KTP)
• Peserta wajib mengisi dan menandatangani surat pernyataan keaslian ide (bisa didownload di www.posindonesia.co.id)

Kriteria Logo
• Logo berupa logogram dan logotype (gabungan keduanya)
• Logo adalah karya asli, bukan jiplakan atau contekan
• Logo harus mencantumkan text POS INDONESIA
• Logo harus dapat mengkomunikasikan misi dari PT POS INDONESIA
• Penampilan logo sederhana, mudah diingat & diterapkan pada berbagai kemungkinan teknik dan media, baik 2 dimensi maupun 3 dimensi
• Logo belum pernah dipublikasikan / disayembarakan
• Semua karya yang dikirimkan menjadi milik panitia
• Dewan Juri dan PT POS INDONESIA berhak melakukan perubahan desain bila diperlukan dan pemenang wajib melakukan revisi perubahan

Jadwal Penerimaan dan Penjurian
• Batas akhir penerimaan logo adalah tanggal 10 Desember 2008
• Penjurian Tahap 1 dilakukan tanggal 15 - 17 Desember 2008
• Penjurian Tahap 2 dilakukan tanggal 19 - 20 Desember 2008
• Panitia & Dewan juri tidak melayani surat menyurat pada lomba ini.
• Keputusan juri tidak bisa diganggu gugat
• Semua karya menjadi hak milik PT POS INDONESIA

Dewan Juri
1. Dr. I Ketut Mardjana (Wakil Dirut PT Pos Indonesia)
2. Narga Habib (Brand Consultant/Praktisi Periklanan)
3. Hakim Lubis (Creative Director/Praktisi Periklanan)
4. Drs. Indarsjah Tirtawidjaja (Dosen & Anggota Kelompok Keahlian KOMUNIKASI VISUAL dan MULTIMEDIA (KVMM) FSRD ITB, Dekan Fakultas Komunikasi Visual (FDKV) Universitas Widyatama)
5. Dr. Priyanto Sunarto (Pengajar DKV ITB)

Penentuan Penilaian
• Orisinalitas karya
• Relevansi logo dengan misi PT POS INDONESIA
• Unsur estetika
• Pengaplikasian logo pada berbagai media

Hadiah
• Satu (1) pemenang Utama berhak mendapat hadiah berupa: 1 (satu) unit Grand Livina + Piagam Penghargaan
• Empat (4) pemenang Hiburan berhak mendapat hadiah masing - masing berupa: 1 (satu) unit macbook + Piagam Penghargaan
• Pajak, transportasi dan akomodasi ditanggung pemenang.

Ketentuan Teknis
• Peserta dapat mengirimkan maksimal 2 alternatif logo
• Logo harus memiliki warna korporat PT. POS INDONESIA
• Identitas peserta (Nama, Alamat, Pekerjaan, No telpon) ditempel di kanan bawah belakang karya.
• Konsep diketik di kertas A3, 1,5 spasi dan ditempel di bagian belakang desain logo utuh.
• Menyertakan CD file desain logo dalam format CMYK:
- Folder Logo Asli: Corel Draw/Freehand/Illustrator
- Folder Presentasi: JPEG 300 dpi (high quality)
- Folder Konsep Logo: Ms Word
• Lampirkan surat pernyataan yang berisi keterangan orisinalitas logo yang ditandatangani di atas meterai Rp.6000,-
• Semua dokumen dimasukkan ke amplop coklat tertutup tidak boleh dilipat, dikirimkan ke:
Panitia Sayembara Logo PT POS INDONESIA
PO BOX: LOMBA DESAIN LOGO BANDUNG 40000
• Untuk keterangan lebih lanjut, peserta dapat mendownload informasi di sini: peraturandanlampiranlombalogoptposindonesiax1 .

Pengumuman pemenang akan dipublikasikan pada surat kabar Kompas, 27 Desember 2008 dan www.posindonesia.co.id

diScoNneCt.d0t

Indonesia Berhasil Mengganyang Malaysia sampai mereka Minta Ampun! (dalam eRepublik)

LOMBA CIPTA SLOGAN, MASKOT, dan FOTOGRAFI

MacBooK aiR

PEMILU 2009

Tak Ada yang Bisa - Andra and The Backbone

Ello / Masih Ada

[PSP Games] Tony Hawk's Project 8

iseng buat 'ponakan

2009

Travian (versi english)

The game

Goal

Factions

Villages

Alliances

End game

Financing

Criticism

Travian

Permainan

Akhir permainan

Nama suku

Romawi

Galia

Teuton

Game Online Travian

Articles Previous Browse Next Tip: 10 Realizations For Productivity & Making Ideas Happen

5 Amazing Graphic Design Magazines

Amazing Graphic Design Magazines

How to Create a Graphic Design Project Outline

Format of a Graphic Design Project Outline

What to Include in a Graphic Design Project Outline

How to Use the Outline

What to Ask Graphic Design Clients

Who is the target audience?

What is the message?

What are the specs of the project?

What is the budget?

Is there a specific deadline?

Can the client provide creative direction?

The Graphic Design Process

The Benefit of the Graphic Design Process

Gather Information

Create an Outline

Harness Your Creativity!

Sketches and Wireframes

Design Multiple Versions

Revisions

Stick to the Steps

Brainstorming in Graphic Design

* The Goal of Brainstorming

* Who to Brainstorm With

* How to Brainstorm

Graphic design history

Modern

Mac vs. PC

Types of Graphic Design Portfolios

Website

PDF

The Classic Portfolio

print media vs designing for the web

Types of Media

Audience

Layout

Color

Technology

Careers

Which to Choose?

Software Recommended From a Graphic Desinger

Logo facts you should know

Skills of graphic design

Visual arts

Typography

Page layout

Interface design

Printmaking

Factors that make a good logo

A Logo is a graphic image representing a business organisation. Business logos are used in various purposes like within business cards, outdoor designs, the Internet, as well as more common items like promotional items such as T-shirts and mugs.

What makes a good logo?