© Anselm Spoerri Lecture 3 – Overview Meaning –Graphic Design –User Behavior  Design Implications  Design Specifics –Colors Magazine Mechanics –Color.

© Anselm Spoerri Lecture 3 – Overview Meaning –Graphic Design –User Behavior  Design Implications  Design Specifics –Colors Magazine Mechanics –Color & Image Formats –Dreamweaver Demo –Exercise 1 Step–by–step

© Anselm Spoerri User Behavior Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works

© Anselm Spoerri Design Implications Scan pages - don't read them Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Look for anything = Search Interest Decide quickly Choose first “reasonable item” Make obvious what you can do on a page Make obvious what is clickable Muddle through Don't figure out how things work Resist forming models Don't make users think Get rid of question marks Each item = clear purpose Stick to what works Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography

© Anselm Spoerri Meaning Graphic Design –Education History –Practical Foundation –Swiss Design School & Grid System Sources –Katherine McCoy, “Education in an Adolescent Profession”Education in an Adolescent Profession –Josef Mueller-Brockmann, “Grid Systems in graphic design”

© Anselm Spoerri Brief History of Graphic Design Education Pre-Modernism –Focus on Image Associations –Lack of Formalized Method: early luminaries self-taught –Premium on Creativity: “BIG IDEA” –Learn from “Samples and Examples” Functional Modernism –"Swiss School" of Graphic Design –Based on Bauhaus –Focus on Formal Purity rather than Content Post-Modernism –Influenced by French Literary Theory –Variety of Cultural Contexts and Personal Experiences –Possibility of Multiple Interpretations –Question Rigidity, Minimalism of Graphic Modernism –Subjective, Personal Layers of Meaning & Complexity

© Anselm Spoerri Communication Model - Sender SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

© Anselm Spoerri Communication Model - Transmitter SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

© Anselm Spoerri Communication Model - Receiver SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

© Anselm Spoerri Communication Model SenderTransmitterReceiver Design School Pre-ModernismFunctional ModernismPost-Modernism Guiding Discipline ArtScienceLanguage Focus on Personal content and creativity Systematic presentation of objective information Audience's response due to different cultures and subjective experiences

© Anselm Spoerri Future of Graphic Design Digital Communications Design –Different Design Strategy than Perfectionist Graphic Design –Less Control, More Conceptual, More Interaction –Users Co-Creators Requires Deeper Understanding of the Communications Process Combines Art, Science and Language Needed Expertise –Multimedia Design: Visual Art, Music, Film –Communications Theory –Cognitive & Perceptual Psychology –Social Sciences & Cultural Anthropology –Computer Science

© Anselm Spoerri Practical Graphic Design Graphic Design = Organic Process –Cultural, Contextual, Personal –Client & Designer Interaction Good Design is “Stolen” –Emulate what speaks to you Need Practical Foundation –Functional Swiss Design School –Grid Systems

© Anselm Spoerri Swiss Design School Based on Bauhaus –Form follows Function –Minimalism, Universality, Rationality, Abstraction and Structure Focus on Formal Purity rather than Content Grid System –Divide 2-D plane or 3-D space into Smaller Fields –Intermediate Space so that Captions and Pictures Don’t Touch

© Anselm Spoerri Grid System – 8 Fields Example The great Swiss innovators of the 1950s and 1960s can be seen as representing the classic phase of modernism, the heirs to Bauhaus graphic design and other early modern European graphic designers. These Swiss innovators applied the Bauhaus functionalist ethic to a systematic graphic method that shared the Bauhaus values of minimalism, universality, rationality, abstraction and structural expressionism. This fresh and highly professional graphic design was first transmitted beyond Switzerland to the rest of Europe and the U.S. through Swiss design magazines and a few books, notably Graphis and the "Swiss" bibles by Muller-Brockmann, Gertsner, Hoffmann and Ruder. Then, in the late 1960s, several professional offices began to practice these ideas to solve the needs of large corporate clients in Holland, Great Britain, Canada and the U.S. The method, symbolized by the typeface Helvetica, was enthusiastically adopted by several corporate and institutional design groups, including Container Corporation, Ciba-Geigy, Herman Miller, IBM and Massachusetts Institute of Technology. Montreal's Expo '67 was a feast of Helvetica and systematic environmental signage, as well as advanced architecture. Eventually, American corporate culture embraced "Swiss" school graphic design as the ideal corporate style. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. Caption Text Swiss Design School

© Anselm Spoerri Grid System – 8 Fields Example Swiss Design School Caption Text The method, symbolized by the typeface Helvetica, was enthusiastically adopted by several corporate and institutional design groups, including Container Corporation, Ciba-Geigy, Herman Miller, IBM and Massachusetts Institute of Technology. Montreal's Expo '67 was a feast of Helvetica and systematic environmental signage, as well as advanced architecture. Eventually, American corporate culture embraced "Swiss" school graphic design as the ideal corporate style. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. The great Swiss innovators of the 1950s and 1960s can be seen as representing the classic phase of modernism, the heirs to Bauhaus graphic design and other early modern European graphic designers. These Swiss innovators applied the Bauhaus functionalist ethic to a systematic graphic method that shared the Bauhaus values of minimalism, universality, rationality, abstraction and structural expressionism. This fresh and highly professional graphic design was first transmitted beyond Switzerland to the rest of Europe and the U.S. through Swiss design magazines and a few books, notably Graphis and the "Swiss" bibles by Muller-Brockmann, Gertsner, Hoffmann and Ruder. Then, in the late 1960s, several professional offices began to practice these ideas to solve the needs of large corporate clients in Holland, Great Britain, Canada and the U.S.

© Anselm Spoerri Grid System - Motivation Solve Visual Problems with Greater Speed & Confidence Maintain Consistency –Title Location –Annotations Location –Image Rhythm Create Visual Hierarchy & Rhythm Invisible Guiding Hand Information Presented Clearly & Logically –Read More Quickly –Understood Better –Better Recall

© Anselm Spoerri Grid Construction Need to Know How Much Text and How Many Images to Be Placed Each Work Raises Many Questions –How Many Columns? –White Space and Margins Have Visual Function? –Annotations, Footnotes, Captions? –Large and Small Images? How Many? Each Work Requires its Own Specific Grid –Create Small Sketch –Number of Columns Depends on Type Size –Wider Columns Need Larger Type Size than Narrow Columns

© Anselm Spoerri 20 Fields Grid - Example 1 Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition.. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content. Regrettably, this language of structural geometry has often resulted in a sameness of form that is more the look of function than truly communicative function-- an emphasis on formal purity rather than content. As this aesthetic spread, however, a number of Europeans, particularly in conjunction with the Ulm school in West Germany, began to apply semiotics to visual communications problems. Related explorations in the science of signs were taking place in structuralist philosophy, linguistics, literature and film theory. Other efforts to develop scientific design processes through communication theory and computer design method began in Great Britain and at the Illinois Institute of Technology during this period. Although the Swiss never embraced these communication theories, some of the sounder graphic design schools outside Switzerland have gradually begun to incorporate theory into their curricula … Swiss Design School

© Anselm Spoerri 20 Fields Grid - Example 2 Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. Swiss Design School (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition that went far beyond the superficial emulation of their heroes. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content. Poster Designs by Josef Muller-Brockmann Caption describing the poster designs. When they were created. Who the client was and their effectiveness.

© Anselm Spoerri 20 Fields Grid - Example 2a Swiss Design School Poster Designs by Josef Muller-Brockmann Caption describing the poster designs. When they were created. Who the client was and their effectiveness. Although "Swiss" graphic design was first adopted in U.S. by professionals in their design practices, soon several leading U.S. graphic design schools followed suit, going directly to the source. A number of Swiss teachers and their graduates, from Armin Hoffman's Basel school in particular, put down roots in schools including Philadelphia College of Art, University of Cincinnati and Yale. (The Swiss influence seems to have been particularly strong in U.S. and Canadian schools; Europeans have often expressed a certain mystification at this North American reverence for the Basel method.) Manfred Maier's book, Basic Principles of Design, on the Basel foundation program, was finally available in the U.S. in 1977, spreading this method farther. Under the influence of this highly structured educational method and its emphasis on the prolonged study of abstract design and typographic form, these American schools began to carefully structure their curricula. Based on objectivity and rationalism, this educational system produced a codified method that was easy to communicate to students, giving them a foundation for a visual design process and composition that went far beyond the superficial emulation of their heroes. This classic modernist graphic aesthetic is distinctly different from the predominantly semantic imagery of the "big idea". It stresses the grammar of design and is rather neutral to content.

© Anselm Spoerri Grid System – Heuristics One Column –Little Freedom for Pictures in Small, Medium and Large Size Two Columns –Text can go in First Column –Illustrations, Images in the Second Column –Text and Images can be Placed in Same Column Three Columns –Variety of Ways of Placing Text and Graphics Four Columns –If a lot of Text or Images Need to be Placed –Statistics with Copious Figures and Graphs –Can be Subdivided into 8 or 16 columns

© Anselm Spoerri Typography Good Typography depends on Visual Contrast –between one font and another –between text blocks and the surrounding empty space.  Read by recognizing overall shape of words Avoid all-uppercase headlines  monotonous rectangles  few distinctive shapes to catch reader's eye  Legibility depends on the tops of words Choice of uppercase or lowercase letters can have dramatic effect on legibility. Use Downstyle (capitalize only the first word, and any proper nouns) for your headlines and subheads

© Anselm Spoerri Typography (cont.) Readability - how easy it is to read a lot of text –Serif Typeface Better if a Lot of Text –Type Size: 10 – 14pt –Line Length –Leading or Space between Lines Legibility - how easy it is to recognize short bursts of text –Sans Serif Typeface is Easier to Read on Screen 7 - 10 Words Per Line –Overlong or Overshort Lines Tire Column Width Proportional to Type Size Bold and italic used for small blocks of text –If you make everything bold, then nothing stands out –If you cram every page with dense text, users see a wall of gray Enough Contrast between Type and Background

© Anselm Spoerri Typography (cont.) Text = Graphic –Only Way to Control Appearance Type Displayed in Relation to Browser's Default Font & Size –No way to know browser defaults Standard Default = Times New Roman Arial (PC) and Geneva (Mac) Always Installed Verdana is Available on Both (newer Macs) Rules –"Paragraph" & "Normal" in browser's default font & size –Heading size in relation to default browser typesize –Special text displayed smaller or larger than browser typesize Specify Font in HTML: Generally Overrides Default

© Anselm Spoerri User Behavior  Design Implications  Design Specifics 1 Use Grid System Maintain Consistency Helps you decide: location of primary & secondary navigation; location and sizes of images; location of headlines, main text, annotations etc. Create Visual Hierarchy & Rhythm Present Information Clearly & Logically Users can read info more quickly. Facilitates understanding and recall. Invisible Hand guiding users and creating sense of place Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

© Anselm Spoerri User Behavior  Design Implications  Design Specifics 2 Create Visual Hierarchy & Guide Eye Important Things = Visually Prominent (More Important = Larger / Sharp Contrast) Use headlines to guide the eye Visual Contrast Use sharp changes in size (headline), light intensity (bold), color, texture, motion to create contrast. Proximity: related things spatially close Spatial separation = conceptual separation. Don't mix alignment styles. Use Grouping & Nesting to Increase Information Density (Short-term Memory = 3-7) Use bounding shapes. Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

© Anselm Spoerri User Behavior  Design Implications  Design Specifics 3 Typography Heuristics Sans Serif type is easier to read on screen Type size 10 -14 points 7 - 10 words per line Column width proportional to type size Bold and italic for small blocks of text Enough contrast between type & background Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

© Anselm Spoerri User Behavior  Design Implications  Design Specifics 1 Use Grid System Maintain Consistency Helps you decide: location of primary & secondary navigation; location and sizes of images; location of headlines, main text, annotations etc. Create Visual Hierarchy & Rhythm Present Information Clearly & Logically Users can read info more quickly. Facilitates understanding and recall. Invisible Hand guiding users and creating sense of place 2 Create Visual Hierarchy & Guide Eye Important Things = Visually Prominent (More Important = Larger / Sharp Contrast) Use headlines to guide the eye Visual Contrast Use sharp changes in size (headline), light intensity (bold), color, texture, motion to create contrast. Proximity: related things spatially close. Spatial separation = conceptual separation. Don't mix alignment styles. Use Grouping & Nesting to Increase Information Density (Short-term Memory = 3-7) Use bounding shapes. 3 Typography Heuristics Sans Serif type is easier to read on screen Type size 10 -14 points 7 - 10 words per line Column width proportional to type size Bold and italic used for small blocks of text Enough contrast between type and background Design for Scanning Make text short - cut words Make page work at a glance Sufficient left margin, 640x480 = main message Create Visual Hierarchy Make obvious what you can do Make obvious what is clickable Don't make users think Get rid of question marks Each item = clear purpose Repetition & Consistency Grid Layout, Easy Navigation, Graphics, Color Coding, Typography User Behavior  Design ImplicationsUser Behavior  Design Implications  Design Specifics Scan pages - don't read them Look for anything = Search Interest Decide quickly Choose first “reasonable item” Muddle through Don't figure out how things work Resist forming models Stick to what works User Behavior

© Anselm Spoerri Requirements for Web Pages  Layout Presents Info Clearly & Logically Facilitates Understanding & Recall  Visual Hierarchy Guides Eye to Important Things Where do I start? What can I do here? What site is this? What page am I on? Options at this level? Where I am? Go higher or home? Major sections of site? Web Page needs to easily answer Web Navigation needs to easily answer  Site ID – logo, image, text  Page name  Primary Navigation Top Row or Left Column Simple text hyperlinks, icons, rollovers, image-maps, pull-downs  Secondary Navigation Below Top Line or Left Column  Expanding / Nesting Hierarchies Static or Dynamic Outlines  Color Coding, Breadcrumbs Primary / Secondary Navigation

© Anselm Spoerri Color Large areas = Low saturation = Subtle color Background / minor elements = Subtle pastel colors Small areas = High saturation = Bold color Maximum emphasis = Bold, saturated primary colors

© Anselm Spoerri Color (cont.) RGB Color used by Monitor –Direct Light, Not Reflected Indexed Color –Limited Selection of Colors: up to 256 colors –To Reduce File Size –Color not in the Palette is Approximated and “Dithered” Creating Web-Safe Colors –All combinations of 0%, 20%, 40%, 60%, 80%, 100% for Red, Green and Blue –6to3 = 216 colors –Affects Illustrations, Drawings more than Photographs –Photoshop has Web-safe Palette

© Anselm Spoerri Web Graphics Bitmapped or Raster Graphics –Paint and Photo Programs Object or Vector-based Graphics –Draw and Illustration Programs –Use Mathematical Representation for Shapes –Used to Create Original Artwork Artwork Converted into Bitmap using Fireworks Anti-aliasing (smoothing) –Increases file size

© Anselm Spoerri Web Graphics File Formats GIF –Cross Platform & Lossless Compression –Indexed Colors: few GIFs need all colors, reduce it manually –Transparency (so no white box around graphic) –Interlacing & Progressive Download –Create Animations –Best for –Images with Large Areas of Solid Color, Simple Illustrations –Small Photos or thumbnails JPEG –Cross Platform & LOSSY Compression –Progressive JPEG –No transparency –No Animation –Best for –Photos: Millions of Colors and Subtle Changes

© Anselm Spoerri Dreamweaver - Exercise 1 Step–by–step 1 Set up Local / Remote Site 2 Good Housekeeping –Initialize Dreamweaver –Files Names = lowercase and Title Web Pages 3 Create Visual Hierarchy –Use Layout Tables & Cells to break page into clearly defined areas 4 Create Simple Navigation Structure –Specify Navigation Categories –Establish Navigation Hyperlinks –Create Files for different navigation categories –Create “You are Here” Indicator for each page 5 Create & Format Text 6 Capture, Edit & Insert Screenshots –Use Fireworks to edit screenshots –Insert Image in Dreamwaver file 7 Upload Files to Remote Site

© Anselm Spoerri Dreamweaver – Set up Local / Remote Site (cont.) Open “Windows Explorer” Start > Programs > Accessories > Windows Explorer –Create folder “mplec3” in “My Documents” folder –Open “mplec3” folder –Create folder “exercise1” Launch Dreamweaver –Start > Programs > Macromedia > Dreamweaver Creating Folders (local or remote) –Site > Site View –Select Folder (into which you want to insert a folder) = “mplec3” local folder –File > New Folder = “exercise1” public_html folder –Contains all files that can be viewed by Internet Browser

© Anselm Spoerri Step 1 – Set up Local / Remote Site –Site > New Site –Select “Advanced” Tab –Select “Local Info” Category –Local Info > Site Name = “MPLec3” for this demo –Local Info > Local Root Folder = “MPLec3” in “My Documents” –Select "Remote Info" Category in New Site Dialog –Select "FTP" in pull-down Access menu –FTP Dialog –FTP Host = “eden.rutgers.edu” –Host Directory = “public_html” –Login = “yourusername” –Password = “yourpassword” –Make sure to check the “Use Secure FTP” box –Connect to the Server –Select "Connect to Remote" icon or "Site > Connect" –Transfer files to server –Manually –File : drop onto file OR drop into folder that contains file you want to up/download –Folders: drop into folder that contains folder you want to up/download

© Anselm Spoerri Step 2a – Good Housekeeping Initialize Dreamweaver –File > New … Category = “Basic Page” and Basic Page = “HTML” –View > select “Design” –View > Rulers > select “Show” and “Pixels” –View > Grid > select “Show Grid”, “Snap to Grid” and specify “Grid Settings” –Windows > select “Insert”, “Properties” and “Behaviors” Filename = lowercase and no spaces Title Page

© Anselm Spoerri Step 2b – Good Housekeeping Set Page Properties –Modify > Page Properties –Page font = sans serif type, such as Verdana, Ariel, Helvetica –Size = 10 – 14 (usually) –Text color = black –Background color = White –Margin fields: set all to zero if you don’t want any margins

© Anselm Spoerri Layout Mode –View > Table Mode > Layout Mode Or –Alt + F6 Create Layout Table –Select green “Layout Table” icon; draw layout table in top left corner –Specify Width & Height –Select tab of “layout table” object –“Properties Window” changes to “Layout table” –Select “Fixed” in Properties Window and enter Width = 700 and Height = 1000 Step 3a – Create Layout Table – in CS3

© Anselm Spoerri Layout Mode –Select “Layout” in Pull Down menu of rectangular Insert window and then click “Layout” button ( does not appear in CS3 !  ) Or –View > Table Mode > Layout Mode or Alt + F6 Create Layout Table –Select green “Layout Table” icon; draw layout table in top left corner –Specify Width & Height –Select tab of “layout table” object –“Properties Window” changes to “Layout table” –Select “Fixed” in Properties Window and enter Width = 700 and Height = 1000 Step 3a – Create Layout Table – Studio 8 Undocked Properties Panel

© Anselm Spoerri Step 3b – Create Layout Cells Create Layout Cell –Select blue “Layout Cell” icon and draw layout cell close to in top left corner (for Navigation Bar ) –Specify Width & Height –Select bounding box of “layout cell” object –“Properties Window” changes to “Layout Cell” –Select “Fixed” in Properties Window and enter Width = 500 and Height = 25 Create Layout Cell (for Text & Image ) –Draw cell for text & image below cell for Navigation Bar with Width = 500 and Height = 800 Could also have created separate layout cells for text and images  More Work + More Control (more about this in future classes)

© Anselm Spoerri Step 3c – Add & Format Text Select “Navigation” Cell (at the top of the page) Create Simple Navigation Structure –Place Cursor inside cell into which you want to enter text –Type “Summary | Audience | Task | Navigation | Functionality” Format Text and Create Text Style –Select what you have typed –Create Text Style in the Property Inspector by making these selections: –Format = “Paragraph”, –Font = “Verdana, Arial …” –Size = “12” –Color = “Black” (#000000) –Style = “Rename” and name it “Navigation”

© Anselm Spoerri Step 4a – Create Simple Navigation Structure Create Hyperlinks for Categories –Select a category text (e.g. “Summary”) in the Navigation cell –In “Link” slot, type file name (same as category text and all lower case) that you want to link to and make sure to add “.html” at the end of file name. [Dreamweaver MX (2004): add “.htm”] or click “Browse for File” icon if file exists –Target field = leave blank (which causes page to load in same browser window) Repeat for all the categories for the Navigation Structure

© Anselm Spoerri Step 4b – Create Simple Navigation Structure Create Files for All the Categories –Use File > Save As and name appropriately (same name as entered in hyperlink slot) Create “You are Here” Indicator –Select file for a specific category –Select text for this category in Navigation Bar –In “Properties” Window, select “Color” icon and change color to “red” –Select “Bold” icon to show text in bold typeface –Notice: the Style name has changed and we could rename it –Optional: Remove hyperlink for selected category Also title your page

© Anselm Spoerri Step 5 – Create & Format Text Create Text –Place Cursor inside cell into which you want to enter text and Type Format Text using Property Inspector –Select Text “Properties” Window changes to “Format” –Make Selections –Format (usually “Paragraph”) –Font (has to be a sans serif font such as Arial or Verdana) –Size (usually 10 – 14 … but can be larger) –Color –Bold / Italics –Alignment (usually “left”) –If you want, you Create Style based on the selections using “Rename”

© Anselm Spoerri Step 5 – Create & Format Text (cont.) Format Text using Text Pulldown Menu Format Text using “Text” option in rectangular Insert window –Select “Text” in Pull Down menu of rectangular Insert window

© Anselm Spoerri Step 6a – Capture, Edit Screenshots Capture Screenshot –Whole Screen = Press "Prt Sc Sys Rq" in top row of keyboard –Selected Application = Press "Alt" + "Prt Sc Sys Rq" keys Launch Fireworks –Start > Programs > Macromedia > Fireworks Edit Screenshot –Open new file in in Fireworks “File > New File” (and set image area to 2000 x 2000 pixels) –“Edit > Paste" from Clipboard into Fireworks –Select “Cropping Tool” in Fireworks –Select area of interest –Double-click to make cropping final –Save “cropped area” as a separate file using “File > Export” and in dialog select “Images Only” and save in “exercise1” folder

© Anselm Spoerri Step 6b – Insert Screenshots Insert Screenshot –Select Layout Cell in Dreamweaver file to insert screenshot –“Insert > Image” or click “Image Icon” in “Common” option in Insert window –Select image file (in “exercise1” folder) to insert –Specify alternate text (shown if image can not be displayed) Reduce Size of Image in Dreamweaver –Select image –Select image corner handle, while holding down SHIFT key, and drag to desired size –Image dimensions will be displayed in bold in Property Inspector to indicate displayed size not equal actual size

© Anselm Spoerri Step 7 – Upload Files to Remote Site Make Site Files visible –Window > Files (if window is not visible) –Click “Expand/Collapse” icon to see both Local and Remote files Connect to Remote Server –Select "Connect to remote host " icon Transfer Files to Remote Site –Manually “Drag & Drop” “exercise1” folder to Remote Server (remember to drop “exercise1” folder into “mpcourse” folder and not into “exercise1” folder on remote server)

© Anselm Spoerri Lecture 3 – Overview Meaning –Graphic Design –User Behavior  Design Implications  Design Specifics –Colors Magazine Mechanics –Color.

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© Anselm Spoerri Lecture 3 – Overview Meaning –Graphic Design –User Behavior  Design Implications  Design Specifics –Colors Magazine Mechanics –Color.

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