Planning the component areas of a home


Planning the component areas of a home requires a knowledge of the family's social and recreational activities and number and ages of the family members. In general, each room or area should be planned with regard to (1) the different activities that may take place; (2) the frequency and degree of use; (3) the age, sex, and number of occupants; and (4) the furniture requirements. Ideally, a good house design would satisfy the prospective owner's needs and desires.

Regardless of the criteria used, the possibility of resale must be seriously considered. The mobility of our population has increased greatly over the past twenty-five years. It is wise, therefore, to plan a home that will be not only pleasing to the owner, but also to a future purchaser. The attractiveness which the potential home may have for others is an important economic factor in present planning.

When devoted to a study of component areas of the home, Room requirements, sizes, and shapes are to be shown in detail. By combining the material presented with the information in the design feild, the student should be ready to design the individual rooms of a home.

Planning individual rooms in light commerial buildings requires many of the same considerations that are used in residential design, such as basic planning of light commercial facilities. However, state health department and fire regulations must be consulted for specific planning points.

In planning the individual rooms, you may find it difficult to visualize fur­niture dimensions, and clearances. Cutouts will aid in determining adequate room size. Individual pieces of furniture can be shown. These may be drawn to scale on detail paper, cut out, and placed on Vk ” or Va ” co-ordinate paper. The scale of the fur­niture cutouts depends on the grid size of the co-ordinate paper. By arranging the cut­outs on the co-ordinate paper, various pos­sibilities of furniture arrangement may be suggested.

As these cutouts are being ar­ranged, consideration must also be given to the possible window, door, and closet loca­tions. These will invariably influence the furniture placement, and possibly the room size. Each component area or room in the house must be studied to determine the proper clearances between the pieces of furniture.


The living room, with its large floor area, is perhaps the most versatile room in the house. It may, for example, provide a place for receiving guests during the evening or afternoon hours. It may also be used as a place for listening to music, viewing tele­vision, or as a quiet place for reading a book or magazine. Sometimes, the living room is used as a rumpus room or as a supervised play area for the pre-school children in the home. Its interior design or plan is deter­mined by the daily living requirements of the owner or family.

The size and design of the living room will depend on several factors. The most important factors (exclusive of finance) are: (1) the frequency with which the owner or the family expects to entertain guests, (2) the number of people the room is expected to accommodate, (3) the expected require­ment for furniture essential to comfort and relaxation, and (4) the possibility of using the design concept of open planning. 

As part of its existing ConnectED commitment, Sprint will work with HUD and the ConnectHome program to make its free wireless broadband Internet access service program available to eligible K-12 students living in public housing. … Begin rulemaking to include broadband planning as a component of the Consolidated Planning process, which serves as a framework for a community-wide dialogue to identify housing and municipal development priorities….via FACT SHEET: ConnectHome: Coming Together – The White House

However, while these areas can be components of a financial plan, the most important part is knowing what your goals are. … We will be able to increase our monthly savings to $1,800 and buy our home one year sooner.”….via A Smart Way To Define Your Financial Planning Goals

“At the house we did find components of explosives, we did find blueprints of explosive, we found paperwork and plans of his part,” Monroe said. Police and administrators are thanking the students who initially came forward….via Police: Edmond North student planning 'mass casualty event', bomb



Magnetic north and geographic north are not the same


The direction of any lot line is measured in relation to a north-south line. This rela­tionship or direction is commonly called hearing. The bearing of a line is the hori­zontal angle between the line and a line pointing true north-south. The bearing is identified by the compass quadrant and de­grees. The quadrant refers to the general compass direction, such as NE, SE, SW, or NW and limited to 90°. Fig. 4-8 shows the quadrants labeled according to compass di­rection.

Magnetic north and geographic north are not the same

 For example, line AB has a bear­ing of N50°E. This means that line AB is measured from north in an easterly direc­tion of 50°. Line CD in this figure has a EF has a bearing of S 26° E. It is measured from south in an easterly direction, 26° from the north-south line. Bearings of lines used for surveying, site planning or land development purposes are always measured from either north or south and never greater than 90°.

Magnetic north and geographic north are not the same

Lot line bearings are related to true geo­graphic north. A compass needle will point to the true magnetic north pole. Magnetic north and geographic north are not the same. The difference between the two norths is called the magnetic declination. The magnetic declination is found on all U.S. Government maps and charts. Remember true geographic north is always used in site planning! The bearing of N 79° W. Line CD is measured from north in a westerly direction. Both of these lines, AB and CD, have been meas­ured from north. On the other hand, line shows a line; however, line GF is different fromFG even though it appears the same.

When referring to a line, some identi­fication must be made. Letters are some­times placed at the ends of a line. When discussing line GH, the first letter G means that this is the point or origin. The line begins at G and ends at H. When referring to line GH, it would have a bearing of 65° W. Using the same line, but identifying it as “line HG,” H would be the point of origin. The line begins at H and terminates at G and has a bearing of N 65° E. The first letter always indicates the point of begin­ning.

Length of Lines

Straight Lines. Any straight line in a site, plot, or land development plan is identified by its bearing and length. The length of the line normally is carried to the hundredths of a foot (.xx'), such as 135.60' or 78.69'. The bearing of the line may be placed before or after the length of the line, as N 02°-30' E 156.50' or 156.50' N 02°-30' E. If space is limited on a drawing, the bearing may be placed on one side of the line and its length on the other.

Dimension lines are normally not used to give the length and bearing of a lot line. Length of lot lines, distances of setback, side setback, etc. are always given in feet and decimals of a foot. These measure­ments are usually not given in feet and inches. All measurements regarding the site are given in feet and decimals of a foot (xxx.xx'). Features such as driveway and sidewalk width, length and depth of house, out buildings, pool, or any other items di­rectly related to the house are generally given in feet and inches, (xx'-x”).

Curved Lines. Lines which are curved on the plot or development plan are also measured. As with the straight line, the length of the curved line is given along the line in feet and hundredths of a foot (xxx.xx'). The length of a curved line the bearing cannot be given for a curved line.For every curve that appears on the site plan, certain necessary information must be supplied. Curves which appear on plot or site plans are called horizontal circular curves. The designer, as well as the con­tractor, must have some information about the curve(s) forming part of the lot line. The same curve that appeared in the preceding figure, but with some explanatory information. When describing a curve some basic terms must be understood. Some of these are:

  1. PC denotes Point of Curvature. PC is called out where the curve begins. It is at this point where the curve is tangent to line AX.
  2. PT means Point of Tangency. This is the terminal point of the curve and indi­cates where it is tangent to line XB.
  3. T indicates Tangent lines. These are identified by the two straight lines marked T. The tangent lines join the curve. The curve is tangent to AX and XB and lines PCO and PTO are at right angles to AX and XB. The intersection of lines from the PC and PT form the center point of the arc.

The angle formed by lines PCO and PTO is called the central angle or interior angle. Information about any curve is given in tabular form. Each curve is identified by a number or letter placed in a balloon or cherry. All necessary information about the curve is given in the table. Giving curve data in tabular form rather than placing it on the curve is the easiest and accepted stand­ard. If each dimension for the tangent distance.

Depending upon the original survey, all of the information (radius, central angle, tangent, chord, chord bearing, and arc) may not necessarily be given. Three of the 6 pieces of data must be identified. These are: (1) Radius of the curve, (2) Cen­tral or interior angle, and (3) Length of the arc. Other information, such as tangent dis­tance, chord, and chord bearing, are helpful for layout and checking purposes.

The answer may not be what you think. In order to answer this question, you will have to understand the difference between the true geographic north and magnetic north. Because these two north locations are completely different….via Magnetic North vs Geographic (True) North Pole – GIS Geography


Explanatory diagrams in encyclopaedias


Bayer's most ambitious work at this time was a small poster for his old teacher Kandinsky's sixtieth birthday exhibition, printed in red and black on orange poster paper, where the extreme rectangularity of the design is relieved by its skewed angle on the sheet. In 1930 and 1931 Bayer collaborated on two exhibitions with Bauhaus colleagues.

First was the Werkbund pavilion at the exhibition of the Societe des Artistes Decorateurs in Paris. Second was the Building Trades Exhibition in Berlin, laid out like a theatre set of three-dimensional statistics. In Paris, Bayer's functionalism was expressed in his small, shiny, efficient cata­logue. Through the transparent plastic cover, its title embossed in relief, could be seen an aerial perspective of the building, complete w ith a pho-tomontaged crowd of visitors. The position of the rooms and their place inside the catalogue was related through a thumb index on the right.

One room of the exhibition was arranged with a model of the Dessau Bauhaus buildings on the floor, to give the visitor a view from above; sets of chairs hung from the walls suggested assembly-line production, and pho­tographs were hung at angles in accordance with a theoretical diagram which Bayer prepared of the mechanics of the eye.

For Bayer, the Constructivist method of organizing relationships on the printed sheet through geometry and the use of sans-serif typefaces gave way to less dynamic illustration and the use of serif types, especially the neo-classical Bodoni. This change marked his new concern with 'the laws of psychology and physiology'. This already suggests the language of advertising.

In 1928 Bayer had become art director of an internation­al agency in Berlin. The brochure of the Dorland Studio offers its clients 'artists who are masters of all the modern means of presentation'. These means are then illustrated: paint and brush, pencil, set square, a single letter of metal type, camera and airbrush. During the 1930s Bayer used the airbrush not only to create surrealistic dream worlds inhabited by fashion models but also to suggest the objectivity of photography.

Explanatory diagrams in encyclopaedias, which can show external appearance and internal working, were refined and developed to become a tool of what is now known as Information Design. Bayer used it to describe the body in terms of a machine in the graphic material for the exhibition 'Das Wunder des Lcbens' ('The Wonder of Life').

An earthquake is a sudden vibration or trembling in the Earth. More than 150000 tremors strong enough to be felt by humans occur each year worldwide (see Chanc….via Earthquake – Encyclopedia of Earth

Stars are classified based on their position on the Hertzsprung-Russell diagram, a graph that plots the brightness of stars against their surface temperature. Generally speaking, the hotter a star is, the brighter it is. Stars that follow this pattern ……via Solar System – New World Encyclopedia


Explanatory diagrams in encyclopaedias
The Guardian

Explanatory diagrams in encyclopaedias
Who invented the piano? Google doodle marks Bartolomeo Cristofori's 360th
The Guardian
Google's latest doodle celebrates the 360th birthday of Bartolomeo Cristofori, the man widely credited with inventing the piano. Cristofori was born in Padua on this day in 1655 in what was then the Republic of Venice. According to Encyclopaedia

and more »

…via Who invented the piano? Google doodle marks Bartolomeo Cristofori's 360th … – The Guardian

Explanatory diagrams in encyclopaedias
Royal Society of Chemistry

Explanatory diagrams in encyclopaedias
Molecules that amaze us
Royal Society of Chemistry
In the mid-1990s researcher Paul May founded the Molecule of the month website. Starting with an article on mauveine, 'the first industrial organic fine-chemical', in January 1996, the blog series has been running ever since, and still retains some of

…via Molecules that amaze us – Royal Society of Chemistry

Explanatory diagrams in encyclopaedias
Scientific American (blog)

Explanatory diagrams in encyclopaedias
Pop Culture Pulsar: Origin Story of Joy Division's Unknown Pleasures Album
Scientific American (blog)
The Cambridge Encyclopaedia of Astronomy, edited by Simon Mitton. Prentice-Hall of Canada, by Terwin Copplestone Publishing, 1977. No source credit for the plot can be found in the text, other than a general book-wide “diagrams and graphs by Michael …

…via Pop Culture Pulsar: Origin Story of Joy Division's Unknown Pleasures Album … – Scientific American (blog)



Concrete Monument sign Irvine, Ca. installed on hoa property

Concrete Monument sign Irvine, Ca. installed on hoa property

Much of the land in the United States and Canada is subdivided according to a system of land survey that was instituted in 1785 by the authority of the United States Congress. The areas affected by this survey system were the regions of the Great Lakes, Mississippi Valley, and Western States. Congress decreed that these new lands should be subdivided into Congressional Townships. Prior to that time land survey, as in the thirteen original Colonies and Southern States, had been irregular and unstematic.

In order to establish a regular system for land identification, a series of north-south lines called principal meridians and east-west lines called base lines, were established. By using these north-south and east-west lines, the land was divided into basically square areas. There are now 36 principal meridians located in the United States. Each of these rectangular areas is identified by numbered townships and numbered ranges. A column of townships running north and south is called a range. Townships are described at 2 townships north or south of a named base line and 3 ranges east or west of a named principal meridian.

Each township is subdivided into 36 equal areas called sections. Each section is essen­tially a square of approximately one mile per side, containing 640 acres. Each section in the township is numbered from 1 to 36, al­ways beginning in the northeast corner with 1 and moving from right to left and then down left to right, etc. A specific section can be noted by its section number, town­ship, and range.

A sec­tion may be divided into a half section (320 acres), quarter section (160 acres), quarter-quarter section (80 acres), and quarter-quarter-quarter section (40 acres). The cor­ner of every section and quarter section is permanently located on the earth’s surface by a concrete monument. The exact location of the corner is stamped on a brass tablet on the top of the monument.

Any parcel of land may be identified by this Concrete Monument sign installed on hoa property. No other parcel may exist with the same description. To locate the parcel of land, the description would be: the southwest quarter of the northwest quarter of the southeast quarter of Section 16 of Town­ship 2 north, Range 3 west of the Michigan Meridian. This would be written as “SW lA, NW/4, SE Va, Sec. 16. T.2N, R.3W, Mich. M.” On land development plans, essential in­formation is given in the following order:

  1. Name of development
  2. Section
  3. Township, north or south
  4. Range, east or west
  5. Township name
  6. County name
  7. State

A portion of a land development plan which shows the information in proper form. Note how the “Cascade Hills” development is identified in relation to the NE corner of Sec. 23. The point of beginning of “Cascade Hills” is 683.29′ from the northeast corner of Section 23.

The site or plot plan will usually have the same identification information as the land development plan. Since the designer or ar­chitect works from the land development plan, he must be more specific concerning the location of the Concrete Monument sign installed on hoa property site plan would include the following information:

  1. Lot number
  2. Name of development
  3. Section
  4. Township, north or south
  5. Range, east or west
  6. Township name
  7. County
  8. State

No mistake can be made in locating the land shown on a typical plot for a residence The brief description identifies the lot (167); develop­ment (Arcadia No. 2); section (19); town­ship and range (T.2S, R.11W); city (Kala­mazoo); county (County of Kalamazoo); and state (Michigan). No other descriptive material need be included. Usually Items are stated on the plot plan; how­ever, all may be included, the location dimensions are given from the rear and side lot lines. This practice is sometimes followed when the lot is trape­zoidal or odd-shaped.

Lot Lines. Each parcel of land that is identified today is bounded by a straight or curved line called a lot line. Every lot line has a specific direction, length, and if curved, a radius, for a identifying Concrete Monument sign Irvine, Ca. installed on hoa property.


Concrete Monument
Concrete Monument
Father shot to death on live television after police chase
Lets Move: Commit to Change. The Let’s Move Commit to Change Physical Activity Challenge is easy. Just complete 30 minutes of sustained physical activity each day and log your minutes by clicking on the image above. WPEC :: Community – The One to …
and more »

…via Father shot to death on live television after police chase – WPEC


Concrete Monument
Concrete Monument
Tourists Behaving Badly
From defacing historic monuments, to defecating in all the wrong places; more and more tourists around the world are behaving badly. It’s so bad Thai tourism officials recently held an urgent meeting to deal with the problems caused by international

…via Tourists Behaving Badly – KEYE TV



Commercial architectural design practice


In residential as well as in commercial architectural design practice, it is necessary to “elevate” (draw an interior elevation of) different parts of the interior to show the design of cabinets, counters, tile heights and designs, drinking fountains, lavatories, etc. An interior elevation is typically identified by means of a balloon with an arrow drawn tangent to the arc. one means of identifying an interior elevation. The upper half of the balloon indicates the interior elevation number and the lower half gives the sheet number. 
Some architectural firms now use standard details in preparing a set of working drawings. The term “standard detail” usually includes sections, details and interior elevations. Structures, even though different in exterior and interior design, will employ many identical construction features such as structural connections, door heads and jambs, suspended ceilings, hand rail brackets, built-up roof, turned-under slab, etc.
Outside the museum
Image by pedrosimoes7 via Flickr
 Rather than redrawing the same detail for each building project, a “standard detail” is pulled from a master catalog or file of details the architect has assembled. After all of the details have been selected for a project, they are then placed on the firm's sheet and photographed. The photographic negative is used ultimately to prepare a mylar-based print on which any additional call-out may be added by the architect.
Regardless of the scope or nature of the project (residential or commercial), standard details may be used to save drafting time. To save even more time in drawing details, many architectural firms are using freehand rather than mechanical delineation. Freehand methods are being used for standard details as well as new details.
Match lines are used to match portions of a building that appear on several sheets. When a building is so large that it is placed on more than one sheet, some means of relating the various units must be established. Each portion of the building appearing on a separate sheet is referred to as a unit. Each side of a unit that abuts an adjoining unit is bounded by a match line. Each unit of the building is assigned a number called a unit number.
To assist the person reading the drawing, a key plan is placed on each sheet having a unit. The key plan is normally drawn to a very small scale such as 1″ = 50' and placed in the lower right or upper left corner of the sheet. 
A key plan of a building divided into six units. The unit which appears on the sheet is generally hatched to facilitate quick orientation to the other units. A match line is a wide line, similar to a cutting plane line, but heavier than an object line. Units on both sides of the match line are identified by means of a wide filled-in arrow. 
Architectural drawings contain many more notes naming materials than do ma¬chine, jig and fixture, marine, electrical, and other types of engineering drawings. For the most part, notes indicate the kinds of materials, usually not trade names, and procedures or operations.
 All notes must be stated in the clearest possible terms so that no misunderstanding will occur. Standard abbreviations are always used. If the drafts¬man has any doubt regarding the correct abbreviation, he should consult a standard reference.
Two kinds of notes are placed on architectural drawings. These are general and specific notes. A general note is concerned with procedures or information for an entire set of drawings or a single sheet. Some examples of general notes are:
General notes are usually placed at the bottom of the sheet and may be underlined to attract attention.
Specific notes give the call-out of kinds of materials or operations. Even though identical materials are called out on other details, sections, or elevations—and on the same sheet—it is standard practice to iden¬tify all materials again. To some this prac¬tice may seem repetitious; however, this eliminates any question concerning the kind of materials or technique.
Architecture/Design practice. Category. Brompton Pavilion. Craig Tan Architects. Commercial Exterior. South Morang Zone Substation. Georgina Hoad. Commercial Exterior. Monash Medical Centre Northern Carpark….via 78 colourful projects shortlisted for 2015 Dulux Colour Awards

Are you interested in joining a collaborative, community-based, design-oriented architectural practice dedicated to finding the best possible architectural solutions and delivering informed, responsive service? • Do you want to ……via AIA OC – Senior Project Designer with Commercial/Industrial

Job Title: ARCHITECT/ARCHITECTURAL DESIGNER. Job Type: Architecture. Job Status: Full-Time. Short Description: The appropriate candidate would possess 5+ years of experience within commercial practice areas, ……via AIA OC – ARCHITECT/ARCHITECTURAL DESIGNER | Architecture


Make, and ship a Company Sign made in Irvine


Company sign made Irvine

Fourth Class (Parcel Post) is for company signs with packages weighing one pound up to seventy pounds but is the slowest of the postal services. Unless the price difference is exorbitant, consider us­ing Priority Mail instead.

company sign made Irvine

It’s tempting to think you need more postal service than you really do when you’re mailing out company sign made Irvine that can mean so much to your ca­reer. Some artists feel that more at­tention will be paid to their package if it’s sent special delivery, registered mail or Express Mail. Probably not. Consider these if you’re mailing final art after an assignment, but not for your sample package; you’re spending money needlessly.

There are some items you can re­quest from the post office that will be helpful to you: Always ask for a cash receipt for your record keeping and as proof of purchase to the IRS should you be audited.

Certified mail, available only for First Class pieces, provides you with a mailing receipt and a record of de­livery maintained at the recipient’s post office. For an additional fee you can request a return receipt which provides you with proof of delivery.

United Parcel Service (UPS) accepts packages up to fifty pounds and, be­sides its regular service, offers a two-day air service and a next-day service

in some areas. Numerous overnight air-freight services also abound, but these aren’t really necessary for sam­ple company sign made Irvine. Check into UPS services if you’ll be mailing large packages or into the overnight services for dead­line items when you’re mailing final art after an assignment. All are will­ing to give rate and restriction infor­mation over the phone or have availa­ble brochures outlining their services.

There are a number of overnight air express services to get your package to a client in hours. They are costly and only to be used when an assign­ment deadline demands it.


Some sign art directors don’t want to spend the time for an interview but do want to see your portfolio. They’ll request that you “drop-off” your port­folio and leave it for their review. Nor­mally the drop-off is on one particular day or morning, but some will accept them anytime. A specific time is usu­ally set for pickup as well. If you’re not informed of a signage pickup time, ask how you’ll be notified or when you should return.

Are drop-offs a good idea? On the plus side is that at least your sign portfo­lio is seen, and it’s one more opportu­nity for an assignment.OC Sign Company

On the debit side, there’s no guar­antee your whole portfolio won’t be lost or damaged, and feedback is minimal. Further, you’re the one do­ing all the work—making the trip to drop it off and the trip back to pick it up.

Whether to use drop-offs is a per­sonal decision. Try it once or twice if the situation arises, and see how you feel about it. Provided from company sign made Irvine.

AptusFinancial: Business Marketing with Lighted Business Signs

AptusFinancial: Business Marketing with Lighted Business Signs


Everyone gets nervous going to inter­views, but interviewing gets easier the more you do it. The better pre­pared you are, the more comfortable you're going to be. Your challenge is to arrive at each interview prepared to meet the needs of this potential cli­ent looking for Business Marketing with Lighted Business Signs.

The art buyer is a person with a budget, a time schedule, a deadline, and 60 million other things on her mind. What does she want from you? She wants briefly to meet you and to see terrific artwork presented clearly so she can quickly determine what you do and how well you do it. If she thinks that what she sees meets her current or potential needs, she'll ex­plore further into your experience to judge how well you meet deadlines and conduct business. Lastly, she wants something on hand to remind her of your work and to tell her how to reach you when an assignment comes up. Your portfolio and printed marketing tools meet every one of these requirements for Business Marketing with Lighted Business Signs.

AptusFinancial: Business Marketing with Lighted Business Signs

Some basic business protocol must be followed when setting up inter­views:

Always make an appointment. Do not think for a minute, no matter how large or small the potential cli­ent, that the art buyer is going to stop everything to see you because you “happened to be in the area and thought you'd drop by.” It can hap­pen, yes, but it's unlikely. In the busi­ness world, everyone lives on a sched­ule, and an appointment is your way of grabbing a piece of someone's busi­ness day. You want the prospect's full attention on your work and if he's ex­pecting you there is reason to hope that he's carved out time only for you.

When you call to make an appoint­ment, speak slowly and distinctly, im­mediately giving your name and rea­son for calling. Be friendly and cour­teous to the person answering the phone; many times he or she knows more about the inner workings of the company than its president and can be a wellspring of information and an ally when you don't seem to be making the right contact. If you don't know the name of the art-services buyer, ask who is in charge of review for Business Marketing with Lighted Business Signs. AptusFinancial: Business Marketing with Lighted Business Signs

File:Villa Carlotta Signage.JPG

 Business Marketing DescriptionVilla Carlotta Signage.JPG English: Villa Carlotta on Lake Como (Lago di Como) Date 12 September 2011, 11:38:01 Source Own work Author Business Slayer

Read more …

File:Enfield Lock stn signage.JPG

 Business Marketing DescriptionEnfield Lock stn signage.JPG English: Signage on Enfield Lock station, indicating proximity to the Innova Business & Science Park. Note National

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File:West Drayton stn signage.JPG

 Business Marketing DescriptionWest Drayton stn signage.JPG English: Signage on West Drayton station platform. Stockley Park is a large business estate lying between the station

Read more …

Lighted Building Letter Signs


Know the expectations of your market area in regard to the type of Lighted Building Letter Signs it's accustomed to re­viewing. Your previous market re­search should have given you a clear idea of the level of competition you'll be encountering. If you're approach­ing, in person, large, top-notch ad agencies, your samples must be full-color slides or photographs, tear-sheets or original work, and must comprise a top-of-the-line presenta­tion with money no object.


You're up against very tough competition, and these firms' creative directors are busy, quick-decision people accus­tomed to dealing with professionals who immediately show their best work in only a few minutes. On the other hand, if you're approaching me­dium-size magazines through the mail for black-and-white editorial il­lustrations, your samples can be clean, crisp photostats of Lighted Building Letter Signs that can easily be viewed at the buyer's convenience.

Focus your materials to your po­tential clients' interests. Draw on all the information you've gathered about the marketing area as a whole and the specific firms you're ap­proaching. Review and change the samples in your portfolio of Lighted Building Letter Signs as you pre­pare for each interview. Print sepa­rate flyers or mailers if the variety of clients warrants it.

If you've been tightly selective in compiling your contact list, the same marketing tool may be used for more than one field. For example, if your forte is fantasy art, the same brochure or flyer can be used for fantasy magazines and rec­ord album publishers (assuming any written text includes both fields). But if you're hitting gardening magazines with full-color florals and PR firms with corporate logo designs, develop separate marketing pieces. The two are too diverse to allow a single mar­keting tool.

Try to develop printed marketing tools that are multipurpose. The let­terhead developed for your cover let­ters can also be used for your re­sume, invoices, general correspon­dence (self-promotion—you're constantly letting people know who you are and what you do), and infor­mation sheet. The flyer printed on lightweight card stock showing six examples of your work and a client list can be slipped into a mailing package or a leave-behind packet. The paper flyer developed for your leave-behind packet can be sent out as a self-mailed reminder to distant cli­ents.

Realize that no single printed piece will meet all your communica­tion needs on a one-time basis. The brochure comes closest to providing sufficient space to include all the written information you need plus ex­amples of your work. But you can't write a cover letter on a brochure as you can on your letterhead, you can't hand one out at a party as you can your business card, and it's expensive to use a brochure as a notification of a change in phone number.

Your printed materials work together as a unit so if finances are limited select several less-expensive pieces to do the brochure's work. As your income in­creases you can expand your printed materials to include some of the lux­uries, such as the full-color brochure, thermal-printed self-adhesive labels, custom-printed folders, and even mini-brochures. Lighted Building Letter Signs Advertising.

ocsigncompany. OC Sign Company, Custom Sign Maker, Business Signs Made, Building Letters Installed, Lighted Channel Letter Signs, Monuments and more. View all posts by ocsigncompany….via Lighted Halo Channel Letters made for Business Signage | Building

Picture of Building Large Lighted Marquee Letters. My daughter is … Marquee letters are typically made up of a flat letterform that has lighting to make a sign visible at night, with metal flashing around the perimeter. The flashing serves to direct ……via Building Large Lighted Marquee Letters – Instructables


When trying to locate clients, a graphic artist can also dare to be different


 A local advertising lady we use works hard to make sure her samples are directed to a client's interests and trequently determines those interests through a phone call to the firm.

“I call up XYZ Agency and talk to the receptionist. I simply say I'm interested in presenting my portfolio to the agency but I'm not exactly sure what type of accounts the agency handles. She'll tell me. Automatically, when I make my appointment with the art director, I've got the type of work he or she is most interested in as samples in my portfolio.”

When trying to locate clients, a graphic artist can also dare to be different. Patie Kay had a number of contacts through the agency where she trained, but she also developed a unique way of finding new clients.

“I look in the Help Wanted section of the classified ads, in the section titled Artists. If there is someone advertising for a full- or part-time artist with skills that I know I have, I call and convince them to use me on a free-lance basis.”

Another way to determine a firm's client areas is to read the Yellow Page ads which often give one- or two-line descriptions of a firm's area of spe­cialization. Yellow Pages nationwide are available in most main libraries.


Resource directories which list com­pany names, addresses and key per­sonnel in markets such as publish­ing, advertising and magazines, are available in most library reference sections. Because addresses and per­sonnel change regularly in the busi­ness community, don't use one that's over three years old. Not all of the available directories can be described here, but especially useful ones fol­low.

For information about ad agencies, try the Standard Directory of Adver­tising Agencies. Published three times a year, it contains data on ap­proximately 4,000 agencies. It lists them by state (geographical index) and alphabetically; each listing in­cludes the agency name, address, and phone number; year founded; annual billing; number of employees; associa­tion membership; area of specializa­tion; top management; creative and marketing management; branch of­fices; and a list of accounts. Mergers, acquisitions, and name changes that have occurred since the last publica­tion of the directory are also noted.

O'Dwyer's Directory of Public Rela­tions Firms is an annual publication currently listing 1,600 national and international PR firms and depart­ments within ad agencies alphabeti­cally arranged. Each listing includes most recent address and phone num­ber, principals and key personnel, branch offices, and a sampling of cli­ents.

For information about art and de­sign studios, The Design Directory is published annually. The Graphic and Industrial Design Edition presents in­formation on 1,450 design firms and consultants nationwide. Until 1986 the directory incorporated commer­cial interior firms, but these are now printed in a separate volume.



When trying to locate clients
Graphic artist wins Distinguished Student Award
“My mom really likes the book, “To Kill a Mockingbird,” so she named me after a character in that,” Invie said. Graphic artist, journalist, athlete and actress are all talents found in this Teton High School senior. One place you will often find Invie

…via Graphic artist wins Distinguished Student Award –



When trying to locate clients
Graphic artist Arpita Dasgupta showcases digital medium
Zee News
New Delhi: For graphic artist Arpita Dasgupta her paintings are reflective of conversations she conducts with herself while going through a gamut of emotions. That is why she says she chose to titled her recent art collection 'Soliloquies'. As part of

and more »

…via Graphic artist Arpita Dasgupta showcases digital medium – Zee News


When trying to locate clients
Columbus Alive

When trying to locate clients
Q&A: Brandon Rike
Columbus Alive
Columbus-based graphic artist Brandon Rike is proof that dream jobs do exist. In Rike's case, they're built one project at a time. Throughout his career (which started at 13 designing posters, stickers and T-shirts for his band), Rike has designed T

…via Q&A: Brandon Rike – Columbus Alive


Fabricating and merchandising endeavour for the trades

Fabricating and merchandising endeavour for the trades

The inscription of Wilhelm Richard Wagner architectural linear perspective drafts are noteworthy, but his 1902 facade of the Die Zeit wire office is astonishing in its resemblance to Viennese realistic work. Notably, it contained the microscopic public square as an decorative motif. The square up (to act a repeating and crucial role in graphical exercise of the 1920s) was to become almost an compulsion with the decorators of the Norbert Wiener Werk¬statte (capital of Austria Workshops). 
This was a fabricating and merchandising endeavour for the trades, accomplished in 1903 by a early helper of Otto Richard Wagner, Josef Ernst Theodor Amadeus Hoffmann, and the designer Koloman Moser, both instructors at the Vienna Kunstgewerbeschule (School of Arts and Crafts), with the backing of Fritz Warndorfer, an industrialist and patron of Jacques Charles Rcnnie Mackintosh, and collector of Beardsley drawings.
Mackintosh himself advised a stylemark, but a all over optical individuality for the firm was designed by Roald Hoffmann. Each article was produced with four identifying marks: the Werkstatte's red rose symbol, and the monogram marks of the Werkstatte, the designer and the maker. Hoffmann designed letterheads, cards, invoices and wrapping paper. The square motif is repeated throughout. 
On the composition report the squares appear to follow Wagner's principle that 'something unpractical can't be aesthetic' and are hired to show where the paper folds, twice horizontally, so that the squares appear in the corner of each area of the folded sheet. As part of the programme to produce a totally designed environment, even the key to an office cupboard had its handle in the form of the rose trademark.
The square was the format adopted for the Secession's monthly review, Ver Sacrum (SacredSpring). Launched in 1898, it discussed exhibitions and published contributions of the literary avant-garde, carrying
The illustrations and decorations by Secessionist artists reproduced by the photomechanical techniques of much cheaper periodicals, often using two colours with extreme economy and to great effect. Ver Sacrum was more in the exclusive tradition of the private-press book than the magazine – when it closed after six years its subscription list numbered only six hundred. Equally important in its influence, and economical w ith its means, was Die Fldche (The Plane Surface), a series of portfolios of design.
The Viennese decorators' exuberance for the new formulas of replication is hinted at in Carl Otto Czeschka's drawing of the State Printing House's operation studio, set within a borderline planned by Moser. The composition is by Larisch. Unlike their placards, the pages of all but Vien-nese books were less productive in attaining a orderly building block. German had been traditionally published in Gothic 'black letter' type known as Fraktur. This was step by step threw out in favor of adaptations of fifteenth-century Venetian type. Such a historicizing design was embraced by the extremist designer Adolf Loos for the masthead of his journal Das Andere (The Other), subtitled 'Towards the Introduction of Western Culture into Austria'. 'The type', he said, 'looks as modern as if it were made yesterday. More modern than the Otto Eckmann [Art Nouveau] letters of the day before yesterday.'
The end result of more than a decade of obsessive endeavour, The Relic Guild by Edward Cox is the first part of a fine fantasy saga mixing gods and monsters that promises a lot, but delivers on too little to linger long after its last page. … much trouble for the Resident that a special organisation was created, a group of agents whose purpose was to counteract the illegal trade in Aelfirian artefacts, to recoup the stolen merchandise and deal harshly with those involved….via The Retrospective: The Relic Guild by Edward Cox |

The fabricated reconciliation, as part of South Africa's heritage, serves the merchandising of the fictitious rainbow nation rather than the redemption of the “Afrikan” psyche. Such sentiment is difficult to … Millions of Afrikan minds, ideas, words, thoughts, inventions, musical notes, physical efforts, intellectual endeavours and epistemic undertakings have contributed towards and built imaginations, monuments and empires across the world. Despite this, the American and ……via Twist memory and you distort identity | Opinion | Mail & Guardian

Someone creates the circumspection you take it and get unconditioned pack of deputize unendingly lifetime you make a trading It is that casual The publisher of the product handles the sales and the catalogue All you bid to do is to … any set goals and advantage you endeavour your goals and sake feel sorry unambiguous prowl you strive the belongings and solidus drift are need to carry through them You christen to essay estimable proprietorship solving capability ……via development | Portal Jacaraci


Designing with Good Maintenance in Mind


Designing with Good Maintenance in Mind.

Maintenance of exterior signs can be reduced by using durable, low mainte­nance materials and techniques, although initially these are more expensive. Natural materials like stone and certain weath­ering woods require little care, except for periodic cleaning. The finish of painted metal signs, similar to automotive fin­ishes, should be cleaned and waxed periodically. Many sign companies offer maintenance programs on a contract basis.

Several methods of copy application minimize maintenance. For example, sign copy which is printed on the rear face of clear plastic is protected by the plastic. Copy which is routed through the metal face of a sign, then backed up with Plex-iglas, is quite permanent. Most methods where the copy is an integral part of the sign (rather than mechanically attached) can reduce maintenance. Copy painted on sign panels may have to be repainted in a few years. However, a final coat of linear polyurethane painted over sign surfaces will improve the life of the painted finish. This clear coating is so tough that even spray can paint graffiti can be removed from its surface using lacquer thinners.

Designing Vandal-Resistant Signs. Much of what has beensaid about maintenance also applies to making signs vandal-resistant.

Another kind of vandal is the collector who finds small, beautifully detailed items almost irresistible. Multicolored, gold-leafed, or three-dimensional symbols can be installed wi theft-proof fasteners.