It appears printers using ZetaPrints web-to-print service are being spammed by yougraph.com. Those guys claim to be located in Brazil and spam heck our of our info@ and admin@ email addresses pushing 30 designs for $30.
I tried to contact them, but never got a reply.
They may be a legit business, but the chance is they are not. Just a word of caution.
We are still adding final touches to our new open source e-cards plugin, but here it is nonetheless.
It can be embedded into any web page just as I embedded it here.
Embedding string:
Width: set to width in pixels or % (in 2 places)
Height: set to height in pixels or % (in 2 places)
Data source: this is an address of RSS feed for the catalog you want to show. The catalog needs to be public.
Don’t ask. It’s one of those pet projects. Maybe there is some use for it.
The most obvious is to promote your products. Build a catalog with a few simple templates that work well in small size and are fun. Embed the plugin on your site. Ask others to embed it. The user may want to click through to your site and actually order something after playing with these small designs.
Your suggestions on what features to add are welcome.
We are working with a freelance designer from Russia on our e-cards project. She’s making quite cool designs. If you like her style Nat can be reached on black_om@rambler.ru
She’s got lots of unused illustrations and can sell them on exclusive (up to $500) or non-exclusive (about $30) basis. I told her she can’t sell the same design to more than one ZP customer, so the non-exclusive will buy an exclusive within ZP 
These are just a few samples. She’s got tons more and can make new ones.
We spent a bit of time on improving our web to print help site and added a page for your suggestions.
Did you see a cool design somewhere and now want to make a template with something like that? It may be too hard. It may be impossible. Let us give it a try for you and then post a short tutorial on how to get it done.
Did you have troubles with ZetaPrints interface and think it should be better explained? Tell us where you stumbled and we’ll post an article to help you through.
We’ve got thousands and thousands of designs submitted by freelance designers. Some of the good, some not. Soon you will be able to browse them and add the ones you like to your catalogs. The main problem here is the pre-press quality of the designs as most designers concentrate on the visual aspect and totally ignore the technical side of making the final product.
We need help with writing detailed product guides and pre-press techniques that explain what the final output should be like, all the pre-press stuff, what information it should contain (fields), etc. Then let the designers try and pitch their designs to you.
In text type, it’s important to realize that there is only one space after a period. The two-space habit after a period can be tough for many typists to break; however, those two spaces can tell some people a lot about your inexperience and your age. Plus, those double spaces often create more work for others, unless you are creating documents in mono-spaced fonts.
The reason for the double space is that in typewriter fonts (or mono-spaced fonts like the one shown), all of the characters are alloted the same width of space, whether it’s an “m,” an “i,” or a period. The two paces after a period calls attention to the punctuation mark at the end of each sentence and creates a visual pause that is needed. In digital typesetting, however, the fonts are variably spaced, meaning each letter is encoded with its own space that is different based upon the width of the character. The punctuation is designed to be slightly larger so that it is easily recognizable at small point sizes without that double space. Therefore, one space after a period has been the standard in typeset copy for some time. Stop using double spaces, as you create more work for your editor or graphic designer when they have to go in and remove those extra spaces.
The font that you see in many books and in just as many Web sites has a long and interesting history. Times Roman comes from the Roman alphabet, which was derived from the Greek alphabet via the ancient Etruscans who settled just above Rome. During Roman military encroachment and empire expansion, this alphabet was adopted and spread from England to the north, to Spain in the west, to Egypt in the south, and to the Persian Gulf in the east by the year 100 CE, when the Roman empire was at its height.
The reason why this typeface spread and was adopted was because the Romans used a single language (Latin), one writing style and a consistent government for centuries. A preeminent example of the beauty of structure and weight of the Roman capital letters is seen in the inscription at the base of Trajan’s column in Rome carved in 114 CE (shown here). This inscription is regarded as the finest example of quality chisel-cut lettering and shows the introduction of serifs.
Color properties can be confusing, especially since many designers use the computer to design for print. Unfortunately, the color associated with computers – RGB – is not the color that is associated with print – CMYK. Here are a few tips to help you remember the difference between the two color systems:
Another way to remember the difference between the two systems:
Unfortunately, a simple way to convert RGB to CMYK or from CMYK to RGB is unknown. The best the designer can hope for is to use a color management system that uses color profiles that can describe the spaces that are being converted. The conversions will never be exact. This is why it’s always good to design print materials with CMYK systems and images from the beginning, and why it’s good to always use RGB systems and images for Web design from start to finish.
Graphic designers use a flat surface, or a two-dimensional space – to convey their messages to others. This two-dimensional, or 2D, space is a flat plane that consists only of length and width. The only depth within a 2D plane is the illusion of depth created by the designer. This illusion, much like a magic trick, can only work through the successful use of monocular cues.
Monocular cues create the illusion of forms that advance or come forward from the picture plane. The reverse is true as well, where forms seem to recede from the picture plane. Monocular cues are depth cues that result from using only one eye (mono meaning “one”). Recently, scientists have confirmed that the illusion of depth is perceived – not so much by the eye as it is by the brain. Successful designers use this information to create depth cues. In turn, these cues create the illusion of a three-dimensional (3D) space from a 2Dformat. Some ways to achieve this illusion include:
The clues listed above are just a few of the many tricks designers can use to add the illusion of depth to a flat picture plane. In many cases, a designer will use more than one clue to help the viewer understand the depth illusion. Study optical or visual illusions, because some of these optical tricks may help you bring your subject ‘closer’ to your viewer in more ways than one!
In a fast paced world, where things change in a blink of the eye, sometimes we lose sight of what is truly important. Things scream out for our attention, demanding our time. There is simply so much to take in, that at times I do suffer information overload. In Malaysia, things are developing fast, and competition is very stiff at times, especially in the design industry. Every year, new graduates come out, some entering existing companies, others establishing their own little startups, powered by enthusiasm and led by their dreams. In this big field, how do we really differentiate ourselves, yet be able to deliver designs that will suit our clients’ needs?
At times like these, I often question the whole situation and yearn for a simpler time. There is a Malay proverb which goes like this “Sesat di hujung jalan, baik balik ke pangkal jalan”. It literally means, When lost at the end of the road, it’s best to go back to root. Its true meaning, of course, means that whenever we’ve diverted away from our original path, it’s best to return to the root of the matter. So whenever I feel that I’ve forgotten what Malaysian design is all about, I turn to the works of Mohammad Nor Khalid, more commonly known as Lat. And who, you may ask, exactly is Lat?
Lat is a well known cartoonist in Malaysia. He has been drawing ever since he was a child in primary school. In fact, his first published cartoon was published when he was merely 12, a book called “Tiga Sekawan” (3 Friends). He went into journalism, first as a reporter, but his artistic ability, his keen sense of observation and his taste for satire led him to his true calling, that of a cartoonist. His most defining work would be The Kampung Boy, a cartoon autobiography of his childhood (Kampung means village in Malay). Details of Malaysian life and culture are beautifully captured and stereotypes of Malaysian life and attitudes spring to life inside the pages of his cartoons.
Lat’s style of drawing is minimalistic, often line drawings on a white background. His rendition of Malaysian scenery is stunning, often very accurate, showing his attention to detail. Observe the details on this drawing of a traditional malay house, in a rural setting. On the far left, by the staircase leading up to the house, you can notice a contraption made to divert water that falls down from the rooftop down to the ceramic container at the bottom. An overturned tin can which serves as a bucket is kept on top of a stick just by the container.
In these 3 pictures, Lat focuses on Malaysian racial diversity, showcasing 3 different eateries, a Malay nasi lemak (rice) stall, a Chinese coffeeshop (hole-in-the-wall for those across the Atlantic) and an Indian rice shop (note the two western tourists at the right hand corner, underneath the staircase). These 3 pictures on their own are not meant to be funny, rather they’re a graphic rendition of Malaysian life, snapshots of Malaysia so to speak. It is in this that Lat excels in, and his cartoons are a collection of snapshots of Malaysia throughout the years, marking the changes.
His career has spanned at least 4 decades, in which he has published numerous cartoon books, editorial and satirical cartoons lampooning politics in Malaysia and other lighthearted ways of highlighting social and cultural issues in Malaysia. In the last 10 years, he has slowed down, and it is a shame that most Malaysian youth nowadays are not even familiar with his name, nor with his works.
Why do I hold Lat in such high esteem? It is perhaps that in his work he shows Malaysia as it truly is, the simple beauty and the stark ugliness, the mix of old fashioned values at odds with the fast-changing development of times, a society trying to make sense of its surroundings, and trying to find its place in this world. By taking a break and laughing over his cartoons, I remind myself of what is simple in this world, and perhaps in that, I am able to find myself again.
To me, this simple man embodies the spirit of Malaysian design. I just wish that most of us are able to remain true to ourselves and still be able to meet the challenges of the design industry. It is possible to be a success and still be ourselves. Lat did it. So can we.
This article is the the fourth and final of my series on the key elements of design. After having individually placed color, font and texture in the spotlight, it is just proper to culminate with something that will put all these elements together; after all, the reason why we dig into these elements one-by-one is so they can be put (together) into proper use in this thing we call design.
In conformity with the previous articles, this writing will stray from high-falluting assertations and focus only on the practical aspects.
VOCABULARY REVIEW
References such as this online dictionary provide several definitions of the word design. The ones relevant to our topic are as follows:
to prepare the preliminary sketch or the plans for (a work to be executed), especially to plan the form and structure of …
to plan and fashion artistically or skillfully.
organization or structure of formal elements in a work of art; composition.
adaptation of means to a preconceived end.
In the field of computer programming, web authoring and digital art, the definition of design should in essence encompass all of the above. That is, priority should not be of aesthetics alone. Rather, aesthetic value should be well balanced with that of functionality.
PURPOSE OF DESIGN
The reason for design is what the designer should center on when putting all the bits and pieces together. In other words, what the end product is for should never be put aside during conceptualization and assembly. And what is the real purpose of design? Almost always, the answer would be and should be to stimulate the end user’s behavior. Projects are not made for self gratification; they are done to produce results. In the IT world, the result desired is for the finished project to make the viewer or user to do something such as buy a product, sign up for membership, or simply to convince them to believe in that thing which the project is about. This being the guiding rule, the choice of color, font and texture and their assembly should be such that the completed design is able to compel its audience to a desired action or conviction.
FROM SELECTION OF ELEMENTS TO ASSEMBLY
Let’s say the specific desired end-user-behavior has been clearly identified. The challenge now is for the designer to balance visual appeal with usability. He has to come up with something that would create a purposeful blending of all his design elements; something that stimulate audience behavior, causing them to reflect and interact with what they see.
Some pointers to consider when blending in design elements:
Chose colors that speak of the product in question. Keep in mind that some colors actually conflict with some ideas. For instance, the color blue should not be used in themes about food. Blue ruins the appetite. That is why you would seldom see blue-colored food.
Limit the use of special fonts to headings and titles or logos. For the majority of the text, chose fonts that have a general appeal.
Textures should be used sparingly. Only the newbies and mediocre designers would be too excited to use a whole selection of (contrasting) textures at the same time.
If you put one element on top of another, make sure they don’t bleed into each other. They should be matching in their conceptual value but should maintain distinct visibility.
Do not stray from you general motif. If you are designing for Valentine’s be careful not to use green in a way that will make you end up having something for Christmas.
You can only achieve real aesthetic appeal if you have assembled everything harmoniously. Anything contradicting is hurting to the eyes.
FINAL CHECK
Before posting your work, close everything and then reopen. View your page from a bit of distance and contemplate if you have assembled meaningfully. Think like a viewer and see for yourself if your design is compelling enough to elicit the desired response. If it has flaws, go back to the drawing board and redo what has to be redone.
Do your individual design elements speak the same thought? Do they agree with one another? All conflicts must be resolved. 
Does your design, in its totality, communicate the exact thing that should be said? Will it not mislead your audience?
Is information communicated in an effective (and easy) way? Make sure your end-user does not need to do any trial-and-error or guessing.
Note that all items in this checklist are in regard to functionality and usability.
A LI’L BIT MORE TO PONDER ON
If your design is too plain, nobody would need your design expertise. If your design is too complicated, nobody would understand what you’ve created. If your design is too new, your viewers would look for something they’re accustomed to. If your design is too old, your viewers would say you have no originality, no ingenuity. If your design has too much “special features”, your audience will get lost inside your jungle of unnecessary add-ons and will totally miss the most important thing there.
It is always wise and practical to have just the right dose of what is needed. A good designer is one who has good control aside from good taste. His design is always the right stuff because it’s made with the right ingredients in the right proportions. That is why he gets more audience and that is how he wins citations.
Good luck and here’s wishing you’ll be looking at your finished work with a smiling sigh and say, “I’m good!”
^_^ Gracey
PS:
Here’s another greeting card you can use. Add more text or print it as is on glossy photo paper. Cut along the edges, leaving no white space, then paste it onto heavy card stock of complimenting color. Finish off by adding a dainty ribbon.
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