Archive for the ‘Graphic Design’ Category

Why WordPress is the Perfect Platform For Author Sites

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I get a lot of requests for help with WordPress lately (which I am happy to answer), and I’m mak­ing a good chunk of my money through my knowl­edge of the con­tent man­age­ment sys­tem.  I thought today I’d give you some back­ground on why I’ve made WordPress my go-​​to plat­form when design­ing author websites.

Broad Support and User Base

WordPress has one of the largest user bases of any con­tent man­age­ment sys­tem.  Why is this a good thing?  Well, it means that there’s a lot of com­mu­nity sup­port.  It means that if there’s a fea­ture you want, there’s a good chance some­one has already devel­oped it as a plug-​​in (there are tens of thou­sands of plug-​​ins for WordPress).  If you run into a bug or other prob­lem, there’s a good chance that you can find some­one else who has already expe­ri­enced this prob­lem with a Google Search.  This all trans­lates into fewer hours and more fea­tures for your author web­site.  You get more for less.

What this also means is that rather than hav­ing to go out and buy expen­sive books to learn how to design WordPress sites, I have been able to learn every­thing I know from read­ing online.  So I have less up-​​front invest­ment (although still quite a bit of invest­ment in mas­ter­ing parts of it). Those sav­ings get passed on to clients, ultimately.

Great Back-​​end Usability

The back-​​end of a site is the part that only the site author sees.  It’s where you go to man­age your con­tent, write new blog posts, and so on.  Because your read­ers never see this part of your soft­ware, you might be tempted to be sat­is­fied with any old thing–that is, if you’re already a com­puter expert, and don’t have any trou­ble learn­ing new inter­faces.  Not all inter­faces are cre­ated equal.  Now, WordPress hasn’t always had a nice, user-​​friendly back-​​end, but these days, it’s quite sim­ple and beau­ti­ful.  I enjoy spend­ing time inside of the WordPress soft­ware, con­fig­ur­ing things, and a good por­tion of my enjoy­ment is due to that.

And chances are, you’ve already used WordPress.  A lot of authors have already used sites like WordPress​.com to set up blogs in the past.  So this means you spend less time learn­ing an inter­face, and more time work­ing on your writing.

Power Theme System

WordPress allows you to con­fig­ure and lay out your site any way you want, and it does it through a straight­for­ward theme engine with well doc­u­mented tem­plate tags.   Through a com­bi­na­tion of plu­g­ins, theme writ­ing, HTML, CSS, and judi­cious JavaScript, there hasn’t been a design con­cept I have come across that can’t be imple­mented in some fash­ion with the sys­tem.  And using a good blank theme as a start­ing base, you can have a theme up and run­ning from an HTML pro­to­type very quickly.  You dream it up, and I build it.  It’s as easy as that.

A CMS, Not Just a Blog

Some peo­ple make the mis­take of think­ing that WordPress is just for blogs.  That’s only a small part of what WordPress can do these days.  With a few basic plu­g­ins, you can build just about any kind of Content Management System fea­ture you might want.  And most impor­tantly to authors, it gives you a user-​​friendly way of man­ag­ing and edit­ing that con­tent.   Rather than hav­ing to spend money down the road pay­ing your web­mas­ter to update your site, you can do it your­self through the back-​​end.  It’s a win-​​win for you and your webmaster.

Conclusion

So those are just a few of the rea­sons I use WordPress.  I was very hes­i­tant to adopt it early on because I had read a lot of neg­a­tives, but each one of those neg­a­tives has been addressed by the devel­op­ment team.  Eventually, it made less sense to stick with an old warhorse like Movable Type and to move on and work with the younger, more dynamic WordPress.  Since I made the move, I haven’t looked back.

If you are an author, pub­lisher, or small busi­ness look­ing for a site built on WordPress, don’t hes­i­tate to con­tact me via Clockpunk Studios, my design com­pany.  I am avail­able to take new work on start­ing in early September.    I have a wide range of prices I can offer you, to fit many bud­gets.  We can build your dream site, or we can get you started with some­thing basic at your own domain very quickly, and add to that later.  So don’t assume you can’t afford it.  You might be sur­prised how cheaply you can get up and run­ning with your own WordPress-​​backed site.

Forcing Creativity

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Some will tell you that it’s not pos­si­ble to force cre­ativ­ity, or that the results from “forc­ing” cre­ativ­ity are sub-​​par to the work that “just hap­pens.”  I’m here to argue the opposite.

For some cre­ative folks, such as myself, sit­ting around wait­ing for inspi­ra­tion to strike, for the mood to be right, and for the stars to align is a recipe for get­ting jack shit done.  We will write off our lack of pro­duc­tiv­ity by say­ing some­thing like “I just don’t have any­thing to say” or “the muse isn’t with me today.”  I’ve used both of these excuses even recently to myself.

Hogwash.  The truth is, noth­ing moti­vates me more than a dead­line that has some teeth to it.  A good exam­ple was the Federations anthol­ogy.  I knew about it for months, and I had pid­dled around with a cou­ple of ideas.  Nothing really set­tled out, though.  The dead­line was lit­er­ally 48 hours away when, the idea of los­ing a good oppor­tu­nity to sell work to a favorite edi­tor hit me.  I didn’t want to miss out on an oppor­tu­nity like this, and that was before I knew which lumi­nar­ies of the field are in the book.   With that dri­ving me, I wrote “The Culture Archivist” and sent it to first read­ers.  Got it back, revised it again, and sent it to JJA.  It went through some edi­to­r­ial revi­sions, and then it was in the book.

The truth I must admit to myself is that I am a cre­atively lazy per­son at times.  I want it to be easy.  And it’s not.  It never gets any eas­ier.  You just get bet­ter at it.  But you still have to over­come the same iner­tia that was there when you first started out.  That takes a com­bi­na­tion of willpower, and if you can man­age it, discipline.

This holds true for every cre­ative endeavor  of mine, whether it be pho­tog­ra­phy, writ­ing, or design.  The hard­est part is just get­ting started.  And you have to force your­self to start.  Because if you don’t even get started, you’re not bloody well likely to fin­ish it, are you?

Force your­self to cre­ate using any means nec­es­sary. Some of these might work:

  • Ask your spouse or sig­nif­i­cant other to with­hold sex until you fin­ish.  Double motivator–you’ll want it done and your spouse will be really encouraging!
  • Go on a bread and water diet until you reach your ini­tial goal. (Do not do really do this, seri­ously.  Eat healthy.)
  • Use an inter­net block­ing pro­gram when you work on the com­puter.  These are usu­ally time based, but I sus­pect that 4 hours or so with­out the inter­net will get some­thing writ­ten and/​or made.
  • Instead of the stick, try the car­rot.  Promise your­self a $50 shop­ping spree if you fin­ish the work, or a night out for dinner.

External forces have always been the best moti­va­tor for me, but with many projects, there’s no exter­nal force.  As a free­lancer, I don’t have a boss beyond the client, and the client isn’t always moti­vated them­selves to fin­ish the project.  So it’s impor­tant for free­lancers to learn to self-​​motivate.

A desire to cre­ate some­thing great is often not enough moti­va­tion.  Sometimes, you have to prod your­self into get­ting started.  But once the ball is rolling, it tends to stay in motion for as long as you can afford the time.  For me, the sin­gle best thing about cre­at­ing things is los­ing myself in the process.  Time becomes mean­ing­less and my left-​​brain takes a nice long nap.  Call it what you will–the zone, in the moment, or some­thing else– it’s one of the great­est rewards of being a cre­ative per­son.  That plea­sur­able expe­ri­ence is almost rea­son enough to make things.  The fin­ished prod­uct is just a bonus sometimes.

What are some meth­ods you use to moti­vate your­self when you have the desire, but not the will?  How do you keep your­self on task?  Share your meth­ods with us.

Tomorrow, I will talk about strate­gies for mak­ing time to make things around a busy life.

Crucial Freelancer Skill: Estimating Your Time

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In my busi­ness as a web designer, the first thing a client often wants from me, after we dis­cuss their project,  is an esti­mate.  For me, this is purely a mat­ter of esti­mat­ing how much time a pro­posed project will take.  But that’s not as easy as it sounds.

As I advance in skill, some projects tend to take longer.  They look nicer, but they cost more.  And that’s some­thing I failed to take into con­sid­er­a­tion on my most recent project.  I’m going to eat quite a bit of time because I over­stretched myself in the design and cod­ing phase.  It took me quite a few hours longer than I had esti­mated with the client, and I still have a cou­ple of promised com­po­nents to go too.  My mis­take, cer­tainly not the client’s.

Another mis­take I made was not doing my site pro­posal process.  In my site pro­posal, I out­line the dif­fer­ent aspects of the process and how many hours I think it will take for each area.  I named a sin­gle fig­ure for this rush job, and didn’t put enough time into eval­u­at­ing the job.

Every mis­take is a learn­ing oppor­tu­nity.  Here’s what I’ve learned from this project:

  • Always do a site pro­posal doc­u­ment first.  Setting the scope out in paper makes it clear when, if the client requests some­thing that isn’t in the pro­posal doc­u­ment, it will cost more.
  • Take into con­sid­er­a­tion that you will take more time as you become a bet­ter designer, spend­ing that time on lit­tle details that make a design go pop.
  • Research the tech­ni­cal fea­si­bil­ity of fea­tures before you offer them and include them in your designs. (oops)  Otherwise you can end up burn­ing hours of your own time try­ing to fig­ure out if some­thing is even possible.

It’s been a long cou­ple of days this week, but this project is nearly done.  I’ll do some train­ing tomor­row and fig­ure out that last bit of tech­nol­ogy when the com­pany I con­tacted writes me back.   I’m look­ing for­ward to adding the project to my portfolio.

Now, to take a break for a cou­ple of hours and rest, before div­ing back into another project.

The Hidden Spring and the Abandoned Hog Farm

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My step­fa­ther Mike dri­ves me out into the coun­try  to show off some dis­cov­er­ies he made while walk­ing through the woods look­ing for cast-​​off deer antlers.    He and an older man by the name of Chester often go look­ing for such things.

We drive nearly up to the Missouri bor­der and park in an area under con­trol for the Corps of Engineers.   Hills sur­round  a low field that has yet to be plowed under.  Corn stalks still stand here and there like sol­diers on the bat­tle­field at the end of the war, while oth­ers blow across the ground in the breeze.  Purple clover car­pets the soil beneath the stalks, good nitro­gen for when the farmer even­tu­ally does plow and plant for another season.

The sky is strung with low-​​hanging gray cot­ton clouds, thor­oughly obscur­ing the sun. It’s a wel­come change from the sunny bright weather of Colorado, actu­ally.  Overcast days are rare where I live now.  A sharp, cold wind blows, mak­ing me pull my coat around me tighter.  We walk down a muddy road.  Water is every­where, but it hasn’t been rain­ing much, so it seems to come out of nowhere, and I won­der aloud about it. Mike nods and leads me up the side of a hill.  Water trick­les slowly down the slope  through the grass which has become mat­ted down in places with the wet.  We fol­low the water up into a tree­line, step­ping among fallen logs until we come to a stone ridge at the top of the hill.  We move around along the ridge until we spot the source;  an old spring.

A half-​​circle of lime­stone pieces, fit together with no mor­tar, pre­ci­sion work that I become very famil­iar with through the rest of our explo­ration, has been set into the hill­side three feet deep.  the water half-​​fills the hole.  Someone, per­haps as much as a hun­dred years ago, found this tiny upwelling of fresh water, dug it out and rein­forced the walls with stone from the hill­side.  No one lives around here for miles, but that wasn’t always the case.  (More below the photo)

I take pho­tos, trim­ming away brush and debris, clean­ing up the scene as best I can.  The water is green with thick algae, and lichens and moss coat every­thing.  The grass and weeds have yet to grow back, although sky-​​blue wild­flow­ers have sprung up here and there beneath the trees.

Mike gives me a grin as if to say “you haven’t seen any­thing yet” and we set off back down the hill and along the muddy road, around a pond fed by yet another spring.  We walk below the earthen dam that holds back the water, and along­side a  field, fol­low­ing muddy tracks of a doe white-​​tailed deer that passed not more than a cou­ple of hours before us.  We find an old horse-​​drawn plow, rust-​​red in tall grass, the plow­share still bit­ing into the soil. The gears and levers still func­tion.  I pull them and mar­vel at how a 50+ year old plow can be still rel­a­tively intact.  All that it misses is the seat and chains to har­ness to the work horse.

From the plow, we fol­low the base of the large hill until Mike points out a dis­used wagon trail whichs cuts back and angles against the slope, climb­ing to the sum­mit a hun­dred feet or so above the pond and field.  The trail is steep on either side as if heavy wagon loads were carted up and down here until .  When we reach the top, it’s not hard to imag­ine what loads were brought up.

Among the thicket of young trees, maybe 30, 40 years old in places, some older, Mike has found a com­plex of 3 foot high lime­stone walls that fences in more than a football-field’s worth of space.  The walls show the same details and crafts­man­ship of the walls of the hid­den spring.  The stones are not cut of quar­ried.  They are field stones that have been gath­ered and care­fully fit together, tens of thou­sands of them.

First we exam­ine  a cut into the hill­side, a cel­lar almost, walled off with lime­stone as well, with some pale stones show­ing signs of hav­ing been exposed to intense heat.  Here, Mike thinks, was the smoke­house where the pork was hung and cured.   This was a hog farm once.  The walls seem­ingly hap­haz­ard were added to over time as the steadily wealth­ier owner added pens.  I dig around in the rub­ble around the smoke­house and find bits and pieces of old bot­tles and some porcelin.  Mike leans down to me and exclaims “Will you look at that!”  I look up and he’s found an old horse­hoe, rusted bent nails and all.

It’s a lucky horse­shoe,” I say.

Well, it is now,” Mike says.

Mike points out a small alcove of walls with a nar­row entry­way, not more than four feet by six feet, and explains that this is where they would have kept the boar away from the sows, let­ting him out only a few times a year to sire young.  It seems like a frus­trat­ing life for an ani­mal, to hear and smell beau­ti­ful women just on the other side of a wall, but only able to get to them so very rarely. We move on.

Peeking out from just behind the bare trees, I can see a soli­tary brick chim­ney stand­ing twenty feet into the air.  We explore the con­crete foun­da­tion which has heavy iron bolts set in to fas­ten the walls joists which have long since rot­ted away.  I kick away at the fallen leaves and find old roof shin­gles, cor­ru­gated alu­minum sid­ing, and rot­ting wooden floor­boards.    It’s impos­si­ble to look at all of this and not start ot pic­ture the peo­ple who lived here, to imag­ine their ani­mals.  I begin to won­der if they had a barn.  They clearly had a wagon drawn by horses.  I wan­der the grounds and sure enough, I find the buried foun­da­tions of another build­ing, small, but not far from the open­ing in the walls where the wagon trail led into the ruins.  This, I believe was the barn, where the horses were kept, and the walled area around it their yard.

How old is this place?  When did they leave?  How much money must they have had to have raised hun­dreds of hogs here?  The ques­tions the stones illicit are end­less.  We wan­der, trac­ing the out­lines of the farm, and I try to pic­ture it, try to travel back in time with my mind’s eye.  I imag­ine that the farm was first built in the late 1800s, per­haps by a civil war sol­dier home from the war, weary from the killing.   Weary of peo­ple, he buys a par­cel of land far away from the embry­onic towns of Northeast kansas.  It’s not ideal, but some instinct left over from the war instructs him to build his home and farm atop a large rise where he can see for miles around, see the river cut­ting through the hills and carv­ing steep banks below.  there’s not much hard­wood for build­ing, so he begins to fence in his prop­erty with piece of yel­low­stone that lit­ter the ground.  Perhaps he hires a cou­ple of hands to help errect his home, and he takes a young wife from one of the nearby rail­road towns, maybe even Osawatomie.   He pur­chases his first hogs and begins to raise ani­mals.  He plows a field below the hill and plants corn and wheat.  It’s hard work, but not as hard as killing men, there’s that much.

His wife gives birth to three sons and a daugh­ter, and it’s not long before they are put to work expand­ing the fences, build­ing more pens for the hogs.   They strip the hill bare of stones to make their fences, but they don’t sim­ply pile the rocks together loosely.  The hogs could push over poorly built walls–no, they fit the pieces together care­fully.  Sometimes they take a sledge to a piece to break it into smaller pieces, but mostly they use the pieces exactly as they are when they find them, sim­ply fit­ting them together with thought and patience.

The years go by in hard, ful­fill­ing work.  The farm pros­pers.  His daugh­ter and two sons move away to the nearby towns, marry, and raise fam­i­lies.  He is made a wid­ower when his wife suc­cumbs to a fever in the sum­mer, some tick­borne dis­ease.  The sec­ond son, the one for whom farm­ing had always seemed to be his fate, takes over on the farm after his father dies from pneu­mo­nia after a hard win­ter.  The son buries his father in a grave on the hill­side and sets a lime­stone into the ground to mark the spot. He is illiterate–his old man had never placed much stock in edu­ca­tion and did just fine with­out it–and so no words are etched into the marker.  The grave over­looks the acres that the old man has bought up with the growth of his farm and the lucra­tive sale of hogs and pork.

The son spends some of his inher­i­tance and builds a new house, this time with a con­crete foun­da­tion.   It’s small, enough room for a cou­ple of peo­ple to live com­fort­ably.  He mar­ries a woman, but they never have chil­dren.  The depres­sion comes, and things get harder.  Few can afford to buy his pork and hogs.  Eventually, they sell the land to a nearby rancher and move to the city to try their for­tunes there.

And my crys­tal ball goes hazy.  I won­der if there are descen­dants some­where who were raised on sto­ries of life on the old hog farm, but who have never seen what I have seen, never vis­ited their ancestor’s lands.    My fam­ily were farm­ers, not so many gen­er­a­tions ago, but I don’t know the lands they worked.  Arkansas some­where, I am told.

With the ruins explored, Mike and I walk back to the truck in the driz­zling rain.   I feel today as if I have some­how reached back into time and touched the life of some face­less stranger.  History is a funny thing, and I feel closer to it here than I do any­where else.  I don’t know why.

jQuery Experiment: Looping Clouds Header

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I’m work­ing on a new design for this website–one that shows off my skills as a designer a bit bet­ter, and so on, to help secure the job.  In doing so, I’ve been build­ing lit­tle exper­i­ments to teach myself new tricks.  I thought I’d share this lit­tle trick with you today.

Experiment: Clouds

The idea started out pretty sim­ple– I just wanted to loop some mov­ing clouds.  But as I thought about it more, I wanted it to be more and more arti­fi­cial look­ing, like an old stage set.   I’ve got a lot of fea­tures I need to add, but the basic the­ory is there.  You can view source and see exactly what javascript I’m using to move things around.

Don’t bother look­ing at this with IE6.  The trans­paren­cies won’t work.  And yes, the pngs make file sizes kinda big, but I real­lly wanted the trans­parency effects. It’s an exper­i­ment, like  I said.

More later!

New Roundbottom Podcast

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The 5th edi­tion of Field Sounds has gone live on clock​punk​.com.  This week,  Miss Watkins relates a story from her child­hood and reveals more details about the City and its past.  Sarah’s per­for­mance never ceases to impress me.  I hope you will give it a lis­ten and let us know what you think.

Envelopes? Stationary?

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Lazyweb request:  I am look­ing for some really inter­est­ing peri­odesque envelopes that I can mail my Roundbottom Foundation mem­ber­ship kits in.  I received some­thing once in a weird brown paper enve­lope with a red string tie once, and it was really awe­some.  The enve­lope needs man­u­script size, so that prints can be included, along with a sheet of card­board to keep the prints from being bent.

I think I have the sta­tion­ary, seal­ing wax, and the rest sorted out, but cool sources for that stuff would be great.

Anyone have a great source?  Links much appre­ci­ated.  I’m aim­ing for the mem­ber­ship kits to be beau­ti­fully designed down to the paper and envelopes they come in, to make receiv­ing it part of the whole site expe­ri­ence.  Packaging should not be overlooked!

On Roundbottom

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What is the res­o­lu­tion of your desk­top?  800x600? 1024x768? 1280x1024? 1920x1200?  Or some­thing else?  I am try­ing to deter­mine in which res­o­lu­tions to make Dr. Roundbottom desk­top images available.

I just fin­ished a new image for an upcom­ing piece which I believe turned out quite well.  Back to some macro work on that.

I still need to write Monday’s post.  I know what hap­pens. I just haven’t writ­ten it out yet in Roundbottom’s style.  And we’re hop­ing to have the first pod­cast up as next week’s upload.  I am super pleased with the work Nate, my sound guy, has done on it so far.  I have a script and we will be lay­ing down voice tracks soon.  Yes indeed, you will soon get to hear what Roundbottom and Miss Watkins sound like!

On a less happy note, the read­er­ship num­bers for Roundbottom have been pretty ter­ri­ble. I put a tremen­dous, mas­sive amount of effort into the site and fewer than 100 peo­ple are check­ing it out. I’ll prob­a­bly keep doing it so long as I find it inter­est­ing, but I have no illu­sions about much of any­one lik­ing the project.  Those of you who do read it, I thank you.

Clockpunk​.com Open for Beta Viewing

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The new Roundbottom site is now com­plete enough that I have taken it live on the domain. I’ve been at work on this redesign for quite some time now. There are prob­a­bly bugs… and don’t even bother look­ing at it with any­thing less than IE 7. Also, the site requires Javascript and Flash.

Bang away on it, and let me know what seems weird. I’ll try to get it fixed.

New con­tent will go live on Sunday, and will con­tinue to go live with new posts once a week until I run out again, but I have a nice sto­ry­line ready to go that should last into August.

Explore, and let me know what you think.

How to get Images Back out of Microsoft Word

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One thing I run into some­what fre­quently is con­tent being pro­vided to me in a Microsoft Word file with embed­ded images.  I used to strug­gle with get­ting the high­est qual­ity ver­sion of those images back out of Word and into Photoshop.  If you cut and paste into Photoshop, you often get it at the res­o­lu­tion it’s been scaled down to, and often, the col­ors are wrong or even the aspect ratio is messed up.  The solu­tion is sim­ple and hav­ing stum­bled upon it,  it is going to save me  plenty of time.  Maybe it can save you some time too.

The Solution

File->Save as->HTML

(I know, *shud­der* at the thought of Word’s HTML.  But we don’t need that!)

Word gen­er­ates an images folder and cre­ates a gif and a jpeg of each image at the max­i­mum res­o­lu­tion. I was able to pull full 300 dpi pho­tos from word files with this tech­nique with none of the image screw-​​ups that you get when you try copy­ing and pasting.

It’s just that easy.  Do you know of a bet­ter way to get those embed­ded images out of Microsoft Word?  Let me know in the comments!