Hope is a state of mind, not of the world. Hope, in this deep and powerful sense, is not the same as joy that things are going well, or willingness to invest in enterprises that are obviously heading for success, but rather an ability to work for something because it is good.

Obstacles don't have to stop you. If you run into a wall, don't turn around and give up. Figure out how to climb it, go through it, or work around it.

You know you've achieved perfection in design, not when you have nothing more to add, but when you have nothing more to take away.

Elizabeth Arnold Hull received a bachelor’s degree in archaeology from Appalachian State University in 1999, and is currently pursuing a Master's in Public History, Museum Studies concentration, part-time at the University of North Carolina at Greensboro. Employed until recently as a manuscripts processor in Duke University’s Special Collections Library, she has begun a new position as archivist/librarian for the Forest History Society in Durham, NC.

Family photography is a medium which has been approached from a variety of disciplines — material culture, social research, art, visual culture, and social history, to name a few. From these diverse perspectives emerges a degree of consensus that family pictures function primarily as reference points for identity formation and maintenance, frameworks for community-building, signifiers of past achievements and of future dreams, a means by which to portray families to others, and most importantly, as documentary records to be preserved as enduring legacies. These images can serve often overlapping purposes ranging from intensely individual to defiantly public, even political.

As a study of the photograph collection kept by the Popes, a successful, well-educated, African-American family of Raleigh, NC, shows, the importance of all of these functions was dramatically amplified for Southern black families living as victims of the Jim Crow system, under which their claims to identity, community, and other basic rights were constantly challenged. Because of these ubiquitous threats, the production, display, and distribution of photographs by families like the Popes represented political acts of opposition to images of blacks created by the dominant culture—examples of African Americans taking control over their own representation in response to white supremacist stereotypes.

Meanwhile, these photographs also fulfilled important personal functions, allowing blacks to define and affirm their own sense of beauty, identity, self-worth, and belonging. Under the volatile circumstances of segregation, disfranchisement, and the threat of violence against any black person who dared to step “out of place,” such affirmation would have been crucial for maintaining self-esteem.

For a graphics file to be printed in CMYK, it must be converted or created in that color mode. When film is produced, a different sheet of film is created for each color. For the computer to tell the machine that produces the film, an imagesetter, what to put on each sheet of film, the computer image must be in CMYK format. Colors in a page layout program must also be specified in percentages of the four colored inks.

So, why do we refer to these four ink colors as CMYK and not CMYB? Well, quite simply, it's so that no one will be confused into thinking that the last color is Blue rather than Black. SRC: mydesignprimer

Falling in love consists merely in uncorking the imagination and bottling the common sense. --Helen Rowland

God's Word, contained in the Bible, has furnished all necessary rules to direct our conduct. --Noah Webster

Our greatest glory is not in never falling, but in rising every time we fall --Confucius

To put the world right in order, we must first put the nation in order; to put the nation in order, we must first put the family in order; to put the family in order, we must first cultivate our personal life; we must first set our hearts right. --Confucius

Ancient Egyptians believed that upon death they would be asked two questions and their answers would determine whether they could continue their journey in the afterlife. The first question was, "Did you bring joy?" The second was, "Did you find joy?" --Leo Buscaglia

Life is so great in its opportunities and possibilities, that you should rise confidently above the inevitable trifles incident to daily contact with the world. Life is too precious to be sacrificed for the nonessential and transient... Ignore the inconsequential. --Grenville Kleiser

There are also a number of misconceptions that you should be aware of because you may get advice that is not exactly correct for graphic arts industry in general. Many of these ideas are the results of experiences in small segments of the overall industry and really cannot be applied across the entire field of graphic arts. Realize that the field is actually a giant collection of specializations so you shouldn't stress the value of any one specialization and ignore others.

Today's graphic arts is not yesterday's paste-up! Many years ago a lot of graphic artists did paste-up, or actually assembled type and illustration images onto boards with glue or wax (not paste, which was found to be unacceptable) producing finished pages for graphic projects. Today we work on computers also setting type that yesterday typesetters sent as finished type to paste-up artists. Today's graphic artists must be highly trained in typography; both mechanical typesetting as well as having a good sense of typographic quality. Today's graphic artists also must manipulate photographic and other images as part of their work where in the past other technicians working on large cameras did that work. This adds the responsibility of working with images making sure they will print properly as well as look nice. Yesterday's paste-up artists did very little of this. You see, today's graphic artists do everything that yesterday's paste-up artists did and a lot more! Yet people have this lingering mentality about the past. Be careful. There is much more to today's graphic arts jobs than ever before. It is much more technical so don't think of it as yesterday's glue bottle work!

Graphic arts is not fine art. True, there are some graphic artists that produce artwork that customers will buy and hang on their walls, but this is just another of the many specializations. For the most part, we are production workers required to produce artistically pleasing production work. The image of the "starving artist" does not belong in this field at all. We are stuck (for lack of a better word) with the requirements of production and that will always limit our artistic expression. Another serious problem: deadlines! Our customers can't wait for us to produce that most wonderful design or graphics, they need it now! Companies planning marketing campaigns see the production of printed materials as only part of their efforts; we too, must see our efforts as such and avoid disrupting the rest of their timetable. And don't forget budget. Someone has got to pay us for our efforts and that will limit our creative efforts. True art cannot be limited but we must constantly face these limitations that will always keep us from being true fine artists.

Another problem comes from the opposite extreme. Many people get the mistaken impression that graphic arts or desktop publishing is something like word processing. The field of word processing as developed as a result of streamlining business communications where letters and memos can be produced quickly. The result is that artistic expression has been programmed out of existence. Formats and layout standards are given and must be strictly adhered to. The design of pages is simply not done. No time is wasted on layout because the speed and efficiency of the communications is the number one requirement. As a result, word processing programs have been written and procedures developed to streamline the process. True word processor operators need to know little about typography, layout, design, graphics and art. True graphic arts is the result of careful design consideration and a complicated process of assembly that simply will not do in the world of word processing.

But beware of anyone reducing the incredibly complex and diversified field of graphic arts to the level of word processing which can be learned in a short period of time; which, by its very nature, has been simplified. Many people do not separate the two, especially those with strong business backgrounds whose objectives favor the streamlining of communications for the ultimate good of the operation of a business. This is quite wrong to consider for true graphic arts.

Another misconception is that word processing and graphic arts (desktop publishing) use the same programs. This is not exactly true as word processing programs are streamlined and simplified and real graphic arts programs are made to be as versatile and complex as possible to allow for more and more possibilities of artistic expression. Office programs simply do not allow for the kind of artistic expression we need as true graphic artists. Anyone telling you otherwise does not have a clear concept of the entire graphic arts industry; just a concept of what may be considered a specialization of the overall graphic arts industry called "creative office communications". Beware!

The last problem is that of the experience of a word processing technician wishing to become a true graphic artist. Since word processor operators are trained to streamline their communications productions, their experience is not aimed at true graphic arts production. Many times people with word processing backgrounds are not hired for this fact alone because they do not show their experience as being able to seek creative solutions but instead to limit creativity to accepted word processing standards. Word processor operators who wish to move on to creative positions in this field should experiment with the real programs and assemble a portfolio that shows they are capable of producing artistic and creative work. Word processing experience alone is more of a liability!

Copyright 2000, R.P.Duzniewski