#Professional-Digital-Printing-Services

[clickdesignsolution]

Best Graphic Designing Company in Zirakpur

In today's visually driven world, the impact of graphic design on a brand's success cannot be overstated. From logos and websites to social media posts and marketing materials, graphic design plays a pivotal role in how businesses communicate their message, engage their audience, and stand out in a crowded marketplace. Whether you’re a startup or an established enterprise, understanding the power of graphic design can be a game-changer for your brand.

1. First Impressions Matter

The saying "You never get a second chance to make a first impression" holds true in the world of business. Your brand’s visual identity is often the first thing potential customers see. A well-designed logo, a visually appealing website, and cohesive marketing materials create a strong first impression that can set the tone for all future interactions.

Think of iconic brands like Apple, Nike, or Coca-Cola. Their logos are instantly recognizable, and they evoke specific emotions and associations. That’s the power of great design. A professional graphic design team can help you create a visual identity that not only catches the eye but also communicates your brand's values and personality.

2. Building Brand Identity and Consistency

Graphic design is at the heart of building a strong brand identity. Your logo, color scheme, typography, and imagery all work together to create a cohesive brand image. This consistency is crucial across all platforms—whether it’s your website, social media, or printed materials.

When your branding is consistent, it becomes easier for customers to recognize and remember your brand. This recognition builds trust and loyalty, making it more likely that customers will choose your products or services over your competitors.

3. Effective Communication

Graphic design is more than just making things look pretty; it's about communication. Through design, you can convey complex ideas, evoke emotions, and guide user behavior. For example, an infographic can simplify data, a well-designed brochure can highlight key benefits of your services, and a compelling social media post can drive engagement.

A skilled graphic designer understands how to use visual elements to communicate messages clearly and effectively. They can create designs that not only attract attention but also convey your brand's story in a way that resonates with your audience.

4. Boosting Sales and Conversions

Good design isn't just about aesthetics—it's also about functionality. A well-designed website or app can significantly improve user experience, making it easier for customers to navigate, find information, and make purchases. The right design can lead to higher conversion rates, increased sales, and ultimately, business growth.

For instance, consider the layout of an e-commerce website. The design should be intuitive, with clear calls to action, easy-to-read fonts, and attractive product displays. When customers have a positive experience on your site, they’re more likely to complete a purchase and return for future transactions.

5. Staying Competitive in a Crowded Market

In a competitive marketplace, standing out is crucial. Your brand needs to capture attention quickly and leave a lasting impression. With the right graphic design strategy, you can differentiate your brand from competitors, showcase your unique value proposition, and create a lasting impact on your audience.

High-quality design signals professionalism and attention to detail—qualities that consumers associate with trustworthy and reliable brands. By investing in graphic design, you’re not just keeping up with the competition; you’re positioning your brand as a leader in your industry.

6. Adapting to the Digital Age

As more businesses move online, the demand for digital graphic design continues to grow. From responsive web design to social media graphics, businesses need to adapt their visual strategies to engage with digital audiences effectively. This requires staying up-to-date with design trends, understanding different platforms, and creating content that resonates in a digital environment.

A forward-thinking graphic design team can help you navigate this digital landscape. Whether it’s designing a mobile-friendly website or creating shareable social media content, they ensure your brand remains relevant and engaging in the ever-evolving digital space.

7. The Role of a Professional Graphic Design Company

Partnering with a professional graphic design company brings several advantages. These experts bring fresh perspectives, innovative ideas, and technical skills that can elevate your brand. They understand the latest design trends, tools, and techniques, ensuring your brand remains modern and appealing.

Moreover, a graphic design company can provide a range of services—from branding and print design to digital marketing materials—allowing you to maintain a consistent and polished visual identity across all platforms.

Conclusion

In the modern business world, graphic design is not just a luxury—it's a necessity. It’s an essential tool for building a strong brand identity, communicating effectively, and driving business success. By investing in high-quality graphic design, you can create a visual presence that not only captures attention but also leaves a lasting impression on your audience.

Whether you're launching a new brand or looking to refresh your existing image, the right graphic design can make all the difference. So, take the leap and let your brand's visual identity shine!

[serenadigitalmarketing]

Digital Printing Services NewYork . St Albans Digital Printing Inc

[tuckerprinting]

Unveiling the Magic Behind High-Quality Prints

https://www.tuckercastleberry.com/ - Explore the Art of Printing with Tucker Castleberry! Dive into our infographic to see how precision meets innovation in creating high-quality prints. From expert color matching to eco-friendly practices, discover why we're the leaders in printing perfection. Ready to bring your vision to life? Click to learn more!

[artisticdivasworld]

Starting An Online Art Business

You’re thinking about starting an online art business to sell your art and digital products? That’s awesome! It’s such an exciting journey, and with the right steps, you can turn your passion into a thriving business. Here’s how you can get started and keep things running smoothly. Start by defining your niche and learning who your audience is. What kind of art or digital products do you create?…

[koobruk]

Professional Graphic Design Services: Stand Out with Koobr's Creative Solutions

Discover Koobr's professional graphic design services for web and print. From business cards and brochures to digital designs and animations, we create visually engaging and impactful designs that enhance your brand and communicate your message clearly. Contact us today to make your visual communications stand out.

[absentlyabbie]

seriously, though. i work in higher education, and part of my job is students sending me transcripts. you'd think the ones who have the least idea how to actually do that would be the older ones, and while sure, they definitely struggle with it, i see it most with the younger students. the teens to early 20s crowd.

very, astonishingly often, they don't know how to work with .pdf documents. i get garbage phone screenshots, sometimes inserted into an excel or word file for who knows what reason, but most often it's just a raw .jpg or other image file.

they definitely either don't know how to use a scanner, don't have access to one, or don't even know where they might go for that (staples and other office supply stores sometimes still have these services, but public libraries always have your back, kids.) so when they have a paper transcript and need to send me a copy electronically, it's just terrible photos at bad angles full of thumbs and text-obscuring shadows.

mind bogglingly frequently, i get cell phone photos of computer screens. they don't know how to take a screenshot on a computer. they don't know the function of the Print Screen button on the keyboard. they don't know how to right click a web page, hit "print", and choose "save as PDF" to produce a full and unbroken capture of the entirety of a webpage.

sometimes they'll just copy the text of a transcript and paste it right into the message of an email. that's if they figure out the difference between the body text portion of the email and the subject line, because quite frankly they often don't.

these are people who in most cases have done at least some college work already, but they have absolutely no clue how to utilize the attachment function in an email, and for some reason they don't consider they could google very quickly for instructions or even videos.

i am not taking a shit on gen z/gen alpha here, i'm really not.

what i am is aghast that they've been so massively failed on so many levels. the education system assumed they were "native" to technology and needed to be taught nothing. their parents assumed the same, or assumed the schools would teach them, or don't know how themselves and are too intimidated to figure it out and teach their kids these skills at home.

they spend hours a day on instagram and tiktok and youtube and etc, so they surely know (this is ridiculous to assume!!!) how to draft a formal email and format the text and what part goes where and what all those damn little symbols means, right? SURELY they're already familiar with every file type under the sun and know how to make use of whatever's salient in a pinch, right???

THEY MUST CERTAINLY know, innately, as one knows how to inhale, how to type in business formatting and formal communication style, how to present themselves in a way that gets them taken seriously by formal institutions, how to appear and be competent in basic/standard digital skills. SURELY. Of course. RIGHT!!!!

it's MADDENING, it's insane, and it's frustrating from the receiving end, but even more frustrating knowing they're stumbling blind out there in the digital spaces of grown-up matters, being dismissed, being considered less intelligent, being talked down to, because every adult and system responsible for them just

ASSUMED they should "just know" or "just figure out" these important things no one ever bothered to teach them, or half the time even introduce the concepts of before asking them to do it, on the spot, with high educational or professional stakes.

kids shouldn't have to supplement their own education like this and get sneered and scoffed at if they don't.

[mgsmarketingca]

The Art and Science of Professional Website Designer: Crafting Digital Masterpieces

In the vast and ever-expanding digital landscape, the role of a professional website designer has become increasingly pivotal. A website serves as the virtual storefront for businesses, making a lasting impression on visitors and influencing their perception of the brand. In this blog, we delve into the art and science of professional website designer, exploring the skills, qualities, and expertise that set these designers apart in their craft. At the core of professional website design lies a deep understanding of both aesthetics and functionality. These designers possess a keen eye for design principles such as layout, typography, color theory, and composition, allowing them to create visually appealing websites that capture the essence of a brand. For more details visit our website: www.mgsmarketing.ca

[marketstorm]

Preserve Precious Memories with Digital Photo Printing in Dubai.

[see-arcane]

The Vampyres--The Bones and Blood of the Book

Good news! I’m not dead and the book isn’t either! Just shambling slowly through the wasteland of the publication process. It’s been a bit since I last waved this bloody morsel around. So, consider this a progress report on the state of the novella, the prospective publishing options, and a few other questions that have been bouncing around in the inbox.

EDIT:

I have a website now! For some reason.

It's See Arcane Scribbles.

Smaller Edit:

Got a Spotify too for story soundtrack goodness:

COVERS

First things first—and the first part of a finished book is the cover. Here are some mockups I’ve been juggling, starting with the original placeholder. They’re far from perfect, but I’m proud of what I managed with a fairly skinny graphic art skill set.

FINISHING, FORMAT, AND FINANCE*

*(OR, THE HEADACHENING)

Copyright: Technically speaking, you have the copyright to your own writing once you put it to paper or screen. But this is somehow a different thing from a legally-binding registered copyright, which everyone declares is a must-have if you want your work to be protected with more than a non-textual trust-fall exercise, hoping nobody steals your work and runs.

That said, electronic registration with the copyright office is $65, or $45 to register one work by one author.

ISBN: I only recently learned the words behind this acronym. ‘International Standard Book Number.’ It’s the ID on a book that marks it as unique and helps commercial booksellers and libraries circulate it. Each iteration of a book—paperback, digital, hardcover, new editions, et cetera—has its own ISBN. When you’re publishing on your own, you purchase ISBNs through a service called Bowker.

One book/version’s ISBN costs $125.

There are better bargains the higher the number of books and/or versions you go, starting at a bulk of 10 books for $295. But as I only have the one (1) skinny novella on the table, that’s a no-go. Which begs the question of how many ISBNs are in store for this little monster. It depends on how many formats I go with.

eBook: The quickest and most cost-efficient option across the board for any self-publication service. Short, sweet, no printing pains of trim sizes or distribution costs or formatting, oh my. Nice.

Paperback VS Hardcover: …But I am now and forever a sucker for physical media. Even though it’s a teeny brochure of a thing, I want to hold a physical copy of The Vampyres in my hands! So bad! And every service I’ve looked through has stated the obvious: Hardcover costs more than paperback. My heart won’t break if I have to stick with paperback to spare everyone’s wallets—hardcovers are pricy in both directions!—but I am a little torn. Especially as physical size might affect the price too.

Here we have two of my favorite quick reads, an anthology of Poe stories and Clive Barker’s novella, The Hellbound Heart.

The Poe book is a clothbound hardcover. 6.5 x 4.5 inches, a bit over 120 pages.

The Hellbound Heart is roughly 8 x 5 inches (about standard for a novella), at 164 pages. But unlike Poe, it looks like Barker took some liberties with the spacing and font size.

Standard size dimensions cost less than unique cuts, which means that whether paperback or hardcover, I sadly have to say goodbye to the petite palm-sized edition I was hoping for. On the upside, good news to us crap-vision readers—the font’s going to get H U G E in order to make the book more than a pamphlet with delusions of grandeur.

Audiobook: The fact is, my voice is not up to the task of reciting anything with appropriate gravitas and I think we’ve all been spoiled by @re-dracula and assorted other podcasts’ skill in orating. I don’t have the cash to hire a professional and I’m not about to accept anyone’s freebie offers. I won’t pickpocket friends for their talent. If an audio version ever comes along for any story of mine it’ll be down the road when it proves worth the format’s effort and cost.

REVIEWS (and a Foreword!)

It was the best of times (People reading the thing! Commenting on the thing! Good good good—), it was the worst of times (The Mortifying Ordeal of People Reading and Commenting on the Thing). Time for what every advice site declares a book absolutely must have the moment it’s thrust into the wild.

Reviews, reviews, reviews.

I’ve already bitten several bullets and passed copies out to a handful of fellow scribblers to scrutinize, their reviews destined to be hung up like literary gold stars on their bookselling site of choice, my own included. Now comes my preliminary grovel to readers en masse to please drop a review, a comment, a blurb of any shape or size where you can once The Vampyres drops. I’ve already gotten some early comments that have consisted mostly of screaming. Screams also count as a review.

As an aside, there are two folks in particular who I reached out to who exist in the stratosphere of Coolest People in the Vampiric Lit scene. They promptly exploded me into disbelieving giblets when they told me, yes, they’d be happy to read my little story and offer up a review and a foreword for the book respectively.

I’m not sure what the decorum here is, but for safety (and surprise’s) sake, I’ll not name names. But they are names I’ve been happy to come across for the past two years while neck deep in the undead book club. I’m infinitely grateful to both of them and am waiting on pins, needles, stakes and kukri blades by my inbox so I can pin their words up inside the book itself.

FUTURE SCRIBBLING

To get one of the biggest questions out of the way, let’s talk about Barking Harker.

My very own object lesson on sunk cost fallacy.

I wrote my way through a goddamn cinderblock of text without even grazing the finish line of the first section of the story. A story made of so many convoluted triple-decker layers of subplots and side characters that it had the structural integrity of a monolithic Nature Valley granola bar, just waiting to fall apart under its own weight. Such is the hubris and curse of too-many-words-itis. The Vampyres remains a miraculous fluke, jotted down during an overdue break from BH’s slog. Not just because I tripped and fell into finishing the story, but because it’s comparatively compact! Brevity at last!

For those still craving the assorted gothic and ghoulish promises of the initial novel idea, don’t worry, those aren’t going anywhere. I’ve just crumbled the metaphorical bloodstained granola by my own hand and have done the sane thing of parsing out the various subplots to become the foundations of their own stories. Which they really should have been from the get-go. Insert 100+ clown emojis here.

On that note, I am turning into WIPs Georg over here. Good god.

I hesitate to throw myself all-in again and make promises of X Story that may leave me spinning my mental wheels or ballooning the plot out into a behemoth that can’t be steered back on course. Even so, here’s a peek at a few ideas I currently have on the brain.

So.

Not exactly lacking for stories. It’s just a matter of seeing which of them breaks ahead of the herd and squeezes out into the publication ether first.

LAST BIT  

Blah, blah, requisite reminder that I have a Ko-Fi where you can donate a buck or commission my best attempt at art, blah. Any pennies are a help.

But I’m betting very few of you came around here for my doodles. Somehow, a good amount of people tripped into this pit with me because you enjoy the rambles and horrors I’ve written over the years. Maybe some of you will even buy my book once it’s out. And you, there, on the other side of the screen—you’re reading this right now. You made it all the way to the bottom of this pile of exposition just because you wanted to. So, thank you.

Thank you for reading this far. Thank you for reading before and reading what’s to come. Thank you for giving me the confidence to even consider shouldering my own work out into the wider world.

Thank you.

P.S. If you want to re-read the preview, go here!

[whompthatsucker1981]

real actual nonhostile question with a preamble: i think a lot of artists consider NN-generated images as an existential threat to their ability to use art as a tool to survive under capitalism, and it's frequently kind of disheartening to think about what this is going to do to artists who rely on commissions / freelance storyboarding / etc. i don't really care whether or not nn-generated images are "true art" because like, that's not really important or worth pursuing as a philosophical question, but i also don't understand how (under capitalism) the rise of it is anything except a bleak portent for the future of artists

thanks for asking! i feel like it's good addressing the idea of the existential threat, the fears and feelings that artists have as to being replaced are real, but personally i am cynical as to the extent that people make it out to be a threat. and also i wanna say my piece in defense of discussions about art and meaning.

the threat of automation, and implementation of technologies that make certain jobs obsolete is not something new at all in labor history and in art labor history. industrial printing, stock photography, art assets, cgi, digital art programs, etc, are all technologies that have cut down on the number of art jobs that weren't something you could cut corners and labor off at one point. so why do neural networks feel like more of a threat? one thing is that they do what the metaphorical "make an image" button that has been used countless times in arguments on digital art programs does, so if the fake button that was made up to win an argument on the validity of digital art exists, then what will become of digital art? so people panic.

but i think that we need to be realistic as to what neural net image generation does. no matter how insanely huge the data pool they pull from is, the medium is, in the simplest terms, limited as to the arrangement of pixels that are statistically likely to be together given certain keywords, and we only recognize the output as symbols because of pattern recognition. a neural net doesn't know about gestalt, visual appeal, continuity, form, composition, etc. there are whole areas of the art industry that ai art serves especially badly, like sequential arts, scientific illustration, drafting, graphic design, etc. and regardless, neural nets are tools. they need human oversight to work, and to deal with the products generated. and because of the medium's limitations and inherent jankiness, it's less work to hire a human professional to just do a full job than to try and wrangle a neural net.

as to the areas of the art industry that are at risk of losing job opportunities to ai like freelance illustration and concept art, they are seen as replaceable to an industry that already overworks, underpays, and treats them as disposable. with or without ai, artists work in precarized conditions without protections of organized labor, even moreso in case of freelancers. the fault is not of ai in itself, but in how it's yielded as a tool by capital to threaten workers. the current entertainment industry strikes are in part because of this, and if the new wga contract says anything, it's that a favorable outcome is possible. pressure capital to let go of the tools and question everyone who proposes increased copyright enforcement as the solution. intellectual property serves capital and not the working artist.

however, automation and ai implementation is not unique to the art industry. service jobs, manufacturing workers and many others are also at risk at losing out jobs to further automation due to capital's interest in maximizing profits at the cost of human lives, but you don't see as much online outrage because they are seen as unskilled and uncreative. the artist is seen as having a prestige position in society, if creativity is what makes us human, the artist symbolizes this belief - so if automation comes for the artist then people feel like all is lost. but art is an industry like any other and artists are not of more intrinsic value than any manual laborer. the prestige position of artist also makes artists act against class interest by cooperating with corporations and promoting ip law (which is a bad thing. take the shitshow of the music industry for example), and artists feel owed upward social mobility for the perceived merits of creativity and artistic genius.

as an artist and a marxist i say we need to exercise thinking about art, meaning and the role of the artist. the average prompt writer churning out big titty thomas kinkade paintings posting on twitter on how human made art will become obsolete doesnt know how to think about art. art isn't about making pretty pictures, but is about communication. the average fanartist underselling their work doesn't know that either. discussions on art and meaning may look circular and frustrating if you come in bad faith, but it's what exercises critical thinking and nuance.

[franki-lew-yo]

Still unemployed

Sorry as always for the open rant you all witnessed two nights back from me. I'm genuinely very stressed about money. In summer and fall 2023 my concern was just trying to make myself noticed somehow, bit-by-bit through social media and gaining a substantial following just to better myself as an artist.

Now, I need any income I've got just to afford my rent and utilities.

To put it into perspective (besides the Ko-fi produced Shelby-fund, which was successfully breached and will be used this coming week on her vet bill) my ssi income's been reduced to 530$ a month while my rent is 760$. My old job supplied at least 300$+ but I don't have any of that coming in now. The stimulus money I was given as a parting gift instead of a final paycheck can't be withdrawn from or transferred to my main bank. I have at least 140$ left on that stimulus just for other expenses like busfair, art supplies, dog and home care.

I'm INCREDIBLY grateful to have my EBT card covering my groceries, my jobcoaches assisting with printing out cardstock for any (eventual) upcoming events or cons and getting me a buspass discount, and of course the backers to my Shelby fund to cover that for the year (much love to Brandon, Misty and Cheatsy on Ko-fi). I will be receiving unemployment soon, though still not enough to cover my rent and utility cost.

But, I need to pay for services on Upwork, Linked In and Vograce, for sensitivity readers and animators and shipping costs for any physical Etsy merchandise, possible venue space for real-life events, professional art prints, computer and tablet maitanance, and that's not even getting to possibly subscribing to sites such as instagram or Facebook. I still have a lot to save up for and do WITHOUT being unemployed.

As a reminder, I need to take commissions especially at this time, both 'quick' ones and more complex pieces.

5$ USD for Sketches (traditional or digital) 

15$-20$ USD for Inked, flat colored art without backgrounds

30$ USD for complete pictures

3$ USD = specific medium (completely digital, colored pencil, ink/watercolors, chalk)

5$ USD = extra characters 

5$ USD = shading/lighting 

10$ USD = Physical shipping of the drawing if it’s traditional

This is also a reminder to please assist and support me however you can via my Ko-Fi, Etsy shop, Redbubble shop and my Patreon.

Thank you, everyone.

[inkwell-alchemy]

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High-Resolution Files: Delivered in print-ready PDF and PNG formats.

✨ HOW IT WORKS: ✨

1. Place Your Order on Etsy: Click "Add to Cart" and complete your purchase.

2. Share Your Vision: After checkout, send us a message with the following details:

Your name, business name, and contact details (for the card)

Logo (if applicable)

Any specific colors, fonts, or styles you prefer

Examples of designs you like (optional)

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✨ WHY CHOOSE US? ✨

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✨ ADDITIONAL INFO: ✨

This service is for DIGITAL FILES ONLY; no physical cards will be shipped.

Additional revisions or expedited service can be added for an extra fee (please contact us before purchasing).

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[velkynkarma]

The book you binded looks so cool!!! I've been meaning to get into book binding as well, especially for One Piece fics and I love the format you did it in with Zoro's logo. How did you edit it? Would you be willing to share tips on how you did it? Did you watch book binding YouTube videos?

Thanks, anon! I'm glad you enjoyed! And I'm absolutely willing to share what I learned!

For the general book-binding, I used a couple book binding how-to videos.

Turning Fanfiction Into the Hardcover Book it Deserves by Jess Less

This one helped with:

How to use an old book cover/used book for the cover of the fanfic (you can also MAKE covers, and she has another video on this as well, but I love the idea of recycling old unwanted books into something new and loved)

The basics for formatting the pages (her bit about adding a compass design for the chapters is what inspired me to use Zoro's flag logo)

How to print and prep the pages/signatures

How to finish putting the whole thing together and add some interesting design elements

I especially liked this video because it's very beginner-friendly and casual, which helped the whole project feel a little less daunting. You can get special tools for book binding (there are kits online) but as shown, it's also simple enough to do with a thumbtack and some corkboard if you're low on cash.

That said, I found the stitch in this video a bit confusing, so I used the stitch from this video instead:

Folding & Sewing - Rounded and Backed Cased Book // Adventures in Bookbinding by DAS Bookbinding

Stitch prep is specifically around 7min in if you just want to skip to that. But the whole thing is an interesting watch too. This is more professional bookbinding and he has a lot of other interesting videos if you want to do some more complex things. However I found this stitch to be very straightforward and easy to follow and assemble, so I ultimately used this one when I put together Seven Deaths.

As for my personal tips and things I learned while doing this project?

Turns out Google Docs is kind of useless for this. You'll want actual word processing software like Microsoft Word. If you don't have the cash to spend on Microsoft's ridiculous subscription policy, you can use LibreOffice which is free (I did, and it works very well).

Fics are way longer on paper than they are digitally. Seven Deaths is 'only' about a 50K fic (less, in fact). But it still makes a 200+ page book. Pic a smaller fic to start with while you figure out everything you want to do.

Do some research on good book fonts for the body of your text. You can get crazy with other things (chapter headers or title pages) but pic something recommended for your text body so it's legible.

To add character symbols (like Zoro's flag) you'll need a transparent copy of it to save as a png. Once you pull it into the word doc you can resize and arrange as needed.

Also look at other "real" books you have lying around for ideas for things to add to your book! I turned an author's note into a "Forward", added an "about the author/publisher" section at the back, put in a table of contents, etc. There's other things I want to experiment with next time. Go wild! Have fun!

Test print a couple pages before printing the full project, just to be sure it's actually the right page size, your font is legible and spaced well, etc. If you don't have a printer and you don't want to pay a print shop for some expensive test pages, try your local library! Many let you use their computers and printers for an extremely low cost.

If you don't have a printer (or not one that can do quality printing for 200+ pages) you'll need to go to a print shop. DON'T bother with places like Staples or OfficeMax. I tried this, but their machines automatically staple "booklets" out of your signatures, which messes up your paper and costs extra for this "service." Instead, track down a local print shop in your area. It's easier to talk to them directly about what you want and the quality is better anyway.

On that note, this is an expensive hobby! Printing for Seven Deaths was about $87USD. The quality was worth it, but definitely do not start if you don't have your own printer or a little bit of spending money.

You do not need as much glue or thread as you think you need. Go less. Waste not.

A lot of the end stages is just...waiting...for...glue...to...dry.

You will inevitably, invariably, mess things up on your first project. I sure did! I underestimated the sharpness of some tools and put holes places I didn't mean to; some things glued in a bit sloppily; I didn't set up my page organization exactly right my table of contents ended up on the left page when I envisioned it on the right. But you know what? It doesn't matter! Because at the end of the day you have a book that YOU MADE. And it's still fucking awesome! And now you've learned some things for next time. Do it anyway and have fun with it!

Happy crafting, anon. I hope you are able to add some personal favorites to your bookshelf soon :)

[tuckerprinting]

Tucker Castleberry Printing

https://www.tuckercastleberry.com/ - This infographic showcases Tucker Castleberry Printing, a company with 75 years of expertise in the printing industry. It highlights their journey from a small letterpress in Atlanta to a modern printing establishment, emphasizing their commitment to owner involvement, service versatility, and long-term client relationships. It also details their range of services and their adaptation to technological advancements, underlining their promise of exceptional service quality and dedication to exceeding client expectations.

[sunlitmcgee]

Say hi to Jex!!!

(sadly it won't really wanna say hi back)

This is a Synth oc I designed with a base created by Gadjil974 over on FurAffinity. Synths are an original species created by Vader-San. I....rlly struggle to draw them, so this base was very very useful in finally being able to visualize her after having her in mind for a while, but not feeling quite ready to start fleshing it out into an actual character until I could pin a design. I'm going to write out the Image ID for this below the cut since it's a lot and I don't think it'll fit in the alt text.

[Image ID: A reference sheet of an anthro robotic snake character standing on a white background. This character has a black screen for a face and 2 horn-like protrusions on the back of its head. She has simply, round, white eyes with slit pupils. There are 3 main images of the character: a front view on the left, a back view on the right, and a headshot with its mouth opened up near the top center right of the sheet. The character is named Jex and is detailed to use she/her or it/its pronouns. It is described to be 6'3 feet tall and 178 pounds in the top right corner. Below this information it also says that it is a Butch Nonbindary Woman and a Bisexual Lesbian.

Jex is mostly dark red with lighter shades on her back, collarbone, tail, and the digits of her fingers/toes. She has 3 fingers and 1 thumb, and 3 toes as well as an additional back facing digit much like you'd find on a bird. It has an off-white underside on her chest and neck which reaches to the space between its thighs. Jex is posed with one of its hands somewhat stretchered out but is otherwise completely still with her head pointed downwards. There are several bright LED spots on Jex's body that are bright red. They include 3 squares on either side of her head, two circles on either shoulder, and 3 squares below them, a set of 3 squares next her inner thigh, and 2 more circles on the front of its thighs on each leg near the hips.

In the top left corner is Jex's color palette on top of a gray square. It uses 2 shades of red, off-white, light gray, black, a very deep shade of blue, and 2 shades of red, with one being much paler than the other.

Below this palette is a list titled "Main Physical Traits: -Soft, shiny hide, especially on the stomach, chest, and between the thighs. -Body is mainly deep crimson with lighter red accents and pale underbelly. -LEDS on head and limbs are red. -Flat chest, wide shoulders, sturdy, lean muscular frame. Very agile, but also very strong!"

In the center of the image under Jex's name a pronouns it says "Approx. 367 years old, but current iteration has only been in service for 37 years."

Below this it reads in smaller print "A highly advanced combat synth designed for mercenary work under the guidance of a remote handler. She has been destroyed and rebuilt many times over her existence, and has been upgraded and rebuilt with the latest bells n' whistles each time."

Below this text slightly further to the right, it continues "Jex behaves with a cold, distant professionalism whenever it is deployed on the job. She is quiet, blunt, closed off and sharp, and is easily annoyed when people try to know it beyond what pertains to its current assignment. Despite her age, Jex does not remember much of her past iterations, and often struggles to fill the time between jobs. She is secretly very awkward and lonely, and craves approval and guidance from her handler(s). She is easily compared to a moody teenager at times."

In the image where Jex's mouth is open, we see that her tongue is segmented. It is darker red at the base and lighter near the tip. Jex's eye is red in this image. Text below it reads "Interior of mouth glows. Eye display turns red when angry or stressed."

To the far right of the image are more pictures of Jex's eyes. They are all red and match the simplified style of the one on its other images. The eye on top is round and wide open, and is labelled "Normal/Calm". The one below is narrowed and slanted, and is labelled "Annoyed/Angry". Below this is an eye that is slanted and rounded with a tear near the bottom that appears to be a part of it. It is labelled "Sad". The last eye is completely closed and is labelled "Squinty". The text below the eyes reads "Eyes are white by default, but turn red during moments of strong emotion".

At the bottom center of the image is credit to Gadjil974 for the original base and Vader-San as the owner of the synth species. [End ID]

[zimmerdouche]

For those interested: Joe Murray, creator of Rocko's Modern Life and Camp Lazlo, has released his 2010 book "Creating Animated Cartoons with Character: A Guide to Developing and Producing Your Own Series for TV, Web or Film" as a FREE eBook download on his website! It can be found here: https://joemurraystudio.com/books-by-joe-murray/

It is a straight download - no info input required, Murray simply asks you make a donation to a food bank or otherwise pay it forward. This book is since out of print and sells for astronomical prices online so for people (especially like me!) interested in animated TV development this is an AMAZING resource!

Here is the full page blurb for the download copied directly from Murray's site:

This book is one creators approach to creating and producing an animated series. Packed with details and lessons learned from producing Rocko’s Modern Life and Camp Lazlo, along with many side anecdotes. Also included are interviews with the late Stephen Hillenburg (Spongebob) Craig McCracken ( Powerpuff girls) Tom Kenny ( voice of Spongebob and Heffer), and many more professionals discussing their craft. The book has since gone out of print, and many resellers are taking advantage of a wanting audience by selling copies at an immense profit. I have received many letters from those who cannot afford these prices and feel they could benefit from the information here. Even though some of the streaming and broadcast information are a bit out of date,( and Lets Go Luna is not included here) much of the info is still relevant. So I am offering a digital copy for you as a free download. As payment, maybe you can donate to a food bank, or simply pay it forward somehow. I am working on a new book about story and character for animation. We will see how it goes. I hope this book can be of service to you. Enjoy!