Desktop Publishing Books

Great for anyone who wants a "hands-on" guide to the mechanics of scanning & printing. Lots of comparison charts to show different techniques, loads of explination of those hard to grasp subjects. Brilliant worked tables. Well worth the money! :O)

Rather than being one of those dry technical manuals, this book is very funny and easy to read. It is also very informative. The book has helped me meet my scanning needs. I hope that the author continues to write a series of books on computer peripheral equipment.

As someone who has been handed an existing Dreamweaver website to administer, I found this book to be extremely useful. Knowing nothing about the software, I was able to reference the book to quickly fix problems and carry out updates. To really use Dreamweaver a proper tutorial would be required, which this is not. It's targeted at those who need to work with Dreamweaver without a great deal of background knowledge and succeeds 100%.

El Frontpage es bastante facil de manejar si ya se sabe usar Word, pero este libro ayuda mucho en todas las herramientas que tiene para organizacion de la construccion del sitio web. Antes todas las paginas salian iguales, pero siguiendo los pasos de este libro aprendes a corregir todos esos pequeños detalles que hacen que un sitio lusca profesional.

This book starts with a criteria table and walks you through a project from beginning to end, creating spaces, space styles, analyzing adjacencies, creating areas, area reports. Using Space Boundaries and then converting them to walls. Developing the floor plan, creating the reflected ceiling plan, and furnishing the spaces, ending with 2D and 3D elevations.

Along the way, you learn how to manage displays, create custom tags and schedules, set up your system to do just space planning work, create layouts and documentation.

Many of the tools in this book aren't discussed anywhere else - not even in Autodesk's Knowledge Base. The perfect book to help you understand how to use ADT for space planning, great for the classroom or the office. (No tests in this book - just lots of step by step tutorials with plenty of screen shots.) No prior knowledge of ADT is assumed. Experience with AutoCAD is preferred.

Illustrated with black-and-white photographs and samples of typefounding, Stephenson Blake: The Last Of The Old English Typefounders is the biography of a man whose family business dominated the British typefounding industry throughout most of the 19th Century - until the late 1880's, when mechanical typesetting systems spelled the doom of the typefounding industry. A detailed history and chronology of the rise and fall of a powerful and influential business carefully researched and very nicely presented by Roy Millington (who draws from his lifetime involvement with Stephenson, Blake & Company, Limited where for more than 30 years he served as the company's honorary archivist and librarian), Stephenson Blake is a unique and very welcome contribution to Publishing History archives and reference collections.

This is a fantastic book. It was very easy to read. It seemed as though the author could read my mind. The strategies in this book have helped me to manage my fears and anxiety about social situations and other unrealistic fears. It has helped me manage my time better and thus eliminate negative stress. With this book and a strong desire to change, I am no longer depressed or suffering from sleep problems. The book defines the different kinds of stress. Then it talks about stress and helps you to understand what causes negative stress. Then it teaches you strategies to manage stress, anxiety, and fear.

I loved this book. I loved it so much I stole it from our lead software engineer. He has no idea where it is, and there is no way I am ever giving it back. HA! TAKE THAT!

"As exciting as watching paint dry" is proverbial. If watching paint dry does not excite you, how about watching typesetters set type competitively? Before you start yawning, realize that there were racers who set type, just as now there are racers who bicycle, and crowds paid to watch them and cheered and bet on the outcome. There must have been something not-so-dull about the contests, and there is nothing dull about _The Swifts: Printers in the Age of Typesetting Races_ (University of Virginia Press) by Walker Rumble. Partly this is because of his strange subject; the Swifts were the typesetters who were so good at their craft they could race against others, and they were colorful characters involved in an eccentric sport. Also, Rumble, a historian who has worked as a printer, has included a great deal about printing technology, printing unions, and the place of women in the trade.

Typesetting was the last printing task to be given over to machines. It was the working realm of the fellows called "typos" or "comps" (compositors). The really fast typos were the Swifts, who picked out letters from cases, set them into their sticks, justified, put in hyphens, and so on at an unbelievably fast pace, their pistonlike arms going back and forth more than once a second. There were shop races for beers, and in 1886 there was a series of highly publicized typesetting races. They did not happen on the shopfloors where the typographers customarily worked, but in the public arenas known as "dime museums," where the competition would be one of a number of attractions including animal displays and stage shows. Challenges were extended, and appreciative crowds wondered at the capacity of the Swifts to bring down type into comprehensible lines. Cash prizes could be $1,000 (when a top compositor made $30 a week). The promoter who had been responsible for P. T. Barnum's celebrated Jumbo the Elephant offered to put the competing Swifts on tour, and to Chicago, Boston, and other cities the competition traveled, often with a hometown champion thrown into the fray. Victors could endorse products, like the types forged by a particular firm. One of them performed a specialty piece where he composed with the upper and lower cases reversed, and then he composed blindfolded, and then he composed with the reversal and the blindfold in place. The crowds loved it.

It was a short-lived sport. Part of the problem was that after the competition in Boston, there was a novelty added after the men had raced: women typesetters. That would not have been so bad, but the women were faster than the men. The men sniffed that "as much latitude was allowed the ladies in the matter of time and proofs, their scores cannot take rank as genuine records." However, there isn't any evidence that the women had special latitude given at all. But of course the big problem was not that the men were being shown up by women. The year of 1886 was not only the one for the typesetting race frenzy, it was the year that the _New York Tribune_ inaugurated its brand-new Linotype composing machines. The machines, dirty, noisy, and laborious to operate, knocked women out of the typesetting business, to be sure, but they knocked the Swifts out as well. A linotype operator was supposed to live a clean life, he was stuck to his machine and could not travel from one workplace to another, and he could be expected to average a rate more than twice the speed of the fastest Swift. As one of the champions remarked in 1895, "The glory of the composing room is gone forever, and soon will be but a reminiscence..." It was not even a reminiscence, with hot metal Linotypes themselves eventually giving way to phototypesetting and digital typography, until Walker Rumble reminded us of it in this surprising and detailed examination of a strange facet of American history.

This book is fabulous. It explains everything clearly and simply. I wish I had known about it sooner.