Handbook of Digital Publishing, Volume I, The

Description

• Copyright 2001
• Dimensions: S
• Pages: 640
• Edition: 1st

• Book
• ISBN-10: 0-13-017545-5
• ISBN-13: 978-0-13-017545-8

• The definitive guide to digital publishing
• Typography, page design, creation, and DTP workflows
• Practical and easy to understand, with hundreds of illustrations
• Digital imaging, PostScript, PDF, and much more
• By one of the world's foremost authorities on digital publishing

First in a 2-volume set

Volume II: Color management, digital workflow, multimedia/new media, and Web publishing

The definitive digital publishing resource, by the world's foremost authority!

The digital publishing industry finally has a single, up-to-date source for authoritative information on every aspect of digital publishing: techniques, technologies, media, workflow, and beyond! In this, the first of a two-volume set, the world's leading authority on digital publishing offers powerful insight into everything from typography to page layout and design, digital imaging to database publishing. Crystal-clear and packed with hundreds of illustrations, Michael Kleper's The Handbook of Digital Publishing, Volume I covers all this, and more:

• Typographic methods and procedures: fundamental concepts, rules of thumb, formats, and key desktop typography issues
• Effective design and layout: for the page, and for the screen
• Digital image creation, capture, processing and use: making the most of digital cameras, scanners, and other image sources
• Page creation: desktop publishing, word processing, composition, indexing, and more
• PostScript and PDF: the art and science of creating electronic files

From DTP workflow to database publishing, The Handbook of Digital Publishing, Volume I covers today's most critical digital publishing issues with unprecedented breadth and depth. Whatever your role in publishing, whatever media and tools you use, it's the most valuable reference and "how-to" tutorial you can own. Finally, this valuable resource offers thorough details on all sources.

Also look for The Handbook of Digital Publishing, Volume II, covering color management, digital workflow, multimedia/new media, and Web publishing.



Sample Content

Downloadable Sample Chapter

Click here for a sample chapter for this book: 0130175455.pdf

Table of Contents

I. TYPOGRAPHIC METHODS AND PROCEDURES.

1. Type and Typography.

Typewritten versus Typeset. The Typewritten Legacy: The Typewriter as a Typesetter. The Typewritten Legacy: Why Typeset? Typography: The Art of Typesetting. Point Size. Em Measurement. Relative Units. Typography: Typographic Measurement. Pica Units. Line Measurement. The Size of a Word. Em Measurement. Typography: The Use of Space. Justification. Typography: The Typographic Basics. Line Length. Character Size. Typeface. Interline Spacing. Basic Parameters. Typographic Details. Typeface Geometry. Typographic Lines of Reference. Single Typeface Variations. The Extended Character Set. Typeface Classification. Serif versus Sans Serif. Roman. Blackletter. Old Style. Modern. Square Serifs. Sans Serif. Scripts and Cursives. Decorative and Display. Typeface Recognition. Making Type Easier to Read. The Legibility of Print. The Measurement of Work. Eye Movements. Block Outlines. Character Differentiation. Character Shapes. Type Size. Type Weight. Typographic Guidelines.

2. Typographic Procedures, Rules, and Niceties.

Typographic Treatments and Methods. Accents. Alternate Characters. Ampersand. Anamorphic Reshaping. Backgrounds. Blackletter. Boldface. Book Typography. Book Page Elements. Borders. Boxed Text. Boxes. Brackets. Bullets. Business Forms. Capitals. Character Complement. Closed or Open Dashes. Column Headings. Compaction. Custom Typography. The Dash Family. Dingbat. Drop Caps and Other Paragraph Initials (see also Initials). Ellipses. Figures. Finial. Fixed Spaces. Footnotes. Fractions. Gutter. House Style. Hung Punctuation. Hyphenation. Initials. Kerning. Leaders. Legal Considerations. Letterspacing. Ligatures. Line Length. Line Spacing. Margins. Mark-up. Mark-up Shorthand. Monospaced Font. Optical Spacing. Ordinals. Page Elements. Paragraph Construction. Pi Characters. Picture Credits. Picture Font. Pointer. Primes. Primitive Shapes and Enclosures. Proof Marks. Proofreading Copy for Errors. Proper Name Prefixes Set in All Caps. Punctuation. Quotation Marks. Random Fonts. Reverse Type. Roman Numerals. Runaround. Small Caps. Spacing Considerations. Spacing In. Spacing Out. Superior/Inferior Characters. Swash. Table Construction. Typographic Variation. Uncials. Underline. Word Spacing. Copyfitting. Traditional Typesetting. Using Character Count Information. Copyfitting and the Desktop Publisher. Determining Characters per Pica Counts. Guidelines for Good Typographic Judgment. The Selection of Type. Everything in Moderation. Special Effects Typography.

3. Type on the Desktop.

PostScript. TrueType. Visual TrueType. PostScript and TrueType. Bitmap Fonts. Hinting. QuickDraw GX. Macintosh Font Management. Windows Font Management. Font-Conversion Issues. The Panose System. Font Conversions. Differences in Keyboard Layout. The Fonts That Are Resident in the Output Device. Fonts That Are Not Burned in ROM. What Distinguishes a Low-cost Font from a High-priced Font? Multiple Masters. Type on the Screen: Fonts Designed, Selected, or Modified Specifically for Use on the Web. Pictures of Type on the Screen. Type in Motion. Embedded Type. TrueDoc. OpenType. Font and Style Specification from within HTML. Unicode. SGML. XML.

II. DESIGN AND LAYOUT FOR PAGE AND SCREEN.

4. Beginning with the Page.

What Is the Purpose of Page Design? The Page as a Physical Entity. On the Web. Destination: The Page. Know Your Browser. Anticipating Difference. What We've Learned about Page Construction. The Elements of a Page. Text. Photographs. Defining the Page. The Grid. Master Pages. Style Sheets. Tagging. Templates. Style Manual. Infographics. Glance Box. Charts on the Web. Maps. Infographic Production Steps. Look and Feel. Digital Asset Management. Where Do All of the Files Come From? How Can Digital Assets Be Managed? Why Is This So Important? Digital Brand Building. Ethics. Identification. Policy.

5. Page Design—Destination: Paper or Screen.

From On-the-Desktop to On-the-Web. Web Site Design Considerations. What Makes Web Site Visitors Come Back? Content Is the Number One Attraction. Visitors Look for Signs of Life. Basic Web Design Criteria. Designing for the Screen. From the Framework to the Screen Geometry. Determining What the Site Visitor Sees First. Designing an Efficient Web Site. Information Design. Definition. Information Seeking. Location and Access. Use of Information. Synthesis. Evaluation. Content. Text. Graphics. Consumption. From Print to Print. Selected Assets.

III. DIGITAL IMAGE CREATION, CAPTURE, AND USE.

6. Digital Photography.

Digital Photography without a Digital Camera. Picture Networks. PictraNet Publish and Share. PictureMall. ActiveShare eCircles. Gatherround. Photohighway. PhotoNet. Photographic Simplicity. Silicon versus Silver. The Ultimate Use Should Determine the Initial Characteristics. How a Digital Camera Works. The Recording/Compression Process. Recording Formats. Light Sensitivity. Removable Storage. The Digital Camera, Piece by Piece. The Lens. The Image Capture Element. The Flash. The Body. The Viewing System. The Function Display Panel. The Color LCD Display. The Shutter Button. The Port(s). The AC Power Jack. Storage. Indicator Lights. Internal Power. The Support Software. Stock Digital Photography (Wherein Someone Else Took the Picture). Digital Advantages. Digital Disadvantages. Moving Images Out of the Camera. From Camera to Computer. The Television View. Direct to Print. Direct to Tape. Telecommunications. Wireless Communication. From Storage Media to Another Device. The In-Camera Operating System. Photographic Printing. Photo-Quality and Near-Photo-Quality Printers. Printer Evaluation. Digital Photography and the Ethics of Image Manipulation. Image Integrity. Digital Watermarking. Image Fingerprinting. Secure Digital Content Server.

7. Scanning Technology.

Dynamic Range (Density Range). Maximum Optical Resolution. Noise. Calibration. Scanning Basics: Beginning with the Pixel. Scanning Line Art. Scanning Grayscale for Halftone Reproduction. Scanning Color Images. The Scanning Process. Photo CD.

8. Prefabricated Files for Digital Media Production.

Stock Photography on CD-ROM. The Photographic Imperative. Digital Clip Art versus Digital Photographs. The Advantages of Stock Digitized Photographs. The Publisher's Investment. PhotoDisc. Licensing Rights and Responsibilities. Stock Photography on the Web. From Photo to Clip Art. Digital Clip Art on CD-ROM. Once Formed, Many Times Reformed. Finding What You Need—When You Need It. Electronic Delivery Systems. Image Manipulation. Removing the Obvious. Bringing the Picture into Range. Converting to Another Format. Modifying the Image to Suit a Particular Purpose. Digital Image Management.

IV. ADOBE POSTSCRIPT AND THE PORTABLE DOCUMENT FORMAT (PDF).

9. Adobe PostScript.

The PostScript Graphic Arts Model. How PostScript Attains Output-Device Independence. Writing Simple PostScript Notation. Creating PostScript Files. PostScript Output. PostScript Level 2. PostScript 3. PostScript Extreme (formerly Supra). Late Binding. Native PDF Creation and Processing. Workflow Options. Defining Elements.

10. Adobe PDF: Portable Document Format.

Adobe Acrobat. Paper. PDF (Portable Document Format). PDF Generation. Acrobat Distiller. Acrobat Messenger Software. PDF Source Files. Image Files. Acrobat 4.0 (PDF Version 1.3). Specialized Editorial Tools. Custom Navigation. Links. Bookmarks. Thumbnails. Articles. Destinations. Buttons. Page Manipulations. Security. Digital Signatures. Password Protection. Third-Party Security Solutions. Forms. Acrobat Catalog. Adobe Capture. Web Capture. Multimedia Components. Page Actions. Movies. Sounds. Embedded Fonts. File Size. Acrobat and the Web. Acrobat and E-mail. Acrobat and On-line Services. Acrobat and Graphic Arts Applications. Preflighting PDF. PDFs in Action. Other Portable Digital-Document Applications. The PDF File Structure.

11. High-Resolution Fonts for PostScript Output Devices.

The Fontographer Environment. Using Fontographer.

V. PAGE CREATION FOR PRINT, ELECTRONIC DOCUMENTS, AND THE WEB.

12. Desktop Publishing.

Desktop Publishing Uses. Roots in the Graphic Arts. Benefit One. Benefit Two. Benefit Three. Keyboarding and the Typesetting Process. A Brief History of the Keyboard. The First Typesetting Keyboard. The Typewriter and the Typesetter. Typesetting by Typewriter. TTS and the Typewriter Keyboard Layout. Phototypesetting Machine Development. The Typist and the Early Phototypesetter. Alternate Keyboard Layouts. The Dvorak Keyboard. The Research. The Dvorak Patent. The Dvorak Standard. The Mouse.

13. The Advent of Word Processing.

The Effect of Word Processing on Typesetting. Word-Processing Input. The Author: Originator of Typesetting Input. Pushing the Code Upstream. Typesetting by Word Processor. Moving with the Digital Workflow. Assuming a New Form.

14. Typographic Composition.

Mark-up. Mark-up Shorthand. Mark-up for Color. House Style. Keyboard Mapping. Proofreading Copy for Errors. What Is the Purpose of Proofreading? Who Performs Proofreading? Proofreading Techniques and Tips. Spelling and Grammar Checkers. Readability. What Does Readability Measure? Language Translation. Voice Input Technology. Why Is the Use of Voice Helpful? Practical Applications. Optical Character Recognition. History. OCR and Word Processing. The Basics of OCR. What OCR Can't Read. OCR and Database Publishing. OCR as a Natural Form of Input. Handwriting Recognition.

15. Desktop Publishing Skills and Careers.

Desktop Publishing as a Career. A Recognized Career Area. Publishing Trends. The Digital Publishing Professional. The Early Market. National Skill Standards. Basic Skills Are at the Core. The Standards for Major Imaging Work Areas. Standards for Major Work Areas in Imaging: Job Engineering. Standards for Major Work Areas in Imaging: Image Acquisition. Standards for Major Work Areas in Imaging: Assembly. Standards for Major Work Areas in Imaging: Output. Standards for Major Work Areas in Imaging: Technical Services. What Every Digital Publishing Expert Needs to Know. Preparing Pages for Reproduction. Electronic Prepress. The Digital Publishing Production Cycle.

16. The Page-Creation Production Workflow.

Page Construction. Bringing Page Elements into the Page Construction Environment. Handling Graphics. Creating Page Elements within the Page Construction Environment. Text Handling. Desktop Setup. The Menu Bar. Keyboard Shortcuts. Scripting. Macros. Palettes. The Tool Box. Measurements. Composition Attributes. The Assignment of Styles. Text Line Orientation. Character Fit. Line-Packing Functions. Document Structure. Page Size. Page Spreads. Orientation. Margins. Page Numbering. Page Order. Indexing. Table of Contents. Long Documents. Automatic Layout Adjustment. Graphic Primitives. Table Composition. Page-Element Operations. Color. Layers. Templates. Master Pages. Additions, Extensions, and Plug-ins. Platform Considerations. End Products. Printing. File Export. Damaged Files.

17. Indexing and Index Generation.

What Is an Index? An Index versus a Search. An Index versus a Table of Contents. How an Index Can Benefit a Reader. Computer Processing of Index Entries. Stand-alone or Dedicated. Embedded Indexing. Tagging. Keywording. Automated Indexing. Professional Indexing Tools. Indexing the Web. Indexing Careers and Career Information.

18. Database Publishing.

Why Use a Database? Creating the Database. The Elements of a Database. Database File Construction. The Database Application. Creating a New Layout. Entering Data. Finding Data. Ordering Data. Previewing a Finished Report. Publishing the Data. Tagged Data. Tagging Data. Importing the Tagged Data. Intermediary Solutions: Middleware. Scripting. Data Merging.

19. Specialized Forms of Publication.

Display Advertising Typography. Wizard-Driven Publication Materials. Mathematical, Scientific, and Scholarly Composition. Simplifying the TeX Input Process. Math Setting. Mathematical Computation and Composition. Business Forms for Print, Electronic, and Web Distribution. Processing Documents That Are Lengthy and Complex. Producing Large Format Output.

20. Sight, Navigation, Movement, and Feedback.

Large-Screen Monitor Characteristics. Color Monitors. Screen Size. Digital and Analog Controls. Monitor Adjustments. Monitor Design Technology. Ergonomics. Special Accommodations. Video Cards. LCD Monitors.

Appendix A: Vendor Listing.
Appendix B: Trade Associations, Professional Organizations, and Industry Groups.
Bibliography.
Index.

Preface

Introduction

In the history of human communication, there has never before been a time when the expression of thoughts and ideas has been as easily recorded and shared. The process of creating, composing, and publishing all forms of written, visual and audible expression has been simplified, and reduced to skills that can be executed using personal computers, and other digital devices, and readily available software.

The desktop publishing revolution of the mid-1980s has evolved beyond the printed page to include all forms of publishing. Digital publishing, which involves the use of digital methods to create, produce, assemble, and deliver sophisticated still, motion, and interactive products, has revolutionized centuries-old technologies, such as printing; redefined more modern technologies, such as filmmaking; and helped to create the new publishing-related technologies associated with the Internet.

Among the most significant consequences of the technology that has developed in support of digital publishing is the empowerment of the individual to control all, or most, of the process. Digital publishing technology lets an author design and produce his or her own book, a filmmaker edit and produce his or her own movie, a businessperson design and launch his or her own Web site, and so on. In each case the content creator can utilize digital tools to produce all or part of their end product.

The revolution that is represented by the many forms of digital publishing technology is open to virtually everyone. It serves the creative expression of thoughts and ideas ranging from a schoolchild doing a report on the work of Gregor Mendel, to a Hollywood director producing a high-tech blockbuster movie. Digital publishing provides the potential for publishing anything, at anytime, anywhere, by anyone.

Information Overload

Digital publishing tools and methods are an effective solution for dealing with the glut of data that confront virtually everyone. News titan Ted Turner has observed that "a weekday edition of The New York Times has more information than one person in the 17th century was exposed to in an entire lifetime." Today, workers in the United States receive an average of 190 messages each day, from e-mail, voice mail, interoffice mail, postal mail, and fax. In addition, the literature in science and technology is doubled approximately every six to twelve years, depending on the specific subject area. The barrage of information is constant, and accelerating, and its ultimate usefulness will be determined on how it is packaged and delivered to those who need it.

In the summer of 2000, the amount of data available through the World Wide Web was estimated to be 100 terabytes (1 terabyte = 1012). At about the same time, the total amount of on-line data (on mainframes, servers, and client workstations) was estimated to be approximately 1,000 petabytes (1 petabyte = 1015). Off-line data, in the form of tapes, CDs, DVDs, diskettes, and other forms of removable storage were estimated at 20 exabytes (1 exabyte = 1018). Yet, despite these impressively huge figures, they are small in comparison to the amount of data contained in the analog content of books, newspapers, photos, videos, microfilm, faxes, etc., which is estimated to be equivalent to 300 exabytes. Analysts predict, however, that by 2006 "on-line digital content will outpace analog content." In other words, the trend is definitely digital, and rightly so, since digital storage provides faster and more accurate access and retrieval, easier manipulation and transmission, and more flexible workflow and output alternatives.

The digital publishing process begins with the generation of information content. Content creation, from any source, can be used to produce a variety of products and information on-demand services. These products and services satisfy the particular needs of those who have messages to send, such as advertisers; and those who seek information, such as knowledge workers. The digital publishing process addresses these needs through the production of printed and electronic products that are produced in anticipation of a need, such as a mass-produced book; are personalized, such as a one-to-one marketing piece; or are provided as on-line services, such as databases, from which users can pull the information that they need.

Digital publishers contribute an essential service by taking data and information, and processing it into higher levels of knowledge. This is accomplished through logical organization, the application of aesthetics and good design, and the production of one or more forms of use-appropriate media.

Publishing Agility

Perhaps the most significant feature of the digital publishing process is its innate flexibility. A digitally stored publication, produced initially for whatever form of output, can, in all probability, be reformulated for publication in another form, and through another mode of delivery (Figure Intro.2). One of the most common examples of this phenomenon is printed matter that is reworked, or "repurposed," for the World Wide Web. There are countless newspapers, magazines, newsletters, and other periodicals that publish their issues simultaneously on paper and on the Internet in a process called cross media publishing.

From the earliest examples of handwriting and graphic expression, preserved on papyrus, parchment, vellum, and paper, the fundamental purpose of making records has been to safeguard information, preserve memory, and to share it with others. The use of a portable medium, like paper, continues to provide a way for messages to be transported easily from place to place, and to be copied, annotated, filed, or even destroyed when necessary. Despite the profusion of digital delivery and viewing methods, paper will remain a strong contender.

Mechanized printing and graphic reproduction processes have made it possible to quickly and cheaply produce many copies of a single message, or more recently, with advances in print on-demand technology, to print single copies of many messages, with the potential to personalize each one for a specific recipient. In either case, the characteristic that opens the universe of publishing alternatives, is the initial creation of a digital master. A digital original has the potential to take forms that can be expressed in either printed or digital form, and move from one form to another throughout the life of the information content.

Digital Publishing 101: Basic Lessons

The publishing process has undergone a series of radical changes brought on by the availability of low-cost personal computers, versatile page layout software, and professional-quality output produced by affordable desktop printers. These significant developments have forever changed the processes and procedures comprising the activity of publishing. Among the basic lessons to be learned about the new age of digital publishing are:

• Software is never purchased once—it is purchased again and again in the form of software updates, upgrades, and revisions. Software is a work in progress, which, when it reaches version 1.0 level, is offered for sale. The development process continues; however, to rid the software of bugs, expand its compatibility with complimentary applications, further accommodate the host operating system (and perhaps support additional operating systems), and, most important, to add new features. Users are willing to pay for new features to reduce the time and effort required to generate output, to advance and enhance their production capabilities, and in some cases, to remain compatible with their customers and colleagues. Although it is often more comfortable, and less expensive, to remain with a familiar version of a software product, to do so is usually shortsighted, and potentially damaging from a business and productivity perspective.
• Software usually takes on a life of its own. The upgrade cycles of most applications run, on average, from six to twelve months. This means that users must take the time to upgrade their systems and learn new software capabilities on a routine basis.
• The software developer community is large and broad-based. Although the market is dominated by several software heavyweights, such as Adobe and Macromedia, there are also countless small companies, even one-person companies, which produce and market valuable applications. Many of the niche market solutions come from small companies that are formed to sell and support applications that they have developed to address their own company-specific needs. They recognize that their software solution is likely to have general applicability.
• Hardware is a consumable that is likely to be obsolesced by new technology long before it wears out or fails to perform properly. The rapid advances in hardware technology have provided increasingly more powerful machines at lower cost, which has served to hasten replacement cycles. Replacing, setting-up, and maintaining one or more complex computer systems is a time-consuming and technically challenging job. In addition, powerful, yet affordable, computers, such as the Apple iMac (which is uniquely user-friendly), which are classified as consumer computers, have been used successfully in a variety of commercial publishing applications.
• Add to the whirlpool of activity in hardware and software design the element of confusion that exists regarding the implementation of standards, and the general acceptance of popular file formats. There are literally hundreds of text and graphic file formats in use, which serve to unnecessarily complicate the exchange process between customer and service provider.
• New system capabilities, new technologies, new forms of media, new methods of distribution, and other innovations compete for mindshare. How does one assess what is most important? How does one know which innovations will survive in the marketplace? How can one determine how new technologies can work with those that are already in place?
• Despite the years of acrimony between advocates for the Macintosh and PC platforms, and the lack of native compatibility between them, they continue to exist as separate, though non-exclusive, environments. A Macintosh computer can read and open many PC file formats directly. Those that it can't read, can be translated using commercial software applications. A PC can read some Macintosh files that have been saved on a PC-formatted disk. Software solutions are available so that PCs can read Macintosh disks directly, and to translate files between the platforms. Many applications, such as Microsoft Word and QuarkXPress, are available for both platforms, and support direct access to files that originate on the foreign system.
• Today, there are heightened expectations regarding the appearance of printed and displayed materials. The prevalence of graphic-based computers, page layout and design software, and high-resolution desktop printers, has provided the average computer user with tools that can produce professional-looking output. This has lead to the decline of plain-looking materials and typewriter-like output. This is not to suggest that everyone can produce graphic arts quality materials—only that the potential to do so exists.
• The general availability of low-cost desktop and Web publishing technology has put powerful publishing capabilities into the hands of literally anyone who wants it. A logical and predictable consequence of such widespread access would be the emergence of a new golden age of authors, supported by the easy capture of thoughts and ideas through powerful word processing and publishing applications, voice input, and digital transcription. Although services such as Fatbrain (www.mightywords.com) and iUniverse (www.iuniverse.com) make it exceedingly easy to self-publish, as yet there hasn't been another Shakespeare, Whitman, or Hemingway.
• Just as the finest oil paints, brushes and canvas don't ensure the production of an artistic masterpiece, so it is with publishing software. This observation is often expressed as "content is king." A publishing project is basically composed of two parts: form and content. A successful publishing project must have quality form and quality content.
• Digital publishing advances the reach of desktop publishing, which, by definition, is a process that serves to produce a single unit of a publication. That single, reader-ready original, or digital file, then generally enters a mass reproduction system, producing copies for distribution. The publishing process, however, must include both the creation of a publication and its distribution to a readership. Publishing is, after all, the process of preparing and issuing printed or displayed material for public distribution or announcement, often in exchange for money. A message that is not distributed or made known to the public is not published. Desktop publishing addresses the first part of the publishing process, the creation; digital publishing can address both the creation and distribution.
• Everyone can be a publisher. The general availability of low-cost and easy-to-use publishing tools has served to extend professional capabilities back to the origin of the creative content: the author. It is not uncommon for an author to both write a book and compose it, and to provide the publisher with a complete work that is ready for publication.
• Some aspects of the publishing process have been deskilled. The traditional fund of specialized knowledge, training, and experience is not always required to execute some publishing processes that previously required skilled labor. This is partially a consequence of advances in software engineering, with an emphasis on user interface design, and also the exercise of a strategic business objective to simplify software for the consumer market. This inherent capability to generate output that is aesthetically pleasing can be seen in the publishing capabilities of many applications, such as Intuit's Quicken 2000. This program provides professional-looking printed output, independent of the design skills of the user.
• The publishing process has become portable, and, therefore, place independent. Laptop computers and other digital devices have freed digital publishers from the need to work directly in a physical location within the editorial, creative, or production environment.
• When a publication is stripped of its presentation container, what is left is information content. It is information that publishers provide. Digital publishing tools and methods provide the means to package information in a wide variety of forms, and deliver it through a variety of channels.
• Information is not only power, it is wealth. Today, more than ever, the need to know can be satisfied, and the thirst for knowledge can be quenched. An individual can acquire, store and access a personal library or information cache that addresses virtually all of their professional or personal needs. Through the acquisition of digitally stored data on CD/DVD-ROM, access to Web-based information sources (both free and for-pay), and subscriptions to print-based and on-line services, virtually any information can be had. In consideration of the rate of technological advancement, it is now within the realm of possibility to store and access an entire library or bookstore on a single compact, portable digital device.
• The Internet has provided the missing element of the desktop publishing process, namely distribution. Desktop publishing, in its classic definition, refers to a single individual controlling the entire publishing process, from the generation of content to the assembly of fully composed pages. Prior to the availability of Internet access, the desktop publisher was limited in the ways in which he or she could distribute their publication. The Internet, through several Web-based technologies, has truly democratized the publishing process by making it possible for anyone to reach a worldwide audience.
• The capability to digitize virtually all of the elements that have traditionally defined the publishing process, has made it possible to extend the reach of a digital publisher to every corner of the planet. Digitization reduces each and every word, image, sound, animation, and movie to its lowest common denominator: a series of digital ones and zeros. These strings of digital codes can be recorded on media, or delivered anywhere that there is an Internet connection, or network conduit.
• The definition of a book, and other forms of traditionally published materials, has changed. A book can be totally electronic (e-Book), or be paper-based with an accompanying CD-ROM, or a hybrid composed of a traditional book with a supporting Web site, or a CD-ROM-based book with links to additional content on the Web, or a variety of paper, physical media, and on-line content.
• The results of a Harris Interactive poll, released in February, 2000, showed that more than half of the households in the United States own a personal computer, and that nine out of ten of those devices are connected to the Internet. These statistics are impressive, and suggest that for the first time in history, a majority of individuals in a society have the tools, and the potential, to express themselves through some form of digital publishing. Do-it-yourself publishing offers users new tools to produce creative content, and new channels to make it accessible to others.

Professional Growth and Development

You probably bought this book with the belief that it would contain information that is valuable either to your education or to your career. If you have been employed for any amount of time you know that learning continues as a lifelong process, taking a number of forms. The rate at which technology is moving, and information is being generated, makes the process of personal learning a high priority for everyone. In order to assist you with that process, a companion Web site has been established to present information that either was not available when this book went to press, or was not compatible with the printed format. That site is located at:

http://www.printerport.com/kdp/hbdp

A balanced professional self-development plan consists of various kinds of diverse experiences, solutions and approaches. Reading this book should help, but it is only a small part of your overall professional growth and development plan. Ongoing training and education are essential. Among the several ways in which training activities may be conducted are:

• Train the Trainer. Companies often send one individual for formal training, with the expectation that that person will return to their work environment and train others. Peer training, while comparatively inexpensive, can introduce unexpected and unwanted results since the quality of the instruction is dependent on the level of understanding of the individual who has been trained, and that person's ability to communicate accurate information to others. Successful peer training, therefore, can depend just as much on the interpersonal skills of the peer trainer as on their technical qualifications and level of expertise.
• Consultants. An acknowledged expert may be retained to provide customized on-site training. In such situations the trainer can tailor the training to suit the particular needs of the trainees. An ongoing relationship with a consultant can lead to the development of a longitudinal training program which anticipates the release of new software features, software products, or technologies and begins training, or orientation, in advance of their formal release.
• Training to Go. Training providers, from colleges and universities, private training companies, and consultancies may deliver packaged training programs at a customer's site. This method provides many advantages, the most significant of which may be the potential reduction in travel expenses, since, in most situations, fewer people need to be transported. In addition, the trainees benefit from being trained on their own equipment, and may have the opportunity to address existing production concerns. Key production personnel do not have to leave the environment, and the company may also schedule training so that it does not negatively affect production schedules.
• College Courses. Individuals may attend regular college courses, spending a full academic semester, or quarter, studying a particular software product, or a related area of concentration. The methods taught, and the equipment used, are usually applicable directly to the work environment. The extended nature of most courses, which are taught over ten to fifteen weeks, may, in certain circumstances, make this form of instruction too protracted to be of immediate benefit on-the-job; however, sustained study at this level ultimately makes the employee a more valuable and productive worker.
• Course Sequences. Training companies, and the certifying bodies of industry organizations, in addition to colleges and universities, usually offer long-term training programs, consisting of a series of formal courses leading to certification in a targeted skill or performance area.
• Adult Education. Public education programs aimed at the adult learner may address both general and specific computer topics on a short-term basis. These programs are usually modestly priced and offered in the evening, when most adults are available. Such courses may be offered nightly, back-to-back, or for several meetings scheduled over successive weeks.
• Distance Learning. There are many correspondence courses and distance learning programs from private and public institutions and for-profit businesses. These opportunities transcend the problems of time and space by making the learning fit the schedule and location of the learner.
• Short-term Training Programs, Workshops, Seminars, and Conferences. Focused training events are sponsored by established educational institutions, training companies, training divisions of industry vendors and suppliers, trade organizations and associations, user groups, and consultant-driven or personality driven events. Offerings of this type are usually directed at identified technologies, either as an orientation or to build specific skills.
• Community-based Training. Workshops and short courses are offered by community groups, adult education programs, extension services, and other public service organizations. These programs are often grassroots-based, and may lack the sophistication offered by commercial training businesses and accredited educational institutions.
• Testing and Assessment. A company may contract for skill assessment services that determine the level of technical expertise of an employee and prescribe remedial courses or individual instruction.
• Conferences, Tradeshows, Expositions, and Conventions. Most trade events have an education emphasis. These offerings usually consist of a series of presentations, demonstrations, workshops, and seminars covering very specific topics. Attendees can usually register for any of the individual sessions, or follow a defined track that concentrates on a particular technical interest. Shows often have an educational program component consisting of industry leaders who present topics of highly focused interest.
• Professional Organizations and Associations. Professional organizations and associations channel their efforts into meeting the needs of their members, and, by so doing, usually have a formal education or training component. The manner in which they address this need varies, and is based primarily on their size, geographical distribution, and resources. Such groups may offer short courses, product demonstrations, workshops, seminars, conferences, on-line forums and discussion groups, and informal gatherings where members can learn from one another. These groups usually have regular meetings, regionally or nationally, depending on their size, and include some educational element. In certain organizations and associations the members may attain a level of certification based on their knowledge, or demonstrated skill, in a particular area.
• User Groups. People who share the use of a particular software product, computer platform, or other common interest often organize into user groups. User groups represent buying power, and are, therefore, usually respected by the companies whose products they have organized to support. For that reason, user groups are often used as sounding boards for product planners, and are given advance information concerning new product features. User groups provide their members with programming and publications that support their use of the particular technology that unites their membership.
• Web Resources. The World Wide Web provides several sites devoted to each major software application and publishing technology. Several of these provide useful tips, tricks and production shortcuts. The Web also offers FAQs (Frequently Asked Questions), mailing lists, tutorials, on-line discussion groups, software demos, program updates and fixes, and more.
• Books. Virtually every major, and most minor, software application is supported by a collection of books (printed or digital), which either replace or augment the documentation provided by the software publisher. Printed books often include accompanying CD-ROMs containing the content of the book (for easy searching), examples and projects from the book, and useful support software and application demos. Some books are supported by on-line Web resources, which update the book content, and/or provide relevant resources, such as links to related sites. In addition, the establishment of a World Wide Web site usually provides the means to communicate with the book's author directly through e-mail.
• Print Materials. Print-based publications and materials are diverse, and consist of books, magazines, newsletters, technical bulletins, technical reports and journals, and vendor literature and advertising.
• Videos. Videotapes covering the use of popular programs are available from a wide variety of sources. Such tapes may consist of an overview, or an in-depth treatment of the steps necessary to utilize particular software applications in the most efficient and effective way. Videotapes have the advantage of being used either in a group, or individually—on the job or at home. In addition, the very nature of videotape provides the advantages of repeating confusing or complex sections, freezing a frame for close examination, and viewing the tape in short increments that fit the user's schedule. Videotape training courses often include workbooks and computer disks for work-along learning.
• CD/DVD-ROM Tutorials. Tutorials on CD/DVD -ROM provide the user with a controllable environment in which to watch how each feature (or most features) of a particular software application work. The benefit of such a delivery system is that users can have the actual software application open, and try each feature as it is presented. Some tutorial programs provide exercises for the learner to do under the direction of the on-disc narrator. CD/DVD-ROM tutorials are a convenient way for busy workers to take in a significant amount of information in small units. In addition, the disc can be shared among users, and can be retained in the immediate environment as a training tool, and a reference.
• Hybrid Training Materials. Print, video, digital, and hybrid training materials are available consisting of multimedia presentations, workbook exercises and projects, and vendor-graded tests and assignments.
• Resident Training Expert. Depending on the size of the company, one or more people may have the responsibility for determining, planning, arranging, delivering, and evaluating training, whether delivered in-house or at an outside facility. The person or persons with the responsibility for directing the training may themselves be sufficiently competent technically to deliver the instruction, or, alternately, may arrange for others to do so.
• Peer Training. Informal training sessions may occur on an "as needed" basis. This training, which may be as simple as showing a colleague how to do a particular operation, or answer a procedural question, is an ongoing part of all normal production environments.
• Mentoring. Skilled users may be employed as mentors. These individuals may be co-workers, colleagues, supervisors and others in the immediate environment who take on an ongoing responsibility to nurture the skill development of others.
• OJT. On-the-job training (OJT) may be provided by vendors who install new technology, or by colleagues who receive training off-site and bring the expertise back to share. Companies also contract with training providers to have customized training take place on-site. On-site training has the advantages of upgrading the skills of an entire in-house group at one time, in the environment where they work, on the equipment with which they are most familiar, and without employee travel expenses.
• Vendor-sponsored Events. In advance of, or coincident with the release of a new software version, the publisher may sponsor public demonstrations at user groups, computer shows, or retail stores. Such events often provide for an interchange with those who have been directly involved in building the new software.
• Vendor-sponsored Publications. There is a multitude of vendor-supplied publications in the form of software application tutorials, reference and training manuals, hardware installation and user guides, and even magazines. Some software publishers, such as Adobe Systems, work with traditional trade publishers to establish their own book imprint, i.e., the Adobe Press published by PeachPit Press.
• Official Software Publisher Training. Certain software publishers, including Adobe Systems, provide certification to trainers around the world. A certified trainer has met the stringent technical and educational requirements necessary to qualify for the certification program, and has demonstrated an advanced level of knowledge regarding the particular software application in question.
• Participation in Beta Testing. So-called "power users" may be invited to participate in a software beta testing program. Beta testers work with unfinished, unreleased software and test it with real-world jobs. Testers have both the advantage of seeing how the product develops, and having input into how features are implemented. Beta testers usually file regular reports and receive several beta versions during the course of the testing period. Some beta testers may be rewarded with discounts or complimentary copies of the released application. Some software companies now offer public beta copies through the World Wide Web in order to test their software under the largest possible number of situations.

The relatively short revision cycles of popular software programs requires users to take a proactive position regarding ongoing training. In most production situations it is imperative that users maintain their skills at the highest level, in order to best serve their customers, and to help their businesses remain competitive. It is likely that distance learning programs, offered by a variety of sources, will mature to the point where continuing education will not only become a lifelong endeavor, and a job requirement, but will be accessible from wherever the learner chooses to receive it.

The Internet School

The need for up-to-date information, and its delivery in the form of formal courses and educational experiences, has prompted several for-profit companies to offer free and fee-based programs that resemble, in form and content, those offered by the distance learning services of colleges and universities. Among the programs are:

• *Digital University. Digital University offers courses on a variety of subjects, including digital imaging applications, such as Photoshop.

  http://www.digitaledu.com/index.html

• Element K Corporate Online University. Element K (formerly Ziff-Davis) has hundreds of courses available on-line. The community of users, numbering in the hundreds of thousands, provides for student-to-student interaction, instructor-to-student mentoring, monitored on-line classrooms and community forums.

  http://www.elementk.com/

• Digital Think. Digital Think presents a broad-based curriculum, including courses in the design and publishing area.

  http://www.digitalthink.com/

These examples are only a small sample of what resides on the Internet. Although these opportunities are interesting, and are sponsored by industry leaders with excellent reputations, there are issues that need to be addressed regarding the delivery of instruction by, for the most part, non-accredited entities. These include:

• Can the student differentiate between valid information and a biased sales presentation disguised as instructional content? How can the student judge if the information is accurate, fair, and balanced? Can the student determine what (if anything) is being sold? What oversight body, if any, has approved the content and is monitoring its presentation and delivery?
• What support services (testing, remediation, learning accommodation, etc.) are available to the student?
• What qualifications do the sponsors of such programs have? Do their Web instructors have appropriate training, certification, and credentials? Are the instructors or course authors identified by name? Is contact information provided so questions can be addressed to the proper individual? How much personal attention can a student expect? How quickly, and with what degree of depth, will student questions be answered?
• How can the sponsor of a course be certain that the work submitted by a student is his or her own, and not someone else's? What process guarantees the integrity of the course?
• Since students enroll by self-selection, it is inevitable that unqualified students will participate. The result of that can be a feeling of frustration, or a loss of motivation and self-esteem on the part of the student. What safeguards are in place to ensure that students do not have a negative experience?
• Of what value are certifications, diplomas, degrees, and other forms of recognition awarded by non-accredited education providers? Will potential employers be able to recognize their value when they are listed on resumes and employment applications?
• What continuity can a student expect when course offerings are presented individually, with no course catalog, program mask, or long-term schedule?
• What is to prevent anyone from opening his or her own on-line school, or offering an impromptu course? It can take a legitimate university a year or more to get a new curriculum developed and approved by all of the required oversight committees, outside advisory groups, and state certification bodies.

The situation isn't all negative, of course. On-line instruction is relatively new, even for established educational providers. And short courses can be fun and instructive, and can motivate learners of all ages. The application of tools and techniques used by non-accredited providers is helping to establish the sophisticated channels of instructional delivery necessary to utilize the Internet in an effective and efficient manner. Web-based courses must be graphically appealing as well as informationally rich.

So, what it all boils down to is—"caveat discipulus"—let the student beware!

Webucation: Web Links for Digital Publishing Training and Education

There are many Web sites and links that provide access to information about several kinds of training resources. These include

Train the Trainer

Ridge Associates, Inc.: Train the Trainer

http://www.ridge.com/TTT.html

Training Providers

http://www.trainingregistry.com/

Consultants

CAP Ventures: Print-on-Demand Training Programs

http://www.capv.com/

Electric-Pages

http://www.electric-pages.com/

Imerge Consultants

http://www.imergeconsult.com/

Loop Enterprise Inc.

http://www.pentserv.com/loop

Prime Source Corporation

http://www.primesource.com

The Cole Group

http://www.colegroup.com/Home_pages/Cole_Group.html

Tom Ruley Graphic Consulting

http://www.tomruley.com/

College Courses

Academy of Art College

http://www.academyart.edu/

Albuquerque Technical Vocational Institute

http://w3.tvi.cc.nm.us/~graphics/index.html

Appalachian State University

http://www.acs.appstate.edu/dept/tech/

Arkansas State University

http://come.to/printingmanagement

Art Center College of Design

http://www.artcenter.edu/

Austin Community College: Printing & DTP Department

http://www.austin.cc.tx.us/publish/

Bowling Green State University http://www.bgsu.edu/studentlife/organizations/vcto/VCT_Major.html

Bradley University

http://www.bradley.edu/irt/itps/deskpub/index.html

Cal Poly, Graphic Communication Department

http://www.grc.calpoly.edu

Cal State Fullerton

http://www.takethelead.fullerton.edu/CertProg/digitpub.htm

Carnegie Mellon University: Graphic Communications Management

http://www.cmu.edu/

Chowan College

http://www.chowan.edu

Clemson University

http://graphics.clemson.edu

Corcoran School of Art

http://www.corcoran.edu/online/index.html

College of DuPage

http://www.cod.edu/Academic/AcadProg/Occ_Voc/GrapArts.htm

Cornell

http://www.graphics.cornell.edu/

De Anza College Graphic Design and Computer Arts

http://arts.deanza.fhda.edu/design/

The Department of Printing at West Virginia University

http://www2.wvutech.edu/

El Centro College

http://webmaster-training.ecc.dcccd.edu/

Ferris State University

http://graphicarts.ferris.edu/

Florida Agricultural and Mechanical University

http://www.famu.edu/famu.html

Fox Valley Technical College

http://www.foxvalley.tec.wi.us/other/DTP/grafinde.htm

The Institute of Paper Science and Technology

http://www.ipst.edu/

Oswego State University

http://www.oswego.edu/~faux

RIT: School of Printing Management and Sciences

http://www.rit.edu/~spms/

RIT/NTID Digital Publishing and ImagingTechnology Department

http://tiger.rit.edu

Royal Institute of Technology

http://www.gt.kth.se/education/englishInformation/default.html

Ryerson Polytechnic University

http://www.ryerson.ca/~gcm

San Francisco State University

http://www.sfsu.edu/

Seattle Central Community College

http://www.sccd.ctc.edu/~ccimages

South Suburban College

http://www.ssc.cc.il.us/acad/career/depts/technology/ppt/index.htm

Truman College

Accelerated Multimedia Development Program

http://www.ccc.edu/truman/programs/amdp/prog.htm

University of Wisconsin Extension

http://max.uwex.edu/ces/wisplan/training/web.html

University of Wisconsin-Stout

http://www.gcm.uwstout.edu

Vincennes University

http://www.vinu.edu/index3.htm

Western Iowa Community College

http://www.witcc.com

Adult and Continuing Education

Elgin Training Centre

http://www.etc.yrbe.on.ca/calendar/Computer%20Training/Publishing_Graphics.htm

Lancaster County Career & Technology Center

http://www.lcctc.org/addtpeve.html

Media Alliance

http://www.media-alliance.org/computer.html

Minneapolis College of Art and Design

http://www.mcad.edu

Printing Industries of New EnglandEvening Classes

http://www.pine.org/ED/edhome.html

Stanford Continuing Education

http://www.stanford.edu/home/admission/continuing.html

Conferences and Conventions

Graphic Comm Central

http://teched.edtl.vt.edu/gcc/HTML/

Calendar/CalendarOfEvents2000.html

NPES

http://www.npes.org/

On Demand Digital Printing & Publishing

Conference and Expo

http://www.expocon.com/

Publish Magazine: Industry Events

http://www.publish.com/events/events.html

Seybold Seminars Online

http://www.seyboldseminars.com/

The Graphic Arts Show Company

http://www.gasc.org/home2.htm

Professional Organizations and Associations

American Institute of Graphic Arts

http://www.aiga.org/

American Society for Training and Development

http://www.astd.org/virtual_community/

American Society of Media Photographers (ASMP)

http://www.asmp.org/

Association for Graphic Arts Training

http://www.agatweb.org/

Association for Information and Image Management International

http://www.aiim.org/

Association for Suppliers of Printing and Publishing Technologies

http://www.npes.org/

Association of Graphic Communications

http://www.agcomm.org/

Canadian Printing Industries Association

http://www.capitalnet.com/~printing/

Corporate Design Foundation

http://www.cdf.org/

Digital Printing and Imaging Association

http://www.dpia.org/

Document Management Industries Association

http://www.dmia.org/

Education America Online Campus

http://www.tampatech.edu/1eaiweb/curripgs/graph1.html

Electronic Document Systems Foundation

http://www.edsf.org/

Graphic Arts Association

http://www.gaa1900.com/

Graphic Arts Education and Research Foundation

http://teched.edtl.vt.edu/gcc/HTML/GAERF/GAERF.html

Graphic Arts Technical Foundation

http://www.gatf.lm.com/

Graphic Communications Career Council

http://www.npes.org/edcouncil/index.htm

Information Technology Training Association

http://www.itta.org/

Instructional Systems Association

http://www.isaconnection.org/

International Association for Document & Information Management Solutions

http://www.ibfi.org/

International Association of Printing House Craftsmen

http://www.iaphc.org/

International Digital Imaging Association

http://www.pwr.com

International Publishing Management Association

http://www.ipma.org/

International Prepress Association

http://www.ipa.org/

International Reprographic Association (IRgA)

http://www.irga.com/

NAPL Professional Development Programs

http://www.napl.org/events/center_for_professional_development.htm

National Association for Printing Leadership

http://www.napl.org

National Association of Litho Clubs

http://www.graphicarts.org/

Pacific Printing and Imaging Association

http://www.ppi-assoc.org/

Printing Industries of America

http://www.printing.org/

Society of Publication Designers

http://www.spd.org/

Screenprinting & Graphic Imaging Association International

http://www.sgia.org

The Design Council

http://www.design-council.org.uk/

The Graphic Arts Education and Research Foundation

http://teched.edtl.vt.edu/gcc/

The Graphic Arts Technical Foundation

http://www.gatf.lm.com/

Graphic Communications Association

http://www.gca.org/whats_gca/default.htm

Large Format Digital Print Bureaux

http://www.tigerbay.com/lfdp/

National Association of Industrial Technology (NAIT) Graphic Communications Division

http://www.appstate.edu/~craftjr/nait_gc/NAIT_Graphic_Communication.html

The National Association of Printers and Lithographers

http://www.napl.org/

Newspaper Association of America

http://www.naa.org/

Pira International

http://www.pira.co.uk/

The Printing and Graphic Communications Association

http://www.pgca.org/

The Printing Industry of the Carolinas (PICA)

http://www.picanet.org/

The Society for Imaging Science & Technology

http://www.imaging.org

Society for Service Professionals in Printing

http://www.sspp.org/

Technical Association of the Graphic Arts

http://www.taga.org:8000/index.html

Technical Association of the Pulp and Paper Industry

http://www.tappi.org/

Type Directors Club

http://users.aol.com/typeclub/index.html

Xplor International—The Electronic Document Systems Association

http://www.xplor.org

User Groups

Apple User Group Master Listing

http://www.apple.com/usergroups/

Capital PC User Group

http://cpcug.org/

Golden Gate Computer Society

http://www.ggcs.org/

New York MacUsers' Group

http://www.nymug.org/

New York PC Users Group

http://www.catalog.com/cgibin/var/nypc/index.htm

San Francisco PC Users Group

http://www.sfpcug.org/

Stanford Palo Alto Users Group for PC

http://www.mediacity.com/~spaug/

Stanford/Palo Alto Macintosh User Group

http://www.mediacity.com/~smug

Web Resources

Globalprint

http://www.globalprint.com/links/links.htm

Kodak Digital Learning Center.

http://www.kodak.com/US/en/digital/dlc/index.jhtml

PrintUSA

http://www.printusa.com/

Books

Abacus

http://www.abacuspub.com/

Adobe Press

http://www.adobe.com/adobepress/main.html

Allyn & Bacon

http://vig.abacon.com/

AP Professional

http://www.apnet.com/approfessional/

Delmar Publishers

http://www.desktopcafe.com/

Desktop Publishing Books

http://desktopPublishing.com/bookstore.html

Harcourt Brace

http://www.harcourtbrace.com/

Macmillan Publishing

http://www.mcp.com/

maranGraphics

http://www.maran.com/

McGraw-Hill

http://www.computing.mcgraw-hill.com/

MIS Press

http://www.mispress.com/

Peachpit Press

http://www.peachpit.com/

Prentice Hall PTR

http://www.phptr.com/

Sybex

http://www.sybex.com/

The Coriolis Group

http://www.coriolis.com

The Waite Group Press

http://www.mcp.com/waite/

Magazines and Other Publications

3D Artist

http://www.3dartist.com/

Adobe Magazine

http://www.adobemag.com/

American Printer

http://www.americanprinter.com/

Canadian Printer

http://www.mhbizlink.com/printer/

Communication Arts

http://www.commarts.com/index.html

Computer Graphics World

http://cgw.pennnet.com/home/home.cfm

Digital Graphics

http://www.nbm.com/digitalgraphics/

Digital Output

http://www.digitalout.com/

Digital Publishers Journal

http://www.dtpjournal.com/

Electronic Publishing

http://ep.pennnet.com/home/home.cfm

Graphic Arts Monthly

http://www.gammag.com/

Imaging Magazine

http://www.imagingmagazine.com/

The Kleper Report on Digital Publishing

http://www.printerport.com/kdp

New Media

http://www.newmedia.com/

Photo Electronic Imaging

http://www.peimag.com/

Printing Impressions

http://www2.piworld.com/pi/pi1.html

Publish

http://www.publish.com/

Publishing and Production Executive

http://www2.ppe-online.com/ppe/ppe1.html

Serif: The Magazine of Type and Typography

http://www.quixote.com/serif/

The Seybold Report

http://www.seyboldreport.com/

Worldwide Graphics

http://www.suba.com/~wwgraph/

ZD Net

http://www3.zdnet.com/

Libraries and Collections

The Carey Collection

http://wally.rit.edu/cary/

The Goudy International Center for Font Technology and Asthetics

http://www.rit.edu/~goudyctr/goudycenter.html

Videos

CDi Communications

http://www.netwind.com/books/tapes/compds.html

Learn2.com

http://store.learn2.com

LearnKey

http://www.learnkey.com

Mac Academy

http://www.macacademy.com

Montage Inc.

http://www.montagepro.com/

Total Training

http://www.totaltraining.com/

Training on Video

http://www.trainonvideo.com/

Windows Academy

http://www.windowsacademy.com

CD-ROM Tutorials

CompuLearn Computers

http://www.compulearn.net/

Head First Publishing

http://www.headfirstonline.com

Individual Software

http://www.individualsoftware.com

LearnIt

http://www.learnitcorp.com

Pearson PTR Interactive

http://www.phptr.com/phptrinteractive

Personal Training Systems

http://www.ptst.com/

Savant Interactive

http://www.websavant.com

Virtual Training Company (VTC) / VTC

http://www.vtco.com/

Training Companies

Acquired Knowledge Inc.

http://www.acquiredknowledge.com

Alpha Train Corp.

http://www.alphatrain.com

American Graphics Institute

http://www.graphicsinstitute.com/

Berkeley Corporation

http://www.berkeleytraining.com

Caxton Inc.

http://www.caxton-inc.com

CompUSA

http://www.compusa.com

Digiscape

http://www.digiscap.com/gallery/

Digital Arts and Graphics, Inc.

http://www.digitalag.com/training.html

Digital Arts Training Association

http://www.bizmac.org/data_2.html

Digital Consulting

http://www.aoep-digital.com/home/frames.htm

Digital Design Laboratories

http://DDLabs.com/

Digital Media Incorporated

http://www.digitalmedia.com/

Digital Education Systems and O'Reilly & Associates

http://www.ettc.edu/WebDevelopmentCourses.html

Digital Nervous Systems

http://www.digitalnervoussystems.com/trainging/t-webhosting.htm

Digital Support Group, The

http://www.digitalsupport.co.uk/training/training.htm

Digital Training & Designs

http://www.digitrain.com

Dynamic Graphics Educational Foundation

http://www.dgusa.com/dgstore/a/dgfhome.htm

E & A Software training

http://www.eno.com/

EEI Communications

http://www.eeicom.com/training

Element K Training Center

http://www.elementkcenter.com/

Epublish

http://www.epublish.com/

Future Media Concepts, Inc.

http://www.fmctraining.com

Gestalt Systems

http://www.gestalt-sys.com

HCS Training Centers

http://www.hcsonline.com/

Infodata Systems Inc.

http://www.infodata.com

InfoGrafix

http://www.infografix.com/training.htm

Integrated Technologies, Inc.

http://www.intech.com

Jersey Computer Training

http://www.highlands.ac.uk/jct/mspb.htm

Knowledge Alliance

http://www.kalliance.com

Koster Associates Inc.

http://www.koster.net/

Lazer-Fare Media Services Ltd.

http://www.lazerfare.mb.ca

Learn and Go

http://www.learnandgo.com/

LearnKey

http://www.learnkey.com

MacSpecialists

http://www.macspecialists.com

Mentor Training

http://www.mentortraining.com

New Horizons Computer Learning

http://www.newhorizons.com

Ojai Digital Arts Center

http://www.digitalartscenter.com/frame.html

Pioneer Training

http://www.ptraining.com/

Productivity Point

http://www.propoint.com

Publishing Arts

http://www.publishingarts.com/PA/training.shtml

Publishing Center

http://www.publishcenter.net/training/index.html

Solutions

http://newcitymedia.com/solutions/

Sterling Ledet and Associates, Inc.

http://www.ledet.com/

Synapse Graphic

http://www.shotsim.com/

The Centre for Internet and Multimedia Development International

http://www.cimdi.com/cimdisite/index.htm

The Iconoclass

http://www.iconoclass.com

Thunder Lizard Productions

http://www.thunderlizard.com/

TJP&A—Electronic Publishing Training and Consulting

http://www.tjpa.com/

Video Symphony Entertaining Inc.

http://www.videosymphony.com

Vendor-sponsored Training and Events

Agfa

http://www.agfahome.com/

Heidelberg Linotype-Hell Training

http://www.linotype-hell.com/04_aca/index.htm

Kodak Digital Learning Center

http://www.kodak.com/daiHome/DLC/

Xerox Training

http://www.xerox.com/go/xrx/services/ServiceList.jsp?serviceid=-11362



Updates

Submit Errata

