My book 61410.indd 1
6/25/10 10:06 AM
Overview Paul Davis has over 20 years of teaching experience. Prior to that he worked in the printing industry for over ten years in areas of press operation and prepress. He was a graduate of DeKalb Community College’s Graphic Arts program, with highest honors. He has kept up-to-date with multiple seminars through out the years from organizations such as; Heidelberg, the Graphic Arts Technical Foundation, Printing & Imaging Association of Georgia, and Taz Tally. Paul has been involved with developing training materials for many years and has been very helpful with teacher training and curriculum development.
Special Thanks Debbie & Caitlin Larry Ewing Lynn Sherman Dan Still Taz Tally Stuart Christian Claudia McCue
Printing Imaging Association of Georgia Sue Rodman Heidelberg (Kennesaw) staff Tim Scoggins Printing Industries of America (PIA) Joe Marin, Jim Workman Bill Cole and staff of Tri-C
© Designed and created by Paul Davis Photos and graphics created by Paul Davis Other graphics from various government web sites
2
Graphic Design Basics
My book 61410.indd 2
6/25/10 10:06 AM
Overview
Table of contents Overview & Safety . . . . . . . . 4-11 Math Formulas . . . . . . . . . 12-21 Type Basics . . . . . . . . . . . 22-31 Overview . . . . . . . . . . . . 32-33 Color Basics . . . . . . . . . . 34-39 Pixel Basics . . . . . . . . . . . 40-53 Vector Basics . . . . . . . . . . 54-59 Page Basics . . . . . . . . . . . 60-69 Preflight . . . . . . . . . . . . . 70-71 PDF . . . . . . . . . . . . . . . 72-73 Imposition Basics . . . . . . . 74-92 Press Basics . . . . . . . . . . 93-97 Bibliography . . . . . . . . . . 98-99
© Paul Davis
My book 61410.indd 3
3 6/27/10 3:32 PM
Overview Bill of Rights The following text is a transcription of the first ten amendments to the Constitution in their original form. These amendments were ratified December 15, 1791, and form what is known as the “Bill of Rights.”
Amendment I Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.
Amendment II A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms, shall not be infringed.
Amendment III No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but in a manner to be prescribed by law.
Amendment IV The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.
Amendment V No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb; nor shall be compelled in
4
any criminal case to be a witness against himself, nor be deprived of life, liberty, or property, without due process of law; nor shall private property be taken for public use, without just compensation.
Amendment VI In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the State and district wherein the crime shall have been committed, which district shall have been previously ascertained by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against him; to have compulsory process for obtaining witnesses in his favor, and to have the Assistance of Counsel for his defence.
Amendment VII In Suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be preserved, and no fact tried by a jury, shall be otherwise reexamined in any Court of the United States, than according to the rules of the common law.
Amendment VIII Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.
Amendment IX The enumeration in the Constitution, of certain rights, shall not be construed to deny or disparage others retained by the people.
Amendment X The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to the States respectively, or to the people.
Graphic Design Basics
My book 61410.indd 4
6/25/10 10:06 AM
Overview The next pages are screen grabs for the U.S. Treasury web site. They address various counterfeiting facts and laws governing the reproduction of currency. Copyright laws govern the reproduction of certain types of originals and can result in expensive legal ramifications if not followed. Beware of using something downloaded from the web in your design. There are other types of regulations that can affect a design such as postal regulations concerning weight of paperstock or placement of text or graphics in certain areas. Settle these issues prior to getting involved in the design process.
© Paul Davis
My book 61410.indd 5
5 6/25/10 10:06 AM
Overview
6
Graphic Design Basics
My book 61410.indd 6
6/25/10 10:06 AM
Overview
© Paul Davis
My book 61410.indd 7
7 6/25/10 10:06 AM
Overview Certain chemicals are used within the printing industry. Handled correctly these pose little or no risk. Learn to handle ANY chemicals safely. Read all instructions and check with your supervisor if there are any questions.
8
Graphic Design Basics
My book 61410.indd 8
6/25/10 10:06 AM
Overview MSDS stands for Material Safety Data Sheet. These sheets list the name and any concerns that might be involved with the product or its ingredients. More information is available through OSHA.
© Paul Davis
My book 61410.indd 9
9 6/25/10 10:06 AM
Overview Fire safety Fire safety is always important and care should be taken to locate fire extinguishers as well as fire exits etc. Know and practice these procedures for everyone’s safety.
10
Graphic Design Basics
My book 61410.indd 10
6/25/10 10:06 AM
Overview While printing chemicals are much safer these days, proper handling, disposal and just plain cleanliness can play a big part in a safe environment. There is an OSHA web site that has many helpful brochures that can be downloaded as PDF files.
© Paul Davis
My book 61410.indd 11
11 6/25/10 10:06 AM
Math Formulas 0
1
2
3
4
Carefully examine the sample ruler above and answer the following questions. 1. On the ruler sample shown each division line indicates 1/16". This means there are 16 divisions in 1". How many 1/16" divisions are there in 3 inches? 2. On the ruler above there are also 1/8" divisions. How many 1/8" divisions are there in 3 inches? 3. How many 1/16" divisions are there in 1/4"? 4. How many 1/16" divisions are there in 3/8"? 5. How many 1/16" divisions are there in 7/8"? 6. How many 1/8" divisions are there in 3/4"? 7. How many 1/8" divisions are there in 1/4"? 8. How many 1/8"divisions are there in 11/2"? 9. How many 1/8" divisions are there in 2 1/2"? 10. How many 1/4" divisions are there in 3 3/4"?
12
Graphic Design Basics
My book 61410.indd 12
6/25/10 10:06 AM
Math Formulas 0
1
2
3
4
1. 2. 3. 4.
5.
6.
7.
8. 9. 10.
Give the proper inch scale readings for the measurements indicated.
© Paul Davis
My book 61410.indd 13
13 6/25/10 10:06 AM
Math Formulas Fractions & Decimals 1. Conversion of a fraction to a decimal: Numerator divided by denominator, (divide bottom into top).
N __ D
2. Conversion of a percentage to a decimal. Replace % with a decimal and move decimal to the LEFT 2 places (only).
Example; 100% - 100. - 1.00 =1.
Example; 125% - 125. - 1.25 =1.25
Example; 75% - 75. - .75 =.75
3. Conversion of a decimal to a percentage. Move decimal to the RIGHT two places, then replace with a % sign.
Example; 1.50 - 150. - 150% = 150%
Example; .45 - 45. - 45% = 45%
14
Graphic Design Basics
My book 61410.indd 14
6/25/10 10:06 AM
Math Formulas 4. Complete the following for practice: 4-1.
3/4" as a decimal = ?
4-2.
1/8" as a decimal = ?
4-3.
1/16" as a decimal = ?
4-4.
1 1/4" as a decimal = ?
4-5.
2 3/8" as a decimal = ?
4-6.
1125% as a decimal = ?
4-7.
.65 as a percentage = ?
4-8.
1.75 as a percentage = ?
4-9.
5% as a decimal = ?
4-10. 85% as a decimal = ? 4-11. Add the following; 1/16", 7/8", 3/4" 4-12. Add the following; 2 3/16", 3/8", 1/2" 4-13. Add the following; 1/16", 7/8", 3/4", 9/32" 4-14. Subtract 3/16" from 4 1/4" 4-15. Subtract 3/8" from 8 1/2"
© Paul Davis
My book 61410.indd 15
15 6/25/10 10:06 AM
Math Formulas 5. The formula to find reproduction percentage. Scaling for enlargements or reductions, if original size and reproduction size are known. This formula is used to find the needed reproduction %.
I = __ P O
I = Image size (size needed), when reproduced, output. O = Object, (original size), input. P = Percentage needed, (in decimal form, convert to % as needed). Substitute the letter with the correct measurement and divide the bottom (original) into the top (image).
Example #1: An 11” object needs to be sized to 5 1/2”
11" = Object
5 1/2" = Image size needed
?
= Percentage needed
5.5 = Divide 11 into 5.5 = .5 move decimal two spaces to the right to get the percentage, or 50% Example #2: A 3” object reproduced so that 3” will be 7 1/2”
3” = Object
7 1/2 = Image needed
?
7.5 = 7.5 divided by 3 = 2.5 or 250% (don’t forget to move the decimal place just two spaces)
16
= %
Graphic Design Basics
My book 61410.indd 16
6/25/10 10:06 AM
Math Formulas 5. Complete the following enlargement or reduction exercises: 5-1.
8.5" sized to 4.25" =
? %
5-2.
14" sized to 11" = ?
%
5-3.
11/2" sized to 4" = ? %
5-4.
4.25" sized to 1" = ? %
5-5.
3" sized to 5.5" = ? %
5-6.
8.25" sized to 4 1/2" = ? %
5-7.
3/4" sized to 2.25" = ? %
5-8.
8" sized to 4 1/8" = ? %
5-9.
3 1/8" sized to 17" = ? %
5-10.
4 1/8" sized to 22 1/2" = ? %
© Paul Davis
My book 61410.indd 17
17 6/25/10 10:06 AM
Math Formulas 6. F ormula used to find new reproduced image size if object and percentage are known. This formula may also be used to check your work to verify the new image size if enlarging or reducing. Use this formula to find the new size of an object if the percentage (%) and original size are known.
( O X P ) X .01 = I
O = Original object
P = Percentage (as a percentage)
I = Image
Example #1: An 8” object reproduced at 75% ( 8 X 75 ) X .01 = I ( 600 ) X.01 = I 6.00 = I ( 6 inches is the new image size upon reproduction)
Shortcut; Use percentage in decimal form ( .P ) from the beginning:
O X .P = I Using Shortcut: 8 X .75 = I ( % changed to decimal from the beginning) 6.00 = I
Example #2: A 5” object reproduced at 150%
5 X 1.50 = I (remember move the decimal only 2 spaces)
7.5 = I
18
( 7 1/2 inches is the new size for the 5” original)
Graphic Design Basics
My book 61410.indd 18
6/25/10 10:06 AM
Math Formulas 7. Complete the following resizing problems;
6-1.
a 12" original sized at 75%, the new size = ?
6-2.
a 5" original sized at 125%, the new size = ?
6-3.
a 4.125" original sized at 105%, the new size = ?
6-4.
a 2 1/2" original sized at 85%, the new size = ?
6-5.
a 5.75" original sized at 160%, the new size = ?
6-6.
a 2 1/4" original sized at 225%, the new size = ?
6-7.
a 12" original sized at 75%, the new size = ?
6-8. a 2" X 3" original sized at 125%, the new sizes = ? (Calculate both dimensions)
6-9.
6-10. a 4 1/4" x 6" original sized @ 135%, the new size is ?
a 8 1/2" X 14" original sized at 77%, the new sizes = ?
© Paul Davis
My book 61410.indd 19
19 6/25/10 10:06 AM
Math Formulas 7. U sing the previous formulas, complete the following:
7-1.
8 1/2" x 11" original sized so that 8 1/2" = 3.75
A. What % is needed?
B. What is the new size for 11?
A 5" x 7" original carries the notation reproduce at 75%.
7-2.
A. What are the new dimensions for this job?
A 3.5" x 5" object is to be sized so that 3.5 will be 6 1/4.
7-3.
A. What % is needed?
B. What is the new size for 5?
A 5.5" x 7 1/4" object is to be reproduced at 67%.
7-4.
A. What are the new dimensions?
= 7.
An 8" x 10" object is to be reproduced so that 8 = 6, and 10
7-5.
20
A. W hat percentages are needed, and which % is used to insure that the art will fit within the box?
Graphic Design Basics
My book 61410.indd 20
6/25/10 10:06 AM
Math Formulas 8. Fill in the blanks for the correct amounts.
?
ounces = pint.
?
ounces = quart
?
ounces = gallon
?
quarts = gallon
8-1. 5 gallons = ? ounces
8-2. 4 gallons = ? quarts ? ounces
8-3. 3 1/2 gallons =
8-4. 704 ounces = ? gallons ? quarts
8-5. 64 ounces = ? gallons ? quarts
? quarts ? ounces
© Paul Davis
My book 61410.indd 21
21 6/25/10 10:06 AM
Type Basics 9. Type measurements: The printing industry uses it’s own measurement system based on the points system. In this system type size, spacing and other elements can be measured. It will be necessary to acquire a ruler that can measure inches, pica, and points to be productive in the graphics industry. Other systems such as ciceros, used in Europe, are used and are available with most software. It will be necessary to be familiar with points and how they equate to inches and fractions. The advantage of points is that they are so small that there is hardly a need for fractions. Also, with most software you can set a page up in inches and then convert it to points/pica or vice versa.
12 points = 1 pica 72 points = 6 picas or 1 inch
Calculate the following inches/point conversions.
9-1.
2" to points
9-2.
2" to pica
9-3.
81/2" to points
9-4.
81/2" to pica
9-5.
11" to pica
9.6.
11" to points
9-7.
33 pica to inches
9-8.
504 points to inches
9-9.
2" x 31/2" to pica
9-10.
144 points x 252 points converts to what inch dimensions?
22
Graphic Design Basics
My book 61410.indd 22
6/25/10 10:06 AM
type sample
4/19/03
10:12 PM
Page 1
Type Basics
Text Sample Line Spacing ascender
uppercase letter
lowercase letters
Baseline
x-height
serif
linespace measured baseline to baseline
descender
Counters
point size of type measured from highest ascender to lowest descender * ‘approximate only’.
10. Type terms: Type is specified in points but this does not reflect its visible size. Type is measured from the highest ascender character to its lowest descender character. A common tool to measure type size is an ‘E’ scale. A PDF file has been provided with this booklet for your use. If the type is too large to be measured with an e-scale then it can be measured with a ruler that has point increments (from ascender to descender). This may not be exact but it is an effective beginning. Leading is the space between lines of type measured from baseline to baseline. ‘Standard’ leading is two points more than the type size, but this is by no means a rule. If the point size is 10 points then leading of 12 would be acceptable. Size and leading can sometimes be written like a fraction such as; 10/12; this would mean size=10, leading=12. The point size is top (or first) and the leading last or bottom. In some cases leading of just one point over the type size is acceptable and can create more room for text, though it may be difficult to read over a long article. The use of a numerical leading setting is known as absolute leading as the leading will stay the same no matter what point size is used. If no extra space is added for leading then this is known as set solid (12/12). Set solid can work for headlines to add impact or when there are no descending characters to get in the way. With certain fonts it may be possible to have leading below the point size. This can create a compressed appearance which can be helpful with headlines. Set solid should be avoided for large amounts of body copy.
Headline Set 18/20
Headline Set Solid 18/18
Headline Set 22/18 © Paul Davis
My book 61410.indd 23
23 6/25/10 10:06 AM
Type Basics 11. M easuring with an E-scale; What are the point sizes of the following: 11-1.
Sample # 1
11-2.
Sample # 2
11-3.
Sample # 3
11-4.
11-5.
Sample # 4
Type
11-6.
Sample # 6
11-7.
Sample # 7
11-8.
Sample # 8
11-9.
Sample # 9
11-10.
Type
Note: Not all fonts measure the same when using an E-scale. Several samples may be needed to get a match.
24
Graphic Design Basics
My book 61410.indd 24
6/25/10 10:06 AM
Type Basics 12. M easuring with an E-scale; Calculate the leading of the following paragraphs. 12-1. Measure the distance between lines of type to determine the linespacing or leading that has been used. Remember that this space assists in legibility.
12-2. Measure the distance between lines of type to determine the linespacing or leading that has been used. Remember that this space assists
12-5. Measure the distance between lines of type to determine the linespacing or leading that has been used. Remember that this space assists in legibility. It prevents descending type from interfering with ascending characters.
in legibility. It prevents descending type from interfering with ascending characters.
12-3. Measure the distance between lines of type to determine the line-
12-6. Measure the distance between lines of type to determine the linespacing or leading that has been used. Remember that this space assists in legibility.
spacing or leading that has been used. Remember that this space assists in legibility. It prevents descending type from interfering with ascending characters. 12-4. Measure the distance between lines of type to determine the linespacing or leading that has been used. Remember that this space assists in legibility. It prevents descending type from interfering with ascending characters.
© Paul Davis
My book 61410.indd 25
25 6/25/10 10:06 AM
Type Basics 13. M easuring with an E-scale; Measure the thickness of the following rules & borders. In the case of borders and/or rules the thickness is also measured in points. The amount should be a specific number and not a term such as “Hairline”. A hairline rule may be much too thin to hold on press and can appear broken. Also, hairline rules may vary in thickness from one software to another. In fact, hairline thicknesses have been known to change from one version of the software to another.
26
Graphic Design Basics
My book 61410.indd 26
6/25/10 10:06 AM
Type Basics 14. Type and measure review. 14-1. Point size is measured from what area to what area on a piece of type?
14-2.
Define, LEADING
14-3.
What is a “common” amount of leading?
14-4.
How many points equal 1 pica ?
14-5.
1 inch equals
points?
14-6
1 inch equals
picas ?
14-7.
8 1/2 inches equals how many picas ?
14-8.
8 1/2 inches equals how many points ?
14-9.
Convert these dimensions to inches; 30 picas X 504 points
14-10.
What is the purpose of an E-scale
© Paul Davis
My book 61410.indd 27
27 6/25/10 10:06 AM
Type Basics Working with text When working with text there are certain elements that need to be remembered in order to make the transition from standard typing to typesetting/design. The first element is the type itself. In the past type characters were all the same size, same weight and same sized. This was know as mono-spaced, monoweight, mono-sized. In this the letter ‘i’ takes up the same space as a letter M. With computers the text is proportionally spaced. Each letter has its own spacing. Certain fonts used on the computer, however, still have mono-spacing. Examples of these fonts include Monaco and Courier. Normally these fonts are rarely used unless the typewriter effect is intended as part of the design. Different styles of type are known as fonts. A font is a complete set of characters (or glyphs) in a given style. There are thousands of different fonts from many manufacturers and many designs depend on just the right font to convey their message. There are many other issues that effect font use both technically and artistically and more experience will be needed for proper font usage. When working with typesetting there are some issues that determine professional technique. Many of these conflict with traditional typing rules and there can be some conflict in changing peoples mind set. A useful book for these issues is The Mac is not a Typewriter. 1. There are three primary brands of fonts, Adobe Type 1, OpenType, and Truetype. Type 1 fonts are made up of two files, the screen and the printer. Both files must be present for the font to work properly. These fonts are unique to either Mac or PC. OpenType fonts have just one file but a chief feature to OpenType is that the files are cross platform in that they will work on Mac or PC. In the past even the same named font would flow type differently when moved between Mac and PC. Truetype fonts have only one file. Truetype fonts are older and have fallen out of favor. If used they should be tested to be sure that they don’t cause output errors. Truetype icons show as three A’s stacked behind one another, Type 1’s as a single A. Opentype use an O icon. Most printers prefer Type 1 fonts and discourage the mixing of types. If there is doubt, a sample sheet should be prepared and output to avoid problems later. The earlier a problem is found the quicker a solution can be found. Missing fonts or partial font files are still the number one problem with electronic files among printers. The computer itself uses what have been called ‘City’ or System fonts. These are not recommended for use with files that are to be professionally output and printed. 2. The first technique that should be learned is that there should be only one space after a period. Indeed, there should be only one space after any punctuation. This will involve retraining for many clients but remember that computer fonts now are proportionally spaced. In most page programs it is possible to see
28
Graphic Design Basics
My book 61410.indd 28
6/25/10 10:06 AM
Type Basics the invisible key-strokes used by the original typist and unfortunately time is sometimes spent undoing all the extra keystrokes. 3. Another issue is line spacing and the return key. The standard return key is used, of course, to move to the next line. On the computer the text will flow to the next line as it is typed. If a new paragraph is desired the return key is struck. This is known as a hard return. A hard return also controls certain computer functions. When the return key is struck whatever commands are in place are stopped. Another method to return and not change commands is the soft return. A soft return is done by holding the shift key while striking the return key. This returns the type but leaves the computer instructions in place. Many users still use multiple returns to add space between lines of type. 4. An important issue when working with fonts is the use of font effects. Some software allows one to make text bold by selecting a bold key or italic by selecting an italic key. These are known as font effects and are artificial. This procedure is not recommended in the industry due to the fact that the actual printer font to make the bold or italic may not exist and will output incorrectly. Use the actual font (Helvetica Bold or Helvetica Bold Italic) not its effect. InDesign and does not even contain these features. 5. Quote marks or “true quotes” should be used whenever quotes are used. In most case operators will use the key to the right of the semi-colon. This is also the key to provide the marks for feet' and inches". These are not the same characters. Some software allow for a preference to be set that will allow for “smart quotes”. There are keyboard methods to create a correct open and closed single or double quote. For a double open quote “use; option and the open bracket key (to the right of the P key). For the close double quote” use shift-option open bracket. For the single open quote use option and close bracket. To close single quote, shift-option and close bracket. 6. Fonts are NOT part of the document! Fonts reside on your computer. When the file is saved and moved to another location such as your printer, the fonts are not included with the file. To insure that the fonts are provided correctly be sure to perform a package or collect for output (depending on the software). This will copy the fonts used in the document and create a folder for all the components of the job. 7. Do not copy font files, this is illegal. Packaged fonts may only be used for the customer’s work for which they were provided, not everyone else.
© Paul Davis
My book 61410.indd 29
29 6/25/10 10:06 AM
Type Basics Kerning is the adjusting of space between two characters. This can be used to create greater impact by moving letters closer together. It is helpful with headlines or when letters appear too far apart. When creating type on a curved path the characters can appear pushed together, so kerning can be applied to improve readability. Software preferences can do some kerning automatically.
Kerning Kerning Tracking is adjusting of space between multiple characters, words, or even entire paragraphs. It too can be used for headlines or when the type overflows and no more room is available. Too much tracking can make type difficult to read and may be noticed if just one paragraph out of several is tracked.
Tracking is adjusting of space between multiple characters, words, or even entire paragraphs.
Tracking (-40) is adjusting of space between multiple characters, words, or even entire paragraphs.
Baseline shift allows type to be moved above or below the invisible baseline. This can be used for fractions, footnotes, or just interesting effects.
Baseline Shift
ALL CAPS can be created by using the all caps font setting. This is not like using the font effect for bold or italic so it can be used without creating output issues. It is easier than typing with CAPS LOCK on in that it can be removed if someone changes their mind. If typed with CAPS LOCK on the type would have to be re-typed.
“ TRUE QUOTES” versus inches " and feet ' symbols These are settings commonly set in the preferences. 1. I ndent here is created by inserting a command backslash character where the indent is needed. The indent will continue until a hard return is typed. To create a line break use the soft return of shift return. This feature is very useful with numbered items and creates a cleaner appearance.
30
Graphic Design Basics
My book 61410.indd 30
6/25/10 10:06 AM
Type Basics 15. Fun with fonts test. 15-1.
Define, FONT
15-2.
What is leading?
15-3.
List the 3 primary brands of fonts.
15-4.
Which brand of fonts is characterized by having two files?
15-5. Which brand of fonts is characterized by being cross platform?
15-6.
What is the difference between kerning and tracking?
15-7.
What are font effects?
15-8.
What is the concern for using font effects?
15-9.
What is a common or standard amount of leading?
15-10. Are fonts used in a document saved with the document?
© Paul Davis
My book 61410.indd 31
31 6/25/10 10:06 AM
Overview The computer has dramatically changed the workflow of a design job. Many functions can be done by one person or by the customer prior to supplying the job. A traditional design workflow could begin with the customer and involve designers, photographers, and copywriters all using various software. The job (file) would then be submitted to a print company, perhaps directly by the customer or designer or by way of a print broker. Once “at the printer” a salesperson might get involved and submit the job to an estimator for a price quote. The estimate would consider such things as the amount of finished pieces needed, the type of paper, numbers of colors needed (single color, 2-color, or CMYK, or spot colors), type of bindery, shipping etc. With customer approvals, the job can be shifted to a Customer Service Representative (CSR). The CSR will monitor the job through the production process working with the customer or the production staff to insure that no errors or problems occur with the job. From here the job may be turned over to the production staff and/or a scheduler to schedule presstime and bindery time. This area may begin with a preflight technician to insure that the file meets the technical requirements for printing.
Claudia McCue has written an excellent book on the aspects of digital production. It goes into much more depth than this booklet and is a very good reference on production issues.
Preflighting may be the first step in prepress process which prepares or if needed, repairs the file prior to output. Prepress prepares the file for output and may make necessary corrections to insure a quality result. In a digital workflow the file may be in PDF format (if it was not delivered this way) by this time and ready for output direct to plate (DTP) by a prepress technician who may be responsible for imposing the file for the necessary press sheet. Now that the job is plated it is checked prior to submission to the pressroom. In the pressroom the plate(s) are attached to the press and the paper loaded for printing. The printing may be a single color job with one or two sides of the sheet being printed or it may be a full color job involving the 4 process colors of Black, Cyan, Magenta, and Yellow (this is the common print ink sequence). Additionally, a more ornate design might involve additional ‘spot’ colors such as metallics, varnishes, or a specific color match. The press process may involve a crew that include the head pressman, a second pressman and perhaps
32
Graphic Design Basics
My book 61410.indd 32
6/25/10 10:06 AM
Overview a feeder operator or helper. These positions are determined by level of experience and may not be specific titles. Different printers may have several types of presses ranging from smaller duplicators running 11" x 17" sheets to much larger presses running a 30" x 40" sheet. In the case of a web press the sheet is continuous and can run at speeds of feet be second. When the job is printed it is transferred to the Bindery or post-press area. The bindery person may be responsible for the job may being cut and folded into its final form. This can include specialized equipment for folding, stitching, and trimming the job into books or brochures. Just as in the other areas, experience is necessary to prevent any last-minute error from ruining a job. The finished job may now move to the shipping department for (on-time) delivery to the customer. While not all shops are alike and not everyone has the same type of equipment, all of these areas require that everyone work together and be professional in their particular job skills. Intricate (and expensive) equipment is present in all of these departments and training and experience is necessary to insure that every job is completed effectively on time and on budget. The client may assist in the process by being aware of the production process. Knowing which software is best for each function and what software is supported by the printer can prevent major errors later. Preflighting and packaging files can insure that all aspects of the file have been delivered. Knowing the cost of a color job may determine whether color is used in the job in the first place. By including the printer (either salesperson or CSR) early in the design process many problems can be prevented sooner rather than later when they can be expensive to correct. Many printers offer tours to showcase their capabilities and can assist in software training as well.
© Paul Davis
My book 61410.indd 33
33 6/25/10 10:06 AM
Color Basics
Four color process printing In color printing just four inks are used to create the illusion of full color. These colors are Cyan, Magenta, Yellow, and Black. Note how the different combinations create the full range of color. Black is added to complete the process adding depth and contrast to the shadows. The usual sequence on press is Black, Cyan, Magenta, and Yellow.
34
Graphic Design Basics
My book 61410.indd 34
6/25/10 10:06 AM
Color Basics Dots and screens To create the illusion of lights and darks, different sized printing dots, called halftone dots, are used. The dots are created when the file is output through the RIP (raster image processor). If the dots all printed on top of one another the black ink dot would overpower the other colors. Therefore, the dots are printed at different angles so that only portions touch each other. Thus, when a portion of cyan dots touch a yellow dot, green is created and so on. The size and spacing of the dots is controlled by feature known as Line spacing (even though they aren’t lines). Lines per inch or LPI is the fineness of the printing dots measured along a diagonal inch. Newspapers use a coarser line screen such as 85 LPI, while books and magazines can use 150 or 175. The finer the dots the more detail. Be careful not to confuse LPI, the printing dots, with PPI which are the pixels in the computer file.
Spot color Not all colors can to be created from process colors. Only about 6000 colors can be produced with the process colors. A spot color is when a specific ink color is used instead of the process colors. This can be just the color black as in the case of smaller single color presses, or it can be a specially mixed color. Certain colors are not easily created in CMYK or the color may be a special match for a company. Other spot colors are metallic inks such as gold or silver, fluorescent colors, or varnishes. It is possible to combine a spot color within a process color job if the press has 5 or more units. Four units are used for the process colors and the remaining unit(s) can be used for spot colors. There are several color models for the creation of spot colors, a common one being the Pantone Matching System or PMS, although there are others. Most design software allows the creation of either spot or process colors. Photoshop allows a spot color through converting channels to spot colors. ‘Common’ screen angles; Cyan-105° Magenta-75° Yellow-90° Black-45° Note; these may alter due to certain computer output requirements
© Paul Davis
My book 61410.indd 35
35 6/25/10 10:06 AM
Color Basics 2subtract color.pdf
10/7/08
9:46:27 AM
C
M
Y
CM
MY
CY
CMY
K
Subtractive Color = Cyan, Magenta, Yellow. Secondary Color: the overlapping of the secondary colors create the primary colors allowing most colors to be created. These inks subtract light as it is reflected from the white substrate (paper). When all three of these colors are present the color black is created. As the “black” is not sufficient actual black ink is added. CMYK can create the illusion of full color.
36
Graphic Design Basics
My book 61410.indd 36
6/25/10 10:06 AM
add color.pdf
10/25/07
8:48:06 PM
Color Basics
C
M
Y
CM
MY
CY
CMY
K
Additive Color = Red, Green, Blue (RGB). Visible Spectrum: the primary color wavelengths visible to the human eye. Light as it is created by nature, monitors, television, etc. When all three of these colors are present the color white is created. White can be broken into these three primary colors. When the individual colors overlap one another a secondary color is created such as cyan, magenta, or yellow.
© Paul Davis
My book 61410.indd 37
37 6/25/10 10:06 AM
Color Basics color wheel.pdf
10/25/07
8:58:45 PM
Colors across from each other on a color wheel create complementary colors
C
M
Y
CM
MY
CY
CMY
K
Analogous colors; use 2 or 3 related colors that appear next to each other on the color wheel. Monochromatic colors; use several shades of one color. Care should be taken when tinting colors already created from tint percentages as colors may shift. Complementary colors; appear directly opposite or near opposite from each other on the color wheel.
38
Graphic Design Basics
My book 61410.indd 38
6/25/10 10:06 AM
Color Basics Color Settings There are some other issues when it comes to color. Some of these are very useful settings within the software. The first useful setting is the use of the overprint preview setting. This is available in InDesign, Illustrator and Acrobat. It will preview the actual effect of the overprint or transparency settings on the monitor. Therefore, if a cyan image is set atop a yellow item, and set to overprint, the area of overlap will appear as green. This can effectively be turned on near the end of the job to proof the work, but there is an issue in InDesign that will prevent the “show hidden characters” feature from working and this can be a problem when checking keystrokes etc. Another useful setting is for Color management. This can be set in Bridge and will link the setting throughout the entire CS suite, thereby allowing the color settings to be consistent. If a different setting is used in a specific software, the circle will appear broken or segmented. When working with color it is useful to be able to proof the colors and how they react. As most files are created digitally, and progress through a digital workflow process, usually as a PDF. It is useful to proof the file. When done on-screen this is called soft proofing. Within InDesign, Illustrator, and Acrobat is the ability to perform a separation preview. By turning off certain colors a preview can be seen. This feature is very useful in checking for black overprints or for checking for RGB text. If the proofing demonstrates a problem the file may be corrected prior to converting to PDF. InDesign also allows for a high quality display to show graphics in better resolution (as does Quark). The use of color correct lighting is also helpful. A Kelvin rating of 5000K is optimum for color. Many light bulbs now come in this (daylight) rating and can be checked by carefully reading the packaging.
© Paul Davis
My book 61410.indd 39
39 6/25/10 10:06 AM
Pixel Basics PPI input vs. Quality
1
Four examples of PPI settings for line or bitmapped objects. PPI stands for Pixels per inch. In the past this was also referred to as DPI. Artwork #1 was scanned at 72 PPI note the loss of detail regardless of the PPI of the output device. The old saying of garbage in garbage out holds true here. Artwork #2 is the graphic scanned at 150 PPI. Note the loss of detail but for some graphics this may be enough, plus the file size is smaller.
2
Artwork #3 was scanned at 400 PPI, note the better detail. Even higher PPI would might improve the roundness of the edges, but remember that increased PPI increases file size. If the image is sized up more detail is needed. If sized down the extra resolution may be discarded. Artwork #4 is a image scanned at 72 PPI but then re-sampled up to 400 PPI. Note that adding PPI after the fact does not retrieve detail.
3
The adjusting of resolution due to increasing or decreasing size is known as resampling. Resampling down is acceptable as it effects excess PPI that can be discarded, but resampling up should be avoided (unless the necessary PPI is present). Resampling up simply adds pixels by averaging it does not add detail. Pixels is short for picture elements that make up an image. These files are also known as raster files. The quality of the image detail is dependant on the file resolution, that is why these types of files are known as resolution dependent. Resolution is set when the image is created either by scanning or by a digital camera or by setting the file resolution if creating it in Photoshop. The more resolution the better the quality (within reason) and the bigger the file size.
4
40
Graphic Design Basics
My book 61410.indd 40
6/25/10 10:06 AM
Pixel Basics Scanning & DPI A general rule is that the PPI should be two times the linescreen when printed. However, this math formula can be more specific especially when enlarging. LPI = lines per inch, printed halftone dots; screen ruling when printed. PPI (DPI) = pixels per inch, ‘dots’ per inch (should not per confused with a printing dot). Refers to the fineness of detail in a bitmapped/computer (scanned) image. Scanning formula for factoring PPI and % and quality level.
PPI = (LPI x Q* ) x %
Quality levels x 2 = High quality (high detail)
x 1.5 = Medium quality (most common setting)
x 1 = Average quality (usable in many instances)
The quality level may vary from task to task or from original to original. It is a good idea to maintain the same level throughout a given job regardless of copy for organizational ease. Test to find which yields the best results. Higher scanning PPI means a larger file, and slower processing time, sometimes with no increase in quality.
Example: 133 line screen, medium quality, 100% (133 x 1.5) x 1. = PPI setting needed 199.5 x 1. = 199.5 (200 ) PPI
133 line screen, medium quality, 200% (133 x 1.5) x 2. = PPI setting needed 199.5 x 2. = 399 ( 400 ) PPI
150 line screen, high quality, 175% (150 x 2) x 1.75 = PPI needed 300 x 1.75 = 525 PPI
150 line screen, high quality, 65% (150 x 2) x .65 = PPI needed 300 x .65 = 195 PPI
To Calculate %: I/O = P; Divide bottom (Original) into top (Image needed) to find percentage needed.
© Paul Davis
My book 61410.indd 41
41 6/25/10 10:06 AM
Pixel Basics Determining proper PPI settings Using the formula on the previous page and the formulas from earlier in this book to calculate the necessary scanning resolution. 1. 133 line @ high quality reproduced at 150% = ? PPI 2. 133 line @ high quality reproduced at 325% = ? PPI 3. 100 line @ average quality reproduced at 75% = ? PPI 4. 150 line @ high quality reproduced at 75% = ? PPI Using these and earlier formulas. complete the following;
An 8" x 10" original is to be sized so that 8" will be 6". 5.
What % is needed ?
6.
What is the new size of 10" ?
7
What PPI is needed if 150 line, high quality is used?
A 4" x 6" original is sized so that 4 will equal 5" 8.
What % is needed ?
9.
What is the new size for 6" ?
10.
What PPI setting is needed if 150 line, medium quality are used ?
To calculate the levels of grey reproducible: 8
To achieve the 256 levels of grey the computer creates 2 , or two to the eighth power. Therefore; 2x2x2x2x2x2x2x2 = 256 levels of grey. When you know the LPI and want to know what RIP output DPI is needed; lpi screen X 15.97 = minimum dpi output When you know RIP output DPI and LPI and want to know how many levels of grey are possible; (dpi / lpi ) 2 + 1 = # of levels of grey.
42
Graphic Design Basics
My book 61410.indd 42
6/25/10 10:06 AM
Pixel Basics Digital camera settings There are important settings to made when working from a digital photo. Digital cameras capture and record files at 72 pixels per inch. This resolution must be changed into a range that is acceptable for print. That range is usually from 225 to 300 PPI @ 100%. Depending on the megapixel range of the camera a good original file can be converted. The windows below demonstrate how to convert a camera file into a photoshop for print file. When the file is opened into Photoshop go to the Image>image size dialog box. Box 1 indicates what the initial view will be. The resolution is at 72 and the width and height are indicated. The width and height may Box #1 be different due to the megapixel rating of the camera and its quality setting. Note that the dimensions can be huge if a camera over 7 megapixels is used but the resolution will stay 72. For print it is necessary to convert this file. Box 2 indicates what needs to be done. In the lower left corner is a resample image box. Uncheck this and it will link the dimensions to the Box #2 resolution. Box 3 indicates resetting the resolution to an acceptable print range. Note how the dimensions change drastically when this is done. It is now possible to re-check the resample box (lower left corner). This will separate the dimensions from the PPI for the remainder of your work. The file may be resized at this point but beware enlargBox #3 ing it too much as the quality will decline. In order to have a large image and acceptable PPI a camera with a higher megapixel range is sometimes needed. This was a 5 megapixel camera at high quality settings and can produce an acceptable 4 x 7 image @ 300PPI. A better camera can produce a larger image @ the same 300 PPI.
© Paul Davis
My book 61410.indd 43
43 6/25/10 10:07 AM
Pixel Basics Halftones in Photoshop Photoshop is an excellent tool for the production of Halftones. A halftone is an optical illusion whereby a photographic (or any continuous tone) original is converted into a printable form. This printable form is accomplished through the use of dots. The dot size is dependant upon the shade of tone present in the original. Therefore, a light area in the photo will convert into a small printing dot on the substrate (paper). A dark area will reproduce as a large dot, in fact, the dots will be so large as appear to "join up". This area will appear as almost totally solid with clear dots (the paper) showing through. Most of the tones in the originals can be categorized into three areas, Highlights, Midtones, and Shadows. Each area is important in reproducing the total effect of the original. The proper range of dots will result in the contrast that is necessary to producing a good halftone. There are many outside influences that can also affect contrast and reproduction quality. The substrate (paper) that the halftone will be printed on can affect quality. A coated sheet will minimize dot gain since the ink does not absorb into the sheet as badly as an uncoated sheet. An uncoated sheet, being rougher, will absorb ink dots causing them to spread out creating dot gain. The color of the paper and the ink color choice will also affect clarity and contrast since a dark color is easier to see on a light background. Press conditions and maintenance are very important to reproduction quality. There are many factors to good press operations that are the responsibility of the pressman. But, the entire process is a team effort so proper understanding of the entire process is helpful for both the prepress and press personnel.
Photoshop Tools The halftone process begins with the original. The file is opened from the original camera file (jpeg or raw) and the resolution of the file is checked by going to the Image>image size menus. As outlined on the previous page the file may need to be converted from 72 PPI to a higher resolution of 200 to 300. If the original is in color it is possible to examine each of the RGB channels to see which has the best detail, then the file may be converted to greyscale to allow it to print in black and white. An very important feature in Photoshop is the Info palette. This window allows the operator to monitor what will hopefully be the size of the printing dot when output. This is also helpful when editing as it will show the original dot and what will be the new size when edited. The next important feature is the curves palette. With this panel changes can be
44
Graphic Design Basics
My book 61410.indd 44
6/25/10 10:07 AM
Pixel Basics
Examine any printed photograph and you will see that the image is made up of tiny dots. In the case of color there are four sets of dots in cyan, magenta, yellow and black. Black dots @ 45° are hard to discern by sight.
made to the specific regions such as the highlights, midtones, or shadows. The effect of dot gain etc. can be compensated for by adjusting the midtone region down thereby making the new printing dot smaller and the tone region lighter. Corrections can be made if the photo is too light or too dark. Specific regions can be corrected without harming the other areas. By using an adjustment layer these controls are temporary and can be re-edited. It may also be helpful to use the History palette to allow a before and after approach. The next control is the Unsharp masking control. This adds contrast or replaces contrast lost in the scanning process. It effects the image at the pixel level so it is hard to notice other than the fact that the photo looks better. A bit of practice with this control can improve the printed appearance of many photos. Be careful not to go too far as the image will appear too contrasty. Use of the layers palette can be a great help in creating within Photoshop. Education and experience in these and other controls can produce excellent results with practice.
© Paul Davis
My book 61410.indd 45
45 6/25/10 10:07 AM
Pixel Basics Halftones The basic halftone process usually concerns converting a color photo into a greyscale image. Each channel can be examined to see which contains the best contrast and detail. If the original is a digital photo be sure to adjust the PPI as mentioned on previous pages. When the best channel is chosen the file may be converted into a greyscale file. The green channel is the default channel but be aware that the best channel may vary depending on the original image. Examine for detail first because tonal corrections can be made next.
46
Graphic Design Basics
My book 61410.indd 46
6/25/10 10:07 AM
Pixel Basics Halftone adjustments The next step in the halftone process is adjusting for contrast. This can best be done through the use of the curves palette (though others are available). Adjustment Palette (CS4); Instead of menus or keyboard shortcuts, many adjustment modes may be selected by clicking the appropriate button on the new adjustment palette. This will also automatically create the needed adjustment layer on the layers palette. With curves the tonal regions of highlights, midtones, and shadows may be adjusted independently. This allows specific tonal areas to be corrected. This same method may be used to adjust individual color channels for color images with a bit more practice. The advantage to the adjustment layer is that it is editable and can be undone if necessary. It can also be retained if saved in PSD format. However, the curves palette may still be accessed directly to perform corrections as well (Image>adjust>curves).
© Paul Davis
My book 61410.indd 47
47 6/25/10 10:07 AM
Pixel Basics Use the info palette to monitor the size of the printing dot. Since the monitor cannot display printing dots the info palette can be used to monitor the effects of editing. When editing the info palette will display a before (left) and after (right) view. The info palette is more accurate that just viewing the monitor. This is especially true when working with color. By moving the mouse within the image area, the info palette will display the printing dot value. These values are also important when outputting images to plate to assist with calibration.
Basic Tonal Regions Shadows Darken Midtones Lighten Highlights
In image curve modification. Another new feature in CS4 is the ability to edit the curve while in the image itself. Highlight (click on) the button shown to allow curve adjustments to be made by moving mouse up or down while in the specific image area. For example; click and hold mouse while in the face (midtone) area and move mouse up or down to adjust tone on the curve palette. Changes will appear on the curve palette.
48
Graphic Design Basics
My book 61410.indd 48
6/25/10 10:07 AM
Pixel Basics The last step is to apply the Unsharp Mask filter. This can add contrast at the pixel level. When opened a preview window will appear. The preview window allows for the amount as well as the radius (thickness), and threshold (levels of grey), to be adjusted. Usually only the amount can be adjusted until more experienced. To be able to examine a before and after of the Unsharp mask effect, click and hold within the preview area of the USM palette to see the “before” and release the mouse to see the “after”.
Production Review 1. Open file or download image file from camera. 2. Open file within Photoshop, save as PSD (and save often). 3. Convert to print-level PPI and monitor new dimensions. 4. Scale to needed size (if needed). 5. Open info palette 6. Open channels palette, examine each channel for best detail. 7. Choose best channel and convert to Greyscale. 8. Using curves and info palette, adjust for best contrast. 9. Apply Unsharp masking. 10. If needed, flatten layers for output and to make edits permanent. (it is not necessary to flatten layers for export to InDesign)
© Paul Davis
My book 61410.indd 49
49 6/25/10 10:07 AM
Pixel Basics Halftone review 1. What is a halftone? 2. How many shades of grey are available in greyscale format? 3. What are some file formats to export a halftone file? 4. What is an acceptable printing highlight dot size? 5. What is an acceptable printing shadow dot size? 6. What is Dot Gain? 7. How does paper affect halftone production? 8. What is resampling 9. What is the “rule” for resampling? 10. Pulling the curve above the 45˚ plane will have what effect? 11. Pulling the curve below the 45˚ plane will have what effect? 12. What is USM? 13. What is an advantage of USM? 14. What is an advantage of using RGB mode for halftone production? What are the three tonal areas associated with halftone production?
15.
16.
17.
18. Digital photos default to what PPI setting? 19. Do imported graphics become part of the page layout file? 20. Define LPI.
50
Graphic Design Basics
My book 61410.indd 50
6/25/10 10:07 AM
Pixel Basics 21. What is resolution dependent?
22. Identify this window and explain its function.
23. Identify this region.
24. Identify this region.
25. Identify this region.
© Paul Davis
My book 61410.indd 51
51 6/25/10 10:07 AM
Pixel Basics Basics of Color Correction (the 5 c’s) 1. Color. What are the known colors in the job? Is one color more important than others? Use the info palette to monitor color. What are the main colors of the subject? As Dan Margulis says; use the full range of available colors and don't give the customer colors they know are wrong. Take inventory of the job and discuss it with the customer or supervisor if necessary to get an idea on what is important. If the color is specific it may be helpful to use Hue-saturation controls in an emergency. 2. Contrast. Is there enough color range in the job? Contrast is the relationship between light and dark. In the photo that can be the highlight and shadows. Where are the highlights and where are the shadows. Use the info palette to determine the dot size. If the highlights are too large they may need to be adjusted to lighten the photo. The same is true for the shadows. If too light, they may need to be adjusted to create darker tones in the shadow area. Steepening the curve can create more contrast, overall or individually. Printing compresses the range of color (gamut). Color may look flat or dull if there is not sufficient contrast. The USM filter can assist in adding contrast at the pixel level. 3. Cast. Is there unwanted or unnatural color present? A cast can affect the entire color range of a job. A cast may be too much of an unwanted color OR not enough of the wanted colors. Fleshtones can be evaluated by anyone. If the sky is the wrong shade it may impact the entire photo. Neutrals and Grey balance. In order to insure that there is not a cast present it is helpful to locate areas of grey within the photo. By checking the info palette the color values can be checked to see if the values are equal. In CMYK printing the cyan value is to be slightly higher in order to balance. RGB values can be used as these values will be even.
R=C G=M B=Y
4. Channels. Monitor the channels palette to view individual color separations. Make sure the is sufficient detail in all color channels. Each channel should be examined for the presence of detail. A composite view may not be enough to judge color. It may also be helpful to work in RGB mode, then convert to CMYK for output. When the image is converted to CMYK the black channel is created from values of RGB. The color settings preference for CMYK in Photoshop dictates how the black channel is created. As black is a dominant color detail can be very helpful in this channel. Channels, being greyscale data, can be blended from one channel to another. Blending is helpful in adjusting or repairing detail, but practice is needed for this process.
52
Graphic Design Basics
My book 61410.indd 52
6/25/10 10:07 AM
Pixel Basics 5. Curves. While levels controls may be easy, the curves palette allows the widest range of tone correction capabilities. A steeper curve will create more contrast. Individual channels can be corrected to remove casts. Contrast can be corrected using collective or individual color curves. Likewise, casts can be removed by adjusting the curves palette. Adjustment layers are helpful as they allow the image to be adjusted in a temporary basis. The curve can be saved and returned to re-adjust later. It is also helpful to view a before and after view of the image. The adjustment layer will have to be flattened for export but the layers can be preserved if saved in .PSD format. The History state can be useful as a revert position as well. Hue-Saturation. Hue saturation is a method of adjusting a specific color. It may not be as effective as curves but it can be useful in an “emergency”. Color is made up of three components; Hue being the color, Saturation being the amount of that color, Lightness being the purity of the color from white to black. The feature is located under the Image>adjust>hue/saturation.
The image above is the unadjusted original file. The image at right has been color corrected to remove a cast and to add contrast.
© Paul Davis
My book 61410.indd 53
53 6/25/10 10:07 AM
Vector Basics Vector Files A vector file is a file that is composed of paths or lines. Being composed of lines they are not dependent on pixel resolution for their quality. These files are resolution independent. Characteristics of vector files are the lines and anchor points that make up the artwork. In order to edit the vector shape it is necessary to select the anchor point. Illustrator (and InDesign) have two types of selection tool, the selection tool (solid arrow) and the direct selection tool (hollow arrow). The selection tool is used to select entire objects in order to move or scale them. The direct selection tool is used to select individual anchor points for editing. Anchor points along curves will also have bézier handles or direction lines. The ends of these handles are round while anchor points are square. It is important and helpful to zoom in on the artwork to be able to tell the difference (start saving for your glasses now). Working with Illustrator graphics requires patience. The artwork must be selected first, the change or edit made, then the change must be applied. I have come to refer to this as the “Golden Rule” of select, change, apply. In most cases the apply portion can be simply clicking off the image or hitting the return key. Illustrator files can combine text and shapes. It is even possible to create many of these same functions within InDesign. Type and shapes may be filled with color and have strokes applied. Multiple paths used to create a given design are sometimes known as compound paths. Type may be converted from a font into vector shapes for more creativity. The power of vector files is when they are paths. Filters and 1 effects may be applied to create interesting logos. 2 In the graphic to the left; item 1) is a bézier handle, item 2) is a unselected anchor point, 3 and 3) is a selected anchor point. To deselect simply click in an empty area of the page.
54
Graphic Design Basics
My book 61410.indd 54
6/25/10 10:07 AM
Vector Basics An advantage of a vector file is that being composed of lines it is known as PPI independent. Being PPI independent, they are also smaller in file size. Vector files may be scaled without loss of image quality. Use of the selection tool and bounding box allows images to be easily sized. Holding the shift key will maintain proper proportions.
Fill & Stroke Fill of None
Fill of White Endcap & join methods
It is possible to apply a fill and a stroke to type in Illustrator & InDesign. This can be done while the type is still a font. It is normally not necessary to convert the type to outline to apply a stroke. The fill and stroke commands are located at the bottom of the tool palette. The red slash indicates a fill of NONE. The fill of none is hollow or transparent while white is opaque. The stroke palette allows the weight (thickness) of the stroke to be set. This setting is also available on the options bar. Various controls as to end caps and joining types can be made as well. A setting to align the stroke is also on the palette, however this feature only works with objects. To use this feature with text it would be necessary to convert the type to outline. Note the effect the stroke has on the interior portion of the type. With a serif font this can become a problem. Beware converting the text too early as once converted to outline it is no longer editable. To create thicker stroke effects it will be helpful to use mulitiple layers and “stack” the images atop one another. Type also has to be converted to outline to apply a gradient fil.
Centered stroke, serifs pinched
Center Inside Outside A 3 point stroke applied to the same size image.
?
Inner stroke, note how type appears pinched
how was this done Outside stroke, interior appears OK may need tracking prior to converting
© Paul Davis
My book 61410.indd 55
55 6/25/10 10:07 AM
Vector Basics
Compound Paths
Figure 1
Text as a font
Figure 2
Figure 3
Compound Paths A font (Figure 1) may be converted to outline to allow greater design functions to the type. Note that a gradient may only be added after the type has been converted to outline. The gradient tool is then used to apply the gradient to the combined text by dragging over the selected text (Figure 2).
The next step can be Object>compound path>release (Figure 3). A compound path is when there are two paths making up the object such as the letter “O” or the letter “P.” When the compound path is released all of the shapes become Text converted to outline. Gradient individual shapes. They may now tool used on text. be edited or colored individually or deleted. Interesting logo effects can be created in this manner. The reverse can be done by starting with separate shapes. Two shapes placed atop or near one another can be combined to create a compound path. Both objects need to be on the Object>Compound Path> same layer, select both objects then release. Separated paths go to Object>compoundpath>make. then edited.
Outlined paths set to overlap slightly. Figure 4 Pathfinder> add to shape
56
If the shapes overlap slightly the shapes may be united into one single composite shape through the use of the Pathfinder palette (Figure 4). If a stroke is applied the stroke will follow the outside edges of the type leaving the interior as a continuous shape.
Graphic Design Basics
My book 61410.indd 56
6/25/10 10:07 AM
Vector Basics This page contains some sample files built in Illustrator. Multiple shapes are created on multiple layers. Type is applied to paths and converted to outline. Type converted to outline no longer needs the font files for exporting, but editing can be more difficult. However, type converted to outline can be creatively manipulated. Layering is key to this type of design. Be sure to consider print requirements like overprint and trap when completing your designs.
n g i s e D © Paul Davis
My book 61410.indd 57
57 6/25/10 10:07 AM
Vector Basics Live Trace The live trace feature in Illustrator allows bitmap files to be imported and converted into vectors (anyone remember Streamline). The file is imported and a tracing option chosen. These settings vary due to the type of original, but there are several useful presets. Once a setting is chosen the trace button is clicked.
After tracing, click the expand button to perform the conversion to vectors. The sample below shows the expanded image now composed of vector lines and colorized. The pencil tool may now be used to edit and smooth the lines. Practice with the presets and different originals for better results.
58
Graphic Design Basics
My book 61410.indd 58
6/25/10 10:07 AM
Vector Basics Illustrator Review 1. What is meant by PPI independent?
2. What is a vector file?
3. Vector files are larger than Raster files, True or False?
4. Many Illustrator functions are available in InDesign, True or False?
5. What is meant by the term “Golden Rule”?
6. What are the two types of selection tool in Illustrator?
7. What is a compound path?
Identify the numbered items:
8.
9. 8.
9. 10. 10.
© Paul Davis
My book 61410.indd 59
59 6/25/10 10:07 AM
Page Basics Most common designs are created within a page layout software. An example of one of these is Adobe’s InDesign or QuarkXpress (for the sake of simplicity, only InDesign will be discussed but Quark works very much the same way). Programs like Word or Publisher are used by some customers but are generally not recommended for high quality print production. A very useful series of books for specific software is the Visual QuickStart series from Peachpit and Claudia McCue’s Real World Print Production (see bibliography). This booklet is for background purposes only. Another important concept to understand is that the page layout is a vehicle for all the elements of the job. There are various links that are necessary for the job to be complete and to output correctly. Graphics are imported from either Photoshop or Illustrator and linked to the page layout from their original location. Somewhat overlooked are the fonts used for the job. Fonts are a part of the operating system of the computer. They are available as long as the computer is on. There are NOT part of the page layout as the page program links to the font files on the computer. When the file is moved to another computer at a different location, those font must accompany the file. Saving the file does not include the graphics or font files. However, InDesign (and Quark) possess the function to package or collect for output. This function WILL include all linked files for the job. When beginning a page layout it is first necessary to decide on the page size. It is then possible to decide on margins and columns and gutters. At this stage it is important to consider if the job is to contain any bleed. InDesign will provide guide lines to indicate the bleed area (it may be helpful to include the bleed lines even if a bleed is not used). Settings can be saved for re-use or the job can be started. When the page is displayed it is a good idea to perform a SAVE AS function. Do NOT wait until you are deep into the design to save lest the computer crash and you may lose a great deal or work. However, InDesign offers an assistance if this happens. If the program crashes re-launch the program not the document. When the program re-starts it will re-open the document where it last saved it. Don’t forget to Save and Save often throughout the job.
60
Graphic Design Basics
My book 61410.indd 60
6/25/10 10:07 AM
Page Basics It is possible to edit the settings of the margins, columns on document if changes are needed. These settings are located under the Layout menu in InDesign. It may also be helpful to set guide lines for important elements on the page. Guides may be pulled from the ruler guide area and can be precisely positioned. Simply select the guide line with the selection tool and enter the desired position in the X or Y section of the control strip. It is even possible to have the measurement display as the guide is being moved. Do not just guess or eyeball using the ruler guides across the top or side of the monitor. Precise positioning can have a great impact on the job printing correctly. The control strip (see top of page) in InDesign contains many of the common tools needed for most designs. The control strip will change depending on the tool selected. The control strip also has two levels that can be accessed by clicking the button on the far left. The upper button has an A symbol the lower a paragraph symbol. On the far right edge of the control strip is a button that allows a bit of customizing of the control strip for common features. There are also a variety of windows>palettes for more specific job functions such as Color Swatches, Layers, Text Wraps, Attributes, and Separations Preview, to name a few. The use of all these tools and palette functions allows for creation of very profession pieces. Again, reference the Quickstart books for in-depth help with all these tools. It is worth mentioning the importance of the layers palette. Complex elements can be placed on separate layers to help organize the job. For example, all graphics can be on a separate layer. Different versions of a headline can be on different layers. Layers are very helpful when elements need to be on top of one another. It is possible to lock layers to prevent changes and to turn off layers as well. Once the document has been set up, margins, columns, and guides created, the text can now be considered. Text can be entered a couple ways; typed directly in the document or imported from a previously typed document. Either way a text box will need to be created. This can be done by using the text tool and clicking and dragging to create the box. As the box is created it will snap to the guides. If a specific sized box is needed, the box can be selected using the selection tool. There are two selection tools; the selection tool (solid arrow) and the direct selection tool (hollow arrow). The solid arrow can be used to reshape items by selecting either of the hollow handles that appear on the edges of the box.
© Paul Davis
My book 61410.indd 61
61 6/25/10 10:07 AM
Page Layout The sample at right represents a page proof. Note the elements of the proof itself: Media- the sheet that the proof is on. The media should always be larger than the image to allow the entire image plus marks etc. to show up. The media may represent the size of the actual press sheet that the job is to print on. Sufficient space should be left for press grippers and quality control images such as register marks and color bars. Marks- both bleed and trim marks are shown. The Bleed marks are located toward the outer edges indicating the size of the bleed. The Trim marks are located on the inner edges to indicate the final trimmed sie of the job as it will be delivered. A bleed will make the working size of the job larger. This bleed size should be factored into how many images can fit on a larger press sheet. A bleed allows a working margin for press and cutting. The trim size is the size as delivered to the customer. Bleed- a bleed is when the image extends to the edge of the page. The image is made a bit larger so that it extends off the page by approximately 1/8". Note how the colored background extends beyond the trim marks. This extra amount of image allows bindery to make a cleaner cut of the finished image. The bleed area is cut off and discarded so be careful that no important image is in the bleed. Background colors, photos, and even type can be created to bleed as part of the design. But remember that the image in the bleed will be cut off. An image within the margin is NOT the same as a bleed. Trim- the trim marks indicate the finished size of the job. This is the size of the job after cutting or the finished size of the page after folding such as in a book. The document file should be set up for this size. Most software allows the addition of a bleed area outside the trim size. If a booklet is being created the individual single page size should be used. Page software allows the use of facing pages (pages across the fold from one another). If a multi-page job is being created imposition software may be used to organize the pages into a properly numbered book. Organizing pages into a book is known as pagination or imposition. Margin -is the space that is indented from the edge of the page to allow space between the edge of the page and the images on the page. Software allows for different margins to be used for top, bottom, or edges, etc. Be sure to allow sufficient margin if the job is trimming so that text or images are not too close to the final edge or worse trimmed off. Guides may also be used to assist in aligning images on the page.
62
Graphic Design Basics
My book 61410.indd 62
6/25/10 10:07 AM
Page Layout MEDIA A page layout or proof may display several sets of important measurements. These can be listed as; Media, Bleed, Trim, and Margin. When output or proofed marks can be added to identify some of these areas. It is important to pay attention to the marks provided on a job as these indicate the finished size of the job. They also indicate if a bleed is present and this is important because it changes the size of the job when printed. The print size can influence how many pages can fit on the press sheet (media). If a layered PDF is created these marks will be on their own layer.
This is a sample of a job proof. The page itself represents the MEDIA area, the sheet of paper that the job is on. Note the marks on this sample. The double sets of marks indicate the BlEED (outer) and TRIM (inner). The bleed for this page extends past the trim marks indicating that this area will be trimmed off. The margins do not have a marked area but are the areas where the work is indented from the edges of the trim. lines may be drawn to show the trimmed size of the job and this can be used to indicate the margin area.
MARGIN The trim size is the finished size of the job as delivered to the customer
TRIM BlEED Bleeds are images or areas that extend off the sheet. In the design the image should extend off the sheet by at least 1/8" (.125). This will ensure that the job will cut correctly. A page can be set-up to show a bleed area outside of the job’s margin area. Be sure that the important detail is not too close to the edge of the job or it may be trimmed off (unless it is intentional).
Trim Marks Bleed Marks
© Paul Davis
My book 61410.indd 63
63 6/25/10 10:07 AM
Page Basics Text Basics A text box, once created, can be edited using the selection tool or the control strip. The control strip contains a W & H feature that will allow a more specific size to be set. Note the re-size handles on the corners and sides. In the left corner is a reference point setting containing multiple small squares. This is the origin point for items. It may be best to set the solid box in the upper left corner of this tool so that boxes draw from the left corner.
Reference origin point. Solid arrow should normally be in upper left.
Fonts A font should be chosen when ready to start typing. While there may be a default font available, there may be many other fonts available that are more effective for the design of the job. Fonts do have to loaded and active on the computer to be available for the software. Fonts may also have various styles, such as bold, italic, bold italic. Some have many styles and some are limited. It may be helpful to chose a font that has several styles to make a more flexible design. Remember that packaging will collect all these fonts for use in outputting. There are additional settings for point size, leading, etc. Alignment settings are also available for the paragraphs to aid in readability of the text. This paragraph is aligned left. It is very common for text but does leave a ragged right edge and this may be unsightly or difficult to follow over a long page. This paragraph is justified with last line aligned left. This is very common for magazines and newspapers that have multiple columns of type. It aids it reading as both edges are smooth. This paragraph is centered. it is fine for subheads and headlines but should be avoided for large amounts of type as it is difficult to read.
64
Graphic Design Basics
My book 61410.indd 64
6/25/10 10:07 AM
Page Basics Flowing Type When large amounts of text are involved it is easier to import and flow the type into existing text frames. InDesign offers several ways to do this. In fact, a preexisting text box is not needed in certain cases as the text will flow within the margins set-up for the page. Flowing type is more effective than copy & paste commands from another document. The File>Place command will allow the text to be imported to be located. Navigate to the needed text and select the open button. When the mouse is moved into the page area a loaded text icon will appear. Depending on whether a text box is available or not the icon may have a slightly different appearance. By clicking the mouse the text will flow onto the page. if there is too much text to fit on the page or into the text box an red overflow symbol may appear in the lower right corner. In this case it will be necessary to continue the flow to another box or page. This can be done by manually linking a new box or by selecting the overflow symbol with the selection tool. When selected the loaded text icon will appear again and by clicking in the new location another text box is created and the flowing continues. Some helpful shortcuts for flowing type are: Semi-autoflow; by holding the option key (Mac) when placing text the text will flow onto the page and will become a loaded icon again to allow placement into another location or page. Autoflow; hold down the shift key while importing and the text will flow and automatically created additional pages with the same format as the original page until the text runs out. Flow to fixed number of pages; by holding the shift and option keys the text will flow to a preset up number of pages. 1. O ther useful functions especially for numbered items is the indent function. This is the command and backslash key (right of the bracket key). With this feature lines of text are indented until a hard return is typed. To create a line break without a return a soft-return is used. This is done by holding the shift key and the return key. Note how much cleaner the text is to read. These and many other very useful tips are available in the Quickstart book.
© Paul Davis
My book 61410.indd 65
65 6/25/10 10:07 AM
Page Graphics There are a variety of issues that should be When selected with the direct remembered when working with graphics selection tool the window above will display the percentage of the graphic files. The first is that the graphic file is NOT part of the InDesign document! It is linked to within the box. If the box itself is selected then the percentage of the the document. In order for the file to output correctly the job should be packaged for out- box is displayed. Be careful what is put (it is also helpful to preflight it first). This selected. insures that all files are supplied with the document. InDesign provides a feature to insure that the graphics are properly linked to the document file. This is the links palette. This palette will display which graphics are in the document and their status. If no icons are present on the palette then the graphics are linked correctly. If there is a problem with the file a warning will appear as the document opens allowing the links to be repaired (if they are present). This palette will also indicate if the graphics are missing or modified. Modified means that the graphic may be linked but it has been changed in the original format, such as Photoshop.
Links The links palette allows the original file to be opened by way of the pencil icon at the bottom right of the palette. Other icons allow the files to be relinked to the original location. A variety of graphic file formats are supported by InDesign, among these are primarily; PSD, Tiff and EPS. In the past, PSD files were not supported by page programs but this has become the preferred format for InDesign. This format allows the maximum of creative freedom and features though it still has technical requirements for proper output and PDF creation. Proper techniques in the original software, such as Photoshop, are important. If all the links are correct the next step should be to verify the files with the preflight function and finally the collect function which will copy all relevant files into a common folder. Graphics may be scaled to fit within their container by using some of the keyboard shortcuts on the control strip. Be sure that the graphic is constrained to be proportional so that it is not distorted. It is usually not recommended to scale within the page program unless the issue of resolution is better understood. The direct selection tool may be used to select the content of the box while the position tool ( a subset of the direct selection tool) performs both functions of box and content.
66
Graphic Design Basics
My book 61410.indd 66
6/25/10 10:07 AM
Page Graphics When graphic files have been imported into a page layout a variety of techniques may be used to allow the text to flow around the graphic. InDesign calls this Text Wrap and there is a palette to control this feature. There are a series of icons at the top of this palette. The first allows text to wrap on top of behind a graphic, usually rare. The second icon allows text to wrap around the picture box that was created to hold the graphic file. This is a common setting for standard box-type graphics. In the area below the icons, the offset space may be set. It is a good idea to prevent text too close to a graphic. Different amounts may be set for each side or the space can be linked to allow the same amount. The third icon allows for a contoured text wrap if the original file allows it. A vector file, such as Illustrator will allow this automatically as it contains vector or path data automatically. Graphics files require certain techniques to allow a text wrap or a background to show through. In the case of Photoshop the background may be deleted and exported with the transparent background. This can be done in many cases without the need of a clipping path (and there was rejoicing throughout the land). Take care that the silhouette is accurate and that the edges are smooth and clean. The third icon is used to create contour wraps. Additionally, wrap options and contour options can be set based on information in the original file, such as the alpha channel. The text wrap may be edited manually with the direct selection tool or the pen tool to create better textflow around the graphic. The colored background above was created in InDesign and the silhouetted graphic was imported from Photoshop without the use of clipping paths (Note the fit of the imported graphic on the colored background). The transparent background was created in Photoshop and the file exported as a PSD file. Good Photoshop techniques will yield effective results. It may also be helpful to view the graphics in High Quality Display mode to monitor edge quality. Overprint preview is also helpful if overprints have been set.
© Paul Davis
My book 61410.indd 67
67 6/25/10 10:07 AM
R everse Type “Reverses & Knockouts” A reverse or knock out type can best be described as a void image in a printed surround. This is when the type is surrounded by an ink image such as a solid color or a photo. Sometimes this looks like “white” type, but is in fact the paper showing through. Reverses or knock outs can have a strong visual impact if used correctly. It is important to not overuse the feature and to keep the text readable. Below are some issues to consider when creating a knock out. Point Size: If the type size is too small the text may not be readable when surrounded by an image or a large solid area. Keep the type typically above 8 points. SWOP (Specifications for Web Offset Publications) does not recommend sizes below 8 points. Dot gain may occur and also fill in the type. Paper: The paper that the job is to print on is certainly a factor particularly with dot gain. uncoated paper will absorb ink while coated paper will allow ink to set on the top of the sheet. Press factors and conditions can impact the quality of reverse type. the type of paper can have an impact on the type of design that may be effective. Font: The style of font should be considered as well. If the style has very thin strokes to it these areas may also plug or fill in and become unreadable. A sans serif font is a good choice since the strokes of the letters are uniform. That is not to say sans serifs cannot be used but a larger point size may be needed. A script font may be “beefed-up” by adding a stroke to the font. Bold type can be used effectively but as the thick type is close together some tracking may be needed to space it out. Indents: As a reverse box is typically within a dark image area it is helpful to prevent the type extending to the very edge of the box itself. This can harm the readability of the text. It is therefore a good idea to create a text inset or indent to allow a margin for the type. Text insets can be uniform or different amounts may be applied to tops versus side margins. Adding a frame can help give a photo more contrast to its surrounding area. This is helpful if the box is not a solid but a tinted background. Photos: Be careful with reverse type in a photo as certain areas in the photo may be as light as the type therefore making the type difficult to read. Likewise, if reverse type is within a colored panel make sure that there is sufficient contrast to keep the text readable. If the color is constructed from percentages of CMYK then press registration is VERY important to maintaining type quality. Misregister can adversely effect readability. Press: There are many controls on the press that impact print quality. Blanket and impression cylinder pressure settings, ink roller settings and the amount of ink are just a few. A skilled press operator is aware of these and can maintain optimum print quality during the run.
68
Graphic Design Basics
My book 61410.indd 68
6/25/10 10:07 AM
Reverse Type Reverse Type
Knock-out type in a thin font can be difficult to read. Even at a larger point size the type may fill in.
Text in a box should have an inset added to prevent the text touching the edges of the frame. An inset of at least the point size should be used. Most software allow different amounts to be used for tops, sides, etc.
Text in a box should have an inset added to prevent the text touching the edges of the frame. An inset of at least the point size should be used. Most software allow different amounts to be used for tops, sides, etc.
Knock-out type in a color should possess enough contrast to insure readability.
Reverse Type within artwork can be difficult to read on backgrounds that vary in shades.
© Paul Davis
My book 61410.indd 69
69 6/25/10 10:07 AM
Preflighting The purpose of preflight is to locate any production errors in the file before it is send out for production or conversion to a PDF. If the operator is sufficiently skilled these errors can be easily corrected. The preflight function previously located under the file menu has now been changed to an interactive palette. There is an “ON” button in the upper left on the palette. There is also a profile tab on the right to select from established profiles. In the bottom left corner is a status button to indicate if there are errors or not. errors are also noted at the bottom of the document screen. The button will change to red if there is a problem and will provide info as to the problem and it’s possible solution. On the preflight palette it is possible to set up profiles specific to your particular workflow. By clicking on the options tab the Define Profile selection becomes available. From this palette a wide range of presets may be made for; links, color, images, and text.
Profiles To create a specific profile click the plus sign in the bottom left, then name the new profile. The next step is to select the items to be checked for. Links: Clicking on the arrow next to the links tab will open the options for this selection. By clicking the box for links missing or modified this feature is activated. OPI is not as important these days so it may be left off. There is a links palette that should be monitored as well. The links palette can also provide info on the imported graphics and prevent some problems beforehand. Color: The color tab will examine for various color issues. The transparency feature may not be a problem but it may be helpful to turn on so that the transparency feature can be verified. For color space, RGB and Lab may be activated. Spot color may be activated if spot colors are an issue. In some cases no spot colors area allowed and they must be converted to CMYK. There may also be a limit to the number of spot colors allowed. Overprint settings may or may not be a problem. Be sure to turn on overprint preview when working to see the color effects if they are applied. Remember that in most cases the color black should overprint (this can be set in the preferences). The overprinting of white should be avoided and this may be an old technique used to hide items.
70
Graphic Design Basics
My book 61410.indd 70
6/25/10 10:07 AM
Preflighting The use of the color registration will create a solid CMYK color and should only be used for things like crop or trim marks on a job, not for artwork or type. Registration is not to be confused with a rich black. Images & Objects: The images and objects settings will determine resolution requirements for graphics. Minimum and maximums settings can be set for color, grayscale, and 1-bit files. If resolutions are too low quality will suffer. Simply increasing the resolution in a program such as Photoshop will NOT increase quality. Therefore it is not recommended to re-use web graphics files for print. It is possible, however, to take a higher resolution print file and purpose it for web (converting from CMYK to RGB along the way). It is possible to remove resolution but not add it back. Depending on the type of printing being done these settings can be made. Another useful feature is the non-proportional scaling setting. This will prevent the distortion of graphics due to the fit in window command. Most graphics require width and height to remain proportional. The control palette and direct selection tool may be used to correct this distortion. Text Settings: The text settings will warn if text is overset or is overflowing the text box. Missing fonts are still a problem and a warning will be given. Missing fonts from linked files can still be a problem as .AI and .PSD files are exportable now. In Illustrator, it was advisable to convert fonts into outline form, though this is not absolutely necessary. Missing glyphs, spelling, and font brands are also part of the warnings. Truetype fonts are no longer recommended but may still be possible in a file or PDF. Remember, preflighting issues may not be problems, just concerns. Minimum pointsize can be an issue particularly if a reverse or a CMYK built color. If too small it may not print correctly. SWOP standards also recommend against too small type. Document: The document setting will warn of blank pages, though these may be part of a paginated book. A useful setting is for a bleed warning. If the bleed is not sufficient, a warning will be given. Save settings: When done, the settings may be saved and the profiles used for subsequent documents. In the lower left there is another button that allows for these settings to be exported and used by other users. Packaging: When complete the entire job and all its components may be packaged for output. This function is located under File>package.
© Paul Davis
My book 61410.indd 71
71 6/25/10 10:07 AM
PDF Basics PDF stands for Portable Document Format. The advantage of a PDF is that all the elements of the page are in one self-contained file. With one file there is little chance that there will be missing links such as fonts or graphics. In this way PDF files are becoming the preferred files for delivery to printers. Working with Adobe Acrobat PDF files are an excellent workflow solution now be used by many shops to speed production. The Acrobat PDF first grew out of the ability to have e-mail attachments. The PDF file can be sent and read by anyone with Acrobat Reader (which is free). The file can be opened on any platform without the original software being needed. Many web sites utilize PDF files for downloads and forms. A PDF can be saved/created directly from the Adobe software such as InDesign, Illustrator, or Photoshop. Another method is to create a Postscript file and then created the PDF through the use of Adobe Distiller. Distiller is a component of Acrobat Pro and can be configured to create the PDF using various criteria. Either method, the direct or Distiller method, use certain criteria to configure the PDf in a specific way for the print process. Check with your printer or use various printed sources to determine the best settings (the Printing Industries of America, formerly GATF has an excellent book on this subject). The PDF process is much more complex than this booklet can cover, but it is important to appreciate the process and make an effort to learn the correct procedures for their creation.
Proofing PDF files are now being used for proofing in a process called soft proofing. In hard proofing an actual physical proof, such as a color accurate print out, is produced and sent to the customer. A soft proof is electronic and can be quickly sent to a customer anywhere in the world. The PDF file is opened in Acrobat (either Reader or Pro) and is examined. It is useful to turn on Overprint Preview for proper color display. A separation preview palette is also available and may be used to monitor color, overprints, proper settings for black, etc. There is also a Lupe tool to allow close-up viewing of specific areas of the file.
The LUPE tool allows extreme enlargements for proofing purposes.
72
Graphic Design Basics
My book 61410.indd 72
6/25/10 10:07 AM
PDF Basics These screens demonstrate the basic settings for exporting a PDF from InDesign. These settings may vary in a true production workflow, but they demonstrate the various settings necessary to producing a PDF. Once set up properly the settings may be saved as a pre-set for speed and accuracy later. There are settings to include fonts as well as graphics and color profiles, and if required, marks and bleeds. It is these settings that make or break the accuracy of the PDF file for printing, so take care that the requested settings are used. It is also possible to creat a PDF with Layers. This can be helpful in making corrections or when working with different versions of the same file. An advantage to a PDF is that it is a single file with all components built in. A disadvantage to a PDF is that they can be difficult to edit or correct. Many shops will simply ask that the customer return to the original file, make the correction(s) and then create a new PDF file. There is software that allows correcting a PDF, such as Pitstop.
The screens below show the exporting of a file as a PDF. It may be helpful to save to the desktop for ease of locating.
© Paul Davis
My book 61410.indd 73
73 6/25/10 10:07 AM
Imposition Basics 1. Page calculation To calculate how many pages will fit on a sheet (or how many out) a bit of math is involved. Most paper is manufactured in common sizes to allow for these types of calculations. An element of paper that is necessary to consider is the paper’s grain. Much like wood, paper has a grain and folds much easier with the grain than against it. Grain allows a brochure to remain upright in a rack instead of drooping over. If a job is folded against the grain, the spine may crack as the fibers break. If an image is along the fold when it cracks the image will be damaged and may cause the job to be rejected. Imagine all the work wasted at the very last step of folding. Paper may be purchased either grain long or grain short and again planning is important to insure the correct purchase. As mentioned earlier these issues can typically be solved once and remembered for most future jobs. But, people or companies new to this type of work should beware the minor error that can erupt into a major problem later. A common sheetsize (or basis size) is 23 X 35, and a common page size is 8 1/2 X 11. To plan the signature it is necessary to calculate how many pages can be cut from the press sheet. It can be figured two ways 8 1/2 from 23 or from 35 and likewise 11 from 23 or 35. The best plan is to accept the method that allows the most pages out, in this case 8. A signature is a completed press sheet printed on the front and back that may contain multiple pages.
23 x 35
23 x 35
81/2 x 11 2 x 3 =6 out
81/2 x 11 4 x 2 =8 out
The above calculation allows for 6 out with significant paper remaining after each cut.
The above calculation allows for 8 out with just enough paper remaining after each cut to allow for gripper, marks, and color bars, etc.
6" remaining
74
2" remaining
1" remaining
1" remaining
Graphic Design Basics
My book 61410.indd 74
6/25/10 10:07 AM
Imposition Basics 1. Worksheet - Imposition Basics What is the most cut pages one will get from basis size of the following: Note: if the remainder is equal to one of the dimensions then more sheets may be cut from the “scrap”. This is known as a combination cut. While economical it is sometimes avoided due to grain and folding issues. Press considerations such as gripper margin is important in that no printing can be done in this area of the sheet. 1-1.
8 1/2" X 11" from 23" X 35"
1-2.
8 1/2" X 11" from 17 1/2" X 22 1/2"
1-3. 1-4.
5 1/2" X 8 1/2" from 23" X 35"
1-5.
4 1/4" X 5 1/2" from 17 1/2" X 22 1/2"
5 1/2" X 8 1/2" from 17 1/2" X 22 1/2"
#1. 8 x 10 from 23 x 35 basis size 1. How many sheets can be most economically cut ? 2. If the press run is to be 60,000 finished sheets, how much paper should be ordered for this job? 3. To allow for press & bindery set-up and waste, an extra 5% paper will be added to the order, how many additional basis sheets is this? 4. Considering how many sheets out of the basis size and the additional 5%, what is the total paper order for this job?
#2. 8 x 10 from 17 1/2 x 22 1/2 5. How many sheets can be most economically cut ? 6. If the press run is to be 20,000 finished sheets, one color, printed front and back. How much paper should be ordered for this job? 7. To allow for press & bindery set-up and waste, an extra 5% paper will be added to the order, how many additional sheets is this? 8. Considering how many sheets out of the basis size and the additional 5%, what is the total paper order for this job? 9. The job will be printed front & back, how many impressions (passes through the press) will there be total? 10. The press can print 5000 impressions per hour, how many hours will this job take to print?
© Paul Davis
My book 61410.indd 75
75 6/25/10 10:07 AM
Imposition Basics Imposition Planning When the number of pages has been calculated the pagination process can begin. Pagination is the assigning of page positions. It is an important process in organizing the pages for proper output. It may, in fact, be easier to plan the layout prior to beginning the page design. Knowing how many pages fit on a signature allows one to know how many pages can be created. If that number of pages is exceeded pages may need to be re-designed or such things as the leading may need to be changed or photos reduced to allow for the set number of pages to be created. Step 1 Perform the page calculations based on press sheet size and document page size. Remember such things as gripper, trims, and margin areas. Bleeds should also be remembered as these will change the image size of the page and impact press imaging area. Trims can be indicated on the folding dummy by the use of triangular cuts on the edges to be trimmed. Trims indicate at least 1/8” area to be cut. This may impact the sheet-size to be used on press. Step 2 The page numbering sequence can be performed. It is possible to determine where the pages should be organized with the help of the following worksheets. It is important to remember that the the first page in the book is FOLIO 1. This may not correspond with the actual page number on the document but as far as the press sheet and folding dummy are concerned this is the first physical page (folio) of the book. Pages that are across the fold from one another are know as companion pages. Page layout programs are able to demonstrate this view during layout as a way of seeing the pages side by side. Readers Spreads Pages across the fold from each other after binding are referred to as reader’s spreads (how the book would look to the reader). These pages are in sequence; 1, 2, 3, etc. Printers Spreads Pages that are across from one another on the press sheet prior to binding are referred to as printer’s spreads. These pages are NOT in sequence such as 1-32, or 9-24. An excellent way to verify if the page assignments are correct for a saddlestiched book (only) is to add the two printer’s spread numbers together. They should add up to the total pages of the book plus one. Example: if the book has 32 pages total then 1+ 32=33. 9+24=33. Any combination of printer’s spreads should add to the total plus one. This will work no matter how many total pages there are in the signature.
76
Graphic Design Basics
My book 61410.indd 76
6/25/10 10:07 AM
Imposition Basics Recto & Verso Folios When numbering the folding dummy it is also useful to remember that the right hand folio is referred to as recto and is always odd numbered. Verso folios are the left hand folios and are always even numbered. Remember, folios are the actual pages and may not match the page numbers used within the document layout. Binding When working with saddlestitched books an important bindery issue is that of push-out or creep. Because the saddlestitched book signatures insert into one another each signature sticks out a bit more than the last one. These outer edges are trimmed off later. The thickness of the paper stock contributes to this issue. If the paper stock is too thick it could cause problems with stitching. This influences planning in that the outer edge trim may be too great and ruin an image in the center spread as the center spread will stick out the most and trim off the most. A thinner paper stock such as a coated stock will fold tighter and will minimize the effect of creep. Perfect Binding is another method for creating books. With perfect binding the signatures are stacked on top of one another. This allows for much thicker books. The edges of the signatures are then ground off and glue applied. A cover is then wrapped around the pages creating a spine and covering the edges.
Folding dummy The folding dummy acts as a mock-up for the job and is a valuable visual aid. By looking at the folding dummy the page (folio) assignments can be correctly made (paginated). The first step when planning a job is to determine how many finished pages can be cut from the basis (press) sheet. It is important to consider the extra amount needed for trims, bleeds, and bindery items. Room must be left for the gripper margin of the press as no printing can be done in this region. Space should be left for press marks to insure registration between colors. The folding dummy will allow for planning of these items. If the job requires folding then the types of folds need to be considered. There are many types of folds but they may be divided into two main categories; parallel and right angle. Other common folds are; accordion, gate, letter and french. These are simply variations of the two basic folds, but it is important to make sure that the equipment is capable of these more complex folds. Again, a bad choice can impact labor time and waste.
© Paul Davis
My book 61410.indd 77
77 6/25/10 10:07 AM
Imposition Basics Imposition Imposition is the arrangement and positioning of units of a job (pages, labels, checks, etc.) on a sheet or section of press sheet to meet the requirements of the job. It is important to coordinate design, printing, and finishing so that once printed and finished, the units appear in the proper order and position. an important consideration in design, printing, and finishing is the placement of the sheet on press and in the folder. Most sheets are oblong, and one long edge is designated the gripper edge and one short edge, the guide edge. On press, the sheet is positioned so that the gripper edge, which is clamped by the grippers during printing, is aligned against the front guides and the guide edge is aligned against the side guide. The first printing surface of the sheet is referred to as the face (or front) and the other is called the back. Printing the second surface is called perfecting or backing up. There is a tendency to confuse imposition with document set-up. Generally page design is involved in the making up of a page or unit; imposition is the arrangement and positioning of the completed pages. Kinds of imposition Different kinds of impositions are employed depending upon the press and folder sizes, length of run, nature of the job and other factors. The most commonly employed are as follows: 1. Sheetwise impositions
2. Work and Turn impositions ( 2-up) 3. Work and Tumble impositions ( 2-up)
Sheetwise impositions When a different plate is used for each side of the sheet with the same gripper edge, the imposition is termed sheetwise. Work and Turn impositions When one plate is used for both sides of the sheet with the same gripper edge, the imposition is termed work and turn. The guides on this sheet changes when backed up. Work and turn jobs are also considered 2-up. Work and Tumble impositions When a sheet is turned for back-up so that the gripper edge on the first side becomes the tail edge for backing up, this is termed work and tumble. It can be printed with one plate for both sides (similar to a work and turn, and also 2-up)
78
Graphic Design Basics
My book 61410.indd 78
6/25/10 10:07 AM
Imposition Basics or a separate plate for each side depending on the nature of the job. Work and tumble sheets are printed only when conventional impositions are not practical. Work and tumble sheets should be trimmed to produce uniform size around the cylinder. Perfecting Perfecting is the ability to print on both sides of the sheet simultaneously. Most presses used for magazine or book printing are perfectors. It is likely that they are multi-color as well. It is therefore possible to print full color on both sides of a sheet in one pass through the press. Some types of perfecting presses utilize the work & tumble process to turn the sheet over during the press run. Selecting the right imposition The choice between sheetwise and work and turn imposition involves number of pages, sheet sizes, length of run, press and folder capabilities and any other factors which determine the number of sheets to be folded. With few exceptions, the aim is to produce the job on the equipment available at the lowest cost and this is basically a matter of mathematics. Preflighting No mention of any digital page would be complete without mentioning the importance of preflighting the file to verify that all components are present. When working with so many pages on one press sheet or form one small missing element with ruin the entire form and thus shut the press down. A misplaced item may be cut off during trimming in bindery. Is it any wonder that supervisors have grey hair. Imposition Software There are several software solutions to the imposition process. Some can be done within the page program itself and others are either third party extensions or complete software packages. It is important to note that understanding the imposition process is very important to using this software correctly. Software is not a substitute for a skilled operator. Press Press factors should be incorporated into the planning. It should be known which folios are to be on the front of the sheet and which ones on the back. With this information the perfecting press can be set up to print to just print one color on the back side and full color on the front side. This can save a great deal of money and help develop profits. Other press factors involve the gripper margin, which is a void area on the press sheet where no imaging is possible. Space should be available for press marks, color bars, and other quality control devices.
© Paul Davis
My book 61410.indd 79
79 6/25/10 10:07 AM
Imposition Basics Saddlestitch Layout Example: a). press sheet size: 23 x 35 b). finished page size: 8 1/2 x 11 (8 out) c). total pages for book: 32 d). pages per sig.:16 (8 front and back) e). total signatures:2 sheetwise ( 32 divided by 16 = 2 ) f). write the numbering sequence (half down, then back up) In the case of a saddlestitch book the amount of pages should fit evenly for a full signature. Whatever the amount of pages can be cut from a basis sheet, these can be doubled as the page is front and back. In the example above there are 32 pages total thus there will be 2 signatures of 16 pages each. To calculate folio assignments, take the total number of pages and number down until half of the total pages. Move over to the right (do not move to the top) and now continue numbering upward until all the numbers are used. There should be even numbers as an odd number would leave a blank page on the signature. If there are left over pages then the signature layout will not work. These pages will need to be eliminated or another signature added. Proper planning will let the designer know how many pages may be planned for. In some cases imposition types can be combined. A saddlestiched signature may be combined with a work and turn layout if a half signature is needed.
1 32 2 31 3 30 4 29 5 28 6 27 7 26 8 25 -----------------------9 24 10 23 11 22 12 21 13 20 14 19 15 18 16 17
80
} }
Note: SIG #1
SIG #2
The two side by side folios (or companion pages) add up to one more than the total number of pages. This can be helpful in verifying the correctness of the folding dummy. example; 1+32=33 4+29=33 11+22=33 If the numbers don't work then the numbering dummy is WRONG! This is true only for saddlestich-type binding.
Graphic Design Basics
My book 61410.indd 80
6/25/10 10:07 AM
Imposition Basics Folio Assignments It should be remembered that odd folios are on the right and even folios on the left. It may be helpful to re-write the numbers to correspond better with the folding dummy when completed. Recto & Verso Folios When numbering the folding dummy it is also useful to remember that the right hand folio is referred to as recto and is always odd numbered. Verso folios are the left hand folios and are always even numbered. Remember, folios are the actual pages and may not match the page numbers used within the document layout.
TOP
32 1 2 31 30 3 4 29 28 5 6 27 26 7 8 25 -----------------------24 9 10 23 22 11 12 21 20 13 14 19 18 15 16 17
1 4 5 8 9 12 13 16 17 20 21 24 25 28 29 32
BOTTOM 2 3 6 7 10 11 14 15 18 19 22 23 26 27 30 31
Perfecting The diagram above shows another method to determine which pages would be on the front of the signature and which on the back. The advantage here is that it would be possible to set up the press to best advantage. If the back side (bottom row) folios are to print in one color only, then a great deal of money could be saved by not having to print the other three colors. Make sure that there are no color images as even the smallest image would necessitate inking up all the remaining press units.
© Paul Davis
My book 61410.indd 81
81 6/25/10 10:07 AM
Imposition Basics Sheetwise impositions When a different plate is used for each side of the sheet with the same gripper edge, the imposition is termed sheetwise. A signature is a press form printed on BOTH sides. The example illustrates a 16 page signature, (that is 8 pages on front and 8 on back). In this sheetwise arrangement there are 16 different pages. The form contains 2 different plates. 1. The first form is printed creating the front pages. 2. The plate is changed. 3. The paper is turned over (keeping the same gripper) and re-loaded into the press. 4. The form is printed on the back (backed up) yielding the back pages. 5. The completed form can now be cut, folded and bound. In this manner multiple forms may be created. a). press sheet size: 17 1/2" x 22 1/2" b). finished page size: 5 1/2" x 8 1/2" (8 out) c). total pages for book: 16 d). pages per sig.:16 (8 front and back) e). total signatures:1 sheetwise f). write the numbering sequence (half down, then back up)
Printer spreads 1 16 2 15 3 14 4 13 5 12 6 11 7 10 8 9
Above is an example of saddlestitch binding in which the signatures are inserted. The displaced outer edges are known as push out
82
In saddlestitching the outer rough edges are trimmed off. Care should be taken to keep detail from being trimmed off in error.
Graphic Design Basics
My book 61410.indd 82
6/25/10 10:07 AM
Imposition Basics Sheetwise signature 16 pages Separate plates for front and back. front is printed. Sheets are turned laterally and new plate is loaded. back side is printed. Job can then be folded etc.
16
GUIDE
5
12
9
13
8
4
1
GRIPPER Sig 1 front
7
10
11 14
6
15
GUIDE
2
3
GRIPPER Sig 1 back
© Paul Davis
My book 61410.indd 83
83 6/25/10 10:07 AM
Imposition Basics Work and Turn impositions When one plate is used for both sides of the sheet with the same gripper edge, the imposition is termed work and turn. The guides on this form changes when backed up. Work and turn jobs are also considered 2-up. With a work and turn the press run is cut in half since the image is on the form two-up In a work and turn imposition the form has one plate that contains both the front and back images. 1. The first form is printed. 2. The paper is turned (again keeping the gripper the same). The plate is NOT changed. 3. The form is backed up. 4. The completed form is now cut in half to deliver the two front and back forms. These forms are now ready for folding and binding. This type of layout is frequently used for brochures and jobs that do not have enough pages to fill a full sheetwise signature. On a brochure be sure to align the folding panels evenly to allow proper folding. If there is a bleed leave room for it to be trimmed. Remember that the panel that folds in is usually slightly smaller the the two outer panels to allow better folding. Do NOT set up a brochure as an 11" document with 3 columns. Other folds and layouts may be used for brochures depending upon the design, but be sure that the press sheet is set up to allow the job to be produced and aligned correctly.
84
Graphic Design Basics
My book 61410.indd 84
6/25/10 10:07 AM
Imposition Basics Work & turn imposition (2 up)
Title IX/Section 504 Coordinator: Daisy Davis, Assistant Dean of Instruction DeKalb Technical College Building A, Room 204 495 North Indian Creek Drive, Clarkston, GA. 30021 (404) 297-9522, ext. 1163
Unit of the Georgia Department of Technical and Adult Education
Printing courtesy of Scott Litho
Brochure designed by faculty and students of DeKalb Tech.
As set forth in its student catalog, DeKalb Technical College does not to discriminate on the basis of race, color, creed, national or ethnic origin, gender, religion, disability, age, veteran status, or citizenship status (except in those special circumstances permitted or mandated by law).
FIFTH QUARTER (Fall)
Information subject to change.
PROGRAM LENGTH
To graduate, Printing Graphics diploma seeking students must earn a minimum of 83 credit hours. The program takes about six quarters to complete.
EMP 100 Inter. Relations XXX XXX Electives
3 credits 6 credits total
It may prove helpful to take Sct 100 and Bus 101 prior to starting the program classes to insure adequate computer skills for the course. General education and elective classes may be taken prior to Fall quarter enrollment.
For information about financial assistance, please contact the Financial Aid Office: 404-297-9522, ext. 1166 12 credits
5 credits 6 credits
FOURTH QUARTER (Summer)
ENG 101 English PGT 107 Color Photo Manipulation PGT 110 Digital Imaging Practicum/ Internship
Due to the amount of software training required, students applying for program courses should have basic computer skills prior to enrollment. Courses such as BUS 101 and SCT 100 could be considered as necessary if the student lacks prior hands-on computer experience.
Graduates of the program receive a Diploma and qualify for several Certificates.
FINANCIAL INFORMATION
Paul Davis, Instructor (404) 297-9522, ext. 1101
[email protected]
Financial assistance is available at DeKalb Technical College to assist students with tuition. Free tuition is available to most qualified students through Georgia’s HOPE Grant. MAT 101 General Math PGT 103 Advanced Publications Design PGT 109 Color Digital Production
Up-to-date industry standards developed by the Graphic Arts Technical Foundation (GATF) are learned so that the student is prepared for the reality of production and press operation.
THIRD QUARTER (Spring)
5 credits 6 credits 6 credits
SCT 100 Introduction to Microcomputers 3 credits PGT 128 B & W Photo Manipulation 6 credits PGT 115 Image Output & Preflight 6 credits
To complete the comprehensive Printing Graphics program, ethical codes of conduct and problem solving are taught. Students will learn how the various softwares interact with one another and the technical issues toward the creation of a complete file.
SECOND QUARTER (Winter)
CONTACT
Courses Credits BUS 101 Beginning Document Processing 5 credits PGT 101 Introduction to the Printing Industry 8 credits PGT 102 Basic Publications Design 6 credits
DIPLOMA PROGRAM
FIRST QUARTER (Fall)
Courses are designed to develop and enhance the technical skills necessary to create products for the printing industry. Numerous software packages are used to learn the entire gamut of design capabilities from basic page layout, to working with photographs, to creating with color.
FURTHER INFORMATION ,
F OR
Printing Graphics Program DeKalb Technical College Clarkston Campus 495 North Indian Creek Drive Clarkston, Georgia 30021
PRINTING -G RAPHICS P ROGRAM
The Printing and Graphics Technology Program offers certificates, or a diploma through studies in a wide variety of coursework and software that will enable students to succeed in the printing and graphics industries.
Page 2 12:12 PM Brochure6.5-graphics
9/27/05
12:12 PM 9/27/05 Brochure6.5-graphics
The standard curriculum for the Printing Graphics program is set up on the quarter system. A suggested sequence for the program is given below.
Unit of the Georgia Department of Technical and Adult Education
Title IX/Section 504 Coordinator: Daisy Davis, Assistant Dean of Instruction DeKalb Technical College Building A, Room 204 495 North Indian Creek Drive, Clarkston, GA. 30021 (404) 297-9522, ext. 1163
For information about financial assistance, please contact the Financial Aid Office: 404-297-9522, ext. 1166
As set forth in its student catalog, DeKalb Technical College does not to discriminate on the basis of race, color, creed, national or ethnic origin, gender, religion, disability, age, veteran status, or citizenship status (except in those special circumstances permitted or mandated by law).
Financial assistance is available at DeKalb Technical College to assist students with tuition. Free tuition is available to most qualified students through Georgia’s HOPE Grant.
Paul Davis, Instructor (404) 297-9522, ext. 1101
[email protected]
CONTACT
FURTHER INFORMATION ,
F OR
Page 1
Printing Graphics Program DeKalb Technical College Clarkston Campus 495 North Indian Creek Drive Clarkston, Georgia 30021
12:11 PM
Page 2
9/27/05
Day-long credit programs Short-term Evening or Saturday seminars
Graphics Software Training
For more information on seminars and schedules contact: Paul Davis 404-297-9522, ext. 1101
[email protected]
DIPLOMA PROGRAM
Software packages:
Brochure6.5-graphics
QuarkXpress Flightcheck Photoshop Illustrator Streamline Acrobat InDesign
Training subjects:
Font handling Page layout Preflighting Scanning Halftone production Clipping paths Editing Vector paths Spot color files Trap and process color Photo manipulation Color correction Color separation Creating PDF files Printing Processes
(Exact versions and package subject to change)
Graphic Technology Course Listing 2005-2006 catalog CIP code:10.030502 - Major Code: PG02 Required Credit Hours: 83
FINANCIAL INFORMATION
both front and back images on one plate, same gripper. Sheet is printed, turned laterally and printed again.
Gripper When both sides are printed, press sheet is cut in half yielding two sets of job. both jobs are front and back. If 5000 total are needed only 2500 sheets needed. hics
Brochure6.5-grap
9/27/05
12:11 PM
Page 1
: Software pack ages QuarkXpress Flightcheck Photoshop Illustrator Streamline Acrobat InDesign
package subject (Exact versions and
Graphics Software
Training
programs Day-long credit ing or Short-term Even Saturday seminars
to change)
Train ing subje cts:
Font handling Page layout Preflighting Scanning Halftone production Clipping paths Editing Vector paths Spot color files s color Trap and proces Photo manipulation Color correction Color separation Creating PDF files Printing Processes
ogy Course Listing Graphic Technol 2005-2006 catalog - Major Code: PG02 CIP code:10.030502 Hours: 83 Required Credit
rs ation on semina For more inform t: and schedules contac Paul Davis 1101 404-297-9522, ext. edu davisp@dekalbtech.
2 egaP
,NOITAMROFNI
REHTRUF RO F
TCATNOC
margorP scih parG gnitnirP egelloC lacin hceT blaKeD supmaC nots kralC evirD keerC n aidnI htroN 5 94 12003 aigroeG ,notskralC rotcurtsnI ,si vaD luaP 1011 .txe ,225 9-792 )404( ude.hcetblak ed@psivad
NOITAMROF
NI LAI
CNANIF t a e l b a l i av a si ecnatsiss a l a i c n a n iF tsissa ot e g e l l oC l a c i n hceT blaKe si noitiut ee D rF .noitiut h tiw stneduts stneduts de ifilauq tsom o t e l b a l i av a .tnarG EPOH s’aigroeG hgu orht tuoba noitam rofni roF ,ecnatsissa la icnanif eht tcatnoc e saelp :eciffO diA la icnaniF 6611 . txe ,22 59-792-404 seod egelloC lacinhceT bla KeD ,golatac ro lanoitan ,d tneduts sti ni eerc ,roloc ,ec htrof tes sA ar fo sisab eh ro ,sutats na t no etanimir retev ,ega ,yt csid ot ton ilibasid ,noig s e c n a t s m u cr iler ,redneg , ic laiceps e nigiro cinhte soht ni tpe cx e ( s u t a t s p i h s n ez i t i c .)wal yb detad nam ro dettim rep :rotanidrooC 405 noitceS/X I eltiT noitcurtsnI fo naeD tnatsiss A ,sivaD ysiaD egelloC lacin hceT blaKeD 402 mooR ,A gnidliuB 12003 .AG ,no tskralC ,evirD keerC naidnI htroN 594 3611 .txe ,225 9-792 )404( fo tnemtrape D aigroeG eh t f o t i n U noitacudE tlu dA dna lacinh ceT
MP 21:21
50/72/9
scihparg-5
.6eruhcorB
MARGORP A MOLPID MARGORP
SCIHPA
RG-GNITNIR s c i h p ar G g n P i t n i rP e h t r of detseggus A .metsys retra mulucirruc dradnats e uq eht no p hT u tes .woleb nevig si margorp eh si margorp t rof ecneuqe s )llaF( RETRA stiderC UQ TSRIF stiderc 5 gn sesruoC issecorP tnem ucoD gninnig eB 101 SUB ot noitcudort stiderc 8 nI 101 TGP yrtsudnI gnit stiderc 6 nirP eht ngiseD snoita cilbuP cisaB 201 TGP )retn
iW ( RETRAU stiderc 3 sre Q DNOCES tupmocorciM ot noitcudort stiderc 6 nI 001 TCS noitalupinaM otohP W & B stiderc 6 821 TGP thgilferP & tu ptuO egamI 511 TGP stiderc 5 stiderc 6 stiderc 6
stiderc 5 stiderc 6 stiderc 21
)gnirpS( RET RAUQ DRIHT
htaM lareneG 101 TAM cilbuP decna vdA 301 TG P noitcudorP la tigiD roloC 9 01 TGP
ngiseD snoita
)remmuS( RE
TRAUQ HTRU
OF
hsilgnE 101 GNE noitalupinaM otohP roloC 701 TGP /mucitcarP g nigamI latigiD 011 TGP pihsnretnI
)llaF( RETRA UQ HTFIF
stiderc 3 snoitaleR .ret latot stiderc 6 nI 001 PME sevitcelE XXX XXX ot roirp 101 s uB dna 001 t cS ekat ot luf retupmoc eta pleh evorp ya uqeda erusni m tI ot sessalc ma evitcele dna rgorp eht gni noitacude la trats reneG .esruo .tnemllorne r c eht rof sl etrauq llaF ot liks roirp nekat e b yam sessalc .egnah c ot tcejbus n
oitamrofnI
.hceT blaKeD
margorP ygo lonhceT scih parG dna gn seiduts hguo itnirP ehT rht amolpid a ro taht erawtfos dna krowesru ,setacifitrec sreffo oc fo yteirav e gnitnirp eht diw a ni ni deeccus o t stneduts el bane lliw .seirtsudni sc ihparg dna ecnahne dna poleved ot d engised era stcudorp eta sesruoC erc ot yrasse c e n erawtfos suo slliks lacinhc remuN .yrtsu et eht dni gnitni rp fo tumag eri eht rof tne eht nrae l ot desu era ot ,tuoyal eg segakcap ap cisab mo rf seitilibapa .roloc htiw gn c ngised itaerc ot ,shp argotohp htiw gnikrow g n i t n i rP e v i s n e h er p m o c e dna tcudnoc fo sedoc lacih ht etelpmoc oT te ,margorp s nrael lliw stn cihparG edutS .thgua t era gnivlos eno htiw tc melborp aretni seraw t f o s s u o i r av eht drawot eht woh seussi lacinh cet eht dna rehtona .elif etelpmoc a fo noitaerc eht yb depole ved sdradnat s yrtsudni eta era )FTAG( n d-ot-pU oitadnuoF la cinhceT strA eht rof derap cihparG erp si tnedut s eht taht os .noitarepo ss denrael erp dna noitc udorp fo ytila er dna amolpiD a eviecer mar gorp eht fo se taudarG .setacifitreC l areves rof yfi lauq ,deriuqer gni niart erawtfo s fo tnuoma e dluohs sesru ht ot euD oc .tnemllorne o margorp rof gniylppa stn t roirp slliks eduts retupmoc cis eb dluoc 001 ab evah TCS dna 101 SUB sa hcus roirp skcal tn sesruoC eduts eht fi y rassecen sa d eredisnoc .ecneirepxe r etupmoc nosdnah HTGNEL MAR gnikees amo GORP lpid scihparG gnitnirP ,etau tiderc 38 fo darg oT muminim a n rae tsum s ot sretrauq x tneduts is tuoba seka t margorp eh T .sruoh .etelpmoc
fo stneduts dn
a ytlucaf yb d engised eruhc orB ohtiL ttocS fo ysetruoc gnitn irP
© Paul Davis
My book 61410.indd 85
85 6/25/10 10:07 AM
Imposition Basics Work and Tumble impositions When a sheet is turned from top to bottom back-up so that the gripper edge on the first side becomes the tail edge for backing up, this is termed work and tumble or work and roll. It can be printed with one plate for both sides (similar to a work and turn, and also 2-up) or a separate plate for each side depending on the nature of the job. 1. The first form is printed. 2. The paper is turned (from head to toe this time). The plate is NOT changed. 3. The form is backed up. 4. The completed form is now cut in half to deliver the two front and back forms. these forms are now ready for folding and binding. Perfecting press arrangements commonly utilize a work and tumble process to flip the sheet from front to back. Work and tumble sheets are printed only when conventional impositions are not practical. Changing the gripper can cause registration problems when backing up. Work and tumble sheets should be trimmed to produce uniform size around the cylinder.
86
Graphic Design Basics
My book 61410.indd 86
6/25/10 10:07 AM
Imposition Basics Work & tumble imposition (2 up) both front and back images on one plate, different gripper. Sheet is printed, turned head to toe (tumbled) and printed again.
3
6
7
2
4
5
8
1
When both sides are printed, press sheet is cut in half yielding two sets of job. both jobs are front and back. If 5000 total are needed only 2500 sheets needed.
3
6 8 7
7
3
5 6
5
1
8
2
4
4
1
2
© Paul Davis
My book 61410.indd 87
87 6/25/10 10:07 AM
Imposition Basics Example:17 1/2 x 22 1/2 sheet size 8 1/2 x 11 finished size 16 pages total A. how many pages out? B. how many pages in a signature? C. how many sigs. total? D. what are the page assignments? E. make a complete folding dummy.
Sheet:23 x 35 Finished:8 1/2 x 11 Total pages: 40 Complete A - E
Sheet:17 1/2 x 22 1/2 Finished:8 1/2 x 11 Total pages: 28 Complete A - E
Common Folds
A
B
A. Accordion Fold B. Gate Fold C. Right Angle Fold D. Parallel Fold (brochure)
D C
88
Graphic Design Basics
My book 61410.indd 88
6/25/10 10:07 AM
Imposition Basics Signature Review 1. A signature is a completed press sheet printed on the front and back. T or F
How many completed pages will one get from a signature if: (remember that the signature is front and back) 2. 23 x 35 sheet 8 1/2 x 11 finished. 3. 17 1/2 x 22 1/2 sheet 8 x 10 finished.
4. 23 x 35 sheet 5 1/2 x 8 1/2 finished.
List the three types of signature imposition; 5. 6. 7.
8. Recto folios are
- hand pages and are
numbered.
9. Verso folios are
- hand pages and are
numbered.
10. What is a companion page?
© Paul Davis
My book 61410.indd 89
89 6/25/10 10:07 AM
Imposition Basics Adhesive (Perfect)Binding With adhesive binding it is possible to create thicker books as the signatures are stacked upon one another. This creates a spine edge and to calculate the thickness of the spine it is necessary to know how many total pages there will be and the thickness of the paper. If the paper stock is changed the spine thickness could very well change. To bind the pages the folded edge that will become the spine is ground off. It is ground to remain rough to allow the glue to adhere. The cover is then wrapped around to create the front back and spine. When designing the cover the spine should be calculated. Again, it is necessary to image the entire process when starting the job. The page numbering sequence is different for perfecting binding and the helpful hints of saddlestitching do not apply. Each signature is a self contained sequence of pages. Therefore it is NOT possible to simply take a saddlestiched book and bind it differently!
Example:17 1/2 x 22 1/2press size 8 1/2 x 11 finished size 2 x 2 = 4 out = 8 page sig. 40 page book = 5 signatures sig. 1
sig. 2
sig. 3
sig. 4
sig. 5
1 2 3 4
9 10 11 12
17 18 19 20
25 26 27 28
33 34 35 36
90
8 7 6 5
16 15 14 13
24 23 22 21
32 31 30 29
40 39 38 37
Graphic Design Basics
My book 61410.indd 90
6/25/10 10:07 AM
Imposition Basics Adhesive (Perfect) Binding 1. 2. 3. 4.
In adhesive binding all four edges are trimmed T or F. Why is the bindfold trimmed? How is trim indicated on a folding dummy? Each signature in a Perfect bound book is a complete book numbered sequentially T or F. 5. Complete the following for perfect binding. 17 x 22 1/2 press size, 8 x 10 finished size, 24 pages. 6. Complete the following for perfect binding. 23 x 35 press size, 81/2 x 11 finished size, 48 pages. 7. What is a spine and how is it calculated?
With perfectbinding the signatures are stacked.
The folded edges are then trimmed/ground.
Glue is applied on the pages and a cover is then wrapped around creating a spine.
© Paul Davis
My book 61410.indd 91
91 6/25/10 10:07 AM
Digital Imposition Digital Imposition With most jobs being produced digitally it is natural that the imposition process be taken up electronically. It is still VERY important that the pagination process be thoroughly understood in order for the electronic process to be correctly performed. There are several softwares that can perform pagination some more expensive than others. Most all of these prefer to use PDF files for the pagination process. A simple and less expensive imposition software is Imposer from Quark Print Collection. While a Quark product this program will also install a plug in into Acrobat as well. With this program in Acrobat, any PDF file can be paginated into limited types of either saddlestitch or perfect bound layouts. As with some lower level pagination software it is good but not perfect. It is necessary to have a folding dummy to insure that the automation is correctly performed. Be sure to specify whether the binding is saddlestitch or perfectbound as this will effect the page sequence. When correctly paginated it is possible to save the file as a new completely paginated PDF signature file ready for output to plate.
92
Graphic Design Basics
My book 61410.indd 92
6/25/10 10:07 AM
Press Basics 19. Converting Inches to metric: Some scanners and presses utilize the metric system when setting adjustments. The formula to convert inches to millimeters is to
inch X 25.4 = millimeters
inch X 2.54 = centimeters
The formula to convert metric to inches is:
millimeters X .03937 = inches centimeters X .3937 = inches
Calculate the following inches/metric conversions.
1.
2" to millimeters
2.
8.5" to millimeters
3.
11" to millimeters
4.
171/2" to centimeters
5.
127 millimeters to inches
6.
139.7 millimeters to inches
7.
85 millimeters to inches
8.
25.4 centimeters to inches
9.
612 points to inches and then to millimeters.
10. 144 points x 252 points converts to what metric dimensions?
© Paul Davis
My book 61410.indd 93
93 6/25/10 10:07 AM
Press Basics Lithography Lithographic printing is based upon the chemical principle that ink and water won’t mix. The plate contains two areas; an image or ink receptive area and a non-image or water receptive area. The water on the non-image area repels ink. The image area repels water and allows ink to adhere to the image areas. Proper ink and water (actually fountain solution) balance is very important for the process to work. An imbalance may wash out the image (too much solution or not enough ink) or the plate may become covered in ink (not enough solution or too much ink). While this process has become easier and more automated on presses, it is still an important skill for offset pressman to learn. Offset printing commonly utilizes 3 cylinders; Plate, Blanket, and Impression. It is also known as offset printing in that the image is offset from the Plate onto the Blanket and then to the sheet. The sheet is pulled through the press by way of grippers located PLATE CYLINDER on the Impression cylinder. The sheet is passes between the blanket and impression cylinder and the image transfers from the blanket to the sheet by way of pressure BLANKET CYLINDER between the two cylinders. An advantage with offset is the ability to print PRESS SHEET on a variety of sizes of substrates and the relative low cost after initial set up while a disadvantage is a high cost on short runs. IMPRESSION CYLINDER Most plates are produced through the Directto-Plate process by way of a RIP or Raster Image Processor. The Rip takes data from the computer and converts it into an image on the plate by way of a laser. In offset printing or lithography the image is produced photographically onto the plate. The image is flush on the plate. It is the chemical process that differentiates the image from the non-image area. Ink will adhere to the image area while water (or fountain solution) will adhere to the non-image or background area.
Color bars allow for quality control during the press run. The consistency of each color and its combinations may be monitored on each sheet as it is printed.
94
Graphic Design Basics
My book 61410.indd 94
6/25/10 10:07 AM
Press Basics Digital Printing The digital printing process utilizes positive and negative charges to transfer toners (inks) to a type of blanket called a corotron. The image areas receive a positive charge while the non-image area receives a negative charge. Toner is attracted to the positive charge and is transferred to the substrate. The image is then fused to the substrate with heat. Digital printing has grown past the days of toner copiers. It is now a viable process for short-run color documents such as brochures. Another advantage is the incorporation of variable data. In this process each print may be personalized with customers names and addresses or even different images for different types of customers. The substrates can vary from papers to plastics and in full color. While there are limitations as to sheet size this is an advancing technology due to it flexibility and relatively low cost.
Screen Printing In the screen printing process the plate material is a type of high quality mesh. The non-image area is protected while the image area remains open. The ink is forced through the mesh openings in these areas and transfers to the substrate. The excess ink is removed by a squeegee as well as being used to force the ink through the screen. Screen printing is common to outdoor advertising and odd shapes and materials. T-shirts are commonly screen printed.
I have referenced much of the information on print methods from the GATF Imaging Skills Training Program workbook. Further information and excellent background on printing methods as well as Bindery and general production background is available from this excellent training series. Please check with the Printing Industries of America for the newer edition of this product.
© Paul Davis
My book 61410.indd 95
95 6/25/10 10:07 AM
Press Basics Flexographic In the flexographic process the image area is raised above the background or non-image area. The plate is a flexible rubber or plastic-type material. The image is transferred directly onto the substrate. This type of printing is common in the packaging industry. Advances in plate materials have increased the quality of images that may be produced in this manner.
Letterpress The letterpress process also prints using a raised surface but the surface is rigid. The raised image area receives the ink and prints directly to the substrate (paper). This is one of the oldest printing methods made possible by the invention of movable type. Gutenberg was an early practitioner of letterpress. The Linotype machine was another invention that facilitated letterpress printing. While not used as much in pure production, this method is used in a more specialized artistic mode.
Gravure / Intaglio With the gravure or intaglio process the image is recessed below the surface of the plate in areas called cells. Ink is introduced onto the plate and picked up by the cells. The excess ink is removed from the upper surface by way of a doctor plate (a kind of squeegee). The substrate again makes direct contact with the plate and the ink image is transferred from the cells to the substrate. This process can be very expensive in producing plates but can yield high quality. It is very useful in fine art prints.
96
Graphic Design Basics
My book 61410.indd 96
6/25/10 10:07 AM
Press Basics Press Test 1. Describe the Letterpress process.
2. Describe the Flexographic process.
3. Explain the chemical principle behind Lithography.
4. Explain Digital printing process.
5. Describe the Screen Printing process.
6. What is the purpose of Grippers?
7. What is the function of Color bars?
8. What is Dot gain?
9. List the 3 cylinders common in Lithography?
10. What is meant by the term PDF workflow?
© Paul Davis
My book 61410.indd 97
97 6/25/10 10:07 AM
Bibliography Web sites: http://www.printing.org/ http://www.prepresstraining.com/ http://store.apple.com/us/browse/home/education_routing/ http://www.peachpit.com/ http://www.adobe.com/ http://www.piag.org/ http://www.gain.net/eweb/StartPage.aspx?site=GAIN http://www.gaerf.org/printed/printed.html http://graphcommnet.ning.com/ http://www.lynda.com/promo/cs4 http://www.layersmagazine.com/
Software: http://www.academicsuperstore.com/ (educational discount)
Misc. www.atlex.com/ www.bep.treas.gov/document.cfm/18/103 www.grainger.com/Grainger/wwg/start.shtml.webloc www.osha.gov/ www.swop.org/ www.totaltraining.com/online/subscriptions.asp.webloc try these funny but informative photoshop tutorial sites:
www.mydamnchannel.com/
www.youtube.com/you suck at photoshop
98
Graphic Design Basics
My book 61410.indd 98
6/25/10 10:07 AM
Bibliography Books: Real World Print Production by Claudia McCue published by: Peachpit Press ISBN# 0-321-41018-1
*
I nDesign CS2 or 3 Visual Quickstart Guide by Sandee Cohen published by: Peachpit Press ISBN# 0-321-32201-0 Before & After Page Design by John McWade published by: Peachpit Press ISBN# 0-201-79537-X hotoshop CS2 Visual Quickstart P Guide by Elaine Weinman & Peter Lourekas published by: Peachpit Press ISBN# 0-321-33655-0 I llustrator CS2 Visual Quickstart Guide by Elaine Weinman & Peter Lourekas published by: Peachpit Press ISBN# 0-321-33656-9 Professional Photoshop (fifth edition) by Dan Margulis published by: Peachpit Press ISBN# 0-321-44017-X
uarkXPRESS 6.0/ 6.5 or 7 Q Visual Quickstart Guide by Elaine Weinmann published by: Peachpit Press ISBN# 0-321-41018-1
Available from PIA ATF Sheetfed Offset Press G Training Program 5th edition Supervisor’s manual by GATF staff item # 9190 ISBN# 0-88362-225-4 heetfed Offset Press Operating S Lloyd Dejidas & Thomas Destree GATF item # 15303 ISBN# 0-88362-171-1 Review entire GATF catalog for other useful titles. Be sure to get an annual Print Buyers Guide from the Printing & Imaging Association of Georgia (free to members)
*Note: Real World Print Production is an excellent overview book written by an Adobe repre-
sentative. I have written worksheets for almost every chapter as well as tests. If used by a group of instructors it would add a level of consistency and uniformity across several schools.
© Paul Davis
My book 61410.indd 99
99 6/25/10 10:07 AM
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46
PICA SCALE - 12 points = 1 pica; 6 pica = 1 inch; 72 points = 1 inch
Serif typefaces Ee7 Ee8
Ee9 Ee10 Ee11 Ee12 Ee14
Ee Ee Ee
Ee16 Ee18 Ee20 Ee22 Ee24
Ee Ee
Ee
Ee Ee Ee Ee 26
28
30
46
32
36
64
44
68
72
Sans Serif typefaces Ee7 Ee8
Ee9 Ee10 Ee10 Ee12 Ee14
Ee Ee Ee 22
24
Ee
36
26
Ee16 Ee18 Ee20
Ee Ee Ee 28
30
Ee Ee Ee 44
46
Ee Ee 68
8pt ____ ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
32
9pt ____ ____ ____ ____ ____ ____ ____ ____ ____ ____
10pt ____ ____ ____ ____ ____ ____ ____ ____ ____
64
72
11pt ____ ____ ____ ____ ____ ____ ____ ____
12pt ____ ____ ____ ____ ____ ____ ____ ____
13pt ____ ____ ____ ____ ____ ____ ____
14pt ____ ____ ____ ____ ____ ____ ____
15pt ____ ____ ____ ____ ____ ____
Rule Thickness Samples
digest e-scale.indd 1 100 My book 61410.indd
.5 point rule 1 point rule
12 point rule
2 point rule
18 point rule
4 point rule 6 point rule
24 point rule
6/25/10 AM 6/27/10 11:30 4:07 PM