Contents 7
Introduction
13
Colour
27
Format
37
Stock
49
Processes
67
Preparations
81
Proofing
89
Finishes
101 Tips & Tricks
Introducing the World of Commercial Print
8
Introduction to Designing for Print
9
Breakdown of the Print Process
10
11
Colour For Print
14
Introducing Colour For Print
15
RGB vs. CMYK Colour Models RGB - Red, Green, Blue
Additive Colour Additive color describes the situation where color is created by mixing the visible light emitted from differently colored light sources. In additive color models such as RGB, white is the “additive� combination of all primary colored lights, while black is the absence of light. Computer monitors and televisions are the most common form of additive light, and he additive reproduction process usually uses red, green and blue light to produce the other colours. Combining one of these additive primary colors with another in equal amounts produces the additive secondary colors cyan, magenta, and yellow. The colored pixels in displays do not overlap on the screen, but when viewed from a sufficient distance, the light from the pixels diffuses to overlap on the retina.
16
CMYK - Cyan, Magenta,Yellow, Key
Subtractive Colour A subtractive color model explains the mixing of paints, dyes, inks, and natural colorants to create a full range of colors, each caused by subtracting (that is, absorbing) some wavelengths of light and reflecting the others. The color that a surface displays depends on which colors of the electromagnetic spectrum are reflected by it and therefore made visible. Subtractive color systems start with light, presumably white light. Colored inks, paints, or filters between the viewer and the light source or reflective surface subtract wavelengths from the light, giving it color. If the incident light is other than white, our visual mechanisms are able to compensate well, but not perfectly, often giving a flawed impression of the “true� color of the surface.
17
Colour Separations
18
19
Spot Colours In offset printing, a spot color is any color generated by an ink (pure or mixed) that is printed using a single run. Generally the cost and potential for problems for a print job increase as one adds more spot colors, due to the increased cost and complexity of added process inks and films, and requiring more runs per finished print.
20
Pantone
21
Pantone
22
Hexachrome
23
Image Manipulations for Print
24
25
Formats For Print
28
Paper - A Brief History
29
ISO Paper Sizes
30
A Sizes
31
B Sizes
32
C Sizes
33
Newspaper Sizes and Formats
34
Envelope Sizes and Formats
Book Sizes and Formats
35
Stock For Print
38
Introduction to Stock
39
Weights of Stock
40
41
Finishes of Stock
42
43
Stocks for Different Dimensions
44
45
Paper vs. Non Paper Based Stocks
46
47
Print Processes
50
Introduction to Print Processes
51
Screen Printing and Traditional Methods of Printing
52
53
Offset Lithographic Printing
54
Flexographic Printing
55
Rotogravure Printing
56
Six Colour Printing
57
Pad Printing
58
Digital Printing
59
Embossing and Debossing
60
61
Letterpress
62
63
Preparations - Setting Work Up For Print
66
Introduction to Preparing Work for Commercial Printing
67
Adobe Photoshop
68
69
Adobe Illustrator
70
71
Adobe InDesign
72
73
File Saving
74
75
Setting Up A Document
Layouts and Grids
76
Bleeds and Printers Marks
77
Magic Numbers
78
Pagination
79
Before Printing Proofing
82
The Importance of Proofing Work Before Printing
83
Proofing Work and Pre-Flight Checks
84
85
Check Lists
86
87
Finishings
Paper Folding Techniques
90
91
Book Binding Techniques
92
93
Foil Blocking
94
Die Cutting
95
Other Finishes
96
97
Tips and Tricks For Graphic Designers
100
How to make life easier for yourself as a graphic designer...
101
Costing and Quotes
102
Contacting Printers
103
Collecting Stock and Printing Samples
104
105
‘10 Things Clients Wish Designers Would Do...’ 1 Listen to what a client wants and then make helpful suggestions 2 Think commercially rather than just feeding your creative ego 3 Don’t design things that can’t be changed and adapted at a later date without causing unnecessary cost. 4 Check you have done all of the revisions, clients don’t like doing (or paying) for revisions that are not done. 5 Keep within budget, no matter how great the idea is, if it costs a fortune to produce it becomes worthless.
106
6 Build in contingency plans so that you are able to stick to the deadline. 7 Clients don’t like nasty surprises, especially on invoices. 8 Ask questions if you don’t understand, don’t make assumptions. 9 Make an effort to understand the culture of the client’s company and the market they aim to communicate with. 10 Involve clients in the design process.
By Bee de Soto
107
Notes
108
Notes
109