UW - Stevens Point ART 211 Sec 1 - 2016 by Andrew Bauer

Design Skills

Workbook 2016

Andrew Bauer

Page 1

Page 2

Table of Contents Chapter 1 - Adobe InDesign.......................................................................... 5. Introduction/Basics................................................................................ 5 Text.......................................................................................................... 7. Layout/Setup......................................................................................... 10. Tools...................................................................................................... 13. Printing/Packaging............................................................................... 15 Chapter 2 - Adobe Photoshop...................................................................... 17 Filters/Tools.......................................................................................... 17 Working with Layers............................................................................. 22. Image/Document Properties............................................................... 24 Chapter 3 - Adobe Illustrator....................................................................... 28 Tools...................................................................................................... 28 Files and Illustrator.............................................................................. 32 Setting/Saving Preferences................................................................... 33 Chapter 4 - Adobe Acrobat.......................................................................... 35 Chapter 5 - Color.......................................................................................... 37 Chapter 6 - Paper and Binding.................................................................... 39. Paper...................................................................................................... 39 Binding.................................................................................................. 40 Chapter 7 - Type............................................................................................ 41 Chapter 8 - Project 1: Photogrid.................................................................. 46 Chapter 9 - Project 2: Paper Creature.......................................................... 50 Chapter 10 - Project 3: 8 Page Brochure...................................................... 55

Page 3

Works Cited................................................................................................... 57 Glossary......................................................................................................... 58

Page 4

Chapter 1 - Adobe InDesign Section 1 - Introduction/Basics Creating an InDesign File Open up Adobe InDesign. In order to start up a new project, you can either press the command key plus N (control + N on Windows), or you can click “New” on the InDesign startup screen. After that, specify your dimensions and measurements, and click “OK.” The New Document Window will pop up. Before you start a new document, there are a number of important things to consider. You will need to know what kind of project you plan on creating, how many pages you plan on publishing, the units in which your typesetting will be measured in, the size of the gutter in the columns, and the size of the page as well as proper orientation. Click OK. Save File. To keep track of multiple projects it is important in use a file naming convention that makes sense and is consistent. In order to better keep track of one’s files better, as well as make them easy to point out for others, one needs to give the document a unique title. It should include their last name and first initial, the name of the project, and which version of the project the file is. An example of the first version of a Workbook project file being submitted would be BauerA_ DesignWorkbook_01.ind It is also important to keep iterations on a regular basis for two reasons. 1. It allows you to backtrack to a different design if needed. 2. It provides an additional form of file backup – in the event that the current file is lost due to power failure, computer failure or human error.

Application Bar Across the Top These are the two horizontal bars across the top of the workspace. The very top bar provides things necessary to work on your document. These features include file, edit, layout, type, object, table, view, window and help. The File tab allows you to ‘open’ a new document, ‘close’ a document or ‘save as’ a document. One may desire to “save as,” rather than save, because it allows a lot more flexibility and convenience for the user. With “save as,” one can easily rename their file, select an appropriate location, and, in some cases, select a different file format on the spot. Place in also under the File tab. You use the place tab for placing a copied picture you either screenshotted or copied from the internet into a picture frame that you placed in your InDesign document. Page 5

Document set-up also in under the File tab. One can use this tab to adjust and set the essentials of starting a document. One can set the number of pages in the document, the starting page, whether or not the pages face one another, the page sizes and orientation, as well as bleed and slugging settings. Check spelling is located under the Edit Tab. The default setting is called “check spelling.” One can access this either under the Edit Tab or by clicking Command + i. It is important to check spelling because it shows general professionalism. If one’s final product from InDesign is full of spelling and grammatical errors, many clients may hold it against the designer. The Type tab has two special tabs that allow you add a glyph and add additional spacing. A glyph refers to a special character that one will generally not find on their keyboard. This includes, but is not limited to, the “cent” sign, various arrows, hearts, spades, etcetera. These can be inserted by finding the desired symbol on the glyphs menu, and double-clicking it. One should have their cursor properly set in a text box first though. If one wants two words to NOT be apart at the end of a line of type, they could insert the white space glyph. The “Show Hidden Characters” Tab is used to reveal what sort of commands were used to form a document, such as the spacebar, return key, as well as hyperlinks, tabs, and others. This can be a handy tool for reference, in case someone wants to look back on a document and figure out just how certain features of it were created. The View tab is another location where you can change the viewing mode and it is the same as the viewing mode tool in the left hand tool bar. Another tab located under the View Tab is the Display Performance Tab. The default is “typical display,” but it is better to change it to “high quality display,” because with this display, one can both create and view final products in greater detail to show certain items which may be more difficult to notice in a lower detail. Under the Windows Tab is the workspace tab. This tab allows one to select in which format they wish to work under, the format that the final product will ultimately be based around. The workspace tab includes the options of advanced, book, digital publishing, essentials, interactive for PDF, Printing and proofing, and typography. Selecting one of these options will also open a new set of essential tools to assist the designer, depending on which option was chosen.

Bottom Information Panel At the bottom of the document window is an informational panel. Here, you can find what page you’re working on, the last time you saved, and the current status of your document. The status may change, and that is why there is one section you should always check when you open and close a document. You can see there is a problem with your file very easily by checking the color of the small, orb-like figure at the bottom of your program screen towards the left. It will either be green, indicating no issues, or red, indicating that there were found errors in your project.

Page 6

Section 2 - Text Filler Text InDesign offers a feature in which you are able to fill a text box with fake copy. If one wants to add placeholder text, they need to first draw a text box with the text box tool. After that, the individual must go to the top of the screen under “Type,” and then click “fill with placeholder text.” In the Graphic Design industry this fake text is commonly called Lorem Ipsum. Lorem Ipsum, in the graphic design field, refers to a situation in which a designer places nonsensical words in place of real text where a piece of text should be on one’s work. This usually occurs because the real words that are going to be placed in the project are not yet ready. The Lorem Ipsum words simply put text where the final text is meant to be in order to give the designer’s client a preview of what the final product will look like. The following is an example of a Lorem Ipsum paragraph that one might find in a rough InDesign project: Te voluptatem voluptibus estemodi cullabo rumque nobit occuscimust, qui tem laut lignima ionserest, occus est quae sam et ut volendit unt utempor atis eum fugiam, aspe nonestia comnihil inulpa alique pro con re, secus illaborrum receper atempore, quasperiscit rectectate quae non pre nobis natur sum faccum aut aditatius volorpores nemporit autatempor saes dolores magni nitetum rentemquam volorio rrumquunt et voluptate cone que niantib erovit vendamus, cusaeped et exceped ut omnis doloremporum velesciet a volorem sit vitibus exerum volupiet arum ut aut autasperum sum rem eum ent, ius, eum aut audaestotat inis voluptatias ipsam rerspercitat aut ipsus nos ex estiunt est apiciendi ullum dolores inis eat volupitas ea quo eos sum harum in nient quam rero tectasit, sin pre vel modi volorpo riore, eaquibu sdaepere provitat.

Leading Leading is the distance between lines of type. Leading is used to help enhance the readability of a block of text in a document. The amount of leading is based on the type of text/font that one is using, and how clumped together certain font faces will appear. The standard leading is set at 120 percent. Something that one may want to consider before adjusting leading is what kind of project they’re working on. How much text will be on the page? Is it necessary for there to be spacing between lines to take up or reduce space? Leading can be based heavily around the type of font that the user plans to employ. With this in mind, leading is adjusted to make sure that the letters look neat and tidy with the appropriate amount of leading. The standard or default amount given in InDesign is 12 point font with 13 point line spacing.

Page 7

Character Style A character style is a collection of character formatting attributes that can be applied to text in a single step. Character style is important because having one prepared and on standby allows a user to highlight a group of text and then apply the settings of the character style to it. With just this short, simple step, one can apply font size, indentation, color, and other features in just two clicks. To set up a character style, one first has to find the tab, which will be located near the bottom right of one’s InDesign screen along with Paragraph Styles. Click the “create new style” button, shown as a paper with the corner folded. Double click the new character style that was created. From there, the user can set up character font style, size, color, indentation, and other features by navigating the pop-up window and its various tabs on the left.

Alignment of Text There are three common ways of aligning text, and those are Align left,

align right,

and align center. There are also four types of justified text alignment, and they are “justify with last line aligned left,” “justify with last line aligned center,” “justify all lines,” and “align away from spine.” These four options are different from standard text alignment because their text reaches the very ends of the left and right borders of their textbox, going so far as to adjust each individual line’s spacing of characters. The last line of each paragraph is exempt from this, for it aligns according to the option chosen. The only exception is “justify all lines,” in which every line of text does indeed touch the borders of the text box, including the final lines of each paragraph. Examples: Justify with last line aligned left Am, simusdae consed mi, sinum re est, sa vollam, sinietur autestrum, ommodit dolende ilique non con prest, sitat quidipici alibusae. Nihictiore nullecum eossite mquodi odit que conse sus re, verchicienis autemquo dit eium et exere imin poreptium est eos restrum

Justify with all lines Am, simusdae consed mi, sinum re est, sa vollam, sinietur autestrum, ommodit dolende ilique non con prest, sitat quidipici alibusae. Nihictiore nullecum eossite mquodi odit que conse sus re, verchicienis autemquo dit eium et exere imin poreptium est eos restrum Page 8

Justify with last line aligned center Am, simusdae consed mi, sinum re est, sa vollam, sinietur autestrum, ommodit dolende ilique non con prest, sitat quidipici alibusae. Nihictiore nullecum eossite mquodi odit que conse sus re, verchicienis autemquo dit eium et exere imin poreptium est eos restrum

Justify away from spine Am, simusdae consed mi, sinum re est, sa vollam, sinietur autestrum, ommodit dolende ilique non con prest, sitat quidipici alibusae. Nihictiore nullecum eossite mquodi odit que conse sus re, verchicienis autemquo dit eium et exere imin poreptium est eos restrum

Paragraph Style A paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or range of paragraphs. Paragraph styles are just as important and much the of the same reasons of possessing a character style at the ready. With just a few clicks, one can apply their ideal paragraph style that will be a recurring font shape and format throughout every page of their InDesign document for consistency. The paragraph style tab is located right next to the character style tab in the lower right of one’s InDesign page. In order to set up a paragraph style, select the “create new style” button, shown as a paper with the corner folded. After double-clicking the new style that was created, a window will pop up much like the window of setting up a character style. This has even more options to explore though, so that one can set up their ideal style for their project.

Tabs You can create custom tabs within a text box by finding them underneath Type > Insert Special Character > Other. From there, one will find different choices for tabs, including a standard tab, a right indent tab, and a tab that will be indented to a currently selected area. If there is already a text box made and one wants to apply a tab, place the type cursor in the desired area for a tab, and then follow the instructions above to find and place the desired tab.

Bullet and Numbered Lists Bullets and numbered lists are typically used when making instructions, lists, or brainstorming ideas. To set up a list of these in InDesign, find options under Type > Bulleted and Numbered Lists. The choice made by the user can be used to apply numbers or bullets to a set of highlighted text, or to begin a numbering or bullet set that will continue each time the “enter” key is typed in a text box.

Photo Captions Photo caption is a few lines of text that explains the photograph (i.e. title of the photo). It may include the name of the artist, date and photographer. How to Label an Exhibition - Sara Estes

Page 9

Text Wrap Text Wrap is a feature that allows you to wrap text around an image or graphic. A text wrap window can be located along with the rest of the various windows on the right side of one’s InDesign screen. If one wants to place an image around text, they must upload their image and choose a text wrap option at the top of the text wrap window. There are five choices. “Wrap around bounding box” positions the text around a quadrilateral image typically used. “Wrap around object shape” positions the text around an irregular object or image, such as one shaped as a circle, polygon, or free-drawn shape. “Jump object” positions the text strictly above and below wherever the image was placed. “Jump to next column” would place the remaining text underneath where the image was placed into the next available page or text box. “No text wrap” makes no adjustment to the placement of text, regardless if an image is right on top of said text. To set indentation between text and image, one must make use of the four measurement boxes in the text wrap window. These individual windows will allow one to order how much offset they desire the text to be from the image.

Section 3 - Layout/Setup Preparing your Page Layout You should draw up a page layout on paper prior to setting up the InDesign file to solve problems before you get to the computer and to save time. Things to consider on paper before working in InDesign include what media the final, printed product will be finished on, proper indentation of images and text, and a balanced/practical layout of images/text.

Page 10

Determining the Number of Pages in a Bound Document (Book) One can choose any amount of pages for a book document. The only restriction is that the final number of pages has to be a multiple of four. The reason that this is important is because this multiple ensures that there will be an even number of facing pages, as well as a cover and final page of the document when it is printed out.

Margins and Columns You can establish page margins and set up columns in two places. One option is to find the rulers present at the top and to the left of the document, and then click and drag individual margins out from these rulers and onto the document itself. Another way to establish margins is to go to the “layout” tab at the top of one’s screen, and then click “margins and columns.” Both are handy in their own ways. If one chooses to use the “ruler method,” they can establish individual margins all around the document. However, if one uses the “margins and columns” option, every margin change that they make will change the top, inside, outside, and bottom margins to the same value, making it all equal.

Master Pages When building a multiple page document in InDesign, it is essential that you create Master Page(s). A master page is a special page where you use guides, grids and columns to set a basic layout that can be applied to all of the other pages in your document. Master pages help you achieve consistency in your page design and save time. One can find the pages tab in the upper right corner of their InDesign document. A single master page is already set up on all new InDesign documents, but to make a new one, one has to choose the “new master” option in the pages menu. Once the chosen master page has been set up, all of the normal pages of the document will mimic any margins, text, images and etcetera established on the master page. If one wants to work on more than one single master page, they will need to select more than one page by clicking both pages while holding the shift key.

Page 11

Showing Grids, and Setting Guides Using the Ruler Not all guides can be set using margins and columns. To add special guides both vertically and horizontally, you can turn on view grids and use the ruler. In order to turn off grids and hide them, one much click on the view tab, grids and guides, and then hide guides. Depending on if a single page or a spread is being worked on, one can always adjust the “zero point” on their rulers by dragging said point down the length of the ruler to the desired point. If one wants to put a single guide on a very precise measurement, they need to drag out a new guide from a ruler, make sure that guide is selected, and then observe the X and Y axis that appear near the top of InDesign. One can edit these axis, typing in the precise measurement that they want the selected guide to settle on. In order to delete a guide, one needs to select the desired guide with the black arrow tool, and then click “delete” on the keyboard.

Page Numbering Page numbering in a document is best done on the Master Pages. If this is properly done on master pages, every following page will be automatically numbered with the correct digit. While doing this though, one needs to keep in mind the general margins that the rest of the project pages will have. With this in mind, one has to pay attention to what their page number size and placement is on the master pages, so that the page number does not run off the margins nor interfere with any images or text in the planned pages ahead. To set up page numbering, one has to click both of their facing master pages, and then add a textbox each for the left and right pages where one desires their page numbers to be labeled on every page. Set the typing cursor inside of one of these text boxes, and then click the type tab, insert special character, markers, current page number. Repeat for the opposite text box. The symbol that appears on the master pages will be a simple A, but on the normal pages, numbering will appear for each page a person adds.

Bleed Bleed is used for printing, in order to help the printer determine the document borders and where its edges will extend to on the final sheet it is printed out on. Bleed refers to the area right outside of a document’s borders, where one would trim said file if it were printed on paper. Bleed is important because it is also used to help printers recognize a document’s borders, ensuring all of the document fits on a sheet of paper when printing. Marks such as these will appear on the corner of the page in order to define the borders and boundaries of the original document for trimming. What bleed marks typically look like:

Page 12

Section 4 - Tools Tools in the Left Hand Toolbar Black Arrow: The black arrow is used for standard selecting or moving options of various shapes or text boxes one may have added to their InDesign project. White Arrow: The white arrow is useful for selecting items within other items, such as an image inside of a rectangular image space previously drawn by the worker. Or if one places an image, and the given box is too big, they can use the white arrow to move the image around in the frame or resize it, depending on which part of the image they want in the frame. T: The “T” refers to the text tool. It is used place a box in your document in which text can be placed. Under the “white triangle” extension, they will find an option to wrap text around a form, line, or shape in one’s document. Stroke: With this tool, one can easily invert the selected item’s color or pattern scheme to another selected item’s. Found under Window > Stroke. Box with X: This tool is used to add a box in which a screenshot or other image can be placed. Under the “white triangle” extension, they will find other polygons which they can do the same to. Plain Box: With this tool, you can draw quadrilateral shapes with varying thickness, sizes, and color filling if desired. Under the “white triangle” extension, they will find other polygons which they can do the same to. Eyedropper: With this tool, one can copy aspects from one part of their project and easily move them to another part of the project. Magnifying glass: This tool allows you to zoom in and zoom out on your project. Viewing mode: This tool allows the user to view their project in different formats, such as a spreadsheet of all the pages, a single page at a time, or with/without margins/ columns defined (i.e. printed preview).

Loading the Cursor In order to load the cursor, one must go to file, place, and then select all of the images that they wish to use. After that, they may simply click around in their InDesign document in order to place all of the images, one image per click.

Page 13

Using Color for Fill and Stroke There are two different places you can select color to use as a fill or for a stroke. The standard location for these options will be under one’s “color” tab, toward the right of their InDesign screen. The other option is to select a tool toward the bottom of one’s toolbar, resembling a colored box and a box with an X through it. This tool allows you to switch between fill and stroke as well. For quick, easy, and convenient access though, one can simply press the X key while in InDesign to switch between stroke and fill. This symbol shows up when one desires to rotate a picture, polygon, or textbox. In order to use this feature, one has to have the black arrow tool selected, and then move their cursor over to a corner of the item desired to be rotated. When this symbol shows up, one simply has to click and drag until their selected item is at the desired rotation.

Object Effects You are able to add an effect to a text box, object, image or photograph by searching under Object > Effects. Effects available to InDesign users include: Transparency, drop shadow, inner shadow, outer glow, inner glow, bevel and emboss, satin, basic feather, directional feather, and gradient feather. When an effect is applied to a clipping mask image, the effect travels along the outer border of the image rather than what pixels are contained within the image.

Object Align When you have multiple boxes on a page that you want to line up perfectly you can use Object Align to do this. If one wants to align a number of objects, first, they must select all of the objects to be aligned. After that, they must access “window,” “object and layout,” and then “align.”

Page 14

Section 5 - Printing and Packaging Printing Margins, Grids, and Guidelines Margins, grids and guides do not print in your document by default. You are able to print them when needed by checking the box under the print menu labeled “print visible guides and baseline grids.” Printing Booklets (on a Mac) Step 1: Make sure you set up your document correctly. (Facing pages, correct number of pages for a booklet (multiple of 4). Step 2: Go to File, Print booklet. Click the Print button, which will open up another pop-up window. Check the preview to make sure everything looks right, tell it to print blank pages. When you click OK, the Print dialog box will close and you’ll return to the Print Booklet dialog box. Step 3: Check Set-up tab to make sure the orientation is right, and marks and bleeds are selected. (Also make sure the Preview tab is showing the booklet properly.) Now, click Print and you can save the PostScript file with a name and location: Step 4: Convert to PDF. Once your PostScript file has been saved, it’s time to convert it to a PDF file. Launch Acrobat Pro. Choose File, Create, PDF from File, select your PostScript file, and then open. Once it is done creating the PDF it will open up in a window as a PDF. You can now save it as a PDF. If you are working on a PC, you will be able to select Print Adobe PDF from the print menu and it will work.

Packaging your InDesign Files To save yourself a lot of headache and time it is best to Package your InDesign files on a regular basis throughout the project and at the end of the project. To do this select File > Package. In the window that pops up, ensure that everything is in place, including correct colors, images, fonts, and etcetera. When finished ensuring everything is correct, click Package > Continue, and then name the file and choose a location for it. Click Package one final time. By packaging a file, one is agreeing to the legalities incorporated. Said legalities state that the file creator is giving credit to any fonts, pictures, etcetera that are borrowed for the sake of the project.

Page 15

Printer Spread Versus Reader Spread The difference between printer vs reader spread is how each one is read. Reader spread is the order in which we read pages of a book or booklet. 1, 2, 3, 4, and so on. Printer spread is different because the pages, as displayed on the computer screen, are not shown in that same order. In the case that two pages are to be printed on a single sheet of paper, and folded down the middle to divide them properly. When several of these folded sheets are to be stacked on top of one another to create a booklet, the pages have to be designed out of order in order for them to read properly in the final reader spread. Examples:

Page 16

Printer Spread

Reader Spread

Chapter 2 - Adobe Photoshop Section 1 - Filters and Tools Three Pass Color Correction Under the image tab there are three auto tabs: tone, contrast and color. These are default tabs that Photoshop provides. The issue with using these tabs is that Photoshop arbitrarily makes adjustment without actually seeing what happens to the image. In some cases it will radically change the colors from what they should be. A better way to correct color in your photograph is to use the “levels” menu under “image” and “adjustments.” From the menu, you can work with each available color and three “arrows” on a diagram to adjust the colors’ intensity and output. Generally, you do this with the image in RGB, but you can also do it when the image is in CMYK using the same steps.

Grayscale A Grayscale image is an image in which the only colors are shades of gray. To turn an image into a grayscale image, select the “image” tab on the top toolbar, “mode,” and then “grayscale. Once you save and close the image, you are not able to convert it back to full color again.

Page 17

Left Side Tool Bar Marquee: This tool is used to make a quadrilateral selection on one’s image, so that the selection can be moved, copied, or manipulated. Other varieties of the marquee tool can be found underneath the “white triangle extension.” These include an elliptical selection, as well as single row and column selections. Crop Tool: This tool can be used to crop the image size. If one desires an exact amount, they can type their dimensions in width and height options that appear near the top of the Photoshop window when this tool is selected. Under the “white triangle extension” of this tool, one will find a perspective crop tool, which can crop an image as well as tilt and warp it to one’s desires. There is also the slice tool, meant for cutting out select parts of the image, and the slice select tool, which allows one to select individual slices that they’ve cut from the image. Clone Stamp: This tool allows one to make a selection of a certain portion of their image, copy it, and then paste those same pixels with a paint-like tool. Under the “white triangle extension,” there is also the pattern stamp tool, which allows one to paint a series of given patterns across an image. Eraser Tool: The eraser tool can be used to erase certain parts of an image, but it can also be used for blending, depending on the firmness of the eraser selected. Under the “white triangle extension,” one can also find a background eraser, which erases the background image, and the magic eraser, which erases all nearby similar pixels to the single pixel that one selected with this tool.

Duotone A Duotone image is an image that uses only two colors. Traditionally it uses a grayscale image (black) and another color, but it could use any two colors. It is often used when full color printing process is not an option or to bring out middle tones and highlights of an image. A common duotone is sepia toning in which a reddish-brown color is added to a grayscale image to mimic photos from the late 19th century. To create a duotone in Photoshop, you must first start with a saved grayscale image. To create a duotone, select “image,” “mode,” and then “duotone.” In the new window, select “duotone” as the type. From there, one will be able to choose their two colors freely in the window.

Page 18

Fake Duotone A fake Duotone image can be created by “grayscaling” an image, drawing a box around the image in a new layer with the rectangle tool, filling it with color, and then adjusting the layer’s opacity. This allows one to let the image behind the colored layer bleed through, in order to give the image the color scheme of the selected color.

Invert Image You can invert the image from a positive to a negative image by selecting the Layers tab, new adjustment layer, invert. Other options within the tab include posterize, gradient map, threshold, a color tab with vibrance, hue and saturation, color balance, black and white, photo filter, channel mixer, and color lookup, and an image adjustment tab including brightness, levels, curves, and exposure.

Clipping Paths To create a clipping path follow these steps: 1. Use the Pen tool to create a path around the image area by clicking the pen tool tight against the edge of the image that will become the silhouette. Do not use too many points, as this will make the curves choppy. You can always add a point if needed. 2. Using the point ^ in the Pen toolbox, click on each point to draw out the handlebars. Select one side (point on end of handlebar) of the handlebar at a time to adjust the curve. 3. To move point, switch to the arrow tool (two down from the pen tool), right button click (or double click) to change from path selection tool to direct selection tool. This will allow you to move a specific point to the right place. 4. In the Paths panel, choose Save Path from the panel menu (click the triangle in the upper-right corner of the panel), and then name the path.

Page 19

5. From the same panel menu, choose Clipping Path. 6. In the Clipping Path dialog box, select your path from the drop-down list (it will appear as a picture), if it’s not already selected; click OK. Leave the Flatness Device Pixels text field blank. The flatness value determines how many device pixels are used to create your silhouette. The higher the amount, the fewer points are created, thereby allowing for faster processing time. This speed comes at a cost, though: If you set the flatness value too high, you may see (if you look close) straight edges instead of curved edges. 7. Choose File→Save As and, from the Format drop-down list, select Photoshop EPS or leave in PSD; accept the defaults and click OK. Note: When you go to grab the image to place it in another application you will see the background, but it will not appear once it is placed.

Filters Tab The main filters in the Filters tab are as follows: 3D, blur, blur gallery, distort, noise, pixelate, render, sharpen, stylize, video, and other. Under each tab, one will find even more specific tasks and tools at their disposal. Under the “stylize” tab, one will find more specific photo alteration tools such as diffuse, emboss, extrude, find edges, solarize, tiles, trace contour, and wind. The last effect, wind, allows one to blur and distort an image as if it were hit by a gust of wind from one side. In the “wind” window, one can adjust the intensity of the effect, as well as the direction from which the wind will blow.

Page 20

Using the Marquee Tool to Custom Delete and Mask You can delete custom shaped areas using the marquee tool in the left hand tool bar. Working on the unlocked nonbackground image, draw a shape using the marquee tool. If you hit the delete key, the interior area will be gone. To mask off all of the image except a specific area, use the marquee tool to draw your shape, then in the Layers panel, there is a rectangle symbol with a circle in the center. After making the selection, one should press this button to mask off all of the image on a layer apart from the selection. With the marquee tool selected, look at the top tool bar, and you will see that the (first) single icon is selected. You can customize your marquee selections by using one of the options in the top tool bar. If you select the next icon, and draw a shape that overlaps the first one, Photoshop will automatically join the two at the points where they meet. The third icon is used to remove a custom area from the original marquee shape. Select the icon and draw two overlapping marquee shapes. The second shape drawn will cut out part of the first shape to create a custom shape. The last icon will create a custom shape based on the area where the two individual marquee shapes overlap to create the custom shape. To quickly deselect an area, one can simply hold the command key and press D.

Filter Gallery To access the Filter Gallery in Photoshop, your image must be RGB. Once you have applied the filter, you can switch it to CMYK. Under the filter tab, one will then have access to a gallery of effects to add to their image. Page 21

Section 2 - Working with Layers Locking the Image in Place on the Layer To lock the placement of the photo on the layer, select the photo, indicated by the highlighted layer and an animated, dotted outline around the image, then click on the Lock Layers tab in the menu and select Image, or click the padlock symbol in the layers tab when the proper layer is selected. There are other options nearby the lock layers option, each of which lock smaller options. “Lock transparent pixels,” for example, prevents any background, or “transparent” pixels from being changed on the layer. For example, no new images or brush strokes can be added on top of the empty pixels. “Lock image pixels” prevents the image’s original pixels from being changed. “Lock position” prevents the image within the layer from being dragged or moved anywhere else on the canvas. “Prevent auto nesting” stops the image from snapping to a border that may be invisibly established on the canvas, such as a grid that the user created.

Merge Layers Merge Layers combines the layers you have selected (clicking all desired layers while holding the command key), and merges them together into one singular layer. The layer name will change to the name of the top layer of all the selected layers. After that, one can click the “merge layers” option under the layers tab.

Merge Visible Merge Visible will merge all visible layers into one singular layer. Merge Visible will ignore any layer that has its visibility toggled (the eye) turned off. To merge all visible layers, one has to click the “merge visible” option under the layers tab, simply by right-clicking anywhere in the tab of layers.

Page 22

Flatten Image Flatten Image will combine all of the layers into one “flattened” image or layer. You will be prompted to choose whether or not to discard hidden layers before doing so. If you choose “OK” to discard hidden layers, Photoshop will ignore any layer with its visibility toggled (the eye) turned off. If you choose “Cancel”, Photoshop will cancel the flattening process. If you want the hidden layers included in the flattened image, you will have to toggle it’s visibility to “On”. A file may be considerably smaller after every layer on it is flattened and saved. However, this is PERMANENT after the file is saved as a flattened document. It CANNOT be recovered after the file is saved and then closed. This can be prevented though if one wants to preserve their original project for future reference or editing. This is done by saving the NOT flattened file as well, under a different name than the file that WILL be flattened.

Layer Mask Use a layer mask as an alternative to the eraser tool to erase to the transparency layer without losing the integrity of the image and keep the original pixels, it is much better to use a layer mask. A layer mask allows us to go to transparency without changing any aspects of the image. The mask is a black and white image in which the black area blocks the image revealing the transparent background and the white image lets the original image show through the mask. To make a layer mask, select the add layer mask icon (white rectangle with the dark circle) and click once. You will see a white box next to your image, revealing the whole image. You need to apply the black to the mask layer image to block the part of the image we want to remove. You can do this by using the paintbrush tool in the left hand tool bar. Making sure that your color palette window is black in the left hand tool bar. With the mask layer selected in the layers panel, begin painting the areas that you would like to reveal to transparent. Select the brush type, size and opacity that works best around your image and begin painting away the area you want to remove. Watch your layer mask, you will see the black begin to appear on it as you paint. You can easily change back areas by switching the brush to white and painting over them again. To erase areas that are in straight lines, you can click at the beginning and hold down your shift key and click at the end of the line, and the area will automatically fill in between the two points. Varying the size of your brush as you work out from the edge will make removing large areas go much more quickly. You can also use a the [ or ] (bracket) keys to change the size of the brush.

Page 23

Customizing your Layer Mask Properties Once you have created a layer mask to reveal the transparent layer you are able to adjust the properties. Double click on the layer mask in the layers panel and the properties panel will open. In this window you can change to opacity and density of the mask to allow some of original image show through like a watermark while still keeping the (white) original area intact. You are also able to shift the edges and adjust the contrast on the layer mask for the black part of the mask.

Background Layer Photoshop automatically starts an image as a locked layer called Background. This is located under the layers tab on the right side of one’s Photoshop screen. You always want to preserve the background layer. In order to do this, you will need to create and work on other layers to avoid impacting the background. This is done by clicking the “add new layer” option under the layers menu. If one wants to safely experiment with the background layer though, they can always right click it under the layers menu and select “duplicate layer.” From there, they will have a copy of the layer that they can freely manipulate without affecting the original background layer. In order to ensure the bottom layer is not affected, one should avoid selecting it, and click the “eye” symbol next to the background layer. This will hide the layer.

Section 3 - Image and Document Properties Raster Versus Vector Image Vector and Raster are two types of digital graphic files. A Raster image is an image that is made up of many tiny pixels. The more pixels in the image the more information and accuracy it has. This is very important when it comes to image size. If an image is enlarged when it does not have an appropriate amount of pixels, the result will be a poor quality image with less detail. A Vector image is based on mathematical calculations from one point to another to form lines and shapes to create an image or illustration. Vector images are better because you are able to scale them up or down in size without losing any information. Since one may enlarge several more images in Photoshop, Raster images are best worked with through this program. Illustrator, on the other hand, is the best for working with Vector images. Page 24

File Extensions JPG (JPEG): Joint Photographic Expert Group. JPG and JPEG are interchangeable and is a lossy graphic file. JPEGs are problematic because each time a JPEG image file is saved, it combines like-colored pixels together and lowers the quality of the image as a whole. JPEGs are best used for saving images ONCE. TIFF: Tagged Image File Format. TIFF is the computer format for storing raster images because nothing in the image changes, unlike with JPEGs, and it automatically flattens any layers in the image to conserve file space. PSD: Photoshop Document. PSD is Photoshop’s native file format and is used when working with layers that contain other images. PSD files, again, do not have the issue of JPEGs that cause image quality to lower. PSD documents save the file with all of the layers used to create it for future editing. PDF: Portable Document Format. PDF was created by Adobe as a format that can be used independent of application software, hardware or operating systems. PDF is an important and convenient file for all, because it allows for file sharing across all platforms and formats. PNG: Portable Network Graphic. PNG is a raster graphics file format that is best used for internet because it is a lossless data compression file. It is an exact file of a saved image, but small in shape and file size to save space on the internet. GIF: Graphics Interchange Format. Invented by Steve Wilhite, it is similar to PNG in its use on the internet as a lossless compression file. (Pronounced Jif)

Image Tab Size and Mode Resolution is an indicator of visual and digital information. It is measured in dots per inch (dpi) and pixels per inch (ppi). The minimum resolution needed for printing photographs is 300 ppi You can check the size of your original image by selecting “image” on the top toolbar, and then “image size.” If your photograph is not the right resolution, you can correct it by checking the “resample” box and then entering your desired resolution into the resolution space. If the “resample” box is not checked, the image width and height will change in accordance to what resolution one selects for their image. Once you have adjusted the image to the correct resolution, you will be able to tell how large you can clearly print the image without pixilation problems. You are able to use the image smaller, but not larger than the adjusted size. Photoshop’s preset for all images when opened is RGB. RGB refers to red, green, and blue, the set color levels upon which all colors of an initial image are based around. This is best used for digital images rather than hand, physical copies. For print publications, you should convert your image to CMYK, which stands for Cyan, Magenta, Yellow, and Key. One might choose to use this instead of RGB because it will provide more access to colors for the print ink in physical print publications.

Page 25

Batching Actions When you want to make the same changes to a group of images, you can record your actions on a single image and then apply them to a folder of all your images. To do this: - Open Actions Palette (window tab, action) - Select folder icon at bottom of panel - Name folder - Select new action icon at bottom of panel - Name it (description). Now, at the bottom of the user’s action panel, a red circle should become highlighted, indicated that the actions are now being recorded. - Do the editing that you want to apply to all the images, such as adding a certain layer image, setting the image size and borders, or giving the image a sepia tone effect. - Save your edits (File, save) - Stop recording by clicking the square stop button next to the red-circle record button. You can see a record of all the actions you did to your image within the folder you just created. Close your image. To apply the batch action to your folder of images: - In Photoshop go to File, Automate, Batch. - In the dialog box that pops up do the following: o At the top, select the name of the action you just created (Set –action) o Source: Folder o Choose: (Your folder of images – NOTE on a Mac it will select the folder you are already in as the folder choice, and will gray out your choice.) o Suppress File open options dialogs o Suppress color profile warnings o Set destinations to None (to put it back in the same folder) o OK The selected photos will each have the changes applied to them that were recorded by the batch. Depending on the number of photos, it may take longer to complete/load this task.

Page 26

Working with Grids If one wishes to set up a grid, they can find it under Photoshop, preferences, guides grid & slices. From here, a window will pop up giving the user all of the options to set their preferences for their grid. To set up the grid spacing, the user will need to select their value under “gridline every.” The user can also choose their subdivisions under “subdivisions.” If one wishes to either show or hide this grid, they can adjust this setting under the “view” tab.

Embedded Versus Linked in Photoshop When you bring in an image into an already created Photoshop Document, you have the option of placing it either as Embedded or Linked. When you embed the image, the actual file is brought into the new document. As such, any changes made to the embedded image will automatically save and affect the original embedded image that the user brought in. When you link the image, the image is placed as a smart object. Unlike with embedding objects, this brings option brings in the selected image into the document, but will NOT affect the original document as the linked image is altered in any way. A user can also open the original linked image alone and make edits, so that those edits may be incorporated into the image that was linked into the new document.

Smart Objects Smart Objects preserve an image’s source content with all its original characteristics, enabling you to perform nondestructive editing to the layer.

Large Document Format There are times when the image you are working with will be too large to place on the desktop, or on other devices. For this issue, Photoshop has created a work-around called PSB (.psb). The largest image size supported by a PSD (.psd) file is 30,000 by 30,000 pixels, whereas PSB files can be saved at an image size up to 300,000 by 300,000 pixels. PSB files can be exported as TIFF for compatibility with other software.

Page 27

Chapter 3 - Adobe Illustrator Section 1 - Tools

Shape Builder Tool The shape builder tool can be used to combine several different shapes into a single shape. Begin by creating the shapes you want to merge, making sure that they slightly overlap each other. Select the shape builder tool from the tool panel. Click on one shape, and while holding down the mouse button, drag it over all the shapes you want to join. The new shape will have a vibrant red outline around it to show that the shapes have merged with one another and now have different outlines. The shape, when selected, has a cross-cross like pattern along its entire surface, almost like the texture of a butterfly net.

Scale Tool The scale tool allows you to enlarges or reduces an object horizontally (along the x axis), vertically (along the y axis), or both. After you scale an object, Illustrator does not retain the original size of the object in memory. Therefore, you cannot resume the original size of the object. (By default, strokes and effects are not scaled along with objects. To scale strokes and effects, choose Illustrator, preferences, general and select scale strokes & effects.

Page 28

Image Trace Image trace can be used to trace any image and turn it into a vector image. Some options that one will find under Image Trace include Make, Make and Expand, Release, and Expand. Image trace advantages allow the user the ability to select certain parts of the image. However, this is also a disadvantage, because only certain parts of certain images can be traced properly by the tool.

Eraser Tool The eraser tool works based on selected items. When you select an item, it will only erase within that item even if you go beyond what has been selected. Objects that not erased with the tool in Illustrator are: Images, Text (unless you used create outlines first), symbols (unless they are also outlined), graphs (you need to ungroup first) and gradient meshes. Sometimes when you erase, it will change the appearance. An example of this is if you have a stroke around an object. If you try to erase it without making any changed, the eraser will add a stroke to what you just erased. To stop it from doing this, you need to: select the item, the go into object, expand, and make sure fill and stroke is checked. Now you will be able to erase without it apply a stroke on the edges.

Page 29

Increasing/Decreasing Points on a Polygon or Star You can easily add or subtract points on a polygon or star by simply drawing the shape, and then pressing the up and down arrow key for increasing and decreasing respectively the number of angles on a polygon or star shape.

Clipping Mask To place an image in a shape or text, you can do so by using a clipping mask. First place the image on the artboard in the approximate size you want the mask to be. Then place over the top the shape or text that you want it to go into. Make sure you have the shape or text the size that you want the mask. Select both items and go to Object, Clipping Mask, Make. Now your object will have the image as a fill. If you double click into the shape or text, you are able to move the image around.

Mesh Tool The Mesh Tool adds a mesh point of another color into a selected object. To do this, select the mesh tool, select a color, and then click on the object where you want to apply a mesh. To delete a mess point, using the direct selection tool (white arrow) click on the point you want to remove and hit the delete key. To move the mesh point, use the direct selection tool (white arrow) to select the one you want, holding down the mouse button, drag to move it.

Page 30

Symbol Spray Tool With the symbols panel open, select the symbol you want to use first. Then with the symbol spray tool, spray your symbol(s) where you would like them placed. You are able to manipulate them with the other tools in the pullout menu. Other tools include: - Scruncher: Moves/clumps symbols closer together. - Sizer: Resizes symbols. - Stainer: Adds a stain of color to a symbol. - Spinner: Rotates a symbol. - Screener: Adjusts the brightness/dimness/opacity of a symbol. - Styler: Adds effects to a symbol. - Shifter: Moves a symbol around a canvas.

Width Tool With the width tool you are able to change stokes and shapes. By adding or selecting a point, you can drag out the width of that point with the mouse. You can select existing points to change or move the width also. Inside this panel are some other options, including: - Warp: Contorts an image/object based on the path and direction that is drawn by this tool. - Twirl: Swirls selected image along the path created with this tool. - Pucker: Pulls the points of an object inward toward a point drawn with this tool. - Bloat: Expands an object outward based on a point drawn with this tool. - Scallop: Pulls inward on the edges of a selected object so that the edge resembles stalagmite-like “crystals.” - Crystallize: Pulls outward on the edges of a selected object so that the edge resembles stalagmite-like “crystals.” - Wrinkle: Distorts the edges/surface of an object to make them wavy and “wrinkly.”

Creating a Custom Gradient - Gradient Panel Open the gradient panel: Window, gradient. A grayscale gradient will appear. To change the color double click on the square at the bottom and select a new fill color. You can do this for both squares. To add additional colors to the gradient, click at a point along the bottom line between the two outside squares and it will add a new fill square. Double click to change to color. You can slide the squares on the bottom, or the triangles on the top back and forth to adjust the range of gradient. Select the type of gradient you want to use. You have the choice between linear or radial gradient types. You can also adjust the angle of the gradient by typing in an appropriate degree of rotation in the gradient window. To delete a color from your gradient, you can select the square and click the trash can or you can slide all the way off the end. Once you have the desired gradient, you can grab the sample square and drag it to your swatch panel to save it. Page 31

Creating a Custom Gradient - Blends Tools By laying out a series of two or more different color shapes, you can make Illustrator blend these together to get a custom gradient. To do this, first create your shape(s) in different colors. Working from the back to the front is best. Layer the shapes on top of each other. Select all, then use Object, Blend, Make. There are three types of blends you can select from: Smooth, Specific Steps and Specific Distance. Smooth will give you a seamless blending of colors, whereas the other two will give you chunky steps based on the perimeters you use. To blend the two objects using the tool, you will need to select an edge of the first object, and then select the edge of the next object, and Illustrator will blend these two objects. You can also use the blend tool from the tool panel. You will need to select the edge of each shape in the order that you want to blend it. If you shift your selection point from the original it will twist the blend. Note: You are able to change a color in the blend by selecting a specific object and then changing the color on than object and it will automatically re-blend it.

Section 2 - Files and Illustrator Importing Illustrator Files into InDesign There are two common ways to import your Illustrator file into InDesign: -Place the original IA file by selecting File > Place, finding and selecting the desired file, and clicking “place.” The drawback of this is that different portions of the file’s image cannot be separately moved/altered. -Copy and paste from IA to InDesign. The best way to do this is to group the file’s layers appropriately with one another, and then highlight the desired piece of the image with the selection tool. After that, copy the selection and paste it into the InDesign document. The advantage of this is being able to import different pieces of an Illustrator file and being able to edit/alter said image pieces in InDesign once they’re placed. You can quickly make changes to the IA file by right button clicking on the illustrator file in InDesign and a popup window will appear. In this window select Edit With > Illustrator. It will take you to the original file so that you can adjust or fix issues. Once you save it (without change the name or file type), it will automatically update it in InDesign. (This also works with a photograph and Photoshop.)

Page 32

Artboards Artboards act as your workspace (like a page). Any graphics you place on the artboard will appear, print, export or save as a PDF in the final design. If you have items place off the side of the artboard, they will not print, but will remain in your file until you delete them. You can have 1 to 100 artboards per document depending on size. You can specify the number of artboards for a document when you first create it, and you can add and remove artboards at any time while working in a document. You can create artboards in different sizes, resize them by using the Artboard tool , and position them anywhere on the screenâ&#x20AC;&#x201D;even overlapping one another. You can also specify custom names for an artboard and set reference points for artboards.

Printing and Saving Artboards All artboards in a document share the same media type format, such as Print. You can print each artboard individually, tiled, or combined into one page. You can preview artboards from the print dialog box before printing them. The print settings you choose are applied to all of the artboards you selected to print. By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages.

Section 3 - Setting and Saving Preferences Creating your own Paintbrush Find or draw a piece of vector art that you would like to use like a brush. With the brushes panel open, drag the vector art into the row of choices. You will be prompted to select Scatter, Art or Pattern brush. Scattered Brush should be selected if you would like to click the artwork to follow the drawn line or want to randomly place a single vector art with the click of the mouse. Art Brush should be selected if you want the vector art to fill the whole line - no matter the length. It will stretch and distort to accommodate your stroke. Pattern Brush should be selected if you would like the artwork to follow the drawn line. You are able to make adjustments for spacing, rotation and size. You are able to adjust the style of the brush by double clicking on the brush in the brushes panel. You can group vector art pieces together to make a single brush. Shift select the pieces and drag them into the brushes panel. Page 33

Layered Lines (Strokes) You can layer different weights of lines on top of one another, to create a single multicolored line that can be manipulated like a single line. Begin by opening the appearance panel (windows, appearance). Draw several lines using different point sizes and colors for the strokes, no smaller than 1 point. Select the heaviest line, then in the appearance panel, click on the box in the lower left hand corner (add new stroke.) Using the eyedropper in the tools panel, select the next smaller size line. The second line should appear on top of the first line. Continue doing this (add new line, eyedropper) until you have built all the layers of the line. You now have a single multi-colored line that you can copy and manipulate as need be.

Creating a Texture You can create a texture using a photo or image to add depth and dimension to your project. To do this you will begin in Photoshop. Convert your photo or image into a grayscale image. You can bring this image in as is, layering over other colors and pattern using an opacity or you can change it to a bitmap (Image, mode, bitmap, flatten, output 100, diffusion dither). By changing it to a bitmap, the white areas will become transparent and you will be able to change to color. Adjust the texture to fit within the template box, and then with the template box shape on top, select both the template and the texture, and go to Object, Clipping Path, Make. You are now able to layer this texture on top of the other layers and you can adjust the opacity to soften it if needed.

Converting Text to Image You can convert text to an image by typing the desired text in a text box with desired font. After that, one can convert the text and textbox to an image by clicking type > create outlines. Make sure to check the spelling before you convert your text into an image. Once it is an image, the whole image or individual letters can be resized, rotated, stretched, and manipulated.

Creating your own Fill Pattern Draw/create vector artwork. Select all of it to go to: Object, Pattern, Make. You are able to change or alter the pattern once it is a fill pattern: Object, Pattern, Edit. You can also select the artwork and drag it into the swatches panel. NOTE: You can use an image, just make sure that it is not a linked images (uncheck link when placing image). In the pattern panel you are able to decide how the pattern will repeat.

Page 34

Chapter 4 - Adobe Acrobat DC Create and Edit Create PDF: To create a PDF, select File > Create > PDF from File. After that, find and open the desired file from the window that pops up. From there, when the file opens in Acrobat, select File > Save As, and make it a document of its own. Combine Files: To combine files, select Tools > Combine Files. From there, click Add Files, then find and add the files you want to combine. All files selected can then be dragged and dropped to reorder them in the final PDF. When finished, click Combine Files again, and then save it. Organize Pages: To organize pages in a PDF, first a PDF file must be opened and ABLE to be edited. Then choose Tools > Organize Pages. From here, there will be several options to move, rotate, and manipulate the pages of the PDF. Edit PDF: To edit a PDF file, first open a PDF in Acrobat, and then click the Edit PDF tool in the panel on the right. From there, text, images, and other such features of the PDF can be clicked on to be individually edited.

Review and Approve Comment: Here, one can add notes, annotations and the like to the PDF file for review and comments. Send for Comment: With this tool, one can send out the PDF through e-mail for others to comment on, said comments sent directly to the PDF file when theyâ&#x20AC;&#x2122;re made. Stamp: Similar to comments, but theyâ&#x20AC;&#x2122;re pre-made text boxes and arrows with text in them for review purposes. These stamps can show approval of a reviewer, as well as recommendations, suggestions and such. Send and Track: With this tool, the PDF file can be sent over as a link for an owner and a number of people to view. Here, the comments and views can be contributed toward the file, with the owner able to check on said comments and views at all times as long as they have the link. Compare Files: Here, one can easily compare the differences between two PDF files uploaded together in Acrobat. Measure: This toolbar gives one access to several measuring tools in order to determine the size of the PDF in question.

Page 35

Protect and Standardize Protect: It is under this tool that one can provide a number of security measures for their PDF file. One can choose to add an editing restriction, or they can add a password to the file so that only those who enter said password can make changes to the PDF. Redact: With this tool, one can either remove a part of a PDF file or mark the part for removal. One can also remove every comment, caption, stamp and etcetera with the click of the “Sanitize” button. PDF Standards: Under this section, one can convert their PDF file to one of three PDF file choices, including PDF/A, PDF/X, and PDF/E. Optimize PDF: This tool is used primarily for lowering the PDF file size while also improving the quality of it. Print Production: Under this section, the PDF is precisely prepared for an upcoming printing job. Here, one can drastically improve the color output, print quality, crop and bleed marks, page orientation, and etcetera. Accessibility: Here, one can better define the organization and reading order of the PDF, and ensure that no text is out of place for any wishing to view the final PDF.

Plagiarism and Copyright Infringement Plagiarism: Is the wrongful using of or closely imitating the works of another person without authorization and then representing that person’s work as your own, and not crediting the original person for their work. Copyright Infringement: Is when you take a copyrighted work and reproduced, distributed, performed, publicly displayed, or imitate the work without the permission of the copyright owner. In order to get copyright permission, there are a number of steps to be taken. The first of which is determining whether or not it is required to get the permission at all. Would it be illegal for one to just swipe the information they find off of the internet? It is important to determine who the owner of the information or image in question is. On that note, it’s important to determine the rights one needs to use said information or image. If it can be determined that one needs specific permission from the owner, said owner needs to be contacted, in case payment needs to be negotiated for their work to appear in one’s own. If it is determined that permission is not required, it is still important to cite the information or picture, in order to give the owner proper credit. Not doing this is considered STEALING. MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. MLA style features brief parenthetical citations in the text keyed to an alphabetical list of works cited that appears at the end of the work.

Page 36

Chapter 5 - Color

Color Systems - Additive Versus Subtractive Humans see color because our eyes are equipped with specialized receptors called rods and cones that detect and translate different wavelengths of light. We perceive color differently depending on whether we are seeing light directly versus seeing light reflected off of a surface. These two different systems are called Additive and Subtractive.

Additive Color System When looking at a screen on any device, a film, projection or slide show you are looking at light illuminating the screen from behind. The colors we see are a result of light wavelengths being added together to produce the whole spectrum of other colors. All of the colors we see are made up of pixels with varying amounts of Red, Green, and Blue (RGB).

substance, or solution that is mixed together in order to form paints, dyes, inks, or other artistic substances. Variations in quality of the pigments or the type of surface it is applied to will determine the richness of the color produced.

Metamerism The light source we view the color in will affect our color perception. Depending on the light (natural vs. manufactured) the color could change slightly or drastically. For example the color white will feel and look bluish (cool) under fluorescent light, but may appear a faint yellow (warm) under sunlight.

Subtractive Color System When we look at color that is applied using paint, dye, ink or other forms of pigments mixed with a variety of elements applied to a surface such as canvas, fabric or paper we are seeing light bouncing off the surface. Pigment is defined as a medium, Page 37

Swatch Colors Because there are many different kinds of papers, coatings and kinds of options for printed design work, there are numerous Pantone swatch books to represent the various kinds of printing and papers. The most basic distinction between these swatch books is Pantone Coated vs. Pantone Uncoated. These simulated what the color will look like on coated and uncoated paper stock. There are also swatch books that show how a specific color can be recreated using CMYK. In Adobe Illustrator, one can find new spot colors by accessing the Swatches window under the Window option on top of the screen. Once the window is open, one can double click their current color in said window and edit it to their preferences. When a color is chosen, it can be clicked and dragged to oneâ&#x20AC;&#x2122;s current folder or pallet below in the same window.

Interaction of Color Optical Perception Color is never seen in isolation, colors interact with those adjacent to them. When paired with another color, the original color can look lighter or darker than by itself. The man considered to be the foremost expert on this subject is Josef Albers, a late, 20th century, German-born American artist. Albers explored this interaction of colors by way of color position, tone, and shape within or next to other colors. All of this is very important to recognize when designing with color.

Interaction of Color 2 - Josef Albers

Page 38

Chapter 6 - Paper and Binding Section 1 - Paper Paper Paper is created by taking wood, cotton or other manmade or natural materials and beating it with water until it becomes a thick slurry. The slurry is then pressed to remove all the water to create a thin sheet that once dried becomes paper.

Kinds of Commercial Paper Commercial paper is manufactured according to industry standards. There are a range of characteristics and specifications used to identify the different types of paper. These are Grade, Finish, Weight, Color, and Grain Direction. The basic grades (or types) of commercial printing papers are: • Bond or writing (usually used for letterheads, business forms and copier uses) • Book (the most commonly used coated and uncoated papers for printing) • Text (high quality sheets in a variety of surfaces and colors) • Cover (used when greater bulk is required such as book covers, postcards or inserts) • Tag / Bristol / Index (smooth surface papers, mostly uncoated, used for displays, file folders, tickets.) Within each grade there are other distinctions, based on brightness, opacity, fiber content, and finish. For instance, there are matte, premium, and gloss finishes to coated papers. Text papers are distinguished by finishes like smooth/vellum, felt/embossed, laid, and linen. Papers come in a variety of Surface Types. Common Coated types are: Gloss, Dull, Matte, Silk and Embossed. Uncoated paper comes in a wide variety of finishes including: Smooth, Linen, Vellum, and Felt. Each of these surfaces will provide different print quality and overall appearance. Each has its strengths and appropriateness for a particular job. Most grades come in a variety of Weights for both Cover and Text. Get to know and learn to work with your printer to select the best papers for your print design job.

Page 39

Section 2 - Binding Types of Binding Saddle Stitched: Refers to a book binding in which all of the folded sheets are stacked and gathered together, and then stapled together along the crease of the fold. Perfect Bound: Refers to a book binding in which all of the pages are stacked together, and glued with a strong adhesive, and then have the spine area further wrapped/reinforced by the cover and back cover book piece. Wire/Spiral Bound: Refers to a book binding in which holes are punched in the same area of all of the bookâ&#x20AC;&#x2122;s pages, and then a wire or spiral binding is fed through the holes to hold the pages together. Picture a school notebook. Pamphlet Stitch: Similar to saddle stitched binding. This refers to when the crease of all of the pages is sewn together instead of stapled together. Coptic Bound: Refers to a book binding in which the pages are sewn together, as well as sewn to two boards acting as the cover and back cover of the book. Japanese Stab Bound: Refers to a book binding in which pages are attached by way of stabbing through four points evenly spaced on the spine, and then sewn together. Screw Post Bound: Refers to a book binding in which screws are used on the spine to hold the pages of the book together.

Creep Creep refers to the natural phenomena that occurs when crafting a booklet, the pages are folded, and the innermost pages appear to extend more outward than the outermost pages. This is generally caused by the number of pages in the booklet and the thickness of the paper being used. Creep generally doesnâ&#x20AC;&#x2122;t need to be considered with a tiny booklet with only a few pages. However, when there are more pages, the creep becomes more noticeable. Margins need to be considered during this phenomena, or it can result in a sloppylooking final product, or a loss of text if all of the pages are to align properly and said text falls out of the margins.

Bone Folder A bone folder is a hand tool with a dull edge used in paper craft, origami, and other project involving folding paper. By dragging the toolâ&#x20AC;&#x2122;s edge along the desired folded line (preferably with the aid of a ruler to ensure straight lines), one can make folds cleaner as well as easier to manipulate, for this creates a crease/score along the preformation made by the folder tool.

Post Press Processes Commercial printers can print additional colors and can perform a number of post press processes. Post press processes include die cutting, embossing, spot varnish and foil stamping.

Page 40

Chapter 7 - Type Anatomy of Typography

1) Apex: Refers to the highest point of a letter where two parts of the body meet. It joins the pieces of the letter together. 2) Serif: Refers to the complementary strokes added to the beginning and or end of a letter. 3) Bowl: Refers to the ovular or circular piece of a letter, if any. 4) Finial: Refers to the curve found at the end of letters such as c and e. 5) Counter: Refers to the area enclosed by the bowl, such as in g and p. 6) Descender: Refers to the piece of a letter that goes below the imaginary bottom line on top of which all letters rest, such as with y or p 7) Ascender: Refers to the piece of a lowercase letter that rises above the imaginary middle line that an m might only go as high as. An example would be an f. 8) Bar: Refers to the horizontal line connecting two pieces of a letter, as demonstrated by A, e, and H. 9) Open-counter: Refers to the open space on one side of a letter, such as with the letter c. 10) Stem: Refers to the supporting, main vertical line of a letter. This is demonstrated by the letters T and K. 11) Link: Refers to the curve which connects the top and bottom of certain lowercase gâ&#x20AC;&#x2122;s. 12) Loop: Refers to the lower loop-shaped stroke of certain lowercase gâ&#x20AC;&#x2122;s. Page 41

13) Ear: Refers to the strike coming off of a lowercase r and some lowercase gâ&#x20AC;&#x2122;s. 14) Shoulder: Refers to the curved shape coming off of letters such as h or m and into a further downward stroke. 15) Tail: Refers to a lower stroke of a letter, and mostly used for decoration in most letters outside of Q. All of these pieces of typography are important because they are defining features of certain fonts and typefaces. Depending on sizes, shapes, width, and etcetera of these parts, they can all affect how recognizable or readable a letter is. For example, readable than

A might be more

Font Versus Typeface Font and typeface are often confused, but font simply refers to the file on oneâ&#x20AC;&#x2122;s computer that uses and commands a certain typeface. Typeface refers to the shape, characteristics, and styling that makes up the lettering as a whole. Because of this, a typeface of characteristics could describe several fonts, and put them into a sub-group. Individual Fonts Typefaces

Type Type Type Type Type Type Type Type

Type Classifications The four general type classifications are known as serif, sans serif, script, and decorative. Each of these four classifications also consist of subgroups. Script, for example, can be split into the subgroups formal, calligraphic, blackletter and Lombardic, and casual. The script type classification can be described most easily as a type that is based off of handwriting from different generations. Some of these fonts may resemble formal styles inspired by centuries past. Others may resemble letters written in calligraphy or other writing tools. More modern fonts today still resemble handwriting, but it is more rough, rebellious, and rushed in nature.

Page 42

Types of Font File Formats The two most commonly used font file formats are serif and sans serif. For serif, it is a font format best used for printed works, as it is easier to read than sans serif. This is particularly because of the defining and complementary strokes that give each letter more character to make it more recognize. Sans serif is usually used more for online work. This is because a computer screen usually has less resolution than a printed sheet of paper. For this reason, the defining strokes of serif fonts would not be as easily recognizable on a computer screen.

Ligature A ligature refers to a shape/character resulting from two letters that touch one another in a basic line of text. This would perhaps be appropriate in order to both save more typing space, and also to make other letters and words look appropriately spaced. One can find ligatures under their character panel in their InDesign screen. Examples: Ligature: Not ligature:

fl ff

Line Spacing (Leading) Line space refers to the amount of vertical space between lines of type and is measured from baseline to baseline. The optimal line spacing is between 120% and 145%. The smaller the type, the more line space you will need to help with the readability. Another factor that can affect the line space is the x-height of the typeface. The taller the x-height the more line space you will need. The same holds true for the length of the descenders.

X-Height X-height refers to the distance between the base and the top of a letterâ&#x20AC;&#x2122;s main form Examples (same font size, but different heights):

f f Page 43

Hierarchy “Typography exists to honor content.” - Robert Bringhurst: The Elements of Typographic Style Hierarchy is the way in which you present the type on the page in order of importance. This is important for the assistance of organizing key points on a page or pages. It brings attention to headings, for example, that will tell what the following paragraph or chapter will be about. In the case of reading a book with such large, bold headings as compared to standard paragraph text, it allows the reader to find what they’re looking for more easily.

Hierarchy Levels Primary Level: The biggest type on the page. A heading, for example. Secondary Level: Short portions of text on a page. Examples include subheadings, image captions, and quotes. Tertiary Level: The main text on the page, usually referring to standard paragraph text. Typically small. Other Levels: Other levels usually fall under the subcategories of the Tertiary level. Examples consist of Tertiary type with effects added to it, such as bolded or italicized text for emphasis.

Optimal Line Length For normal body text, 45-75 characters per line, including spaces in the best. Too short and you break the reader’s rhythm, too long, and the reader will lose their place when they travel to the next line. (Again the x-height, weight and typeface will help determine the best number of characters per line.)

Glyphs A glyph is a graphic that one can place directly into their InDesign project without concerns involving copyright. They consist of several typefaces as well as the unique symbols and characters that come with said typefaces. To locate and select a glyph, one needs to find it under Window > Type and Tables > Glyphs.

Page 44

Customizing Type Baseline shift: This shifts a selected character or characters up or down in relation to the â&#x20AC;&#x153;baselineâ&#x20AC;? upon which all the text generally rests upon. Vertical scale: This allows one to increase or decrease the height of a selected character or characters in text. Tracking: Similar to Kerning, but this allows one to adjust the spacing between every letter in a whole word, as compared to only two letter forms. Kerning: Adjusting this allows one to adjust the spacing between two letter forms. Horizontal scaling: This allows one to increase or decrease the width of a selected character or characters in text. Skew: Skew refers to when a letter form becomes slanted at a certain angle.

Page 45

Chapter 8 - Project 1: Photogrid Introduction The first project in my first graphic design class at UWSP was an enlightening experience. Not only did I learn my way around Adobe Photoshop in the process, but I was also introduced to several UWSP Noel Fine Arts Center basics that I will use until the day I graduate. Some skills I will even take into the far future, should I continue the career path successfully.

Organizing Files Make a Folder (Directory) for each project you work on. All CC files, content, Word documents, images and other stuff related to the project are stored inside this main folder. Create sub-folders for the kinds of content. For a class such as this, we will want to save several different types of items, and it can easily get cluttered. For a solution, it would be sensible to create a sub-folder for screenshots, Microsoft Word documents, and other documents by program category. It would also be good to have a folder open for “final” versions of each project, as well as a folder for PAST versions of a project you’ve been working on. For example, while working on the semester Workbook, it might be good to save a separate file for each newest version you finish each week. I.E, the end of week one, you would save the file as Workbook1, and at the end of week two, you may save the newest version as a new file, Workbook2.

File Naming Convention To keep track of multiple projects it is important in use a file naming convention that makes sense and is consistent. In order to better keep track of one’s files better, as well as make them easy to point out for others, one needs to give the document a unique title. It should include their last name and first initial, the name of the project, and which version of the project the file is. An example of the first version of a Workbook project file being submitted would be BauerA_ DesignWorkbook_01.ind It is also important to keep iterations on a regular basis for two reasons. 1) It allows you to backtrack to a different design if needed. 2) It provides an additional form of file backup – in the event that the current file is lost Page 46

due to power failure, computer failure or human error.

Working in Campus Labs When you are working on your files, you can save them to the folder on your Desktop. You MUST copy your files to your MyFiles before you leave the computer station otherwise you will not be able to access it from another computer. You NEED to delete your local files off the Desktop before you leave. If one wants to access a computer lab to work or transfer files, their options are varied across the campus. Academic Labs (CAC 301, CPS 105/107, CCC 307, SCI B228/B238, and TNR 356): - Sunday & Saturday: Closed - Monday-Thursday: 8:00am-5:00pm - Friday: 8am-12pm DUC 201/203: - Sunday: Noon-9:00pm - Monday-Thursday: 8:00am-11:00pm - Friday: 8:00am-9:00pm - Saturday: 12:00pm-9:00pm LRC 110: - Sunday: 12:00pm-Midnight - Monday-Thursday: 7:30amMidnight - Friday: 7:30am-9:00pm - Saturday: 9:00am-9:00pm NFAC 172/190/215: - Sunday: Noon-Midnight - Monday-Thursday: 7:30amMidnight - Friday: 9:00am-9:00pm - Saturday: Noon-9:00pm Labs Management Office: - Monday-Friday: 7:45am-4:30pm - Saturday-Sunday: Closed If you wish to ensure that your files will not be lost, should one device get

corrupted or damaged, there are other ways to save your work. One way involves the use of a portable jump drive, and copying the files over to it. Another way one might back up their files is to e-mail them to one’s self, so that the file may be downloaded from another device that can be accessed by one’s e-mail address.

Accessing MyFiles from off Campus Log on to the University website. Select myPoint and log on using your student information. Select Academic Tab Under student computing services select myfiles – network storage for students. On the right hand side, select Access myfiles off campus. Follow directions based on the operating system on computer you are currently using. If accessing MyFiles through a Mac, one has to open the Finder, click “Go,” and then “Connect to Server.” After that, one must enter the path to the share they wish to connect to, and then click enter/return. When prompted, had to enter their UWSP login.

Taking a Screenshot Sometimes it is necessary to record or document things from your screen to use as personal reference or as a record of things you are doing. To do this you can take a screen shot. On a Mac computer select the keys: Command + Shift + 4 to get a Crosshairs cursor. With this you can draw around what you want to capture. Your screenshot will be saved as a file Page 47

called “screenshot” followed by the date and time it was taken. The screenshot will automatically be added to your “downloads” folder on your mac, and it will be saved as a .png file.

Key Commands Key commands (also known as keyboard shortcuts) is the combination of two or more keys that you can use to perform a task that would typically require the use of the mouse and or multiple keyboard steps. These commands are convenient and preferable because they allow the user quick access to often-used commands. For example, rather than painstakingly dragging the mouse cursor to the top toolbar and finding the “undo” command, one could simply press the command key plus the “V” key to undo a previous action. Or for a quick save, one could press command key plus the “S” key for a quick save, rather than scrolling over to the file option on the top toolbar and selecting “save.”

Project 1 Process For the first project, an original base image first had to be chosen, be it still life or a scenery shot. Once the image was chosen, the canvas size first had to be established in Adobe Photoshop. After confirming with the professor, a proper image size with proper units of measurement and resolution was chosen, and then the original image was fit to the required canvas size. After that, a grid had to be established. This could be accomplished by searching under Photoshop, Preferences, Guides Grid & Slices. Once a guiding grid was placed over the image, it all came down to experimentation with different filters and photo effects available through Photoshop. Each individual square divided by the grid was to have its own, unique appearance, all of the tiles meant to tie together to form a photogrid together.

Page 48

I personally wanted to have balance across my piece in terms of color, sharpness, brightness, and etcetera. I wanted each side and each corner of the image to be equal under these terms, by way of combining the several different squares and their effects together. However, at the same time, I wanted each object in the still life picture to be represented by similar effects, one each representing a different branch of effects. For example, the dragon-like incense burner was composed almost entirely of color and saturation changes, while the Halloween snow globe was composed mainly of image distortion and inverted effects. For me, this first project provided an excellent introduction to the Photoshop CC program. It helped me explore everything on my own, and the vast variety of image manipulation and alteration capabilities that the program is capable of.

Page 49

Chapter 9 - Project 2: Paper Creature Introduction Project 2 was yet another learning experience. While I never had experience with Adobe Illustrator in the past, this project’s process helped me to learn and explore the program for a better understanding of it. The process also allowed me to become familiar with even more of the Noel Fine Arts Center’s tools for students’ use.

Photo Equipment and Room The photo equipment and room are available for checkout, free to any UWSP student so long as they don’t damage any of the equipment. For this reason, proper precautions are to be taken. Cameras are available for checkout, but are very expensive. As are the lights. These lights are different sizes, each meant for their own specific tripod and power cord. Both lights, when mounted and powered appropriately, can be tilted, raised and lowered, as well as having their brightness adjusted. Be careful with the older lights though! Only one can be powered by a single outlet, otherwise there the possibility of blowing a fuse. The lights should also only be plugged in and turned on when in use. Backdrops are also available upon request, otherwise the standard gray backdrop will always be available in the photo room. Everything should be turned off and unplugged when leaving the room. The photo room is located in room 182 of the Noel Fine Arts Center.

Banner Printer Before printing, photos should be saved in a PDF file format to ensure that printing takes less time. The BANNER2 printer should be selected for printing. Margins must be set to zero! After selecting the proper printer and the desired paper size, click “print.” But don’t forget to check your e-mail for printing approval and release! Exact paper sizes must also be defined before printing. The type of paper also has to be considered. For example, the banner printer will automatically print on its paper roll within the machine unless a different paper is manually fed into the back of the printer, AS WELL AS set up on the print menu. This can be found under Paper Quality > Manual Feed.

Page 50

Developing Narrative When developing a narrative, it is important to consider how these ideas will impact one’s project and its appearance in the end. Questions one might consider about the work is what type of project it is, what feeling or emotions it’s meant to provoke, what the piece does in its free time, and its origins by a fictional standpoint. By developing a narrative, one has ideas off of which to base the actual appearance of the project. The narrative explains the project and what it is as a living thing. These traits of this living project can be translated and employed to shape the project’s looks.

Thumbnail Drawings Thumbnail drawings are an important step in creating a project because it ensures that one has a clear understanding of what exactly they will be building. By constantly drawing variations and ideas, each drawing taking less than a minute or two, one can properly cement and mold all of the ideas running through their head. For each project, one should come up with approaching 100 thumbnails or so. Around that many thumbnails later, one should have a clear understanding of what it is they’re trying to build. This process of thumbnail sketching should be done toward the beginning of one’s project, but also AFTER one develops narrative ideas.

Page 51

Project 2 Process

Project 2 was focused around the brainstorming and creation of a mythical creature that was to be constructed out of paper. A final poster design with all of the cut out pieces and information was also to be featured. In order to properly prepare for this project, us students were to first sketch out several thumbnails of ideas we had for our paper creatures. These thumbnails were to include side, top, and profile views of the creatures, so that we could narrow down what we were aiming for before any kind of construction. When drawing these thumbnails, we had to consider â&#x20AC;&#x153;narrativesâ&#x20AC;? for our creatures. What makes them who they are? What do they do in their spare time? What are their strengths, weaknesses, and habits? Questions like these helped with our design of the creatures, and how their appearance would reflect the answers to such questions. After initial thumbnail sketching, the next step that came was experimenting with paper itself, and imagining how the creature could be crafted with folded sheets of paper that would connect to one another. It was a long, difficult process to translate my creature, Gnorris, into a three-dimensional form. But in the end, it was a learning experience that helped me to understand 2D to 3D translations.

Page 52

Once rough translations to a 3D form were completed, next came the transition into Adobe Illustrator and Adobe InDesign. The original scans of our 3D cutouts were placed into Illustrator, and from there, we began to remake our creatures with more defining features. This was where the exploration of Illustrator began for me. Like with Photoshop in Project 1, Illustrator in Project 2 was a completely new experience to me. I was able to learn about and experiment with several tools for the design of Gnorris. The tips, tricks, and tools used to design Gnorris were a good introduction to Illustrator for me. After the defining features of our creatures were finished, they were printed out and constructed into their final forms. Said paper creatures were set up on display, and then photographed with the assistance of the photo room and equipment at UWSPâ&#x20AC;&#x2122;s Noel Fine Arts Center. Lastly, once our creatures were photographed, the final piece of the project was to be constructed in Adobe InDesign. Here, a poster was to be constructed. The poster was to promote the paper creature, including its name, backstory/narratives, construction steps, and the a photo of the final creature as well as all of the pieces needed for its construction.

Page 53

14A

28A

15A

27A

Gnorris

13A

EYEBROWS

Myth of the Rocky Mountains

22A

12A

25B

20B 11A

LEGS

FEET

19B

21A

17A

23A

10A

LOINCLOTH

24A

18A

20A

BODY

24A

19A

l Trave

26A

27B

ARMS

26B

25B

25A

28B

17B

10B

11B

12B

18B

21B

13B

14B

15B

22B

Background: Gnorris’s origins are unknown. He is a creature rumored to live in the Rocky Mountains, and has become a figure of “urban legend” in the local areas. He is a cave dweller who never stays in one cave for long, in order to avoid being discovered. Standing just under three feet tall, he appears as a primitive, deformed human being, almost dwarf-like. However, he is a lot more intelligent than he appears. He has mastered basic survival skills, including hunting, cooking, and firemaking. He also understands human speech, but has limited speech capabilities himself. He has his handicaps though. His short, stubby legs limit his mobility and speed, and his elongated eyebrows sometimes snag on branches and other obstacles. This is why he carries a self-made spear, in order to repel predators. He also has difficulties eating and breathing, as his overly large nose and miniscule mouth have swapped locations on his face. Gnorris is timid and terrified of humans, but also very curious. When able, he passes his time watching any passing mountain hikers, and swiping anything those hikers may have dropped. Crafting Instructions: 1) Fold along dotted lines on the “Body.” Then attach tab 1B over 1A. Then attach tabs 2A, 3A, 4A, 5A, 6A, 7A, and 8A to tabs 2B, 3B, 4B. 5B, 6B, 7B, and 8B respectively. 2) Fold along the dotted lines of the “Loincloth.” Then attach tabs 9A, 10A, 11A, 12A, 13A, 14A, 15A, 16A, 17A, and 18A to tabs 9B, 10B, 11B, 12B, 13B, 14B, 15B, 16B, 17B, and 18B respectively. 3) Fold along the dotted lines of the Right and Left “Legs.” Then attach tabs 19A to 19B AND 20A to 20B respectively. Then, attach “Legs” to “Body” by attaching tabs 21A to 21B AND 22A to 22B respectively. Then attach “Feet” to “Legs” by attaching tabs 23A to 23B AND 24A to 24B respectively. 4) Attach “Arms” to “Body” by attaching tabs 25A to 25B AND tabs 26A to 26B respectively. 5) Attach “Eyebrows” to “Body” by attaching tabs 27A to 27B AND 28A to 28B respectively. Background image courtesy of: keywordsking.com

Page 54

Chapter 10 - Project 3: 8 Page Brochure Research Five important questions need to be considered whenever a designer is doing their research. What is the topic that the individual is researching? Is the research information found relevant to the topic? How will the research be incorporated into the researcher’s work? What is considered a “credible” source to rely upon when researching? How does one properly cite/credit sources for use of their content? Research is important to design work because it gives the researcher professional facts and opinions on subjects that they were otherwise puzzled about. It assists the researcher in the things they should base their final design on, as well as the facts or statements to include in said design.

Project 3 Process The basis behind this project was to create an 8-page brochure to promote a student organization here at UWSP. As such, a lot of the project was based on information we could gather from the organization itself and those involved, which involved much research. Students were to ask the organization members about the organization’s history, goals, regular duties, and etcetera. Otherwise, more information could be found on the group on UWSP’s SPIN website. In some cases though, some organizations had other, separate websites of their own, some connected to Facebook, Twitter, and other social medias. My organization of research was UWSP’s own Daisho Con. Much of my time was spent researching the organization itself, as well as asking its staff for information. However, a lot of information was also sought regarding the club’s annual event, an anime and gaming convention hosted in Wisconsin Dells. While some students attended a meeting planned by their organization of choice, I attended Daisho Con’s convention in order to take pictures and gather information, another important part of the project. Research served as a basis for the first part of this project, a PowerPoint presentation. Through these presentations, we introduced our own chosen organizations to the rest of the class as well as the professor, in order to provide a rough draft of what information to include and receive feedback on what else to include.

Page 55

Apart from organization research, this project involved a lot of elements of design. With this project, I became all the more aware of how difficult it is to design something promotional such as the booklet. It has to include all of the necessary, relevant information, as well as being aesthetically pleasing to the eye with much organization. It was another project that assisted me in the exploration of InDesign, in addition to learning about creating booklets. Another thing that this project assisted me in was awareness of copyright and citing sources. Since I was not able to get as many appropriate pictures as I may have wished for, according to what my booklet was to be promoting, I needed to be aware of what images from others I could and could not include in my booklet

Page 56

Works Cited Anatomy of Type – Type Glossary - http://www.typographydeconstructed.com/ Scribe Consulting – Serif and Sans-Serif Fonts - http://www.scribe.com.au/tip-w017.html L. Wimberly, Jamie. “Adobe: Photoshop vs. Illustrator vs. Indesign” LinkedIn – World’s Largest Professional Network. June 10th, 2015. https://www.linkedin.com/pulse/adobe-photoshop-vsillustrator-indesign-jamie-l-wimberly. Accessed September 8th, 2016. Leonard, Caroline. “Types of Binding – Back to Basics.” Student Bookbinding. http://www.studentbookbinding.co.uk/blog/types-of-binding. Accessed November 29th, 2016. Patel, Bhanu. ""What is Creep?" Printhouse Corporation. January 3rd, 3012. http://printhouse. co.uk/2012/01/what-is-creep/. Accessed November 16th, 2016. Popova, Maria. "The Magic and Logic of Color - How Josef Albers Revolutionized Visual Color and the Art of Seeing." Brain Pickings. August 16th, 2013. https://www.brainpickings. org/2013/08/16/interaction-of-color-josef-albers-50th-anniversary/. Accessed October 23rd, 2016. Adobe Support. https://helpx.adobe.com/support.html#/top_products. Accessed November 30th, 2016. Stim, Rich. "The Basics of Getting Permission." Copyright and Fair Use - Stanford University Libraries. http://fairuse.stanford.edu/overview/introduction/getting-permission/. Accessed November 30th, 2016. Estes, Sara. "Burning Questions - How to Label an Exhibition." Burnaway - The Voice of Art in the South. June 15th, 2015. http://burnaway.org/feature/how-to-label-an-exhibition/. Accessed November 30th, 2016. "Line Spacing." Practical Typography. http://practicaltypography.com/line-spacing.html. Accessed November 28th, 2016. Rutter, Richard. "Choose a Comfortable Measure." The Elements of Typographic Style Applied to the Web. http://webtypography.net/2.1.2. Accessed November 28th, 2016. "Difference Between Printer's Spread and Reader's Spread on Booklets." Hellman Production Learning Center. http://www.hellmanproduction.com/artwork-printing/difference-betweenprinters-spread-and-readers-spread-on-booklets.html. Accessed November 22nd, 2016.

Page 57

Graphic Design ABCs: A Glossary of Basic Design Terms December 4, 2014 This post was originally published on September 22, 2007 on the UCreative website. You can find us at: http://www.ucreative.com/resources/. Since then we’ve updated the list and added images. Enjoy, Creatives! (DKB Hoover revised this list for her students in 2016.) Designers have their own language. There are words that only we understand. Sometimes we don’t really know their exact definitions; we simply use them out of familiarity. It’s about time someone put them out there. The YouTheDesigner (YTD) team updated this glossary of graphic design terms for design newbies and experienced artists alike. A Acrobat - A product developed by Adobe systems to create PDF (Portable Document Format) files. Acrobat is an independent means of creating, viewing, and printing documents. Airbrush - A tool using compressed air that to spray a liquid, such as paint, and ink. Often used in used in illustration and photo retouching. Alignment - The adjustment of arrangement or position in lines of a text or an image —left, right, centered, etc. Alpha Channel - The process of incorporating an image with a background to create the appearance of partial transparency. Alpha channels are used to create masks that allow you to confine or protect parts of an image you want to apply color, opacity, or make other changes. Anchor Point - Anchor points allow the user to manipulate a path’s shape or direction by clicking the point and moving it in a direction. They appear along the beginning of a path, at every curve, and at the end of a path. You can add or subtract anchor points on a path. Animated GIF - A small animation based on continuous GIF images, giving the impression of movement or action. Animation - Generating movement through a series of images/frames. Art Director - The individual responsible for the selection, execution, production of graphic art.

Page 58

Ascenders - The part of a letter, which extends above the mid line, such as ‘b’ or ‘d’. Asymmetrical - This is when graphics and/or text are not identical on both sides of a central line. B Bad Break - Refers to widows or orphans in text copy; any break that causes awkward reading. Bar - The horizontal or vertical line drawn through a grapheme (unit of writing, such as a letter). Sometimes added to distinguish one grapheme from another. Baseline - An imaginary line upon which letters sit and descenders extend below the baseline. Bevel - A tool in design software for drawing angles or modifying the surface of your work to a certain inclination. Bezier Curve - A parametric curve that represents a vector path in computer graphics. They are frequently drawn using a pen tool and by placing anchor points, which can be controlled to form curved shapes. Bitmap - A series of bits that forms a structure representing a graphic image. The color of each pixel is individually defined. Bleed - When a graphic object extends through another in an unwanted manner. It is then trimmed so there is no chance for a white line on the edges.

Body Type - The typeface used in the main text of a printed matter.

Dot Gain - As ink hits the paper, it is absorbed and spreads out.

Border - The decorative design or edge of a surface, line, or area that forms it’s outer boundary.

Double Page Spread - A double page spread is a layout that extends across two pages.

Branding - The process involved in creating a unique name and image for a product in the consumers‘ mind, mainly through advertising campaigns with a consistent theme.

DPI (Dots Per Inch) - A term referring the number of dots of ink used to describe the details of an image.

Drop Shadow - Is a visual effect added to an image to give the impression the image is raised above the background by duplicating the shadow.

Canvas Size - Allows you to change the complete size of the document without adjusting the contents of the document

Dummy - A prototype or mock-up of a book, page, or any project designed to resemble and serve as a substitute for the real thing.

Clipping Path - A tool or shape that’s used to cut out an image.

Duotone - A method of printing an image using two colors, usually black and a spot color.

Cloning Pixels - A function that allows you to replicate pixels from one place to another.

CMYK - Stands for Cyan, Magenta, Yellow, Black; this color model (also called process color, four color) is a subtractive color model used in color printing. Color Palette - A set of colors that make up the total range of colors used in graphic computers. Comp (Comprehensive) - Comps are made to see what the initial design project will look like before it’s printed, showing the layout of the text and illustrations. Complementary Colors - The colors that are opposite of each other when viewed on the color wheel. Contrast - The difference between the light and dark parts of an image. Copy - This term refers to text supplied for incorporation into a design. Crop - A tool that removes portions of an image. It is usually used in digital photography. D Descender - The part of a lowercase letter that stretches below the baseline and body of the letter. Die Cut - A die that cut shapes or holes in different materials to make the design stand out. Dingbat - An ornament used in typesetting to add space around an image or a symbol. Dodge - This is when you lighten or reduce part of an image by shading.

Ear - The rounded part of the lowercase letters such as ‘g’ and ‘q’. Element - Any distinct part of a layout such as the logo, headline, images, or borders. Embedding - Process of transferring all the data of a font or image into a file. Emboss - To give a three-dimensional effect to a text or an image by using highlights and shadows on the sides of the illustration. Engraving - To print designs by cutting the surface of a metal plate. EPS - Stands for Encapsulated Post Script. This is a graphics file format used to transfer PostScript documents that contain an image, within another PostScript document. Etch - To imprint a design onto the surface of a plate by using a chemical such as acid. Export - To save a file in a format supported by other programs. E-Zine - Stands for electronic magazine. Refers to the name of a website that is represented by a print magazine; an web-based magazine that you can subscribe to. F Feathering - A tool used in graphic design software that makes the edges of an image appear softer.

Page 59

Fill - A tool used to fill selected parts of an image with a selected color.

used for all activities relating to visual design, including web design, logo design, etc.

Filter - A filter is a pre-created effect that can be applied to images to acquire a certain look.

Graphics - Visual presentations that feature printed messages that are clear and appealing.

Flexography - A printing technique where printing plates are made of rubber or soft plastic material and then stretched around a drum on the press that rotates.

Grayscale - Grayscale images consist of black, white, no color, and up to 256 shades of gray.

Flyer - A single sheet of paper handed out or posted on a wall to advertise or announce something. Focal Point - In graphic design terms, the focal point is where you want to draw the reader’s or viewer’s eye. Font - A complete combination of characters created in a specific type, style, and size. The set of characters in a font entails the letter set, the number set, and all of the special characters and marks you get when pressing the shift key or other command keys on your keyboard. 4-Color Process - A printing technique that creates colors by combining, cyan, magenta, yellow, and black (CMYK). Frames - Referring to animation, a frame is a single image in a series of graphic images. The speed of an animation is determined by the number of frames displayed per second or fps. G Gang - To combine multiple jobs on one print plate in order to reduce costs and setup charges. Gamut - The range of colors available to a particular output device or a given color space, such as a laser printer or an image setter. If the color range is too wide for that specific device, it is indicated as ‘out of gamut’. Gatefold - A type of fold in which the paper is folded inward to form four or more panels. GIF (Graphics Interchange Format) - GIF images display up to 256 colors. It supports animation and allows an individual palette of 256 color for each frame. The color limitation makes the GIF format inappropriate for reproducing color photographs and other images with consistent color. GIF images are compressed using the LZW lossless data compression method to decrease the size of the file without corrupting the visual quality. Gradient - A function in graphic software that permits the user to fill an object or image with a smooth transition of colors. Graphic Design - Visual communication using text or images to represent an idea or concept. It is also a term

Page 60

Grid - Is a two-dimensional format made up of a set of horizontal and vertical axes used to structure content. Gutter - In book production, the white space formed by the inner margins of a spread near the books spine. H Halftone - (1) A photograph or scan of a consistent tone image to alter the image into halftone dots. (2) A photograph or continuous-tone illustration that has been halftoned and that is displayed on film, paper, printing plate, or the final printed product. Halo Effect - A vague shadow sometimes surrounding halftone dots printed. Also called halation. The halo itself is called a fringe. Hard Copy - The permanent reproduction of the output of a computer or printer. For example: teleprinter pages, continuous printed tapes, computer printouts, etc. Header - The text which appears at the top of a printed page. Headline - A large text illustrating the opening statement used in a layout. Highlights - Lightest part of a photograph or halftone, as opposed to mid-tones and shadows. High-Resolution Image - An image with an extreme level of sharpness/clarity. HLS - A color space that stands for hue, lightness, and saturation. HSB - A color space stands for hue, saturation, and brightness. Hue - One of the three primary attributes of color. A hue is a variety of color such as red, blue, green, or yellow. I I-beam - The form the pointer assumes when the text tool is chosen.

Ideograph (also ideogram) - A character or symbol representing an idea without expressing the punctuation of a specific word or words for it. Image Map - An image map is an HTML document containing multiple clickable hyperlinks. Imagesetter - Laser output device for producing professional-quality text with extremely high resolution.

L Layers - A tool within graphic software that permits the user to gather, organize, and re-edit their artwork. Leading - Refers to the amount of added vertical spacing between lines of text. Leaf - One piece of paper in a publication.

Imposition - A layout of pages on mechanicals or flats so they will appear in proper order after press sheets are folded and bound.

Legend - A table inside a project that lists vital illustrations or instructions; footnote that helps users better understand information.

Indents - A set in or back from the margin.

Letterpress - A technique of printing where movable type is inked and then pressed against paper to create an impression. Also called block printing.

Initial Cap - Big, capital letters which are found at the beginning of paragraphs or chapters. Inkjet Printer - A printer that electrostatically sprays tiny ink droplets onto paper. Invert - Inversion of the tonal values or colors of an image. On an inverted image, black becomes white, blue becomes orange, etc. Italic - The style of letters that usually slope to the right. Used for emphasis within text. J Jog - To arrange sheets of paper into a neat, compact pile. JPEG (Joint Photographic Electronic Group) - A common process for compressing digital images. (Also expressed as .jpg) Justify - This refers to making a block of type a certain length by adding space to the words and letters in each line. K Kerning - Modifying the horizontal space between letters. Keyframe - Any frame in which a specific aspect of an item (its size, location, color, etc.) is specifically defined. Keyline - Keyline A keyline is another name for a rule, line, or even a frame border. Keyline options can be set through design software applications to adjust the width, to be solid or dotted, or to show different patterns.

Lossless - Refers to a form of data compression where the detail is maintained and no data is lost after file downsizing. The lossless compression method is often used in TIFF and GIF formats. Lossy - A form of data compression where detail is deleted as the file size is decreased. JPEG is an example of a lossy compression method. Lower Case - The smaller form of letter used in type. Low-Resolution Image - A low-quality scan made from a photograph or the like. Luminosity - The brightness of an area arranged by the amount of light it reflects or diffuses. M Magic Wand Tool - A tool in graphic software that permits the user to select fractions of an image such as areas with the same color. Margins - Guidelines in a page layout software that shows a user the body copy areas. It also allows the user to indicate the dimensions. Margins are not supposed to be printed. Mask - See clipping path. Master Page - A property found in a page layout software that allows the user to create a constant page layout. Repeating elementsâ&#x20AC;&#x201D;like page numbersâ&#x20AC;&#x201D;are created once on a master. This permits the user to stay clear of adding the numbers for each page manually. Matte Finish - Non-glossy finish on photographic paper or coated printing paper. Mean Line - Also called x-height. The imaginary point of all lowercase characters without ascenders.

Page 61

Midtones - In a photograph or illustration, tones composed by dots between 30 percent and 70 percent of coverage, as opposed to highlights and shadows. Mock Up - A recreation of the original printed material; could possibly contain instructions or directions. Modern - An altered version of Old Style. these highcontrast letters have heavy, untapered stems and light serifs. Originally established by Firmin Didot and Giambattista Bodoni during the late 18th to early 19th centuries. Multimedia - Offering the use of various communications such as text, sound, and still or moving images. N

package such as Illustrator or Freehand. Overlay - Layer of material taped to a mechanical photo or proof. Acetate overlays are used to divide colors by having some type or art on them instead of on the mounting board. Tissue overlays are used to carry instructions about the underlying copy and to protect the base art. Overprint - To print additional material or another color over a previously printed image. Over Run - Additional printed material beyond order. Over run policy differs in the printing industry, usually within 10% of the original quantity run. P

Negative Space - Also known as white space. The area of a page that doesn’t contain images or words.

Page Layout - Deals with the setup and style of content on a page. An example of a page layout is the pages in magazines or brochures.

Neon Glow - A type of glow on a graphic image that gives the appearance of neon lighting.

Page Size - A setting that allows the user to define the size of the page they are creating their artwork on.

News Print - Paper used in printing newspapers; not considered a high-quality paper. Noise - Noise is a term used to describe the development of pixels that contain random colors.

PDF - Stands for Portable Document Format. Developed by Adobe Systems in its software program, Adobe Acrobat, to serve as a universal browser. Files can be downloaded over the web and viewed page by page, provided the user’s computer has installed the application.

Pica - A unit of measurement for type. Commonly used for typewriters.

Oblique - A Roman typeface which slants to the right. Often confused with italics.

Pixel - The smallest picture content that can be individually assigned a color.

Offset Printing - A printing method that transfers ink from a plate to a blanket to paper as opposed to directly inking from plate to paper.

Plate - A piece of paper, metal, plastic, or rubber carrying an image to be duplicated using a printing press.

Old Style - A style of type characterized by slight contrast between light and heavy strokes and slanting serif. Opacity - The degree of a color or tonal value. The opacity of an image or object that can range from transparent (0% opacity) to opaque (100% opacity). The ability to edit the opacity of specific objects allows the designer to create images that seem to flow into and through one another. OpenType - A font format created by Adobe and Microsoft. Open Type font can include a set of glyphs defined as True Type or Type 1 curves. Orphan Line - The first line of a paragraph appearing on its own at the bottom on a page with the remaining part of the paragraph appearing on the next page. Outline - This can refer to the outside edge of a font or the outer edge of a vector graphic image drawn in a

Page 62

PNG - Portable Network Graphics format. PNG (usually pronounced “ping”), is used for lossless compression. The PNG format displays images without jagged edges while keeping file sizes rather small, making them popular on the web. PNG files are generally larger than GIF files. PPI - Pixels Per Inch. A measurement of the resolution of a computer display. Primary Colors - The primary colors are put together to produce the full range of other colors (non-primary colors), within a color model. The primary colors for the additive color model is red, green, and blue. The primary colors for the subtractive color model is cyan, magenta, and yellow.

Quick Mask - A filter in Photoshop in which a translucent colored mask covers selective areas of an image.

Sans Serif - A style of typeface that means “without feet.” Usual sans serif typefaces include Arial, Helvetica, AvantGarde, and Verdana.

Quick Time - QuickTime was developed by Apple Computer. It’s built into the Macintosh operating system computers and is used for displaying and editing animation. R Ragged - The imbalanced alignment of text lines. Ragged is the opposite of flush. A text block may be formatted to be evenly flush (align) right and unevenly aligned (ragged) on the left. Rasterize - An image is said to be rasterized when transformed from vector image to a bitmapped image. When opening a vector image in a bitmap-based editing program, you are generally presented with a dialog box of options for rasterizing the image. Resample - A function accessible in image editing that permits the user to change the resolution of the image while keeping its pixel count intact. Resolution - The resolution of an image is an important factor in deciding the attainable output quality. The higher the resolution of an image, the less pixelated it will be and the curves of the image will appear smoother. RGB (Red, Green, Blue) - RGB is the color model used to project color on a computer monitor. By combining these three colors, a large percentage of the visible color spectrum can be represented. Rich Media - Rich media are banner ads that use technology more developed than standard GIF animation. For example: Flash, Shockwave, streaming video, etc. Right Justified - Type aligned with its right margin. Also known as “flush right.” RIP (Raster Image Processor) - Transfers fonts and graphics into raster images, which are used by the printer to draw onto the page. Rivers - A river is a typographic term for the ugly white gaps that can appear in justified columns of type when there is too much space between words on concurrent lines of text. Rivers are particularly common in narrow columns of text, where the type size is relatively large. Royalty-Free - Photos Intellectual property like photos and graphic images that are sold for a single standard fee. These can be used repeatedly by the purchaser only, but the company that sold the images usually still owns all the rights to it.

Saturation - The intensity of hue. The quality of difference from a gray of the same lightness or brightness. Scale - A design or program is said to scale if it is relevantly efficient and reasonable when applied to larger situations. Screen Printing - Technique of printing by using a squeegee to force ink through an assembly of mesh fabric and a stencil. Selection - Selection refers to an area of an image that is isolated so it can be edited while the rest of the image is protected. Shadow - Detail Shadow detail refers to the amount of detail held in the dark areas of an image. If the shadow is lightened too much in an attempt to expose more detail, you run the risk of reducing the overall contrast of the image. Sharpen - To reduce in color strength, as when halftone dots become smaller; opposite of “thicken” or “dot spread.” Small Caps - Capital letters that are about the same height as the tvpeface’s x-height. Some software programs automatically create their own small caps, but true small caps are often only found in expert typefaces. Spread - (1) Two pages that face each other and are created as one visual or production unit. (2) Method of slightly enlarging the size of an image to make a hairline trap with another image. Also called fatty. Subtractive Color - A term defining the three subtractive primary colors: cyan, magenta, and yellow. As opposed to the three additive colors: red, blue, and green. T Template - Refers to a printing project’s basic details with regard to its dimensions. A general layout. Text Wrap - A term used in page layout software, specifically to the way text can be shaped around the edges of images. Thumbnail - A thumbnail is a reduced-size version of the original image. TIFF (Tagged Image File Format) - A graphic file format used for storing images . TIFF is a commonly used file format for high color depth images.

Page 63

Tint - A color is made lighter by adding white, this is called a tint.

Verso - The left-hand page of a book or a manuscript.

Tolerance - Tolerance is the range of pixels a tool in graphic software functions in. Or the range of shade or color pixels a Magic Wand selects, etc.

Tonal Distribution - Tones can be redistributed during the scanning or image editing process. To lighten dark images or to darken light images. Trim Size - The size of the printed material in its finished stage. True Color System - A true color system is a 24-plane graphics sub-system which composes the entire range of 16.7 million colors. Typeface - A typeface consists of a series of fonts and a full range of characters such as, numbers, letters, marks, and punctuation. Typography - The art of arranging type—which includes letters, numbers, and symbols—so that it is pleasing to the eye. This includes not only the font that is used but how it is arranged on the page: letter by letter, size, line spacing, etc. U Uncoated Paper - This is paper that doesn’t have a coating applied to it for smoothness. Unsharp Mask - A method used to heighten the sharpness or focus of images by selecting and increasing the contrast of pixels alongside the edges of images. Uppercase - Also known as capital letters, they are the larger characters in a typeface. UV Coating - A glossy coating applied to the paper surface and dried using ultraviolet light. It is glossy and adds a certain level of protection to the printed material. V

Watermark - Translucent design impressed on paper created during manufacture, it is visible when held to light. Web-Safe Colors - A color table containing only 216 out of a possible 256 colors, used to accurately match the colors of graphics and pictures in cross-platform web browsers. Weight - The range of a stroke’s width. Also knows as semi-bold, light, and bold. Some typeface families have many weights like ultra-bold and extra-light. Associated to the heaviness of the stroke for a specific font, such as Light, Regular, Book, Demi, Heavy, Black, and Extra Bold. White Point - One of a handful of reference illuminants used to define the color “white”. Based on the application, different definitions of white are needed to give sufficient results. White Point Adjustment - A white point adjustment establishes the amount of highlighted detail in an image. Widow Line - A single line of a paragraph at the bottom of a page or column. Width - Refers to whether the basic typeface has been lengthened or compressed horizontally. The typical variations are Condensed, Normal, or Extended. Word Processing Program - A software application package that assists in creating, editing, and printing. Work and Turn - This is when you print on one side of a sheet of paper, then you turn the sheet over from left to right and print the other side. The same gripper and plate are used for this process. WYSIWYG - What You See Is What You Get. This is an approximate screen representation of what the final printed image will look like. X

Value - This refers to the degree of lightness or darkness of a color.

X-Height - This is the height of the lowercase letters that do not have ascenders or decenders, such as a, c, e and mm.

Varnish - This is a liquid coating applied to a surface for protection and for a glossy effect.

Vector Graphic - Vector graphics allow the designer to expand or reduce the vector graphic in size without anyloss in quality using curves, points, lines, and polygons.

Page 64

Yellow - One of the subtractive primary colors of CMYK (cyan, magenta, yellow, and black) that is used in fourcolor process inks.

Z Zip - Stands for Zone Information Protocol: This is a way of compressing files into a smaller size, so they can be transferred with more ease over the Internet or any other means. Zoom - Most design software lets you zoom in or out on an image to get a closer or farther away look. Zooming in is especially useful when photo retouching or working on tiny details.

Page 65

Page 66

Page 67

ART 211 - Section 1 INstructor: Julie Sittler Andrew Bauer - 2016

Design Skills Workbook