UW-Stevens Point Art 211 Section 1 - 2016 by Jacob Wolter

Jacob Wolterâ&#x20AC;&#x2122;s Design Skills Workbook

ART 211 Section 1 Fall 2016 Julie Sittler

Jacob Wolterâ&#x20AC;&#x2122;s Design Skills Workbook ART 211 Section 1 Fall 2016 Julie Sittler

Table of Contents General Information...................................................... 7 Basic Adobe.................................................................... 9 InDesign........................................................................ 11 Photoshop..................................................................... 16 Illustrator..................................................................... 24 Adobe Acrobat DC........................................................ 30 Hieracrchy.................................................................... 31 Printing, Color, and Reasearch Processes................................................ 32 Project 1........................................................................ 37 Project 2........................................................................ 38 Project 3........................................................................ 39 5

General Information Working On Campus While you work on your projects, you are able to save your items to the Desktop. It is important to remember that when saving to the Desktop, you are only saving to that computer station. Before you log off off you workspace, make cure to move your Desktop files to your MyFiles folder. After transferring your Desktop items to your MyFiles, delete those items saved to the desktop before you leave. They will now be accessible from anywhere you can access MyFiles. Here is a list of local computer labs: Noel Fine Arts Center Lab Locations First Floor Room 172 First Floor Room 190 Second Floor Room 215 Here is a list of respective hours: Noel Fine Arts Center Lab Hours Sunday: 12 PM-12 AM Monday-Thursday: 7:30 AM-12 AM Friday: 9 AM-9 PM Saturday: 12 PM-9 PM Other ways to save include using Basecamp and uploading your artwork on a web access platform, or by using a physical USB/other drive.

Accessing MyFiles Off-Campus First, you must log onto the University website. Then, select the myPoint tab and log on using your student username and password for the University. Press the Academic tab on the navigation bar. Under student the section titles Computing Services, select MyFiles-Network Storage for Students. On the right hand side you will see a list of links, select Access MyFiles Off-Campus. The following directions will be approved for Mac computers only: 1. 2. 3. 4. 5.

Open your Mac Finder. Click Go, loacted on the top navigation bar and select Connect to Server Enter path route to the location of your MyFiles (Ex. https://myfiles.uwsp.edu/jwolt970)<---use your personal MyFiles address Confirm the information Enter your UWSP username and password

File Naming Convention To keep track of multiple projects, it is important to use a file naming convention that makes sense and is consistent across your work. Here is an example: WolterJ_DesignWorkbook_01 (Last nameFirst initial)_(what you are working on/project name)_(copy you are working on) This is the format you should use in order to keep organized and keep additional copies of your work in case you must work on earlier iterations. It is also important to save files 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 â&#x20AC;&#x201C; in the event that the current file is lost due to power failure, computer failure or human error.

Organizing Your Files Having a central location for your working files is important because it saves time, effort, and space. The easy to locate folders will help you find exactly what work when you need it. Attempt to make a Folder 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. You can also create sub-folders for your work to avoid clutter in your main folder. These sub folders can include things like CC files, content, documents, screenshots, and other integral parts to your projects

Taking a Screen Shot 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 Crosshair cursor. With this you can create an outline around what you want to screenshot. The screenshot automatically saves to the desktop for easy use. It is saved as a PNG, named screenshot and the date.

Basic Adobe Adobe Creative Cloud (CC) Knowing the correct programs to coincide with the work you are producing can effectively save you time, effort, and struggles. Each Adobe product is designed for different projects, medias, and ideas, these are basic explanations for Photoshop, Illustrator, and InDesign. Photoshop: Photoshop is best used for image retouching and enhancement. Using imported pictures is the easiest way to create works. You may also find creating things in pixels for web design is easier here. Illustrator: Illustrator is best used when creating logos, vectored art, and resizable art. The resolution and clarity stays relatively the same in this program. Therefore, it eases the process of resizing for marketing, products, etc. InDesign: InDesign is best suited for created printed media. From books, to magazines, to other publications, InDesignâ&#x20AC;&#x2122;s page layout system is used. InDesign also makes file sharing easier with the use of packaging. *More information can be found here: http://www.printwand.com/blog/when-to-use-adobe-illustrator-vs-photoshop-vs-indesign

Changing Unit Preferences In Adobe When working on Mac, select the Program CC button on the top left navigation bar. Then, select the preference tab. Different programs will have different titles for the areas that you can change. While using InDesign the units will be under the Units & Increments tab and you are able to change hoizontal and vertical to another unit using the drop down arrow. When using Illustrator, select the Units tab and edit the general tab to the unit required for your project using the drop down arrow. Finally, in Photoshop, you must select the Units & Rulers tab and use the ruler measurements to your preferred unit using the drop down arrow. *When printing, make sure your units are translated to inches.

Key Commands Key commands are 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. Key commands are used to save time that could be wasted moving around the mouse and searching for certain tools. An example of a key command is Command+Z, this undoes the last step in your current process. Otherwise, one would have to go to move the mouse to Edit>Undo.

Anatomy of Typography Important vocabulary for typefaces (image 1A right shows examples image credit to Yoeri Hokken): Ascender Height Cap Height X-Height Baseline Descender Apex Serif Bowl Finial Counter Descender Ascender Bar Open-counter Stem Link Loop Ear Shoulder Tail

Font vs. Typeface Typefaces generally come in four types: serifs, sans-serifs, script, and decorative. The font is the exact kind of typeface you are using, for serifs there is Old Style, Transitional, Glyphic, etc. Fonts also can be varied by boldness, italics, etc.

Type Classifications The four main classifications of type are Serif, Sans Serif, Script and Decorative. Some decorative fonts are Grunge, Psychedelic, and Graffiti.

Types of font file formats Serif and sans serif fonts are used most commonly. Serifs are mainly used in publications to help the reader move through the text at a faster pace. Sans serif fonts are used mainly in advertising and companies.

Ligature A ligature is two combinations of letters used when letters are close together or are the same letter. Words such as letter or office can combine a few letters to create ligatures.

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 leading is based on which font you are using, the standard amount for fonts varies between font, font size, and text box size. You must consider readability and clarity when using leading.

InDesign Creating An InDesign File To begin your projects while using the InDesign program you must follow these simple steps: Open up Adobe InDesign from your desktop or programs. You can start up a new file by either clicking File>New OR By using the short command Command>N The New Document Window should appear before you with editable options. When starting a new document you should keep these five editable options in mind: Page amount: When making an InDesign file make sure to have your page numbers in multiples of 4, this will make it possible to print your pages in a correct sequence and make sure every page has an opposite. Page Size: Make sure that when designing you are using the correct paper size, using the incorrect size can cause cutoffs and resolution changes. Page Orientation: Deciding which way your publication opens up is important, is it a hamburger or hot dog fold? Margins: margins will be the white space between pages and outside edges of the page. Ask yourself if you need the text to aligned anywhere and make sure it is not cut off. Bleed/Slug: The bleed and slug option will keep allow the ink to bleed off the pages so you arenâ&#x20AC;&#x2122;t left with unwanted white space errors. 1B Click OK. Save File.

PlaceHolder Text InDesign offers a feature in which you are able to fill a text box with fake text. To do this you must: Select your text box, then go to type and fill with placeholder text.

In the Graphic Design industry this fake text is commonly called Lorem ipsum. Lorem ipsum is gibberish that fills the box so the designer can see what it would look like filled out with actual information (image 1B is an example).

Loading the cursor To load the cursor with text you must push the tiny red box and place the text in a different area where you would like it. This will ‘unload’ the text into a new box where the information unable to be seen can now visually appear.

Tools in the left hand tool bar To the left of the InDesign interface, there is a tool bar with many options. These include the functions: Black Arrow: The selection tool, pick this option when working with objects and texts that need shifting or editing. White Arrow: The direct selection tool, use when you need to select a specific object among many objects or a grouped object. This will allow you to select a simple portion that you need to edit. T: This option creates a text box or allows you to type on a path of an object Stroke: This outlines an object or text that can be altered. Box with X: The rectangle frame tool, also includes the circle and polygon frame Plain Box: shape tool, circle and polygon Eyedropper: color theme, measure takes format of text box/ colors and applies them when clicking on another object. Magnifying glass: zoom in and out Viewing mode: preview, bleed, slug, and presentation help see what the document looks like without extra guides and such. 1C

Application Bar across 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 such as: The File tab allows you to ‘open’ a new document, ‘close’ a document or ‘save as’ a document. The save as option is useful becasue you can choose a direct location and name for your document. Place is also under the File tab. You use the place tab for pictures or texts that you have already saved and want to import into your design. Document set-up also in under the File tab. You can use this tab to change the number of pages in the document and the page size. Check spelling is located under the Edit Tab. The default setting goes word by word and corrects spelling throughout the document, this also includes fragmented sentences. It is used to detect errors without reading word for word. The Type tab has two special tabs that allow you add a glyph and add additional spacing. Glyphs are special characters not on the traditional keyboard. Type>Insert special characters>glyphs.

White spaces can also be found here, they are used to correct kerning on some charcters, or puts distance between objects. The show hidden charcters tab reveals spaces, paragraphs, and other formats you have created. It also shows where numbered information is. Using the hidden characters can bring to light some specific errors when dealing with text 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 in order to have clearer detail and crispness in your work. Under the Windows Tab is the workspace tab. This tab allows you to change the toolbars based on what you are working on. Special tabs with preset workspaces include: Advanced Book Digital publishing Essentials Interactive for pdf Printing and proofing Typography

Bottom Information Panel At the bottom of the document window is an informational panel. Here you are able to oversee the page number you are on, page up and down between sheets, and view your document errors. There is one section you should always check when you open and close a document, and this is the errors. You can see there is a problem with your file very easily by locating the circle at the bottom panel and if it is red you have errors to check and if it is green there are no errors. Most times Adobe will offer quick fixes to the errors you do have.

Preplanning 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. Margins, bleeds, columns, color, typeface/size/justification, hierarchy, symmetry, images/artwork, citations/tag lines, patterns, page numbers, balance, placement, horizontal/vertical grid, consistency, special treatments/markings, audience should all be considered in the begining phases of your workbook.

Margins and columns You can establish page margins and set up columns in two places: You can set up the columns and margins under Layout<Margins and columns on the pages needed. Otherwise, when starting a new document you will be prompted on the settings, on this page you may also set the margins and guides.

Master pages When building a multiple page document in InDesign, it is essential that you create Master Pages. 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. The pages tab is located on the left hand toolbar above links tab. Click the stack of papers button and select New Master. You can select OK. You can then select which pages you would like to serve as the master page. This pageâ&#x20AC;&#x2122;s formats will reflect on other pages if you drag and click on the named Master Page and drag it onto another page in the layout.

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 or create guides under tab. On/Off is under View>Grids and Guides. Click and drag the ruler on the top or left of screen and you will be able to measure out your margins. You can input direct guide information. After creating a guide, you can move it to a specific position. The box at the top changes when a guide is selected. You can then input the horizontal or vertical axis in inches. If you want to delete a guide, simply click on it and press delete, or you can hide them under View>Grids.

Page numbering Page numbering in a document is best done on the Master Pages because it numerically counts the pages and numbers them automatically. Setting up the page number on the master page allows the system to automatically fill in numbers as you transfer the layout onto new pages. It will be labeled as â&#x20AC;&#x2DC;Aâ&#x20AC;&#x2122; on the master pages. You must have a page number amount divisible by four, this will ensure things get printed out in the correct format when the work is finished and ready for assembly.

Printing margins, grids and guides Margins, grids and guides do not print in your document by default. You are able to print them when needed by exporting the document and selecting visible guides and grids under the include tab under general in the export menu. You may also select crop and bleed marks if needed under marks and bleeds.

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 it will save you time when editing texts as a whole. Window>Character Styles will allow you to set up easy to use font colors, faces, size, etc.

Alignment of text There are three common ways of aligning text, there are also four types of justified text alignment. For aligning text there are three common types: Align left! You

can

justify

with

Align right! As well as Justified! the last line in the center! You can also justify with last line align right or left!

Text Wrap Text Wrap is a feature that allows you to wrap text around an image or graphic. Window>Text Wrap takes you to a window. You can select if you want your image to have no text wrap where the text will go through your object. You can apply a bounding box so the texts wraps around a square image. If you choose wrap around, the text will be tightly wrapped around your object. Jump object will have no text on the sides of an image, just above and below. And jump to next column will shift the text to the next open column, having no text go beneath the object. You can also increase padding in the boxes, to the top, left, right, and bottom you are able to add a space cushion so your object isnâ&#x20AC;&#x2122;t too close to words.

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. To align the tab Window>Align and you will be able to align things horizontally, vertically, or middle centered when multiple objects are selected.

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 first is on the bottom left of toolbar. There will be two boxes with fill/stroke and an arrow that when pressed swaps the stroke and fill styles on the object selected, it looks like this: Another way to find the color is to go to Window>Color and you will have options for fill and stroke colors, opening up a color library will import new colors to your swatches.

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 important because they can edit paragraphs as a whole in a work. Window>Paragraph Styles allows someone in Adobe Illustrator to create certain kerning/spacing and type across a paragraph. You may also utilize this tool when creating headers and body text. (Sources) 1 https://helpx.adobe.com/incopy/using/paragraph-character-styles.html 2

https://helpx.adobe.com/incopy/using/paragraph-character-styles.html

Photoshop Image size 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 180 ppi. You can check the size of your original image by going to Image>Image Size. If your photograph is not the right resolution, you can correct it by checking the Resample box, if not when the image size changes, so will the resolution, leading to grain or blur. 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.

Mode Photoshopâ&#x20AC;&#x2122;s preset for all images when opened is RGB. RGB stands for red, green, and blue. This mode is best used for additive coloring and on screen use. For print publications, you should convert your image to CMYK and that stands for stands for cyan, magenta, yellow, and black. The colors are subtractive and are used in printing because the overlap creates shades and print cannot be additive.

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 Image>Mode>CMYK. 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.

Background Layer Photoshop automatically starts an image as a locked layer called Background. This is located on the right hand toolbar in the Layers tab. You always want to preserve the background layer. In order to do this, you will need to lock your layer by clicking the padlock button above the image window.

Left Side Tool Bar Marquee: Selects a certain area of the image so you can edit parts of a picture. There are also Elliptical, Colum and Row selection marquee tools. These can transform the marquee tool into different shapes and add the ability to select type. Crop Tool: Changes the image size to fit into a specific window of space. There is also the perspective crop tool and the slicing tools. This allows you to crop in other shapes than a simple square. Clone Stamp: Duplicates parts of an image so you can edit things out by stamping over an area with another part of the photo. Eraser Tool: Wipes away parts of an image and leaves a transparent background.

Grayscale A Grayscale image is an image in which the only colors are shades of gray. To turn an image into a grayscale image Image>Mode>Grayscale. Once you save and close the image, you are not able to convert it back to full color again (see below for example 1D).

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, go to Image>Mode>Duotone, there you can select the color swatches, amout of tones, and application processes (image below 1E is an example of red gold duotone).

Fake Duotone A fake Duotone image can be created by locating the Opacity percentage in the Layer tab and scrubbing through percentages until the duotone starts to fade into the background image. 1D 1E

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 (see right) 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 ] keys to change the size of the brush.

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.

Left Side Tool Bar Magic Wand/Quick Selection: Generally you would not use the magic wand or quick selection tool to select areas in your image because they cannot always determine the correct edge of a color. There may be instances where you want to use it to create a special effect, and you can use in on a layer mask.

Invert Image You can invert the image from a positive to a negative image by selecting the Layers tab, new adjustment layer, invert. There are many ways to adjust your image in Photoshop. Other options under the â&#x20AC;&#x2DC;New Adjustment Layerâ&#x20AC;&#x2122; tab are brightness/contrast, levels, curves, exposure, vibrance, hue/saturation, color balance, black & white, photo filter, channel mixer, color lookup, invert, posterize, threshold, gradient map, and selective color. As plentiful as the list is, there are still many options you can change within each of these adjustments. The severity and opacity can differ greatly.

Rearranging and grouping layers You can rearrange layers on the right hand side toolbar under the Layers tab. If not located here, you can go to

Window>Layers. You can create a folder by pressing “New Folder” under the top right paper stack in the layers’ box. You can then click and drag folders/images to organize your layer workspace.

Filters Tab

Under the layers tab there are plenty of options, including: 3D Blur Blur Gallery Distort Noise Pixelate Render Sharpen Stylize Video Other Under the Noise tab there are also a subset of options, including: Add Noise Despeckle Dust & Scratches Median Reduce Noise Under Dust & Scratches you are able to choose the radius and threshold of random dust marks and scratches that decorate your image (example 1F/1G). The higher the radius the more wide spread the dust/scratches will be. The higher the threshold the easier and harsher the dust and scratches will appear. 1G

Clipping Paths To create a clipping path follow these steps: 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. 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. 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. 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. From the same panel menu, choose Clipping Path. In the Clipping Path dialog box, select your path from the drop-down list (it will appear as a picture), if itâ&#x20AC;&#x2122;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. 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.

Batching actions in Photoshop 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. 1H 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) - Do the editing that you want to apply to all the images (give examples) Opacity, filters, size,etc. - Save your edits (File, save) - Stop recording by pressing the button again. You can see a record of all the actions you did to your image within the folder you just created. Close your image (see above image 1H for example). 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 â&#x20AC;&#x201C;action) o Source: Folder o Choose: (Your folder of images â&#x20AC;&#x201C; 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 Then, Photoshop will automatically go through your images and refine them to the steps set up in your action bar. - -

Working with Grids in Photoshop You must go to Photoshop CC Preferences>Guides, Grids & Slices and a window will pop up. The gridline setup in under Gridline Every ___ inches there you can input at which increments you wish to use guides and how many there will be. You can turn the guides on and off under View>Show and click on grid to toggle on/off.

Embedded vs. 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, It is placed in the work as is and will not trace back to an original location. When you link the image, the image is placed as a smart object the file is now linked to a specific place, so when the item is opened on a new computer or saved it will remain unchanged.

Smart Objects Smart Objects preserve an imageâ&#x20AC;&#x2122;s source content with all its original characteristics, enabling you to perform nondestructive editing to the layer. Locking the image: To lock the placement of the photo on the layer, select the photo, a lock will appear next to the layer. Then click on the Lock Layers tab in the menu and select Image, or lock toolbar in layers menu 3rd one in that looks like paper. The other tools are different types of lock. Grid, pen, lock all and position and pixels.

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. You can delete custom shaped areas using the marquee tool in the left hand tool bar (example 1I to right). Working on the unlocked non-background 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. Press the add vector mask button in the right bottom of the layers toolbar 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 use Control+Command+D.

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.

Merge Layers Merge Layers combines the layers you have selected by holding the shift key in and select layers by clicking on them and merge them together into one singular layer by right clicking and selecting the merge layers button (see 1J/1K) for examples. The layer name will change to the name of the top layer of all the selected layers. 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 (steps also shown in 1J/1K).

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”. If you flatten the image there is no way to retreinve the original information, which is why you would want to save it. 1J 1K

Illustrator

Tools in Illustrator Shape Builder: 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 1N to join (see above 1L/1M for example of before and after). Scale: 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. Image Trace: Image trace can be used to trace any image and turn it into a vector image. Image trace is useful when taking a physical work and translating it into a logo or 1O stylized image (see right 1N/1O). Increasing/decreasing points on a Polygon and Star: You can easily add or subtract points on a polygon or star by simply drawing the shape, and thenuse the up and down arrow keys to change the point amount. 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. 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.

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. You are able to change the things such as arrangement and angles of the symbol. 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, you can also manually create the dimesions you need by inputting the information in the pop-up window. 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. Creating a Custom Gradientâ&#x20AC;&#x201C;Using 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, either radial or linear. You can also adjust the angle of the gradient . 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. Creating a Custom Gradientâ&#x20AC;&#x201C;Using Blends Tool: 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. Layered Lines: You can layer different weights of lines on top of one another, to create a single multi-colored 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 multicolored line that you can copy and manipulate as need be.

Creating Your Own Paintbrush Pattern: 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. 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. 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 gray-scale 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.

Raster vs. 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. The bigger the image, the more pixels it is able to carry, so when working big and ending small some details may be morphed or distorted. 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. Adobe Photoshop is best when dealing with images in great detail, so using raster is best. Vectorizing you object works better when working in Adobe Illustrator. JPG (JPEG): Joint Photographic Expert Group. JPG and JPEG are interchangeable and is a lossy graphic file. JPG is problematic due to the fact that when saved the image is compressed and pixels are combined to save time and space. It is best used for images that are finalized and ready to be stored somewhere (online, media, books, etc.) TIF: Tagged Image File Format. TIFF is the computer format for storing raster images because the image is flattened to conserve space, however it keeps the image the same and is great for printing finalized projects. PSD: Photohshop Document. PSD is Photoshopâ&#x20AC;&#x2122;s native file format and is used when working with layers that contain other images. PSD are important because they allow a user to keep working on a file day after day. You would use this with continual work because layers are kept and the file will not collapse.

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 useful because you can access your Photoshop documents anywhere and across all platforms. Used for portable workspaces.

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.

Converting Text to Image To convert text to outlines, go Select > Select All. Select Type > Create Outlines from the menu. The text will become outlined and canâ&#x20AC;&#x2122;t be edited as text. Make sure to check the spelling before you convert your text into an image. Once it is an image you are able to manipulate the text as an object. You can warp, filter, and add gradients, etc (see below examples 1P/1Q) of before and after. 1P

Importing Illustrator into InDesign There are two common ways to import your Illustrator file into InDesign: Place the original ai file by going to File>Place, however the image may turn out grainy or need to be changed to CMYK OR Copy and paste from IA to InDesign You should flatten the layers and use control C Control V to copy and paste your file, image quality s better. 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.)

Glyphs A glyph is a symbol or character that can be used to signify certain things. It is found under the Window>Glyphs tab and you can select from certain fonts (a good one to use is Wingdings).

Tabs You can create custom tabs within a text box by going to the paragraph styles window and creating a new style. Under the tabs option you can decide where you would like tabs to be set up and their alignment. As well as leading lines.

Bullets and Numbered Lists You can use bulleted or numbered lists to set up table of contents or certain step-by-steps. Go down to Type and Bulleted and Numbered list and set up which character you would like to lead your steos (numerals, numbers, or glyphs).

InDesign-Object-Effects You are able to add an effect to a text box, object, image or photograph by going to Window>Effects and creating a style that can add drop shadows, gradients, transparencies, or feathers. When applied to clipping masks, the effects will show up in the clipping much like Photoshop.

Link Management You can keep track of all of the linked items in you InDesign file by using Window>Links tab and view errors, page numbers, and previews of your content etc. It shows your dimensions, color space, format etc for your linked images and texts.

Bleed Bleeds are used to help stop color errors on printing so things do not get cut off or contain extra white space. The mar is red outline.Picture. And it is important in printing to pul your images out to the bleeds.

Packaging your InDesign File 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 you: Go to File>Package and read through the tabs carefully noting what each says (see image 1R for packaging information example). Summary: Shows packaged fonts, links, and inks. Notifies you of missing links, and your color space. Fonts: Which fonts may be used legally and shows types used in the product. Links and Images: Tells how image was imprted (embedded vs non and the page number as well as link errors). Colors and inks: Shows color space (RGB, CMYK, etc). Print settings: How the page will be printed at the printer scale, spreads, dimensions, bleeds, etc. External plug ins: If there are any. 1R

Adobe Acrobat DC Using Adobe Acrobat Before starting in DC, you must know that Acrobat DC will allow designs to be edited and shift around while Reader only allows for a viewing and printing format. Create and Edit: Create a PDF takes a file from a different format that is readable in acrobat and changes it to a PDF file (usually used in packaging) Combine Files creates a file that mashes together two exisiting files and formats them into a PDF. Organize Pages allows the ile to be rearranged by page numbers etc Edit PDF allows a reader pdf file to be edited and shifted much like in the applications (photoshop, ill, indeisng etc) Review and Approve: The tools such as adding comments, stamping files and comparing documents are shown here. Comments are used for printers or for corrections . stamping files adds a allows time stamps and approvals to be recorded and comparing files allows a side by side view to make corrections. Protect and Standardize: The tools in this area include protect, redact, pdf standars and optimization, print production and accessibility. Protect can rextrict editing to only certain file holders. Redaction allows part of images and text to be removed when setting up for viewing. Accessibily also limits the viewers who can see the fiels. Plagiarism and Copyright Infringement: Plagiarism: Is the wrongful using of or closely imitating the works of another person without authorization and then representing that personâ&#x20AC;&#x2122;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. If a font or image you are using is protected by law you must ask a courtesy of approval. See if the holder allows their content to be sold and pay if permission is granted. It is also best to take their agreement in writing. Citing Your Sources: MLA (Modern Language Association) 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. (Show me a sample of a MLA book citation, article citation and web citation.) Photo captions (cutlines): 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. Customizing Type: Baseline shift brings chracters up or down to allow notation of copyrights or sources. Vertical scale allows text to be changed in vertical notation (elongationg of letters etc) Tracking differentiates spacing in an entire word and not just a letter-by-letter basis. Kerning differentiates spaces between letters in a word Horizontal scaling allows fonts to be changed horizontally Skew allows the font to be transformed on an angle and shifted forwards or backwards in space.

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 matters because it notifies the reader without reading which is most important to read and usually goes from general to specific.

Hierarchy levels: Primary Level: Largest type on page, usually section headers. Secondary Level: second largest text on page and usually shows which topic will be covered on a specific amount of pages. Tertiary Level: most likely the body text that allows the reader to read quickly and thoroughly. Other Levels: some other levels may include effects like shadow, bold, italics, etc.

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 somewhere between 120 an 145% of the typeface.. 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/Line Length: The size font of lowercase x is the x-height, different characters and font styles have different x-heights. For example here is Copperplate’s x-height Example compared to Giddyup Example. For normal body text, 40-70 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.)

Printer Spread vs. Reader Spread: Printer spreads are aligned by how the pages will collate when the publication is made. Page 1 lines up with the last 2 with the second to last etc, etc. Reader spreads are how they are read when not printed out and put together (see example 1S at top of page).

Printing, Color, and Research Processes 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.

Printing Processes used in the Design Industry Designers use different printing options depending on the intent and scope of the project. Simple documents, like our course syllabus, are printed on laser, toner-based printers and duplicated on toner-based copy machines. Single, one-off, print jobs such as a laminated poster, would be produced on a color inkjet printer. A short run of several hundred brochures for a local event would get run on a color laser printer. Commercial projects such as the internationally distributed Print magazine or the Harry Potter books are produced in large print publishing houses using the offset printing process. Offset Printing: Commercially produced print work is most often created through a process called Offset printing. This process involves the digital image of the design being separated into plates corresponding to each of the ink colors being used in the printing process. This can be 1 or 2-colors of ink or, more often, the four process colors Cyan, Magenta, Yellow, and Black also known as CMYK. Digital Printing Presses: Fairly recently commercial printers began offering high quality printing using all digital machines. These are ideal for shorter-run jobs and highly customizable. 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. Copy Shops: Copy centers have a range of digital printing capabilities including high quality Black & White and Full color laser printers and larger Color inkjet banner printers in different sizes. PRINT BOOKLET (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.

Color Processes “Designing with color begins with the recognition that the colors of your environment appear as a reaction to light.” (Gonella, 2014) Designers need to know a lot about color. From color theory, the psychology, cultural and mythic meanings of colors, to the technical aspects of how to handle color digitally, to knowing the systems of used in specifying color, the knowledge base you need to acquire is expansive. Color Systems-Additive vs. 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). 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 (pigment is narual color of things) applied to a surface such as canvas, fabric or paper we are seeing light bouncing off the surface. Variations in the quality of the pigments or the type of surface it is applied to will determine the richness of the color produced. 1T 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. 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. Josef Albers explored this with studies of boxes or designs that kept similar color schemes, he would study the interactions of colors next to each other and what they would mean (picture credit for 1T to Josef Albers). All of this is very important to recognize when designing with color.

Color in Print Design Process Colors: Process colors are made up of cyan, magenta, yellow and black (CMYK). This is in reference to the printing process where full color images are separated out into their component CMYK colors as dots. This is done in order to print the colors one on top of another and produce a visual recreation of all of the colors present in the image. 1U Spot Color: A spot color is a color in addition to CMYK (Process Colors) and can be printed as a solid color instead of CMYK (examples to right 1U). Pantone Matching System is a standardized color matching system that allows for the creation of a spot color to consistent match the Pantone color. Spot colors are used along with feathering to create soft effects or it can be used to to translate an exact color from another source. Moiré: A moiré pattern is an artifact that occurs in the print reproduction process when any two, or more, repeating patterns overlap each other. Moiré can also be introduced when a halftone printed image is scanned. A set of standard screen angles with the first and least visible color, yellow, is placed at the most visible angle 0° (90°). Then the most visible color, black, is placed at 45°. The cyan and magenta are then placed between these two. Cyan at 15° (105°) and magenta at 75°. These angles represent a best all- around compromise for most pictures (example 1U found on historygraphicdesign.com). Pantone Color System: The Pantone Color System is the most used color matching system in the design industry. There is also pantone coated and uncoated as well as in the cmyk or rbg color sequence. Pantone colors allow designers to select specific colors that printers will be able to reproduce exactly. Pantone colors are mixed from 18 basic colors using a unique formula. Pantone is set up catergorized by color in the cmyk color sequence. And it works as a package of colors that is universally used on print productions. It works by using spot colors that the eye combines and creates a color in the viewer’s mind. 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. You can find spot colors by used the eyedropped tool and sucking up a spot color and its cmyk numbers, this can then be added to your swatch of colors to use as to match colors with other inserted media.

Research Some important things to keep in mind while doing your research are who is the audience, what is the purpose of your piece, where it will be seen, when the context makes sense, and how it will affect your outcome. Research is important in designing because nowadays there are many different contexts of art. Before designing you must realize that you are doing it for a purpose.

Types of Binding Saddle Stitched: stapled on binding in a few spots Perfect Bound: glued along edge and pages put in by section. Wire/Spiral Bound: holes punched through margins and wire fed through Pamphlet Stitch: woven on side with thick needle and stitched with around 3 Japanese Stab Bound: intricate design done with thread and woven on side and binding Screw Post Bound: screws poked in side with binding visible

Creep Creep is a mass off pages that creep from their placement in the binding due to bulky paper and is usually found in saddle stitched booklets.

Thumbnail Drawings Thumbnail drawings are an important step in creating a project because they give an artist time to play and create different variations of a certain project. When a favorite is created or you feel there are a few options you can run with you can stop thumb nailing (usually around +50 iterations). You should do them at the conceptual phase of your project.

Developing Narrative When developing a narrative, you should have a backstory, idea of why you created what you did, what it means to you, and features of the image/idea. You may ask what your image is saying, what the location is, how it works, etc. Knowing the narrative can solidify an idea and even create more functions that o along with your narrative.

Project 1 Description/Requirements This project had us create a grid structured piece of art that utilized different filters, duotones, and processes to create a unique spliced picture. The requirements for the project were to mount the final 10.5 x 15 picture on a matboard of 12.5 x 17.5. It must also be uploaded on Basecamp as a flattened PDF file. When placing the tiles, a key must also be created and reflect the squares and their filters. A layered image was also kept for grading.

Documentation When I started the process I created 50 files that all had either grainy, dark, or light filters on them. I arranged them in a way that mimicked a swirling pattern and used layer masks to define the squares. The top of the page reads as light and the bottom of the page reads as dark.

Reflection For Project 1 I attempted to create a swirling of shadow and light in my image, I feel like I wasnâ&#x20AC;&#x2122;t as successful in this and maybe working with a different image would have been more effective. The arrangement also looks a bit jumbled when printed out. I enjoy the placement of tiles, arranged mainly near the outside edges, so that the general middle of the picture stayed the same.

Project 2 Description/Requirements In the second project we were tasked with creating a paper creature that had a definitive narrative and charcter to go along with it. We were required to have an 11 x 17 poster of our creature with the temple, creature, and an image of the built creature on it. We also had to digitally turn in PDFs of the creature template and poster.

Documentation First, we experimented with paper forms and how to create proper folds that create a creature. We concepted paper models and created a backstory for our creature. We then took our templates and transferred them into Adobe Illustrator and from there we edited and designed colors on our creature. Then we also printed our final creature out and created them while also deisgning a poster describing the creature.

ÂŠ snap

blossom

1 9

10 2

12 4

Known for living in tropical climates, this carnivorous plant snake hybrid conceals itself within itâ&#x20AC;&#x2122;s sepals and strikes when the time is right. A quick unfurling of the petals and a lashing tongue picks up treats, mainly poisonous dart frogs, consuming these amphibians increases the amount of toxins within this plants leaves and teeth, making killing prey and protecting itself much easier. When attacked by predators, the snap blossom curls back up and if the leaves are bitten, the enemy will become incompasitated or if potent enough, die.

Step 1: Cut out all objects from the snake, plant, and base Step 2: Fold along objects where dashed lines are located and fold inwards to create tabs Step 3: Attach snake head in order 1-4 and match up to corresponding label on the base Step 4: When head is dry attach tongue to the green mouth tab Step 5: Start pairing leaves up with corresponding sized tabs on the base, order does not matter, only size Step 6: Glue tabs to bottom of base 5-8, wait to dry and then attach to top tabs 9-12

Reflection 6

Overall, I was happy with the way my creature turned out. If I had to make some changes for the next time I would make an easier template to construct with less individual parts. Construction was a bit difficult, especially the base. On the poster I would have shrunk a bit of the template so I could accurately show the entire paper model and not cover it with text.

Project 3 Description/Requirements For the third project we were asked to create an 8 page brochure that described and showcased an organization on campus. We had to include information regarding the club, pictures that showed activities within the club and what makes it unique.

Documentation

OINT SP

Reflection While viewing the printed project I was happy with the colors I chose and the arrangements I had, save a page where I had issues with arrangement and the back cover, where the gradient should face the opposite way and the quote should be moved over a bit. I enjoyed the flower motif I put throughout the brochure and felt successful with the brochure overall.

â&#x20AC;&#x153;Judo uses maximum efficiency with minimal effortâ&#x20AC;? -George Sell

STEVE N

When beginning the project we had to research a committee on campus such as a sport group, culture club, or other organization. I chose the Judo Club and began working on my InDesign file of the brochure. In between creating my document I visited a Judo Club meeting and took a plethora of pictures. I then placed them in my brochure and arranged it to look visually pleasing. After setting up the document for finalization, it was printed out.

JUD