UW-Stevens Point Art 211 Section 1- 2016

Design Skills Workbook Katelyn Kaiser Instructor Julie Sittler 2016 Art 211, Section 1

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Design Skills Workbook By: Katelyn Kaiser

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ADOBE CREATIVE SUITE

Table of Content

Changing the Unite and Increments preferences (by program) 7 Link management 27

InDesign 8

Creating an InDesign File 8 Filler text 8 Loading the curser 9 Preparing your page layout 10 Determining the number of pages in a bound document (book) 10 Margins and Columns 10 Master Pages 10 Page numbering 11 Printing margins, grids and guides 11 Leading 12 Tabs 27 Bleed 27 Packaging your InDesign files 28 Printer spread vs. reader spread 29 Print booklet 32

Photoshop 13

Background layer 13 Left side tool bar (Marquee, crop tool, clone stamp, eraser tool, magic wand/quick select) 13 Grayscale 14 Duotone 14 Raster vs. Vector image 14 File extensions: jpg, tif, psd, pdf, png, gif 14 Layer mask 15 Filters tab 16 Clipping Paths 16 Batching actions 17 Embedded vs. linked in Photoshop 17 Locking the image in place on the layer 18 Filter gallery 18 Large document format 18 Merge layers 18 Merge visible 19 Flatten image 19

Illustrator 21

Artboards 21 Printing and saving artboards 21 Converting text to image 21 Shape building tool 23 Image trace 24 Clipping mask 24 Creating a texture 26 Importing Illustrator files into InDesign 27

Adobe Acrobat DC 29

Tools: Create and Edit (Create PDF, Combine Files, Organize Pages, Edit PDF) 29 Tools: Review and Approve 30 Tools: Protect and Standardize 30

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MISCELLANEOUS

Working in the campus labs 7 Accessing My Files from off campus 7 File naming conevntion 8 Organizing your files 8 Taking a screen shot 8 Thumbnail drawings 21 Developing narrative 21 Photo equipment and room 26 Banner printer 26 Research 28 Plagiarism and Copyright Infringement 30 Citing Your Sources: MLA (Modern Lanquage Association) 30 Glossary 34-38

COLOR 22

Color systems: additive vs. subtractive 22 Additive 22 Subtractive 22 Metamerism 22 Interaction of color –optical perception 22

TYPE

Anatomy of Typography 11 Font vs. Typeface 11 Type Classifications 11 Ligature 11 Glyphs 27 Hierarchy 28 Line spacing (leading) 29

PAPER 31 BINDING 28

Bone folder 26 Saddle stitch 28 Perfect bound 28 Wire/Spiral bound 28 Pamphlet stitch 28 Coptic stitch 28 Japanese stab binding 28 Screw post binding 28 Creep 28

Project 1 – PHOTOGRID 19 Project 2 –PAPER CREATURE 32 Project 3 – 8 PAGE BROCHURE 32

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Working in the 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.

Computer Lab hours and locations as follow: ACADEMIC LABS (CAC301, CPS 105/107, CCC 307, SCIB228/B238, and TNR 356)

Mon.-Thurs. 8am-5pm and Friday 8am-12pm NFAC 172/190/215

Sun. 12pm-12am, Mon.-Thurs. 7:30am12am, Friday 9am-9pm, and Sat. 12pm-9pm DUC 201/203

Sun. 12pm-9pm, Mon.-Thurs. 8am11pm, Friday 8am-9pm, and Sat. 12pm-9pm When you are working on your files in the campus lab, you can save them to a folder on your Desktop. Before you leave the computer station you must copy your files to your Myfiles, otherwise you will not be able to access it from another computer. You will also need to delete your local files off the Desktop before you leave the computer station.

You don’t just have to save you files to just myFiles, you should always save your files to two or more places for better security. Other places you can back up your files to are a flash drive, email it to yourself, save it on it under your name in basecamp, and etc.

Accessing my files 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.

Mac OS (read/write access) 1. Open the Finder 2. Click Go – Connect to Server…

3. Enter the path to the share you would like to connect to. To save the connection click the “+” button.

4. Click Enter 5. Enter your UWSP credentials when prompted. The share should now be mounted.

Adobe Creative Cloud (CC)

Photoshop is best used for creating raster art and/ or enhancing photography. Illustrator is best used for creating vector art. InDesign is best used for creating single or multiple page documents (Nightingale).

Changing the Unit (and Increment) Preferences in Creative Cloud (CC) You can change the preference for each program by clicking the software icon in the upper left hand corner. (on a Mac, on a PC it is at the bottom of the Edit tab) Select the preference tab, For InDesign, select Units & Increments, change horizontal and vertical to inches (or other unit depending on your application) using the drop down arrow.

For Illustrator, select Units, change general to inches (or other unit depending on your application) using the drop down arrow.

For Photoshop, select Units & Rulers, change ruler to inches (or other unit depending on your application) using the drop down arrow.

There are two things that should always be points in each software are strokes and type for print publications.

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Creating and InDesign File

Open up Adobe InDesign.

-to start a new file you can either select File > New from the top option bar or you can simply hold down “command + N” The New Document Window will pop up.

-when the New Document Window appears, there are a few things to remember you check before working

- look at the apple bar and choose preferences > units and increments - be certain that both horizontal and vertical are in inches; strokes should be in points - be certain that the pages are in facing pages format for a book/booklet and only use text frame for posters or larger scale, single-page projects - the bleed standard for Graphic Design is .125, be sure that you change the top row increments in bleed to .125 under Bleed and Slug Click OK. Save File.

File Naming Convention

To keep track of multiple projects it is important in use a file naming convention that makes sense and is consistent.

Example as followed: LastNameFirstInitial_ DesignWorkbook_00 It is also important to keep iterations on a regular basis for two reasons.

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It allows you to backtrack to a different design if needed.

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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.

Oganizing your 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.

You could have a main folder named ART 211 with different sub-folders like Homework, Written assignments, Papers, and Projects inside that folder. In the sub-folder Projects you can save your files with your projects in that class.

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 Crosshairs cursor. With this you can draw around what you want to capture. After you take the screen shot it will automatically go to the desktop of the computer you are on, and it will be saved as Screenshot the year date month and time.

An example is would be: screenshot 2016-09-08 at 10.15.39AM

InDesign Filler Text

InDesign offers a feature in which you are able to fill a text box with fake copy. To do this follow these steps: 1. Make a text box 2. Black arrow click it, blinking cursor 3. Go to type 4. Under that tab click; Fill with Placeholder Text In the Graphic Design industry this fake text is commonly called Lorem Ipsum. Lorem Ipsum is simply dummy text of the printing and typesetting industry. An example of Lorem Ipsum would be:

Neque porro quisquam est qui dolorem ipsum quia dolor sit amet, consectetur, adipisci veli. Maecenas finibus egestas tincidunt. Fusce sed mauris ac lorem intersum dignissim. In dui massa, tincidunt id iaculis imperdiet, dignissim sit amet mauris. Fusce felis ipsum, rutrum sit amet velit eu, elementum convallis justo.

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Loading the curser

To load a curser, you first need a textbox that is overflowing, meaning there is too much text for the textbox size. A small red box with a “+” sign will appear on the textbox. Using the black arrow, click onto the red box to load the cursor. To unload it, click anywhere outside of the existing textbox and a new textbox will appear with the overflow text.

Bottom Information panel

At the bottom of the document window is an informational panel. Located here, it shows the page number, arrows to flip through the pages, where you can find your file, and the preflight profile. 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 green or red dot. If the dot is green and says “No errors” then there are no problems. If there is a problem, the dot is red and next to it will say how many errors there are.

Tools in the left hand tool bar

Black Arrow: Selection tool, used to select and move things around White Arrow: Direct selection tool, used to select content inside it’s box T: Type tool, used to create text and also to create text on a path Stroke: used to fill in something with color or outline something with color Box with X: Frame tool, used for placing imagery, also includes ellipse and polygon shapes Plain Box: used to create shapes including rectangle, ellipse and polygon shapes Eyedropper: used to copy things to match once, also includes the color theme tool to copy colors and measuring tool to measuring a certain area Magnifying glass: Zoom tool, used to zoom in and out Viewing mode: used to show different views of the document including normal, the bleed, the slug, a preview of what it will look when printed and a presentation mode to flip through like a presentation

Using color for fill and stroke

There are two different places you can select color to use as a fill or for a stroke. They are located on the left hand tool bar, and also the top toolbar.

To switch between fill and stroke on the left hand toolbar, click the double ended arrow shown below.

When using color for fill and stroke, this arrow is used to swap between the two by clicking it.

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. This bar includes file, edit, view, insert, format, tools, table, window, and help.

The File tab allows you to ‘open’ a new document, ‘close’ a document or ‘save as’ a document. ‘Save as’ is useful when working on a long project. Saving multiple variations not only helps you so that if one file freezes you don’t lose all your work, it also helps when you want to go back to a different stage in a document.

Place in also under the File tab. You use the place tab for placing other content like images.

Document set-up also in under the File tab.

You can use this tab to adjust the settings of the document like the intent, number of pages, page size, orientation, and if you want a bleed and/or slug.

Check spelling is located under the Edit Tab. Click on the Spelling > Check Spelling. It is defaulted to English: USA.

The Type tab has two special tabs that allow you add a glyph and add additional spacing. A glyph is a special character not typically found on a keyboard. To insert, first have a textbox made with your cursor in it. Find the glyph you want and double click. The ‘insert white space’ tab is typically used to add space between letters of the certain types that are very compact.

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The ‘Show Hidden Characters’ tab is used to help you see how the document is set up. For example, it shows paragraph marks, spaces, tabs, page breaks, etc (Vandersteen).

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’ for clearer images.

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.

Some things you need to consider on paper are the measurements of margins, how you want your page numbers to be display, how many columns if needed, grids you may need, size of the text and pictures, and the distance between those text and pictures in relation to other objects on the page including the edges of the pages themselves.

Under the Windows Tab is the workspace tab. This tab allows you to select what you are working on in the document and changes the right hand toolbar depending on what you select.

Determining the number of pages in a bound document (book)

You should always plan for the number of pages in a book by multiples of four. This is so that you have enough pages for a single front cover and single back cover as well as an even number of inner pages.

Margins and columns

You can establish page margins and set up columns in two places. You can change the column and margin settings for pages and spreads. You can change the column and margin settings on a master page, you change the setting for all pages to which the master is applied. Changing them of regular pages only affects those pages selected in the Pages panel. You can change them by choosing the Layout >Margins and Columns, specify the following options, and then click OK. https://helpx.adobe.com/indesign/using/creating-documents.html

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. The pages’ tab is on the top of the right side and by clicking on ‘Pages’ the tab will enlarge so that you can select the ‘master pages’ marked with an “A” in the corner. To set up a master page for a single page and spread, add the number of margins and columns that you want applied to all pages to the master page. It is unnecessary to work on master pages for a single page document because you only need one page formatted for the project.

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. You can turn the grids on and off by choosing View > Show rulers or Hide rulers. To use the ruler on both a single page and across a spread you can 10

click on one of the rulers either the vertical or horizontal and drag the line to where you would like it on your page. Up above the ruler you can choose a precise measurement to accurately place the guides. To delete a guide, you can select it and hit the delete key.

Page numbering

Page numbering in a document is best done on the Master Pages. You would want to do it on the Master Pages because it will automatically have the correct number for each page. You need to know a few things about placement, typeface, and size because they are key concepts in design. You want it placed in a good spot that the reader can see it, but it is not in the way of the rest of what is on the page. You also want it to be in a readable size and typeface. To set up page numbering you should follow these steps: 1. Go to your Master Pages 2. Draw a text box on one of them 3. Choose Type > Insert Special Character > Markers > Current Page Number There will be a symbol that denotes a page number on the master page, that symbol is an “A�

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 saving it as a PDF file. To do this you need to choose File > Export > Save; a box will come up for you to specify your options. You need to click the boxes for Crop Marks and Bleed Marks, and make sure to use the Document Bleed settings for Bleed and Slug.

Type Basics

Anatomy of Typography

Typography has many parts including the apex, serif, bowl, finial, counter, descender, ascender, bar, open-counter, stem, link, loop, ear, shoulder, and tail. Each part is important by how they are done, and their characteristics, both are what make typefaces unique to one another.

Font vs. Typeface

Font is a family of typefaces, and typeface is a single design within the family. For example, Arial is a font and Arial Bold is a typeface within in.

Type Classifications

The four general classifications are Serif Type Styles, Script Type Styles, Sans Serif Type Styles, and Decorative. The subgroups of Decorative Styles are; Grunge, Psychedelic, and Graffiti. The Decorative Styles characteristics are all diverse. It is used for signage, headlines, and similar situations where a strong typographic statement is desired.

The characteristics usually reflect an aspect of culture, or evoke a state of mind, time period or theme. Sometimes the typeface may appear three dimensional.

Types of font file formats

The two most common font file formats are Open Type and True Type. True type was created by Apple and Microsoft because they needed a format that both Windows and Mac could use and one that could be read by most printers in the early 1980s. It includes the display and printer font data in a single package. Open type was created

by Microsoft also but also Adobe, and is crossplatform and had the display and printer font data like true type buy more capabilities. It features a format that allowed the storage of up to 65,000 characters including ligatures, glyphs, alternate characters, etc (Clark).

Ligature

Ligature is the connection of two or more letters. You would use it to make certain letter combinations in certain typefaces are more visually 11

appealing. You can find it under the type tab > Glyphs.

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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 typeface and size of text.

The default amount is none. When determining the amount, you want to consider who will be reading the text, the typeface, the size of text, and what is the context.

Alignment of text

There are three common ways of aligning text; align left, align center and align right.

Example Align Left Example Align Center Example Align Right There are also four types of justified text alignment, they are justifying with last line aligned left, justify with last line aligned center, justify all lines, and justify with last line aligned right. 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 you have chosen.

Examples:

Justify with Last Line Aligned Left

Justify all lines

Text Wrap

wrapped. There are 5 different types of text wraps to choose from; no wrap, wrap around bounding box, wrap around object shape, jump object, and jump to next column. If the text is too close to the image, you have the option to add padding to add space between the text and image by adding an offset in the text wrap window.

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. You can find object align under Windows > Object and Layout > Align. To align multiple objects, hold down the ‘shift’ key and select your objects, then select how you want them to be aligned in the align window.

Character Style

A character style is a collection of character formatting attributes that can be applied to text in a single step.i Character style is important because they allow you to easily edit and change headers in a document. You can find the character style tab under the ‘type’ tab. Under character styles, select the more button and click ‘new character style’.

Here you can name it, change the font, color, etc.

Paragraph Style

A paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or range of paragraphs.ii Paragraph styles are important because it also allows you to edit and change many parts of your document at once without having to change each section separately. Paragraph style is also under the ‘type’ tab. Under paragraph styles, select the more button and click ‘new character Justify with Last Line Aligned Center style.’ Here you also can name it, change font, add spacing, etc.

Align Away from Spine

Text Wrap is a feature that allows you to wrap text around an image or graphic. You can find text wrap under the ‘windows’ tab. After opening up the Text Wrap window click on the image you want 12

https://helpx.adobe.com/incopy/using/paragraph-characterstyles.html ii https://helpx.adobe.com/incopy/using/paragraph-characterstyles.html i

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. Key commands can be more efficient than having to find a command under tabs or other places. For example, one key command is “command s”. This command lets you save your project, it saves you time by using the command instead of going to the File tab and have to click the Save button.

Photoshop Image Tab 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 300ppi.

You can check the size of your original image by the Layers tab > Image Size. If your photograph is not the right resolution, you can correct it by typing in what resolution you want, and unchecking the ‘Resample’ box. If you do not uncheck that box, the image will blur/become pixelated because you will be changing the resolution only instead of changing the resolution along with the width and height of the 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.

Mode

Photoshop’s preset for all images when opened is RGB. RBG is an additive color model that red, green, and blue light are added together in various ways to produce a broad range of colors. This is best used for working with digital images. For print publications, you should convert your image to CMYK, which is the subtractive color model. It refers to the four inks used in some color printing; cyan, magenta, yellow, and key (black). You would use CMYK over RBG for printing because these are the inks used in printing.

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 ‘levels’ which is found under Image > Adjustments. You can select each color separately under ‘channel’ and to adjust move the triangle so they are in line with/touching where the graph starts on either side. 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, it’s found on the right hand column under ‘layers’. You always want to preserve the background layer. In order to do this, you will need to create other layers to work on. One way to do this is by right clicking on the background layer and clicking ‘duplicate layer’. You should leave the background layer be and leave it locked. You do this so you won’t lose your image while working.

Left Side Tool Bar

Marquee Tool: Selects an area you want to work with, can only choose from the following:

Rectangular, Elliptical, Single Row, Single Column Crop Tool: Crops your whole image, you can enter a precise size in the top left-hand corner or choose from one of the followings:

Perspective Crop Tool, Slice Tool, Select Slice Tool: Clone Stamp: Takes an area of your image and copies it to another part; Pattern Stamp is also found here Eraser Tool: Erases part of the image depending on the layer you are working on; also found here are the Background Eraser Tool, and the Magic Eraser Tool

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Grayscale

A Grayscale image is an image in which the only colors are shades of gray. To turn an image into a grayscale image you need to go to Image > Mode > Grayscale. Once you save and close the image, you are not able to convert it back to full color again.

Original Image

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. You will get a Duotone Options box and here you can choose duotone or a tritone, or quadtone if you would like. Here you also get to choose your colors for it as well.

Fake Duotone

A fake Duotone image can be created by turning your colored image into a grayscale (Image > Mode > Grayscale) and then putting a colored box over the whole image (‘rectangle tool’ on left-hand toolbar, and pick fill color). Be sure to not flatten your image when you change it to grayscale. In order to have a colored box over your image after making it a grayscale, save and exit and reopen it and go back to Mode > CMYK Color.

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Original Image in Gray Scale

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 size of an image is important because the larger the image the more pixels and the less you have to increase it.

If you don’t have enough pixels and you enlarge the image, it will read as blurry and low quality. The print will be rough and hard to read than if there were enough pixels.

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.

A Raster image is best used in Photoshop and a Vector image is best used in Illustrator.

JPG (JPEG): Joint Photographic Expert Group.

JPG and JPEG are interchangeable and is a lossy graphic file. JPG has an issue with saving documents where it combines pixels that are similar and close together which causes the image or document to become blurry making your high quality print go to low quality. JPG is best for small files like images from the web.

TIF: Tagged Image File Format. TIFF is the computer format for storing raster images because it is great for printing photos (print media).

PSD: Photohshop Document. PSD is Photoshop’s native file format and is used when working with layers that contain other images.

You would use this when you have layers because this keeps them whatever way you have them. PSD makes JPG important because then you will be able to access all your layers even if you close your document and come back to it later.

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 important because it’s used to open documents in any format from Photoshop to Adobe. You use PDF when you want to transfer a document in word to a document you are creating in Photoshop, InDesign, or Illustrator.

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. Compared to GIF, PNG is used on the internet because it is a compressed, fast loading file that looks more appealing than a GIF file.

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)

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 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.

--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. Under the ‘new adjustment layer’ tab you can also find and adjust; brightness/contrast, levels, curves, exposure, vibrance, hue/saturation, color balance, black and white, photo filter, channel mixer, color lookup, posterize, threshold, gradient map and selective color.

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Rearranging and grouping layers

You can find the layers box on the right-hand tool bar. To rearrange layers, you have to click and hold on a selected layer and move either up or down on your list and place it under or above an already existing layer. You do the same thing when making folders, but instead of placing them above or below you hold the layer over another existing one and it will light up. When you let go a folder icon will show up, and when you click the layer you placed, it will be in its own drop down menu.

Filters Tab The main list of filters is: 3D, Blur, Blur Gallery, Distort, Noise, Pixelate, Render, Sharpen, Stylize, Video, and Other.

Sub list for the Pixelate filters includes: Color Halftone, Crystalize, Facet, Fragment, Mezzotint, Mosaic, and Pointillize. To apply a Mosaic filter to an image, select Filter< Pixelate< Mosaic< OK.

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 upperright corner of the panel), and then name the path.

5. From the same panel menu, choose Clipping Path.

6. In the Clipping Path dialog box, select your 16

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.

7. Choose Fileâ&#x2020;&#x2019;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.

o OK The images that are selected will each have the changes applied to them that were recorded by the batch. Depending on the number of images, it may take longer to complete/load.

Working with Grids in Photoshop

To set up a grid you can find it under Photoshop > Preferences > Guides Grid & Slices. A window will pop up giving you all the options to set up your preferences for your grid. To set up grid spacing, you will need to select the value under ‘gridline every.’ You can either show or hide grids, you can adjust this under the ‘view’ tab.

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) 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 setting the image size and borders, adding a certain layer image, or giving the image an 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.

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, the actual file is brought into the new document. Any changes made to this embedded image will automatically save and affect the original embedded image. When you link the image, the image is placed as a smart object. There are two most important things connected with linking an object, one of them is when you open the original linked image alone and make edits, those edits may be incorporated into the image that was linked into the new document. The second important thing is that this brings options in the selected image into the document, but it won’t affect the original document as the linked image is altered in any way.

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)

Smart Objects

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

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Locking the image in place on the layer

To lock the placement of the photo on the layer, select the photo, you can tell it is selected by the 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.

There are other options displayed in this area, they are ‘Lock transparent pixels’ which prevents any background or ‘transparent’ pixels from being changed on the layer; ‘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 around elsewhere on the canvas; ‘Prevent auto nesting’ which stops the image from snapping to a border that maybe invisibly established on the canvas like a grid that the user has created.

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.

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 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, select the rectangle symbol with a circle in the center.

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.

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.

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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.

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, click Layers > Merge Visible

PROJECT 1

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 its visibility to “On”.

A file maybe smaller after every layer on it is flattened and saved. However, this is permanent after the file is saved as a flattened document.

It can’t be recovered after the file is saved and then closed.

This can be prevented if you want to preserve your original project for future reference or for editing. This is done by saving the none flattened file.

Project 1 was the Photo Grid. In this project we worked in layers, and created a new photograph using a single image that we have altered using different processes, filters and effects, and saved it as a new file.

We had cropped, linked and layered these altered images into a 1.5” x 1.5” gridded system to recreate the original image.

First for this project we had to set up the proper image size with proper units of measurements and resolution, and then fit to the required canvas size.

After we set up the document size we had to establish a grid. To do this you go to Photoshop > Preferences > Guides Grid & Slices.

Now that everything is set up, we got to experiment with different filters and photo effects that were available through Photoshop. For this project each 1.5” x 1.5” square was to have its own unique appearance. Not one square was to be the same and have the same filter or color. There will be about 70ish layers on this image. To save space and to make your file smaller, flatten the image using the steps you have learned earlier in this lesson. From here you can save your images as a Photoshop PDF, which can be read in Adobe Acrobat to be printed. Some examples are shown of some of my layers to my photogrid, and the final result.

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For my photogrid, I wanted to keep the image so anyone could tell that it was still there, but I also wanted to add some color to it. Here is what my final project turned out:

â&#x20AC;&#x153;Designing with color begins with the recognition that the colors of your environment appear as a reaction to light.â&#x20AC;? (Gonella, 2014)

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Illustrator 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 screen—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

You can convert text to an image by selecting a type box, Type < Create outlines. Make sure to check the spelling before you convert your text into an image. Once it is an image you can double click it and change the size of the individual letters and overall word shape and size. You can also use the curvature tool to select parts of the letters you would like to add curves to or to give it a rounded edge.

Thumbnail Drawings

Thumbnail drawings are an important step in creating a project because they are a quick way to get many ideas out on paper. Usually your first idea isn’t the best one, so thumbnails are a quick way to get a ton of ideas out to help get the best for the final. You will know you have enough when you’ve exhausted all possibilities you can think of over a small period of trying.

You could have as few as 50 to as many as 200+. Thumbnails

should be sketched when you first start your project to get the creativity and ideas going. Here is an example of thumbnails:

Developing Narrative

When developing a narrative there are a few things you need to consider. Some of those are the physical qualities the character may have, where it is from, what they eat, and what is its purpose in life. These questions can be answered with a narrative that will affect the overall design of the character. If you know all the detailed information and backstory ahead of time, you will be able to create and build a character that is unique and makes sense. If you don’t come up with a narrative beforehand, making the character and then giving them a backstory that doesn’t quite make sense to their design.

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COLOR

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 (any matter or substance that provides color) mixed with a variety of elements 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.

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 was the foremost expert on this. He systematically explored the range of visual effects made by subtle variations of color, shape, and positioning. His works utilized 22

the potential of a two-dimensional pieces and the different colored corresponding parts to develop a three-dimensional space.

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.

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. Pantone Matching System is a standardized color matching system that allows for the creation of a spot color to consistent match the Pantone color. You would use a Spot Color to create a specific or vibrant color that CMYK cannot recreate. Spot Color is used in branding, like a company’s logo that must have a very specific color on everything it’s brand appears on. It is also used for a uniform coating of ink on a single sheet as well as prints that will be happening in different locations where the resulting images need to be identical and detailed.

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.

Illustrator

Pantone Color System

The Pantone Color System is the most used color matching system in the design industry. Other color systems include: Process/CMYK, ANPA, and Toyo Ink. 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.

The pantone color system looks like a rainbow spectrum of every possible color. It creates these colors by systematically mixing certain amounts of basic colors (cyan, magenta, yellow, and black), following a certain ‘recipe’ for a desired color.

This guarantees the same color can be made anytime, anywhere.

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 Illustrator, click on the Swatches tab < New Swatches. In the window that pops up shows your current color, here you can edit the color type to be a Spot Color and adjust the relative amounts of CMYK you would like for your color.

Once you have gotten your color figured out, you can save it to your color library and can access it whenever you want to use it.

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.

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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.

Image Trace

Image trace can be used to trace any image and turn it into a vector image. There are some image trace options where you can view the Tracing Result, the Tracing result with Outlines, Outlines, Outlines with Source Image, and just Source Image.

Some advantages of image tracing are being able to trace out parts of an underlying image exactly and to be able to select certain parts of the image that are traced. A few drawbacks to using image trace are that it sometimes only traces parts of your image, gibing you an incomplete tracing of your image.

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 then while still holding down on the mouse, press up or down on the arrow keys to increase or decrease the number of sides on a polygon or points on a star you would like.

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 24

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. These other tools are the symbol shifter, scruncher, sizer, spiner, stainer, screener, and styler. These allow you to move, bunch, resize, rotate, color, wash, and stylize your symbols once theyâ&#x20AC;&#x2122;re applied.

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, these include: warp, twirl, pucker, bloat, scallop, crystalize, and wrinkle. These let you adjust, spin, shrink, expand, widen, and compact your strokes and shapes respectively.

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 Gradient–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. Your choices are radial and linear. You can also adjust the angle of the gradient by clicking on the pre-made angles found by clicking in the ‘angle box’, or by typing in the angle you would like. 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 Gradient–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 (strokes)

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 multi-colored 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.

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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.

Photo Equipment and Room

Some of the equipment we have available to check out are backdrops, lighting equipment, a camera with an SD card, and a photo room. These are very easy to use the lighting equipment you will need to put the lights together when ready to use, and it also comes with a shower cap to help dim the lights. The photo room is located next to the photo lecture room 154. It is room number 154A. If you come into the NFAC through by the Aber Suzuki Center it is the last room on the left before turning to go down the hallway towards the courtyard.

Some important information about the room are that it is always locked so you will need to sign up and receive a key to be able to get in. To get any of the equipment and key you will need to contact Nathan and set up and time during his office hours, and have to return the equipment the next office hours that are available.

Bone folder

A bone folder, or folding bone is a dull-edged hand tool used to fold and crease material in crafts, such as cardmaking, origami, and other paper crafts that require a sharp crease or fold. To use this simply place a ruler on the paper where you want the fold, hold the ruler firmly in place with one hand, and run the pointed tip of the bone folder along the length of the ruler, pressing it firmly down as you go. Be careful you don’t press to firmly that you either rub the color off the paper, rip the paper, or break the bone folder.

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Banner Printer

To use the banner printer, you need to follow a few steps. First go to the Print Tab, here in the pop window you will need to click on ‘Page Setup.’ If you are using your own paper you will need to click on ‘Manage Custom Sizes,’ here you will be able to put in the exact paper size in the dialogue box and click ‘OK.’ Next you need to click on ‘Printer’ which is located next to ‘Page Setup.’ Here you need to click on ‘Show Details,’ then Layout < Paper/Quality. Click the drop-down box next to ‘Paper Source’ and select Manual Feed. You will also need to make sure the printer takes your paper and is loaded before printing.

Importing Illustrator file(s) into Glyphs Glyphs are certain symbol in type that you can InDesign not make with a keyboard, such as Greek letters or There are two common ways to import your Illustrator file into InDesign: -Place the original IA file by going to file place and selecting your document. When you place it, it comes over as a template so there is a drawback of not being able to individually move separate pieces.

-Copy and paste from IA to InDesign, the best way to do this is if there are multiple layers, group the image then highlight the piece, copy it and paste it to InDesign and every piece of it will be connected.

It is placed into InDesign as an embedded image and has the advantage of being able to be edited.

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.)ÂŹ

letters with certain marks about them. In InDesign you can find glyphs under the type drop down tab.

Tabs

You can create custom tabs within a text box by going up to the type menu and selecting insert special character < other; you will get different choices for tabs such as, tab, right indent tab, and indent to here. If you already have text and you want to add a tab, place your cursor in front of the area you want tabbed and go up to the type menu and make your decision.

Bullets and Numbered Lists

Bullets and Numbered lists are used when you need to create a list of instructions or ideas. To set them up highlight what you want bulleted/ numbered then go to the type drop down tab and select bulleted and number lists when you have the choice to apply bullets or numbers. Make your choice and what you have highlighted will automatically be applied as bullets/numbers.

Object-Effects

You are able to add an effect to a text box, object, image or photograph by going to Object < Effects. The effects you can choose from are: Transparency, Drop Shadow, Inner Shadow, Outer Glow, Inner Glow, Bevel and Emboss, Satin, Basic Feather, Directional Feather, Gradient Feather, and Global Light. When you apply an effect to a clipping mask image it will follow the shape of the image to create a more 3D look.

Link Management

You can keep track of all of the linked items in you InDesign file by using the links menu on the right side tool bar of InDesign. In the panel you will see all the linked files that were placed into your document and the information connected with those links. An icon of a triangle with an exclamation mark in the center shows up when a link is missing. The information usually includes the name of the linked file, what page it is on in the InDesign file and the format of where the linked file was formed. It is important to have all this information because if a link goes missing you will know where to pull it from again to replace it.

Bleed

A bleed is the area outside the trim area of your document and is used to make sure your artwork goes to the edge of the page when printed. If you donâ&#x20AC;&#x2122;t use enough bleeds (1/8 minimum) your art work will not run to the edge of the page when printed and trimmed.

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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; the option box for packaging will pop up, make sure all your fonts, links and images, colors and print settings are correct. Click Package < Continue < name your file and save it < Select Package and it will be saved.

Legalities that are incorporated into packaging your file is making sure you give credit to any fonts or typefaces you purchased or borrow that weren’t already a part of InDesign and didn’t make at all.

Research

Research is important to design work because it will help you understand the information you have to work with to layout the context in your work (like in brochures, booklets, pamphlets, etc.) For example, when being asked to make a brochure about a group, it is important to know what is their mission, what activities and events they do, who is involved, where they are located/ contact information, and the background/history of the group. These are all good things to know so you are able to fill your brochure with the proper information. Doing research beforehand also allows you to think about how you would like to organize it.

Creep

Creep is where the bulk of the paper in a saddle stitched booklet causes the inner pages to extend or creep further out than the outer pages when folded. An example is shown below.

You should consider the amount of creep allowance needed when designing a book. If creep is noticeable, copy can be repositioned toward the center of the spread for those pages in the middle of the booklet. When trimmed, all pages will have the same outer margins and no text or images will be lost.

Types of Binding

Saddle Stitched: Pages are folded, creased and stapled

together (not by an ordinary stapler – a stapler with long jaws, designed specifically for saddle stitching) Perfect Bound: Pages are folded into sections (termed signatures in the industry) and clued with a heavier printed wrap-around cover into the spine using a strong adhesive Wire/Spiral Bound: Holes are punched through the pages near the bound edge and held together using either wire or plastic coils.

Pamphlet Stitch: A single signature sewn with a running stitch down the spine. Handmade.

Coptic Bound: Signatures are sewn through their folds and attached to one another and again sewn through two loose covered boards with a chain line stitch across the spine. Handmade.

Japanese Stab Bound: Used either a soft or hard back cover which attaches to the text block with decorative stitching along the spine. Useful for binding single sheets of paper. Handmade.

Screw Post Bound: Screws are used to hold the pages together between two covering boards. Commonly used for portfolios. Handmade (Leonard).

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Image from Bhanu Patel

Hierarchy

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/pages. It brings attention to the headings, for example, it will tell what the following paragraph or chapter will be about. In the case of reading a book witch such large, bold headings as compared to standard paragraph text, it allows the reader to find what they’re looking for easily.

“Typography exists to honor content.”

- Robert Bringhurst: The Elements of Typographic Style

Hierarchy levels:

Primary Level: The biggest type on the page. An example, a heading.

Secondary Level: Short portions of text on a page.

Examples; subheadings, image captions, and quotes Tertiary Level: The main text on the page, usually the standard paragraph text. Typically small.

Other Levels: Other levels usually fall under subcategories of the Tertiary level. Examples; Tertiary type with effect added to it, such as bolded or italicized text to give more emphasis.

Line Spacing (leading):

Line space refers to the amount of vertical space between lines of type and is measured from baseline to baseline. The op¬ti¬mal line spac¬ing is 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.

Printer Spread vs. 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. https://reinhardtart235.wordpress.com/

x-Height:

X-height refers to the distance between the base and the top of a letter’s main form. Examples:

k

k

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.)

Image from Thomas Libetti

Adobe Acrobat DC

Adobe Acrobat DC is a paid program that allows you to do much more than the Adobe Acrobat Reader.

Reader is a free program that allows anyone to read PDFs. With DC you can do more than just read, including edit, organize pages, combine files, and add comments.

Tools: Create and Edit

Create PDF: Allows you to create a PDF by choosing a file, multiple files, screen shot, web page, clipboard, or a blank page Combine Files: Allows you to create a PDF by combining multiple files Organize Pages: Allows you to delete, insert, extract, or rotate pages Edit PDF: Allows you to edit text and images in PDF files 29

Tools: Review and Approve

Comment: Allows you to add comments with highlights, sticky notes, and mark-up tools Send for Comments: Allows you to share comments, track comments, compare files and send comments by email Stamp: Allows you to stamp PDF documents with either provided stamps or custom stamps Send and Track: Allows you to send and track large files online Compare Files: Allows you to compare files, good for comparing old and new files Measure: Allows access to several measuring tools to determine the size of the PDF in question

Tools: Protect and Standardize

Protect: Allows you to add restrictions to a PDF, like restricting others from editing it Redact: Allows you to block out parts of the PDF you donâ&#x20AC;&#x2122;t want others to see if you are sharing it with them PDF Standards: Allows you to convert a PDF file to 1 of 3 PDF file choices, including PDF/A, PDF/X, and PDF/E Optimize PDF: Allows you to lowering the PDF file size while also improving the quality of it Print Production: PDF is precisely prepared for upcoming printing jobs. Here, you can improve the color output, print quality, crap and bleed marks, page orientation, etc.

Accessibility: Allows you to 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 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.

Copyright Permission: To get copyright permission, you need to follow a 5-basic step procedure: 1.

Determine if permission is needed 2. Identify the owner 3. Identify the rights needed 4. Contact the owner and negotiate whether payment is required 5. Get your permission agreement in writing. http://fairuse.stanford.edu/overview/introduction/getting-permission/

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.

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.

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Customizing Type

Baseline shift: Shifts a selected character or characters up or down in relation to the “baseline” upon what all the text generally rests on Vertical scale: Allows you to increase or decrease the height of a selected character or characters in text Tracking: Allows you to adjust the spacing between every letter in a whole word, as compared to only two letter forms Kerning: Allows you to adjust the spacing between two letter forms Horizontal scaling: Allows you to increase or decrease the width of a selected character or characters in text Skew: Refers to when a letter form becomes slanted at a certain angle Linen, Vellum, and Felt. Each of these surfaces will Paper provide different print quality and Paper is created by taking wood, cotton or other overall appearance. Each has its strengths and manmade or natural materials and beating it with appropriateness for a particular job. 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,

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.

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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 youâ&#x20AC;&#x2122;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, itâ&#x20AC;&#x2122;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.

Project 2 Paper Creature This project, we were to desing and build a 3 dimensional paper creature.

We needed to turn it into a technical illustration, color the creature, build and photography it. We also needed a narrative, and building insructions and created a poster in InDesign for the creature we had built.

Final Product of Project 2 Poster

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The process for this project took awhile.

First we needed to come up with a story for our creature, and design a creature in thumbnails, then make a 3D model of it.

After we had that we took our template and scanned it into Illustrator where we used image trace, and added color to them.

From there we took it and placed it into our InDesign poster where we had the template, instructions, story, and a photograph of our creature.

Project 3 8 Page Brochure

This project, we were to research a student organization or group design and design an 8 page brochure for them. This brochure needed to include photographs (that we took) and information about the group, and be set up using InDesign and exported correctly to print.

The process of this project, we first needed to do research and come up with a student organization or group. From there we needed to set up an interview with one of the members or the president of the group so we could get more information as well.

We also needed to take our own photos for this project as well. That meant we needed to ask one of the members if we could come to a meeting or a practice to get our images.

We then put it into InDesign and made our brochure. When we completed it we need to export it as a PDF so we could get them printed at Printing and Design.

Front Cover of my brochure

One of the pages in my brochure

Works Cited Clark, Bryan. “OTF vs. TTF Fonts: Which One Is Better?” MakeUseOf. N.p., n.d. Web. 12 Dec. 2016.

Leonard, Carolina. “Types of Binding - Back to Basics.” Student Bookbinding. N.p., n.d. Web. 12 Dec. 2016.

Libetti, Thomas. “ART 235.” ART 235. N.p., 08 May 2013. Web. 12 Dec. 2016.

Nightingale, Rob. “Your Guide to Choosing The Right Adobe Product.” MakeUseOf. N.p., 06 Apr. 2016.

Web. 12 Dec. 2016.

Patel, Bhanu. “What Is Creep? - PrintHouse Corporation.” PrintHouse Corporation. N.p., 03 Jan. 2012.

Web. 12 Dec. 2016.

Vandersteen, Julius. “How to Get InDesign to Show Invisibles.” Business & Entrepreneurship - Azcentral.

com. N.p., n.d. Web. 12 Dec. 2016.

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Graphic Design ABCs:

computers.

Comp (Comprehensive)

A Glossary of Basic Design Terms

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.

(DKB Hoover revised this list for her students in 2016.)

Complementary Colors The Designers have their own language. There are words that only we understand. colors that are opposite of each other when viewed on the color Sometimes we don’t really know their exact definitions; we simply use wheel. them out of familiarity. It’s about time someone put them out there. The Contrast The difference between YouTheDesigner (YTD) team updated this glossary of graphic design terms the light and dark parts of an image. for design newbies and experienced artists alike. reading.

Copy This term refers to text Bar The horizontal or vertical line drawn supplied for incorporation into a design.

Acrobat A product developed by Adobe through a grapheme (unit of writing, such Crop A tool that removes portions of systems to create PDF (Portable Document as a letter). Sometimes added to distinguish an image. It is usually used in digital Format) files. Acrobat is an independent one grapheme from another. means of creating, viewing, and printing photography.

Baseline An imaginary line upon which documents. letters sit and descenders extend below the Airbrush A tool using compressed air that baseline.

Descender The part of a lowercase letter to spray a liquid, such as paint, and ink.

Bevel A tool in design software for drawing that stretches below the baseline and body Often used in used in illustration and photo angles or modifying the surface of your of the letter. retouching.

Die Cut A die that cut shapes or holes in Alignment The adjustment of arrangement work to a certain inclination.

Bezier Curve A parametric curve that different materials to make the design stand or position in lines of a text or an image — represents a vector path in computer out. left, right, centered, etc. graphics. They are frequently drawn using Dingbat An ornament used in typesetting Alpha Channel The process of a pen tool and by placing anchor points, incorporating an image with a background to add space around an image or a symbol. which can be controlled to form curved to create the appearance of partial Dodge This is when you lighten or reduce shapes. transparency. Alpha channels are used to part of an image by shading.

Bitmap A series of bits that forms a create masks that allow you to confine or Dot Gain As ink hits the paper, it is structure representing a graphic image. The protect parts of an image you want to apply absorbed and spreads out. color of each pixel is individually defined. color, opacity, or make other changes.

Double Page Spread A double page Bleed When a graphic object extends Analog Proof (Prepress Proof) A spread is a layout that extends across two through another in an unwanted manner.

It proof that uses ink jet, toner, dyes, overlays, pages. is then trimmed so there is no chance for a photographic, film, or other methods to DPI (Dots Per Inch) A term referring the white line on the edges. give a an idea of what the finished product number of dots of ink used to describe the Body Type The typeface used in the main should look like. details of an image. text of a printed matter.

Anchor Point Anchor points allow Drop Shadow Is a visual effect added to Border The decorative design or edge of the user to manipulate a path’s shape or an image to give the impression the image is a surface, line, or area that forms it’s outer direction by clicking the point and moving raised above the background by duplicating it in a direction. They appear along the boundary. beginning of a path, at every curve, and at Branding The process involved in creating the shadow.

Dummy A prototype or mock-up of a the end of a path. You can add or subtract a unique name and image for a product book, page, or any project designed to anchor points on a path. in the consumers‘ mind, mainly through resemble and serve as a substitute for the advertising campaigns with a consistent Animated GIF A small animation based real thing. on continuous GIF images, giving the theme.

Duotone A method of printing an image impression of movement or action. using two colors, usually black and a spot Animation Generating movement through color. a series of images/frames.

Canvas Size Allows you to change the Art Director The individual responsible complete size of the document without for the selection, execution, production of adjusting the contents of the document Ear The rounded part of the lowercase graphic art.

Clipping Path A tool or shape that’s used letters such as ‘g’ and ‘q’.

Ascenders The part of a letter, which to cut out an image. extends above the mid line, such as ‘b’ or ‘d’.

Cloning Pixels A function that allows you Element Any distinct part of a layout such Asymmetrical This is when graphics and/ to replicate pixels from one place to another. as the logo, headline, images, or borders.

Embedding Process of transferring all the or text are not identical on both sides of a CMYK Stands for Cyan, Magenta, Yellow, data of a font or image into a file.

Black; this color model (also called process central line.

Emboss To give a three-dimensional effect color, four color) is a subtractive color to a text or an image by using highlights and model used in color printing. shadows on the sides of the illustration.

Bad Break Refers to widows or orphans Color Palette A set of colors that make Engraving To print designs by cutting the in text copy; any break that causes awkward up the total range of colors used in graphic 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!

A

D

C

E

B

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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 webbased magazine that you can subscribe to.

F

Feathering A tool used in graphic design

software that makes the edges of an image appear softer.

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

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

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.

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

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

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

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.

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

Indents A set in or back from the margin.

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 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.

L

Layers A tool within graphic software that

permits the user to gather, organize, and reedit their artwork.

Leading Refers to the amount of added

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vertical spacing between lines of text.

Leaf One piece of paper in a publication.

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

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

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 elements—like page numbers—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.

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 high-contrast letters have heavy, untapered stems and light serifs.

Originally established by Firmin Didot and Giambattista Bodoni during the late 18th to

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early 19th centuries.

Multimedia Offering the use of various communications such as text, sound, and still or moving images.

N

Negative Space Also known as white

space. The area of a page that doesn’t contain images or words.

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

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.

O

Oblique A Roman typeface which slants to

the right. Often confused with italics.

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.

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 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

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.

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

Pantone Matching System The Pantone matching system is used for defining and blending match colors. It accommodates designers with swatches of over 700 colors and gives printers the formulas for making those 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.

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

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

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.

Q

Quick Mask A filter in Photoshop in

which a translucent colored mask covers selective areas of an image.

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.

S

Sans Serif A style of typeface that means

“without feet.” Usual sans serif typefaces include Arial, Helvetica, AvantGarde, and Verdana.

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

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

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

V

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.

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

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

protection to the printed material.

Value This refers to the degree of lightness

or darkness of a color.

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 any loss in quality using curves, points, lines, and polygons.

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

W

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

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You Get. This is an approximate screen representation of what the final printed image will look like.

X

X-Height This is the height of the

lowercase letters that do not have ascenders or decenders, such as a, c, e and mm

Y

Yellow One of the subtractive primary

colors of CMYK (cyan, magenta, yellow, and black) that is used in four-color 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.

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