UW-Stevens Point Art 211 Sec 1- 2016

Design Skills Workbook

Ryan Lemmers Art 211 Section 1 Julie Sittler, Instructor 2016

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Design Skills Workbook

Ryan Lemmers Art 211 Section 1 Julie Sittler, Instructor 2016

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Table of Contents Adobe Creative Suite

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InDesign

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Photoshop

Illustrator

Tools Type Basics

Image Tab File Formats Left Side Tool Bar

Starting Color in Print Design Tools Types of Binding Hierchy Levels

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Adobe Acrobat DC

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Projects

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Tools: Create and Edit Tools: Review and Approve Tools: Protect and Standardiz Plagiarism and Copyright Infringement Customizing Type Basic Grades of Commercial Printing Paper Printing a Bookelet (on a Mac)

Glossary

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Project 1 Project 2 Project 3

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Adobe Creative Suite

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.

Let’s say you wanted to access your MyFiles from a computer off campus that was operating on Windows 10. You would open File Explorer from the taskbar/’Start Menu’. You would then select ‘This PC’ from the window on the left hand side. Next, you would need to click the ‘Computer’ button next to the ‘File’ menu, and then click ‘Map network drive’.

You would then click ‘Connect to a Web site that you can use to store your documents and pictures’ as it appears on the bottom of the window in blue.

The wizard will open, click ‘Next’. Click ‘Choose a custom network location’ and then click next.

In the suggested box, type: https://myfiles.uwsp. edu/your_UWSP_username and then click next.

You will be prompted to type your UWSP username and password, upon doing so, click next. Name your network place, myfiles.uwsp.edu, and click ‘Next’. Click Finish. A ‘Network Location’ wil show under ‘Computer’. Double clicking on the ‘Network Location’ will bring up your MyFiles.

Adobe Creative Cloud (CC)

Photoshop is used for creating and editing photos and digital artwork. Illustrator is used for creating various design elements such as logos and brand marks. InDesign is used to lay out and organize materials that are to be printed. source: printwand.com (http://www.printwand.com/blog/ when-to-use-adobe-illustrator-vs-photoshop-vsindesign).

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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. For print publications, the two things that must remain in the point units are Stroke and Type.

Creating and InDesign File

The two ways you can start a new file in InDesign are either by selecting New when first opening InDesign, or by clicking File, New on the top bar. The New Document Window will pop up. The most important things that you should consider when starting an new InDesign project are: the page number, intent, page size, page width/height, and possible bleed/slug sizes. 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. An example of the naming system we are using for the workbook would be: LemmersR_DesignWorkbook_01 It is also important to keep iterations on a regular basis for two reasons.

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

2. It provides an additional form of file backup – in the event that the current file is lost due to power failure, computer failure or human error.

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. Some sub-folders that one could create to store screen-shot pictures could be labeled Screen Shots, this could be one of many folders made in MyFiles. You could also make a folder for workbook activities specifically, as oppesed to any other art projects that you might be interested in saving to your MyFile account.

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. The screenshot automatically goes to the desktop as a picture file, where you can then save it to a file of your choice.

InDesign Tools Filler Text

InDesign offers a feature in which you are able to fill a text box with fake copy.

To do so, select the text box tool on the left toolbar, make a text box, and click inside of it. Click on the ‘Type’ dropdown menu and select ‘Fill with Placeholder text’. The textbox you made should then be filled with a filler text.

In the Graphic Design industry this fake text is commonly called Lorem Ipsum.

Lorem Ipsum is the randomly generated filler text made by InDesign and other programs specifically for place holding so a creator can see a page’s layout with text, before having the actual text to work with.

Loading the curser

When the text overflows beyond the space provided, a small red box appears next to the text box.

Upon clicking on the red box, the curser should then appear to have text attached to it. This is called loading the curser. Wherever you click next will be the place where your remaining text will be placed.

Bottom Information panel

At the bottom of the document window is an informational panel. Here you can find what page you are working on, what kind of document you are working on, and if there are any errors present in your document. 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 to see if the small circle at the bottom of the window is green or red. If the circle is green there are no errors present in the document, if the circle is red then there is at least one error present in the document.

Tools in the left hand tool bar

Black Arrow: The black arrow is used to move things around.

White Arrow: The white arrow is used to select something inside a specific box.

T: The T tool creates a text box.

Stroke: The stroke tool allows you to create a colored boarder around a box.

Box with X: The box with an X tool allows you to create a rectangle frame.

Plain Box: The plain box tool allows you to create a rectangle.

Eyedropper: The eyedropper tool allows you to select a color sample/ theme and add them to your

swatches.

Magnifying glass: The magnifying glass tool allows you to zoom in/out on an area.

Viewing mode: The viewing mode tool allows you to see your project in its final form, as well as mock up

bleeds and slugs.

Using color for fill and stroke

There are two different places you can select color to use as a fill or for a stroke.

The two places where you can select color to use as a fill or stroke are on the side toolbar or in the center of the upper toolbar. To quickly switch the color from the fill to the stroke , click the small curved double ended arrow next to the fill and stroke tool on the side toolbar. The icon is depicted above.

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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 the following tabs: File, Edit, Layout, Type, Object, Table, View, Window, and Help.

The File tab allows you to ‘open’ a new document, ‘close’ a document or ‘save as’ a document. You would select ‘Save As’ in the File dropdown menu when you would want to select where/what file your project will be saved in, as well as when you want to re-name your project.

Place in also under the File tab. You use the place tab for placing images you saved in a file or screenshots you saved to the desktop.

Document set-up also in under the File tab. You can use this tab to change the size and number of pages you are working with.

Check spelling is located under the Edit Tab. The default setting is American English. To check a document’s spelling, select the ‘Edit’ dropdown menu, select ‘Spelling’ and ‘Check Spelling’. The program will then run through any possible errors and offer suggestions until the document is error free.

The Type tab has two special tabs that allow you add a glyph and add additional spacing.

A glyph is a specialized character or symbol that isn’t represented by a key on the keyboard. To insert a glyph, select the ‘Type’ dropdown menu, select ‘Glyphs’, find the glyph you are looking for, and double click it. Some words or typefaces have awkward spacing and you’re going to want to add additional space between certain letters. To do so, go to the ‘Type’ dropdown menu, select “Insert White Space”, and then select ‘nonbreaking space’.

The ‘Show Hidden Characters’ tab is used to reveal the invisible characters. These characters are not able to be seen if you are in Preview mode. Click the ‘View’ dropdown menu, then click ‘Screen Mode’ and select ‘Normal’. Click ‘View’ once more, and then click ‘Overprint Preview’ to deselect Preview mode. Hidden Characters are only visible to the designer and will not appear in the printed work. The designer can use these to help while creating the project.

The View tab is another location where you can change the viewing mode and it is the same as the viewing mode tool in the left hand tool bar. Another tab located under the View Tab is the Display Performance Tab. The default is Typical Display, but it is better to change it to High Quality Display in order to insure a crisp and neat design when working on projects.

Under the Windows Tab is the workspace tab. This tab allows you to decide what toolbars and windows are available for you to use in the workspace when working on projects.

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. You should consider; the page sizes, the margin sizes, and picture placement, typeface, symmetry, markings, and the audience the page is for.

example of page layout

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

In order to get the correct number of pages to print a book, your end total of pages must be divisible by 4 elsewise the content will have no way to be bound together.

Margins and columns

You can establish page margins and set up columns in two places. You can edit your margins and set up columns when you first open a new project and determine the project’s margin and column spacing. You can also change margins and columns by selecting the ‘Layout’ dropdown menu and choosing ‘Margins and Columns’.

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 typically rests in the upper right corner of the page and is labeled ‘Pages’. By clicking on the ‘A-Master’ white boxes, you will be allowed to create a master page with various guides and themes to base other pages off of throughout your document.

To avoid using a master page on a specific page in the document, exit out of the master pages by clicking on the specific page in mind in the ‘Pages’ tab.

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. To turn grids on and off, go to the ‘View’ dropdown menu and select ‘grids and guides’.

From here you can choose to either view or hide various kinds of grid and guidelines. Once you have a grid in view, after you select an element of your page, in the upper toolbar, there are various boxes for coordinates where you can select accurately measured places on the page. To delete a guide, go back to the ‘View’ dropdown menu, and select Grids and Guides, and the option to hide the grids/guides you have open will be available for you to choose.

Page numbering

Page numbering in a document is best done on the Master Pages. When you number pages on the Master Pages, the actual document you use the Master Pages on will automatically update to the correct page, this will save you time in the long run.

To number a page in this fashion, open your Master Pages, create a text box in a desired area, right click in it, select ‘Insert Special Character’, ‘Markers’, and ‘Current Page Number’. A letter ‘A’ should appear and will be replaced by the current page number when you apply the Master Page to your document.

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 clicking on the Crop, Bleed, Registration, and Page Information boxes found in the Marks and Bleeds tab when printing.

Type Basics Anatomy of Typography

The basic parts of Typography are the apex, serif, bowl, finial, counter, descender, ascender, bar, open-counter, stem, link, loop, ear, shoulder, and tail. In combination, they are used to create unique typefaces and give typefaces their character.

Font vs. Typeface

Fonts can be described as families within a Typeface. An example of a Typeface would be a Serif Type and the Font would be Times New Roman. An example of a Typeface would be a Sans Serif Type and the Font would be Helvetica.

Type Classifications

The four general type classifications are Serif Type, Sans Serif Type, Script Type. And Decorative styles. The subgroups of Decorative styles include grunge, psychedelic, and graffiti. These typefaces are popular for signs and posters because they make a strong statement and evoke strong memories or feelings.

Types of font file formats

The two most common font file formats are Open Type Face (OTF) and True Type Face (TTF).

These let people know who made the typefaces and how to differentiate them from other typefaces.

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Ligature

A ligature is a typographic replacement for a character with a pair of letters. In other words, a ligature is just 2 characters that are married together. Ligatures are used in writing to provide better joining behavior between some letters and to give the appearance of handwriting, depending on the typeface.

Search for the Type dropdown menu, select Glyphs, and search for your desired ligatures. Some examples of ligatures would be: fl and fk.

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 standard amount of leading is 14.4 pt. You need to consider how easily a person can read the text when determining the amount of leading you want to use. To change the standard leading, go to the Paragraph Styles menu in the bottom right corner and select the Basic Character Forms option once in the new window. From there you can adjust the standard leading your paragraphs will have.

Alignment of text

There are three common ways of aligning text, these are right, left, and centered. There are also four types of justified text alignment. The four types of justified text alignment are Left, Right, Center, and Full Justified. These alignments have the words more spaced out from one another and differ in the place where the paragraphs are orientated on the page. Examples of this paragraph in each type of alignment include:

Left Justified: There are three common ways of aligning text, these are right, left, and centered. There are also four types of justified text alignment. The four types of justified text alignment are Left, Right, Center, and Full Justified. These alignments have the words more spaced out from one another and differ in the place where the paragraphs are orientated on the page.

Right Justified: There are three common ways of aligning text, these are right, left, and centered. There are also four types of justified text alignment. The four types of justified text alignment are Left, Right, Center, and Full Justified. These alignments have the words more spaced out from one another and differ in the place where the paragraphs are orientated on the page.

Center Justified: There are three common ways of aligning text, these are right, left, and centered. There are also four types of justified text alignment. The four types of justified text alignment are Left, Right, Center, and Full Justified. These alignments have the words more spaced out from one another and differ in the place where the paragraphs are orientated on the page.

Full Justified:

There are three common ways of aligning text, these are right, left, and centered.

There are also four types of justified text alignment. The four types of justified text alignment are Left, Right, Center, and Full Justified. These alignments have the words more spaced out from one another and differ in the place where the paragraphs are orientated on the page.

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Text Wrap

Text Wrap is a feature that allows you to wrap text around an image or graphic. Text wrap can be found by selecting the Window dropdown menu and selecting Text Wrap. A small window will appear offering options for text wrapping and for the spacing around the image. Once placing an image on the page, by selecting one of the options of text wrapping, different effects will be applied to the relationship of your image and the text. The first option of wrap is no wrap whatsoever, the second option of wrap is wrap around a bounding box, the third type of wrap is wrap around object shape, the fourth type of wrap is jump object, the fifth type of wrap is jump to next column. To add padding around an image, use the up and down arrows next to the number boxes in the same window to adjust how close/far away the text gets to the image.

Object Align

When you have multiple boxes on a page that you want to line up perfectly you can use Object Align to do this. To open up the object align window, select the Window dropdown menu, select Object and Layout, and click Align. To select the objects that you want to align, hold the shift key and click all the objects you want to align. Then click the options for object alignment and distribution available in the object alignment window to format your objects to your liking. You can get numerically specific by typing in a number in the distribution boxes in the alignment window for a precise measurement and location of your objects.

Character Style

A character style is a collection of character formatting attributes that can be applied to text in a single step. To give your characters a particular typeface, font, size, and leading that can be applied to all or selected characters, the Character Styles tab will be of use. To access the Character Styles tab, look to the right side toolbar, otherwise go to the Type dropdown menu and select Character Styles. Once in the Character Styles menu, the subsection titled Basic Character Formats is where you can change Font family, Font style, Size, and Leading of your characters. Upon clicking Ok, you can then highlight a section of text and click the character style name you created on the Character Style tab on the right side and the highlighted text should be applied with the character style you developed.

Paragraph Style

A paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or range of paragraphs. Paragraph styles are important because they allow you to give your paragraphs particular typefaces, fonts, sizes, layouts, and indents. You can access the Paragraph Style tab either by selecting it from the right side toolbar and clicking the tab or by going to the Type dropdown menu, and then clicking the Paragraph Style option. The tab will open and you will want to click the stack icon and select ‘new paragraph style’. From here you will select Basic Character Formats. This allows you to change the font family, font style, size, and leading. Under the Indents and Spacing section, you can select what type of alignment you prefer, and how far you want your indents to be. After clicking OK you can highlight a paragraph and apply your custom paragraph style by clicking the name of the style you created in the Paragraph Style tab.

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.

You would use Key Commands when you want to avoid wasting time opening a long series of dropdown menus and windows to perform a task that can be as simple as the click of a couple of keys. For example: to copy something in InDesign, you would highlight or select it, right click, and select ‘copy’. To make things faster and more stream-lined, one would only need to highlight or select something and press the two keys “Command” + “C”.

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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 300.

You can check the size of your original image by going to the ‘Image’ dropdown menu and selecting ‘Image Size’. A window will pop up showing the original size current dimensions of the picture. If your photograph is not the right resolution, you can correct it by adjusting the number next to ‘Resolution’ in the same Image Size window. Be sure to click the ‘Resample’ box below this otherwise the new resolution you selected won’t be applied to the layer you are working on. 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. RGB means Red Green Blue mode and it’s best used for online development and web-based projects. It works better for on-screen products because pixels are broken up in computers into small series of red green and blue dots. For print publications, you should convert your image to CMYK color mode. CMYK stands for Cyan Magenta Yellow and Black. It’s best used for printed works because each pixel is assigned a percentage value of each of those 4 inks, which a printer can read and determine with great detail what amounts of ink go where to make up a clear picture.

Three pass color correction

Under the image tab there are three auto tabs: tone, contrast and color. These are default tabs that Photoshop provides. The issue with using these tabs is that Photoshop arbitrarily makes adjustment without actually seeing what happens to the image. In some cases it will radically change the colors from what they should be. A better way to correct color in your photograph is to use the Adjustments pane on the right hand side of the page and clicking on the half lit sun icon and sliding the contrast meters around until the image contrast/brightness is to your liking. Similarly, you can adjust the color vibrance and saturation with the vibrance slider tool. 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. You can see it on the right hand side panels in the form of a small picture of the image you are working on. You always want to preserve the background layer. In order to do this, you will need to add a new layer. This can easily be done by going to the ‘Layer’ dropdown menu and selecting the ‘new layer’ option. One you do this you should lock the background layer by selecting the background layer and then by clicking the lock button on the layer panel on the right hand side. By not using the background layer and by protecting it this way, you will always have your original image to look back on in case you want it for something.

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Left Side Tool Bar

The Marquee tool allows you to select various shapes within an image.

The Crop Tool lets you select a smaller portion of your picture and crop out a portion of it. Once selecting this tool you can enter precise sizes to crop the image in the control tool bar that appears along the top of the work window. Next to the Ratio dropdown menu there are two boxes where you can add dimensions of the image that you want cropped.

The Clone Stamp is used to create the same color/ pattern of pixels of a selected area somewhere else on the picture.

The Eraser Tool is used to change pixels to the background color or to transparent. If working on a background or in a layer where your transparency is locked, your erased pixels will change to the background color, if not the pixels are erased to transparency.

Grayscale

A Grayscale image is an image in which the only colors are shades of gray. To turn an image into a grayscale image go to the ‘Image’ dropdown menu, select ‘mode’, and then choose ‘Grayscale’. Once you save and close the image, you are not able to convert it back to full color again. An example of an image before and after applying gray scale is seen below.

Fake Duotone

A fake Duotone image can be created by making a new layer of a certain solid color of choice and then thinning out the opacity of it. This can be done by changing your document to CMYK, drawing a rectangle over your image in a new layer the color that you want to act as the filter, and then by adjusting the opacity of the rectangle layer with the Opacity adjuster on the right hand side toolbar until you’re satisfied with the filtered look.

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 the image is important because the larger it is, the blurrier the details will be unless the number of pixels is also higher. When you don’t have enough pixels in an image and you go to enlarge it, the newly enlarged image will appear blurry and unclear.

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.

The program that is best for working with Raster is Photoshop, whereas Illustrator will be used in Vector.

Duotone

A Duotone image is an image that uses only two colors. Traditionally it uses a grayscale image (black) and another color, but it could use any two colors. It is often used when full color printing process is not an option or to bring out middle tones and highlights of an image. A common duotone is sepia toning in which a reddish-brown color is added to a grayscale image to mimic photos from the late 19th century. To create a duotone in Photoshop, you must first start with a saved grayscale image.

To create a duotone, select the ‘Image’ dropdown menu, select ‘Mode’, and choose Duotone. A window will appear allowing you to choose the color(s) you want to use in making your Duotone Piece.

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File Formats JPG (JPEG): Joint Photographic Expert Group. JPG and JPEG are interchangeable and is a lossy graphic file. A problem with jpeg is upon saving and opening a new jpeg file, it combines similar pixels to save time and space, this can lose some of the details of the original image. It is best used for displaying images on the web.

Tagged Image File Format. TIFF is the computer format for storing raster images because it is remembered every time it is opened, with the pixels unchanged from the previous time it was worked on.

PSD: Photoshop Document. PSD is Photoshop’s native file format and is used when working with layers that contain other images. A Photoshop document is important because it allows you to open up a document and work on individual layers within it and make alterations where you want.

TIF:

Portable Document Format. PDF was created by Adobe as a format that can be used independent of application software, hardware or operating systems. PDF is useful because it allows for multi-platform sharing for people with different types of computers and software (for the most part). It is a more universal way to share documents.

PDF:

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. These files are small and unchangeable, ideal for a web based use, this is preffered over the large Photoshop Documents or TIF images.

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.

the layer mask icon

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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. There are also options in the New Adjustment Layer tab that include Posterize, Gradient Map, Threshold, color options including: Vibrance, Hue Saturation, Color Balance, Black and White, Photo Filter, Chanel Mixer, and Color Lookup, along with image adjusting: Brightness, Levels, Curves, and Exposure.

Rearranging and grouping layers

As you create more and more layers on an image, the right hand toolbar will begin to be cluttered with all of the small boxes of changes. You can hold down on a layer and drag it to a position you desire. To reduce the clutter of multiple layers, you can click the Create New Group button and this will allow you to organize your layers into similar groups and be filed away neatly for storage. These layers are easily accessed by clicking on the group you want to get into.

the New Group button

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Filters Tab

The main filters available in the Filters Tab include: 3D, Blur, Blur Gallery, Distort, Noise, Pixelate, Render, Sharpen, Stylize, Video, and Other.

A sub list of The Pixelate filters includes: Color Halftone, Crystalize, Facet, Fragment, Mezzotint, Mosaic, and Pointillize.

To apply a Crystalized filter to the image, select Filter>Pixelate>Crystalize and then adjust the size of your desired crystals using the slider at the bottom of the window labeled Cell Size, once satisfied, click OK and your crystalized filter should be applied.

Clipping Paths

To create a clipping path follow these steps:

1. Use the Pen tool to create a path around the image area by clicking the pen tool tight against the edge of the image that will become the silhouette.

Do not use too many points, as this will make the curves choppy. You can always add a point if needed.

2. Using the point ^ in the Pen toolbox, click on each point to draw out the handlebars. Select one side (point on end of handlebar) of the handlebar at a time to adjust the curve.

3. To move point, switch to the arrow tool (two down from the pen tool), right button click (or double click) to change from path selection tool to direct selection tool. This will allow you to move a specific point to the right place.

4. In the Paths panel, choose Save Path from the panel menu (click the triangle in the upper-right corner of the panel), and then name the path.

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

6. In the Clipping Path dialog box, select your path from the drop-down list (it will appear as a picture), if it’s not already selected; click OK. Leave the Flatness Device Pixels text field blank. The flatness value determines how many device pixels are used to create your silhouette. The higher the amount, the fewer points are created, thereby allowing for faster processing time. This speed comes at a cost, though: If you set the flatness value too high, you may see (if you look close) straight edges instead of curved edges.

7. Choose File→Save As and, from the Format dropdown 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.

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Merge Layers

Merge Layers combines the layers you have selected after holding the shift key and selecting multiple layers, clicking merge layers after you do so. This merges them together into one singular layer. The layer name will change to the name of the top layer of all the selected layers.

By holding the shift key, you can select multiple layers of an image. Once your selected layers are highlighted, right click and select the Merge Layers option on the dropdown menu. Your layers will flatten and become one layer.

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. By selecting all layers with the shift key shortcut and after right clicking, you can select Merge Visible and the layers with the eye icon next to them will be merged together, while the layers with the eye turned off will remain unmerged,.

Flatten Image

Flatten Image will combine all of the layers into one “flattened” image or layer. You will be prompted to choose whether or not to discard hidden layers before doing so. If you choose “Ok” to discard hidden layers, Photoshop will ignore any layer with its visibility toggled (the eye) turned off. If you choose “Cancel”, Photoshop will cancel the flattening process. If you want the hidden layers included in the flattened image, you will have to toggle it’s visibility to “On”. Once you flatten an image, save the file, and close it, you will be unable to select individual layers and work on them, because the layers have been all placed on one. To preserve the original unflat file, you should save the document with all its multiple layers as a different file before condensing it to a single-layer file. It is recommended that you always leave your original image on the bottom layer and never merge it with your final product, so that you can always go back and edit it if you want.

After selecting all layers and right clicking on them, if you select Flatten Image, all of your layers will be placed on one plane and stuck together. Be sure all the layers you want to flatten together have the eye icon next to them turned on, otherwise upon flattening, the program will ask you if you want to discard all deselected layers or not, if you say yes, all layers without the eye icon will be ignored in the flattening process.

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Illustrator Starting 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, going to the Type dropdown menu, and clicking Create Outlines. Make sure to check the spelling before you convert your text into an image. Once it is an image you’ll be able to 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 that you want to add curves to or give 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 in front of you. Your first idea usually is not the best one, so a quick way to get tons of ideas out is to make thumbnails. In my opinion, I love making lots of thumbnails and combinations of ideas, just so I can see on paper all of the ideas/options I have for a project. You’ll know you have enough thumbnails when you’ve exhausted all possibilities you can think of over a few days of trying. This could mean anywhere from 50 to 200+ thumbnails. Thumbnails should be sketched at the beginning of your project to get the creative juices flowing, before you commit to a certain idea.

a page of thumbnails 20

Developing Narrative

It is important to develop a narrative or backstory when creating a character or product. With a detailed backstory, one can begin to infer what physical qualities a character may possess. Where the character is from, what they eat, how they get around, and what they do in life are all important questions that one can answer with a narrative that will affect the overall design of a character. If you know all the detailed information and backstory ahead of time, you will be able to build a character that is unique and makes sense, as opposed to making a character and then giving them a backstory that doesn’t match up to their design.

Color in Print Design Color

“Designing with color begins with the recognition that the colors of your environment appear as a reaction to light.” (Gonella, 2014) Designers need to know a lot about color. From color theory, the psychology, cultural and mythic meanings of colors, to the technical aspects of how to handle color digitally, to knowing the systems of used in specifying color, the knowledge base you need to acquire is expansive.

Color Systems: Additive vs. Subtractive

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

Additive Color System

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

Subtractive Color System

When we look at color that is applied using paint, dye, ink or other forms of pigments (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. With his works, he systematically explored the range of visual effects made by subtle variations of color, shape, and positioning. Many of his works utilize the potential of a two-dimensional piece and its different colored corresponding parts to develop a three-dimensional space.

All of this is very important to recognize when designing with color.

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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 spot color to create a specific or vibrant color that CMYK can’t quite recreate. Spot Color is used in branding when a company’s logo has to have a very specific color every time it’s brand appears. It is good to use Spot Color for a more 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.

image of Moire courtesy of suineg.info.com

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Pantone Color System

The Pantone Color System is the most used color matching system in the design industry. Other color systems include; Process/CMYK, German RAL, 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 all of these colors by systematically mixing certain amounts of basic colors, following a certain ‘recipe’ for a desired color, guaranteeing the same color can be made every time, 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. Once in Illustrator, click on the New Swatch button on the Swatches tab. In the window that pops up is your current color, here you can edit the color type to be a Spot Color and adjust the relative amounts of CMYK in your color. Once satisfied with your color, you can save it to your color library and be able to access it down the road when you want to use it.

Tools Shape Builder tool

The shape builder tool can be used to combine several different shapes into a single shape. Begin by creating the shapes you want to merge, making sure that they slightly overlap each other. Select the shape builder tool from the tool panel. Click on one shape, and while holding down the mouse button, drag it over all the shapes you want to join. Be sure that both shapes are selected (blue lines/boxes) before you try to merge them together. When you select a shape with the Shape Builder, the outline turns red, and the inside of shapes that you are joining will turn black and white. After dragging your mouse between the shapes you want to join, the end product will be a joined shape with the combined outlines of the two starting shapes.

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 a few 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 Trace 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 Image Trace are that it sometimes only traces parts of your image, giving 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.

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Eraser Tool

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

Now you will be able to erase without it apply a stroke on the edges.

Clipping Mask

To place an image in a shape or text, you can do so by using a clipping mask. First place the image on the artboard in the approximate size you want the mask to be. Then place over the top the shape or text that you want it to go into. Make sure you have the shape or text the size that you want the mask.

Select both items and go to Object, Clipping Mask, Make. Now your object will have the image as a fill.

If you double click into the shape or text, you are able to move the image around.

Symbol Spray Tool

With the symbols panel open, select the symbol you want to use first. Then with the symbol spray tool, spray your symbol(s) where you would like them placed. You are able to manipulate them with the other tools in the pullout menu. 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 they’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 options include; warp, twirl, pucker, bloat, scallop, crystalize, and wrinkle. They let you adjust, spin, shrink, expand, widen, and compact your strokes and shapes respectively.

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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 desire. 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 reblend 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.

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. able to layer this texture on top of the other layers and you can adjust the opacity to soften it if you need to.

Tabs

You can create custom tabs within a text box by clicking on the paragraph styles button on the right hand toolbar and selecting the current style of text (default is basic paragraph). A window with all of the paragraph style options will appear, click ‘Tabs’. Once in the tabs menu, one is able to select the type of justification and determine how far in a custom tab will go by clicking on the gray box above the ruler. Once satisfied with the new custom tab size, one should press ‘OK’ and the new tab size will be applied to all text that paragraph style is applied to. To edit the tabs of a pre-existing text, highlight the text and go into paragraph styles, if the new tab size exists, just click the paragraph style with the custom tab size, otherwise a new tab size can be made and once ‘OK’ is clicked, should be applied to the paragraph.

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Bullets and Numbered Lists

To insert Bullets or to create a Numbered List, go to the ‘Type’ dropdown menu and select ‘Bulleted & Numbered Lists’. Upon clicking this, there are the options to Apply Bullets or Apply Numbers. These options will apply either bullets or numbers in front of every new paragraph. Deleting or adding a paragraph will either add or subtract a bullet or number respectively.

InDesign-Object-Effects

You are able to add an effect to a text box, object, image or photograph by selecting the ‘Object’ dropdown menu and going to ‘Effects’.

The available effects that can be applied include transparencies, shadows, glows, embosses, and feathers. When you apply an effect to a clipping mask image, the effect will be applied to the image and will move with the image inside the boarder.

Link Management

You can keep track of all of the linked items in you InDesign file by using the ‘Links’ button on the right hand toolbar. Once opened, a window will open displaying all of the linked items currently placed in the document. When a link is missing, there will be a notification that looks like a small question mark in a red circle. The linked object is connected to an original, independent document and its original components. When exporting or printing, the original graphic is retrieved and the final output is created at the full resolution/quality the original. It is important to have all of the link information when printing, otherwise a file may not print or export an image at its fullest resolution.

Bleed

A bleed is the portion of a document that hangs off the page and falls outside the area that will be printed. We use bleeds to make sure that ink is printed to the edge of a page when its printed.

Bleed marks are important to use because they make InDesign print more of the artwork that is past the print box, without changing the size of the box. The bleed marks appear as an salmon/ orange colored line that boarders the outside of a document.

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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 the ‘File’ dropdown menu, select ‘Package’, select ‘Package…’, ‘Save’, select a name for the packaged file and where it will be saved, ‘Continue’, and ‘Package’. A packaged file contains copies of Fonts, Graphics, a PDF, and Links that were used in the creation of/that make up the document so when the file is opened later or somewhere else, all of these will be available to use.

Photo Equipment and Room

Students are able to rent cameras, lighting, and other photography equipment through a check out system available for free. To use any of the equipment, contact Nate Weeden via email and set up a time to swing by his office. Once there, he’ll have some paperwork to sign indicating liability and recognizing the fact that equipment is being rented by somebody. Be sure to return the equipment by the agreed date. The photo room is located on the southern end of the building on the ground floor by the exit closest to the TNR. The room can get hot with the lights that are already in there and it’s recommended you use these as little as possible when taking pictures. When plugging in lights and other equipment, be sure that everything is plugged into an outlet with a different number. If multiple appliances are plugged into outlets with the same number on them, there is a risk to blow a fuse.

Bone folder

A bone folder is a fine-edged, often pointed piece of plastic, metal, ceramic, and traditionallybone. Bone folders are used to create a fine crease along a piece of paper that will allow for an easier and cleaner fold. To use a bone folder, locate where on the paper you want to place the fold, use a ruler to keep your lines straight, and press down and pull the bone folder like a pen or pencil across the paper, the resulting crease will be where the paper will fold.

Banner Printer

The banner printers are available for students to print large documents, posters, pictures, and other works too large for a normal sized printer.

To print a file with the banner printer on a specific sized sheet of paper, release the roll and unwind it, after this open up the back of the printer, and insert the desired sheet of paper in the back. After the paper is inserted, select ‘Skew check’, ‘fine art material’, ‘fine art paper more ink’. When using a glossy paper, be sure the glossy side is facing up in the printer. Once this is all set up, send the file to the banner printer with all of the appropriate printer settings in print preview. The piece should print successfully from the banner printer.

Importing Illustrator file(s) into InDesign

There are two common ways to import your Illustrator file into InDesign: -Place the original IA file by going to the ‘File’ dropdown menu, and selecting ‘Place’. Files placed in this manner will be linked. A file that is linked can be altered in Illustrator and the alterations will be directly applied to the file that’s placed in InDesign.

-Copy and paste from IA to InDesign. A file that is copied and then pasted from Illustrator to InDesign is imbedded. Imbedded files can’t be altered as freely. If changes are to be made to the file, they need to be done in Illustrator, and then re-copied and re-pasted into the InDeisgn file.

You can quickly make changes to the IA file by right button clicking on the illustrator file in InDesign and a popup window will appear. In this window select Edit With>Illustrator. It will take you to the original file so that you can adjust or fix issues. Once you save it (without change the name or file type), it will automatically update it in InDesign. (This also works with a photograph and Photoshop.)

Glyphs

A glyph is a character or symbol that isn’t so commonly used that it needs to be on the keyboard, but is still occasionally useful when creating documents. To insert a glyph in InDesign, go under the ‘Type’ dropdown menu and select ‘Glyphs’. From here a window will open, allowing you to choose from a variety of glyphs able to be inserted into the text.

The five questions you should be answering when you do research are: Who, What, When, Where, Why, and if applicable, How. Before you can design anything, it is best to learn everything you can about your subject in order to fully capture its essence to the best of your understanding and ability.

Types of Binding Saddle Stitched: Folded sheets are gathered together, one inside the other, and stapled through the fold with wire staples.

Perfect Bound: Adhesive is applied to and securely binds the spine of gathered pages. A paper cover is attached to the binding adhesive.

Wire/Spiral Bound: Pages are fastened together with a spiral of wire or plastic that coils through a series of holes along one side of each page and the covers.

Pamphlet Stitch: Folded sheets are gathered together, one inside the other, and three holes are punched in the creases of all of them. A string is then run through the holes and tied in a fashion that holds the booklet together.

Coptic Bound: Multiple sections of paper and covers are sewn together with an exposed spine.

Japanese Stab Bound: Stack of single sheets is bound with string tied between a series of holes in a pattern.

Screw Post Bound: A series of screws that run through the book and connect to each other, keeping the pages and cover fastened together

Creep

Creep is when the inner pages of a saddle stitched book extend or creep out further than the outer pages when all of the pages are folded. Creep occurs where there is a large amount of paper in a saddle stitched booklet. When designing a book, it is important to consider creep allowance and how much this effect might affect the end format of the pages. If you don’t think about creep, your end product will be sloppy and have the innermost pages sticking out. Always consider creep when designing a saddle stitched book with lots of pages, otherwise consider using a different method of binding.

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Hierarchy levels “Typography exists to honor content.”

-Robert Bringhurst: The Elements of Typographic Style Hierarchy is the way in which you present the type on the page in order of importance. This is important because it determines how a person is going to read the words in your work. Hierarchy draws the eye to certain important words or phrases and draws it away from other less important words or phrases.

Primary Level: the biggest type on the page.

Usually seen in headlines, it is the first thing that the readers will see. Usually seen in headlines, decks, and titles Secondary Level: type that assists the reader understand what’s happening on the page without being too detailed. The secondary level is aimed to be a simple and effective way of communicating more details that are important to the subject. Seen in subheads, captions, pulled-quotes, and other small blurbs that add to the main message of the text.

Tertiary Level: the type is used for the main text of a design. Often, it is the smallest type in a design.

It’s usually pretty simple and easy to read.

Other Levels: these can be looked at as the ‘special-effects’ applied to the text to make certain areas of the text body stand out. These effects include: italics, bolding, underlining, and adding color to wording. Effects are only to be used occasionally.

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% point size. 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.

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x-Height:

In typography, x-height is the height of all lowercase letters in a text based on the height of the lowercase x. X-height is the distance between the baseline of a line of type and the tops of the main body of the lower case letters.

Optimal Line Length:

For normal body text, 50-60 characters per line, including spaces is the best. Too short and you break the reader’s rhythm, too long, and the reader will lose their place when they travel to the next line. (Again the x-height, weight and typeface will help determine the best number of characters per line.)

Printer Spread vs. Reader Spread:

Printer spreads are organized in a way so that after printing, when folded, cut properly, and put in a book or text; they end up in the right order.

Reader spreads are put in the order in which we are supposed to read them, organized from first to last page.

Adobe Acrobat DC Adobe Acrobat Reader lets you View, Search for, Comment on, and Sign PDF’s. Acrobat DC lets you do everything Reader can along with creating and editing PDFs, adding interactivity, and can be upgraded from Standard to Pro.

Tools: Create and Edit Create PDF: This tool allows you to take a previously saved document and convert it into a PDF format.

Combine Files: You can open multiple documents or PDFs and bundle them up into one PDF. Organize Pages: Lets you insert or delete pages, as well as rotate them. All you have to do is drag and drop to change the order of the content.

Edit PDF: This tool lets you change the text and images of pre-existing PDFs. Acrobat will match fonts, colors and styles that exist in these PDFs.

Tools: Review and Approve Some of the tools available in the Review and Approve section include Comment, Stamp, and Compare Documents.

Comment: allows you to write notes on a side bar on what to edit later on.

Stamp: lets you place stamps on the PDF that may be useful on documents.

Compare Documents: lets you view and edit two documents side-by-side an.

Tools: Protect and Standardize Some of the tools available in the Protect and Standardize section include Protect, Redact, and Optimize PDF. Protect: lets you restrict editing on a PDF, encrypt, and edit other security features Redact: allows you to quickly mark and delete portions of a PDF. Optimize PDF: allows you to reduce file size, and work with advanced methods of file compression

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Plagiarism and Copyright Infringement:

Photo captions (cutlines):

A 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.

Plagiarism: Is the wrongful using of or closely imitating the works of another person without authorization and then representing that person’s work as your own, and not crediting the original person for their work.

Copyright Infringement: Is when you take a copyrighted work and reproduced, distributed, performed, publicly displayed, or imitate the work without the permission of the copyright owner.

There is generally a series of steps one needs to go through in order to get copyright permission.

After determining whether or not permission is needed, the owner of the work of interest must be identified. After this is done, the rights are needed and the owner should be contacted and negotiated with whether payment is required or not. After this is successfully done, your permission agreement should be obtained in writing.

Citing Your Sources: MLA (Modern Language Association)

MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. MLA style features brief parenthetical citations in the text keyed to an alphabetical list of works cited that appears at the end of the work. Below are some examples of varius citation formates.

Book Citation: James, Henry. The Ambassadors. Rockville: Serenity, 2009. Print.

Article Citation: Bowman, Lee. “Bills Target Lake Erie Mussels.” The Pittsburgh Press 7 Mar. 1990: A4. Print.

Web Citation: “India.” Travel.State.Gov. Bureau of Consular Affairs, U.S. Department of State, 17 Feb. 2010. Web. 4 May 2010.

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example of a photo with cutlines

Customizing Type Baseline shift - allows a character to be raised or lower text relative to the baseline Vertical scaling - changes the height of the type a

percentage relative to the original height of the type

Tracking - adjusts the spacing of a group of

letters, creating a field around letters or adjusting a paragraph Kerning adjusts the space between individual letters.

Horizontal scaling - adjusts the width of the type

a percentage relative to the original width of the type Skew- uses a numeric value to slant type either to the right or left pending positive or negative numbers.

Paper

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

Kinds of Commercial Paper

Commercial paper is manufactured according to industry standards. There are a range of characteristics and specifications used to identify the different types of paper. These are Grade, Finish, Weight, Color, and Grain Direction.

Basic Grades of Commercial Printing Paper: Bond or writing- usually used for letterheads, business forms and copier uses.

Book- the most commonly used coated and uncoated papers for printing.

Text- high quality sheets in a variety of surfaces and colors.

Cover- used when greater bulk is required such as book covers, postcards or inserts.

Tag / Bristol / Index -smooth surface papers, mostly uncoated, used for displays, file folders, tickets.

Within each grade there are other distinctions, based on brightness, opacity, fiber content, and finish. For instance, there are matte, premium, and gloss finishes to coated papers. Text papers are distinguished by finishes like smooth/ vellum, felt/embossed, laid, and linen.

Papers come in a variety of Surface Types. Common Coated types are: Gloss, Dull, Matte, Silk and Embossed. Uncoated paper comes in a wide variety of finishes including: Smooth, Linen, Vellum, and Felt. Each of these surfaces will provide different print quality and overall appearance. Each has its strengths and appropriateness for a particular job.

Printing Processes used in the Design Industry

Designers use different printing options depending on the intent and scope of the project.

Simple documents, like our course syllabus, are printed on laser, toner-based printers and duplicated on toner-based copy machines. Single, one-off, print jobs such as a laminated poster, would be produced on a color inkjet printer. A short run of several hundred brochures for a local event would get run on a color laser printer. Commercial projects such as the internationally distributed Print magazine or the Harry Potter books are produced in large print publishing houses using the offset printing process.

Offset Printing

Commercially produced print work is most often created through a process called Offset printing. This process involves the digital image of the design being separated into plates corresponding to each of the ink colors being used in the printing process. This can be 1 or 2-colors of ink or, more often, the four process colors Cyan, Magenta, Yellow, and Black also known as CMYK.

Digital Printing Presses

Fairly recently commercial printers began offering high quality printing using all digital machines. These are ideal for shorter-run jobs and highly customizable.

Post Press Processes

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

Copy Shops

Copy centers have a range of digital printing capabilities including high quality Black & White and Full color laser printers and larger Color inkjet banner printers in different sizes.

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.

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Printing a Booklet (On a Mac) Step 1: Make sure you set up your document correctly. (Facing pages, correct number of pages for a booklet (multiple of 4).

Step 2: Go to File, Print booklet. Click the Print button, which will open up another pop-up window. Check the preview to make sure everything looks right, tell it to print blank pages. When you click OK, the Print dialog box will close and you’ll return to the Print Booklet dialog box.

Step 3: Check Set-up tab to make sure the orientation is right, and marks and bleeds are selected.

(Also make sure the Preview tab is showing the booklet properly.) Now, click Print and you can save the PostScript file with a name and location: Step 4: Convert to PDF. Once your PostScript file has been saved, it’s time to convert it to a PDF file. Launch Acrobat Pro. Choose File, Create, PDF from File, select your PostScript file, and then open. Once it is done creating the PDF it will open up in a window as a pdf. You can now save it as a PDF. If you are working on a PC, you will be able to select Print Adobe PDF from the print menu and it will work.

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Project 1: Photogrid To set up project 1 I opened Photoshop up and uploaded my original photo. From here I needed to format the size of it so that it would fit into a grid of 7x10, this would be accomplished by using the crop tool and typing my desired end dimensions in the top toolbar.

Go under the Image dropdown menu, select Mode, and Grayscale to save this bottom layer as a black and white image upon which all other layers will be built on.

After this step, I could place this file on a new document with the dimensions 10.5x15 at 300 pixels/ inch, this could be edited when opening a new document.

From here, you can go under the File dropdown menu, Place Linked, and select the saved Grayscale image you just made. You will be able to adjust the image to the dimensions of the new piece and then be able to click “place” to lock it into place.

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To create the gridlines for each unique square, go into the Photoshop CC dropdown menu, select Preferences, Guides,Grids,Slices…, and set the Gridline to every 1.5 inches and Subdivisions to 1, in order to divide the photo into 70 1x1 inch squares.

To view this grid over your picture, go to the View dropdown menu, select Show, and then choose Grid. Be sure to lock this layer, it will serve as the foundation upon which you will build the rest of this project and you don’t want to accidentally delete it.

The base layer is now set up for you to start dropping in and cropping the filtered layers of your original image that you’ve made. To do this, go to the File dropdown menu, select Place Linked, and select the file of the filtered version you want to place on the image and click Place.

Here you will notice your entire background image will be covered up with the filtered image you chose. To just make a 1x1 square the filtered image, draw a rectangle with the Rectangle Marquee Tool around the tile you want to have the effect of the filtered image. You will notice a black and white dotted line around the area you chose. While this is up, click the Add Layer Mask button on the bottom right tool panel. Upon clicking this, you will notice the rest of the filtered image will disappear except for the 1x1 inch square you selected. Repeat this process with the other 69 squares and filtered images you’ve created, being sure to make a new layer for each square and locking that layer after you create the Layer Mask.

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Rectangle Marquee

Selected Tile

Add Layer Mask

Once you’re done with that process you will have about 71 layers chilling on the right side panel. To save space and make your file smaller, flatten the image using the steps you learned earlier in this lesson.

From here you can save your image as a Photoshop PDF, which can be read in Adobe Acrobat to be printed.

the finished product

For my piece I wanted to give each object in my picture its own family of colors (the wall is whites and greys, the pot blues, reds box, green ball of string, and yellows and browns on the table). I wanted each of them to be distinctly unique and to stand out from each other but fit together in this loud, bright, and colorful piece. I think my lines could have been cleaner and I could have taken more time in making this piece. If I were to do this piece again, i would choose a more interesting subject/starting picture.

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Project 2: Paper Creature The first step I used in setting up project two was opening up a new document in InDesign with the dimensions of 11x17. Once this was opened, I utilized the technique of turning a greyscale into a monochrome for a background. After this base layer was established I had to scan in my original design so I could recreate it. Once scanned into InDesign, I used the Image Trace tool to get the outlines of the shapes from my original sketch.

the greyscale image turned into a monochrome

the sketch after using the image trace tool From here I opened up new layers and built up shapes with gradients and patterns to develop the image of the monster. After test-printing this monster, i rearranged the page layout and got the final size down.

E

A

F

E

F

B

1

C

D

2

A

the final image of the monster pattern 36

The image of the fully assembled monster was uploaded and needed to be cut out in Photoshop.

E

B

A

E

F

F

1

C

D

2

The first known sighting of Chavrémang comes from French-Canadian explorer David Thompson in 1811 as he was exploring the Columbia River in what is present day Alberta Canada. He writes, “twas a beast unlike any I have ever seen...It’s jaws rip apart the local fawna with ease...tis a beast not afraiad of mankind and has shown a liking to human flesh...the local natives fear this beast...”. Chavrémang’s primary food source is the mountian goat, which are abundant in its Rocky Mountain habitat. The mountainous terrain has allowed the creature to develop strong legs for climbing, powerful jaws for taking down prey, and excellent night vision for hunting in the dark winter seasons. Scientists have yet to successfully capture a Chavrémang, but from samples collected off rare remains of food, they’ve discvered a super acidic toxin in the creature’s saliva that rapidly increases the ability to digest fur and bone. The dissappearances of many hikers, campers, and adventurers have been blamed on this creature, leaving an estimated death tally of 267. Over the years, this elusive predator has earned the nicknames: “The Appetite of the Mountains”, “The Rock Crawler”, and most popularly, “The Canadian Chupacabra”.

original image A

This image was cut out using the magic wand tool and brought over to the background. To set this up, two layers of the image were created, the bottom layer was locked and made invisible, while the top layer was edited with the magic wand tool.

the magic wand tool

Directions for assembly: 1. Cut out pieces along the solid lines.

2. Fold pieces along the dotted lines. Bend tabs away from the side with the pattern 3. Align the tabs with the same letter when putting together the legs.

4. Use the long strips 1 & 2 to join the two pieces that form each leg.

5. Glue the tabs in behind the adjacent triangle when forming the body.

6. Glue squares A&B of the legs to squares A&B on the body.

7. Curl the antennae slightly, fold tabs C&D under them, and attatch to squares C&D on the body.

8. Wait 10 -15 minutes for the glue to dry.

9. Enjoy your miniature Chavrémang!

image courtessy of mikeandsarahsrvadventure.wordpress.com

image courtesy of mikeandsarahsrvadventure.wordpress.com

the finished product

I believe I successfully created a piece that satisfied the requirements of the project and showcased my abilities to use various processes of graphic design. I would have liked to see a better way of formatting the final page where I could make the bodies of text more prominent and easier to read, but I am satisfied with the overall end product. If i were to do this project again, I would choose to build a creature with a less involved building process. This would save time in the designing and constructing processes.

the image after using the magic wand tool

This edited image was then placed on top of the background, along with the finalized pattern and some informational text.

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Project 3: 8 Page Brochure The goal of project three was to develop an eight page, informational brochure of a club or organization on campus. I chose to make a brochure with information on the cross country team in it.

The first steps of this project were researching the history of the team, collegiate athletics, and the Stevens Point area. I went to several resources online and interviewed the coaches and some athletes in person. After I had enough information, I created a mock-up pamphlet with blank printer paper. This served as a rough outline of what information each page would contain, where pictures would be placed, and what the overall layout of the pamphlet would be.

After I was satisfied with this idea, I went to InDesign, made an 8 page-document, and recreated this rough guide with simple shapes and placeholder text.

the InDesign mock-up After this, I added background layers of color, images, and all of the information that I gathered in my research. Once everything was in, I packaged the pamphlet and saved it in a format where it could be printed in printer spreads.

the final brochure design 38

I believe that my brochure was my most successful of the three pieces. Creating a piece that dealt with an organization that I am passionate about was far easier than developing somthing o of a prompt. I think the gradient on the covers worked well, but would be overused if all the pages used the gradient. I enjoyed making and playing with the golden circles motif that repeats throughout the piece. To me, the end product is a simple yet eective way to distribute a good chunk of informaiton about the team that isnt too overwhelming. If I were to change anything I would probably try to get more interviews in with some of the team and I would like to see more information about the Stevens Point area included.

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Graphic Design ABCs: A Glossary of Basic Design Terms

December 4, 2014 This post was originally published on September 22, 2007 on the UCreative website. You can find us at: http://www.ucreative.com/resources/.

Since then we’ve updated the list and added images.

Enjoy, Creatives!

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

Designers have their own language. There are words that only we understand. Sometimes we don’t really know their exact definitions; we simply use them out of familiarity. It’s about time someone put them out there. The YouTheDesigner (YTD) team updated this glossary of graphic design terms for design newbies and experienced artists alike.

A Acrobat A product developed by Adobe systems to create PDF (Portable Document Format) files.

Acrobat is an independent means of creating, viewing, and printing documents.

Airbrush A tool using compressed air that to spray a liquid, such as paint, and ink. Often used in used in illustration and photo retouching.

Alignment The adjustment of arrangement or position in lines of a text or an image —left, right, centered, etc.

Alpha Channel The process of incorporating an image with a background to create the appearance of partial transparency. Alpha channels are used to create masks that allow you to confine or protect parts of an image you want to apply color, opacity, or make other changes.

Analog Proof (Prepress Proof) A proof that uses ink jet, toner, dyes, overlays, photographic, film, or other methods to give a an idea of what the finished product should look like.

Anchor Point Anchor points allow the user to manipulate a path’s shape or direction by clicking the point and moving it in a direction. They appear along the beginning of a path, at every curve, and at the end of a path. You can add or subtract anchor points on a path.

Animated GIF A small animation based on continuous GIF images, giving the impression of movement or action.

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Animation Generating movement through a series

of images/frames.

Art Director The individual responsible for the selection, execution, production of graphic art.

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

Asymmetrical This is when graphics and/or text are not identical on both sides of a central line.

B Bad Break Refers to widows or orphans in text

copy; any break that causes awkward reading.

Bar The horizontal or vertical line drawn through a grapheme (unit of writing, such as a letter).

Sometimes added to distinguish one grapheme from another.

Baseline An imaginary line upon which letters sit and descenders extend below the baseline.

Bevel A tool in design software for drawing angles or modifying the surface of your work to a certain inclination.

Bezier Curve A parametric curve that represents a vector path in computer graphics. They are frequently drawn using a pen tool and by placing anchor points, which can be controlled to form curved shapes.

Bitmap A series of bits that forms a structure representing a graphic image. The color of each pixel is individually defined.

Bleed When a graphic object extends through another in an unwanted manner. It is then trimmed so there is no chance for a white line on the edges.

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

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

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

C Canvas Size Allows you to change the complete size of the document without adjusting the contents of the document Clipping Path A tool or shape that’s used to cut out an image.

Cloning Pixels A function that allows you to

replicate pixels from one place to another.

CMYK Stands for Cyan, Magenta, Yellow, Black; this color model (also called process color, four color) is a subtractive color model used in color printing.

Color Palette A set of colors that make up the total range of colors used in graphic computers.

Comp (Comprehensive) Comps are made to see what the initial design project will look like before it’s printed, showing the layout of the text and illustrations.

Complementary Colors The colors that are opposite of each other when viewed on the color wheel.

Contrast The difference between the light and dark parts of an image.

Copy This term refers to text supplied for incorporation into a design.

Crop A tool that removes portions of an image. It is usually used in digital photography.

logo, headline, images, or borders.

Embedding Process of transferring all the data of a font or image into a file.

Emboss To give a three-dimensional effect to a text or an image by using highlights and shadows on the sides of the illustration.

Engraving To print designs by cutting the surface of a metal plate.

EPS Stands for Encapsulated Post Script. This is a graphics file format used to transfer PostScript documents that contain an image, within another PostScript document.

Etch To imprint a design onto the surface of a plate by using a chemical such as acid.

Export To save a file in a format supported by other programs.

E-Zine Stands for electronic magazine. Refers to the name of a website that is represented by a print magazine; an web-based magazine that you can subscribe to.

D

F

Descender The part of a lowercase letter that

Feathering A tool used in graphic design software

stretches below the baseline and body of the letter.

Die Cut A die that cut shapes or holes in different materials to make the design stand out.

Dingbat An ornament used in typesetting to add space around an image or a symbol.

Dodge This is when you lighten or reduce part of an image by shading.

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

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

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

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

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

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

E Ear The rounded part of the lowercase letters such as ‘g’ and ‘q’.

Element Any distinct part of a layout such as the

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.

Four-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.

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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 42

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 re-edit their artwork.

Leading Refers to the amount of added vertical spacing between lines of text.

Leaf One piece of paper in a publication.

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 highcontrast letters have heavy, untapered stems and light serifs. Originally established by Firmin Didot and Giambattista Bodoni during the late 18th to early 19th centuries.

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

N 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.

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Open Type 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 44

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 bitmapbased 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 typefaces.

Spread (1) Two pages that face each other and are created as one visual or production unit. (2) Method of slightly enlarging the size of an image to make a hairline trap with another image. Also called fatty.

Subtractive Color A term defining the three subtractive primary colors: cyan, magenta, and yellow. As opposed to the three additive colors: red, blue, and green.

T Template Refers to a printing project’s basic details with regard to its dimensions. A general layout.

Text Wrap A term used in page layout software, specifically to the way text can be shaped around the edges of images.

Thumbnail A thumbnail is a reduced-size version of the original image.

TIFF (Tagged Image File Format) A graphic file format used for storing images . TIFF is a commonly used file format for high color depth images.

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 have a coating applied to it for smoothness.

Unsharp Mask A method used to heighten the sharpness or focus of images by selecting and increasing the contrast of pixels alongside the edges of images.

Uppercase Also known as capital letters, they are the larger characters in a typeface.

UV Coating A glossy coating applied to the paper surface and dried using ultraviolet light. It is glossy and adds a certain level of protection to the printed material.

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

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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.

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

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 crossplatform web browsers.

Weight The range of a stroke’s width. Also knows as semi-bold, light, and bold. Some typeface families have many weights like ultra-bold and extra-light.

Associated to the heaviness of the stroke for a specific font, such as Light, Regular, Book, Demi, Heavy, Black, and Extra Bold.

White Point One of a handful of reference illuminants used to define the color “white”. Based on the application, different definitions of white are needed to give sufficient results.

White Point Adjustment A white point adjustment establishes the amount of highlighted detail in an image.

Widow Line A single line of a paragraph at the bottom of a page or column.

Width Refers to whether the basic typeface has been lengthened or compressed horizontally.

The typical variations are Condensed, Normal, or Extended.

Word Processing Program A software application package that assists in creating, editing, and printing Work and Turn This is when you print on one side of a sheet of paper, then you turn the sheet over from left to right and print the other side. The same gripper and plate are used for this process.

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

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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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