Design Skills Workbook
Art 211 Graphic Production 1 Professor DKB Hoover Sam O’Shasky UW-Stevens Point Fall 2016
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Design Skills Workbook Art 211 Graphic Production 1 Professor DKB Hoover Sam O’Shasky UW-Stevens Point Fall 2016 Printed at the Office of Printing & Design, University of Stevens Point
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Table of Contents Software
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InDesign: Introduction.........................................................................................................................................................................6
InDesign Concepts: Type Hiearchy/ Paragraph & Character Styles................................................................................9 Photoshop: Introduction...................................................................................................................................................................12
Photoshop: Actions, Batch Processing, Sharpening and Optimizing................................................................................17 Working with Images..........................................................................................................................................................................19 Image Work Continued......................................................................................................................................................................20
Photoshop: Digital Images and Printing.......................................................................................................................................21
Illustrator: Intro, Workspace, Tools, Stroke/ Fill, Panels, Layers, Pen Tool.................................................................22
Illustrator: Blends, Gradients, Clipping Masks, Stroke, Patterns & Brushes...............................................................24 Illustrator: Tracing, Closed Shapes, Gradients, Patterns......................................................................................................26
Design Concepts 28 Design Process/ Print Design, Paper, Printing.........................................................................................................................29
Publication Design, Grid Structure, Page Elements...............................................................................................................33 Concepts: Design Principles in Page Layout.............................................................................................................................35
Fonts & Typefaces, Typesetting, Typography...........................................................................................................................36 Typeface Categories, Type Basics..................................................................................................................................................40 Fonts, Font Management/ Typography Concepts Legibility..............................................................................................42 About Color.............................................................................................................................................................................................43
Projects 46 Project 1: Photogrid............................................................................................................................................................................47
Project 2: Creating our own papercraft creatures..................................................................................................................49 Project 3: Creating a Brochure........................................................................................................................................................52
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Software
InDesign.................................................................................................................6-11 Photoshop...........................................................................................................12-21 Illustrator..........................................................................................................22-27
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InDesign: Introduction >>> How to Take Screen Shots on a Mac >>> Select the keys, Shift + Command + 4 to get a Crosshairs cursor. With this you can draw around what you want to capture. The screenshot goes automatically onto your desktop.
Use Shift + Command + 4 and then hit the Spacebar to get a camera icon cursor and you can capture the entire open window by clicking the mouse. You can move the camera icon over any part of your desktop to capture different panels or Tool bars.
Adobe InDesign | Overview Workspace, Pages, Tools, Panels, Guides, Grids, Master Pages Adobe InDesign is the industry standard software for page layout of print documents. With it you can control the number of pages, page size, grid structure, type styles and image placement. This is an overview of the interface and the basics on how to use the program. To begin, setup a New Document. Go to File > New > Document--or use the key command, Command (⌘) + N--to open the New Document window. Here you can set the Intent, number of Pages in your document, Page Size, Orientation, whether you want Facing Pages and many more options.
Columns and Margins
You know that every printed multi-page document has top, bottom, inside and outside margins and
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When you first open InDesign you see the new Document window.
that they use a grid with columns to govern content placement. When you open a New Document you have the option of setting columns and page margins OR you can set them to ‘0’ (zero) and use Margins and Guides to set these.
Tools
In the toolbar there are basic kinds of tools to get to know. There are Selection Tools, Frame and Shape Tools, Type Tools, Drawing, Cutting and Transforming Tools, and the Stoke and Fill ‘ColorRulers and Guides There are rulers running along the top and the left ing’ Tools. of your document window. The units of the ruler can be changed to read in points, picas, inches, cen- Application Bar, Applicatimeters, pixels, etc. Right click or Control click on tion Frame and Control the upper left corner where the rulers intersect to Bar change the units of measurement. These are the two horizontal bars across the top of the workspace. The ApplicaYou can create a new guide by clicking and dragging tion Bar can be used for setting up the on one of the rulers. Change the location by dragging workspace. You can turn on the Applicait to new position. tion Frame, which creates a perimeter around your workspace. The Control Bar can be used for controlling the charToolbar acteristics of different elements. It is Different Kinds of Grids The page layout of your document is controlled by a contextual which means it changes depending on what you have selected. grid structure that you create. There is also a Document Grid, which is like grid paper. To turn on and off the visibility of the Document Grid, go to the top menu and select View > Guides Panels & Grids > Show/Hide Document Grid (⌘’). Anoth- In addition to the Tools on the left side er kind of grid is a Baseline Grid, which is used for of the workspace, InDesign has a Panaligning text. We will discuss this a bit later. els area on the right side by default, Grids and guides can be adjusted to suit the docu- that house a slew of different options ment needs or your preference. Under InDesign for controlling your document and conchoose > Preferences > Grids (or Guides) to get to tent. Presets for groupings of Panels can the Preferences window. There are a number of oth- be selected that are specific to different er preferences you can set here. tasks. Individual Panels can be opened
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by going to the top menu bar under the ‘Window’ drop down menu. The Panels can be configured anyway you would like and the stack can be expanded, minimized, or pulled apart to suit your needs.
Pages and Master Pages
Margins and Columns
There are a number of ways to create a layout grid for your document. One of the most common methods is to select Layout from the top menu > Margins and Columns and set your specifications.
The Pages panel allows you to see a thumbnail version of your document. From here you can navigate to specific pages or rearrange them. You can add and delete pages, and choose how the thumbnails are displayed. A Master Page is like a template that you can apply to multiple pages in your document. By default the A-Master is activated. You can make adjustments to it and you can create new Master Pages for different kinds of page layout or sections of your document. To make adjustments to the Master, double click on the name in the panel. It will highlight and the name by the thumbnail and the name will appear at the bottom left side of your document frame.
Pages and Master Pages
Margins and Columns
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Panels bar
Indesign Concepts: Type Hierarchy / Paragraph & Character Styles
Example of Type Hierarchy
The above screenshot demonstrates a many ele- pieces of text play. Placement on the page, point size, stroke weight ments used in creating good type hierarchy. and the case of the letters (UC, lc, U&lc) are a few of the key aspects you can manipulate to build Building Type Hierarchy Design is about organizing things. In order to orga- your type hierarchy. The application of color or nize a layout for a page in any kind of publication tints is another way you can emphasize or unify for print or screen, you need to construct a visual typographic elements on your page. hierarchy within your type. This hierarchy dictates what is noticed first and differentiates the roles the
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Location, Location and Size Matters In the western world, the top of the page in the lefthand corner is where we are trained to look first. You can use this information to add a natural flow to your page layout. You can also experiment with the orientation of type in your page layout. Note that this is generally only appropriate for things like major heads or titles, not for body text. Designers generally use a graduated approach to applying strong hierarchy to the text on a page. A section or chapter heading has greater importance than a title, so is usually larger, and a title has greater importance than a subhead, and so on.
Paragraph Styles
Styles applied to it. Your Styles should always be Choosing Typefaces named to reflect what they are used for. That is, the There are millions of typefaces out there in the world. name of the Paragraph Style for Body Text should be Just because they are out there, does not mean you ‘Body Text’ or ‘Body Copy’ or simply ‘Body’. should use them. Great designers learn to work with a handful of classic typefaces and add interest by the Styles are Powerful layout and hierarchy choices they make. Remember Once you have a Style created you can apply it to any there are some typefaces designed for body text and number of pieces of text throughout your document. many that are not. Know the difference! The whole If you are familiar with CSS (Cascading Style Sheets) point of having text on a page is so it can be read. for the web, the same principles apply. When you Legibility and readability are your important goals. redefine the Style you only do it once and all of the instances it is applied to will change. This is the true power of creating and using Styles.
About Typographic Styles
Typographic Styles are characteristics decided on by either the designer or a company’s brand style guide. Each of the different designated roles of text in a document —such as Headline, Subhead, Byline, Body Text, Caption, etc.—will have one or more
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The Two Flavors of Typographic Styles
There are two distinct kinds of Typographic Styles that you need to know about and be able to use properly. These are Paragraph Styles and Character Styles.
Paragraph Styles
Used when styling entire paragraphs, Paragraph Styles are used to set the formatting of the texts. This kind of Style provides options for specifying Leading, Space Before or After, Indents,
Character Color, and many other aspects. Note that a new paragraph is started when you hit your Return key. This is also called a ‘Hard Return’. This is opposed to a ‘Soft Return’ which is simply a line break within a paragraph. You get this by holding down the Shift key when hitting the Return key. Because Paragraph Styles apply to entire paragraphs, you can apply this kind of style by simply placing your cursor inside the paragraph and selecting the style you created.
Character Styles
Character Styles are used to format only parts of a paragraph like, individual words or phrases. When you want to emphasize a specific word inside a paragraph, say by italicizing it, you would do this using a Character Style. Using your cursor, you must drag select or highlight all of the characters in order to apply this kind of style.
Character Styles
Basic Character Formats
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Photoshop: Introduction Image Categories
Technical drawing can be further subdivided into disciplines including: scientific illustration (Medical, Photographs, illustrations and collage are macro Botanical, Zoological, etc.), prototype visualization categories that images fit into. Each of these has nu- (Product, Packaging, etc.), mathematical and engimerous subdivisions that correspond to processes neering drawings, patent drawings or explanatory used, subject matter chosen and technique applied drawings (Exploded view, Multi-view projections, toward achieving an aesthetic. Images can be pro- etc.). duced by simple elaborate means. The subject matter can be understood as portraits, landscapes or Collage abstraction. Visual stylistic choices can range over a The Merriam-Webster dictionary defines collage as: 1. an artistic composition made of various materials spectrum of emotional responses. (as paper, cloth, or wood) glued on a surface Also referred to as a hodge-podge, collages can be mixtures of materials, of styles or of kinds of images. Photographs Photographic work can be classified in many ways In this respect, a collage is sort of hybrid, often comaccording to use and subject matter. You can find a bining photographic and illustrative elements. fairly exhaustive list here: http://www.mediacollege.com/photography/types/. Historically many different techniques have been employed. A good The Impact of Image Resolution list with descriptions and examples is on the V&A website: https://www.vam.ac.uk/articles/photo- Resolution is a term that describes the amount of detail or visual information in an image. The term graphic-p. is used when referring to a digital image as well as printed images. On-screen and printed images have greatly different requirements for resolution. ImIllustration The term ‘Illustration’ encompasses a huge varia- ages meant for display on a screen can look decent tion of styles and purposes. The major categories with a much lower resolution than images created are: portraiture, cartoon, decorative graphic or or- for print. nament, data visualization, architectural drawing, scientific illustration, technical drawing and illustration. Visual styles of drawing can vary from the representational, to the hyper realistic, to the quirky caricature or highly stylized cartoon.
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Most printed magazines a resolution of 300 ppi at the reproduction size for photographs. Vector images such as logos are saved for printing at a much higher resolution— generally saved at 1200ppi. Computer monitors have a resolution of 72 or 96
ppi. They can display images of this resolution and LPI stands for Lines Per Inch and refers to the coarsethey look pretty good. High-resolution monitors do ness or fineness of screen a commercial printer uses require higher resolution images to look sharp and to print images. clear.
Vector vs. Raster Images
Resolution & Kinds of Printing
Different kinds of printing use different resolutions Vector images have flat colors without gradients and in their screens to digitize images for printing plates. are completely scalable. They are defined by a math- These screens are measured in lines per inch (LPI). ematical formula. This makes them an ideal format for logos and symbols. Logos and other graphics are For example, newspapers are printed using fast web saved in this way. presses on coarse paper that absorbs a lot of ink. In order to avoid the images getting all muddy from ink Rasterized images have continuous tones or smooth- spreading—called dot gain, they use a lower LPI in ly blended gradients. They are defined by a matrix of their printing screens. Low LPI means fewer lines pixels where each pixel has its own color or value. per inch to define an image. So photos for newspaWhen saving raster images they are always saved at pers are saved at a ppi lower than 300. the resolution needed for the kind of display they will be seen on. If printing the rule of thumb is to use Alternately, some exclusive publications will use 300ppi —at size— for photographs. If for online, high-quality offset or gravure printing processes then the images need to be optimized when saved and high quality coated and calendared paper. These for the screen resolution. processes use screens with high LPI with this less absorbent paper so the dots of ink are small and sit on the surface of and images are super crisp and PPI, DPI, LPI clear. In order to take advantage of this, images must PPI stands for Pixels Per Inch and refers to the num- be saved at a higher ppi. High PPI means lots of pixber of pixels per square inch. Whether working with els per inch to define details. images in a digital camera, scanner or in pixel-based software programs, PPI is used to define the amount of digital information that is present in the image. DPI stands for Dots Per Inch and refers to the resolution of output devices such as desktop printers. Laser printers use dots or toner and inkjet printers use dots CMYK ink.
Resolution
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Photoshop | Overview
Control Bar
As in the other Adobe programs, the Control Bar apThe main uses for Adobe Photoshop include pears at the top of your workspace. The information the manipulation and adjustment of digital displayed here is contextual—it changes to match photographs, building composite or layered the particular Tool you are using or element you photographic imagery and creating digital have selected. You can select and customize your collages. Thomas and John Knoll developed Workspace by using the drop down menu on the it in 1987 and then sold the distribution li- far right of the Control Bar. You can also find these cense to Adobe Systems Incorporated in choices for Workspace in the Windows menu. 1988. It has been available to the public since 1990. Along with some companion programs Panels (Bridge, Lightroom) it is the industry stan- There are numerous Panels that allow control over dard software program for working with dig- various tasks. These can be docked together or ital photographs. pulled apart in various configurations. You can set how many and which Panels are visible, open and docked on the right side of your Workspace. All Photoshop Panels can be found under ‘Window’ on the Workspace Options: Tool Bar top drop down menu.
/ Tools
Located by default on the left side of your workspace, the Tools can be classified into several categories including: Selection Tools, Painting/Manipulation Tools, Drawing/Type Tools, and Display Tools.
Many of the tools and processes have shortcut key commands. Make your life better… learn to use both hands when working on the computer to utilize key commands and boost your efficiency. You can study an exhaustive list of key commands for Photoshop here: https://www.nobledesktop.com/shortcuts/ photoshopcs6/pc A fair number of Photoshop Tools have tool sets embedded in them—indicated by the tiny triangle on the lower right corner on their icon. Click and hold on an individual Tool to access and select the additional tools in the set.
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Documents
Most often you will open photos directly in Photoshop and work on them, although there will be times you need to create a new document. The process echoes other Adobe programs using the top menu File > New Document, or simply, Command + N (Control + N on the PC). There are Presets to select or you can enter your own settings for the document. A crucial difference in Photoshop is that you can choose your Background Contents for your document (White, Background Color or Transparent).
Tools
A few different panels
Preferences Like Illustrator and InDesign, Photoshop allows you to set Preferences for the software. Some of these are for interface and workspace display options, while some are for individual tools and/or panels.
One of the most important settings in Preferences is for the number of History States. History allows you to undo multiple steps of your work on a single piece. You can find this setting under Performance category. Many people recommend upping the number to 100 or 150. Be aware that his will increase the amount of processing power needed to keep Photoshop open and functioning.
Image File Formats It is important to remember as you work to save your files regularly. Get in the habit of saving your work in the native file format of the program you are working in so you can open and rework as needed. You should also save your files uncompressed or not flattened when archiving the original.
of the file.
In addition to native files, there are many different file formats to choose from when saving your work. The formats you choose will depend on the purpose and the medium the image is intended for. Generally images are either saved for Screen or for Print. Every different file format is created using formulas and processes that are optimized for a particular kinds of imagery. Of course, each of these formats has numerous options for settings that you must set according to the image need. This is called Optimizing your images.
The most common file formats, their file extension acronyms, what they stand for and their specific uses include: Native Files (common design programs) .indd (InDesign Document) — for multi-page documents for print or screen .psd (PhotoShop Document) — for photographic, digital collage .ai (Adobe Illuatrator) — for vector graphics, logos, illustration
Saving iteratively will ensure against loss of all work if your file gets corrupted. (It does happen!) Use Formats for Print ‘Save As’ to completely to create a different version .tiff (Tagged Image File Format) which are used for
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print. .eps (Encapsulated PostScript) which are used for print. .pdf (Portable Document Format) which are used for both.
Formats for Screen
.jpg / .jpeg (Joint Photographic Expert Group) which are a Screen format. .png (Portable Network Graphic) which supports lossless data compression and 2 levels, opacity and transparency .gif (Graphic Interchange Format) which are used for screen and supports interlacing.
Some formats for print and screen
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List of some of the panels
Photoshop: Actions, Batch Processing, Sharpening and Optimizing How to get to the sharpen tool
ficiently to process quantities of photos or images. You can select a folder of images and direct Photoshop to apply a specific Action to all of them. This works great for images you need to treat the same way, such as to resize images or make all screen shots Grayscale.
Sharpening
Almost every photograph you work with can benefit from a certain amount of Sharpening. Done correctly it will bring out the edge detail with greater clarity. Of course, you need to avoid over sharpening because it will cause your photo to look pretty awful.
Actions In Photoshop, Actions are specific sets of sequential instructions for the manipulation of photographs. Similar to Styles you create for text, once you make an Action, you can then apply it to other images. There are a number of default Actions that come preset within the program, however you can also record your own custom set of commands.
Batch Processing Once you have set up an Action, you can apply it ef-
Example of the sharpening tool
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Sharpening should be one of the last things you do to a photo as you prepare to place into a layout or an InDesign document.
Optimizing your Images: File Formats & Resolution The first thing to think about is how your images are going to be used. Will they be used in a print document or will they be used in a website? Maybe both. Each platform for delivery has its own requirements. These pertain to two major things: appropriate file format and image resolution. For print, photographs need to be in pdf format and require a pretty high resolution, commonly 300, to look their best. For screen, the same photograph would be saved in jpeg format and needs to be optimized for screen with a lower resolution in order to perform best on screen. Photoshop will do this for us if we use Export As.
Batch Processing Tab
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Sepia Toning
Working with Images Masking, Foreground/Background Masking allows for the isolation of a specified area so that a treatment can be applied to just that area.
Making a mask starts with using a Selection Tool. Quick Select is a go-to tool when there is enough differentiation between the subject you want to isolate and the background. You can then refine your selection using the ‘Refine Edge’ or ‘Refine Mask’ processes. These both are essentially accomplishing the same thing but are accessed from different places. Refine Edge is visible on the Control Bar when you have a Selection Tool chosen and Refine Mask is available through clicking the mask in the Layers Panel. These both contain sets of options you can use to fine-tune your mask edge.
Real Duotone
Duotones Duotone images carry a specific aesthetic style. As the name implies, they are created with only two Spot Colors. There are Tritones and Quadtones, also, though the most common form is a Duotone.
Duotone Curve
Masking Tool
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Image Work Continued Automatic Correction Options
False Duotone
In Photoshop there are several options for color, tone and contrast corrections. They are not perfect for every job, though can help you detect if there are some problems. These automatic features are located under the Image dropdown menu. Auto Color will adjust major color shifts, Auto Tone will “tone down� unnatural looking saturation in photos and Auto Contrast will enhance the differentiation in low contrast situations.
A false duotone has the appearance of a two-color image. It is really a photograph that has been de-saturated and placed on a color background. This is sometimes called a fake duotone. In order to achieve this effect, you need to use the Multiply Blending Mode on the two different layers.
Blending Modes Photoshop allows for the combination of images in multiple ways. You can Blend two photographs with different effects and use transparency on the top layer to adjust the amount or strength of the stylization.
One of the Blending options
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False Duotone
Photoshop: Digital Images and Printing Color Spaces and Printing
to prepare your image to hand off to an offset printer, you will want to communicate directly with them Most of the time when working on digital images, about what specific color setting to use for their digyou will be in the RGB format. The RGB color mode ital system workflow and their specific press. creates a smaller image size than CMYK, and you are looking at the image on a screen, which uses Red, Color Perception: Screen vs. Print Green and Blue to create millions of colors. The color modes RGB and CMYK are set in the Image If you are sending your image to a desktop color la> Mode menu. In Photoshop you also can adjust the ser or large-format banner printer, the sRGB format Color Settings for the document. If you are intending will suffice. In fact, it will often yield better results than converting your image to CMYK. However, if your monitor is not calibrated—which many are not—there can be a pronounced difference in the appearance of the colors on screen verses the colors when they have been printed. Also, some colors tend to shift more dramatically than others. Overall, on screen the colors are illuminated from behind, so you can perceive a greater range of midtones in an image, whereas a printed image reflects light off the surface of the inked paper.
Print Quality RGB is used for screen while CMYK is used for print
The quality of both the paper and the printer you use will affect the appearance of your final output and colors. Running color tests can help you see how the chosen printer will perform. Commercial copy and Print facilities can usually produce much better final results than desktop color printers.
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Illustrator: Intro, Workspace, Tools, Stroke/Fill, Panels, Layers, Pen Tool
Adobe Illustrator | Overview
be blunt/flat, rounded or squared. Their joins can be The industry standard software for developing vec- square, rounded or beveled. It is important to keep tor-based graphics, Adobe Illustrator is the go to track of the Stroke and Fill. You can reverse these by program for designers building logos and symbols, clicking the double-ended arrow on the Tool Bar. as well as digital illustrators. In this program you can build vector shapes and fill or color and apply a Illustrator has quite a few Tools that you can use to build shapes. Some are more intuitive than others. huge variety of effects, shading and patterns.
Tool Bar / Tools
Main Selection Tools — Like the other Adobe programs, Illustrator has Selection Tools. These are the ‘Selection’ and the ‘Direct Selection’ Tools. The ‘Selection’ Tool (the BLACK Arrow) allows you to move an entire object. The ‘Direct Selection’ Tool (the WHITE Arrow) allows you to select a single anchor point and manipulate it.
Regular Shapes — Geometric Shapes can be created with the Rectangle, Rounded Rectangle, Ellipse, Polygon, and Star Tool. All of these shape-making tools can be constrained to perfect shapes or configured to add or subtract edges or points. You can click and hold on the Rectangle Tool to get a submenu of Tools that can be detached from the main Tool Bar.
Stoke and Fill — Strokes can be aligned to outside, Irregular Shapes — The Paintbrush and the Blob inside or center of a shape. The cap or terminals can Brush Tools can be used to make irregular or organ-
Stroke and Fill
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Regular Shapes
ic shapes. You can adjust the size of the brush and of course the color of the brush. Pen Tool — Learning to work with the various Pen Tool options will increase your abilities in Illustrator exponentially.
Drawing with the Pen Tool takes some practice. Each time you click the Pen Tool on the Artboard, a single Anchor point appears. If you click and drag, you will automatically get two Handles that can be used to manipulate the curve of an Anchor point. These curves that make up vectors are called Bezier Curves, named after the mathematician who first described them. If you click and hold on the Pen Tool in the Tool Bar, you can see the entire Pen Tool set. These include the Add Anchor Point tool, the Delete Anchor Point tool and the little angle icon that is simply called the Anchor Point Tool. Again, you can “tear off” this little Pen Tool sub-menu and position it anywhere in your workspace.
Irregular Shapes / Pen Tool
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Illustrator: Blends, Gradients, Clipping Mask, Strokes, Patterns & Brushes Blending Shapes
Creating Blends
If you use the Direct Selection Tool (A) to select a point on the Blend you can stretch it out. By using You can blend shapes together to get a morphed your Anchor Point Tool in the Pen Tool set, you can shape and color gradient. The three types of blends introduce curvature. you can choose are: Smooth, Specific Steps and Specific Distance. Smooth gives you a seamless blending of colors, whereas the other two will give you chunky steps Creating a Custom Gradient based on the perimeters you use. Open the Gradient panel: Window > Gradient. You can also use the blends icon in the Tool bar. To There are several default gradients that you can apblend the two objects using the tool, you will need ply. If you start with one of these, you can change the to select an edge of the first object, and then select colors on the slider by double-clicking on them or the edge of the next object, and Illustrator will blend by dragging a new swatch color on top of it. You can these two objects. When using the blend tool, please add more colors to the gradient by clicking along the note, it will blend to the next point that you select. slider. You can reposition the squares on the bottom If you shift your selection point from the original, it and also the triangles on the top to the adjust the will warp/twist the blend. You can change a color range of gradient and the transition areas. in the blend by selecting a specific object and then Save your custom gradient by grabbing the sample changing the color on than object and it will auto- square in the upper left corner and dragging it onto matically re-blend it. your Swatch panel.
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Working with strokes
Creating Your Own Paintbrush Pattern You know you can create your own Fill Pattern. You can also create your own Pattern Brush. To do this, draw a shape or a series of Adding Visual Texture shapes that you would like to use like as a brush. With the Brushes Panel open, drag the vector art You can add textures to your illustration in sever- into the row of choices. You will be prompted to al ways including using Illustrator’s many painting select Scatter, Art or Pattern Brush. and drawing tools to make inside the program, and capturing / creating your own texture. • Scattered Brush should be selected if you Taking your own photo of a texture allows for more want to follow a drawn line or want to randomly realism. Always resize and transform your photo- place a single vector art with the click of the mouse. graphic images in Photoshop first before placing them into a document in Illustrator or in InDesign. • Art Brush should be selected if you want the vector art to fill the whole line - no matter the Working with Clipping Masks length. It will stretch and distort to accommodate your stroke. Masking areas of image can be accomplished in a few different ways. You can create a custom shape • Pattern Brush should be selected if you and use it to delineate an area of image you want would like the artwork to follow the drawn line. showing through the shape. Do this by placing the You are able to make adjustments for spacing, roshape over the image and ‘clip’ the image into it with tation and size. Object > Clipping Mask > Make. Double clicking on the brush in the brushes panel will allow alterations. Working with Strokes You can also shift select pieces and drag them into the Brushes Panel to create a new brush. You can create a layered effect with varying weights Paint Brush Pattern of Strokes on copies of the same object and then using the Align Panel to center them on top of one another. When working with Strokes you must consciously select whether the alignment of the stroke is center (default), inside or outside. Design Skills Workbook
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Illustrator: Tracing, Closed Shapes,Gradients and Patterns Tracing There are two main ways to trace in Illustrator, one uses the Pen Tool and Layers so you can draw on top of what you want to trace much like you would do using a light table, and the other uses the Image Trace process, which digitally changes a rasterized image into a vector image. Each of these methods is best suited for some images and both processes have pros and cons. The Pen Tool is difficult to master, though it will allow for precise control. Image Trace has many options, though it can generate a result that is less than ideal. The Image trace window has a number of preset Tracing options and many different ways to manipulate the resulting trace.
Closed Shapes, Gradients and Patterns Closed vs Shapes
It is important that when you work in Illustrator you are closing your shapes. This is required for the fills to work properly.
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Tracing
Eraser vs Scissors vs Knife Tools
There are numerous ways to divide or subtract from shapes. The Eraser, Scissors and Knife Tools all do this, but achieve different results. The Eraser takes away parts of the shape wherever you use it, while both the Scissors and the Knife simply cut apart with no loss of shape area. For the Knife Tool, hold down the Option key to constrain the cuts to straight and use both Shift + Option for horizontal, 45 degrees or vertical constraint.
Gradients and Patterns
Eraser vs Scissors vs Knife Tools
In Illustrator there are numerous methods to fill shapes. Gradients allow blending colors or blend to transparency. Patterns allow you to fill a shape or area with a repeating motif. Gradients and Patterns have presets and are both customizable. The Pattern Brush Tool makes it easy to create and adjust your own original Patterns.
Patterns
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Design Concepts Design Process................................................................................................29-35 Typography & Fonts......................................................................................36-42 Color...................................................................................................................43-45
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Design Process / Print Design, Paper, Printing Design Process
jobs, and they want your business, so it is in your best interest to consult your printer—especially beWhen addressing a design problem, there are a vari- fore designing the project. ety of tools and techniques to help us find solutions. The most powerful tools we use are our brains. Only Writing about your research, the client’s needs, your after a viable solution has been arrived at do we goals, what you are trying to achieve with your dethink of translating it on the computer. Some designs sign will establish the basis for your preliminary cliare not even built on computers, like a hand-drawn ent agreement, or design brief. This tool will keep calligraphy piece, though would be documented— all parties on the same page and help avoid ‘scope scanned or photographed—digitally. Computers creep’. and software programs are tools designers use, but Solving the design problem creatively requires exthey cannot think perimentation. Getting outside your normal mode of or solve design problems. thinking fosters inventiveness. Sketching, doodling, The Design Process follows a reliable flow: research, making, using our hands to translate ideas, helps brainstorm, sketch, sketch more, select options, refine, evaluate, articulate, choose best concepts, refine, present, listen…and then, repeat.
More than any other step, research is key to creating successful design solutions. Research includes interviewing the client, ascertaining their budget, timeline and what they know about their audience; understanding the market, trends and history, options for delivery; and knowing the resources available to you. Creatives are always learning. With each new client you will need to research their business—and study the related subjects.
When designing printed jobs, working closely with your printer will yield better results. They know their business, the size and capabilities of their presses, the best kind of papers to use for specific
Thumbnail Sketches
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our brains go there. Brainstorming or mind-map- hensive renderings. Comps can be tightly drawn in marker or produced digitally. ping lists of associations is like playing, which enables plasticity of thought — we can think different. Your comps will have all content represented in position and at scale. The sketching process begins with thumbnails, or thumbs, which are small, fast, loose drawings—a As a designer you will be often asked to create three process/tool to get many ideas down on paper or more directions for presentation. These need to quickly. They are drawn with indications of only ba- represent different ways to solve the problem, not sic layout elements. Thumbs for any kinds of publi- just variations of one design. At this presentation stage you may need to revise or refine the concepts. cation design should rflect the shape of the pages. The process can get stuck in a feedback loop so your A handful of your best thumbnails ideas are select- client contract should have state a maximum ed and refined into rough sketches, which are larger, number of revisions. darker and contain more detail. Once a design is agreed upon, the work goes to proAfter some evaluation, the best rough sketches are duction. Often a dummy layout is provided to the revised and refined further into comps or compre- printer to show the intended page structure and folding being specified. Once on press, printers will provide either a digital or a physical poof to show exactly how the piece will look [and feel]. Print Design, Paper and Printing Processes
Varieties of Print Design
There are many kinds of Print Design. General categories include single page items like postcards, flyers or posters; multiple page pieces like books, magazines and newsletters; and label and package design for products of all shapes, sizes and materials.
Package and Label Design
One Variety of Print and Design
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The range of design options, materials and forms for package design is astonishing, even though the level of over-packaging is problematic. Packaging adds a powerful layer of experience to the product display and brand involvement.
Materials used in package design are different weights, thicknesses and structures of paperboard or kinds of plastics. Labels often utilize specialty lightweight papers, other synthetic materials, or specific processes (flexography) to print on non-flat surfaces.
Folding
and comb bound. Binding styles can make a statement. Spiral bound books imply utility because they can lay flat or be maneuvered to show only a single page, useful traits for workbooks or manuals.
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.
Folds in printing range from a simple single fold to multiple complex folds. Each type of fold is identified by a specific name. Double sided, single page pieces such as brochures are typically folded twice to produce three panels. The direction of each fold can be specified thus creating either a nested or The basic grades (or types) of commercial printing z-fold brochure. papers are: • Bond or writing — usually used for letterheads, Folds need to be scored first in order to crease business forms and copier uses cleanly. Problems can occur when folds go across • Book — the most commonly used coated and unthe grain of the paper causing unsightly cracking of coated papers for printing the paper stock. • Text — high quality sheets in a variety of surfaces and colors • Cover — used when greater bulk is required such Types of Binding as book covers, postcards or inserts Multiple page printed documents are bound using a • Tag / Bristol / Index — smooth surface papers, mostly uncoated, used for displays, file folders, ticknumber of different methods. Some more common commercial types of binding ets. include: saddle stitched, perfect bound, spiral bound 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 Saddle Stitch Felt. Each of these surfaces will provide different print quality and overall appearance. Each has its Design Skills Workbook
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strengths and appropriateness for a particular job.
Most grades come in a variety of Weights for both Cover and Text. Get to know and learn to work with your printer to select the best papers for your print design job.
Printing Processes used in the Design Industry Designers use different printing options depending on the intent and scope of the project. Simple documents, like our course syllabus, are printed on laser, toner-based printers and duplicated on toner-based copy machines. Single, one-off, print jobs such as a laminated poster, would be produced on a color inkjet printer. A short run of several hundred brochures for a local event would get run on a color laser printer. Commercial projects such as the internationally distributed Print magazine or the Girl with the Dragon Tattoo 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
Spiral Bound
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Publication Design, Grid Structure, Page Elements Design Decisions for Print Publication
The main features of a page that a grid controls are the number of columns being used. A grid can have Multi-page print publications like magazines or from a single column to twelve columns on a single newsletters a number require a number of techni- page. The more columns in a grid, the more flexible cal decisions. For the format, what size (height and it is. The space between each column is called a gutwidth) are the pages and how many pages are need- ter. ed? How will the publication be bound? What kind, quality, weight and finish of paper will be used for Even though the pages may look different because the cover and the interior pages? The answers to they show different numbers and widths of colthese questions are usually decided when discuss- umns, the underlying grid structure remains coning the audience of the publication, the parameters stant. Publications use several page layouts to indiof the design job and the printing processes with cate different sections or kind of content presented. your client and printer. Margins are needed on the top, bottom and outside Page Layout: Grid, Columns, Mar- edges of the page so content does not get cut off in
gins and Page Furniture
In publication design you must consider the layout design of single pages as well as how page spreads work together. How pages are laid out is an important design consideration. You need to consider the size of the margins, the number of columns in the grid used and the kind and placement of the page furniture and other navigational elements.
The Grid: Columns and Margins and Gutters
Grids provide structure and consistency for publications. A grid ensures there is alignment of elements on the page. Much like an armature inside a sculpture, the grid is not visible; though you see it by the way it unifies the page content.
Column
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the trimming process or covered up by the reader’s thumbs as they hold the publication. The place where the pages meet in the middle, at the binding, is also called the gutter. Inside margins at the gutter prevent content from being swallowed up or cut off in the middle.
Page Furniture
Page Furniture
Design elements that appear consistently from page to page are referred to as ‘page furniture’. This includes the page numbers, also called folios; running headers, running footers and section markers. All pieces of page furniture are either part of an identity system or serving as navigational graphic elements.
Analysis of a Magazine’s Format and Properties
Type of Binding: Perfect Binding Paper used for Cover (Weight, Quality, Finish): Heavy, Glossy Paper used for Interior Pages (Weight, Quality, Finish): Glossy Page Size: 8.75 Inches Page Margins: Top, Bottom, Outside, Inside (.6 Inches) Number of Columns in Grid: 2 Column Width: 3.75 Inches Column Gutter Width: .2 inches
Page Furniture used: (126 September 2006)
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Margins
Concepts: Design Principles in Page Layout Design Principles: Visual Hierarchy
Photography & White Balance
When taking photographs of an object or a product, All layout design is concerned about the communi- you will want to control your lighting. The White cation of ideas. As a designer you need to figure out Balance is something you set in the camera so the what is most important and present that first in the color temperature of the lighting is recorded corvisual hierarchy. We follow general rules for read- rectly. ing. In Western cultures we read from left to right Auto settings can often get good results, though you and top to bottom. Thus attention usually goes to may want to use a gray card or measure the light the upper left hand corner of a page. and set the WB in the camera at the time of the phoAn effective poster design will have a focal point, to shoot. something that catches the eye first. There are plenty of methods to create this using scale, color, and/ Of course, it is possible to correct color casts in an or contrast to draw the viewer’s attention. existing photo using Photoshop, however it is far preferable for you to use the proper white balance Alignment, Balance, Unity to begin with as every digital adjustment will result Elements on a page need to have some alignment to in a loss of digital information. look purposefully laid out and to unify the composition. This is a basic tenant of 2D Design. The layout also needs to achieve a visual balance either symmetrical or asymmetrical. Unity in page layout is achieved through deliberate use of a few well-chosen typefaces and a limited or purposeful color palette. Graphic elements or treatments such as gradients, specific textures or borders can add a sense of completion to a layout. Choose these thoughtfully in order to add visual power to your conceptual communication.
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Fonts & Typefaces,Typesetting, Typography Fonts & Typefaces Typefaces have Families There is confusion about what a Typeface is and what a Font is. Most typefaces are designed with several variations such as Regular, Italic, Bold, and Bold Italic. Each one of these variants is technically a single font. Some typefaces have large families that include variations in character width with names like, Compressed, Condensed, Wide or Extended, and character weights with names such as Thin, Light, Book, Bold, Semi Bold, Extra Bold, etc. Designers will utilize a range of typefaces to complete their work. You need to own the fonts you use for your design work or the license to use them. Fonts and entire typeface families can be purchased and downloaded from digital font houses or foundries. Free fonts are available from plenty of websites, but are not usually professionally designed or prepared. That means they will have limited use.
Legibility / Readability of Text Legibility refers to how a specific typeface is designed and how easy or difficult it is to make out the letters. The x-height of a typeface is a primary consideration in any typeface’s legibility. As stated earlier, legibility is strengthened when you use the appropriate typefaces for the specific purpose. That is, you should use a typeface made for body text (text face) and a typeface considered a display face for things like headlines, page heads and perhaps pullquotes. Readability refers to how the text is arranged on the page. A number of factors affect the readability of text. These include point size and leading, the measure, alignment and spacing.
Point Size in relation to Text
The point size of the type you set is an important matter that is dictated by the purpose of the text and Typesetting the audience you are addressing. Very small type The act of setting type involves building or following will be difficult for very young as well as older readthe grid structure, determining appropriate typefac- ers. Type that is set too big looks clunky and also es, typestyles, measure (line length), leading (line interferes with reading. spacing), type alignment and paragraph indicators. These are all factors affecting readability and legibility of text. Formal considerations of contrast also Legibilty of Text play a key role here.
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Leading Another important factor in enhancing or detracting from readability is leading. The amount of leading affects the overall appearance of a block of text. Generous leading adds space or ‘air’ between the lines, which creates an open and inviting appearance. Tight leading will give the text block a dense, impenetrable look. Default setting for Leading is 2+ points. When typesetting the type size and the leading is expressed in this way: point size / point size + leading.
The type for this column of text would be expressed as ______ /_______.
Measure
Example of Generious Leading
The length of line or block of text is called its measure. If a line of text is too long, the reader will tend to lose their place as they go from one line to the next. If it is too short, the ideas in the text become chopped up rather than flowing. Line length is measured with character count. Optimum line lengths are around 45-65 characters including spaces.
Alignment of Text Running text or a large amount body text such as for articles or books need to use the most appropriate alignment to aid in reading. The two best options
Example of Tight Leading
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Alignment Tool
Spacing in Page Layout and Typesetting
would be either Flush Left of Justified.
You know about spacing as in page margins can affect the feeling of a page layout. Spacing between Flush Left headings, subheads and paragraphs is another area Most commonly, the left edge of a column of type you need to be sensitive to. is aligned. This is called ‘Flush Left’ alignment. In this configuration, the right edge of the column is Proximity is comes into play when adding space not aligned and has a ragged appearance. This non- after heads and sub heads. We tend to group elealigned edge style is referred to as the ‘rag.’ ments together based on their visual proximity to one another. Subheads should be closer to the text
Justified
Another commonly used alignment is called ‘Justified’ or when the text is aligned flush on both the left and the right. This arrangement produces a much more formal look to a layout.
Centered
Centered text is reserved only for things like invitations or sometimes for short pieces of text like pullquotes.
Flush Right
For a particular design of say, a poster or an advertisement, text is sometimes set Flush Right. This alignment is used pretty rarely and only with short amounts of text when the look it create adds strongly to the composition.
Example of Randomized Alignment
Randomized
Finally, text alignment is sometimes purposefully random to create a liquid, or poetic feel. The random alignment is only used for short passages.
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Example of Flush Left Alignment
When using indents, there are a couple of rules to be aware of. One is that you do not use an indent on the first paragraph of a story or article. There is no need to indent because an indent is used to indicate a new paragraph following a previous one. The other rule is to use indents only if you are not using space between paragraphs. They are both used to tell one paragraph from another, so only one is needed.
Example of Cenetered Alignment they head than the text above them. Captions should align with and/or be near the image they describe. Headlines usually span a number of columns, and sometimes the entire page spread. This automatically communicates that the head refers to the entirety of the page content. There should be sufficient air between the heads and the copy below them.
Paragraph Indicators: Indents or Space Between The separation of long texts into paragraphs allows the reading to be broken into distinct areas or ideas. There are a number of ways to indicate paragraphs; indents and spacing are the two most common.
Example of Justified Alignment
You can use space between paragraphs to separate them, however, be aware that an all-too-common mistake is to insert two returns after a paragraph, which produces too much space between them. Instead, apply Space After the end of your paragraphs. The best, most professional way to work with spacing in your text is to include it when you create your Paragraph Styles.
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Typeface Categories, Type Basics Typefaces Categories There are many ways to categorize typefaces or fonts, but the two main ways we will learn about are general classifications and how they are used. General classification is historical; usage is about the names given to the roles type plays in different parts of the document.
General Classification: Serif vs. Sans Serif One of the most basic distinctions in type is Serif or Sans Serif. A serif is that little foot or spur or appendage on the end of the stroke of a letterform. The word ‘sans’ means, ‘without’ so this category has no little spurs or appendages, the letterforms end bluntly. Both of these categories have additional classifications. Kinds of Serifs include Hairline, Bracketed, Slab, Wedge (and more) and Sans Serif include Geometric, Humanist, Transitional.
Text vs. Display
Typefaces are designed for different purposes. The two major categories are Display and Text typefaces. Text faces are used for body text meant for extended reading and so their letterforms are clear, clean and simple. Display faces, on the other hand, can be more ornamental because they are used for use titles or headlines that only have a few words.
How Type is Used
List of fonts
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In any publication, whether for print or for screen, the text can be categorized by its use, such as: Headline, Subhead, Body Text, Pull Quote, Captions, etc. These designations are important to know as part of design terminology and because they are used when naming the Styles in your digital document.
Type Basics
List of different fonts
Typefaces have Families A single typeface is often designed with several variations such as Regular, Italic, Bold, and Bold Italic. Some typefaces have large families that include variants in character width including Compressed, Condensed, Wide, or Extended fonts, and character weights such as Thin, Book, Semi Bold, Extra Bold, etc.
How Type is Measured: Points, Picas, Leading and ‘the Measure’ The units of measure used for type include: the point and the pica. 12 points = 1 pica, 6 picas = 1 inch, so 72 points = 1 inch
Type size is measured in points. This unit of measure has been around since the 1600’s and was standardized in the 1990’s for digital publishing. Conventional point sizes are available in the drop down menus of most software programs. These sizes (6, 8,
10, 12, 14, etc.) correspond to the sizes that—once upon a time, and still today—hot type or metal type is produced.
Leading
The space between lines of type is referred to as leading. This term comes from the thin strips of metal used when hot type is set by hand. Leading is also measured in points. The default amount of leading is two (2) points between each line of text.
The Measure
Line length or the width of a line or column of text is measured in picas. The length of a line or a column or block of text is called its ‘measure.’ If a the measure is too long, the reader will tend to lose their place as they go from one line to the next. If it is too short, the ideas in the text become chopped up rather than flowing. Because point size affects the number of words on a line, line length is also measured with character count. Optimum line lengths are around 45-65 characters including spaces.
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Fonts | Font Management Font Management software is used to control what fonts are available to you when you are working on a computer. FontBook is what is used currently at UWSP. The Adobe font library is part of what is provided for the graphic design program. You can download other fonts to use in your design work. You must add these fonts in FontBook to be able to access them. You must always Package your projects or digital files so you can access both the original images and the typefaces you used in them.
Sam is groooovy
Buttery
Typography Concepts Legibility — kind of typeface, what it is designed for Some typefaces are designed as Display Faces...to be used ONLY for headlines at large point sizes. Other typefaces are designed specifically for use as body copy. Some are fairly flexible and can be used effectively at both large or small point sizes.
Centered or randomly aligned text is FINE to use for special kinds of texts such as invitations, poems or advertising copy, but should NEVER be used for
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body or running text as it hinders readability greatly. Setting text Flush Right (for the English Language) is a decision exercised only when there is a limited amount of copy or you are trying to communicate a sense of the avant garde.
About Color Designers need to know a lot about color. From color theory, the psychology, cultural and mythic meanings of colors, to the technical aspects of how to handle color digitally, to knowing the systems of used in specifying color, the knowledge base you need to acquire is expansive. This workbook covers a few fundamental aspects including: Color Systems, Color Spaces, Spot Color vs. Process Color, and Color Books.
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 we look at a screen on any device, we are looking at light illuminating the screen from behind. When we look at a film or slide show being projected onto a screen we are also looking at light. The colors we see are a result of light wavelengths being added together to produce the whole spectrum of other colors. Thus this color system is referred to as Additive.
Variety of Colors and Color picker tool
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Subtractive Color System
When we look at color that is painted on a canvas or dyed into a fabric or printed on paper we are seeing light bouncing off the surface. The colors are a result of wavelengths for colors being subtracted from the spectrum and those colors/wavelengths enter into our eyes. That is why this color system of dyes, inks and pigments is referred to as Subtractive.
Color Spaces (or Modes): RGB vs. CMYK
All of the colors we see on a screen are made up of pixels with varying amounts of Red, Green, and Blue. Thus, the color space for screen work is identified as RGB. Most all of the colors we see on a full-color printed piece are made up of dots of color ink in varying density. These colors are Cyan, Magenta, Yellow and black. Thus, the color space used for print work is CMYK.
As a designer you need to be aware of and conscious- Working with Color in Print Dely match the color spaces with the medium you work sign. in. Colors on screen look different than those same Process Colors colors printed on paper. So, when you are designing There is more to know about color in print than just for the web or work that is mean to be projected, CMYK vs. RGB. An important term to know is that you should use one color space and when you are designing work meant to be printed, you need to use another.
RGB VS. CMYK
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Swatches tool also deals with color
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 will Spot Color A Spot color is printed as a solid color either instead look when it is “built� out of CMYK. of CMYK or in addition to CMYK (Process Colors). Why would you use a Spot Color? Sometimes there is a specific color that needs to be consistently presented. An example of this would be the Target Red color. This is a valuable part of Target’s brand. In order to maintain consistency the color is mixed up using a specified formula of percentages of CMYK inks. cyan, magenta, yellow and black are referred to as the Process Colors. This name references 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.
Specifying a Spot Color in InDesign You have to go through a set of steps to specify a Spot Color in InDesign. Note that the process varies a little in different software programs such as Illustrator. If you want to use a tint of a specific color you must make it a Spot Color first.
Pantone Color
The Pantone Matching System is the most used color matching system in the design industry. Pantone colors allow designers to spec colors for their clients and ensures that printers will be able to reproduce the specified color. Pantone colors are available in swatch books that fan out for easy comparison and selection.
Different Pantones
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Projects Project 1: Photogrid.......................................................................................47-48 Project 2: Creating our own paper creatures.........................................49-51 Project 3: Creating a brochure...................................................................52-54
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Project 1: Photogrid
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For our first project we needed to use abunch of different affects in Adobe Illustrator. This is the process my piece went to from start to finish.
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Project 2: Creating our own papercraft creature
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This was our second step of the process for this project.
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In our third and fourth step of the project we needed to actually make a physical copy of our idea. We also needed to create a poster to turn in.
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Project 3: Creating a Brochure
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For our third project we were required to chose a club and make a brochure for that club. This is showing part of my research presentation
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This is what my final brochure looked like after it was printed out.
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