Design Skills Workbook

De sign Sk ills Wor kb o ok

ART 211 Graphic Design Production I | Thomas Orzel University of Wisconsin-Stevens Point Professor Diana K B Hoover Fall 2016

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Design Skills Workbook

This workbook was produced for ART 211 Graphic Design Production I Taught by Professor Diana K B Hoover in the Department of Art & Design at UW-Stevens Point Designed by Thomas Orzel Fall 2016 3 WORKBOOK 2016

Table Of Contents SECTION 1 Design Process

research, concept development, thumbnails, roughs, comps, present to client, revisions, finals, refinement, prepare for production

Design Concepts

About Images

Categories of Image (Photograph, Illustration, Collage)

Vector vs. Raster

Type as Image

The Impact of Resolution

Screen vs. Print

PPI, DPI, LPI

Typesetting and Typography

Categories of Typefaces

Text vs Display faces

Measurement of Type (Point size, x-height, Set width, Leading)

Spacing (Kerning, Tracking) Glyphs

Font Management

Type Hierarchy

wqqHow Styles are used in Text

Print Design

Design for Print Formats (sizes and kinds of print work) Folding Options Styles of Binding Printing Processes (Offset/4-color process) Grids in Print publications

Color Systems / Spaces

Color in Design Color Systems (Additive, Subtractive) CMYK vs. RGB Spot Color

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Pantone Color

Software Programs

SECTION 2

InDesign

Overview of the interface (or workspace)

Key Commands

Master Pages

Setting up Margins, Columns, Guides and Grids

Auto Page Numbering

Placing Type

Threading Text Frames

Paragraph and Character Styles

Paragraph Indicators: Space After, Indents Tabs

Hidden Characters

Placing Images

Shaping Boxes, Rounded Corners

Text Wrap

Working with Swatches and Color

Saving Files: Save, Save As, Export as PDF

Packaging Files

Print Settings, Marks, Bleeds

Photoshop

Overview of the workspace History Panel/Settings Selection Tools Key Commands Working with Layers Adjustments, Filters, Effects

Illustrator

Overview of the workspace Key Commands Working with Artboards Using Layers, Template Layers 5 WORKBOOK 2016

Illustrator Continued

Creating Shapes, Shape Builder and Pathfinder About Paths and the Pen Tool Type Tool, Create Outlines, Type on a Path Basic of using Color: Swatches, Process, Spot color, Percentages Gradients and Gradient Mesh Tools Saving Files: Save, Save As

Acrobat

SECTION 3 Project Documentation Photogrid Papercraft Creature 8-Page Brochure

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Design Process Design Concepts Print Design Color Systems / Spaces

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Section 1

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Design Process Design Concepts Print Design Color Systems / Spaces

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Chapter 1

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Typesetting, Typography Fonts & Typefaces

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ypefaces 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 vari

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ants 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.

Typesetting 13 WORKBOOK 2016

Legibility / Readability of Text

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egibility 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

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he point size of the type you set is an important matter that is dictated by the purpose of the text and the audience you are addressing. Very small type will be difficult for very young as well as older readers. Type that is set too big looks clunky and also interferes with reading.

Leading

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nother important factor in enhancing or detracting from readability is leading.

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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

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he 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 15 WORKBOOK 2016

Alignment of Text

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unning 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 would be either Flush Left of Justified.

Flush Left

Most commonly, the left edge of a column of type is aligned. This is called ‘Flush Left’ alignment. In this configuration, the right edge of the column is not aligned and has a ragged appearance. This non-aligned edge style is referred to as the ‘rag.’

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.

Randomized

Finally, text alignment is sometimes purposefully random to create a liquid, or poetic feel. The random alignment is only used for short passages.

Spacing in Page Layout and Type16 WorkBOOK 2016

setting

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ou know about spacing as in page margins can affect the feeling of a page layout. Spacing between headings, subheads and paragraphs is another area you need to be sensitive to.

Proximity is comes into play when adding space after heads and sub heads. We tend to group elements together based on their visual proximity to one another. Subheads should be closer to the text 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.

You can use space between paragraphs to separate them, however, be aware that an all-toocommon 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.

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.

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Design Decisions for Print Publication M

ulti-page print publications like magazines or newsletters a number require a number of technical decisions. For the format, what size (height and width) are the pages and how many pages are needed?

How will the publication be bound? What kind, quality, weight and finish of paper will be used for the cover and the interior pages?

The answers to these questions are usually decided when discussing the audience of the publication, the parameters of the design job and the printing processes with your client and printer.

Page Layout: Grid, Columns, Margins and Page Furniture 18 WorkBOOK 2016

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n 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

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rids 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.

The main features of a page that a grid controls are the number of columns being used.

A grid can have from a single column to twelve columns on a single page. The more columns in a grid, the more flexible it is. The space between each column is called a gutter.

Even though the pages may look different because they show different numbers and widths of columns, the underlying grid structure remains constant. Publications use several page layouts to indicate different sections or kind of content presented.

Margins are needed on the top, bottom and outside edges of the page so content does not get cut off in the

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A grid can have from a single column to twelve columns on a single page. The more columns in a grid, the more flexible it is. The space between each column is called a gutter.

Even though the pages may look different because they show different numbers and widths of columns, the underlying grid structure remains constant. Publications use several page layouts to indicate different sections or kind of content presented.

Margins are needed on the top, bottom and outside edges of the page so content does not get cut off in 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

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esign 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 weight and dull • Paper used for Interior Pages (Weight, Quality,

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Finish): Shinny or glossy

Page Size: 10 in x 7.5 in • Page Margins: Top, Bottom, Outside, Inside .75 in Number of Columns in Grid: 3 Column Width: 2 1/8 in Column Gutter Width: 3/16 in

• Page Furniture used: Page #, Name of Magazine and Date (MM YYYY)

Typefaces Categories

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here 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

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ne 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.

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About Color D

esigners 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

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umans 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

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hen we look at a screen on any device, we are looking at light illuminating the screen from behind. When we look at a film 22 WorkBOOK 2016

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.

Subtractive Color System

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hen 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

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s a designer you need to be aware of and consciously match the color spaces with the medium you work in.

Colors on screen look different than those same colors printed on paper. So, when you are designing for the web or work that is mean to be projected, you should use one color space and when you are designing work meant to be printed, you need to use another.

All of the colors we see on a screen are made up of

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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.

Working with Color in Print Design Process Colors

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here is more to know about color in print than just CMYK vs. RGB. An important term to know is that 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.

Spot Color 24 WorkBOOK 2016

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Spot color is printed as a solid color either instead 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.

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pecifying 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

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he 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.

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 look when it is “built” out of CMYK.

You can specify Pantone colors in InDesign as well as in other Adobe programs, Illustrator and Photoshop.

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Lost in flatlands

By Gerry Leonidas

The first page layout applications threw the constraints of older typesetting environments out the window. All of a sudden, layered compositions, tints and gradients, and wild type choices at 360 degrees of orientation were easily possible. Yet page layout applications still build documents on an imaginary canvas, an arbitrary ‘pasteboard’ where stuff is dropped on.

The pasteboard holds a sheet of paper that is always perfectly flat, and imitates no material properties. But is not the exploration of materiality, of the experience of handling an object, a prerequisite to decisions on layout?

The thickness, flexibility or transparency of the paper, the depth of the spine and the curvature of a page all matter.

The main tools of a designer are visual hierarchy, sequence, proportion, proximity and association. In other words, space — around and between elements. Typefaces and all the dark bits follow.

So placing two-dimensional objects on a flat, uniform, disembodied surface flips the perception of space during the design process. Instead of a positive value, explicitly marked as an element of the composition, space becomes the leftover of systems that handle boxes where the dark bits flow in. Object-orientated applications such as Quark and InDesign have proved very bad at helping the designer capture proximity, sequence and hierarchy: the underlying space is the same at the centre of the page and near the edge, and the structural relationships between different elements are very difficult to translate into visual rules.

The boundaries of objects behave the same whether the frame contains

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Exmpl designe layo

le of a ed page out

text, image or other elements. And the visual edges become subservient to structural ones. (Is the right margin of a left-aligned paragraph really the edge of the box that contains it?)

The shallow angles that result from thrashing out ideas with pencil or moving bits of paper on a sheet are very difficult to replicate on screen: placing at an angle is not the same as rotating something that always

Will the next generation of page layout programs give us back our sense of space? starts out straight.

Furthermore, working on a near-vertical screen, with pretty wild zooming capabilities, focuses attention to the line-level details, and disguises the compositional decisions at the level of the spread. The misconception that what is on the screen is a truthful representation of print reality is all too easy to swallow. There is something to be said about looking at things at 1:1 scale, and at the same angle as your readers.

For design educators, instilling in students a healthy dose of critical attitude towards their tools, and making them ask at every opportunity ‘How is this machine translating my intentions?’ should be a priority.

The most interesting developments in typographic design happen in two areas: one on screen and one in print. Onscreen, data-rich applications, aggregators and magazines on tablets are defining new paradigms for navigating texts.

Is anybody willing to wager against the next competitor to InDesign being an online service, a Web-based page layout application? For starters, it would probably do away with palettes. (Palettes are evil.) And it would enGerry Leonidas, senior lecturer in typography University of Reading able better cross-platform publishing.

But at it the might also give us the opportunity to recover our sense of space.

First published in Eye no. 80 vol. 20 / September 2011 URL: http://www.eyemagazine.com/feature/article/lost-in-flatlands Eye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. It is available

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InDesign Photoshop Illustrator Acrobat

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Section 2

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InDesign

Chapter 1

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How to Take Screen Shots on a Mac

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elect 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

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dobe 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

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set the Intent, number of Pages in your document, Page Size, Orientation, whether you want Facing Pages and many more options.

Columns and Margins

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ou know that every printed multi-page document has top, bottom, inside and outside margins and 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.

Rulers and Guides

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here are rulers running along the top and the left of your document window.

The units of the ruler can be changed to read in points, picas, inches, centimeters, pixels, etc. Right click or Control click on the upper left corner where the rulers intersect to change the units of measurement.

You can create a new guide by clicking and dragging on one of the rulers. Change the location by dragging it to new position.

Different Kinds of Grids

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he page layout of your document is controlled by a 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 & Grids > Show/Hide Document Grid (⌘’). Another kind of

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grid is a Baseline Grid, which is used for aligning text.

We will discuss this a bit later.

Grids and guides can be adjusted to suit the document needs or your preference. Under InDesign choose > Preferences > Grids (or Guides) to get to the Preferences window. There are a number of other preferences you can set here.

Tools

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n 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 ‘Coloring’ Tools.

Application Bar, Application Frame and Control Bar These are the two horizontal bars across the top of the workspace. The Application Bar can be used for setting up the workspace. You can turn on the Application Frame, which creates a perimeter around your workspace. The Control Bar can be used for controlling the characteristics of different elements. It is contextual which means it changes depending on what you have selected.

Panels

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n addition to the Tools on the left side of the workspace, InDesign has a Panels area on the right side by default, that house a slew of different options for controlling your document and content. Presets for groupings of Panels can be selected that are specific to different tasks. Individual Panels can be opened 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.

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Pages and Master Pages

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he 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.

Margins and Columns

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here 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.

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Photoshop

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Chapter 2

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Photoshop: Working with Images Masking, Foreground/Background

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asking 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.

.

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Duotones

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uotone 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.

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False Duotone

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false duotone has the appearance of a two-color image. It is really a photo-

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graph 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.

Automatic Correction Options 42 WorkBOOK 2016

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n 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.

Blending Modes

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hotoshop 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.

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Photoshop: Actions, Batch Processing Sharpening and Optimizing Actions

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n 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

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number of default Actions that come preset within the program, however you can also record your own custom set of commands.

Batch Processing

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nce you have set up an Action, you can apply it efficiently 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.

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Illustrator

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Chapter 3

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Illustrator: Intro, Workspace, Tools, Stroke/Fill, Panels, Layers, Pen Tool Adobe Illustrator | Overview

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he industry standard software for developing vector-based graphics, Adobe Illustrator is the go to program for designers building logos and symbols, as well as digital illustrators.

In this program you can build vector shapes and fill or color and apply a huge variety of effects, shading and patterns.

Tool Bar / Tools

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ain 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.

Stoke and Fill — Strokes can be aligned to outside, inside or

center of a shape. The cap or terminals can be blunt/flat, rounded or squared. Their joins can be square, rounded or beveled. It is important to keep track of the Stroke and Fill. You can reverse these by clicking the double-ended arrow on the Tool Bar. Illustrator has quite a few Tools that you can use to build shapes. Some are more intuitive than others.

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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. Irregular Shapes — The Paintbrush and the Blob Brush Tools can be used to make irregular or organic shapes. You can adjust the size of the brush and of course the color of the brush.

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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.

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Illustrator: Tracing, Closed Shapes Gradients and Patterns Tracing

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here 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.

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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.

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Closed Shapes, Gradients and Patterns Closed vs Shapes

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t is important that when you work in Illustrator you are closing your shapes. This is required for the fills to work properly.

Eraser vs Scissors vs Knife Tools

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here 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.

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Project Documentation Photogrid Papercraft Creature 8-Page Brochure

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Section 3

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Photo Grid T

he Obkect of this projext was to use effects, adjustments, and filters.

We first had to take a photo of somerhing abstract. I chose a typewriter. We then opened the image into Photoshop into a 10 by 10 artboard. We then used grids to section of 1 by 1 inch squars. Thenin each segment we either distorted or adjested the levels. W also olayed with the effects. We also had to incorporate a word into the project.

Original Photo

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finished Photo grid

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Paper Creature

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or this project we had to do some research and looked at other paper creature that already existed. We even got to build one. By doing this we gained an understanding of how the creatures are build and made fo a two dimentional object into a 3D one.

After the research phase we hade to sketch out some ideas for our own paper creature.

After a few sketches we picked our favorite and drew up some rough sketches of the piexes we are going to use.

After we have that done we have to cut out the pieces and build our firs rough 3D model. This helped us figure out what worked well and what didn’t work so much.

Now that we have a structure to work with we needed to make another paper 3D model but this one will have some rough details of our creature features.

Once we we have a design we like we have to layout a poster design that has all of our pieces, backstory and instructions on how to assemble the creature. Final 3D model is built at this point.

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65 WORKBOOK 2016

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67 WORKBOOK 2016

8 Page Brochure

O

n this project we had to select an orginization from our school and make them an 8 page brochure explaining everything about the orginization. I selected the Gamers Association of Stevens Point (G,A,S,P) First we had to do research on our orginization by either talking to the people or leaders in the orginization or looking on webstes dedicated to the orginization.

After the research we we sketched out some cover ideas that woul grab the attention of the audiance.

We then had to make a dummy book that contained the 8 pages and a rough layout of what was going into the the brochure.

We had to take our own picture and required us to go to the meetings or an event.

We then mafe a balck and white version of our final brochure so we could see how well the contrast work.

We then got a final critique and applied changes.

We then had to print it as a booklet and sent it to the printers.

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