UW-Stevens Point Art 211 Sec1- 2016 by Vanessa VDE

s l l i k S n g i s k e D kboo or W 2016 Art 211 Section 1 Julie Sittler, Instructor Vanessa Van Den Elzen

Design Skills Workbook

Table of Contents Campus, Adobe CC & Acrobrat DC........................................................................................... 6 Photoshop........................................................................................................................................10 Indesign.............................................................................................................................................19 Illustrator..........................................................................................................................................27 Color..................................................................................................................................................32 Type....................................................................................................................................................35 Printing & Paper.............................................................................................................................38 Other Things to Know..................................................................................................................42 Projects.............................................................................................................................................46

Project 1......................................................................................................................................47

Project 2......................................................................................................................................48

Project 3......................................................................................................................................49

Glossary............................................................................................................................................50 Works Cited.....................................................................................................................................54

Campus, Adobe CC & Acrobat DC

Working in the Campus Labs

When you are working on your files, you can save them to the folder on your Desktop. You MUST copy your files to your MyFiles before you leave the computer station otherwise you will not be able to access it from another computer. You NEED to delete your local files off the Desktop before you leave. It is smart to also backup your files in other places, for example a jump drive or a website like Basecamp.com.

Location of campus labs and hours: Academic Labs (CAC 301, CPS 105/107, CCC 307, SCI B228/B238, TNR 356) Sunday & Saturday: Closed Monday-Thursday: 8:00am- 5:00pm Friday: 8:00am-12:00pm

DUC 201/203

Sunday & Saturday: 12:00pm-9:00pm Monday-Thursday: 8:00am-11:00pm Friday: 8:00am-9:00pm

LRC 110

Sunday: 12:00pm-12:00am Monday-Thursday: 7:30am-12:00pm Friday: 7:30am-9:00pm Saturday: 9:00am- 9:00pm

NFAC 172/190/215

Sunday: 12:00pm-12:00am Monday-Thursday: 7:30am-12:00am Friday: 9:00am-9:00pm Saturday: 12:00pm-9:00pm

Accessing my files from off campus

Log on to the University website. Select myPoint and log on using your student information. Select Academic Tab Under student computing services select myfiles – network storage for students. On the right hand side, select Access myfiles off campus Follow directions based on the operating system on computer you are currently using. To Access myfiles on a Mac: Open Finder. Click on Go- Connect to Server Enter the path to the share you would like to connect to (https://files.uwsp.edu/*your logon name). To save the connection, click the “+” button. Click Enter. Enter your UWSP credentials when prompted and connect.

Photo Equipment and Room

Available to students are a variety of equipment they can use for photography. There are cameras, tripods, backdrops, and lighting fixtures. The photo room, that can be rented out, is located near the entrance closest to the photography room and vending machine area. The office that has all the equipment to rent out is located in the GD room.

Adobe Creative Cloud (CC)

InDesign is best used for laying out printed materials like books or newsletters where there is a multi-page layout. Things designed in Illustrator or Photoshop are put together here. Adobe Illustrator is used for creating and editing vector illustrations and images like a logo for example. Adobe Photoshop is for editing and creating photos and pixel based artwork, not vector art. (When to Use Adobe Illustrator vs. Photoshop vs. InDesign)

Changing the Unit (and Increment) Preferences in Creative Cloud (CC)

You can change the preference for each program by clicking the software icon in the upper left hand corner. (On a Mac, on a PC it is at the bottom of the Edit tab) Select the preference tab, For InDesign, select Units & Increments, change horizontal and vertical to inches (or other unit depending on your application) using the drop down arrow. For Illustrator, select Units, change general to inches (or other unit depending on your application) using the drop down arrow. For Photoshop, select Units & Rulers, change ruler to inches (or other unit depending on your application) using the drop down arrow. For all print publications, stroke and type must remain in the point units.

Adobe Acrobat DC

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

Tools: Create and Edit

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

Tools: Review and Approve

Comment: Allows you to add comments with highlights, sticky notes, and mark-up tools Send for Comments: Allows you to share comments, track comments, compare files and send comments by email Stamp: Allows you to stamp PDF documents with either provided stamps or custom stamps Send and Track: Allows you to send and track large files Online Compare Files: Allows you to compare files, good for comparing old and new files Measure: Allows you to measure parts of the PDF and make marks

Tools: Protect and Standardize

Protect: Allows you to add restrictions to a PDF, like restricting others from editing it Redact: Allows you to block out parts of the PDF you donâ&#x20AC;&#x2122;t want others to see if you are sharing it with them

PDF Standards: Allows you to be able to save as PDF/A, X, or E Optimize PDF: Allows you to reduce file size and change other advanced optimization settings. Print Production: Allows you to edit, flatten, convert colors, among other options for printing the PDF Accessibility: Allows you to check the PDF for problems and set up other things dealing with the accessibility of the PDF

Photoshop

Image size

Resolution is an indicator of visual and digital information. It is measured in dots per inch (dpi) and pixels per inch (ppi). The minimum resolution needed for printing photographs is 300 pixels You can check the size of your original image by going under the ‘layers’ tab and clicking on ‘image size’. If your photograph is not the right resolution, you can correct it by unchecking the ‘resample’ box and then typing in your ideal resolution. If you do not uncheck ‘resample’, the image will blur/become pixelated because you will be changing the resolution only instead of changing the resolution along with the width and height of the image. Once you have adjusted the image to the correct resolution, you will be able to tell how large you can clearly print the image without pixilation problems. You are able to use the image smaller, but not larger than the adjusted size.

Mode

Photoshop’s preset for all images when opened is RGB. RGB stand for red, green, and blue and is best used for working with digital images. For print publications, you should convert your image to CMYK color- cyan, magenta, yellow, key- because these are the inks used in printing.

Three pass color correction

Under the image tab there are three auto tabs: tone, contrast and color. These are default tabs that Photoshop provides. The issue with using these tabs is that Photoshop arbitrarily makes adjustment without actually seeing what happens to the image. In some cases it will radically change the colors from what they should be. A better way to correct color in your photograph is to use ‘levels’ which can be found under the ‘image’ tab and ‘adjustments’. You can select each color separately under ‘channel’ and to adjust, move the little triangle so that they are in line with/ touch the where the graph starts on either side. Generally, you do this with the image in RGB, but you can also do it when the image is in CMYK using the same steps.

Background Layer

Photoshop automatically starts an image as a locked layer called Background that can be found on the right hand column under ‘layers’. You always want to preserve the background layer. In order to do this, you will need to create other layers to work on. One way you can do this is by right clicking on the background layer and clicking ‘duplicate layer’. You should then leave the background layer alone and leave it locked. This way, you will never lose your image while working, for example if you decide to erase parts of your image in a different layer, you will always have the full image to look at with the background layer.

Left Side Tool Bar

Marquee: Selects an area you want to work with, can only choose from rectangular, elliptical, single row or single column

Crop Tool: Crops your whole image, you are able to enter a precise size in the top left-hand corner; the perspective crop tool, slice, and slice select tool can also be found here Clone Stamp: Takes an area of your image and copies it on another part; Pattern tool is also found here Eraser Tool: Erasers part of the image, depending on the layer you are working on; the magic eraser and background eraser are also found here

Smart Objects

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

Grayscale

A Grayscale image is an image in which the only colors are shades of gray. To turn an image into a grayscale image, go under the ‘image’ tab, click on ‘mode’ then ‘grayscale’. Do not flatten the image. Once you save and close the image, you are not able to convert it back to full color again.

Left: Colored Image. Right: Grayscale of same image. Screenshots. 2016.

Duotone

A Duotone image is an image that uses only two colors. Traditionally it uses a grayscale image (black) and another color, but it could use any two colors. It is often used when full color printing process is not an option or to bring out middle tones and highlights of an image. A common duotone is sepia toning in which a reddish-brown color is added to a grayscale image to mimic photos from the late 19th century. To create a duotone in Photoshop, you must first start with a saved grayscale image. To create a duotone, go to the ‘images’ tab, click on ‘mode, then ‘duotone’. A window should pop up, and under ‘type’, select ‘duotone’. You can then choose the duotone color you want under ‘ink 2’.

Fake Duotone

A fake Duotone image can be created by turning your colored image into a grayscale (‘image’ tab>’mode’>’grayscale’) and then putting a colored box over the whole image (‘rectangle tool’ on left-hand tool bar, then pick fill color). Be sure not to flatten your image when you change it to grayscale. Also, in order to have a colored box over your image after making it a grayscale, save and exit then reopen it and go back to ‘mode’ and select ‘CMYK Color’. To change the opacity of the box, click on the layer the colored box is on and adjust the opacity under the ‘layers’ tab on the right-hand column.

Layer Mask

Use a layer mask as an alternative to the eraser tool to erase to the transparency layer without losing the integrity of the image and keep the original pixels, it is much better to use a layer mask. A layer mask allows us to go to transparency without changing any aspects of the image. The mask is a black and white image in which the black area blocks the image revealing the transparent background and the white image lets the original image show through the mask. To make a layer mask, select the add layer mask icon and click once. You will see a white box next to your image, revealing the whole image. You need to apply the black to the mask layer image to block the part of the image we want to remove. You can do this by using the paintbrush tool in the left hand tool bar. Making sure that your color palette window is black in the left hand tool bar. With the mask layer selected in the layers panel, begin painting the areas that you

would like to reveal to transparent. Select the brush type, size and opacity that works best around your image and begin painting away the area you want to remove. Watch your layer mask, you will see the black begin to appear on it as you paint. You can easily change back areas by switching the brush to white and painting over them again. To erase areas that are in straight lines, you can click at the beginning and hold down your shift key and click at the end of the line, and the area will automatically fill in between the two points. Varying the size of your brush as you work out from the edge will make removing large areas go much more quickly. You can also use a the [ or ] (bracket) keys to change the size of the brush.

Customizing your Layer Mask Properties

Once you have created a layer mask to reveal the transparent layer you are able to adjust the properties. Double click on the layer mask in the layers panel and the properties panel will open. In this window you can change to opacity and density of the mask to allow some of original image show through like a watermark while still keeping the (white) original area intact. You are also able to shift the edges and adjust the contrast on the layer mask for the black part of the mask.

Left Side Tool Bar

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

Invert Image

You can invert the image from a positive to a negative image by selecting the Layers tab, new adjustment layer, invert. Under the ‘new adjustment layer’ tab you can also find and adjust: Brightness/contrast, levels, curves, exposure, vibrancy, hue/saturation, color balance, black and white, photo filter, channel mixer, color lookup, posterize, threshold, gradient map and selective color.

Rearranging and grouping layers

In the layers panel on the right side of the screen, you can rearrange layers by clicking on them, holding, and dragging them to the order you want. To group layers, click on the folder icon in the bottom right corner of the screen. A new folder layer will appear labeled ‘group 1’. You can rename it and drag layers into it to group.

Filters Tab

The main list in the filters tab includes: 3D, Blur, Blur Gallery, Distort, Noise, Pixelate, Render, Sharpen, Stylize, Video, and Other. Each one of these includes a sublist, for example under Stylize there is: Diffuse, Emboss, Extrude, Find Edges, Oil Paint, Solarize, Tiles, Trace Contour, and Wind. There is also the filter gallery that has many more. For example, if I want to add the Oil Paint filer, I’d click on that. Another window will pop up showing the preview of the filter on the image plus other settings. These settings let you adjust how the filter will look.

Left: Oil paint filter window in photoshop. Right: Close up of options in the window. Screenshots. 2016.

Merge Layers

Merge Layers combines the layers you have selected and merges them together into one singular layer. To select layers to merge, hold down shift and click on the first at last layer you want to merge, and it will merge those and the ones in between. The layer name will change to the name of the top layer of all the selected layers.

Left to right: Layers tab, Selecting multiple Layers, Selecting Merge Layers option, Layers merged. Screenshots. 2016

Merge Visible

Merge Visible will merge all visible layers into one singular layer. Merge Visible will ignore any layer that has its visibility toggled (the eye) turned off.Â

Left to right: Selecting multiple layer with not all turned on, Selecting Merge Visible option, Visible layers merged. Screenshots. 2016.

Flatten Image

Flatten Image will combine all of the layers into one “flattened” image or layer. You will be prompted to choose whether or not to discard hidden layers before doing so. If you choose “Ok” to discard hidden layers, Photoshop will ignore any layer with its visibility toggled (the eye) turned off. If you choose “Cancel”, Photoshop will cancel the flattening process. If you want the hidden layers included in the flattened image, you will have to toggle it’s visibility to “On”. Once you save and close the flattened file, you will not be able to unflatten it. Flattening an image gets rid of a lot of the information to make the file smaller. To preserve the original unflat file, make sure to ‘save as’ the file as a separate unflattened version.

Left to Right: Layers tab, Selecting Flatten Image option, Pop-up window asking to discard hidden layers, Image flattened. Screenshots. 2016.

Batching actions in Photoshop

When you want to make the same changes to a group of images, you can record your actions on a single image and then apply them to a folder of all your images. To do this: -Open Actions Palette (window tab, action) -Select folder icon at bottom of panel -Name folder -Select new action icon at bottom of panel -Name it (description), this will change the name at the bottom of the panel -Do the editing that you want to apply to all the images such as filters, saturations, etc. -Save your edits (File, save) -Stop recording by clicking the square at the bottom of the Actions Pallete You can see a record of all the actions you did to your image within the folder you just created. Close your image. Actions Wndow in Photoshop. Screenshot. 2016. To apply the batch action to your folder of images: -In Photoshop go to File, Automate, Batch. -In the dialog box that pops up do the following: -At the top, select the name of the action you just created (Set –action) - Source: Folder -Choose: (Your folder of images – NOTE on a Mac it will select the folder you are already in as the folder choice, and will gray out your choice.) -Suppress File open options dialogs -Suppress color profile warnings -Set destinations to None (to put it back in the same folder) -OK

Everything within the folder will then be applied with the specific action.

Working with Grids in Photoshop

To use a grid, go to the View tab, click on Show, then click Grid. A grid should appear over your image and you can simply turn it off and on here. To adjust the grid, go to Preferences and click on Guides, Grids & Slices. You can then change the color and how many gridlines and subdivisions of the grid there are.

Embedded vs. Linked in Photoshop

When you bring in an image into an already created Photoshop Document, you have the option of placing it either as Embedded or Linked. When you embed the image, it will set the image as its own layer, but you won’t be able to edit it from the orginal file. When you link the image, the image is placed as a smart object, allowing you to edit it seperately and also allows it to be able to interact with it other linked objects.

Locking the image in place on the layer

To lock the placement of the photo on the layer, select the photo (you’ll know it is selected if the layer of the photo

is highlighted), then click on the Lock Layers tab in the menu and select Image, or click on the lock Icon under the Layers tab. Here, you can also quickly lock the transparency, image, position, or artboard auto-nest.

Using the Marquee Tool to custom delete and mask

You can delete custom shaped areas using the marquee tool in the left hand tool bar. Working on the unlocked nonbackground image, draw a shape using the marquee tool. If you hit the delete key, the interior area will be gone. To mask off all of the image except a specific area, use the marquee tool to draw your shape, then in the Layers panel, click on Add Layer Mask. It will then cut away everything that isnâ&#x20AC;&#x2122;t selected. With the marquee tool selected, look at the top tool bar, and you will see that the (first) single icon is selected. You can customize your marquee selections by using one of the options in the top tool bar. If you select the next icon, and draw a shape that overlaps the first one, Photoshop will automatically join the two at the points where they meet. The third icon is used to remove a custom area from the original marquee shape. Select the icon and draw

Left: Second marquee tool option. Middle: Third marquee tool option. Right: Fourth marque tool option. Screenshots. 2016.

two overlapping marquee shapes. The second shape drawn will cut out part of the first shape to create a custom shape. The last icon will create a custom shape based on the area where the two individual marquee shapes overlap to create the custom shape. To quickly deselect an area using Command + D.

Large Document Format

There are times when the image you are working with will be too large to place on the desktop, or on other devices. For this issue, Photoshop has created a work-around called PSB (.psb). The largest image size supported by a PSD (.psd) file is 30,000 by 30,000 pixels, whereas PSB files can be saved at an image size up to 300,000 by 300,000 pixels. PSB files can be exported as TIFF for compatibility with other software.

Clipping Paths

To create a clipping path follow these steps: 1. Use the Pen tool to create a path around the image area by clicking the pen tool tight against the edge of the image that will become the silhouette. Do not use too many points, as this will make the curves choppy. You can always add a point if needed. 2. Using the point ^ in the Pen toolbox, click on each point to draw out the handlebars. Select one side (point on end of handlebar) of the handlebar at a time to adjust the curve. 3. To move point, switch to the arrow tool (two down from the pen tool), right button click (or double click) to change from path selection tool to direct selection tool. This will allow you to move a specific point to the right place. 4. In the Paths panel, choose Save Path from the panel menu (click the triangle in the upper-right corner of the panel), and then name the path. 5. From the same panel menu, choose Clipping Path. 6. In the Clipping Path dialog box, select your path from the drop-down list (it will appear as a

picture), if itâ&#x20AC;&#x2122;s not already selected; click OK. Leave the Flatness Device Pixels text field blank. The flatness value determines how many device pixels are used to create your silhouette. The higher the amount, the fewer points are created, thereby allowing for faster processing time. This speed comes at a cost, though: If you set the flatness value too high, you may see (if you look close) straight edges instead of curved edges. 7. Choose File>Save As and, from the Format drop-down list, select Photoshop EPS or leave in PSD; accept the defaults and click OK. Note: When you go to grab the image to place it in another application you will see the background, but it will not appear once it is placed.

Filter Gallery

To access the Filter Gallery in Photoshop, your image must be RGB. Once you have applied the filter, you can switch it to cmyk.

InDesign

Creating and InDesign File

Open up Adobe InDesign. You can either click on the ‘New’ button that shows up on the main screen or go to ‘File’ then ‘New’ to start a new file. The New Document Window will pop up. Make sure to choose your Intent for your project, the number of pages you want and if they will be facing pages, the size and orientation of the pages, adjust margins if needed, and add a bleed if needed. Click OK. Save File.

Filler Text

InDesign offers a feature in which you are able to fill a text box with fake copy. To do so, first create a text box, then click on the “Type” tab and click on “Fill with placeholder text.” In the Graphic Design industry this fake text is commonly called Lorem Ipsum. Ex: Udipsanda nobit, saesed magnimp erepudae rero culla eosam veligentem repuditatis eos de siti ut ationsed eturiti solupti busdandio. Faces am ex exeremquo dest, everum fugitatibus mil ipitin parum atistint. It is a placeholder text and it helps with figuring out type without having to type something first.

Loading the curser

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

Bottom Information panel

At the bottom of the document window is an informational panel. Here, it shows the page number, arrows to flip through the pages, an icon where you can open another file and the preflight profile. There is one section you should always check when you open and close a document. You can see there is a problem with your file very easily by checking the green or red dot. If the dot is green and says “No errors”, then there are no problems. If there is a problem, the dot is red and next to it will say how many errors there are.

Tools in the left hand tool bar

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

Using color for fill and stroke

There are two different places you can select color to use as a fill or for a stroke. They are located on the left hand tool bar and also on the top tool bar. To switch between fill and stroke on the left hand tool bar, simply click the double ended arrow.

This double ended arrow allows you to swap between fill and stroke when using color.

Application Bar across top

These are the two horizontal bars across the top of the workspace. The very top bar provides things necessary to work on your document. This includes file, edit, view, insert, format, tools, table, window and help. The File tab allows you to ‘open’ a new document, ‘close’ a document or ‘save as’ a document. ‘Save as’ is useful when working on a long project. Saving multiple variations not only helps you out so that if one file freezes you don’t lose all your work, it also helps when you want to go back to a different stage in a document. Place in also under the File tab. You use the place tab for placing other content like images. Document set-up also in under the File tab. You can use this tab to adjust the settings of the document like the intent, number of pages, page size, orientation, and if you want a bleed or slug. Check spelling is located under the Edit Tab. Under this tab, choose Spelling then Check Spelling. The default setting is English: USA. The Type tab has two special tabs that allow you add a glyph and add additional spacing. A glyph is a special character not typically found on a keyboard. To insert, first have a text box made with your cursor in it. Then, find the glyph you want and double click. The ‘insert white space’ tab is typically used to add space between letters of the certain types that are very compact. The Show Hidden Characters Tab is used to show things like where the start of paragraphs are, where spaces and indents are, etc. It is a necessary tool to make sure your page is laid out the way you want without extra things like spaces that you can’t exactly see without this tab. The View tab is another location where you can change the viewing mode and it is the same as the viewing mode tool in the left hand tool bar. Another tab located under the View Tab is the Display Performance Tab. The default is ‘typical display’, but it is better to change it to ‘high quality display’ for clearer images. Under the Windows Tab is the workspace tab. This tab allows you to edit the right side tool bar. You can choose things like Essentials, Advanced, Book, etc. Depending on what you’re working on and it will give you tools the program thinks you need for that project.

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

When determining the number of pages in a bound document, you have to count every page, back and front, and the cover and back of the document. If you just count the number of physical pages (not back and front), your document will too small to fit in the information you want and may not end up being the layout you expected.

Preplanning your page layout

You should draw up a page layout on paper prior to setting up the InDesign file to solve problems before you get to the computer and to save time. You need to take into consideration the size of the page, margins, number of columns, where headers might go, where images might go, where text might go, etc.

Example of a page layout in InDesign. Screenshot. 2016.

Margins and columns

You can establish page margins and set up columns in two places. One place is to go to the ‘layout’ tab and under that, click on ‘margins and columns’. Here you can adjust all sides of the margin and the number of columns needed. You can also edit margins and columns right when you create a new document.

Master pages

When building a multiple page document in InDesign, it is essential that you create Master Page(s). A master page is a special page where you use guides, grids and columns to set a basic layout that can be applied to all of the other pages in your document. Master pages help you achieve consistency in your page design and save time. The ‘pages’ tab is located on the right hand tool bar. To create/work on the master pages and not the actual pages, double click on the page icon next to ‘A-master’. To set up a single master page, only work on one of the pages (most likely the right side if your document is one page). To set up a master on a spread, work on both of the pages. Once you set up a master, it will apply to all the pages in the document unless you choose otherwise. Be sure you are working on the master pages and not just a single page in the document, since it won’t apply to all the other pages then.

Showing grids, and setting guides using the ruler

Not all guides can be set using margins and columns. To add special guides both vertically and horizontally, you can turn on view grids and use the ruler. You can turn grins on and off under the ‘view’ tab by clicking ‘grids and guidelines’ and either clicking ‘hide or show document grid’. To use the ruler in both a spread or single page, you

can drag the cross-hairs in the top left corner to the top left corner of the page so that it will be aligned with 0. To add guidelines from the ruler, either click and drag the top or left line of the ruler onto the page and place it where it need be. To input a precise measurement, click on the guideline and in the top left corner, enter your measurements in either X or Y. To delete a guide, click on the line and hit the ‘delete’ key.

Page numbering

Page numbering in a document is best done on the Master Pages. This way, all the pages will have page number, instead of going to every individual page and putting them in one by one. Placement is commonly on the bottom of the page, usually on the outer corners of each. Keep the typeface consistent and size small, as it is not something that should draw too much attention from the rest of the page. To place a page number, create a text box then go to the ‘type’ tab, click on ‘insert special character’, ‘markers’, and ‘current page number’. An ‘A’ denotes a page number on the master page.

Printing margins, grids and guides

Margins, grids and guides do not print in your document by default. You are able to print them when needed by going to ‘file’, ‘export’ and under the ‘general’ tab, go to the ‘include’ box and check the box labeled ‘visible guides and grids’.

Leading

Leading is the distance between lines of type. Leading is used to help enhance the readability of a block of text in a document. The amount of leading is based on the typeface and size of text. The default amount is none. When determining the amount of leading you want to use, consider who will be reading the text, the typeface, the size of text, and what is the context.

Alignment of text

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

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There are also four types of justified text alignment; left justify, right justify, center justify, and full justify. Justify spaced out the text so that they touch both sides of the text box.

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Text Wrap

Text Wrap is a feature that allows you to wrap text around an image or graphic. You can find text wrap under the ‘windows’ tab. After opening up the Text Wrap window, click on the image you want to work with. There are 5 different types of text wraps to choose from; no wrap, wrap around bounding box, wrap around object shape, jump object, and jump to next column. I the text is too close to the image, you can add padding to add space between the text and image by adding an offset in the text wrap window.

Object Align

When you have multiple boxes on a page that you want to line up perfectly you can use Object Align to do this. You can find object align under the ‘windows’ tab, ‘object and layout’ and click ‘align’. To align multiple objects, hold down the ‘shift’ key and select your objects, then select how you want them to be aligned in the align window.

Character Style

A character style is a collection of character formatting attributes that can be applied to text in a single step. Character style is important because they allow you to easily edit and change headers in a document. If you edit all your headers at once, character style lets you do this instead of editing each header separately. You can find the character style tab under the ‘type’ tab. Under character styles, select the more button and click on ‘new character style’. Here you can name it, change the font, add color, etc.

Paragraph Style

A paragraph style includes both character and paragraph formatting attributes, and can be applied to a paragraph or range of paragraphs. Paragraph styles are important because it too allows you to edit and change many part of you document at once, without having to change each section paragraph individually. Like the character style, paragraph style is also found under the ‘type’ tab. Under paragraph styles, select the more button and click on ‘new character style’. Here you can name it, change font, add spacing, etc. (Paragraph and Character Styles)

Customizing Type

Baseline shift: Raises or lowers the type Vertical scale: Enlarges or shrinks the type vertically Tracking: Adds or reduces space between all letters highlighted Kerning: Adds or reduces space between specific pairs of characters Horizontal scaling: Enlarges or shrinks the type horizontally Skew: Italicizes the type

Glyphs

A Glyph is a special character within a type. You can find them under the Type tab.

Tabs

You can create custom tabs within a text box by creating a new box then going under the Type tab then clicking Tabs. A box should pop up with a ruler where you can drag arrows on to show where you want your custom tabs placed. If you already have text in a text box but you want to add a tab, place your cursor on the line you want to adjust and create a tab for that line. You can also highlight the text and create a paragraph style then adjust the tabs there.

Bullets and Numbered Lists

Bullets or Numbered lists are useful for listing steps, points, or items. You can set them up under the Type tab, then under the Bulleted & Numbered List tab, then choose either Apply Bullets or Apply Numbers. Once you do that, when you start typing, either or will appear and a new one will appear every time you enter. You can then Remove Bullets or Remove Numbers when needed.

Importing Illustrator file(s) into InDesign

There are two common ways to import your Illustrator file into InDesign: -Place the original IA file by going under the File tab then clicking Place. It will lead you to your files, and you just have to select the correct one. It is then linked to the InDesign file. The drawback to this is that it will flatten the file. -Copy and paste from IA to InDesign. If there are multiple layers, make sure all are on and visible so all will be copied over. It is then placed as an image in the InDesign file. The advantage to this is that it will the file will still be high quality an unflattened. You can quickly make changes to the IA file by right button clicking on the illustrator file in InDesign and a pop-up window will appear. In this window select Edit With>Illustrator. It will take you to the original file so that you can adjust or fix issues. Once you save it (without change the name or file type), it will automatically update it in InDesign. (This also works with a photograph and Photoshop.)

InDesign-Object-Effects

You are able to add an effect to a text box, object, image or photograph under the Object tab, then the Effects tab. Under the Effects tab there is drop shadow, inner shadow, outer glow, inner glow, bevel and emboss, satin, basic feather, directional feather, and gradient feather. If you apply an effect to a clipping mask image, it will only effect anything in the clipping mask.

Link Management

You can keep track of all of the linked items in you InDesign file by using the Links tab on the right-hand tool bar. This shows you everything that is linked in the file, what page they are on, and if there is a problem. If the link is missing, a question mark will appear next to that missing link. This can be easily fixed by relinking the file, which means finding where you saved it and updating the link info with that information. When you click on each link, it will give you info like the name, format, status, color space, etc. It is important to know these things so that the link goes well with the file it is in.

Bleed

A bleed extends beyond the edge of the paper. It is useful when you want an image to go right up to the edge of your printed document. It is represented as a red rectangle around the page. It is important because ensures you that there wont be any unprinted edges in the final printed document.

Packaging your InDesign File

To save yourself a lot of headache and time it is best to Package your InDesign files on a regular basis throughout the project and at the end of the project. To do this you: Go under File, click on Package, and a window will pop up. Here, make sure everything is correct to how you want it an make sure that nothing is missing (like links). Next, click on Package again, then add any printing instructions if needed then click continue. A Create Package Folder will then appear and here you can choose what you want to include in the packaged file and the quality of the PDF

if needed. When done, click Package. In your packaged file, you have the original file, a file that can be opened in older versions of InDesign, a pdf version, a folder of the fonts used, a folder of the links, and printing instructions of the file. A packaged file includes all fonts in the file, including fonts that may not be available on other computers, so it is important that those fonts only stick with that file, to prevent any legal complications.

Illustrator

Artboards

Artboards act as your workspace (like a page). Any graphics you place on the artboard will appear, print, export or save as a PDF in the final design. If you have items place off the side of the artboard, they will not print, but will remain in your file until you delete them. You can have 1 to 100 artboards per document depending on size. You can specify the number of artboards for a document when you first create it, and you can add and remove artboards at any time while working in a document. You can create artboards in different sizes, resize them by using the Artboard tool , and position them anywhere on the screen—even overlapping one another. You can also specify custom names for an artboard and set reference points for artboards.

Printing and saving artboards

All artboards in a document share the same media type format, such as Print. You can print each artboard individually, tiled, or combined into one page. You can preview artboards from the print dialog box before printing them. The print settings you choose are applied to all of the artboards you selected to print. By default all artwork is cropped to an artboard and all artboards print as individual pages. Use the Range option in the Print dialog box to print specific pages.

Converting Text to Image

You can convert text to an image by going under the ‘object’ tab and then clicking ‘expand.’ Make sure to check the spelling before you convert your text into an image. Once it is an image you can distort it, add effects, and cut it apart to name a few.

Shape Builder tool

The shape builder tool can be used to combine several different shapes into a single shape. Begin by creating the shapes you want to merge, making sure that they slightly overlap each other. Select the shape builder tool from the tool panel. Click on one shape, and while holding down the mouse button, drag it over all the shapes you want to join. When you select each shape, it will look like there is a grid over it. Once you let go, they should be merged.

Left: Shapes not combined. Right: Shapes combined using the shape builder tool. Screenshots. 2016.

Scale tool

The scale tool allows you to enlarges or reduces an object horizontally (along the x axis), vertically (along the y axis), or both. After you scale an object, Illustrator does not retain the original size of the object in memory. Therefore, you cannot resume the original size of the object. (By default, strokes and effects are not scaled along with objects. To

scale strokes and effects, choose Illustrator, preferences, general and select scale strokes & effects.

Image Trace

Image trace can be used to trace any image and turn it into a vector image. When you have an image to trace, go under the Object tab, Image Trace, and then Make or Make and Expand.

Left: Scanned Imaged. Right: Same image but after using the Image Trace too.. Screenshots. 2016.

Increasing/decreasing points on a Polygon and Star

You can easily add or subtract points on a polygon or star by simply drawing the shape, holding down on the mouse, and then pressing the up or down arrows on your keyboard.

Eraser Tool

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

Clipping Mask

To place an image in a shape or text, you can do so by using a clipping mask. First place the image on the artboard in the approximate size you want the mask to be. Then place over the top the shape or text that you want it to go into. Make sure you have the shape or text the size that you want the mask. Select both items and go to Object, Clipping Mask, Make. Now your object will have the image as a fill. If you double click into the shape or text, you are able to move the image around.

Symbol Spray Tool

With the symbols panel open, select the symbol you want to use first. Then with the symbol spray tool, spray your symbol(s) where you would like them placed. You are able to manipulate them with the other tools in the pullout

menu. The other tools are the symbol shifter, scruncher, sizer, spinner, stainer, screener, and styler tools. They manipulate the symbols already sprayed by the symbol scary tool but either changing size, direction, placement, color, etc.

Width Tool

With the width tool you are able to change stokes and shapes. By adding or selecting a point, you can drag out the width of that point with the mouse. You can select existing points to change or move the width also. Inside this panel are some other options. The warp tool allow you to distort the image however you want. The twirl too spins the image like a spiral. The pucker tool sucks the image into itself. The bloat tool expands the image in areas. The scallop tool sucks the image into itself but, like a star and the crystallize tool makes the image go outward like a star. The wrinkle tool wrinkles the edges of the image like waves.

Mesh Tool

The Mesh Tool adds a mesh point of another color into a selected object. To do this, select the mesh tool, select a color, and then click on the object where you want to apply a mesh. To delete a mess point, using the direct selection tool (white arrow) click on the point you want to remove and hit the delete key. To move the mesh point, use the direct selection tool (white arrow) to select the one you want, holding down the mouse button, drag to move it.

Creating a Custom Gradientâ&#x20AC;&#x201C;Using Gradient Panel

Open the gradient panel: Window, gradient. A grayscale gradient will appear. To change the color double click on the square at the bottom and select a new fill color. You can do this for both squares. To add additional colors to the gradient, click at a point along the bottom line between the two outside squares and it will add a new fill square. Double click to change to color. You can slide the squares on the bottom, or the triangles on the top back and forth to adjust the range of gradient. Select the type of gradient you want to use, either linear or radial. You can also adjust the angle of the gradient under the angle options by clicking the down arrow and choosing your angle. To delete a color from your gradient, you can select the square and click the trash can or you can slide all the way off the end. Once you have the desired gradient, you can grab the sample square and drag it to your swatch panel to save it.

Creating a Custom Gradientâ&#x20AC;&#x201C;Using Blends Tool

By laying out a series of two or more different color shapes, you can make Illustrator blend these together to get a custom gradient. To do this, first create your shape(s) in different colors. Working from the back to the front is best. Layer the shapes on top of each other. Select all, then use Object, Blend, Make. There are three types of blends you can select from: Smooth, Specific Steps and Specific Distance. Smooth will give you a seamless blending of colors, whereas the other two will give you chunky steps based on the perimeters you use. To blend the two objects using the tool, you will need to select an edge of the first object, and then select the edge of the next object, and Illustrator will blend these two objects. You can also use the blend tool from the tool panel. You will need to select the edge of each shape in the order that you want to blend it. If you shift your selection point from the original it will twist the blend. Note: You are able to change a color in the blend by selecting a specific object and then changing the color on than object and it will automatically re-blend it.

Layered Lines (strokes)

You can layer different weights of lines on top of one another, to create a single multi-colored line that can be manipulated like a single line. Begin by opening the appearance panel (windows, appearance). Draw several lines using different point sizes and colors for the strokes, no smaller than 1 point. Select the heaviest line, then in the appearance panel, click on the box in the lower left hand corner (add new stroke.) Using the eyedropper in the tools panel, select the next smaller size line. The second line should appear on top of the first line. Continue doing this (add new line, eyedropper) until you have built all the layers of the line. You now have a single multi-colored line that you can copy and manipulate as need be.

Creating Your Own Paintbrush Pattern

Find or draw a piece of vector art that you would like to use like a brush. With the brushes panel open, drag the vector art into the row of choices. You will be prompted to select Scatter, Art or Pattern brush. Scattered Brush should be selected if you would like to click the artwork to follow the drawn line or want to randomly place a single vector art with the click of the mouse. Art Brush should be selected if you want the vector art to fill the whole line - no matter the length. It will stretch and distort to accommodate your stroke. Pattern Brush should be selected if you would like the artwork to follow the drawn line. You are able to make adjustments for spacing, rotation and size. You are able to adjust the style of the brush by double clicking on the brush in the brushes panel. You can group vector art pieces together to make a single brush. Shift select the pieces and drag them into the brushes panel.

Creating Your Own Fill Pattern

Draw/create vector artwork. Select all of it to go to: Object, Pattern, Make. You are able to change or alter the pattern once it is a fill pattern: Object, Pattern, Edit. You can also select the artwork and drag it into the swatches panel. NOTE: You can use an image, just make sure that it is not a linked images (uncheck link when placing image). In the pattern panel you are able to decide how the pattern will repeat.

Creating a Texture

You can create a texture using a photo or image to add depth and dimension to your project. To do this you will begin in Photoshop. Convert your photo or image into a gray-scale image. You can bring this image in as is, layering over other colors and pattern using an opacity or you can change it to a bitmap (Image, mode, bitmap, flatten, output 100, diffusion dither). By changing it to a bitmap, the white areas will become transparent and you will be able to change to color. Adjust the texture to fit within the template box, and then with the template box shape on top, select both the template and the texture, and go to Object, Clipping Path, Make. You are now able to layer this texture on top of the other layers and you can adjust the opacity to soften it if needed.

Color

Designers need to know a lot about color. From color theory, the psychology, cultural and mythic meanings of colors, to the technical aspects of how to handle color digitally, to knowing the systems of used in specifying color, the knowledge base you need to acquire is expansive.

Color Systems: Additive vs. Subtractive

“Designing with color begins with the recognition that the colors of your environment appear as a reaction to light.” (Gonella, 2014)

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

Additive Color System

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

Subtractive Color System

When we look at color that is applied using paint, dye, ink or other forms of pigments, the substance or powder that gives these things its color, mixed with a variety of elements applied to a surface such as canvas, fabric or paper we are seeing light bouncing off the surface. Variations in the quality of the pigments or the type of surface it is applied to will determine the richness of the color produced.

Metamerism

The light source we view the color in will affect our color perception. Depending on the light (natural vs. manufactured) the color could change slightly or drastically. For example the color white will feel and look bluish (cool) under fluorescent light, but may appear a faint yellow (warm) under sunlight.

Interaction of Color – Optical perception

Color is never seen in isolation, colors interact with those adjacent to them. When paired with another color, the original color can look lighter or darker than by itself. Josef Albers, a German-born American artist, poet, printmaker, and educator is the foremost expert on this. He experimented with this through trial-and-error and experience. He would place the same color next to different colors and see and feel their relationships to one another. His book, Interaction of Color, has many examples of this and other optical illusions using color (Popova). All of this is very important to recognize when designing with color.

Process Colors

Process colors are made up of cyan, magenta, yellow and black (CMYK). This is in reference to the printing process where full color images are separated out into their component CMYK colors as dots. This is done in order to print the colors one on top of another and produce a visual recreation of all of the colors present in the image.

Spot Color

A Spot color is a color in addition to CMYK (Process Colors) and can be printed as a solid color instead of CMYK. Pantone Matching System is a standardized color matching system that allows for the creation of a spot color to consistent match the Pantone color. Spot colors are useful for projects that only use one or two colors, when you need a specific color like for a logo for example, or for things like posters or large projects that need more even coverage of color.

Moire

A moire pattern is an artifact that occurs in the print reproduction process when any two, or more, repeating patterns overlap each other. Moire can also be introduced when a halftone printed image is scanned. A set of standard screen angles with the first and least visible color, yellow, is placed at the most visible angle 0ໍ (90ໍ). Then the most visible color, black, is placed at 45ໍ. The cyan and magenta are then placed between these two. Cyan at 15ໍ (105ໍ) and magenta at 75ໍ. These angles represent a best all- around compromise for most pictures.

Image of Moire. Taken from Website (Pritchard). 2009.

Pantone Color System

The Pantone Color System is the most used color matching system in the design industry. Other systems include CMYK and RGB. Pantone colors allow designers to select specific colors that printers will be able to reproduce exactly. Pantone colors are mixed from 18 basic colors using a unique formula. By mixing these colors, it creates an array of many other colors. Each color is a certain percentage of the basic colors, allowing for the exact color you want to be created every time. Because there are many different kinds of papers, coatings and kinds of options for printed design work, there are numerous Pantone swatch books to represent the various kinds of printing and papers. The most basic distinction between these swatch books is Pantone Coated vs. Pantone Uncoated. These simulated what the color will look like on coated and uncoated paper stock. There are also swatch books that show how a specific color can be recreated using CMYK. You can find spot colors in Illustartor under Swatches. You can either create your own and save it or look under the Color Library and choose a pantone color that saves into your swatches.

Type

Anatomy of Typography

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

Font vs. Typeface

A font is a family a typefaces and a typeface is a single design within the family. Fonts have typefaces but typefaces don’t have fonts. For example, Arial is a font and Arial Bold Italic is a typeface within that font.

Type Classifications

There are four general classifications; Serif Type Styles, Script Type Styles, Sans Serif Type Styles, and Decorative. There are also subgroups in each, for example in Decorative, there is Grunge, Psychedelic, and Graffiti. Decorative is the largest category since many typefaces here are relative to the time period and culture, making it a very diverse. It is typically used for headlines or signs, since many of the typefaces in this category are so dramatic and taboo.

Types of font file formats

The two most common font file formats are Open Type and True Type. True type came first, and was created by Apple and Microsoft in the early 1980s because they needed a format that both Windows and Mac could use and one that could be read by most printers. It includes the display and printer font data in a single package. Open type was created by Adobe and Microsoft and is cross-platform and had the display and printer font data like true type but many more capabilities. It features a format that allowed the storage of up to 65,000 characters including ligatures, glyphs, alternate characters, etc. (Clark)

Ligature

A ligature is the connection of two or more letters. You would use it to make certain letter combinations in certain typefaces more visually appealing. You can find ligatures under the ‘type’ tab and ‘glyphs’.

Hierarchy

Hierarchy is the way in which you present the type on the page in order of importance. It allows the designer to organize and guide the viewer across the page. Using hierarchy can tell the viewer what to look at first, what is most important, and what to look at after, and what is least important.

Hierarchy levels

Primary Level: The largest type and the first thing you see Secondary Level: The second largest type, could use bullet points, be a quote, different color, etc. Tertiary Level: The third type, smallest type, everything else on the page, paragraphs, etc. Other Levels: Other levels can be reached with italics, bold, different typefaces, color, etc.

“Typography exists to honor content.” Robert Bringhurst: The Elements of Typographic Style

Line Spacing (leading)

Line space refers to the amount of vertical space between lines of type and is measured from baseline to baseline. The optimal line spacing is 120%. The smaller the type, the more line space you will need to help with the readability. Another factor that can affect the line space is the x-height of the typeface. The taller the x-height the more line space you will need. The same holds true for the length of the descenders.

x-Height

The x-height is the distance from the baseline of the time to the top of the main body of a lower case letter in a type. They usually base it off the height of the lower case x, hence the name. In the fonts below, the second’s x-height is shorter than the first’s.

Through the Late Night Through the Late Night

Optimal Line Length

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

Printing & Paper 38

Printing Processes used in the Design Industry

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

Offset Printing

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

Digital Printing Presses

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

Post Press Processes

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

Copy Shops

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

PRINT BOOKLET (On a Mac)

Step 1: Make sure you set up your document correctly. (Facing pages, correct number of pages for a booklet (multiple of 4). Step 2: Go to File, Print booklet. Click the Print button, which will open up another pop-up window. Check the preview to make sure everything looks right, tell it to print blank pages. When you click OK, the Print dialog box will close and youâ&#x20AC;&#x2122;ll return to the Print Booklet dialog box. Step 3: Check Set-up tab to make sure the orientation is right, and marks and bleeds are selected. (Also make sure the Preview tab is showing the booklet properly.) Now, click Print and you can save the PostScript file with a name and location: Step 4: Convert to PDF. Once your PostScript file has been saved, itâ&#x20AC;&#x2122;s time to convert it to a PDF file. Launch Acrobat Pro. Choose File, Create, PDF from File, select your PostScript file, and then open. Once it is done creating the PDF it will open up in a window as a pdf. You can now save it as a PDF. If you are working on a PC, you will be able to select Print Adobe PDF from the print menu and it will work.

Banner Printer

First, send a job to the banner printer. You have to approve the job sent. To do this, you have to release the hold via an email sent to your student account. It is probably a good idea to talk with a NFAC lab assistant to make sure there arenâ&#x20AC;&#x2122;t other jobs trying to print at the same time. You can also purchase special paper for the banner printed from them, if needed. If you are using different paper, you will have to unfeed the normal paper, an feed and calibrate the new paper to the printer, making sure it doesnâ&#x20AC;&#x2122;t skew. After sending your job to the printer and approving, you can go to the printer and make further adjustments or see how long it will take on the small screen on the printer.

Banner Printer. 2016.

Printer Spread vs. Reader Spread:

A reader spread flows, like how you would read what you are working on. The cover, page one, will be alone, then 2 and 3 will be a pair, 4 and 5, etc. The last page, the back will also be alone. In contrast, a printer spread is how a signature, or something like a brochure, would be printed. Using an 8 page booklet as an example, 1 and 8, 2 and 7, 6 and 3, and 4 and 5 would be together.

Left: Reader Spread. Right: Printer Spread. Screenshots. 2016.

Paper

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

Kinds of Commercial Paper

Commercial paper is manufactured according to industry standards. There are a range of characteristics and specifications used to identify the different types of paper. These are Grade, Finish, Weight, Color, and Grain Direction. The basic grades (or types) of commercial printing papers are: • Bond or writing (usually used for letterheads, business forms and copier uses) • Book (the most commonly used coated and uncoated papers for printing) • Text (high quality sheets in a variety of surfaces and colors) • Cover (used when greater bulk is required such as book covers, postcards or inserts) • Tag / Bristol / Index (smooth surface papers, mostly uncoated, used for displays, file folders, tickets.) Within each grade there are other distinctions, based on brightness, opacity, fiber content, and finish. For instance, there are matte, premium, and gloss finishes to coated papers. Text papers are distinguished by finishes like smooth/vellum, felt/embossed, laid, and linen. Papers come in a variety of Surface Types. Common Coated types are: Gloss, Dull, Matte, Silk and Embossed. Uncoated paper comes in a wide variety of finishes including: Smooth, Linen, Vellum, and Felt. Each of these surfaces will provide different print quality and overall appearance. Each has its strengths and appropriateness for a particular job. Most grades come in a variety of Weights for both Cover and Text. Get to know and learn to work with your printer to select the best papers for your print design job.

Types of Binding

Saddle Stitched: Pages are folded, creased and stapled together. Commonly used for lookbooks, booklets, and magazines that have a small page count. Perfect Bound: Pages are folded into sections (signatures) and glued with a heavier printed wrap-around cover into the spine using a strong adhesive. Commonly used for paperback or softcover books. Wire/Spiral Bound: Holes are punched through the pages near the bound edge and held together using either wire or plastic coils. Pamphlet Stitch: A single signature sewn with a running stitch down the spine. Handmade. Coptic Bound: Signatures are sewn through their folds and attached to one another and again sewn through two loose covered boards with a chain line stitch across the spine. Handmade. Japanese Stab Bound: Used either a soft or hard back cover which attaches to the text block with decorative stitching along the spine. Useful for binding single sheets of paper. Handmade. Screw Post Bound: Screws are used to hold the pages together between two covering boards. Commonly used for portfolios. Handmade. (Leonard)

Creep

A creep happens when the bulk of the paper in a signatur causes the inner pages to extend or ‘creep’ further out that the outer pages when it is folded. You have to consider this when designing a book because if there is too much creep and it isn’t something you want; you may have to change your type of binding. However, if it is what you are going for, you have to have a reason for it and make sure it works.

Other Things to Know 42

File Naming Convention

To keep track of multiple projects it is important in use a file naming convention that makes sense and is consistent. For example, VanDenElzenV_DesignWorkbook_01 It is also important to keep iterations on a regular basis for two reasons. 1. It allows you to backtrack to a different design if needed. 2. It provides an additional form of file backup – in the event that the current file is lost due to power failure, computer failure or human error.

Organizing your Files

Make a Folder (Directory) for each project you work on. All CC files, content, Word documents, images and other stuff related to the project are stored inside this main folder. Create sub-folders for the kinds of content. For example, sub-folders could include ‘screenshots’, ‘workbook lessons’, etc. Everything relating to that folder/project would then be stored in them, for example every screenshot you take would all be stored under ‘screenshots’.

Taking a Screen Shot

Sometimes it is necessary to record or document things from your screen to use as personal reference or as a record of things you are doing. To do this you can take a screen shot. On a Mac computer select the keys: Command + Shift + 4 to get a Crosshairs cursor. With this you can draw around what you want to capture. The screen shot automatically saves onto your desktop as a portable network graphics image titled “Screen Shot (Date and Time)”.

Key Commands

Key commands (also known as keyboard shortcuts) is the combination of two or more keys that you can use to perform a task that would typically require the use of the mouse and or multiple keyboard steps. These can be more efficient than having to find a command under tabs and other places. For example, if you wanted to zoom in and out of your image on Photoshop, instead of having to find and click on the magnifying tool, you can simply press command and the + key or – key.

Raster vs. Vector Image

Vector and Raster are two types of digital graphic files. A Raster image is an image that is made up of many tiny pixels. The more pixels in the image the more information and accuracy it has. Typically, the larger the image the more pixels it will have, but smaller images can have many pixels. If you enlarge a smaller image that doesn’t have enough pixels, the image will become blurred/pixelated. A Vector image is based on mathematical calculations from one point to another to form lines and shapes to create an image or illustration. Vector images are better because you are able to scale them up or down in size without losing any information. A Raster image is best used in Photoshop and a Vector image is best used in Illustrator.

JPG (JPEG): Joint Photographic Expert Group. JPG and JPEG are interchangeable and is a lossy graphic file. It combines like pixels, simplifying the image resulting in an uneven number of pixels but it is useful for compressing

files and because it is very compatible format. TIF: Tagged Image File Format. TIFF is the computer format for storing raster images because it is great for printing photos (print media). PSD: Photohshop Document. PSD is Photoshopâ&#x20AC;&#x2122;s native file format and is used when working with layers that contain other images. It is important because it will show all working layers and all image information. It can hold large files, and is useful when using in progress photoshop documents and other Adobe applications. PDF: Portable Document Format. PDF was created by Adobe as a format that can be used independent of application software, hardware or operating systems. It is great because you can share PDFs universally, is easy for viewing, and the owner can either make it available for edit or not. It is good for sharing things that need to work with any program and for not taking up much space. PNG: Portable Network Graphic. PNG is a raster graphics file format that is best used for internet because it is a lossless data compression file and because it is small. It is better for the web compared to JPEG files. GIF: Graphics Interchange Format. Invented by Steve Wilhite, it is similar to PNG in its use on the internet as a lossless compression file. (Pronounced Jif)

Research

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

Bone folder

A bone folder is a tool you can find in the scrapbooking section. It creates a crease in your paper so that you have a perfect fold exactly where you want it. You simply take the tool and drag the point across your paper. Using a ruler will make sure you get a straight crease.

Plagiarism and Copyright Infringement:

Plagiarism: Is the wrongful using of or closely imitating the works of another person without authorization and then representing that personâ&#x20AC;&#x2122;s work as your own, and not crediting the original person for their work. Copyright Infringement: Is when you take a copyrighted work and reproduced, distributed, performed, publicly displayed, or imitate the work without the permission of the copyright owner. Getting copyright permission basically breaks down into 5 steps: 1 Determine if permission is needed. 2 Identify the owner. 3 Identify the rights needed. 4 Contact the owner and negotiate whether payment is required. 5 Get your permission agreement in writing. (The Basics of Getting Permission)

Citing Your Sources: MLA (Modern Language Association)

MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. MLA style features brief parenthetical citations in the text keyed to an alphabetical list of works cited that appears at the end of the work. Examples: Book Citation: Wood, James. How Fiction Works. New York: Farrar, 2008. Print Article Citation: Blackburn, Robin. “Economic Democracy: Meaningful, Desirable, Feasible?” Deadalus 136.3 (2007): 36-45. Print. Web Citation: American Library Association. American Library Association. ALA, 2008. Web. 14 Jan. 2009.

Photo captions (cutlines)

Photo caption is a few lines of text that explains the photograph (i.e. title of the photo). It may include the name of the artist, date and photographer.

Thumbnail Drawings

Examples of a Photo Caption. Screenshot. 2016.

Thumbnail drawings are an important step in creating a project because it allows you to brainstorm many different ideas and get them on paper. You can explore different ideas or focus on one and expand on it more. It also helps you exercise your creative mind and allows you to flow out with many ideas and is simply good practice. You should do them as the first step of a project. You know when you have enough if you feel like you’ve exhausted all ideas on that project.

Examples of thumbnail drawings. 2016.

Developing Narrative

When developing a narrative, it is important to ask why. Considering where it lives, who it hangs out with, what it eats, what it likes, what does it look like, where does it come from, etc., is important but then to further develop those ideas you can ask why to develop the narrative more. Knowing the narrative ahead of time helps create the image for whatever you are creating the narrative for. For example, if you know that ‘it’ lives in water and is blind, then you know ‘it’ has to have gills and maybe fins and either no eyes or eyes that are glossed over to communicate the narrative.

Projects

PROJECT 1: Photo Grid

For Project one, we worked with layers in Photoshop to create a new photograph usng a single image that we altered using different proceses, filters and effects. We used a 10x7 unit grid on a 10.5x 15 inch photo. Each of the 70 squares had to be altered differently, with no two alike. The photo I used was taken in Nevada. I used colored sqaures, gradients, artistic filters, duotones, and fake duotones just to name a few. It was hard to use so many different filters and effects and also try to make the new image look like it was one whole image that went together. Thatâ&#x20AC;&#x2122;s what I think I struggled with the most. I really liked how some of the effects were so vibrant, but when place next to others, it stood out too much. I tried to scatter some of the vibrant ones so that one part of the image wasnâ&#x20AC;&#x2122;t more distracting than another, but I think I could have done that better. It was also difficult sometimes to find different effects. I ended up doing multiple duotones, different colors of course. but the same process. It is hard when there are 70 squares.

Original Photo, Begining of project 1. Screenshot. 2016.

Middle stage of project 1. Screenshot. 2016.

I do think it turned out pretty good. Some parts are slightly destracting ad could be toned down, but I think the placement of colors and lights and darks throughout the piece do pull your eye all around the image.

Finished product of project 1. Screenshot. 2016.

PROJECT 2

For project two, we desgined and built a 3D paper creature. This included techincal instructions on how to build the creature and a narrative about the creature. We built and took photographs of our creature to then put on the final poster. The poster was created in InDesign and the creature was created in Illustrator. The poster size was 11x17 inches and the creature had to stand on its own. It was interesting to work in Illustrator. I did get confused about the layers at first, working on the wrong ones for the wrong things, but after some practice it was easier to use. I played with some of the tools to add texture to my creature, like stamps and gradients, but I wish I knew how to do more things with the program. It was also hard at first to get a shape I want because it is sort of hard when drawing with a mouse. Exact measurements were hard to figure out with my creature’s legs and where his boots started. It was sort of a trial and error until it printed out correctly. One other problem I had was trying to fit all my information about my creature, and its instructions, all on the poster. My creature had quite a few directions. The hood of Pete was also pretty hard to describe.

Poster of project 2. Screenshot. 2016.

However with all my problems, I really enjoyed this project. It was fun to create something weird and design a background story for it. I had a lot of fun adding details, like the ketchup packets, on my creature. I think it reall adds to him and makes him look quirky. After working with Illustrator a little bit, I kind of got the hang of it. I’m pretty proud with the finished product, except for some of the folds. I couldn’t get the hang of the bone folder for some reason, so the creases on Pete are a little messy, but other than that he’s pretty sleek.

Built paper creature for project 2. Screenshot. 2016.

PROJECT 3

For project 3, we selected and researched a UWSP student organization or group, excluding an art affiliated ones, and created 8 page brochure for it. We gathered information using material from the interent, the group’s own brochures, and also by reaching out to an office of the group. I chose UWSP’s Women’s Resource Center and contacted the Executive Coordinator to get most of my information. We had to think about how we wanted to present the group and organize its information, including orginal photos relating to it. I wanted to organize it in a logical way, starting with who the group was, their history, and what they are about and what they do. Then, I wanted to explain some of their events. I knew they had quite a few events, so I thought it would look good to put it on the spread of the booklet. Finally, resources they offeren and contact information would be on the last pages. I wanted to use pink because it is feminine, but add the black to the covers to make it sharp, to show get across that yes we are women but yes we are sharp and strong. I think the cover and the design/ layout is pretty sleek. I do wish I had a better camera to take better pictures for the booklet, but other than that, I’m very proud of it. I really enjoyed making a brochure and figuring out the smartest way to lay it out.

Final brochure of proect 3, pages 1 through 8. Screenshot. 2016.

Graphic Design ABCs: A Glossary of Basic Design Terms

December 4, 2014 This post was originally published on September 22, 2007 on the UCreative website. You can find us at: http://www. ucreative.com/resources/. Since then we’ve updated the list and added images. Enjoy, Creatives! (DKB Hoover revised this list for her students in 2016.) Designers have their own language. There are words that only we understand. Sometimes we don’t really know their exact definitions; we simply use them out of familiarity. It’s about time someone put them out there. The YouTheDesigner (YTD) team updated this glossary of graphic design terms for design newbies and experienced artists alike.

as a letter). Sometimes added to distinguish one grapheme from another.

the layout of the text and illustrations.

systems to create PDF (Portable Document Format) files. Acrobat is an independent means of creating, viewing, and printing documents.

Baseline An imaginary line upon which

that are opposite of each other when viewed on the color wheel.

Airbrush A tool using compressed air

ing angles or modifying the surface of your work to a certain inclination.

Acrobat A product developed by Adobe

that to spray a liquid, such as paint, and ink. Often used in used in illustration and photo retouching.

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

Alpha Channel The process of incor-

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

Analog Proof (Prepress Proof) A

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

Anchor Point Anchor points allow the

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

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

Animation Generating movement

letters sit and descenders extend below the baseline.

Bevel A tool in design software for drawBezier Curve A parametric curve that

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

Bitmap A series of bits that forms a

structure representing a graphic image. The color of each pixel is individually defined.

Bleed When a graphic object extends

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

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

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

Branding The process involved in

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

Canvas Size Allows you to change the

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

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

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

Descender The part of a lowercase letter that stretches below the baseline and body of the letter.

Die Cut A die that cut shapes or holes

in different materials to make the design stand out.

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

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

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

Double Page Spread A double page

spread is a layout that extends across two pages.

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

Drop Shadow Is a visual effect added

complete size of the document without adjusting the contents of the document

to an image to give the impression the image is raised above the background by duplicating the shadow.

for the selection, execution, production of graphic art.

Clipping Path A tool or shape that’s

Dummy A prototype or mock-up of a

Ascenders The part of a letter, which ex-

Cloning Pixels A function that allows

through a series of images/frames.

Art Director The individual responsible

tends above the mid line, such as ‘b’ or ‘d’.

Asymmetrical This is when graphics

and/or text are not identical on both sides of a central line.

Bad Break Refers to widows or orphans in text copy; any break that causes awkward reading.

Bar The horizontal or vertical line drawn

through a grapheme (unit of writing, such

used to cut out an image.

you to replicate pixels from one place to another.

CMYK Stands for Cyan, Magenta, Yel-

low, Black; this color model (also called process color, four color) is a subtractive color model used in color printing.

Color Palette A set of colors that make

up the total range of colors used in graphic computers.

Comp (Comprehensive) Comps are

made to see what the initial design project will look like before it’s printed, showing

book, page, or any project designed to resemble and serve as a substitute for the real thing.

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

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

Element Any distinct part of a layout such as the logo, headline, images, or borders.

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

Emboss To give a three-dimensional

effect to a text or an image by using highlights and shadows on the sides of the illustration.

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

EPS Stands for Encapsulated Post Script.

This is a graphics file format used to transfer PostScript documents that contain an image, within another PostScript document.

Etch To imprint a design onto the surface

of a plate by using a chemical such as acid.

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

E-Zine Stands for electronic magazine.

Refers to the name of a website that is represented by a print magazine; an webbased magazine that you can subscribe to.

Feathering A tool used in graphic design software that makes the edges of an image appear softer.

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

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

Flexography A printing technique where printing plates are made of rubber or soft plastic material and then stretched around a drum on the press that rotates.

Flyer A single sheet of paper handed

out or posted on a wall to advertise or announce something.

Focal Point In graphic design terms, the focal point is where you want to draw the reader’s or viewer’s eye.

Font A complete combination of charac-

ters created in a specific type, style, and size. The set of characters in a font entails the letter set, the number set, and all of the special characters and marks you get when pressing the shift key or other command keys on your keyboard.

4-Color Process A printing technique that creates colors by combining, cyan, magenta, yellow, and black (cmyk).

Frames Referring to animation, a frame

Gatefold A type of fold in which the

paper is folded inward to form four or more panels.

GIF (Graphics Interchange Format) GIF images display up to 256 colors. It supports animation and allows an individual palette of 256 color for each frame. The color limitation makes the GIF format inappropriate for reproducing color photographs and other images with consistent color. GIF images are compressed using the LZW lossless data compression method to decrease the size of the file without corrupting the visual quality.

Gradient A function in graphic software that permits the user to fill an object or image with a smooth transition of colors.

Graphic Design Visual communication

document containing multiple clickable hyperlinks.

Imagesetter Laser output device for

producing professional-quality text with extremely high resolution.

Imposition A layout of pages on me-

chanicals or flats so they will appear in proper order after press sheets are folded and bound.

Inkjet Printer A printer that electrostati-

ture printed messages that are clear and appealing.

Grayscale Grayscale images consist

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

Grid Is a two-dimensional format made

up of a set of horizontal and vertical axes used to structure content.

Gutter In book production, the white

space formed by the inner margins of a spread near the books spine.

Halftone (1) A photograph or scan of a

consistent tone image to alter the image into halftone dots. (2) A photograph or continuous-tone illustration that has been halftoned and that is displayed on film, paper, printing plate, or the final printed product.

Halo Effect A vague shadow sometimes surrounding halftone dots printed. Also called halation. The halo itself is called a fringe.

Hard Copy The permanent reproduction of the output of a computer or printer. For example: teleprinter pages, continuous printed tapes, computer printouts, etc.

Header The text which appears at the top of a printed page

High-Resolution Image An image with

a particular output device or a given color space, such as a laser printer or an image setter. If the color range is too wide for that specific device, it is indicated as ‘out of gamut’.

Image Map An image map is an HTML

Graphics Visual presentations that fea-

Gamut The range of colors available to

when the text tool is chosen. Ideograph (also ideogram) A character or symbol representing an idea without expressing the punctuation of a specific word or words for it.

Indents A set in or back from the margin. Initial Cap Big, capital letters which are

Headline A large text illustrating the

print plate in order to reduce costs and setup charges.

I-beam The form the pointer assumes

using text or images to represent an idea or concept. It is also a term used for all activities relating to visual design, including web design, logo design, etc.

is a single image in a series of graphic images. The speed of an animation is determined by the number of frames displayed per second or fps.

Gang To combine multiple jobs on one

opening statement used in a layout.

Highlights Lightest part of a photograph or halftone, as opposed to mid-tones and shadows. an extreme level of sharpness/clarity.

HLS A color space that stands for hue, lightness, and saturation.

HSB A color space stands for hue, saturation, and brightness.

Hue One of the three primary attributes

of color. A hue is a variety of color such as red, blue, green, or yellow.

found at the beginning of paragraphs or chapters.

cally sprays tiny ink droplets onto paper.

Invert Inversion of the tonal values or

colors of an image. On an inverted image, black becomes white, blue becomes orange, etc.

Italic The style of letters that usually slope to the right. Used for emphasis within text

Jog To arrange sheets of paper into a neat, compact pile.

JPEG (Joint Photographic Electronic Group) A common process for compressing digital images. (Also expressed as .jpg)

Justify This refers to making a block of type a certain length by adding space to the words and letters in each line.

Kerning Modifying the horizontal space between letters.

Keyframe Any frame in which a specific aspect of an item (its size, location, color, etc.) is specifically defined.

Keyline A keyline is another name for a

rule, line, or even a frame border. Keyline options can be set through design software applications to adjust the width, to be solid or dotted, or to show different patterns.

Layers A tool within graphic software

that permits the user to gather, organize, and re-edit their artwork.

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

Leaf One piece of paper in a publication. Legend A table inside a project that lists vital illustrations or instructions; footnote that helps users better understand information.

Letterpress A technique of printing

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

Lossless Refers to a form of data com-

pression where the detail is maintained and no data is lost after file downsizing. The lossless compression method is often used in TIFF and GIF formats.

Lossy A form of data compression

where detail is deleted as the file size is decreased. JPEG is an example of a lossy compression method.

News Print Paper used in printing

newspapers; not considered a high-quality paper.

Noise Noise is a term used to describe the development of pixels that contain random colors.

Oblique A Roman typeface which slants to the right. Often confused with italics.

Offset Printing A printing method that

Lower Case The smaller form of letter

transfers ink from a plate to a blanket to paper as opposed to directly inking from plate to paper.

Low-Resolution Image A low-quality

Old Style A style of type characterized

used in type.

scan made from a photograph or the like.

Luminosity The brightness of an area

arranged by the amount of light it reflects or diffuses.

Magic Wand Tool A tool in graphic

software that permits the user to select fractions of an image such as areas with the same color.

Margins Guidelines in a page layout

software that shows a user the body copy areas. It also allows the user to indicate the dimensions. Margins are not supposed to be printed.

Mask See clipping path. Master Page A property found in a page layout software that allows the user to create a constant page layout. Repeating elements—like page numbers—are created once on a master. This permits the user to stay clear of adding the numbers for each page manually.

Matte Finish Non-glossy finish on pho-

tographic paper or coated printing paper.

Mean Line Also called x-height. The

imaginary point of all lowercase characters without ascenders.

Midtones In a photograph or illustration, tones composed by dots between 30 percent and 70 percent of coverage, as opposed to highlights and shadows.

Mock Up A recreation of the original

printed material; could possibly contain instructions or directions.

Modern An altered version of Old Style.

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

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

Negative Space Also known as white space. The area of a page that doesn’t contain images or words.

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

by slight contrast between light and heavy strokes and slanting serif.

Opacity The degree of a color or tonal

value. The opacity of an image or object that can range from transparent (0% opacity) to opaque (100% opacity). The ability to edit the opacity of specific objects allows the designer to create images that seem to flow into and through one another.

OpenType A font format created by

Adobe and Microsoft. Open Type font can include a set of glyphs defined as True Type or Type 1 curves.

Orphan Line The first line of a para-

graph appearing on its own at the bottom on a page with the remaining part of the paragraph appearing on the next page.

its software program, Adobe Acrobat, to serve as a universal browser. Files can be downloaded over the web and viewed page by page, provided the user’s computer has installed the application.

Pica A unit of measurement for type. Commonly used for typewriters.

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

Plate A piece of paper, metal, plastic, or

rubber carrying an image to be duplicated using a printing press.

PNG Portable Network Graphics format PNG (usually pronounced “ping”),

is used for lossless compression. The PNG format displays images without jagged edges while keeping file sizes rather small, making them popular on the web. PNG files are generally larger than GIF files.

PPI Pixels Per Inch A measurement of the resolution of a computer display.

Primary Colors The primary colors are put together to produce the full range of other colors (non-primary colors), within a color model. The primary colors for the additive color model is red, green, and blue. The primary colors for the subtractive color model is cyan, magenta, and yellow.

Quick Mask A filter in Photoshop in

Outline This can refer to the outside

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

Overlay Layer of material taped to a me-

by Apple Computer. It’s built into the Macintosh operating system computers and is used for displaying and editing animation.

edge of a font or the outer edge of a vector graphic image drawn in a package such as Illustrator or Freehand. chanical photo or proof. Acetate overlays are used to divide colors by having some type or art on them instead of on the mounting board. Tissue overlays are used to carry instructions about the underlying copy and to protect the base art.

Overprint To print additional material or another color over a previously printed image.

Over Run Additional printed material

beyond order. Over run policy differs in the printing industry, usually within 10% of the original quantity run.

Page Layout Deals with the setup and

style of content on a page. An example of a page layout is the pages in magazines or brochures.

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

Pantone Matching System The Pan-

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

PDF Stands for Portable Document

Format. Developed by Adobe Systems in

Quick Time QuickTime was developed

Ragged The imbalanced alignment of

text lines. Ragged is the opposite of flush. A text block may be formatted to be evenly flush (align) right and unevenly aligned (ragged) on the left.

Rasterize An image is said to be raster-

ized when transformed from vector image to a bitmapped image. When opening a vector image in a bitmap-based editing program, you are generally presented with a dialog box of options for rasterizing the image.

Resample A function accessible in image

editing that permits the user to change the resolution of the image while keeping its pixel count intact.

Resolution The resolution of an image

is an important factor in deciding the attainable output quality. The higher the resolution of an image, the less pixelated it will be and the curves of the image will appear smoother.

RGB (Red, Green, Blue) RGB is the

color model used to project color on a computer monitor. By combining these three colors, a large percentage of the visible color spectrum can be represented.

Rich Media Rich media are banner ads

that use technology more developed than

standard GIF animation. For example: Flash, Shockwave, streaming video, etc.

basic details with regard to its dimensions. A general layout.

Right Justified Type aligned with its

Text Wrap A term used in page layout

pressed on paper created during manufacture, it is visible when held to light.

right margin. Also known as “flush right.”

RIP (Raster Image Processor) Transfers

software, specifically to the way text can be shaped around the edges of images.

fonts and graphics into raster images, which are used by the printer to draw onto the page.

Thumbnail A thumbnail is a reduced-size

Rivers A river is a typographic term for

A graphic file format used for storing images . TIFF is a commonly used file format for high color depth images.

the ugly white gaps that can appear in justified columns of type when there is too much space between words on concurrent lines of text. Rivers are particularly common in narrow columns of text, where the type size is relatively large.

Royalty-Free Photos Intellectual property like photos and graphic images that are sold for a single standard fee. These can be used repeatedly by the purchaser only, but the company that sold the images usually still owns all the rights to it.

Sans Serif A style of typeface that

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

Saturation The intensity of hue. The

quality of difference from a gray of the same lightness or brightness.

Scale A design or program is said to

scale if it is relevantly efficient and reasonable when applied to larger situations.

Screen Printing Technique of printing

by using a squeegee to force ink through an assembly of mesh fabric and a stencil.

Selection Selection refers to an area

of an image that is isolated so it can be edited while the rest of the image is protected.

Shadow Detail Shadow detail refers to

the amount of detail held in the dark areas of an image. If the shadow is lightened too much in an attempt to expose more detail, you run the risk of reducing the overall contrast of the image.

Sharpen To reduce in color strength,

as when halftone dots become smaller; opposite of “thicken” or “dot spread.”

Small Caps Capital letters that are about the same height as the tvpeface’s x-height. Some software programs automatically create their own small caps, but true small caps are often only found in expert typefaces.

Spread (1) Two pages that face each

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

Subtractive Color A term defining the

three subtractive primary colors: cyan, magenta, and yellow. As opposed to the three additive colors: red, blue, and green.

Template Refers to a printing project’s

version of the original image.

TIFF (Tagged Image File Format)

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

Tolerance Tolerance is the range of

pixels a tool in graphic software functions in. Or the range of shade or color pixels a Magic Wand selects, etc.

Watermark Translucent design im-

Web-Safe Colors A color table containing only 216 out of a possible 256 colors, used to accurately match the colors of graphics and pictures in cross-platform web browsers.

Weight The range of a stroke’s width.

Also knows as semi-bold, light, and bold. Some typeface families have many weights like ultra-bold and extra-light. Associated to the heaviness of the stroke for a specific font, such as Light, Regular, Book, Demi, Heavy, Black, and Extra Bold.

White Point One of a handful of refer-

Tonal Distribution Tones can be re-

ence illuminants used to define the color “white”. Based on the application, different definitions of white are needed to give sufficient results.

Trim Size The size of the printed materi-

White Point Adjustment A white point

distributed during the scanning or image editing process. To lighten dark images or to darken light images. al in its finished stage.

True Color System A true color

system is a 24-plane graphics sub-system which composes the entire range of 16.7 million colors.

Typeface A typeface consists of a series of fonts and a full range of characters such as, numbers, letters, marks, and punctuation.

Typography The art of arranging

type—which includes letters, numbers, and symbols—so that it is pleasing to the eye. This includes not only the font that is used but how it is arranged on the page: letter by letter, size, line spacing, etc.

Uncoated Paper This is paper that

doesn’t have a coating applied to it for smoothness.

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

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

UV Coating A glossy coating applied to

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

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

Varnish This is a liquid coating applied to a surface for protection and for a glossy effect.

Vector Graphic Vector graphics allow the designer to expand or reduce the vector graphic in size without any loss in quality using curves, points, lines, and polygons.

Verso The left-hand page of a book or a

adjustment establishes the amount of highlighted detail in an image.

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

Width Refers to whether the basic type-

face has been lengthened or compressed horizontally. The typical variations are Condensed, Normal, or Extended.

Word Processing Program A soft-

ware application package that assists in creating, editing, and printing

Work and Turn This is when you print on one side of a sheet of paper, then you turn the sheet over from left to right and print the other side. The same gripper and plate are used for this process.

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

X-Height This is the height of the lower-

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

Yellow One of the subtractive primary

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

Zip Stands for Zone Information Protocol: This is a way of compressing files into a smaller size, so they can be transferred with more ease over the Internet or any other means.

Zoom Most design software lets you

zoom in or out on an image to get a closer or farther away look. Zooming in is especially useful when photo retouching or working on tiny details.

manuscript.

Works Cited

Clark, Bryan. “OTF vs. TTF Fonts: Which One is Better?” Make Use Of. Make Use Of, 28 Dec. 2016. Web. 13 Dec. 2016. Leonard, Caroline. “Types of Binding- Back to Basics.” Student Book Binding. MJ Group, 23 Dec. 2014. Web. 13 Dec. 2016. “Paragraph and Character Styles.” Adobe. Adobe Systems Inc, 2016. Web. 13 Dec. 2016. Popova, Maria. “The Magic and Logic of Color: How Josef Albers Revolutionized Visual Culture and the Art of Seeing.” BrainPickings. Amazon Services LLC Associates Program, 2016. Web. 13 Dec. 2016. Pritchard, Gordon. “Halftone Screen Angles.” The Print Guide. Blogger, 24 May 2009. Web. 13 Dec. 2016. “The Basics of Getting Permission.” Stanford University Library. Stanford University Libraries, Justia, NOLO, LibraryLaw.com, Onecle, 2016. Web. 13 Dec. 2016. “When to Use Adobe Illustrator vs. Photoshop vs. InDesign.” Printwand. Printwand, Inc, 2016. Web. 13 Dec. 2016.