Digitaliz ation h as bee major n a develop ment. while th Yet, e metho ds used produce to d tinue to igital files co nenvolve speed, at high th the prin e designer an ter have d remaine g d within enerally their ow tradition all n of expe y defined area rtise. A s s many o a result f the p , hysical quireme rents of p ri nting pro cess are n the very ot understood b y people w to unde rstand th ho need e most all, i.e. g of raphic d esigners .
colour
colour
face blishers and pu ks the way rs e n loo esig nges d artwork t challe their printed s te a re the g lour in one of t the co ring tha u s n e is tend they in
ork
lours w
How co
e of becaus ht; olours lig c it in m a s rt or tran ear ce ts app flect, absorb, c je b o / re ility to colour their ab ive light as a wheree rc e p f light, we lours o of pigment o c t n differe olours refers to to different c / RGB B rs fe re K ht, RG Y t of lig olours, as CM u o e d ma Kc ey are the dark, CMY use th / beca an be seen in t o n c can colours of pigments, ut made o
und
backgro
e / saturati
on / brightn
ess
/ to guaran tee consis tent colour output de across vices, com puter appl use colour ications managem ent system s / these sy stems em bedded fil a colour es with profiles to ensure co colour thro nsistent ugh all stag es of prod uction / by having a descriptio n colour gam of each de vice’s ut in the w orkflow, a that perfo program rms colour managem coordinate ent can colour repr oduction at stage of pr int project each – scanning proofing an , design, d print
/ the range of colours a device ca duce captur n reproe or displa y / our eyes are sensiti ve enough ceive near to perly infinitive range of co the spectru lours in m of visibl e light – in many colo cluding urs that ca nnot be di on a com splayed puter scre en commercial or printed on a printing pr ess
gamut / hu
printable C MYK colour s RGB monito r colours: 1. 7 million colours pe rcieved by human eye: infinitive
3 characte
ristics of c
olour
BRIGHTN ESS with quantit y of light reaching yo ur eye / the brigh tness pends on h of surface deow reflectiv e it is
/ has to do
HUE / depend o n wavelen / is identifi gth ed by colo ur name SATURAT ION (chrom / refers to a) a colour vi vidness Even sam e devices can can view m ore vivid co show the colour diffe lours on yo rently, you print on a desktop pr ur display inter or a co th mmercial pr an you can inting pres s.
backgroun
d
colour
/ the colour gamuts of f different usually ov devices erlap but do n’t coincide differences ; these often resu lt in the colour ap pearing di same fferent in contexts different
background
maries additive pri
r display /
or compute
ding of the e understan
ht:
nature of lig
all the mbination of rmed by a co fo is ce co ur y’ lours so an artificial three ‘primar m the sun or en down into fro ok ht br lig be te n hi w and these ca e spectrum, colours of th B) blue (RG – red, green, ITE you see WH d blue light red, green an of K 0% 10 AC bine u perceive BL / if you com e present yo e colours ar th of ne no if /
Som
d
not be truste
Monitor can
ls / colour mode
additive color
model: RGB
GB age from R nvert an im no s When you co ha r onito ode, your m YK M to CMYK m C w ne the to display choice but an adcolours. So B G R g in al, version us as far as fin lem is that, ion ditional prob m ur ned, yo ur is concer printed colo trusted. tor cannot be
w...
did you kno
ming in e colours co t piga picture, th no ke , ta ht e lig w of n Whe are made up (light) is obvins le e th h throug rmation to e input info at than it is ment. So, th to RGB form er os cl h ously muc CMYK.
colour
additive prim
aries / RGB
screen / television
/ CMYK primaries btractive
ted mate
rial /
es
/ when an y two of R GB colou subtractiv rs overlap e primari es – mag you get th enta, cya e second n, yellow ary prima / the colo ries, know ur printin n as g process magenta uses four , cyan, ye transpare llow and nt inks: black / if you co m black – in bine 100% of CM Y ink on th paper, th / impuritie eory, but.... e result is s in printin complete g ink pig that is no absorptio ments ca t quite bla n, or use com ck, black bination ink is add of CMY to ed to com / there is create a pensate very sma colour for that ll range o duce with f colours RGB... p within the ure cyan CMYK ra and pure nge that yellow are you cann one of th ot proem
colour m
odels / su
e primari
How com e black is given the letter K
subtractiv e colour m odel: CM YK
did you k
now...
Because black is ke y colour. it, it is o If you thin bvious. T ext and k about typicallyp image bo rinted in b rders are lack, prin makes it ting them easier to first often position colours to or ‘key’ th the other Its comm e job. on misco nception signed th that black e le is as‘B’ it could tter ‘K’ because if it will b be confu e called sed with blue.
early deve lopers of the oppo sites of R the CMYK system GB beca had to w blue are use ork with hopeless ely inade pigments of red, g It is imp quate pa reen and ossimble le tt to e to the ra by them nge of co mix them to cre ate anyth selves. lours req image. B ing close uired to ut their o p pposites ri worked ve nt a photograph ic ry well.
backgrou
nd
colour
subtractiv
/ any prin
colour an eye / colo urs biology / hum background
What would yo u say if someo ne asked you to use as a he to pick a colo adline in an ur ad - a colour ignored, that that could no literally forced t be pe chances are ople to take no you would sa tice of it? The y ‘bright red’.
Our eyes co ntain two diffe and ‘cone’ ce rent kinds of lls. Rod cells light-intensity only pick up colour inform cells: ‘rod’ light intensity ation at all. Co and not trans ne ce lls only pick up Some pick re mit any d, some pick colour - but th up blue, and ey are select all present in some pick up ive. the same ratio gr een. And they . are not Imagine now th in g might have be were physica en 50,000 ye lly just abou t the same as ars ago, when technologica we are now we l advances be but had not yo nd th natural envir e use of basic made any onment woul to ol s. Th en d co have been lik nsider what th things that lo e. There woul e oked blue othe d not have be r than the sky back then di en many and the ocea d not - could n. Th e no pe t op - make use planes. So bl le who lived of either. Th ue was there, ere were no but it was no survival. boats or t very importa nt in terms of day-to-day Green, on th e other hand around, it mea , was importa nt that things nt. If there wa were growing, s lots of gree source of food which in turn n available, eith meant that th er fro that were ea m th ere was e gr ee n ting it. So it wa stuff itself or from other an s very importa imals nt but it was How about not a problem red? Strang things in th . ely enough, e environmen there actual t that are re ly very few flowers and d. Sunset an berries - and d sunrise, an since many ity to recogn d some reds berries ize red was are poisonous important. Bu ible, it usua , th e abilt ge ne lly meant so rally, if a lot mebody had of red was is on fire. So viscut themselve red was not s or that so only importa tion, right no mething nt, it could w’ and has tri gg er be immediate ac come particu and danger. larly associa ted with ur gency The ratio betw een the cone cells, red to gr een to blue, is 40:20:1.
colour is actually / printed image of dots armade up of grid es at 90 ranges in long lin other ch ea to es gre de
es lour by 30 degre parate each co / when you se r lou co 4th go all the spaces, where sh to distinguish, w colour is hard / solution: yello
en halftones / scre
pattern angles / moire
/ result... ver ape, that we ne ble for us as a sh r-colour fou ery dots are so invisi ev in rn a moire patte noticed it causing day print we see every
... optical illusion
called
moire pattern
ere two / it is caused wh d down screens are lai me angle at close to the sa sh cla rs discov/ however printe second ered that if the until the screen is turned 30 derows of dots are first, m fro ay aw grees ay aw es go m the proble
a t the dots form positioned so tha huthe ich wh / the screens are e, ett ttern called a ros e colour symmetrical pa o continuous-ton int s rge me e ey man
separations
es on a comartwork and imag / to print colour parated into se is ge pa each mercial press, es component imag s per page, lly four separation d / there are usua cess colours an pro YK CM the one for each of used ing be r lou co ot one for each sp otographs are separation, ph / within each dots (or simine lfto array of ha screened into an lar patterns) ner/ designers ge ce du pro n’t do y all part separations, its of platesetting
background
/ when you op en new document it In Design adopts the de fault colour setting by defa ult / InDesign is capable of working wi th more than one colou r spaces at once
/ requires the entir document in on e e colour space – RGB or CMYK / to switch to other colour system : file -> colour mode
/ has several colour spaces // RGB // CMYK // HSB hue, sa turation, brightness pa lette (which lets you choo se colour by the colour wh eel method) // LAB colour model, which uses th e coordinates of color imetry / to swich go: image -> mod e
colour
colour spaces
/ InDesign / Ill
ustrator / Pho
toshop
background
colour duotone
otone / duot color modes / mon
one / hexachrom
e / spot colours
monotone
// an image made one colour
nted // photograph pri with two colours the // usually one of colours is black
with
four-colour
// an image made four colour inks , // cyan, magenta yellow, black
with
i colour)
hexachrome (HiF
s with six colour ink green // an image made extra orange and + ck bla w, llo ye , the six colours, of t ou ed tch // cyan, magenta ma ial colours can be ec ne colour sp nto ere Pa wh ial e: ec // us a sp to be printed as g vin ha n tha r rathe
lours
special / spot co
ss, it four-colour proce ll matched in the we be ot nn ca t required tha / where colour is ne ink rmally using Panto parate colour, no se a mut is printed as wit t hin CMYK ga roduce colours no rep to ed us be y / spot colour ma cess colour t, the density of pro to bump, or boos ed job can us be n ca o als / rs are needed, a one or two colou ly on en wh y ne ve mo / often used to sa press two colour printing a less expensive rn on d nte pri then be d has no dot patte an r lou lid co 0% density is so 10 at d nte pri r / a spot colou
background
d
backgroun
graphics /Joint Photo up Expert Gro
/Graphic e Files Interchang
ely e most wid / is one of th rmats on the web fo e used imag
bitmap h // contains: ages, whic r: digital im fo le b g n iti d // suita e r e any oth don’t need n: lossy io ss re p m // co s compresse JPEG’s re g n vi sa re / data ng further the file, losi
ats image form
/ gif / jpeg
/ tiff / eps
bitmap arp s with sh // contains: r: image fo s of n le b tio a ita d // su w gra relatively fe ve only 256 a edges and h use it can color (beca ) rs colou ss ion: lossle // compress o anican be als re format / this pictu mated
age /Tagged Im t) File Forma
at hly flexible ent form / It is a hig -independ rm o im tf s la u p and numero pported by all su nd is a h s ic n h tio w lica ssing app ket age proce on the mar e ar ftw so prepress
bitmap hich // contains: images, w r: digital fo // suitable ore editing need no m ss ion: lossle ss re // comp that it is vantage is ad at, n ai m / It’s ard file form dustry-stand ion. at a trusted in ic pl by every ap supported
u/Encaps d late PostScript
at is e format th versatile fil st o m e th / it is available ap, font vector, bitm // contains: by: s // created application all drawing ations lic p p a t u most layo grams editing pro lso image a ing for: everyth // suitable preview n a small ually contai us ntent of s co le e -fi th S e P /E to visualiz ed us as Miis ch at su image th applications e fic age. of im en e preview the file - ev n display th ca d or W t crosof
/ vector graphics tak e up competitively little space / resolution indepe ndent, scalable
vector graphic deta il of cucumber man’s arm
images / vector / ra
ster / bitmap / reso
lution / DPI
/ curves in vector graphics are determined by the points you select for the line s to pass through; you change the shape of a curve by draggi ng its control points
/ always check on these atributes wh en working with digital images // sharpness (it is often necessary ) // reasonable contra st
/ care also has to be taken to prepare the original in proportion to the final reproduction size / line work (vecto r) should be always saved at high-reso lution to retain cris piness of image
background
/ digital photographs are raster images, bitmap images / they exist in a rec tangular grid of small squares called pixel / each pixel contain s data that describes its grey level or colour value / takes more spa ce than raster image, because it is made up of a fixed number of pixels / the dimension at wh ich the image is output depend on res olution / DPI / resolution an abbreviation for dots per inch, refers to the resolution at which a device (monitor, printer) can display / raster images are edited by manipulating a groups of pixels
raster graphic deta il, where you can see the pixels (squares)
images
/ made up out of mathematically defined curve and line segments
background
type / legibility / readibility
readability
tracking
nguish between letters
/ refers to the ability to disti
ension and reader comfort / refers to ease of compreh tion able involves the manipula / making type more read rs, words and lines lette nd arou ce spa the of type sizes and of text
charal amount of space between / adding or removing an equ tighter rall ove ieve ach to , text of hs acters, usually in paragrap or looser letterspacing wherets may require added space, / type smaller than 10 poin less d may nee as larger type sizes (18pt) ht need absorbent paper you mig / if you are printing on rs during occu that ad, spre ink to increase tracking to allow printing more kground: might also need / white type on a white bac space between letters
ponents: / made out of 2 software com outline font (printer font) screen font (bitmap font) & ers per font / limited about 250 charact / platform specific (Mac) ipt printers and plattesetters / excellent output on PostScr font per ers ract / 250 cha / cross - platform
/ new industry standard glyphs and alternate / advantage: large library of characters (any language) / cross-platform
type
/ tracking / font formats
legibility
type background
drawing notes
t within margin
/ the position of tex
condensed font
type / legibility / read
ibility / tracking / fon
t formats
character em, em space, em quad en, en space, en quad font
font family e family) fac pe (ty
glyph kerning
letterspacing (tracking)
point tracking typeface
widow
background
used to get more n of a font that is / a narrower versio ce spa en characters into a giv or mark of punch a letter, numeral / single element suc tuation ography measurement in typ / a common unit of e siz nt poi the of / the em is the width of 12pt one em has a width / e.g. in 12pt type, point size half the width of the / the en is typically space em an of th wid / it is half the
ce and width of a typefa / one style, weight Times – typeface : ded ten Ex ld Bo n / e.g. Times Roma tended – width le, Bold – weight, Ex family, Roman – sty to be used togethilar fonts designed / a collection of sim er several weights mily: roman, italic, / e.g. Garamond Fa (extended, comths wid l era sev d), bol (regular, semibold, pressed) block in typesetting / the basic building ts ether are called fon tog phs / groups of gly ween pairs of horizontal space bet / the adjustment of formity uni of tion cep per a characters to create d, as in headlines e typefaces are use / critical where larg to block of text as ments are applied / letterspacing adjust pairs of letters) en ust space betwe a whole (kerning adj fit more or less text to and ity ibil leg e / it is used to improv into the given space in typography / a unit of measure 72 to the inch = nt poi t / PostScrip / the average space
s
between character
bols comprisers, numbers and sym d design / a design for the lett ate rdin coo of ily t of a fam ing a font, often par e nam ily by the fam / usually identified ing a paragraph of part of a word end / a single word or type
type
alignment
background
es E: these featur / use Digital IC ratches, sc d an st remove du d emulsions an restore faded of ty ali ton the can improve uspear to be un images that ap you hours of ve sa n ca s able; thi rk retouching wo
or correcting / sharpening ate an irrecre n ca r colou th pa versible
mind that file / keep in your ice as fast as tw s ow gr e siz g ion; doublin scan resolut means ion lut so re an the sc ny pixels both there are as ma rtically and ve d an horizontally thus four times as many overall
required scan / calculate the vance (don’t ad in ion resolut eds for enne e ur forget, fut ) largements
tion ng scan resolu
mpling images
scaling or resa
an image at is best to scan / in generall, it ed it ne to u d yo ten ion nd lut plain backgrou scale and reso on the es ld lin ou ck sh t bla / line ar ing edges easily, resolution by fitt (recomshow jagged h resolution , can increase the ge hig u an at yo ch / d e ne siz an be sc space (no file ppi) it into smaller mended 1,000 g) no resamplin st logos and effective for mo / 1,200 ppi is similar artwork
choosi
background
scanning
g ing / resamplin scanning / scal
printed t or previously / don’t scan tex option ly on ur yo s it’s graphics unles red and printed blu me co be y (text ma pattern cause moire graphics can ) when printed