Showing posts with label workshop. Show all posts
What is type?
... Language
What is kerning?
The space between each letter.
Correct kerning is when you have equal space between each of the letters.
Identify the place where the biggest space is, for example between LW of RAILWAY.
You will then kern the rest of the letters to suit this space (never decrease the biggest space)
Never negative kern.
Kerning isn't used with every day design work.
Using your first name, correct the kerning.
The largest space in my name is between the two X's. This will be left at 0pt kerning.
The difference is only small, but it definitely looks different!
How do you break a sentence into two lines?
"It's not what you say, it's how you say it."
You should break sentences up into how you say it fluently.
Is it essential for a Graphic Designer to understand hierarchy?
... Yes
Hierarchy is really important in terms of showing information and layout choices.
Using the words 'one, two, three, four', make the viewer read from the bottom of the page upwards.
If you close your eyes and then open them for a second and close them again - "the blink test" - you will be drawn to the word 'one', because it has the most white space around it and is largest in point size.
Without changing the size or weight, make it read four, three, two, one.
This slightly works, but you can make the reading harder for the viewer by rotating words, as well as repositioning them. Our eyes are lazy and read the easiest words first. Our eyes hate reading words that are upside down!
For example:
Using text given, fill four pages with the type in 1 column, 2 columns, 3 columns and 4 columns..
What is the advantage of picking a typeface with a smaller x-height?
- It gives us more space
- It gives us the appearance that there is more leading
A typeface example with a small x-height is bembo
A typeface with a large x-height can be used to fill the page, e.g. Garamond or Gill Sans.
In theory, if you decrease the point size and increase the leading, you are still able to read the text. For example:
4 columns are usually seen within newspapers, 3 columns are used with magazines and novels or books often use 2 column widths.
How to make body cop more readable:
Leading - gives your eyes space to go back to the next line.
Point Size - Increasing the point size could be seen as patronising.
Paragraphs - Indent and line space paragraphs. Using indents makes the text look longer and makes it seem more serious.
Left-aligned - Used to reading from left to right, so makes it easier to read.
Justification - Justifying text adds on more lines of text by adding space between the words. This is always used within novels. Justification is not readable within 4 columns or less!
Gutter Space - The gutter helps to separate columns.
Word Count - The amount of words on one line should be between 6 and 12.
Minimum point size 8 / 9 pt.
Small print is often written at 6pt.
We were put into 3 groups and asked to identify 8 problems within a given InDesign document..
The 8 problems we found were:
1. There is a missing link
Sometimes links between files and images are broken, so you have to relocate the missing link.
If this document was sent to print with a missing link, that image will either print pixelated or not at all.
2. 'bird 5.psd' has been imported at a low resolution (72ppi)
Low resolution images will need to be rescanned or produced, as it will be hard to create a better image than you already have, even in Photoshop!
It is questionable as to whether you can actually salvage that image.
By turning the separations preview on, you can see which spot colours haven't been used. It is best to practice deleting unused spot colours before sending something to be printed!
4. 'bird 3.tif' has been produced in RGB
Possibility that the colours won't print as seen on screen.
You can change the colours by going back into Photoshop and checking the Gamut Warning to see which colours are out of the CMYK Gamut.
You can also check the proof colours to make sure that the image doesn't look that different in CMYK.
You can then convert the colours to CMYK.
5. 'bird 1.tif' hasn't been resized before importing in Photoshop, and was scaled within InDesign
You can edit this image by right clicking on the image and choosing edit with photoshop.. Then when you're in photoshop, you can change the image size to the correct size that you're using!
If you apply the same percentage as how much you've scaled it in InDesign, then it will resize the image to the same size as you had it in InDesign. When you save the photoshop file, it should automatically update in InDesign.
If you work with greyscale .tif files, you can apply spot colours to them in InDesign. This is why this image will come up as greyscale in photoshop, but in a blue colour in InDesign!
6. The blue spot colour isn't CMYK - has been produced in RGB
Because this spot colour has been produced in RGB, it might print a different colour when printed. To change this issue, double click on this colour and change the colour to CMYK using the drop down menu.
Because this swatch is a global swatch, it will update every image that has used this swatch.
7. The background colours haven't been extended to the bleed guide.
8. The text on the very last page of the document has exceeded the ink limit.
In your separations preview you can turn on the ink limit, which tells you how much ink will be applied.
To make sure that this changes with black ink, you need to look at the swatch palette.
This piece of text has been applied as a registration colour instead of black - registration colours will be printed with all four CMYK colours, so this is why the ink limit has exceeded!
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In order to make sure that you gather all the images, fonts and information that the printer needs, you need to package your document before sending it off..
Before you package the document, you get a summary of all the information used. This also tells you the errors in the document.
You can tick 'show problems only', but it doesn't see the low resolution image as a problem..
You also receive a message telling you about the legalities of font files. If you are using adobe fonts, it should be fine for commercial printers to promote your file.
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Another way of submitting your work to the printer will be to save it as a PDF file.
For commercial printing, you want the highest quality print.
'high quality print' works really well on inkjet printers.
'press quality' is the best option for commercial printing.
Your PDF file will show you which images are missing their links..
Saving as a PDF will compress the files and save you disk space.
InDesign Software Workshop
How to prepare publications for commercial print.
The page size of your InDesign document is determined by the final outcome that you will produce. You don't always have to work to the standard A paper sizes, eg A4.
When designing for commercial print, you should always discuss paper stocks, finishes, spot colours and bleeds with the printer before designing. 3mm is a standard bleed, however some printers use different bleed settings, for example Blurb.
You can use the 'Blurb Book Creator...' plug-in on InDesign to set up your Blurb book correctly.
The slug defines the area outside of your bleed page and is used for Printer's Marks. The slug is useful for adding fold marks if something is going to be folded.
If you're producing a multiple page document and the majority of your content is text, then you can click 'Primary Text Frame' - this will add a text frame to every page in the same place.
If you didn't want your first page to be numbered 'page 01' then you can change where the numbering starts with 'Start Page No'.
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We are going to look at applying colour. InDesign applies colour in the same way as Illustrator - applies it to a vector shape.
You should work with the swatch palette when working with colour in InDesign, so that your colours are consistent.
The swatches look different in InDesign to Illustrator - the default palette is a lot more practical than Illustrator and Photoshop. Each one of our swatches is labelled by it's ink mixture of CMYK. We also have indicators on the side - one that tell us that the swatches are CMYK printable (the square consisting of CMYK triangles), and the grey square tells us that the swatches are global.
We will need to create our own swatches - using one of the following buttons...
These buttons both bring up the same dialogue box.
You can then change your ink percentages to create the colour you want, and then apply this to whatever you want on the page. A global swatch will change everything on the page when the swatch is altered.
To edit a swatch, you double click on the swatch. You will see that everything updates!
before
after
Like in Illustrator, you can set up some tint swatches in InDesign.
If you select a swatch, you can choose 'New Tint Swatch...' in the swatch palette menu.
You can specify which swatch you want to use by typing the code into the box, for example I chose 213...
Setting up tint swatches of spot colour will give you tonal variation, but you're using the same one ink to print each one. You set up spot colour tints in exactly the same way as we did previously!
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Create a new page to work from, as this will default the Swatch Palette.
We will now see how InDesign works with the duotone image we created.
In the preview box, you can only see your file in greyscale - this is nothing to worry about.
As soon as you place your duotone image, the two swatches you used in photoshop have now been added to your swatch palette!
This is useful as you can use the same two inks from your duotone image in your InDesign document, for example you could create some text that is Pantone 273 C coloured.
When placing a spot colour image into InDesign, you know that it will print successfully because, yet again, the swatch of the colour has been added to your swatch palette!
This works with Illustrator files as well!
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1. Resolution - 300dpi
2. Actual size - images need to be the size that you want them on your page before placing
3. CMYK or spot - be careful of our use of colours & convert RGB to CMYK
4. Format for saving - .tiff or .psd (if you're working with transparency then save as .psd)
When preparing design work in Illustrator, you need to consider:
1. Colour - CMYK or spot colours for printing
2. Format for saving - .ai
3. Can copy and paste vectors into InDesign
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We are now going to look at how we can separate our InDesign layout into CMYK colours ready for printing.
InDesign and Illustrator can separate CMYK images into their individual inks.
Now all of our inks are active. So we can now click on individual inks to see how each ink will be applied in a black and white representation.
Each one of these views can be used for positives for screen printing so that you can produce 4 colour screen prints.
We have 3 spot colours available in our separations preview that haven't been used. They appear in the separations preview palette, because they appear in the swatch palette. If you leave swatch palettes that you haven't used in your palette, then these could be added to your separation costs when printing commercially.
Always delete extra spot colours that haven't been used before you send your job off to be printed.
You can tell the printer to separate the positives through the print dialogue box when you decide to print.
When choosing printer's marks, checking Page Information can help to identify which positive will be cyan, magenta, yellow or black.
In the Output options, where it says 'colour' you can change the drop down menu to 'separations'...
If you still have unused spot colours in your swatch palette, you can tell the printer not to print these in this dialogue box..
The printer will now print separated positives.
The 'Frequency' and 'Angle' columns are to do with the halftones of the printed images.
The size of the dot determines the tint of that colour. During the commercial print process, these are very specific to the printer being used. For a high quality print you are usually looking at 150 lpi (lines per inch). Billboards usually use around 50 lip, because the detail doesn't have to be as fine due to the image being viewed far away. Silk screen prints should be printed at 40-65 lpi.
The angle of the dots is used so that the dots don't overlap over one another - this makes sure that there aren't any optical interference appearing, like in moiré:
You cannot output separations with certain printers. Laser printers can do this very well at uni, however the printers in the 'digital dungeon' won't be able to process this.
On a new document, create two simple shapes and overlap them..
When you turn on your separations preview, this turns on your 'overprint preview' as well.
If you only view the cyan positive, you will see that where the yellow has overlapped the cyan, the cyan has been 'knocked out'.
A black ink overprints by default, so it doesn't knock out the other colours due to being the darkest colour printed. You can choose whether your colours are knocked out or overprinted.
In order to use the Attributes palette, you need to select an object.
If you select the yellow object and click on 'Overprint fill' then you can see that the two inks are now going to mix during the printing process. This will create a 3rd colour during the printing process.
You only see the results of these changes when you're in overprint preview. If you turn off overprint preview, everything displays as it would do before.
Another thing to consider is the amount of ink that is going to be applied.
If too much ink has been applied, the paper will tear during the process. You can use the 'Ink Limit' preview to see where there is too much ink being used. This will appear in red.
You can also hover your mouse over areas of the image, when in 'separations preview', to see how much ink has been used - you can see that 300% ink has been used in the centre of the image..
If you wanted to place a varnish where some text is, you need to set it to overprint..
This means that when you print your image, the text hasn't knocked out your other inks - you can then print that area of text as a varnish or glue for foiling!
InDesign allows you to set up tonal variations of spot colours so that you can overprint with tints.
You can also create mixed ink swatches, to create the colour of the overprint..
When you view this in the separations preview, you can see that the circle in the middle is made up of a certain amount of both of the colours mixed.
This won't increase the cost of printing, as you're only printing with 2 inks.
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On a new document, create two simple shapes and overlap them..
When you turn on your separations preview, this turns on your 'overprint preview' as well.
If you only view the cyan positive, you will see that where the yellow has overlapped the cyan, the cyan has been 'knocked out'.
A black ink overprints by default, so it doesn't knock out the other colours due to being the darkest colour printed. You can choose whether your colours are knocked out or overprinted.
In order to use the Attributes palette, you need to select an object.
If you select the yellow object and click on 'Overprint fill' then you can see that the two inks are now going to mix during the printing process. This will create a 3rd colour during the printing process.
You only see the results of these changes when you're in overprint preview. If you turn off overprint preview, everything displays as it would do before.
Another thing to consider is the amount of ink that is going to be applied.
If too much ink has been applied, the paper will tear during the process. You can use the 'Ink Limit' preview to see where there is too much ink being used. This will appear in red.
You can also hover your mouse over areas of the image, when in 'separations preview', to see how much ink has been used - you can see that 300% ink has been used in the centre of the image..
If you wanted to place a varnish where some text is, you need to set it to overprint..
This means that when you print your image, the text hasn't knocked out your other inks - you can then print that area of text as a varnish or glue for foiling!
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InDesign allows you to set up tonal variations of spot colours so that you can overprint with tints.
You can also create mixed ink swatches, to create the colour of the overprint..
When you view this in the separations preview, you can see that the circle in the middle is made up of a certain amount of both of the colours mixed.
This won't increase the cost of printing, as you're only printing with 2 inks.