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A RotoVision Book Published and distributed by RotoVision SA Route Suisse 9 CH-1295 Mies Switzerland RotoVision SA Sales and Editorial Office Sheridan House, 114 Western Road Hove BN3 1DD, UK Tel: +44 (0)1273 72 72 68 Fax: +44 (0)1273 72 72 69 www.rotovision.com Copyright RotoVision SA 2007 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder. While every effort has been made to contact owners of copyright material produced in this book, we have not always been successful. In the event of a copyright query, please contact the Publisher. 10 9 8 7 6 5 4 3 2 1 ISBN: 978-2-940361-76-2 Design: Fineline Printed in China by Midas Printing International Ltd.
CONTENTS
CONTENTS
CONTENTS
Operating Systems and Applications A Mac users guide to PCs A PC users guide to Macs How computers display an image Bitmaps and vectors The InDesign workspace The QuarkXPress workspace The Illustrator workspace The Photoshop workspace The DreamWeaver workspace The Bridge workspace The Acrobat workspace Keyboard shortcuts Setting application defaults Utilities 007 008 010 012 014 016 018 020 022 024 026 028 030 034 036 Type The anatomy of type Choosing a typeface Font formats Managing type on a Mac Managing type on a PC Manipulating type Creating neat body text Glyphs and hidden characters Using non-Roman alphabets Proofreading marks Using style sheets Type and color Custom typefaces Using fonts for print Using fonts on a website Getting started with CSS style sheets 039 040 042 046 048 050 052 056 058 060 062 064 066 068 070 072 074 Color RGB vs CMYK Achieving accurate color Screen angle, dot shape, and dot gain Trapping and choking Manipulating color Creating a smooth gradient Color-matching systems Spot colors and special finishes Color proofing on-screen Inkjet color proofs Professional color proofing Choosing color for screen use 077 078 080 084 086 088 094 096 098 100 102 104 106 Images Sourcing images Building a graphics library Commissioning an illustrator Working with photographers Using desktop scanners Using a digital camera as a scanner Taking screen grabs Opening awkward files Scaling images Creative cropping Image retouching Layers, paths, and channels Blending modes Creating cutouts Creating a photomontage Pixels to vectors Vectors to pixels Creative image techniques 109 110 114 116 118 120 122 124 126 128 130 Layout Working with page objects Placing images Placing text How many columns? Setting up a grid Setting up master pages Setting up a library Proportion and consistency Designing tables Barcodes and document readers Web-design basics Designing your first web page Developing your website Publishing a website 177 178 180 182 184 186 188 190 194 196 198 202 204 206 208 Glossary Index 26 2 134 140 144 148 150 152 154 156 Black-and-white conversion Preparing an image for print Setting up a CMYK profile Understanding color profiles Converting an RGB image to CMYK Image-proofing marks Image file formats for print Preparing images for the web Image file formats for the Internet 158 160 162 164 166 168 170 172 174 Production Setting up a studio printer Preflight procedures InDesigns transparency flattener Exporting PDFs Preparing for output Files transfer Choosing paper Paper sizes Folds and bindings Imposition Print finishing Solving common print problems Dealing with printers Repurposing a magazine for the web Archiving 211 212 216 218 220 224 226 228 230 232 234 236 238 240 242 244
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PC display A screen up close On-screen images are made up of thousands of points of red, blue, and green light. These combine to produce an image with millions of colors, hues, and shades, but the illusion breaks down as it is magnified. The example shown here is a flat screen rather than a CRT. The importance of calibration Macs and PCs have slightly different approaches to displaying colors, and because of this, the same image will look different when viewed on each system. Proper color calibration can minimize these problems. Mac display Anti-aliasing The illusion of smooth edges is provided using a system called antialiasing. Single pixels of color are tinted to blend between the foreground and background elements, fooling the mind into ignoring the jagged edge that would otherwise be obvious. Anti-alias on
Anti-alias off
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that can interpolate images, including Photoshops Resample Image, found in the Image Size dialog window (see pages 1289), but such tools can only approximate missing detail, and results will vary depending on the content of the image. This, then, is the main drawback of bitmap imagesthere is a finite level of detail available. Their use of fine grids ensures that they can show very subtle changes in color, texture, and detail, but scale an image up too far and pixellationblocks of color replacing the smooth gradationswill occur.
VECTOR IMAGES Contrast this with vector images which are constructed from a series of connected points defined by mathematical coordinates. rather than slavishly drawing a number of lined-up black pixels to create a line, as for a bitmap image, a vector representation of the same line is described simply as two points, the beginning and the end, joined by a line. This system has two advantages: vector file sizes are much smaller than bitmap files (think of just two data points rather than
many thousands of individual pixels), and vectors are resolution-independent. This latter characteristic means that you can scale vector images up or down with no loss in quality, which is not the case with bitmap images. The drawback is that you cant create complex, photo-real images using vectors. They are best suited to simple shapes and flat colors as found in type, company logos, and certain types of artwork. remember, however, that since computer displays use a bitmap system, you never truly see vector
Detail The more detail you require in a vector graphic, the more points it will require. This can increase the file size enormously, to the point where it may be beneficial to convert the vector image to a bitmap.
images. Instead, you see a rasterizedor preview version of the vectorcreated inside the computer. The vector data remain pure as far as scaling, storage, and manipulation are concerned, but are rasterizedconverted to a series of lit pixels or droplets of ink during display or output, usually at the maximum resolution of the display or printer concerned.
Resolution A bitmap image at a low resolution will have little fine detail. Attempting to scale-up such a graphic often leads to poor results, although there are workarounds that can help to a certain degree.
Vectors Vector graphics use a series of points and lines to describe an image that is resolution-independent, so the graphic can be scaled up or down with no loss of quality. This makes vector graphics perfect for type, logos, and bold illustration work.
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QuarkXPress workspace
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3D GRAPHICS Another Adobe application that has made the journey to Illustrator is dimensions. Using the 3d effects it is possible to add depth and perspective to flat graphics. The controls will never match those in a dedicated 3d-rendering application such as Cinema 4d, and the surface rendering is crude, but when a graphic designer requires a basic 3d effect for a print project there is now no need to leave the Creative Suite. Effect > 3D > Extrude and Bevel is the primary 3d tool, allowing a flat shape to be stretched into an object that can be rotated around the X, Y, and Z axis. Its perfect for making 3d type or adding perspective.
SAVING AND EXPORTING The main formats for Illustrator files are the proprietary .AI or vector ePS. Printers will accept Illustrator files as final artwork, usually for packaging designs when the complex meshes are packed full of rich graphics, but little type. Illustrator files can be imported or placed into Photoshop or Indesign, but the simplest and quickest way to transfer graphics is to simply cut and paste between the applications. Its integration with Flash has also improved considerably, making even Illustrator more appealing for web designers.
Building shapes By merging, knocking-out, or splitting simple polygons, its possible to construct more complex shapes. The Pen tool can be used to add, remove, or alter the points of the polygon, or draw in more detail.
Blending The Blend tool transforms separate shapes and colors into a seamless blend. Specify the number of steps in the blend, or the distances between each stage. The effect is live, so altering the target shapes will update the blend.
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