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Redefining the Responsibility of Pre-Press File Management Within Graphic How Printing Technology Impacts Our Design Development

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Redefining the Responsibility of Pre-Press File Management Within Graphic How Printing Technology Impacts Our Design Development Rochester Institute of Technology RIT Scholar Works Theses 5-2006 Redefining the esponsibilityr of pre-press file management within graphic design: How printing technology impacts our design development Meredith A. Bielaska Follow this and additional works at: https://scholarworks.rit.edu/theses Recommended Citation Bielaska, Meredith A., "Redefining the esponsibilityr of pre-press file management within graphic design: How printing technology impacts our design development" (2006). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. Thesis Documentation for the Master of Fine Arts Degree Graduate Graphic Design MFA Program School of Design College of Imaging Arts and Sciences Rochester Institute of Technology May 2006 Design Thesis Title Redefining the Responsibility of Pre-Press File Management within Graphic How Printing Technology Impacts Our Design Development Meredith A. Bielaska Redefining the Responsibility of Pre-Press File Management within Graphic Design How Printing Technology Impacts Our Design Development A thesis submitted to the Faculty of the College of Imaging Arts and Sciences in candidacy for the degree of Master of Fine Arts Submitted by Meredith A. Bielaska May 2006 Rochester Institute of Technology College of Imaging Arts and Sciences, School of Design Graduate Graphic Design MFA Program Approvals Bruce Ian Meader Chief Advisor Bmce Ian Meader Date Associate Professo r, Graphic Des ign Sc hool of De sign , Coll ege of Imag in g Art s and Sc iences Charles R. Myers III Associate Adyisol' C. R. M)lers III Date Assistant Professor. Elec troni c Prepress Sc hool of Print Media. Co ll ege of Im ag in g Arts and Sciences Michael P. Riordan 5 z z... · or; Associate Advisor Michael Riordan Date Assistant Professor. Color Im ag in g & Publi shin g Sc hool of Print Media. College of Imagin g Arts and Sc iences Patti J. Lachance Chajrperson Patti J. Lachance Date Associate Profes so r. Grap hi c Des ign Sc hool of De sign . Co ll ege of Imagi ng Art s and Sc iences l. Meredith A. Bi elaska. hereby grant permission to the Wallace Memorial Library of the Rochester Institute of Technology to reproduce my thesis in whole or in part . Any reprod ucti on will not be fo r commerci al use or for profit. Meredith A. Bielaska MFA Candidate Meredith A. Bielaska date 7 Acknowledgements Dedication This thesis is dedicated to my wonderful parents and my brother for supporting me throughout my last six year of college education. Without their love and encouragement this project would not have been possible. As in life, 'the apple never falls too far from the tree'. Thank you for all your patience and understanding. Special Thanks Special thanks to my chief advisor Professor Bruce Ian Meader, for his sensitivity and intuition that helped me through the difficult times during the course of my graduate study. Special thanks to my associate advisors, Professor C. R. Myers and Professor Michael Riordan, for their significant input in my graduate study during this thesis project. Special thanks to my editor, Roseann Jackura, for her inspirational and resourceful advice and criticism, as well as her skillful ability to understand what I meant to say and put it into words everyone can understand. Finally, special thanks to my fellow classmates for their patience, support and encouragement. I will miss all the great times we have had together over the past 2 years. Table of Contents 3 Thesis Definition 5 Precedents 9 Research 13 Synthesis 15 Ideation 18 Intermediate Evaluation 20 Implementation 25 Dissemination 29 Retrospective Evaluation 31 Conclusion 32 Glossary of Terms 44 Bibliography 46 Appendices a Internet Precedents B Research Suivev Responses C Research Survej Synthesis i) Areas of Focus for Ideation Application Contenl Responses r Thesis Galler) Show Panels (. Visual Comparison Matrix 11 Application Brainstorming 1 Initial Application Ideation .1 Application Computer Sketches k Intermediate Evaluation 1. Thesis Committee Meeting Notes M Final Application IN Retrospective [-.valuation Survey Responses Thesis Definition Project Motivation While creative original concepts and design principles are highly regarded within the field of graphic design, the reality is that no design solutions can be made available to the public without a valid means of production. Design does not live in a vacuum; it is constantly affected by technology and advances in fields that directly affect the development and output of graphic design work. As technology changes, the graphic designer assumes more responsibility to know and understand the limitations and constraints of commercial lithographic printing as well as pre-press operations. Training graphic designers about these topics will strengthen the relationship between the print and graphic design fields. Designers will be able to communicate their project specifications to commercial printers in a more effective manner during the output process. Thesis Problem Technical problems can arise when a graphic designer submits digital files to a commercial offset lithographic printer. The graphic design profession has an opportunity to strengthen the education of design students by teaching them how to recognize potential printing problems and address them before the students enter professional practice. The purpose of this thesis is to identify the most common design problems and printing constraints that designers encounter when they develop an item to be printed using offset lithographic printing. The graphic design content of this thesis will include design development processes that specifically focus on issues of imposition, pagination, color management, and image reproduction. Documentation Through education about commercial printing processes, design students and professionals of Need will develop a basic understanding of project constraints placed on their output by the printing process. In addition, they will become more responsible and intelligent designers, saving time, money, and reducing frustration for themselves, their clients, and printers. The graphic design profession will become more valuable to the economy, problems can be anticipated, and designs adjusted before the project reaches a final stage. Without a working knowledge of printing requirements and capabilities, changes at final stages of a project add unnecessary cost. The education will also reduce frustration, delays, and extra costs incurred when output files must be adjusted. For society, this study and its resulting educational application should reduce the number of printing errors, and disappointing or confusing print results. It should also help foster a stronger and more positive relationship between the fields of graphic design and printing through a shared understanding of the technology that presents design work to the world. Thesis Definition continued Graphic Design This thesis investigates methods and strategies that are currently used within graphic design Perspective to educate designers about commercial pre-press techniques. The purpose of this project is to redefine the role of the graphic designer in the pre-press workflow model. This will assist the development of an educational tool that focuses on areas of pre-press file management. Designers can complete these areas before submitting the files to a commercial printer. Commercial Printing "Very little has changed in commercial printing other than the fact that graphic designers Perspective are forced to do most of the work that the pre-press department of a commercial printer used to handle. Unfortunately, few graphic designers today have the knowledge, experience, or training to produce files that result in perfect printing quality. Poor print quality is almost always the fault of a graphic designer with little or no knowledge 'pre-press' of and the steps needed to insure best print quality. Commercial printing remains a out' 'garbage in, garbage type of process, where the quality of the printing completely relies on the quality of the original files, and the technical quality of the digital printing files made files." from the original General Commercial Printing Guidelines: Commercial printing and offset lithography Cummings Design, Internet Article October 15,2005 This quote provides insight into the premise of this project-that graphic design education in the area of pre-press must be strengthened to reflect the changes that have occurred within the field over the last 20 years. 'Young Designers can come up with an incredible design but often aren't fluent in their ability produced." to get the piece Visual Communications Journal, 2004. While design aesthetics are a core part of graphic design education, there is a need within the community for more training in this area for people who are just entering professional practice after college. Precedents Design Precedents d4p Design for Print This unique handbook for graphic designers was published to help graphic designers develop the designer's successful printed pieces using all print technologies. Their philosophy is that due to the rise print bible in functionality of design softw are, graphic designers are now able (and expected) to perform Edited by many highly technical pre-press functions from the desktop. Many, however, have limited Astrid Sweres understanding
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