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
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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 of the technical issues printers face when attempting to bring their designs to CPC Smartprint fruition. This book focuses on de-mystifying production issues between the concept and the Publisher final printed piece, regardless of the technology or materials used. Copyright 2006
The results of these case studies, reported problems and solutions affect the entire process of this thesis; and this publication will be used as a starting pointfor the research and ideation of this thesis project. Precedents continued
Design Precedents
designer General Commercial This article discusses the role of the designer in the printing process. It states that the Guidelines: all mistakes Printing is solely responsible for the finished product in a printing process, and that any and Commercial printing are the result of faulty design (either application or principles). and offset lithography Cummings Design This is a good example of the point which drives this thesis - the quality of the printing Internet Article completely relies on the of the original design files and we have a professional duty October 15,2005 quality to society to train graphic designers so they have the knowledge, experience, and training to produce files that result in the desired printing output quality.
http://www.cummingsdesign.com/General_Commercial_Printing_Guidelines.htm
Commercial pr ntmg and offset lithography file preparation guidehr
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Getting Started Latest Headline;.
Robot Printing Trad< Printing Fam Owned 40 Commcrcfi offset princng fowl Program 6fc Htidei&erg, tujft i IT System Call Managcmen: Allan nr Kurt Wi.flfil.frWI v kcn.koo.k com www robotpnnfing.com wv; jBmeslltho.com/coritBaus asp
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rome | portfolio | about js | 3frvlces | resources & leafiinf I centactua | General Commercial Printing Guidelines
Commercial printing and offset lithography
Commercial printing has always been and 9t[fl remains e highly technical process
Very little has changed In commercla1 printing other than the fact that graphic designers are forced to do most of the wore that the pre-press department of a commercial printer used to nandle
Unfortunately, few grapmc designees today have tne Knowledge, experience, or training to produce files that result n perfect pnntirg quality.
Poor print quality is almost always the fault of a graphic designer vvitn little or no 'pre-press' knowledge of and the steps needed to insure best print quality
Commercial printing remains a 'garbage In gatiage out type of process, v Commercial printing is not nkjet. Therefore, printing out a file in a program such as Adobe Photoshop, Microsoft Word, Microsoft Publisher, Abode illustrator, o' other press' software to an nkjet printerwithout any 'printing simulation win not proouce an accurate result The basic rules: . All image files must be 300ppi (sometimes referred to as dpi) at print size ? All files should be Quark Macintosh files . All files must be CMYK (not RGB) Precedents continued Printing Precedents Pocket Guide to This comprehensive reference book includes sections covering key subjects, such as PDFs Digital Pre-Press (Portable Document Files), digital proofing, process control, color management, and gray by Frank .1. Romano balance. Fach publication is an updated report on the influence and impact of new technologies Delmar Publishers on commercial offset lithography Fach edition ends with a comprehensive glossary of the Copyright 1996 most up-to-date graphic arts terms. While this publication is very informative, it is written in highh technical terms and is not currently widely used within the design profession as a reference because of the difficulty designers have understanding the technical language. This publication is important to the understanding of this thesis by documenting the current way in which designers are educated about printing technology. It serves as a starting point for research and analysis on whether education on this topic can be improved, and in what ways this education am be approached. Precedents continued Printing Precedents International Paper This site was used as a guide for the construction of the final web site application. It was Pre-press Web Site established as the alternate source for information included in the Pocket Pal series provided International by International Paper. Inc. Paper. Inc. Internet Resource While the content was detailed and complete, the layout and organization of information Ma\ 1 . 2006 was not easily understandable to the viewer. Many sections were long, grouping different sections of information together, which frustrates the user and ultimately leads them to seek the information elsewhere. http://glossary.ippaper.com/default.asp?req=knowledge/category/3&catitemid=3 s~^ r~\ <^ International Paper Prepress ' mid- ' [G* Ly- ' = * international paper 0=. \ : a rv.ippaper.com , 'default knowledge ,r5 Srcatite prei //gloss _ jjjgg, | it9 http asp ?req /category Cetting Started Latest Headlines International Paper |scjrc"WIMJ"M' ^_J# ^_^ *&" Knowledge Center Knowlet|9e Learn About Print Preparation Printing^ Bar Lod'ng Learn About Printinga > Print Preparationk > Prepressk Digital Printing Finishing Materia s ? Prepress PDF color Postal Desktop Publishing Prepress imping Color Planning and Design Desktop Publishing Platemaking -.mrjglng Proofing Plann rg and Design Software Platemaking -Proofing Copyright 1999-2005 - Ter.slra Systems Corporation - M Rights Rcctorved -Software Pr.nt Processes Security Features Tools Print Products 2005 Internationa) Piper Company AH ngnte reserved Legal Statement and Disclaimers Find St Fast Q < o Done Research Surveys Research for this thesis included surveys of professional designers, printers, and university professors of as well as library and bookstore searches for relevant existing information on the subject. Opinion surveys of how and to what depth graphic designers are educated on this subject demonstrated the perceptual differences between the graphic designers and commercial printers regarding overall knowledge depth and length of time required for designers to be fully versed in this area. A sample of the complete survey is in Appendix B. Two surveys were developed, one had questions specifically targeted toward graphic design professionals and university professors; the other focused on printing professionals. To keep responses unbiased, results were collected from ten people from each group who had no prior knowledge about the project. Survey Questions How long have you been a practicing graphic designer? for Graphic Design Educators As a designer, in your job experience how often is commercial offset lithography an output and Professionals for your work? How well do you feel you understand the process of offset lithography including its requirements and constraints? How do you feel graphic designers are perceived by the commercial printing field in regard to their knowledge about the offset lithography process and its limitations? Do you feel your graphic design education adequately prepared you for working with a commercial printing company and having your work printed in that setting? In what areas do you find yourself uncomfortable when working with printing professionals? Would additional or different training be of help in these areas'? How beneficial do you feel it is for practicing graphic designers to understand and be knowledgeable about the commercial offset lithography process? During design development, how do the requirements and constraints of offset printing technology affect the final design product? How long do you consider the average learning curve to be for a beginning graphic designer before their work will be relatively error free when it is ready for offset lithography output? Are there any instances that you know about where a designer (not necessarily yourself) developed work that the printer then had to spend any significant amount of time to correct prior to the press run? Research continued Survey Questions How often does a graphic designer using professional layout software develop the work for Commercial you receive for print? Printing Company Personnel As a member of the commercial printing community, how do you think commercial printers perceive graphic designers in regards to their competence in regard to prepress file management? Based on your experiences, how well do you feel graphic designers understand the limitations and constraints as well as the process involved in commercial offset lithography? From a Printing professional standpoint, would you consider graphic designers knowledgeable about the limitations and constraints of commercial printing technology today? In what areas do you feel there is room for improvement and to what extent? How often do you have to change or correct files submitted to you before the press run? Are the changes or corrections due to technical constraints that are only widely known by the)' people who work in the printing industry or are due to a lack of understanding by the person who developed the file? If both, which of the two is more common? Are there any recent instances you can recall where a file needed to be changed of corrected before the press run but the changes would not have been required if the developer was more knowledgeable about the process? What parts of the offset lithography process and commercial printing field do you think would be beneficial for graphic designers to know and understand? How long do you consider the average learning curve to be for a beginning graphic designer in regards to having enough understanding of the process in order to develop error free work for offset lithography output? What is the added cost to a job that your company charges to change or correct errors in a file prior to a press run? At what point are costs added to a job and in what situations would the corrections not have an added cost? What process do you use to examine files and projects before a press run? to Research continued subject area and felt Survey Results Overall, designers viewed themselves as moderately knowledgeable in the their learning curve for being comfortable with the topic was, on average, between six months and one year. Commercial printers however, were concerned that graphic designers not only little desire to learn have little understanding of the commercial printing process, but also have about its limitations. Printers considered the on-the-job learning curve for this information to be between 1 to 3 years after the professional graphic designers complete their degrees. little or Every commercial printer surveyed (100%), considered that designers currently have no knowledge of the constraints and limitations of the offset lithography process. However, 60% of practicing graphic designers stated that the constraints of offset lithography had an influence on their design development process. Yet, 80% of graphic designers surveyed thought that their formal design education did not their work printed adequately prepare them for working with a commercial printer and having in an offset lithography environment. Responses to the surveys are in Appendix B. Synthesis of all related survey material is in Appendix C. Analysis The free response section of the survey provided a list of printing topics that both groups of professionals consider the most difficult for designers to understand. These are also the areas where commercial printers or pre-press specialists find the most errors they need to fix in a design file. This list of topics was then organized into four main categories of information: Color Management Graphics Signatures Finishing Techniques. Within each of these categories, several sections of information directly relate to the effect of development and implementation the offset lithography process on design decisions during stages. The complete list of responses and the resulting matrices are in Appendix D. Research continued Library Artifacts Books and journals that have some relevance to this thesis topic were collected as a part of the initial research and information gathering stage. A search of the DAAI and the Print Media Index resulted in 20 journal articles that contain information pertinent to the thesis application of this project. A search at the library and several bookstores for related book materials revealed 36 books written for the general public on the pre-press topic and 27 books specifically designed as pre-press and printing guides for graphic designers. With all this information available to graphic designers and under-utilized, it became clear that published literature on printing production processes has not been an effective information resource-designers are not seeking or using the information in these hooks. To understand why these books are not regularly consulted, several books were reviewed as a part of an external audit of existing materials related to training those who are not commercial printers on the process of offset lithography and pre-press techniques. The books were very detailed; however, the technical language was difficult to understand and a majority of the content contained information about the physical process of printing rather than how a professional designer should correctly prepare files for print. The few sections of each book that discussed pre-press information were often hidden within sections and pages of other technical information listed in the tables of contents. This made searching for the specific information very difficult. None of the books used any other method than the tables of contents to locate information. Indices would be very helpful. Furthermore. the information was not organized in a systematic way that designers would understand. Part of the synthesis and ideation stages involved developing a systematic organization of this information so the new organization method adequately highlights relevant content for graphic design development. 12 Synthesis Situation Analysis Graphic designers now must do work that the pre-press department of a commercial offset printer formerly handled during the file preparation process. Unfortunately, the professional graphic design curriculum presents only a limited amount of this information. This leaves graduating graphic design students with little knowledge, experience, or training to produce print-ready files that result in high quality printed output. As technology changes, more responsibility rests on the graphics designer to know and accommodate the limitations and constraints of commercial offset lithographic printing and pre-press operations. The educational course work of the professional graphic designer must therefore address these industry changes and provide the graphic design students with the training and tools necessary to make informed decisions about these topics and to incorporate those decisions into their solutions and their pre-print files. Identifying Patterns After the 20 initial interviews with professionals in both fields concluded, a review of survey and Organizing results indicated several areas where opinions from both graphic design and offset printing Information professionals coincided. A majority of graphic designers and offset lithographic printers surveyed felt that developing resources to adequately explain required file management and press limitations would be beneficial to the graphics design community. Identified core training requirements included: techniques for converting RGB color to CMYK color knowledge of acceptable image reproduction methods how to determine image resolution and scale typography selection and placement document set up for bleeds, crop marks, and other necessary printer marks. The collected list was then organized into four separate categories, based on the graphic design development content. Fifteen current graphic design students then reviewed this information. They were asked to identify areas where they currently receive sufficient training, and areas where they did not learn enough to avoid the long learning curve described by the professional printers. (This process is documented in Appendix E.) The responses of these current students were used as the starting point for ideation and the development of the Thesis Gallery Show panels, exhibited in the Bevier Gallery at RIT in March, 2006. Synthesis continued Audience Because the content for this project specifically relates to the interrelationship between commercial offset lithographic printing and graphic design, during the initial research survey printing professionals were asked to provide their insight on the amount of time they felt it look designers to gain a strong understanding of pre-press operations and techniques. Based on these responses, the audience for the final application of this project was determined to be graphic designers who have fewer than 5 years experience working within the field. By using the final application, junior level graphic designers will more quickly adapt to working with people in the commercial offset lithographic printing field. This in turn will decrease the time needed to formally train graphic designers about the lithographic printing process and the requirements it places on their designs and print files. Because this final application will be developed for graphic designers, it will cover only the areas of pre-press and press procedures that specifically relate to graphic design. In addition, the information will be organized to make it easily accessible to the graphic designer. Application Function One clear function identified through the research was that the application would need to be used both for training and later for quick referencing of information. In addition, it would need to be easily accessible to the designer. The external audit confirmed that creating another manual or guidebook would not be the most effective manner for communicating this message. Through brainstorming with other graphic design students and mind-mapping using key terms to logically plan different concepts for an application artifact, it was determined that the material would be easier for the graphic designer to obtain if the application involved human interaction. By allowing the user to choose which section of the four classifications of information they would like to view, specific information could be accessed in an expeditious manner. (See Appendix H.) Goal The twofold purpose of this application is to first inform and instruct the graphic designer how to complete each process, and then to encourage the graphic designer to act upon that information within his or her own work projects. The application will be highly interactive and designers' ease of use should renew the graphic interest in seeking out this content themselves, "training" using the new application instead of relying strictly on the knowledge and casual provided by commercial offset lithographic printers. The printers know what they need and how they accomplish tasks, but their methods could be unique to their company or not the most efficient way to achieve the desired print product. This application, provided in an electronic format, will be easily accessible and free to graduating graphic design students and anyone interested in the topic. This application would then have the ability to be used as training material and as a professional reference tool- a double reinforcement of the required knowledge. The application should also improve the relationship between commercial offset lithographic printers and the graphic design community. No longer would printers feel they were spending inordinate time training graphic designers who should already know this information. Finally, the print files produced by the graphic designers should require fewer pre-press changes-changes that can be very expensive. 14 Ideation Exploration After the synthesis stage of this project, it became clear that the application would provide added benefit to the user if it involved human interaction. Several different approaches to this interaction were then considered. At the beginning of ideation, a series of wheels (similar to a proportion wheel) with informational windows was considered. However, after careful consideration of its implementation, this direction was abandoned. The wheel space did not provide an adequate area to share all the vital information necessary for this project. Another consideration of the committee was to develop a website which could be regularly updated and would be readily available to a larger community than any printed piece. This concept evolved through several stages into the final artifact used for the retrospective evaluation. Application The following thumbnail sketches demonstrate the exploration of various compositional Sketches structures for the content during the ideation stage. The goal of these sketches was to determine Phase 1 which communication method would be most effective given the project content. One issue identified through the external audit was that current applications could not be updated without printing a new version. Since it is imperative that this application continue to evolve with new technology, a digital format became the most effective choice. Digital formats allow information to be updated quickly and inexpensively by perhaps using tools such as software updates. fcv 77w Mf>f5I__ ^ -j For initial application sketches, see Appendix I 15 Ideation continued r\ r\ r\ Index of /-mab3012 - o.- \* -lie j + | ** http://www.rit,edu/-mab3012/ c - ://tvgul m/listlngs/ News (629) CD PayPal eHarmony Google eBay Gmail Inbox Microsoft 0. . Web Access Drexel DPhiE Apple hltp Graphic Design Home Contact Site Map Search Pre-Press Assistance Categories Overview Color Management The graphic design profession has an opportunity to strengthen the education of design students by Color Conversion address potential before enter professional Color Gamut teaching them how to recognize and printing problems they Spot Color practice. The purpose ofthis project is to expand upon this area of knowledge b\ identifying the most Color Process Tips common problems and printing constraints designers often encounter when having something printed Reverses & Tints in large quantities b> offset lithography. Graphics linage Resolution This website addresses the specific areas of pre-press that are directly related to graphic design Tonal Range development. Each highlights one set of important variables in graphic design: color Color Typography category Exporting Graphics management, graphics, signatures, and finishing techniques. By organizing this information and Layout Limitations distilling it into easily recognizable sections, the user can easily find needed information without to navigate through large quantities of text. Due to the highly visual communication method Signatures having in content. Layouts utili7ed through graphic design, images which accompany each section assist reinforcing topic Gutter .lumping Color Saturation Finishing Techniques Folding and Creep Trim Planning Bleeds and Crops Home Pa^e Spot Color Page Color Tips Page (For all application sketches, see Appendix J) Ideation continued . i*'...- Application ...... >,..-... International Paper - Prepress l Sketches ' S__\ l(nowledge/caiegofY/3&catitemid' " international paper Q http://glossai-v.ippaper.com/defauli.asp?ieq = ? ;G prei Phase 3 Ctning Started Latest Headlines The Knowledge Center Home Contact Site Map Glossary Sources Search | Getting it Right from ihe Start Graphics Signatures Finishing About the Project m Overview Categories Color Management The graphic design profession has an opportunity to strengthen the education Color Conversion Color Gamut ot design students by teaching them how to recognize and address potential Spot Color printing problems before they enter professional practice. The purpose of this project Color Process Tips Reverses & Tints is to expand upon this area of knowledge by identifying the most common problems and printing constraints designers often encounter when having something printed Graphics Image Resolution in large quantities by offset lithography Tonal Range Color Typography Exporting Graphics This web she addresses the specific areas ot prepress that ate directly related Layout Limitations to graphic design development Each highlights one set ol important variables category Signatures in graphic design color management graphics, signatures and finishing techniques. Layouls Gutter Jumping information it into recognizable sections, the user By organizing this and distilling easily Color Saturation can easily find needed information without having to navigate through large quantities of text. Finishing Techniques Due to Ihe visual communication method utilized through graphic highly design, Folding and Creep Tnm Planning images which accompany each section assist in reinlorcing topic content. Bleeds and Crops Home Page . The Knowledge Center faJda* Spot Color Page Color Tips Page (For all application sketches, see Appendix J) Intermediate Evaluation Survey During synthesis, charts listing the professional responses on the project content where posted in the Graduate Graphic Design Studio. The charts also listed intended content for the final application stage of the project. Current students and recent graduates of the RIT graduate and undergraduate graphic design programs were given the opportunity to provide their opinion on which items from the list should be considered primary areas of focus. The purpose of this focus group was to identify which areas of pre-press and lithographic printing processes design students already know and in which areas they think the} need more information. They were given two different colors of paper to mark their specific responses to the list of potential application content-one color indicated "Yes. include this topic": the other training." color indicated "No, do not include this topic. I don't need further information or This feedback narrow ed the content for the application. It also provided the project with feedback from current graduate and undergraduate graphic design students. They identified areas they considered important to their work, but in w hich they felt their training was either inadequate or missing. Students providedfeedback using colored tabs to select which information for the application the already had some knowledge of, and what they thought they should know more about. (For more detailed photographs of the survey, see Appendix K.) is Intermediate Evaluation continued Thesis Committee In addition to the surveys, a full thesis committee meeting was conducted to discuss the Feedback feedback from the surveys and to provide feedback to this designer from the perspective of design and print professors. During the meeting, each content category was discussed and analyzed to determine what content was essential to include in the application. The suggestions and constructive criticism from the committee members guided this designer to focus on a clear direction for the final design solution. (For specific notes from the committee meeting, see Appendix K) Summary The overall responses from survey participants and committee members were positive and helped to strengthen the overall purpose and content of this thesis application. The following statements summarize the constructive comments from both sources. The designer should: Further explore which solution will provide the most access to the content Have clear and discernible headings for topic areas Use action words to prompt user interaction Include detailed and complete content in the application Provide some insight into the evolution of the project and its purposes in the application itself Allow the user access to all potential content sections at any given time during the application Provide an method of cross-referencing to allow the user to see every instance where a word or phrase is mentioned within the application This designer took all of the above comments into account and well as feedback and suggestions from the intermediate evaluation to apply to the final solution. A sample of the survey and detailed photographs of the corresponding matrix of responses is located in Appendix K. 19 Implementation Application The final design solution was based on feedback from the intermediate evaluation. Subsequent feedback from the full thesis committee meetings held during the Spring 2006 quarter was also incorporated. The following design considerations were applied to the final solution: Color Decisions The colors of cyan, magenta, yellow, and black illustrate and strengthen the visual understanding of how the commercial printing process develops color tone. The body text of the site is black, which is a traditional standard within the design and printing industries. Each of the CMYK colors were used for specific sub-headings in the main copy to strengthen the relationship between the section and its content. The background color for the site was entirely white, which represents the white paper substrate used in the printing process. Beyond synthesis and ideation, the final colors were selected with consideration for optimizing the screen display. The result achieved an appropriate level of visual hierarchy, with the effect of a simple, legible page layout. Typographic Decisions Selecting a typeface that fulfilled the communication goals of the display while meeting the [imitations of a web-based application required much consideration. The heading needed to be bold, and stand apart from the body text. The choice to use only sans serif type fulfilled these specific needs. The typefaces Optima and Helvetica Roman met all the above criteria and share similar letterform characteristics. This compatibility allows them to work together within the application. Compositional Decisions The horizontal orientation of the page content layout was inspired by the layout of signatures on a plate that is used in commercial offset printing. In addition, limiting the amount of text shown on any given screen eliminates unnecessary scrolling and allows more control by the designer. The content display area uses five major columns. The first column is used strictly for imagery which is part of the main visual element of the page, and communicates the overall topic of each section. Other imagery and corresponding visual elements are located to the far right of the main text. The second column on the left is for section highlights and sub-heads, and the middle right two columns are for running text. The line length of the running text is approximately 9-12 words, reducing the risk of readability problems associated with line lengths that are too long. The horizontal format of the navigation system within the site echoes the horizontal layout of each page, further strengthening the composition of the application. 20 Implementation continued Application Imagery Decisions continued The selected images not only create interesting visual effects, but also communicate the offset lithography printing process to the user. Since the sources of the imagery varied. great care was taken to select and edit each individual image to achieve a unity. conscious!}' Moreover, to illustrate the tonal range and its limitations, this designer chose images with a varietv of saturated colors and a medium to high contrast range. Along with the white background and use of the color separations to organize the content into sections, imager}1 lithograph}' this aided in communicating the entire process of offset from pre-press preparation to the final press run. Final Application nno Project Overview ^ hnp://www.m.erJu/"mab30I2/GCD.The5is/overview.hrjnl ici- Getting Started Latest Hcadlim Graphic Design Evolution Home Contact She Map Glossary Sources Search A Guideto Designing tor Print Color Graphic* Signatures FWihing About the Project W Overview Categories 'Color Management The graphic design profession I-bs ari to jtienglhen the education opportunity CobrConveraon ot design students by teaching t hern bov to recognize anddiaclress potential Cobr Gamut ScorOobr printing problems before they enter professorial practice. The purpose of this project Cobr PnKess Tips Reiiflf3&s& Tints is to expand upon 'his area ot knowledge by identifying the rm3t common problems and printing constraints designers otten encounler when ha/rig something printed Graphics Irnag* ftasolution in large quantities offset by lithography Ton*! Range CobrTytog raciiy EfforrirrgOlropriira This web site addresses 'he specific areas or pre-press that arediree'ly relied Labour Urftiuions to graphc design difvebpment. Each category highlights one set ol important variables i^iaturei in graphic design color marvagement, graphics, signatures, ard finishing technquss UyoiiB dtrtw Jumping By organizing thus information ard distilling rt into easily recognizable sections, the user Cobra*iraKin can easily find needed intormalMn wtfhoui hauing to navigate through large quaiitries of text PinchingTechniquei Due to the highly visual communication method utilized through graphic design, FoCmg;irdCresp Trim Plan images which accompany each section asset in reinforcing tope content. rang Bfeeds ard Cops Home Page Implementation continued Final Application continued fl1, hnp://www.riLedu/-mab3012/CGD_Thels/spoccolor.html Q- Getting Started Latest Headlines .-., Graphic Design Evolution Home Contact Site Map Glossary Sources Search A Guide to Designing tor Print Graphics Signctum FHibJng About the Project Color Conversion Color Gamut Color Process Tips Reveraes & Tints Spot Color Cfok or> Imag* to Entarg_ Spotcofoi is Lttually considered lobe any color used on a document that is not a pioce-ii color Mean bo used simply 03 a secondary color 01 asacobr to provide emphasis to an areaol a printed piece. .,''-. Spot colors can be used as an area ol emphasis on a four-cob r process job uwtb the soot color generally pnntedasa color on a i*paras.e plate and not as part <_.. the four-cofor process V. 1 Specialty inks can abo be usedaa a spot color to provide even greater emphasis to an area. Specialty inks can range Irom fluorescent, fade resistant, opaque, ard metallc inks Zpc-i Color- A ungle color applied t Many of the specialty inks den.and unique considerations for their \po.' or talherthsr. colon proper use at the press Metallic mks may require that the press run layering ofeach other t; arhiove sdenred h at a slower rate than usual afid the preparat^n and clean uptime may be longer Fluoreicent inks are wen1 transparent artf may require that the pnnted document be run a second time through the press to achieve the dewred coating ol ink The challenges created by the specialty inks m terms ot punting ms/ increase, the price ot a punted document to a degree that it may not be cost effective to use the specialty ink tor a partcular application unless a iaage quantity is prodded Spot Color Page Color Process Tips 0 i- /> http://www.rit.edu/-mafj3012/GCD.Thesis/color-nps.himl H- ^ ^ Getting Stoned Latest Headlines Graphic Design Evolution Home Contact Site Map Glossary Sources Search A Guide to Designing tor Print Graphic! Signatures finishing About the Project Color Convenion Color Gamut Spot Color SavwraaB Mlnte Color Process Tips Pure violets, areeniand oranges si e very ditticult to match using tour-color process printing To achieve vibrant colors, a fifth spot color or 6- color high-ldelity printing can be used. Fluorescent and metallic colors cannot be achieved by using (oui-color process printing A spot color is, necessary tor printing the fluorescent and metallic colors Plates .-rd6 from cok>r separations are F^ra rich black use a mixture of 40%C, 30%M, compiled to mate one tinal image in print 30%V. & 1 00 appeaiance. Only S0% 01 the PANTONE colors car-, be closely simulated usjng four-cobr process printing, but nearly 90% can be simulated <**h ihe use of Color Process Tips Page Implementation continued ^r-\r, Final Application Image Resolution |C|- continued 2 hnp://wviw.rit.edu/-mab301d/CCO_Thesis/image_re!OiiitJon.html Getting Started Latest Headlines Graphic Design Evolution Home Contact Site Map Clonary Sources Search A Guide to Designing for Print Finishing About the Project Typography Exporting Graphics Layout Limitations Resolution Considerations Clicked Image to Enlarge There are tmo types ol images used in graphic arts: vector and raster irreges. Vector images use nwlhemalcal formulas to create graphic obiTCti, lines, orshapes. When outputting io pnnt or Web, sector images are resolution irdep^rder* and the final output cccurs "^JD using the dpi setting of the output device. For the purposes of calculating file size;-, we are concerned only with raster irreges (also cafed bitmap uragec) wheh use ck-L per irch (dpi), lines per inch (Ipi), or pixels per inch (ppi), when crealing arid out putting the leproduzed image. To explain ihe drrferenceo between dpi, Ipi, ard ppi, fottowing' consider the 2 4 E^arnpisi ot or raiter imagu ore I ho Dots p ch (dpi) A gauge used for s'afing the i asolution thai is to be bitmap above The imagii or the right are cloie upi of achieved from an output deuce such as a laser what the individual pixeli look like. prmter, irrwge processors, or adigital printing press 300 dpi is a common printer lesoiubon while imagesetter! and digital presses can achieve significant^ higher dpi outputs. Lines per inch (Ipi) A meaLsutemeni used todeline the resolution ol the image to be reproduced through a lithographic printing process The resolution ci referred to as a line screen (also line frequency or line njlingjand is determined Resolution Paae ooo Typography "7- e hnp://wwvv.rit.edu/~mab3012/CCD_Thesis/typo9raphy.hoiil IO Getting Started Latest Headlines A Graphic Design Evolution Home Contact Site Map Glossary Sources Search A Guide to Designing for Print About the project Image Resolution layout I Imitations Fonts A tonl is traditionally knovun as a complete set of all Ihe letters of the alphabet, ircrudmgassocisied bgatures. numerals, punctuation marks, and any other signs and symbols A tvpetace, or simply lace, is the name grven to the design ol the alphabet. Eveiv typeface has a name, such as 'font' 'typeface' Goudy or Helvetca The twe words and are now used interchangeably ever srtce the rraruformatiori liom hot metal typesetting, to pholo typesetting, ard linally to digital typesetting Desktop publishing 'ton!' programs has'fc a menu item labeled to display a list -.-.I typetsces which confuses the terms*: logy A tsrmly isaxet offonts retted to the Id- basic iypetace mrhch may include talc, bob, and be- italic plus- several drflerent weights and owdths.The weights range Irom extia light to extra bold, and widths can tange from extra condensed to extra expanded The two mam font standards are Adobe PostScript Type 1 andTrue Type Choosing wbach type to use is a very important decision. It is a good dea lo choose one type and stay wrth it. Oo notmw PostScript with True Type. Some typefaces are aiailable in both types, but the visual characteratcs ol one lont standard differs slightly Irom another Because of the, difference. using one type ot font tor displaying and proofing your work and then using a different font for printing can cause unpleasant surpnsea such as different letterspacing and line endings. Regardless ol tre standard you choose, make sure that your service provider uses the identical font produced by the same company lhal produced your font. : Typography Page Implementation continued Final Application hnp.//wtvw.m.edu/-mab3012/CCD.Thes'S/finishing.ritml continued & 2 . Ccitmg Started Latest Headlines Graphic Design Evolution Home Contact Site Map Glossary Souioa Search A Guide to Designing for Print Cnphki Finbhlng About Ihe Project Layout Gutter Jumping Color Salutation ClioK on Imao* lo Enlarge Prior to the introduction of electronc publishing, page layouts mere composed as mechancah (also called paste-upsor keylines) Ai lists and design professionals (sometimes called keyliners) iwuld aiAemble varcus elements ori the paste- up boatd The elements could include type, Wrhich mras set on a pfwiotypeseiter and output m galleys of type on photo typesetting paper, boxes drawn tor photo placement; and line art which litres shot in a camera onto aslat. or as a photographic print Each element mras pasted into position using wax. spray mount, or rubbei cement Crop narks and registration marks were drawn on the board and then a tissue overlay was attached ouer the layout to be usid as a gude tot indbating the location ol color breaks or writing special ' instructions The resulting layout uuas referred teas After completing the layout, a negative wai prodix ed. Black and white photos mere shol separately onto film uimg a screen Color photos were sent to acobr separator inhere the full color image etas separated into A films with each film representing on of the basic color components of the image The separate films mere then stripped up with the restot the )ob. Solid black or rubylith windows re cut to allow for a clear wnrdow on Ihe negative where the photos would be pbced Layouts Page ^ http //www.rit.erJu/-iTiflb30]2/GCD.ThesiS/finlshing.himl ICI- Getting Started Utest Hcadllm ' Graphic Design Evolution Home Contact She Map Glossary Source* Search A Guide to Designing for -tint Color Graphic* Signature* inidling About the Piojwt * _^ -olcflng and Creep Wt/r.^ Types of Folds Clckon Imagt'o Eriliige Wets- Typically, there are only two base types of parallel and right-angle Products containing parallel folds consist of fobs I hat run parallel lo eacl other. Right-angle fold;, are folds, that run perpendicular lo each ol the preceding folds IT IT Parallel Fobs 4-Fage Standard /Single / Haif 6-Page Standard /C-Fold / Business Letter 6-Page Standard /Gate nil 6-Page Acccudon/Z-Fold 8-Page Parallel Map 6-Pagc Reverse Map e-Page Parallel /RoD r 1 1 3-Page Accordon 0-Page Double /Double Parallel Foldt can either ban mpieorcornplex. 10- Page Accordion ll u important to urdenland whdt type ot 16- Page Parallel Booklet foldi will be uied in the final piece betbre dei igi de^lopmenl tegjni tc thai appropriate margn i can be taisn into account in the Common Right Angle Folds 8-Page Booklet with 2 Rrghl Angle Folds (French Fold) 6- Page Right Angle - First Fold Short 12- Page Letter Folding and Creep Page Dissemination Thesis Gallery Show Four Thesis Gallery Show panels were developed for the two-week display in the Panels Bevier Gallery at Rochester Institute of Technology at the beginning of the Spring 2006 quarter. This show was to visually communicate the research and synthesis stages of the thesis project and clearly identify the content for the thesis application. A visual comparison matrix presented information about the four categories previously identilied through the thesis research: color reproduction, graphics-such as illustrations, typography, artwork and other graphic design elements, signatures, and finishing techniques. Within each category, two examples were presented in the exhibition panels. Fach section was defined using feedback received during the suney, and visual examples demonstrated how those topics relate to graphic design development. All information for each section used a vertical format within the matrix, and each category was color-coded to indicate to the viewer when they were moving from one section to another within the comparison matrix. Gutter Jumping within a Layout From Page Layouts to Signatures Background Backaround T-e phrase gu'ter ;.mp rg applies to the co'cept ol having a gropi-ic Dunng the printing process, individual cages are converted to lather lent 01 image related] wlncli eipands across ihe spread Irom agriElures wfi ;hwll Uian be used to make the plates foi the actual t"ii -and pugo lo right hand gutter all 'U' lult [he page he 'a LLUisidurL-d pioii I1115 process 13 -sually jonc using imposition ioltwaiu. the area within e quartet m-Jn on eivho' side ol the exact comer i;no and ditfrwent passes may use a oif+oro"! lochniquo for dovaloping which divides ihe spread into -dividual pages "hs area is maant to their ngnat.rei While ihis has almost 0: bearing on the actual rsp-ssent the amount cl space needed dunng 'elding and omamg des jn ot r-e spreads themcetve:, it is important lor graphic whir; will be maccessrble to The viewer because they will be unabla lo des'jnar* to understand how their laycuts are aet on cress and how lay lha spread completely list that can allec: cai lain aspects ol llieir design such as color ae action r.ipi ndurr in ol miegrvy and 'vpenrarhy pracammf choices W"nr a dnsignar p'*ces imagery or ten acroas the gtitTar and dons nol pla- their design arcurd the gutter spa-e. itams which are placed Within the gutter arc los: and rhe resign loses is -loncod appearance Thin flu to Romember Thlngi In Romnmber to' WHe." beginning desig- development 5a: up margin? the gutter To avoid having unpleasant results during the pass run consult ("e space and then ce sure to leave those areas 1'eo o( te^t. Foi imagery. printer 'rst when designing a mulu-page document and find out how fe co-version Irom page layout lo signatures may mean that each ol their mposition software works Use this t.ncwledge to avoid us ng ve individual pages may no! be pnnled on "Jie same signature. * even highly contrasting colors on Ihe same signature Trying to print both be printed on lha same Say under ihe same conditions. This could on lhe sarno signature will only sause coth pictuias lo appear slightly stfacl the alignment and thn ^nicir Tone ol thr magsry Irom one pagn grnen duo In color saturation J'.a sme rochniqun can al.cn be apr Bd rr thn nevi Therefore try To limit ^pn-ads which ""av* imagery which IO graphic* and typography a-rl w ^av* ihe designer from crosses the guitei to only those which are more toward Ihe center ol unnecessary headaches during ire press run and finishing stages. Level ol Imporianco 10 thii Guttai Jumping Within a Layout Duignon Sui .aval ol Importmet to thn Jag Layouts to Signature -O- Thi i ;onsm lor printati, h whir* graphic daiignir Ways lo p:an lor the gullet within a layout Orig -al ~c-ew Layout with a Gutter Jump Image Color Shift within Imagery A-ross a Gutter During Pnnbng i|llM lilli il , cupcake, Typography Lost wilhin tho Gutter Dunng Binding sample section of the matrix (To view the entire see Appendix F. matrix, 25 Dissemination continued Panel Images Redefining the Responsibility of Pre-press File Management within Graphic Design Introduction v~ Panel Goals & Strategic GaMngit Right in Guide la Dtgltil Pitpxu Surveys/I nterviews Project Research Panel For larger scale versions of the entire gallery exhibit, see Appendix G. Dissemination continued Panel Images Visual Comparison ntie Visaed Matrix- Part I Visual Matrix Part 2 For larger scale versions of the entire gallery exhibit, see Appendix G. Dissemination continued Future Dissemination In the immediate future, the final design application will become a functioning website work. The researched material available for graphic designers to use as a training tool for their validated from the fields of graphic design and offset lithographic printing will be tested and suggestions future improvements. by user feedback. The user feedback will in turn provide for Information found in this ihesis project will serve as a guide for future project development report of instructional tools on this topic. This designer will use methods collected for this evaluation during the research, synthesis, ideation, implementation, dissemination, and in future design projects. fellow graphic designers This information will also be used by this designer, and potentially by graphic design development. interested in further study of commercial printing and its impact on Retrospective Evaluation Evaluation A Survey survey conducted with respondents to the original research survey and additional graphic designers from the project focus group became the basis of the retrospective evaluation. Each respondent received screen shots of the final design application along with an evaluation form. As part of the survey, respondents were asked questions while simultaneously viewing imagery on the screen. The survey results provided information on the effectiveness of the project implementation, as well as potential areas for expansion of the application. Demographics The respondents to the final survey were three graphic designers and two professional pre-press managers. Two of the designers surveyed were from the original research focus group. Rating Scale Would the website apply to a variety of projects in your professional career? Questions Would you use the website as a reference when designing for offset lithographic output? Are you able to understand the content as it is written? Are you able to easily navigate the site to find specific information? Are you able to relate the content to projects in your professional career? Is the organization of content on the website clear? Do you like the appearance of the website? Do the visual elements correspond with the content? Do you feel the color choices in the navigation and headings are appropriate for the subject matter? Free Response What areas do you feel that the website does not currently address but could? Why? Questions Are there any sections you feel are unclear or incomplete? In what way? Do you consider this website helpful for graphic designers? Do you consider it to be more helpful than existing materials on this subject? What means do you feel would be best to promote this resource to the design community? 29 Retrospective Evaluation continued On the Summary five written surveys, both designers and pre-press personnel gave overwhelmingly positive responses to questions about the design application. They indicated that the final design application provides significant improvement over existing materials. Additionally. the survey responses characterized, the new website as clear, effective, and easy to navigate. Moreover, they agreed that the site content is closely related to the subject of graphic design and is organized in a way that makes it easy to use as both a training tool and a designer reference source. Their suggestions for further exploration included: Expanding the website to include information on paper substrates and sizes Continued experimentation of main headings and sub-navigation to find a clear and systematic way of communicating section content to the user. ' Providing more cross-referencing of content so the user can easily locate any section where a specific word or phrase is mentioned. All responses to the retrospective evaluation are located in Appendix N. Thesis Committee The thesis commitlee members evaluated the final design application. They carefully analyzed Feedback aesthetic and pragmatic considerations of the application. For future development, they suggested exploring site navigation titles and main headings. To address these discussion points, this designer will conduct a series of brainstorming sessions to find different approaches for the titles as part of future dissemination. Conclusion Overall, the retrospective evaluation was a confirmation that the design application was successful, and that the original goals for this thesis have been achieved. If this project were to be developed further, the systematic approach to headings and sub-headings would be thoroughly investigated. Moreover, the recommendation made by thesis committee members to enrich the educational effectiveness of the website by adding more cross-referencing between sections and the glossary would also be implemented. 30 Conclusion Personal The development of Redefining the Responsibility ofPre-Press File Management Conclusion within Graphic Design involved research, synthesis, ideation, selection, implementation, graphic- dissemination, and evaluation. Combining the principles of pre-press operations and design with the pragmatic implementation considerations of user interface design allowed for the development of an effective and useful reference tool for online pre-press operations as they relate to graphic design. This thesis contributes to the graphic design field by providing guidelines for designers when offset lithography is to be used for production. Information found in this thesis project can also be used by graphic designers who are interested in exploring pre-press file management. In conclusion, this thesis project was a successful investigation. It synthesized information from pre-press operations with principles of graphic and user interface design. This designer fulfilled the initial goal of the thesis: to gain an in-depth understanding of pre-press file management techniques. In addition, this designer developed for the graphics design community a web application that demonstrates the research findings and the pre-press file management techniques. The thesis work was a positive and valuable learning experience, the results of which will remain valuable throughout her professional career. 31 Glossary of Terms Terms in this glossary have been distilled into five major categories: file preparation, pre-press, press, ink, and paper. Within each category, all terms have been placed in alphabetical order for your convenience. This glossary includes terms from the following sources: A Getting it Printed, copyright 1993 by Mark Beach B copyright Buchanan. Graphically Speaking, 2003 , by Lisa C International Paper Company Pre-press Website, copyright 2006 D Journey to Pressroom Comes to End, copyright 2003, by Dan Remaley, Newspapers & Technology 32 Glossary of Terms File Preparation Acetate instructions A transparent sheet placed over originals or artwork, allowing the designer to write and/or indicate a second color for placement. A Artwork All original copy, including type, photos and illustrations, intended for printing. Also called art. A Bleed Printing that extends to the edge of a sheet or page after trimming. B Blow-Up An enlargement, usually used with graphic images or photographs. A Body The main text of work not including the headlines. A Border The decorative design or rule surrounding matter on a page. A CMYK Abbreviation for cyan, magenta, yellow and key (black), the four process colors. B Color Gamut The entire range of hues possible to reproduce using a specific device, such as a computer screen, or system, such as four-color process printing. B Composition 1 In typography, the assembly of typographic elements, such as words and paragraphs, into pages ready for printing. 2 In graphic design, the arrangement of type, graphics and other elements on the page. A Contrast The variety of levels in tone of an image ranging from highlight to shadow. B reproduced. Also called cut marks or tic marks. A Crop Marks Lines near the edges of an image indicating portions to be the opposite page. Crossover Type or art that continues from one page of a book or magazine across the gutter to Also called bridge, gutter bleed and gutter jump. B required to hold a digital file to reduce the disk space Data Compression Technique of reducing the amount of storage the file requires and allow it to be processed or transmitted more quickly. B and PostScript commands. Abbreviated EPS file. A Encapsulated Computer file containing both images PostScript File post script information from one EPS Encapsulated Post Script, a known file format usually used to transfer program to another. A Folio The actual page number in a publication. A punctuation marks, and symbols Font A complete set of upper and lower case characters, numerals, of one specific typeface, size, and style. C layout or printed product. A Format Size, style, shape, layout or organization of a more clear or interesting. B Graphics Visual elements that supplement type to make printed messages Gray Levels Number of distinct gray tones that can be reproduced. B 33 Glossary of Terms continued File Preparation continued Gutter The inside margins toward the back or the binding edges of a book. A Hairline (Rule) Subjective term referring to very small space, thin line or close register. The meaning depends on who is using the term and in what circumstances. A Head(er) / Foot(er) The margin at the lop/bottom of the page. B 'K' K Abbreviation for black in four-color process printing. Hence the in CMYK. A word. C Kerning To increase or decrease the spacing between letters to improve the readability of the Layout A sample of the original providing (showing) position of printed work (direction, instructions) needed and desired. B Leading Amount of space between lines of type. B adjust the line-length or Letterspacing Increasing or decreasing space between characters, in a line of text, to between all characters opposed to to improve the appearance of a line. Letterspacing affects the spacing characters. C kerning that only affects the spacing between two or three Margin Imprinted space around the edge of the printed material. A as considered the desired trim size. C Page Size A reference to the dimensions of a single page of a document, book. A Pagination The numbering and order of pages in a 0. 166 in. and 12 points to a pica. A Pica A unit of measure in the printing industry. A pica is approximately 1/1000 inch. Point 1 Regarding paper, a unit of thickness equating (.351mm). .013875 inch A 2 Regarding type, a unit of measure equaling 1/12 pica and information from Portable Document A file format developed by Adobe. It can capture formatting many publishing printer and send a formatted document to a computer screen or Format (PDF) applications. This makes it possible to to read PDF files. C which it was created. You need Acrobat Reader have it look exactly the way in pixels per inch on a computer monitor Resolution The measurement of output quality expressed in (dots) or dots per inch on printed media. B primaries. B RGB Abbreviation for red. green, blue, the additive color language in which it is written. Also describes a photo whose orientation Right Reading Copy that reads correctly in the flopped image. B looks like the original scene, as compared to a separate or organize copy. A Rule Line used as a graphic element to or art should be enlarged or reduced to achieve, Scale To identify the percent by which photographs the correct size for printing. A image. Scanner Electronic device used to digitize an A 34 Glossary of Terms continued File Preparation continued Tagged Image Computer file format used to store images from scanners and video devices. Abbreviated TIFF. A File Format Tracking Adjusting the spacing between letters throughout a section of text. Generally, text is loosened or tightened to accommodate justification or to improve readability but still maintain the overall effect of uniformity. C Value The shade (darkness) or tint (lightness) of a color. Also called brightness, lightness, shade and tone. B Wrong Reading An image that is backwards when compared to the original. Also called flopped and reverse reading. A 35 Glossary of Terms continued Pre-Press Alteration Any change made by the customer after copy or artwork has been given to the service bureau, separator or printer. The change could be in copy, specifications or both. Also called AA, author alteration and customer alteration. A Author's Alterations At the proofing stage, changes that the client requests to be made concerning original art provided. (AA) AA's arc considered an additional cost to the client usually. A Bitmap Rows and columns of dots representing a graphic image in the memory of the computer. One or more bits of data represent the value of each dot whether it is filled or blank. The dots are called pixels, which are the smallest unit of a digital picture. C Color Correction The alteration of color(s) in a scanned or photographed image. Color correction is done to correct an undesirable tone or color cast that may be a result of imaging, to keep colors within the range of reproducible ink colors, or for other reasons, such as customer instructions. C Color Management A set of computer programs used to accurately translate color calibration. It ensures consistent color System from pre-press through print production by calibrating color between scanners, monitors, imagesetters, proofers, printers and other devices in the workflow process. C photograph. Continuous Continuous Tone An image that has an entire range of black, white, and gray tones, such as a tones must be screened to translate the image into dots. C and sent to the printer. C Contract Proof The last proof showing that is reviewed, approved, and signed then images and and assemble type and graphics, Desktop Publishing Technique of using a personal computer to design pages, the assembled pages onto film or plate. then using a laser printer or imagesetter to output paper, printing Abbreviated DTP. A output devices. B Digital Front End The digital devices used to drive the data being sent to the digital files rather than from film. B Digital Proofing A proof that has been created by the use of inch," measure output resolution in to printers, DPI Considered as "dots per square a of relationship imagesetters and monitors. A the substrate specified for a job. Also called pull-down. A Drawdown Sample of inks specified for a job applied to of the can range from a created simulate the final product. The dummy Dummy A mock layout to complexity a hand drawn sketch of the layout to one all the details simple mockup showing size and with showing appear. C exactly as the finished product will sensitized on two sides photosensitive developed DuPont, which is Dylux Proof A special type of paper, by press negatives. C and used to make blueline proofs of plates and stencils. A chemicals on papers, films, Emulsion Casting of light-sensitive printing from the or (toward the viewer) when Emulsion Down/ Film whose emulsion side faces down (away viewer) up ready EU. Also called E up/down and face down/face up. A Emulsion Up to make a plate or stencil. Abbreviated ED, whether metal type or photo type. Also called checker and slip proof. B Galley Proof Proof of type from any source, 36 Glossary of Terms continued Pre-Press continued Halftone A continuous tone image that has been photographed or scanned and then converted into tiny dots whose variations in size create the appearance of variations in tone. C Imagesetter Laser output device using photosensitive paper or film. A Imposition Arrangement of pages on mechanicals or flats so they will appear in proper sequence after press sheets are folded and bound. A Laminate A thin transparent plastic sheet (coating) applied to usually a thick stock (covers, post cards, etc.) providing protection against liquid and heavy use, and usually accents existing color, providing a glossy or matte effect. A Loupe Lens built into a small stand. Used to inspect copy, film, proofs, plates and printing. Also called glass and linen tester. A "dummy." Mark-Up Instructions written usually on a A Prepress Camera work, color separations, stripping, platemaking and other prepress functions performed by the printer, separator or a service bureau prior to printing. Also called preparation. B Prepress Proof Any color proof made using ink jet, toner, dyes or overlays, as compared to a press proof printed using ink. Also called dry proof and off-press proof. B Proof Test sheet made to reveal errors or (laws, predict results on press and record how a printing job is intended to appear when finished. A Raster Image Device that translates page description commands into bitmapped information for an output device Processor such as a laser printer or imagesetter. A how a job must be imposed Ruleup Map or drawing given by a printer to a stripper showing printing sheet size. Also called press printer's layout and ruleout. B using a specific press and layout, a halftone screen or a screen tint, c Screening Converting a continuous gray-scale image into dot patterns by using paper as a hard proof. C Soft Proof A proof that is viewed on a color monitor rather than on film exposure time. Sharpening Making halftone dots smaller in color correction and platemaking by adjusting printed on the press. This is sometimes done to offset for the dot gain that occurs when being difference between tones or colors at Sharpening is also done electronically by exaggerating the tools to sharpen selected areas their edges. Some paint and color manipulation programs have entire image. is helpful when the image of the image rather than having it affect the Sharpening specific areas. C only needs touching up in 37 Glossary of Terms continued Press Anodized Plate An offset printing plate having a treated surface in order to reduce wear for extended use. A Anti-offset Powder Fine powder lightly sprayed over the printed surface of coated paper as sheets leave a press. Also called dust, offset powder, powder and spray powder. A Back Up 1 To print on the second side of a sheet already printed on one side. 2 To adjust an image on one side of a sheet so that it aligns back-to-back with an image on the other side.A Blanket Rubber-coated pad, mounted on a cylinder of an offset press, that receives Ihe inked image from the plate and transfers it to the surface to be printed. A Blocking Sticking together of printed sheets causing damage when the surfaces are separated. B Bounce 1 A repeating registration problem in the printing stage of production. 2 Customer unhappy with the results of a printing project and refuses to accept the project. B CIS and C2S Abbreviations for coated one side and coated two sides. A Chain Dot 1 Alternate term for elliptical dot, so called because midtone dots touch at two points, so look like links in a chain. 2 Generic term for any midtone dots whose corners touch. A Check Copy 1 Production copy of a publication verified by the customer as printed, finished and bound correctly. 2 One set of gathered book signatures approved by the customer as ready for binding. A Collate To organize printed matter in a specific order as requested. B Color Control Bar Strip of small blocks of color on a proof or press sheet to help evaluate features such as density and dot gain. Also called color bar, color guide and standard offset color bar. B Color Correct To adjust the relationship among the process colors to achieve desirable colors. A Color Sequence Order in which inks are printed. Also called laydown sequence and rotation. A Commercial Printer Printer producing a wide range of products such as announcements, brochures, posters, booklets, stationery, business forms, books and magazines. Also called job printer because each job is different. A so that its moisture and Condition To keep paper in the pressroom for a few hours or days before printing level temperature equal that in the pressroom. Also called cure, mature and season. A sheets of inserted spreads or signatures out further Creep In saddle-stitch binding it refers to the inner sticking than the one it is enclosed in. The inside pages or signatures move away from the spine. B or imagesetter. Digital Dot Dot created by a computer and printed out by a laser printer Digital dots are uniform in size, as compared to halftone dots that vary in size. B Dot Gain Phenomenon of halftone dots printing larger on paper than they are on films or plates, also called dot growth, dot spread and press gain. A Dot Size Relative size of halftone dots as compared to dots of the screen ruling being used. There is no unit of measurement to express dot size. Dots are too large, too small or correct only in comparison to what the viewer finds attractive. A 38 Glossary of Terms continued Press continued Dots-per-inch Measure of resolution of input devices such as scanners, display devices such as monitors, and output devices such as laser printers, imagesetters and monitors. Abbreviated DPI. Also called dot pitch. A Double Bump To print a single image twice so it has two layers of ink. A Dry Offset Using metal plates in the printing process, which are etched to .15mm (.0006 in) creating a right reading plate, printed on the offset blanket transferring to paper without the use of water. A Dummy Simulation of the final product. Also called a mockup. B Duplicator Offset press made for quick printing. B Estimate Price that states what a job will probably cost. Also called bid, quotation and tender. A Feeding Unit Component of a printing press that moves paper into the register unit. A Finish 1 Surface characteristics of paper. 2 General term for trimming, folding, binding and all other post press operations. A Fixed Costs Costs that remain the same regardless of how many pieces are printed. Copyrighting, photography and design are fixed costs. A Fountain Trough or container on a printing press that holds fluids such as ink, varnish or water, also called duct. A Four-color Technique of printing that uses black, magenta, cyan and yellow to simulate full-color images. Process Printing Also called color process printing, full color printing and process printing. A Full-range Halftone Halftone ranging from 0 percent coverage in its highlights to 100 percent coverage in its shadows. A Full-scale Black Black separation made to have dots throughout the entire tonal range of the image, as compared to half-scale black and skeleton black. Also called full-range black. B Ghosting 1 Phenomenon of a faint image appearing on a printed sheet where it was not intended to appear. front of one sheet to the back Chemical ghosting refers to the transfer of the faint image from the as a repeat of an image of another sheet. Mechanical ghosting refers to the faint image appearing on the same side of the sheet. 2 Phenomenon of printed image appearing too light because of ink starvation. B reproduce a neutral image. A Gray Balance Printed cyan, magenta and yellow halftone dots that accurately, gray thus first through the press. Gripper Edge Edge of a sheet held by grippers on a sheetfed press, going Also called feeding edge and leading edge. A printed. Also called halation. Halo Effect Faint shadow sometimes surrounding halftone dots The halo itself is also called a fringe. A ink Hickey Spot or imperfection in printing, most visible in areas of heavy coverage, called bulls eye and fish eye. A caused by dirt on the plate or blanket. Also other and to a Ink Balance Relationship of the densities and dot gains of process inks to each standard density of neutral gray. B 39 Glossary of Terms continued Press continued Ink Fountain Reservoir, on a printing press, that holds ink. A 1 The screw that Key controls ink flow from the ink fountain of a printing press. 2 To relate loose pieces of copy to their positions on a layout or mechanical using a system of numbers or letters. plate.' 3 Alternate term for the color black, as in 'key A Lithography Method of printing using plates whose image areas attract ink and whose non image areas repel ink. A Makeready 1 All activities required to prepare a press or other machine to function for a specific printing or bindery job, as compared to production run. Also called setup. 2 Paper used in the makeready process at any stage in production. Makeready paper is part of waste or spoilage. A Mock Up A reproduction of the original printed matter and possibly containing instructions or direction. B Moire Undesirable pattern resulting when halftones and screen tints are made with improperly aligned screens, or when a pattern in a photo, such as a plaid, interfaces with a halftone dot pattern. A Multi-color Printing Printing in more than one ink color (but not four-color process). Also called polychrome printing. A Offset Printing Printing technique that transfers ink from a plate to a blanket to paper instead of directly from plate to paper. B Paper Plate A printing plate made of strong and durable paper in the short run offset arena (cost effective with short runs). B Picking Phenomenon of ink pulling bits of coating or fiber away from the surface of paper as it travels through the press, thus leaving unprinted spots in the image area. A Plate Piece of paper, metal, plastic or rubber carrying an image to be reproduced using a printing press. A Press Check Event at which makeready sheets from the press are examined before authorizing full production to begin.A Press Proof Poof made on press using the plates, ink and paper specified for the job. Also called strike off and trial proof. A Press Time 1 Amount of time that one printing job spends on press, including time required for makeready. 2 Time of day at which a printing job goes on press. B Price Break Quantity at which unit cost of paper or printing drops. B Printing Plate Surface carrying an image to be printed. Quick printing uses paper or plastic plates; letterpress, engraving and commercial lithography use metal plates; flexography uses rubber or soft plastic plates. Gravure printing uses a cylinder. The screen printing is also called a plate. B Printing Unit Assembly of fountain, rollers and cylinders that will print one ink color. Also called color station, deck, ink station, printer, station and tower. A Production Run Press run intended to manufacture products as specified, as compared to makeready. A 40 Glossary of Terms continued Press continued Quality Subjective term relating to expectations by the customer, printer and other professionals associated with a printing job and whether the job meets those expectations. A Quotation Price offered by a printer to produce a specific job. A Repeatability Ability of a device, such as an imagesetter, to produce film or plates that yield images in register. A Shingling Allowance, made during paste-up or stripping, to compensate for creep. Creep is the problem; shingling is the solution. Also called stair stepping and progressive margins. A Signature Printed sheet folded at least once, possibly many times, to become part of a book, magazine or other publication. A Soft Dots Halftones dots with halos. A Solid Any area of the sheet receiving 100 percent ink coverage, as compared to a screen tint. A density. Used as a Solid Ink Density (SID) The measurement of a solid printed patch on the paper, including the paper primary means of process control. D and Specifications Complete and precise written description of features of a printing job such as type size leading, method. Abbreviated specs. B paper grade and quantity, printing or binding delivered printed to Spoilage Paper that, due to mistakes or accidents, must be thrown away instead of the customer, as compared to waste. A that measures 5000 degrees Kelvin the color Standard Viewing Background of 60 percent neutral gray and light standards. A Conditions of daylight on a bright day Also called lighting enlargement halftone dots the image transfer process. Total Volume Increase Also known as total dot grain, is the of during absorption of ink the paper (mechanical dot gain) (TVI) TVI is the result of the combination of by (optical dot gain). C and the light scatter around and under the printed dots excess has been trimmed. Also called finished size. A Trim Size The final size that a printed page will be after white area colors or ink to prevent the of a fine showing Trapping The overlapping of adjoining help possibility or due to normal variations on the press. A between colors due to misregistration of color negatives or operations, Waste Unusable paper or paper damage during normal makeready, printing binding as compared to spoilage. A compared to trap. A Wet Trap To print ink or varnish over wet ink, as dry 41 Glossary of Terms continued Ink Aqueous Coating Coating in a water base and applied like ink by a printing press to protect and enhance the printing underneath. A Build a Color To overlap two or more screen tints to create a new color. Such an overlap is called a build, color build, stacked screen build or tint build. A Butt Register Register where ink colors meet precisely without overlapping or allowing space between, as compared to lap register. Also called butt fit and kiss register. A Carton Selling unit of paper weighing approximately 150 pounds (60 kilos). A carton can contain anywhere from 500 to 5,000 sheets, depending on the size of sheets and their basis weight. A Chalking Deterioration of a printed image caused by ink that absorbs into paper too fast or has long exposure to sun, and wind making printed images look dust)'. Also called crocking. B photograph. B Color Balance Refers to amounts of process colors that simulate the colors of the original scene or shells. B Color Blanks Press sheets printed with photos or illustrations, but without type. Also called begins. Color Break In multicolor printing, the point, line or space at which one ink color stops and another Also called break for color. A an image. A Color Cast Unwanted color affecting an entire image or portion of substrate. coverage is expressed as light, Coverage Extent to which ink covers the surface of a Ink usually medium or heavy. A good adhesion and prevent setoff. A Cure To dry inks, varnishes or other coatings after printing to ensure process blue. A Cyan One of the four process colors. Also known as thickness of a layer of printed ink. Density 1 Regarding ink, the relative absorb light reflected from it or block light 2 Regarding color, the relative ability of a color to passing through it. looseness of fibers. A 3 Regarding paper, the relative tightness or less dense as the ink dries. A Dry Back Phenomenon of printed ink colors becoming as the product is used and washed. A Fast Color Inks Inks with colors that retain their density and resist fading four-color process. B Fifth Color Ink color used in addition to the four needed by to a color created Flat Color 1 Any color created by printing only one ink, as compared by printing four-color process. Also called block color and spot color. 2 Color that seems weak or lifeless. B the sheet. B an ink or varnish. with ink is also called painting Flood To print a sheet completely with Flooding called ink. B Phenomenon of droplets of ink thrown off the roller train. Also flying Misting being sinkage. A mottled image be called mealy. B Mottle Spotty, uneven ink absorption. Also called may colors used process printing: cyan and black. B Process Color (Inks) The for four-color yellow, magenta, 42 Glossary of Terms continued Paper Base Size The standard size of sheets of paper used to calculate basis weight in the United States and Canada. B Base Weight In the United States and Canada, the weight, in pounds, of a ream (500 sheets) of paper cut to the basic size. Also called ream weight and substance weight (sub weight). In countries using ISO paper sizes, the weight, in grams, of one square meter of paper. Also called grammage and ream weight. A Blank Category of paperboard ranging in thickness from 15 to 48 points. A Broken Carton Carton of paper from which some of the sheets have been sold. Also called less carton. A Calender To make the surface of paper smooth by pressing it between rollers during manufacturing. B Carton Selling unit of paper weighing approximately 150 pounds (60 kilos). A carton can contain anywhere from 500 to 5,000 sheets, depending on the size of sheets and their basis weight. A CWT Abbreviation for hundredweight using the Roman numeral C=100. A Equivalent Paper Paper that is not the brand specified, but looks, prints and may cost the same. Also called comparable stock. A Grade General term used to distinguish between or among printing papers, but whose specific meaning depends on context. Grade can refer to the category, class, rating, finish or brand of paper. A Grammage Basis weight of paper in grams per square meter (gsm). A GSM The unit of measurement for paper weight (grams per square meter). A House Sheet Paper kept in stock by a printer and suitable for a variety of printing jobs. Also called floor sheet. A Ink Holdout Characteristic of paper that prevents it from absorbing ink, thus allowing ink to dry on the surface of the paper. Also called holdout. A M Weight Weight of 1,000 sheets of paper in any specific size. A Ream 500 sheets of paper. A Substance Weight Alternate term for basis weight, usually referring to bond papers. Also called sub weight. A Wove Paper manufactured without visible wire marks, usually a fine textured paper. B Bibliography Books and Journals Getting it Printed Eric Kenly and Mark Beach Eric Kenly, 2004 This book provided a unique approach to the material, providing visual examples of all the content to help with comprehension of the material. This approach to providing additional educational elements within the text helps to clarify content lo the reader. Getting it Right in Print Mark Gatter Harry N. Abrams, Inc., 2005 This book was written specifically for graphic designers and was used as part of the external audit of existing materials for the intended audience for this project. A Guide to Graphic Print Production Kaj Johansson, Peter Lundberg and Robert Ryberg John Wiley & Sons, Inc., 2003 This book was used as part of the external audit, and provided very generic information for the general public on how to set up files for commercial print. Pocket Guide to Digital Prepress Frank J. Romano Delmar Publishers, 1996 the general public This guide was used as a precedent for this thesis, and is a book written for by aspect of someone who knows a great deal about commercial printing. It covered every language and referred to other material offset lithography, but often used highly technical not included within the text. Print...The Global Language Visual Communications Journal 2004 the commercial that The article in this publication reaffirmed the concern within printing community prepress file management. It discusses the there is a need for improved graphic design education in years and how those changes have affected changes within the commercial printing field in the last forty graphic design. the relationship between commercial printing and 44 Bibliography continued Web Sites Cummings Design www.cumrningsdesign.com This web site contains articles that discuss the role that the designer has in the printing process. This site states that the designer is purely responsible for the finished product in a printing process, and that any and all mistakes are the result of faulty design (either application or principles). Printing Industry Exchange, LLC www.printingindustry.com October 15,2005 This web site contains information on various printing processes and technical terms used in the printing industry. International Paper Prepress Guide http://glossary.ippaper.com/default.asp?req=knowledge/category/3&catitemid=3 May 1,2006 This site contains information on pre-press and was used as the external audit for the application of this thesis project. Survey Participants Commercial Printers AIGA Design Community Ayers Printing Co. Lora Aadalen Canfield & Tack Christopher Andrcola Pinnacle Printers Inc. Neva Corbo-Hudak Cathy Krasny Valerie Ryan Kolossos Printing Melina Tranchemontagne Lance Burns Jillian Yanus Lewis Offset Press Monroe Litho., Inc. Oser Press Graphic Design Educators RIT Printing Applications Laboratory Lorrie Frear Frank J. Romano Bruce Ian Meader St. Vincent Press Chris Jackson South Bridge Press Jeremy Vanslette Fred White Jr. Design Firms Windsor Street Design Associates, Inc. Atomic Design K2 Communications Dunn and Rice Design 45 Appendix A Internet Precedents Rnhnt Printing Screen Printing Supplies Commercial printing Print Media Solutions offset Total Alum & Commercial printing Wood Screen Sale On Now Catalogs, Brochures and Much World Leader in Printing - Program Management New InkJet Film Plastisol Inks More Low Prices - Special Offers Technology Learn More About Heidelberg! home | portfolio | about us | services | resources 4 learning | contact us | General Commercial Printing Guidelines Ads bv Gooooooqle Commercial Printer, Czech Sheet Offset Printing Plant Direct Mail Producer www boomtisk.cz Custom Screen Printinq Custom Art on clothes apparel and wearables- Free Quote BrokenArrowWear.com Baumer Scatec's and QTMS Copycounters for commercial and newspaper printers. New Models. www plumtreecompany com Custom Printinq Discount, Full Color, & Commercial Printing. Info, Articles, & FAQs www ThePrintGuide.com Full Color Printinq Low Prices - High Quality We are Full Color Printing www fullcolorprinting.com Ads by Goooooogle Orlando Diqital Printer Color Black & White Commercial Brochures Biz Cards Catalogs wwwxerocopy.com Professional Mailinq Your one-stop shop for Innovative Printing & Mailing solutions. www.promailing.org Full Color Printinq Instant quotes, great prices You upload and we print it! www HopTolTPnnting com Commercial Printinq Integrated Solutions To Improve Your Marketing ROI. Learn More! www.eagledirect.com Jet Inc Full solution provider for all of your graphic communication needs www.imaginejet.net Commercial printing and offset lithography Commercial printing has always been and still remains a highly technical process. Very little has changed in commercial printing other than the fact that graphic designers 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 'pre-press' knowledge of and the steps needed to insure best print quality. out' Commercial printing remains a '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 from the original files. Commercial printing is not inkjet. Therefore, printing out a file in a program such as Adobe Photoshop, Microsoft Word, Microsoft Publisher, Abode Illustrator, or press' other software to an inkjet printer without any 'printing simulation will not produce an accurate result. The basic rules: All image files must be 300ppi (sometimes referred to as dpi) at print size All files should be Quark Macintosh files All files must be CMYK (not RGB) 'process' In offset lithography, there are four printing colors known as colors. The process colors are Cyan, Magenta, Yellow and Black. 'almost' The process colors CMYK can make any color, yet will never be as brilliant as RGB colors that you are seeing on your monitor. CMYK offset lithography commercial printing will never completely equal the brilliance of what you see on your monitor since your monitor is showing 'projected' 'reflected' color rather than color. Reflected color is what you see in printing. More to come. CUmmingSdeSign | ciffck to re(um to mam sits director/ [5 Contact us or return Home or see Pricing design copywriting strategic marketing advertising promotion packaging exhibits identity&branding business plans sales strategy process streamlining training motivation video &tv animation internet search engine optimization business consulting all about us VISA | Learn About Printing, Srtetti* International Paper ! 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Features Paper Label Construction Ink Adhesives Perforations Die Cutting Numbering Packaging Storage Label Types Continuous Pinfed Labels | Individual Labels | Laser Sheet Labels | PS Roll Labels | Label/Form Combination | Thermal Labels | Linerless Labels | Glue Applied Labels | In-Mold Labels | Shrink Labels | Stretch Labels | Smart Labels | Security Labels | Label Markets Laser Sheets Size | Design Features | Paper | Ink | Perforations | Punching | Numbering | Labels | Packaging | Storage Mailers Size Design Features Paper Types of Mailers Ink Perforations Punching Numbering Packaging Storage Continuous Mailers - Construction Folding | Part to Part Construction | Die Cuts | Image Transfer | Reply Envelope Type | Type of Gluing | Opening Styles | Security Features | Miscellaneous Construction Features Promotional Mailers - Construction Folding | Copy Placement | Die Cuts | Inserts | Closure Types Self Mailers - Construction Folding | Copy Placement | Window Die Cuts | Imaging Types | 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Legal Statement and Disclaimers 2005 International Paper Company. Learn About Printing Glossary Site Map International Paper Search Knowledge Knowledge Center "fnrnn Learn About > Knowledge Printing Print Preparation > Prepress > Desktop Publishing > Document Design Print Preparation Bar Coding ? Desktop Publishing Digital Proofreaders' Printing Document Design | Fonts | Hanging Indents | Layout | Preflight | Marks Finishing Materials Document Design PDF Postal Prepress Color Size | Margins | Bleeds | Color | Master Pages | Style Sheets Desktop Publishing Size Document Design Fonts Begin by setting up your document with dimensions for the trim size and not the bleed size or live size. This Hanging Indents copy allows the crop marks to be correct when it is output. You can still add bleed to the image the photo or Layout by extending background outside of the document. Make sure you advise the printer if it because it need to be Preflight bleeds, may printed on Proofreaders'a larger sheet of paper If it is a folded piece, such as a three-panel brochure, set the page size to be the trim size. Add guidelines to show where the brochure will fold so you can adjust the to fit correctly. Marks copy Imaging It is also a good idea to determine if you need to layout the document with facing pages and if they should be in Planning and Design printer's spreads or reader's spreads Spreads refer to two pages facing each other with a common gutter Reader's Platemaking spreads are set up the way that you would read a book: pages 2 and 3 would be a spread; 4 and 5, etc Printers Proofing spreads are organized for printing signatures. For example, if you have a 8 page booklet, page 8 and 1 would be a Software spread; 2 and 7, 6 and 3; and 4 and 5 likewise, are spreads See the Imposition section for more details. Print Processes Security Features Tools Note: The even numbered pages are always on the left-hand side. Print Products "crossover" If you have items on the page that you want to extend into the next page, it is called a You should be very careful when working with a crossover since problems can occur If facing pages are printed on different sheets, it may be difficult to keep the color consistent between the pages when printed at a press The color of a large image that covers both left and right facing pages may look inconsistent from the left page to the right page instead of appearing like a continuous image from left to right. The narrow rules that extend across two pages can be misaligned Certain types of bindings can make alignment more difficult and part of the image can be lost in the binding The only time that a crossover does not present a problem occurs with the center spread, where the entire sheet is printed as one piece instead of being joined together across two pages printed separately iplwrrd ^fwd** ,yf 81"" HOT ,^ MIC* VL-*Tf01| WOTS S'wy w W HMicfll lurtii Pages 2 and 3 readers spread Pages 6 and 7 readers spread Pages 2 and 7 printers spread Pages 6 and 3 printers spread Btv- Sptamftd Shfldci of S*;twt ri -. -- Pages 6 and 7 readers spread The illustration above shows what can happen if a crossover is not printed on the center spread. Margins When setting margins, consider the following factors: Set the margins to the live copy area. Adjust for the and left right pages if your outside margin should be wider than the gutter. Allow for the gripper "gripped" margin (space at the edge of the sheet where it is and pulled through the press). The gripper area is not printable and the size varies for different presses. If you are a 3 panel setting up brochure that folds, you need to allow for overlap. For example, if you have 8-1/2" 11" and x 3-11/16" 3-5/8" sheet folding into 3 panels, the panels need to be 3-11/16", and 3-5/8". The panel would fold inside the other panels. Bleeds Bleeds refer to printed colors that extend past the edge of a page To accommodate a bleed, the printer must print the bleed area larger than the final trim size. The printed image extending beyond the bleed area is then trimmed off so that the printed area extends to the edge of the sheet. Bleeds require more paper and production time, thus, printers charge extra for this service. Alter 1/8" Trimming bleed | :>* MrXiCO ' MrXrCO 1/8" bleed 1 1tf bleed Trim /, tl/8" Marks 's bleed Color If spot colors are used in your project, specify the appropriate PMS colors in your color palette or selection Different programs name PMS colors a little differently so, for example, if you create a document with a PMS color in Illustrator and bring it into you Quark, could end up with 2 different swatches for the same color, which would produce two separate printing plates instead of the one plate that was intended for the spot color The Pantone Matching System includes swatches for hundreds of spot colors, process colors, fluorescent colors, and simulated metallic colors A Pantone Swatch book may include the same colors printed on coated and uncoated papers which allows you to see the change in the color from coated to uncoated stock You can see which palette "Print" "Separations." of colors you have by bringing up the menu and selecting The colors will be listed in order. x 1 0058 53 I Black AUSTRA I Cyan I Magenta A 1 PANTONE 1 10 CV I PANTONE 1 10CVP I PANTONE 287 CV I PANTONE 2S7CVU I Registration ] White Yellow ! Print ! Print Style: | Default t\ Copies: Pages: All [?| | Range Separators.,.] Document f Setup f Output \ Options j Preview | Plates: | Process &SpotT- 1 Resolution: 600 (dpi) Halftoning: | Conventional ? | Frequency: 60 [?j (Ipi) ^ T Print '--|plate | Halftone "| Erequency | Ang le T| Function 75" - / Process Magenta 60 Default 90 4 Proeaag-VHJaw - 60 Default 45" - = / /process Black ^v 60 Default / / PANTONE 110CV\ K K K K K K K - ft PANTONE 287 CV | K A PANTONE 287 CVU J K K K K - Page Setup... Printer... Capture Settings | | Cancel j j! Print Remember to delete the colors you are not using from the color palette "Registration" seldom The color titled is NOT a true color or plate. It is used, but it is available if an item such as a crop mark is printed on all the plates process the color will be but not exact If you try to simulate a PMS color using colors, close, color swatch and set the values to 40% 30% To create a "Rich Black", create a new cyan, magenta, 30% yellow and 100% black Master Pages used to format the document pages that contain master items like A master page is a nonpnnted page automatically other elements master headers footers, page numbers, repeating logos, and Using pages can minimize the time design consistent over pages. If you need to reposition an item, it is you spend keeping your many only necessary master page You can set a different master page for each different type of page to reposition it once on the up right and left pages or pages with designs and images layout in the document, such as Styles Style Sheets/Character and Paragraph consistent look and to save time is to set up style sheets or character and paragraph An easy way to maintain a styles, on which depending software program you are using. It takes more time to set the styles up, but overall it saves time because you can select the set style for every page you create rather than having to format each page individually. You can set the font, style, size, leading, formatting, etc. for each type of text you are using. Back to Top < - Copyright 1999-2005 Tecstra Systems Corporation - All Rights Reserved 2005 International Paper Company All rights reserved. Legal Statement and Disclaimers Han* Learn About Priming International Paper Search Knowledge Knowledge Center tf-'fTTiM'iB Learn About Knowledge Printing > Print Preparation > Prepress > Color > Color Printing Print Preparation Bar Coding ? Color Digital Additive Printing Color | Color Management j Color Printing | Dithering Finishing Materials Color Printing PDF Postal Prepress Color Introduction | Spot Color | Four Color Process Printing | High-Fidelity Color Printing | Color Additive Color Tips Color Management Color Printing Introduction Dithering Before actually printing with color, it is to understand some of the Desktop Publishing necessary factors that influence the appearance of colors on a printed document. Listed below of Imaging are some the important points to consider: Planning and Design Platemaking Although color guides are a good Proofing tool for the color Software determining that should be (such as spot Print Processes used, colors), should be used as Security Features they only a guide. There is no guarantee Tools that the final color will Print Products printed look exactly like the color in the guide. The colors in the guides tend to fade, so the guides are usually valid for about a year. The color swatches in a guide are usually printed with a saturation that may be hard to achieve on some applications. The type of paper on which color is printed has a huge affect on the way the color appears. The same color will appear to be quite different when printed on coated and uncoated papers. The ink absorption rate, along with the brightness and the color of different papers can result in significant changes in the way color appears on different papers. There can be differences in ink pigments between different ink manufacturers, which is another reason why it is difficult to perfectly match the color in a guide. Most printers use ink from one vendor, so they can usually expect consistency in the ink they use. Lighting conditions affect the appearance of the ink color. Differences in daylight during different times of the day and differences in artificial illumination, such as fluorescent and incandescent, can cause a wide shift in the appearance of a color. Precise color matching can only occur when the preceding factors are considered. A color viewing booth can be used in order to accurately match the printed color with the proof. Lighting conditions, materials, and the techniques used, must be controlled in order to achieve the best results when printing with color. Spot Color Spot color is usually considered to be any color used on a document that is not a process color. It color or color to provide an can be used simply as a secondary as a emphasis to area of a printed piece. Spot colors can be used as an area of emphasis on a four-color process job with the spot of color generally printed as a color on a separate plate and not as part the four-color process. Specialty inks can also be used as a spot color to provide even greater emphasis to an area. Specialty inks can range from fluorescent, fade resistant, opaque, and metallic inks. of the Many specialty inks demand unique considerations for their proper use at the press. Metallic inks require that may the press run at a slower rate than usual and the preparation and clean up time may be longer. Fluorescent inks are very transparent and may require that the printed document be run a second time through the press to achieve the desired coating of ink. The challenges created by the inks in specialty terms of printing may increase the price of a printed document to a degree that it may not be cost effective to use the specialty ink for a particular application unless a large quantity is produced. prtrtittizi Sfrvict* Clriiir 'Ahy n Spot Color - A single color applied to one area "spot" or rather than layering colors on top of each other to achieve a desired hue. Four-Color Process Printing Printing an image in full-color is a complicated process involving a number of steps. A basic knowledge of these steps is not only essential for printers, but it is also important for designers in planning and creating the best layouts and for print buyers in understanding some of the issues that are raised when purchasing color work. Color Theory Red, Green and Blue (RGB), are the primary colors of white light and are called the Additive Primary Colors. We are able to see color because different objects reflect and absorb, or subtract, the primary colors of light differently. For example, we see an object as yellow because it absorbs (or subtracts) blue light from white light. Since the blue light has been absorbed, the red and green light is leftover and is reflected back to our eyes. The red and green light combine to make yellow and so we see the color of the object as yellow. This is known as the Subtractive Color Process because portions of the visible light spectrum are subtracted from white light to reveal color. If 1 00% of the red light is subtracted from white light the resulting color is cyan. (The green light and blue light are the remaining primary light colors after the red is removed and the green and blue combine to form cyan). If 100% of the green light is subtracted from white light the result is magenta (red and blue light form magenta) and when 100% of the blue light is subtracted from white light the result is yellow (red and green light form yellow). Cyan, Magenta, and Yellow (CMY) are the Subtractive Primary Colors, and are used for color reproduction in process color printing. Ink Light Color(s) Light Color(s) Color the Color Absorbed Reflected Human Eye Sees Green and C Red Light Cyan Blue Light Red and Green Light Magenta M Blue Light Red and Blue Light Yellow Y Green Light Green and M + Y Red Light Red Blue Light Red and Green Light C + Y Green Blue Light Blue Light Gre^tight Pigments The combination of the primary colors in varying degrees is what creates the illusion of a full color printed image. In the lightest and whitest areas of the printed image, very little of the primary colors are present so these areas appear very light. In the darkest areas of the printed image, much more of each color is present making the areas appear darker. The combination of the three subtractive primaries, each at 100% strength, should create black, but since cyan, magenta, and yellow color pigments are not perfect, there is no way of creating a true black color when they are combined. If full strength cyan, magenta, and yellow, are combined, the resulting color is actually a dark, muddy brown color. Even if it were possible to combine all three primaries at full strength to create black, printing 1 00% of any or all of the subtractive primaries can cause a saturation of color on the printed surface which can result in very poor print quality. Because of this problem, the addition of black is to necessary assist the cyan, magenta, and yellow in creating the darkest hues, to deepen shadows, and to produce a true black text. Cyan, Magenta, Yellow, and Black, (CMYK), form the basis of the "K" four-color printing process. The is used to signify black to avoid confusion with blue. ^.--Becausethe mixture of the primary ink colors do not / make a true black, it is necessary to add black ink to / achieve deeper shadows and true black text. / The mixture of 1 00% of any two primary colors will result in a secondary color. 100% yellow and cyan will result in green; 100% cyan and magenta result in blue; and 100% magenta and yellow result in red. The secondary colors are also the same as the primary light colors (RGB). Color Separations In order to reproduce or prepare a full color image for printing using four process colors, the image must be divided into the individual subtractive primary color components. The separation process can be accomplished photographically or electronically. Photographic Separations: Using a large process camera, a full color image is converted into halftone negatives which, contain a series of dots of various sizes to represent shades of gray. The dots are achieved with the use of special screens placed over the negative material during exposure. When printed, the smaller dots create the lighter areas of the image, with the lightest appearing white, and the larger dots make up the darker areas of the image, with the darkest appearing black. This system of using the halftone screens directly with the film is known as the Direct Screen Photographic Color Separation method. A halftone negative is made for each of the separate subtractive color components of the image (cyan, magenta, yellow) and black. The four halftone negatives are records, in varying shades of components and are known as "Color Separations". gray dots, for each of the separate color Another photographic technique known as the Indirect Photographic Color Separation method is also used. The original image is separated into the individual primary color components and continuous tone films are made for each of the separations. From the separated films, the halftone negatives or positives are created. The advantage in first creating continuous tone separations before creating the halftones is that the continuous tone separations can be reduced or enlarged and corrected before the actual halftone films are produced. Color separations created from photographic methods are used to prepare analog plates for corresponds to one of the four traditional printing methods. Each plate colors, cyan, magenta, with the ink colors the yellow, or black. The plates are coated corresponding during printing to the substrate. sizes process and the inked image from the plates is transferred The varying determines the amount of ink that will be printed on the of the halftone dots on the plates, colored images to produce the full color substrate. The dots from each of the different overlap image. separation of an individual color Electronic Separations: The electronic image into its popular and labor method of color components has become the most saving producing produced from an image produced with separations. The separations can be analog methods, generated image. such as photography, or from a digitally from an image produced with methods, the image is first When producing separations analog placed in a scanner, which converts the image into a digital record. The digital image can then be imported into an image editing software program where the color separations can be produced with the click of a mouse. The scanned image and/or the color separations can be quickly manipulated and edited in an infinite number of ways with the tools provided with the software. Color separations can also be produced from digitally produced images, such as from a digital camera or images composed entirely in design or illustration software on a computer. produced Digitally images eliminate the scanning step from the workflow. Color separations created electronically can be output to film to prepare analog plates or they can be used for Computer-to-Plate applications and digital printing. Collar separations are matte of each of cole*- lha ownpofiente of the image Whdfl printed, Ihe overlapping dots ot the colots reproduce the z_zS lull color image. Printing plates are made Irorri Ihe Mm separations, one lot each cotur Screen Angles The rows of dots on the screens used for each color separation must be positioned at a specific angle so that the printed dots do not form a distracting pattern. The angles are: 45 degrees for black, 75 degrees for magenta, 90 degrees for yellow, and 105 degrees for cyan. The angles form a rosette pattern, which is merged into one continuous tone by the human eye. and then the rosette pattern will If the screens are positioned at the wrong angles printed, not be which results in an image that no longer a smooth gradation correct and a moire pattern appears, has shown below. of color. An example of a moire pattern is Dot Gain Dot gain occurs when the size of the halftone dot increases due to several variables. If the size of the dot increases too much, then the image and colors print darker than what was originally intended. Some of the variables that affect dot gain are: Prepress - if the negatives from different sources are duplicated to produce the final film, the dots may increase in size. Printing plates produced from the duplicated negatives may be incorrect which may result in a change in the dot size. Printing Equipment - the type of press, the age and condition of the equipment, and press settings such as plate and blanket packing, printing cylinder settings, and ink and water balance, may determine the degree of dot gain on a printed sheet. Ink - ink is not the same from all manufacturers. Inexpensive or low-grade ink is more likely to cause dot gain problems than a higher priced, high-quality ink. Paper - it is normal for printed dots to increase in size slightly as wet ink spreads and is absorbed by the paper. Different papers cause ink to absorb and spread differently at different rates. An uncoated paper stock may not be as suitable for color printing as a coated stock, because it absorbs ink at a faster rate. It is always best to consult the print provider when determining which paper is best suited for a particular application. Registration Several factors can cause the individual colors of a four-color image to become misaligned, which results in gaps and color shifts between objects. Some of these factors include: Prepress - negatives may be produced correctly or they may become stretched, resulting in the separate colors not registering correctly when printed. Also, if printing plates are produced incorrectly, the image on the plate may become crooked, resulting in poor registration of the individual colors when printed. Plates - improper plate and/or blanket packing on the press can affect the image on the printing plates. The plates can also be improperly installed on the press resulting in poorly registered colors. Paper - occasionally, paper stretches and distorts when it absorbs moisture as it passes through a printing press. The stretching and distortion of the paper may result in poor registration of the individual colors. Trapping Trapping can help compensate for registration problems by slightly expanding one color into another and eliminating the gaps and color shifts between colors. For trapping to be effective, it must compensate for less than perfect registration without forming noticeable lines of unrelated color around objects caused by the overprint. Process colors that share a sufficient percentage of common colors do not require trapping, because any registration problems will reveal a color that is similar to each of the adjacent colors. An example of where trapping would not be necessary would be a printed item containing mostly reds and oranges. If the object on such a page were not in perfect register, the result would not be visually distracting because the colors in the gaps and overprinted areas would be similar to any adjacent colors. v Cnn 20% ;iC % i ? r H Ylo,v &,' be .^coom plished The graphc on the left illustrates poor trapping The red Trapping can designing must fill graphics thai share Ihe same percentages of dBrndnd is the same size as Ihe blank space lhal it of paper one or mwe ol the common color Any mlsregislraltofl results In some o the whrle lite components used tor process magenta. shewing through printing (cyan, ycltrv/) In the example above, Ihe Subject tstradon problems lhal and the background both contain the same In order to compensate for reg may crealed langer percentages ofcyan and yetow ,3a occurduring printing, Ihe red square: is slightly Any p iliustralion on the resu from the su bjsci onto then the space in when n rrtusl fill In Ihe Ring overprinting ngm the Overprint result in a CO** which sc lose enough lo Hie background 6 concealed by ihe cyan and the red and orange so it thai s not dtotracring. vex*: components None ol the background color witl show through because or the com mon 'automate* colors TtiE rs known as an trap The sequence in which the process colors are printed also influences ink trapping. For standard four-color the printing, correct sequence to print the process colors are black, cyan, magenta, and finally yellow. the Printing colors in the correct sequence will help ensure the best results. A change in the standard sequence will result in a change in the ink trapping characteristics. High-Fidelity Color Printing is a method of High-fidelity color printing that utilizes additional process inks to produce a greater range of color on the printed piece. There are many different versions of high-fidelity printing, but they all use conventional or enhanced versions of CMYK inks plus additional colors to increase the color gamut. Like four-color printing, a halftone negative is made for each of the individual color components. Instead of four separate negatives that are required for CMYK color separations, five or more separations be may required, depending on the high-fidelity process used. Plates are then exposed using the halftone negatives. The exposed plates are then ready for printing the application using the appropriate ink colors. Listed below are several options that can be used to achieve high-fidelity printing: Orange and green can be added to enhanced versions of cyan, magenta, yellow, and black to increase the range of color. Orange and violet can be added to CMYK. The additive primary colors of red, green, and blue can be added to CMYK either individually, in pairs, or all together. A special set of cleaner CMYK colors can be used. More than one set of CMYK colors can be printed with each set at different densities. One or more of the CMYK colors can be replaced with another color depending on the effect that is desired. An example of a high-fidelity color system is the PANTONE Hexachrome system which uses orange and green in addition to enhanced versions of cyan, magenta, yellow, and black. The use of the six high-fidelity colors increases the range of color by 20% and provides improvement in transitions between colors. The high-fidelity color system can reproduce more than 90% of the Pantone Matching System colors. An important point when considering the use of high-fidelity printing for an application is the fact that the process requires a press with five or more printing units in order to print an application in one pass on one side. Without the proper quantity of printing units on the press, the application would have to be run through the press more than one time, making the job more expensive than if it had been printed in one pass. Although conventional offset presses as well as digital six-color presses make the process more efficient, they are very expensive and require additional skills to operate, which also adds to the cost of printing a high-fidelity application. High-fidelity color printing is also more expensive than traditional four-color printing because of the extra prepress work involved. For a six-color high-fidelity application, two additional color separations are required as well as two additional plates When compared with four-color jobs that are printed with additional spot colors, there is not a great difference in the cost. Printing a high-fidelity application digitally can be less expensive than with conventional printing depending on the quantity. Very small quantities are often more economical when printed with digital equipment because there are fewer steps involved with the process. The price per sheet is the same regardless of the quantity, which differs from conventional printing in that the smaller the quantity, the greater the price per sheet. high-fidelity' In order to reproduce an image using the image is separated into its individual color components. Negatives afe produced for each of the color components (cyan, magenta, yellow, orange, green, and black). Gr.,nU* Whan printed, the overlapping dots of the A plate is printing produced from each of the separation th^^uT* | *& -imufat^ rtegatives. TTie illustration above shows how the plates K al*'' |o JmaQe appear when coated with trie appropriate ink colors (cyan, magenta, yellow, orange, jesn, and black). Color Tips Pure violets, greens and oranges are very difficult to match using four-color process printing. To achieve vibrant colors, a fifth spot color or 6-color high-fidelity printing can be used. Fluorescent and metallic colors cannot be achieved by using four-color process printing. A spot color is necessary for printing the fluorescent and metallic colors. For a rich black use a mixture of 40%C, 30%M, 30%Y, & 100%K instead of just 100% black. The combination of all of these colors in the correct proportions will create a black with a darker appearance. Only 50% of the PANTONE colors can be closely simulated using four-color process printing, but nearly 90% can be simulated with the use of high-fidelity printing. Pantone colors in desktop software are not always the same. Always check the built-in percentages. Never trust the color on the monitor. It is always best to use the color values and percentages. Banding can often occur in gradient blends (vignettes). Banding is the visible lines between the color changes in the gradient. To help eliminate banding, limit the change in a color to no more than 75% from end to end. For example, instead of going from 0% cyan to 100% cyan, start at 1 0% and end at 80%. If you are using PhotoShop to create the gradient, try adding a pixel or two of noise from the noise filter. Back to Top Copyright 1999-2005 - Tecstra Systems Corporation - All Rights Reserved 2005 International Paper Company. All rights reserved. Legal Statement and Disclaimers Appendix B Research Survey Responses Questionnaire for Commercial Printing Company Personnel Please read closed- each question carefully before responding. To mark your answers for the ended questions, place an x on the line to the left of your desired answer. For open-ended questions, use as much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at mab3012(ajrit.edu. Thank you again for your participation in this project. 1 . How often does a graphic designer using professional layout software develop the work you receive for print? Always XX Almost Always Often Sometimes Rarely Never 2. As a member of the commercial printing community, how do you think commercial printers perceive graphic designers in regards to their competence in regard to prepress file management? 82 percent of files received from graphic designers have problems mostly font and image. Most printers must deal with designers but consider them uninformed and sometimes careless. 3. Based on your experiences, how well do you feel graphic designers understand the limitations and constraints as well as the process involved in commercial offset lithography? Very Well Well XX Limited Basic None 4. From a Printing professional standpoint, would you consider graphic designers knowledgeable about the limitations and constraints of commercial printing technology today? Yes XX No In what areas do you feel there is room for improvement and to what extent? Understanding the printing process. 5. How often do you have to change or correct files submitted to you before the press run? Always XX Almost Always Often Sometimes Rarely Never 6. Are the changes or corrections due to technical constraints that are only widely known by people who work in the printing industry or are they due to a lack of understanding by the person who developed the file? Technical constraints XX Lack of understanding Both If both, which of the two is more common? Lack of understanding can recall where a file needed to be changed or 7. Are there any recent instances you corrected before the press run but the changes would not have been required if the developer was more knowledgeable about the process? XX Yes No (If Yes, please explain what the problems were as well as what corrections needed to be made and how they were made.) (Please do not use specific names of individuals or companies.) Crop marks were incorrectly set. What parts of the offset lithography process and commercial printing field do you think would be beneficial for graphic designers to know and understand? Font formats and use Hi-res versus screen images Page size and crop marks How long do you consider the average learning curve to be for a beginning graphic designer in regards to having enough understanding of the process in order to develop error free work for offset lithography output? XX 6 months or less 6 months- 1 year 1-3 years 3-5 years 5+ years 10. What is the added cost to a job that your company charges to change or correct errors in a file prior to a press run? At what point are costs added to a job and in what situations would the corrections not have an added cost? Additional sharges have not been added, but it is being considered projects 1 1 . What process do you use to examine files and before a press run? Enfocus PitStop for PDFs Markzware for application files Questionnaire for Commercial Printing Company Personnel Please read each closed- question carefully before responding. To mark your answers for the ended questions, place an x on the line to the left of your desired answer. For open-ended use as questions, much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at mab3012(5>rit.edu. Thank you again for your participation in this project. 1 . How often does a graphic designer using professional layout software develop the work you receive for print? Always Almost Always Often Sometimes Rarely Never 2. As a member of the commercial printing community, how do you think commercial printers perceive graphic designers in regards to their competence in regard to prepress file management? 3. Based on your experiences, how well do you feel graphic designers understand the limitations and constraints as well as the process involved in commercial offset lithography? Very Well Well x Limited Basic None 4. From a Printing professional standpoint, would you consider graphic designers knowledgeable about the limitations and constraints of commercial printing technology today? Yes x No In what areas do you feel there is room for improvement and to what extent? Layout, Image positioning on web 5. How often do you have to change or correct files submitted to you before the press run? Always Almost Always Often x Sometimes Rarely Never Are the changes or corrections due to technical constraints that are only widely known by people who work in the printing industry or are they due to a lack of understanding by the person who developed the file? Technical constraints x Lack of understanding Both If both, which of the two is more common? 7. Are there any recent instances you can recall where a file needed to be changed of corrected before the press run but the changes would not have been required if the developer was more knowledgeable about the process? x Yes No (If Yes, please explain what the problems were as well as what corrections needed to be made and how they were made.) (Please do not use specific names of individuals or companies.) Mixed images on same form (different files used causing color variation from printing 1 device vs. another). 8. What parts of the offset lithography process and commercial printing field do you think would be beneficial for graphic designers to know and understand? Layout, Image positioning on web How long do you consider the average learning curve to be for a beginning graphic designer in regards to having enough understanding of the process in order to develop error free work for offset lithography output? 6 months or less 6 months- 1 year 1-3 years x 3-5 years 5+ years What is the added cost to a job that your company charges to change or correct errors in a file + prior to a press run? $90 per hour re-proofing material. At what point are costs added to a job and in what situations would the corrections not have an added cost? When spending more than just a few minutes to change or correct. Education / Proof-reading 10. What process do you use to examine files and projects before a press run? Inspection by 3 different staff personnel. Questionnaire for Commercial Printing Company Personnel Please read each question carefully before responding. To mark your answers for the closed- ended questions, place an x on the line to the left of your desired answer. For open-ended questions, use as much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at mab3012(Sirit.edu. Thank you again for your participation in this project. 1 . How often a does graphic designer using professional layout software develop the work you receive for print? X Always Almost Always Often Sometimes Rarely Never As a member of the commercial printing community, how do you think commercial printers perceive graphic designers in regards to their competence in regard to prepress file management? Most graphic designer do not have any clue about printing. They feel that anything that is designed can be printed. I would say that I fix more then 75% of all work from designers. Based on your experiences, how well do you feel graphic designers understand the limitations and constraints as well as the process involved in commercial offset lithography? Very Well Well Limited Basic X None From a Printing professional standpoint, would you consider graphic designers knowledgeable about the limitations and constraints of commercial printing technology today? Yes X No In what areas do you feel there is room for improvement and to what extent? I feel a designer should spend a year in a real world printing environment to learn the basics 5. How often do you have to change or correct files submitted to you before the press run? X Always Almost Always Often Sometimes Rarely Never 6. Are the changes or corrections due to technical constraints that are only widely known by people who work in the printing industry or are they due to a lack of understanding by the person who developed the file? Technical constraints Lack of understanding X Both If both, which of the two is more common? Lack of understand the printing process. Lack or Bleeds. Composing files in CMYK when the job should be printed as spot color. Not understanding Pantone colors in regards to coated verses uncoated. 7. Are there any recent instances you can recall where a file needed to be changed of corrected before the press run but the changes would not have been required if the developer was more knowledgeable about the process? X Yes No (If Yes, please explain what the problems were as well as what corrections needed to be made and how they were made.) (Please do not use specific names of individuals or companies.) A spot color job was set up as a CMYK. No bleeds were added to the document. Images crossed over a folding area. Panels of a 3 panel brochure were set all to the same size and didn't allow for folding. 8. What parts of the offset lithography process and commercial printing field do you think would be beneficial for graphic designers to know and understand? This is an unrealistic question. You can not design something without understanding HOW its created. How long do you consider the average learning curve to be for a beginning graphic designer in regards to having enough understanding of the process in order to develop error free work for offset lithography output? 6 months or less 6 months- 1 year 1-3 years X 3-5 years 5+ years 10. What is the added cost to a job that your company charges to change or correct errors in a file prior to a press run? At what point are costs added to a job and in what situations would the corrections not have an added cost? We normally figure that all files submitted require 15 minutes of time to review and pre-flight. This is included with all order. If there are authors alterations, the customer will be billed in 15 minute increments. 1 1 . What process do you use to examine files and projects before a press run? All files are preflighted. They are checked by both software and manual systems. Questionnaire for Graphic Design Educators and Professionals Please read each question carefully before responding. To mark your answers for the closed-ended questions, place an x on the line to the left of your desired answer. For open-ended questions, use as much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at mab3012(a>rit.edu. Thank you again for your participation in this project. How long have you been a practicing graphic designer? 6 months or less 6 months- 1 year x 1-3 years 3-5 years 5+ years 2. As a designer, in your job experience how often is commercial offset lithography an output for your work? Always Almost Always x Often Sometimes Rarely Never 3. How well do you feel you understand the process of offset lithography including its requirements and constraints? Very Well Well x Limited Basic None 4. How do you feel graphic designers are perceived by the commercial printing field in regards to their knowledge about the offset lithography process and its limitations? designers' Overall, I believe that printers value knowledge and expect designers to understand the printing process; however, printers have always been willing to share information and answer questions about their presses and process. I believe this is due in part to the fact that printers sell designers' their services to designers and through recommendations, so it is in their best interests that designers understand their capabilities. Also, designers and printers need to be able to communicate clearly so that both are happy with the final result. 5. Do you feel your graphic design education adequately prepared you for working with a commercial printing company and having your work printed in that setting? Yes Somewhat x No professionals? 6. In what areas do you find yourself uncomfortable when working with printing Would additional or different training be of help in these areas? files for In my design schooling, I received no information about printing processes, preparing to know in order to fabricate work through an pre-press or other details necessary for designers or with campus I did outside vendor. Because I printed most of my schoolwork at home printers, school and I did not have not need to learn about pre-press procedures as part of my projects, any professional design world I had to take it courses that covered this material. Upon entering the processes order to desires to upon myself to learn about printing in properly convey my prmters, understand how best to fabricate designs. and I relied (and still do) on the printers to help me my I Although I think designers have a responsibility to teach themselves about fabrication processes, of this subject or at least also believe that a design education should include some study area, not to know what you should provide students with relevant resources. It is difficult, if impossible, upon a student with no design do not know, and if the importance ofprinting is not impressed effort to gain knowledge in that area. work experience, he or she will be unlikely to make the design program from a liberal arts I was an unusual design student, entering a graduate graphic background. Because I had not had much design education previous to my graduate studies, I wish I had been required to take a course in printing as part of my studies. I had actually wanted to conflicts. study printing, but was not able to because of curriculum requirements and scheduling I did not realize at time Unfortunately, the how important this information would be to me in my professional otherwise I would have career, tried to learn more about it on my own during my studies rather than learning on the job. Although I certainly do not fault my professors for not in I could have used teaching printing class, more guidance from those in an advisory role who better understood the requirements on professional designers and could have helped me prepare myself better for my future design work. 7. How beneficial do you feel it is for practicing graphic designers to understand and be knowledgeable about the commercial offset lithography process? x Very Important Somewhat Important Little Importance None design how the During development, do requirements and constraints of offset printing technology affect the final design product? Always Almost Always x Often Sometimes Rarely Never How long do you consider the average learning curve to be for a beginning graphic designer before their work will be relatively error free when it is ready for offset lithography output? months- months or less x 6 1 year 1-3 years 3-5 years 5+ years 10. Are there any instances that you know about where a designer (not necessarily yourself) developed work that the printer then had to spend any significant amount of time to correct prior to the press run? x Yes No (If you answered "Yes", please explain the problems as well as what corrections or changes were made, and what costs were added to the original printing estimate because of the necessary changes or corrections.) (Please do not use specific names of individuals or companies.) The most common problems that I am aware of are improper color formatting (CMYK, RGB, Pantone) and improper bleeds (too big, too small), which add unnecessary time to the printer's pre-press work. Also common is sending a file to a printer without packaging images, fonts, etc, so the printer is unable to troubleshoot or alter files to fit the press. The biggest cost issue that seems to occur regularly is for a designer to make changes to a printing plate instead of to a blueline or a proof, which adds significantly to the price because the printer needs to make a new plate. Additionally, there is often a lack of understanding about the impact of different printing techniques. For instance, how will a design printed digitally look different than one done on an offset press? If the designer doesn't realize the differences, this can lead to unexpected results, even if the printing is done properly and according to the designer's specs. Questionnaire for Graphic Design Educators and Professionals Please read each question carefully before responding. To mark your answers for the closed-ended questions, place an x on the line to the left of your desired answer. For open-ended questions, use as much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at . Thank you again for your participation in this project. I. How long have you been a practicing graphic designer? 6 months or less __6 months- I year __ 1-3 years _ x_3-5 years 5+ yea rs 2. As a designer, in your job experience how often is commercial offset lithography an output for your work" Always _Almost Always _x_Often Sometimes __Rarely __Never 3. How we ll do yo u feel you understand the process of offset lithography including its requirements and constraints? __Very Well Well _ x_Limited Basic __None 4. How do you feel graphic designers are perceived by the commercial printing field in regards to their knowledge about the offset lithography process and its limitations? I don 't know. 5. Do you feel your graphic design education adequately prepared you for working with a commercial printing company and having your work printed in that setting? x Yes Somewhat __No 6. In what areas do you find yourself uncomfortable when working with printing professionals? Ifl'm working on a different format than my typical jobs. Would additional or different training be of help in these areas? I think in design you need to constantly update your training, be that with software, printing - whatever. The field changes quickly, and designers need to work hard to keep up with it. 7. How beneficial do you feel it is for practicing graphic designers to understand and be knowledgeable about the commercial offset lithography process? _ X_' _Very Important __Somewhat Important __Little Importance __None 8. During design development, how do the requirements and constraints of offset printing technology affect the final design product? __Always _ Almost Always _ x_Often Sometimes __Rarel y __Never 9. How long do you consider the average learning curve to be for a beginning graphic designer before their work will be relatively error free when it is ready for offset lithography output? __6 months or less __6 months- 1 year __ 1-3 years __3-5 years __5+ years I think it depends on their training, and what type of job they begin with. In my case, I got tlu'own in to a very busy work environment, so within 6 months I was feeling pretty confident. But had I not had the opportunity to work on so many projects, it probably would have taken longer. And to be honest, I'm sure I still make errors now and then. 10. Are there any instances that you know about where a designer (not necessarily yourself) developed work that the printer then had to spend any significant amount of time to correct prior to the press run? Yes x No (If you answered "Yes", please explain the problems as well as what corrections or changes were made, and what costs were added to the original printing estimate because of the necessary changes or corrections.) (Please do not use specific names of individuals or companies.) I'm sure it happens a lot, but I can't think of specific examples. Questionnaire for Graphic Design Educators and Professionals Please read each question carefully before responding. To mark your answers for the closed-ended questions, place an x on the line to the left of your desired answer. For open-ended questions, use as much space as is needed to provide as detailed an answer as possible. All questions for this survey are specifically focused for offset lithography output only. Upon completion of the survey, please send your responses to Meredith Bielaska at . Thank you again for your participation in this project. 1. How long have you been a practicing graphic designer? 6 months or less __6 months- 1 year __ 1-3 years __3-S years _x_S+ years 2. As a designer, in your job experience how often is commercial offset lithography an output for your work? Always _Almost Always _Often _x_ Sometimes __Rarely __Never 3. How well do you feel you understand the process of offset lithography including its requirements and constraints? __Very Well _x_Well Limited Basic __None 4. How do you feel graphic designers are perceived by the commercial printing field in regards to their knowledge about the offset lithography process and its limitations? There's an old saying - Better to stay silent and be thought an idiot than open your mouth and remove all doubt. Most printers I've worked with expect that the designer has no idea what they' re doing in terms of print production but they're happy to be proven wrong. You can't fake prepress knowledge. Either you know or you don't and printers can easily tell by talking to a designer or looking at their files. So in a word - Skeptical. S. Do you feel your graphic design education adequately prepared you for working with a commercial printing company and having your work printed in that setting? Yes x Somewhat __No 6. In what areas do you find yourself uncomfortable when working with printing professionals? Would additional or different training be of help in these areas? Some type of situation where feedback and or tips about how to improve file prepress, using actual files the designer has created themselves, would have been very helpful. 7. How beneficial do you feel it is for practicing graphic designers to understand and be knowledgeable about the commercial offset lithography process? __x_Very Important __Somewhat Important __Little Importance __None 8. During design development, how do the requirements and constraints of offset printing technology affect the final design product? _ X_Always _Almost Always Often Sometimes __Rarel y __Never 9. How long do you consider the average learning curve to be for a beginning graphic designer before their work will be relatively error free when it is ready for offset lithography output? 6 months or less x 6 months- 1 year 1-3 years 3-5 years 5+ years 10. Are there instances that you any know about where a designer (not necessarily yourself) developed work that the printer then had to spend any significant amount of time to correct prior to the press run? x Yes No (If you answered "Yes", please explain the problems as well as what corrections or changes were made, and what costs were added to the original printing estimate because of the necessary changes or corrections.) (Please do not use specific names of individuals or companies.) Working in RGB and not CMYK Working with Low Resolution Imagery Illustrations in RGB or PMS that will print CMYK Illustrations in CMYK that print PMS Working without color calibrated materials and demanding color matched output Printing on colored stock without anticipating color shifts Trying to print very small with cmyk (ie: 6pt type in cmyk color) Designing Gutter jumping layouts without realizing it Failing to provide linked imagery Failing to follow file prep instructions Using out of gamut monitor colors - not understanding the difference between monitor color (additive) and printed color (subtractive) systems. Costs and corrections vary depending on the amount of work that needs to be redone. A coir magazine with a host of mistakes costs more and takes longer to fix than a postcard with one mistake. Appendix C Research Survey Synthesis C!*.-flrf** 15K.&? 4 ttt_A* VHtfKSt &' *) j_ I *Mte J Mt *" 6*c*" g 0. *U *<*w ty* ef pvttfS(t**i*K <** r**y fc"M*l) 4 I tof.c } >M, &#* J-Vt i-'^>*^ lx +**0*J J in* * "^1 . VfMr m w*ii, fe: ^^ ***>(.* * ,1**0 ** * , ^ # Ba. Square* and fo^ag Survey responses from commercial printers ; ,',f V7 llf HtltHHH : * ,,,,,, /.. ft4V9 [It immtfi I t' Xx xi*|r'r //,.. (?,, *V 4/ r*,w W Ww*"*** N. li/it I > /J, It. , ;iu /.< kit p rio-l-.-J In I ""i """"' **' WW/ Mf I '"* | I | '""' I it/.* P"" ' / I aiw j, ../ H'J'" 'V " ' mum**" *^ i 22 *2L ****** *,.. J. I. f ; , ** *'"*'rf i f(|f#** **umpp>t*f- *- ,(*, ** 4 *,, ** Htf i '*'JV -^ U-^ Survey responses from graphic designes Appendix D Areas of Focus based on survey responses '"Y0*"' Color; . Hs- <<*"*} ^^^ *- ^ purpose CWYt/R&6/ Uniftfm Coler.Spau./Coiw G*unv Clt &* C#lor- - On Scra/i vS fVW Colof vs. Addict &<" "'x^ wr . Sobtwuawt o^ tow} *) .Type, Ima^c ?* W OUibfodKiM to SC&flW * *"'*" *'*''* ha* i"*^***"-4 ,fv +iipc m*n'if>ol*H<. VWer . sorw v*\ -HjpC . linMM) "Iff* * l***rjt AltJ Hsw p^pe,. -to 3* ^rucunen ' 3*~| SWM - Highlyttr Appendix E Application Content Responses - . , 4jl *** ox** MM 1 jemrck ' jT+ 2. mS fTar AppllCcd-iOK] (_BaKd Sob+n9^*'^ Color a, t V) 60-Hcc of flj*tu*U >(V eocn cclor proucc. . color Srfvrati^ ^ 8^na^ ,4VW''- ** => . fcup* pay d&0* . coo* Z ^ *0 preper- &tt& oM ^ seWrg X tvt5f3 TJ 1*5 ? SJ 1 1 J I I < < < O m a 11111111114 lis S 5 g 2 i-b ! Is J ; I CM xf CO C o a 9) > > 15 3 O 1/5 a I/) Appendix F Thesis Gallery Show Panels c 0) CD Q o __z Cl CO - 0 c UBB Xi ** g *> c CU E s- 0) 0 (6 & ct5 5 e 0 0) 0. m V uu C p I 0) w 4 s -C s j g ai I _ 01 0) i 11 1 1 f| e ki c a g | : H= : * si? lis e I : - _ H V Q ; to > 0.1 4 o- s Ul s ': -. i a : - - 3 ir | ||| O i c i o >_ < : o 5 ii: cc q in * ^> = i 1 . i : s 5 ">, * 5 i - : ; -. jl - i I ; I 5 is i ; ||| s| - - | - I s| | "-='~ - v -; - 01 0) ' 1 W ? 1 1 " " - '. 08 - to iiTiS ~ o ii i ^ (5 11 - t - : - \7 I '- 1 - Hi - . ! si II - ; - : - ; a ; ---; i i 1 I - . - : J "t . - i ?& _ " ; , c - - K X 'I : : - : -. i i : 1 i i J 1 I ! M : j - - - OJs i- III ! ii - - gj ilj.h-.. i Hii HX * ji ;-. Sl 5-1 S - :j '-.}: -- . i i - 1 1 1 1 . ; di|1 I X . IN s| I 3 ii I . c 0 10 hi ts 0 Q. cc E s 0 u r si : _ 3 -- . : CQ | " I o (I > 1 1 1 1 ' 1 If - - : . 1 1 Ii1 1 2 : - If - : 111 : - ; - if* n tit'. ' ?|| " 1 i i " f : X 2 : ; - / 111 5^g=t 8 .5 S 1 _ | ; "I s : S ir^ i S S s ll-S'' XJ g > a , -_- x" JJ | I '7 S in 5 0) % ' 8 J r t ' 3 .a 5 J|~ in "D. .5 ^ - X ' "^ 5 Si b> 1 01 Jflf f > to ? 5 t 2 eje: || 1 1 o 5 I 5 ; s ; II i I i i i-Jl I j 1 I Ii D I: . . i .: 5l!?!-!|?H l"cI?i a I 1 iHiil - i i is ;; I in 11 n litis U i P Ifsu Appendix G Visual Comparison Matrix Visual Comparison Variable Section Color Reproduction Definition Samples Color Conversion from RGB to CMYK Color Gamut Limitations Background Background 3o:h coloi on color on what produced a monitor and produced dunng printing There is an expansive range of available color based The is made from a collect on of m llions of dots Because the monitor human eve can see This ranee is drastically different from what ope' ale; using patterns ol phosphors meant to act along the san e machines can actually produce Based on the CiE Uniform ColorSpace color spectrum as the human eye, it is calibrated to combine ihe model, coordinates nave been defined to show the differences colors red. green and blue to produce the desired color between different parts of the development and printing process. -'--. and :oners which are used during The printing piocess are Even within this system, colors which have The same coordinates created by subtracting light Irom red, green and blue to mat e cyan, may still no' loot- i ^ the same coloi w thin jifferem progran s and magenta and yellow, also aobreviateo as CM^> Because this saved in different fo-mats However, these colors are conside'ed conversion process causes images to lose a significant amount of the closest available tonal matches n color available for use during tonal c Dntrast, blacr is added to CMV to provide the variable contrast brai levels and is abbreviated as < Things to Remember Things to Remember '' frring mages from RGB to CM /f nvolves more than just Mtnin the CIE Uniform ColorSpace model, There are :oiors 'non-repro' changing the color mode in a photography software such as Adobe physically :an nol be reproduced in print These are called sure your images look as clear as the original, colors, and should be avoided with n the desig der to get an invest Time in manually setting highlights and shadows, as idea of The most accurate tones, you should as* The printer at the balancing the color levels to the correct settings. Adobe has many very beginning whal The capabilities of the press are in terms of tonal free tutorials which can gu de you through this process. In the end rar With That informal on you can keer: all your settings within -. j much uei h t y.ju guidel r:us you will (all with n the , be hapi e result as it gives a more those to ensure what deve Dp realistic reproduction ol the original artwork predeten ed coloi levels, Printers Survey This was the most common compiaim among printers, and was This was briefly mentioned, however the complaints nad to do with mentioned an every survey That was completed graphic designers being more clearly aware of the limitations of the press Level of Importance to this project based on survey: Level of Importance to this project based on survey: Color Conversion from RGB to CMYK Color Gamut Limitations Designers Survey This was mentioned by many graphic designers, however it was not This was not mentioned by graphic designers during the survey process considered the most important focus among gi aphic designers They do not believe that th s aHects ther overall design levelorj ai I Level of Importance to this project based on survey: Level of Importance to this project based on survey: Color Conversion from RGB to CMYK Color Gamut Limitations 0% Results Q This is an area of major concern for both groups This is an area where graphic designers should be aware of the Topics to cover include. topic but is not an immediate concern The purpose of RGB and CMYK cc or Topics to cover ncl ide Why it is necessary *o do color conversion Color gamut chart Color conversion process How color gamut applies to graphic design Visual Examples Tonal Range of Original Artwork Tonal cf Monitor mage Mode Changed to CMYK (No Added Correction) Range the (Viewing Range) CMYK Image Using Color Correction Techinaues Tonal Range of The Press (Output Range) Variable Section Graphics Definition Samples Calculating Proper Image Resolution Process Color Use in Typography Background Background Image resolution is a direct result of both the quality of the original During the printing process, each of the four CMYK colors are plates. Wnen image and the si2e of the original versus the desired output size separated and printed individually using separate When scanning images, it is highly important that the designer have combining colors to make a thmj distinct color, there is always the a plan for the desired size of the image as well as the requirements possibility for a slight shift or misregistration which can cause gaps of the output device which it will be reproduced on where colors are seen separately, giving the illusion of boldness, or m the case of reverse type, areas where letter forms are massing If during The course of design development the size of an image or too light to read. changes, then it is the responsibility of the designer to scan the image again at the new output si2e regardless of whether the image is smaller or larger than originally planneo. This will help keep the image from becoming distorted and will keep The overall file size from becoming large' significantly than necessary Things to Remember Things to Remember To properly scan an image, you must control resolution, tonal range. Avoid using small type with four-color comb.nations because it is color balance and sharpness The number of pixels per inch must be easy to get misregistration which can make the type illegible between 1 5 or 2 times the line screen frequency of your output device. Serif typefaces are more difficult to read when misregistration as well as taking >nto account the final size the image will be within your r-appens because they have varying thickness within the letter forms design The final equation for conversion will look something like this: which can be lost during the printing process. For negative or revefse type, it is always best to set it in a monochromatic or spot (output size - input s.ze) x IOC = Scale Percentage color because it will eliminate the possibility of misregistration Lines Per :nch of output device x 2 = Resolution (ppi) affecting the typography within the design Scale Percentage \ Resolution = Scanning Resolution Printers Survey For printers, main area of focus \ ithin this topic was to help designers hs was the mam concern among pnnters especially in regards to completed. undetstand what the purpose w< ; .^nd how to set image correct reso ution small type, and was mentioned on every survey that was Level of Importance to this project based on survey: Level of Importance to this project based on survey: Calculating Image Resolution Process Color Use in Typography Kltirlfl pro- Designers Survey Graphic designers Celieve This is something which should be reviewed but This was not mentioned by graphic designers during the survey '.hen overall development. .essThey dc nut think this affects design Level of Importance to this project based on survey: Level of Importance to this project based on survey: Calculating Image Resolution Process Color Use in Typography 0% This is an area where review would be helpful but it is it is not a 0 This is an area where there was a large discrepancy and will major concern. therefore be a main part of this project. include1 Topics to cover include: Topics to cover ppi versus Ipi Small *ype limitations Scaling during scanning versus after scanning How typeface choices affect size limitations Calculating image resolution Reverse type Spot color and tyoe Visual Examples : mam a mir Image at 12 ppi [Screen Resolution! for 133 Ipi Output [ne Misregistration in Process Color Text Y G' http //www.r Cutting Started Latest Headlines. . Graphic Design Evolution \ Guide to Designing for Prim mage at 133 Dpi (Half the Output Resolution) for 133 Ipi Output Misregistration in Reverse Text on a Process Color Background Image at 266 ppi (Proper Output Resolution) for 133 Ipi Output Variable Section Signatures Gutter within a Layout to Signatures Definition Samples Jumping From Page Layouts Background Background The phrase gutter lumping applies to the concept of having a graphic During the printing process, individual pages are converted to (either text or image related) which expands across the spread from signatures which will then be used lo make the plates for the actual *he left hand page to the right hand page. The gutter is considered all press run. "his process is usually done using imposition software, the area within a quarter-inch on either side of the exact center line and different presses may use a different techn oue for developing which divides the spread into individual pages This area is meant to their signatures. While this has almost no bearing on the actual represent the amount of space needed during folding and binding design of the spreads themselves, t is important for graphic which will be inaccessible to the viewer because they will be unable to designers to understand how their layouts are set on press and how lay the spread completely flat tnat can affect certain aspects of their design such as color selection, reproduction of imagery, and typography placement choices. When a designer places imagery or text across the gutter and does not plan their design around the gutter space, items which are placed within the gutter are lost and the design loses its intended appearance. Things to Remember Things to Remember When beginning oesign development, set up margins for the gutter To avoid having unpleasant results during the press run, consult the space and then be sure to leave those areas free of text. For imagery, prmtei first when designing a multi-page document and find out how the conversion from page layout to signatures may mean that each of their imposition software works Use this knowledge to avoid using the individual pages may not be printed on the same signature, or even highly contrasting colors on the same signature Trying to print both be printed on the same day under the same conditions This could on the same signature will only cause both pictures to appeal slightly affect the alignment and the color tone of the imagery from one page green due to color saturation The same technique can also be aop ied to the next. Therefore, try to limit spreads which have imagery which to graphics and typography, and will save the designer from crosses the gutter to only those which are more toward the center of unnecessary headaches during the pi ess run and finishing stages the magazine, or those which will be printed on the same signature This was a common complaint and was the complaints do with graphic Printers Survey among printers, mentioned This was briefly mentioned, however had to on a majority of the surveys that were completed designers being more clearly awa-e of how signatures are developed. Level of Importance to this project based on survey: Level of Importance to this project based on survey Gutter Jumping Within a Layout Page Layouts to Signatures Haia Designers Survey This was mentions I bv many graphic designers, howevei I was no This was not mentioned by graphic designers during the survey process v~ considered the most important focus dunng design ie\ They do not thmf hat s affects then overall desigr development. Level of Importance to this project based on survey: Level of Importance to this project based on survey: Gutter Jumping Within a Layout Page Layouts to Signatures D% This is an area of moderate concern for printers, however graphic This is an area where graphic designers should be aware of the designers did not consider this important in regards to their work topic but is not an immediate concern. Topics to cover include Topics to cover include: What is gutter jumping How pages are arranged on a signature How its use can affect the look of the final product How signatures ar^ folded to construct The final product Ways to plan for the gutter within a layout Visual Examples ^i ,.. ^ Original Screen Layout with a Gutter Jump image Orientation of One Side of a 16 page S gnature Color Shift within Imagery Across a Gutter During Printing llnniliNl il , cupcake. l\ ,x Signature Proof Reviewed Before the Press Ru Typography Lost within the Gutter During Binding Variable Section Finishing Techniques Definition Samples Setting Bleeds and Crops Understanding the Significance of Creep Background Background While bleeds and crop marks are not considered valuable parts of the Creep is the extra margin and bleed space which is necessary when design itself, they are some of the most important parts ol a design die multiple signatures are combined to ceate the final bound product much because they help ensure that the fmal product is constructed exactly The way in which signatures are gathered will affect both how The way the designer intended the viewer to see it. Documents change creep is needed and which pages within the signature will be affected drastically from the original sketches to the final constructed digital file the most While most commercial printers have software which It is important to check The settings for the document once all of the automatically applies these changes to the signature, as well as trained final grapnic design decisions havo been made Set The crops and technicians who can identify and apply the software correctly, it is bleeds to tne printer's specifications, and then if exporting to a postscript important that graphic designers know and understand how combining file, make sure that after the conversion that the bleeds are still correct. signatures affects the way in which their documents are trimmed and Without proper bloods and crop marks, the printer will bo unable to set how croop, when applied incorrectly, can affect Tho visual appearance the machinery to fold, trim and bind your work correctly of their layouts Things to Remember Things to Remember The standard bleed size is considered to be at least one-eighth of an inch When nesting signatures inside one another, the space needed to creep or even one pica Irom the trim size edge of the document For a full will be significantly larger than that of signatures which are gathered bleed image, that equals one-eighth inch of extra imagery on each side (meaning they are stacked on top of anotherl. Th;s will affect both of the four sides ot the spread Check the document size to verify that the amount of space needed for a gutter on the outside pages, as well the crop marks will be set to the desired size When exporting for print, as the amount of margin needed for trim on the inside pages It is make sure to select both crop marks and bleeds in the options section important that the designer knows and understands this process so that before converting to PostScript, and then open the exported document errors can easily be identified and correcTed in a way that both the printer to verify that all the necessary printing and trim marks are present before and designer understand submitting the file to the pnn:er Printers Survey For o'mters. mam area of focus within this top c was To help designers Printer': thought that tne only reason for reviewing this was so that designers understand how to sel proper printer marks and packag ng them in the file would have a better understanding of the binding and finishing process. Level of Importance to this project based on survey Level of Importance to this project based on survey: Setting Bleeds and Crops Understanding the Significance of Creep B33 Designers :' Survey Grac - designers believe that this is an importai area focus duel This was not mentioned by grapl i< des ers lu n g .he survey process, detailed nformat on should be mc'uded on this topic. but they thoughl it was something designers shou d know and in lerstand Level of Importance to this project based on survey: Level of Importance to this project based on survey: Setting Bieeds and Crops Understanding the Significance of Creep 0 This area is a concern for both groups This is an area where graphic designers should be aware of the topic Toe cs to cover nclude. but only for the purpose of understanding the finishing process. How the set bleeds and cop marks Topics to cover include How to set proper page dimensions What is creep How to package them when exporting a file How to manually sel file foi creep How tc recognize and evaluate creep within the final product Visual Examples Folded Siqna'u'os ep 01 Outpush Waste Collected During Nested Signatures witk Visible Creep Appendix H Application Brainstorming 3 I jtSXfVff^ MindnnajD__ ^ f.wibu fl^iicaiHons JTronq^sf- gviju^) fc.|+ t^^irc *" boo-rdl go-n^C pyoVejC* p^d^Hnxv - fOLyv\p\V (tvr+ i cUmt*-*r*X 6>H) * tfr*s<,rvtt^t* / Vrair\tV\ ^e^Gn Appendix I Initial Application Ideation p\ I kcosxx^ Vloi iS pp IVUK k)cv M toe. Cx -top lve I i^-fha Two C5\cted Application ~1 kdC n k$ C^-l aX 1 * '^.^,' -<" ';X kir %.\ -: c*jLS<< i $ Original RGB Image Changed to CMYK NMo^je CMYK with Color Conversion I \\___M 1 1 : v 4j| ^| #_.K 1( ' . "^W Things to Remember Converting images from RGB to CMYK involves more than just changing the color mode in a photography software such as Adobe Photoshop, To make sure your images look as clear as the original, invest time in manually setting highlights and shadows, as well as balancing the color levels to the correct settings. Adobe has many free tutorials which can guide you through this process. In the end you will be much happier with the result, as it gives you a more realistic reproduction of the original artwork. For more information on this topic, go to http://www.rit.edu/~mab3012 Photography provided by AP Photo Archive . 6 itii J __ 3 Hi iji] 8 ti a. 3 iii! 1 1 1 h _ ! . JIiJJJ .a t> S j 1 |tfi.| lis* Ii * 3 TJ I > s wtbSi'+t SteHUs Kiktsfr^CrL en Appendix J Application Computer Sketches D_ VI 0 Z> 2 D 0 c ^ 05 CD D LO c Wl Oj - a O o D E i/5 Q_ a a) b (5 a^ LU O c O "D 1_ (D c O CD o D 00 c o a "5. a. < 3 ca T3 CU 3 cu LO s ^ o C T3 o O CJ LO s -C LO CJ t^ ft cu c c 3 Oj bO 'ft o -C ro O CU L- E o o -S _g LO c T3 ft bo 3 lc CU c bO L- c T3 CJ cu r al 3 l- ro CJ a 'S G a a 'a Lh o IS E CJ .P __ Sh LO ft ,2 lo >. LO '8 5 OT S cu cu bO u CJ 3 a bO -a 3 E '53 -g t-i E Lh O CJ O CU L- -a CO S a IE la o C cu -a 3 ft u bO c Oj LO _g CJj T3 QJ -a " to CO bO CJ -G 3 LO o T3 '$ "cu G LO ro 3 L_ CU E o 1h '8 cu rj G LU CD c CU OT c O CD bO OJ S CJ 13 l- -a IS o 4-< CJ O c o L- 3 Lh bO CJ o .2 CL o 'l- tu a" "3 p. 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J3 CO 3 .1, r o ro c C) m CD ; > TJ (J O Cl o > 3 CL ro CD CJ .Q C CD n ro o o E F Ol Ol CO 'CL TJ o o ro CD C Ti 3 r (1) CJ TJ 1 O" o CO ro (1) o CO > re ro o CD OJ 5 c CD 5P -Sr cu o g 35 s ' o u 01 0 on o. CL C m 0> F a -C *S CD 3 O Cl) JS > < a" - rO CD CO) ec OJ U _ z COJ J o TJ c o CO en ro ro C) o JZ o CO co co XJ o CO CD CO u re u o c CCT o QJ oo J\ C 0 CO J 0) "I - Ol ro - n CD CD Cu CO l3 o 175 CJ CO CD - TJ CJ CT. j-. o ro c L/3 CJ lu x ra C -5 ~ ro co ra cj h- 2J c < 3 r CD E n lo o , n n C) HI CT i_ (J ^ a) CD CD CT _ a j x_ .c C J r Cl' C > CO OJ CT o 3 SI 5 E *- CV" E n o -5 o o O QJ = - = CD 5 U CT cj: 3j zi -Sr ^ ^ D .2 c ed .2 td < ed t3 cu e 5 ^ o cu 45 OJ E C O c -o 03 o >> cd s - L: -O cd 3 ^ o CU ,1) CJ C!_ <+- M S hJ oj E E CJJJ .HP'S co CU cu -a T3 co co C3JQ ed on e E =. a > 23 X3 *3 cd <0 Time Schedule Topic Discussion Leader 2 minutes Introduction Bruce Meader 5 minutes Review of Thesis Purpose Meredith Bielaska 5-7 Minutes Discussion Whole Committee 5 minutes Review of Thesis Scope Meredith Bielaska 5-7 minutes Discussion Whole Committee 5 minutes Any further Thesis Questions or Suggestions Whole Committee 27-31 minutes Total Meeting Time Notes Thesis will be limited to offset lithography only, no flexography. Should this thesis be focused to students or to practicing graphic designers? Test your survey questions with a friend to evaluate how long it will take to complete, as well as if the questions are easy to understand and ask for the desired information. Doing this will help give you some idea of what type of responses you will get. Make sure survey is in a format which can easily be edited such as word or a text only document. Thesis Committee Meeting Agenda December 15,2005 Time Schedule Topic Discussion Leader 2 minutes Things Done since Last Meeting Meredith Bielaska 10 minutes Review of Thesis Research Meredith Bielaska 5-8 Minutes Discussion Whole Committee 10 minutes Review of Survey Plans Meredith Bielaska 5-10 minutes Discussion Whole Committee 5 minutes Any further Thesis Questions or Suggestions Whole Committee 40-45 minutes Total Meeting Time Notes Surveys highlighted sections that both graphic designers and printers felt were important to cover in the application More clearly defined terms within the chart This thesis is meant to bridge the gap between printers and designers, use language that both groups can understand. What would be the best way to share this media with the target audience? Would a website be more effective than a printed piece, or would that defeat some of the purpose behind the project'? Application could be an awareness series, not just an educational tool. Thesis Committee Meeting Agenda February 9. 2006 Time Schedule Topic Discussion Leader 2-5 minutes Things Done since Last Meeting Meredith Bielaska 10 minutes Review of Thesis Research and Synthesis Meredith Bielaska 5-10 Minutes Discussion Whole Committee 5-10 minutes Review of Application Plans Meredith Bielaska 5-10 minutes Discussion Whole Committee 5 minutes Any further Thesis Questions or Suggestions Whole Committee 40-50 minutes Total Meeting Time Notes Can take case study scenarios-make mock ups for them and use that as part of the retrospective evaluations. Potential Contact for Evaluation Kathy Arhangelos- Kolossos Printing Can do a conference call with Cathy Krasny from the Prepress Dept. Thesis Committee Meeting Agenda April 17,2006 Time Schedule 2-5 minutes Application Review Meredith Bielaska 10-15 minutes Discussion Whole Committee 5-10 Minutes Outside Evaluation Plans Meredith Bielaska 5-10 minutes Discussion Whole Committee 5-10 minutes Any further Thesis Questions or Suggestions Whole Committee 40-50 minutes Total Meetins Time Notes Glossary terms should be included it in the website Add a click to enlarger photos option Have all headings aligned, and use key sub-heads for sections Separate key words from tips section Could have iFrames or icons for each section Use CMYK on photo for heading, or find photos which relate to the content How is resolution determined-mention illustration, artwork, and screen to print res. for type Ask some printers to evaluate final application, get input about potential extra sections and content. Thesis Committee Meeting Agenda May 1 , 2006 Time Schedule Topic Discussion Leader 2-5 minutes Application Review Meredith Bielaska 15-20 minutes Discussion Whole Committee 5 minutes Outside Evaluation Plans Review Meredith Bielaska 5-10 minutes Discussion Whole Committee 5 minutes Any further Thesis Questions or Suggestions Whole Committee 40-45 minutes total Meetins Time Notes Visually change tabs- background menu will stay the same color Make content into iFrames so that navigation is always there Title needs to mention printing and GD, needs to be more direct Make at least one page from each section Could make one whole section- 2 each on color and graphics, one page for each of the other two. Also make a home page for testing. Continue work on the heading title "Understanding Print Design"- Suggestion from Michael Riordan Thesis Committee Meeting Agenda Mav 22, 2006 Time Schedule 30 minutes Draff Review Whole Committee 15 minutes Discussion Whole Committee 15 minutes Application Review Meredith Bielaska 5 minutes Any further Thesis Questions or Suggestions Whole Committee hour Total Meeting Time Notes Minor refinements: 3.7.8, 14.29,31 Change international paper website background on final application to a personal website Drop the size and weight of the caps sources in the glossary section Change title for final application Put captions in the appendices in the ideation sketches section Possibly find imagery for fonts page Check all changes marked in drafts from committee members Appendix M Final Application Cj Sj CL O..S nj __ 10 2 A> O oj o to ft i- Cl -n C : OJ c E x " S E ^ oj jfcXf 2 or i ra 2 OJ CX .. Oj ! ^ on o O c o m 5 5 I r5 O o O D. 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Ease Of Use Are you able to understand the content as it is written? Are you able to easily navigate the site to find specific information? Are you able to relate the content to projects in your professional career? Is the organization of content on the website clear? Aesthetics Do you like the appearance of the website? Do the visual elements correspond with the content? 3 Do you feel the color choices in the navigation and headings are appropriate for the subject matter? Free Response What areas do you feel that the website does not currently address but could? Why? Paper substrates and typical scheduling or time tables for different types of projects so designers understan the turn around time from a printing company perspective. Are there any sections you feel are unclear or incomplete? In what way? None Do you consider this website helpful for graphic designers? Do you consider it to be more helpful than existing materials on this subject? It is definately helpful, I would recommend it to clients if it were a functioning site. What means do you feel would be best to promote this resource to the design community? I'm not sure about reaching designers specifically but if you provided this to print companies they could share it with their clients. Retrospective Evaluation Not Somewhat Vers At All Much General Use Would the website apply to a variety of projects in your 1 professional career? Would you use the website as a reference when designing for offset lithographic output? Ease Of Use Are you able to understand the content as it is written? 4 Are you able to easily navigate the site to find 4 specific information? Are you able to relate the content to projects in your professional career? Is the organization of content on the website clear? Aesthetics Do you like the appearance of the website? 3 4 Do the visual elements correspond with the content? 3 4 Do you feel the color choices in the navigation and headings 3 are appropriate for the subject matter? Free Response What areas do you feel that the website does not currently address but could? Why? None Are there any sections you feel are unclear or incomplete? In what way? None Do you consider this website helpful for graphic designers? Do you consider it to be more helpful than existing materials on this subject? mans1 Yes. I have not seen online materials but this is much more helpful than anything I have read before. What means do you feel would be best to promote this resource to the design community? Advertising in magazines such as Print or Communication Arts would get this information out to a large amount of the desisn community. Retrospective Evaluation Not Somewhat Very At All Much General Use Would the website apply to a variety of projects in your 1 0 professional career? Would you use the website as a reference when designing for offset lithographic output? Ease Of Use Are you able to understand the content as it is written? 3 (5> 4 Are you able to easily navigate the site to find 3 specific information? Are you able to relate the content to projects in your 3 professional career? Is the organization of content on the website clear? 3 Aesthetics Do you like the appearance of the website? Do the visual elements correspond with the content? Do you feel the color choices in the navigation and headings are appropriate for the subject matter? Free Response What areas do you feel that the website does not currently address but could? Why? Color and paper options Are there any sections you feel are unclear or incomplete? In what way? The typography section could be broken down even further Do you consider this website helpful for graphic designers? Do you consider it to be more helpful than existing materials on this subject? Yes. Definately! What means do you feel would be best to promote this resource to the design community? Promoting this on community websites such as AIGA would be great, and it targets people who already use the web. Retrospective Evaluation Not Somewhat Very At All Much General Use Would the website apply to a variety of projects in your 1 professional career? Would you use the website as a reference when designing for offset lithographic output? Ease Of Use Are you able to understand the content as it is written'? Are you able to easily navigate the site to find specific information? Are you able to relate the content to projects in your professioanl career? Is the organization of content on the website clear? Aesthetics Do you like the appearance of the website? 3 4 5 Do the visual elements correspond with the content? 3 4 5 Do you feel the color choices in the navigation and headings 3 4 5 are appropriate for the subject matter9 Free Response What areas do you feel that the website does not currently address but could'.' Why': I'm nnl sun- if ynn'vr rrweivrl pnprr oplions9 Different woiohR colors hrnnrk rtr Are there any sections you feel are unclear or incomplete? In what way? What I can see from the layouts seem good to me. Do you consider this website helpful for graphic designers'? Do you consider it lo be more helpful than existing materials on this subject? I think it would he especially helpful for new designers who are unfamiliar with prepress and production. I'm honestly not completely familiar with other similar materials, but it seems like a good overview. The website format will help provide many people with access to the informaiton. which is great. What means do you feel would be best to promote this resource to the design community? If the resource stays as a website, I would target online graphic design communities because these groups are already using digital media professionally. Places like Speak Up, tie a Design (Jroup, Design Observer, and the HOW Design Forum all have regular design discussions and are great places lo find other design professionals online. Retrospective Evaluation Not Somew hat Very At All Much General Use Would the website apply to a variety of projects in your 1 2 3 5 professional career? Would you use the website as a reference when designing 1 2 3 5 for offset lithographic output? Ease Of Use Are you able to understand the content as it is written? Are you able to easily navigate the site to find specific information? Are you able to relate the content to projects in your professioanl career? Is the organization of content on the website clear? Aesthetics Do you like the appearance of the website? Do the visual elements correspond with the content'.' Do you feel the color choices in the navigation and headings are appropriate for the subject matter? Free Response What areas do you feel that the website does not currently address but could? Why? none Are there any sections you feel are unclear or incomplete? In what way? no Do you consider this website helpful for graphic designers'? Do you consider it to be more helpful than existing materials on this subject? that cover the same yes, easier to navigate and get information than existing books topics What means do you feel would be best to promote this resource to the design community? advertising in graphic design catalogs-STEP, Communication Arts, Print