All Pages Are Not Created Equal

All Pages Are Not Created

BY DAN BRILL

GATHER ROUND, ALL YOU ASPIRING GRAPHIC DESIGNERS AND WOULD-BE graphic artists. Let’s talk about making pages. Equal I don’t mean making pages look pretty. I don’t mean developing and executing a graphic communication strategy. Those are skills you should possess already — or will have with the proper training. Creating pages in today’s digital world means more than simply being able to design pages well. It means building files that work for their intended destinations, whether for print or for the Web. As one who has seen far too many files come into this publication which were either badly constructed or downright unprintable, it seems to me that there isn’t nearly enough emphasis in schools and graphic design environments on learning how to deliver pages that can be output first time, every time. Not too long ago I was at a trade show here in Toronto. I happened to stop by a booth for the Association of

Registered Graphic Designers of Ontario (ARGDO), IMAGE BY DINAH TOLTON where I picked up a pamphlet called A Primer on Buying Graphic Design Services. ARGDO is an organization which was created in 1996 to “serve the best in- terests of both the graphic design industry and the public.” According to its brochure, ARGDO’s Registered Graphic Designer (RGD) designation assures clients that they are working with “an experienced and qualified professional who

graphic exchange» june/july 1999» 17 All Pages

Are Not is governed by the Rules of Professional Conduct of [ARG- and organizing of visual information to aid communication Created DO]”. A designer’s right to use the letters “RGD” may be and orientation.” Despite the mention of “technology” in Equal granted only by ARGDO, a privilege protected by provin- ARGDO’s description, I found it curious that not a word in cial law by virtue of an Act of the Ontario Legislature. its literature or on its website (www.argdon.org) is devoted to the This is how ARGDO describes its discipline: “Graphic subject of proficiency in digital skills. Design is an interdisciplinary, problem-solving activity ARGDO’s pamphlet for buyers of graphic design services which combines visual sensitivity with skill and knowledge suggests they discuss projects with prospective designers in in areas of communication, technology and business. terms of time frame, fee structures and budget considera- Graphic design practitioners specialize in the structuring tions. Yet if I was a knowledgeable client searching for a John Warnock: Q&A with the

around 60/40 between Windows ence. In terms of acquisitions, we product, given the billion dollar size and Mac. The worst quarter we do look for technology acquisitions, of the company now? had, in terms of Mac mix was where someone has built a great John: The core tools and the ma- 65/35—I think it was the third quar- product like GoLive, and we feel chinery in the cross-platform stuff ter of last year. Now, since the that with our marketing distribution in the basic core graphics code, iMac was announced, and since and our ability to bring the product the basic text handling code— the G3s were announced, that mix into harmony with the user inter- that’s in a thing called core tech- has stabilized around 60/40. faces of the other products, we nologies. To bring out a new prod- John Warnock, co-founder (with Dan: You’ve bought GoLive, and can gain advantage by doing that. uct is essentially doing something Chuck Geschke) of Adobe Sys- you’ve been acquiring other com- So, we do both acquisitions and in- that depends on the core technolo- tems and the inventor of Post- panies. Internal development ap- ternal development. gy. That’s a very well-developed Script, may be regarded as one of pears to have not been as signifi- Dan: Depending on...? piece of code that’s been de- the true icons of the desktop cant as what you have gone out John: Depending on the levels of bugged for years and is very sta- publishing revolution. One of and bought, aside from InDesign, expertise. InDesign clearly we did ble. InDesign for instance, gets all the few CEOs of a technology which is the obvious exception. internally, because we had all the of its image import filters from Pho- company who welcomes techni- What is the future plan for product talent in-house to do page layout, toShop. It gets all of its graphic im- cal discussions,Warnock is an development? Essentially, are you so we did InDesign over the past port imaging from the vector graph- engaging, articulate spokesman looking to buy or build? five years as a ground-up develop- ics side from Illustrator. That’s core for both Adobe and technology John: We do both, and it’s part of ment. Sometimes we can buy code. It gets its basic text handling issues in general. Graphic Ex- our plan to do both. Our run rate plug-ins for Photoshop to add val- from CoolType, which we call our change publisher Dan Brill had for R & D expenditures has always ue, or we can do them in-house—it text engine. So the architecture for the opportunity to sit down been around 20% [as a percent- depends on which is most eco- InDesign was built so that it could with Warnock for a one-on-one age of revenue]—forever—from nomical. build in the various capabilities discussion the day after Adobe the first days that Adobe brought Dan: Given that it took five years to from other products to make the stock hit a new high, which fol- out its PostScript devices to re- bring InDesign to market, and giv- products work together in a seam- lowed the announcement of cently. It will sometimes ratchet up en that Adobe appears to be taking less way. Adobe’s quarterly earnings. The a percent or down a percent, but over the entire printing and publish- Dan: What’s Microsoft doing that conversation covered a broad we try to keep R & D expenditures ing market, can we count on you has you concerned? range of topics. at about 20% and that’s what we being able to turn around quickly John: We worry about Microsoft in said yesterday at the press confer- enough when the market needs a that, if they get a very strong prod- Dan: First, let’s talk about the Mac- intosh market. What kind of propor- tion and focus will there be on [Adobe’s] product development for the Mac? John: We’ve consistently said that the Mac business is coming back, that it’s been strong. We expect that the mix will probably stabilize

18« june/july 1999« graphic exchange graphic designer, I would be asking questions like “What capable of not only designing well but also producing print- format will we use to exchange files?” or better still, “What ready jobs with proficiency. referrals can you give me from a printer or prepress house?” What this means is that computer skills form the back- What’s the point here? Simple. Digital production work- bone of a designer’s role. Knowledge of file construction flows have changed the role of the graphic designer dramat- and preparation is fundamental to being a good graphic de- ically. Where once a designer could hand off to a graphic signer. Familiarity with the various tools and techniques that artist who would take care of mechanical production for the standard graphics applications offer is both a prerequisite printer, now these two jobs have been merged. The design- for success and a competitive advantage. er is now also the graphic artist. And the designer must be Conversely, a lack of competence with digital tools limits Father of PostScript

uct at the low-end, they have a ten- gone on? How closely has Adobe you, but it’s not going to be that favorite places to live. We love the dency to start at the mass market grown in developing from the origi- long before you’re going to be people, we think it’s a great city. It and then ratchet up to squeeze out nal vision that you had? thinking about smelling the roses. has all of the good parts of New the professional products. They John: The vision was there, but John: I think when we got the hos- York and not the bad parts. have tried to squeeze on us on a lot what was never there was our ex- tile takeover attack from Quark last Dan: What is your personal per- of different fronts. Initially in 1989, pectation of the success that we’ve summer, the stock was down at spective on the Canadian market they tried to attack the PostScript had. We thought that PostScript $24. Chuck and I looked at each and its importance in the whole market with TrueImage—remember was absolutely a very cool technol- other and said, “It is not going to world market? that? TrueImage was their version ogy. We thought that it had the po- end like this, that is simply not go- John: Well, in some sense I don’t of PostScript and they shipped one tential to revolutionize the printing ing to happen. We are not going to even think about it in those terms. I commercial product, which was a and publishing business, but we let that happen, we won’t allow it.” know that essentially, Toronto is the failure. So they were not terribly never dreamed that it actually So, I think that in the past six publishing capital of Canada and it successful, even though they tried would revolutionize printing and months, we have become much is the creative capital of Canada in to give away the code, to take over publishing, because it’s a huge, more engaged in the business, terms of all the film and television the PostScript market. Then they huge, huge industry! It was very both in an operational point of view work that is done here. So, my per- came out with PictureEditor, which hard in those days to project it be- and in a direction-setting point of spective in terms of the Canadian is the competitive product to Pho- coming a standard across an entire view. I am very happy with the cur- market is that Adobe’s customers toDeluxe. On a consumer level, industry, because all the companies rent management that’s under me. are the creative types and the cre- PhotoDeluxe essentially got all the I had worked for prior to that could- We have a very good co-ordinated ative types are here. How big it is, OEM business…in the picture n’t even get niches, let alone stan- executive team that works very well is not as important as the quality. business, we have substantially dards. So getting a standard was a together. I am bound and deter- Dan: What is the contribution of more market share than Microsoft. very, very big deal. mined that when I do retire, it is go- the Canadian market—and Canadi- If Microsoft does come out with a Dan: In terms of going forward ing to be an extremely strong com- ans—to Adobe’s success? successful product, then it is dan- from here—you are in your late pany, with a very strong technical John: Well, we’ve looked at Cana- gerous. fifties, and Mr. Geschke is of a sim- foundation and at least three years dians as being some of the aggres- Dan: Is there one [product] in par- ilar vintage… of very strong progression. sive early adopters of technologies. ticular? John: (chuckling) Oh, no, he’s old- Dan: How much notice will you A lot of people are stuffy—Canadi- John: There is one called Photo- er! give? ans aren’t! (laughing) Draw, that in my opinion is badly Dan: Essentially you two guys have John: (chuckling) When I say three Dan: Do you recognize that Cana- positioned…a reasonable product, in your hands the future of the years of very strong technical pro- da is a different country? but it’s not gaining the market whole printing and publishing indus- gression, it’s at an upper trajectory! John: Oh, absolutely! I’ve lived share. We still have the brand, we try. What’s your plan, both on a per- Dan: You spent some time in here! still have the position. We are al- sonal and a corporate basis, for the Canada, back in the 70’s…you Dan: As you know, we’ve had a bit ways aware of the competitive legacy that you’re going to leave were in Vancouver for a while and of a skirmish lately in the publishing threats coming up. and the road map that you’re going you got a little taste of living here sector over split-run advertising… Dan: When you look back at your to have to build? Adobe stock just [in Toronto]. What are your memo- John: No, I’m not aware of this. days with Xerox at Palo Alto, how hit $76. You’re not suffering for ries of Toronto? Dan: Essentially what it boils down closely did the future from that per- money. I’m sure you’ve got a lot of John: Incredibly pleasant. My wife spective parallel what has actually things that will continue to inspire and I love Toronto…it’s one of our CONTINUED ON PAGE 42

graphic exchange» june/july 1999» 19 All Pages

Are Not what a designer or artist can offer his or her clients. That’s ly. There are those who have an aptitude for design, and Created why if I was looking for a training course on graphic de- there are those who don’t. And the fact is, design flaws are Equal sign, my primary interest would be to find out how much much easier to spot and revise than errors in file preparation time and focus would be spent on learning applications and execution. and troubleshooting files ahead of how much instruction I So, if I was a client, what I’d say to ARGDO is: show me would receive on the esthetics of design and layout. The how “RGD” guarantees me not just impeccable graphic de- bare truth is that teaching someone how to work effective- sign skills but an ability to deliver jobs that run smoothly — ly with fonts, graphics, color and layout is a great deal files that won’t wind up costing me extra time and money more difficult than teaching them how to build files proper- through poor preparation or missing elements, jobs that TEN SURE WAYS TO MAKE QUARK

2 Use low res images. 1 Don’t include fonts and/or images. 72 ppi is fine for screen viewing, 150 ppi is good enough If you don’t include all your for printing to desktop printers, but for high end printing, graphics, QuarkXPress (or PageMaker) will the rule of thumb requires at least 1.5 times the intended 150 PPI, 150 LPI print low-res, 72 ppi previews, and Illustrator will line screen (some people also adhere to the “square of 2 print nothing. So whether it takes five floppies, two Zip rule” — 1.42 x lpi). That means if the job will be printed disks, or a Jaz disk, all graphics used in your layout have to be at 133 lpi, your image resolution must be set to at least included. (Collect for Output in Quark is great for this). And if your 200 dpi. And don’t think you can just take a low res job is missing fonts, you might just wind up seeing a lot of Courier. image and have Photoshop magically turn it into a high Always include full type families: when you start picking and choosing, res one. The data has to be there in the first place. you’re asking for mistakes. The safest bet is to use only PostScript 72 PPI, 150 LPI Type 1 fonts. TrueType fonts, especially mixed with PostScript fonts, may cause problems on output, so ask your service bureau 3 Leave images in RGB. whether they accept them. Do not use Multiple Master or GX fonts. Generally There is only one way for imagesetters to they don’t print. separate process color images, and that’s if they are converted to CMYK. RGB images will print grey scale every time. So be sure to Missing bitmap image and check your color settings before you send in vector graphic; Courier has your job. Preflighting programs like been substituted for the mis- RGB image in FlightCheck or PreFlight Pro are especially sing font in this caption. vacations in the sun CMYK publication useful for catching this kind of error. prints in grey scale

4 Don’t add bleed. 5 Set TIFF background IMAGE fills to “None”. AREA If color extends to the edge of a page, it has to bleed Only EPS images support transparent wrong: off the page at least an 1/8”. There’s no getting around backgrounds. Do not set the background no bleed this one. If you forget to add bleed, chances are it color of TIFF images to “None” in won’t get noticed at output, and when your job gets to QuarkXPress (unless you have used a clipping bindery, someone just might make a decision to trim a path to define the image) or some TIFFs may TIFF with “None” IMAGE little bit smaller rather than cutting along the edge of print with jagged edges. Also, remember background. AREA the color — and you won’t be happy with that. Quark 4 that a white background in a box takes Sometimes it works, includes a bleed setting in the Print dialogue box. Get less space than a transparent one, so don’t and sometimes it right: doesn’t;TIFFs are also bleed accustomed to changing that from 0 to .125”. change it to “None”, if you don’t need to. not created equal… don’t result in film or plate reruns, or missed press dates. THE STORY OF A PAGE WITHOUT EQUAL And to graphics schools I say: give us graduates who Let’s look at what transpired with a page that was un- have a strong grounding in basic application skills, an ap- questionably not created equal — the cover of our last issue. preciation for working efficiently with digital tools, and a We set out to produce something that had rarely, if ever, reasonable knowledge of the mechanics of the print pro- been attempted before: an eight-color cover printed in cess. Artistic flair is a bonus. Hexachrome (six-color) using FM (stochastic) screening, Ask any publisher or prepress service who deals with with two extra plates for gold and varnish. files day in and day out. They’ll all say the same thing. Those of you who receive GRAPHIC EXCHANGE regularly All pages are not created equal. will remember the cover image, featuring the digital art of PAGES THAT WON’T PRINT RIGHT

BY LIDKA SCHUCH Use spot colors 6 in a CMYK job. 7 Embed your images. Aside from hexachrome (which uses six inks but is very seldom used), there are only two Draw programs (like Illustrator and Corel) allow you to embed color formulas for printing: CMYK (process images into a layout rather than link them. The technology is color) and spot color. This applies to bitmaps getting better and better, so embedding a TIFF image in as well as to vector drawings. In CMYK, Duotone image in Illustrator 8 may work, but try to do that with an EPS, then save duotones and RGB bitmap images will CMYK publication prints the whole file as EPS to place it on a Quark page and you in grey scale print as grey scale. Spot colors in vector practically guarantee yourself a PostScript error on output! And graphics will separate to an approximate process color. Vice remember that embedding any image in a draw program will versa is even worse: CMYK bitmap images and vector increase your file size substantially. So, if you don’t want graphics in a spot color publication will print only if spot problems, link images in QuarkXPress, don’t embed. colors used are Cyan, Magenta, Yellow or Black. Make sure that you provide bitmap images and vector graphics in the correct final Remember hairlines? Now forget QUARKXPRESS output color mode. them. The new description of a hairline in Quark Hairline 8 goes like this: “The thinnest possible line printable on a .3 pt width printing device connected to this computer.” In other words: a .5 pt width Use one-dot variable width line. This means that on a 600 dpi printer, hairlines. the width of a hairline is 1/600” and on a 2400 dpi imagesetter the ILLUSTRATOR width of the same line is 1/2400” — barely visible to naked eye. Line with fill 9 The same goes for straight lines in Illustrator or CorelDraw .3 pt width which have been filled instead of stroked. This will also JPEG your images. produce a variable line, one dot wide. .5 pt width There are only two graphic file formats for the prepress environment: TIFF for bitmaps, and EPS for bitmaps and vectors. Remember, these file formats 10 Set clipping path flatness to “0”. are like translators – they’re needed only if you have to make the file available to Set the flatness of your clipping paths to another program. If you don’t, leave your anything less than 3 and you’re asking file in the native format (eg. Quark or for a “PostScript limitcheck” error. Or if Illustrator). And no, JPEG images and you leave the box empty, the default minimum of .2 pixel is used and you can also JPEG compressed EPS images will not count on generating a PostScript error. For imagesetter ouput, clipping paths in bitmap print to most imagesetters, so don’t be images should have a flatness value set at no less than 3. tempted to try! All Pages

Are Not Toronto artist Martin Murphy (for a dynamite tutorial on asked. “Relax,” we said. “We’ll make it work.” Created the creation of this image visit www.interlog.com/~mmurphy/queen- The film went over to Image Plus, where their top Equal tut.html). However what you may not realize is that there proofer carefully hand-mixed the Hexachrome colors and were actually two versions of this issue mailed out. produced two proofs, which were delivered to me late that It began almost two months before scheduled produc- evening. tion, when I first started discussions with owner Dave They looked terrible. Smith about running an eight-color cover on Image Plus Shadow detail had turned to total mud. The black gener- Graphics’ new 8-color press. Dave was interested in testing ation was far too heavy — up to 380% coverage in some a job that went beyond places. Soft transitions from dark areas to light had turned the standard 4/4 work he into hard lines. Detail that should have been enhanced by was running, and I was the FM screening was gone. And to top it off, the rich pre- interested in testing the dominant green-cyan which was out of CMYK gamut but potential expanded color which should have by my expectations made Hexachrome gamut of Hexachrome and shine, had been transformed into a mundane cyan. FM screening together. We The next day, still baffled by this turn of events, I board- agreed that I would pro- ed a plane to California to attend the Heidelberg Digital vide final film which Im- Imaging Association users group meeting, leaving instruc- age Plus would proof ac- tions to hold off printing the cover until my return. cording to Pantone Hexa- Upon arriving in Anaheim, I was pleased to discover that chrome specs. Pantone was exhibiting in the mini-exhibition at the HDIA I put in a call to Rich- meeting. At the first opportunity, I approached Mattias An- ard Herbert, president of dersson, Pantone’s top technical advisor, and explained our Pantone, and detailed the disappointing results. Our April/May cover — printing this Hexachrome project to “Let me see the file,” he suggested. That evening I made page proved to be a story in itself. him, explaining that we a call back to Toronto and had a lower resolution version of planned to use Pantone’s the original artwork e-mailed directly down to California to HexWrench software, a Photoshop plug-in, to create the Mattias’ address. Hexachrome separations. The next morning, we viewed the file together. “Piece of cake,” he said. Mattias performed the HexWrench transformation himself Then I mentioned that we would also be running sto- while I watched, and sure enough his preview demonstrated chastic screening. all the same characteristics as the proofs. “Hmmm…” he said. “I’d feel better if you just used con- But in my usual fearless fashion, I decided to proceed ventional screening at a high line screen.” anyway, opting to not believe what the proofing showed. “Nope,” I replied. “I want to push this as far as we can. We knew what we were up against and we would simply Besides, HexWrench has CristalRaster (Agfa’s FM screening) have to deal with it on press. support built right in.” Upon my return, we went to press with the cover. Arriv- The day approached when we would be going to press. ing in the pressroom for the press check, I was surprised to Martin Murphy’s artwork was delivered to prepress expert find the pressman standing on top of the press wearing a Shane Steinman and he followed the standard method for quizzical expression. creating Hexachrome separations using HexWrench, adding “What’s the matter, Victor?” I asked. two extra channels for gold and a varnish. Then he sent the “I don’t know the laydown order,” he answered. [Editor’s file to longtime ripper and digital output specialist Lerrick note: Laydown refers to the order in which the inks should be Starr for imaging on the Agfa Avantra 30E imagesetter at the printed.] Ernest Green & Son Tech Lab in Mississauga. “Hmmm…” I replied — and handed him the freshly This was where we hit our first hiccup. The Avantra 30E printed GRAPHIC EXCHANGE press sheet with the article on is an economy model that doesn’t include the firmware re- HexWrench that spelled out the laydown order. quired to support CristalRaster screening. Nevertheless, we And so we eventually started printing. Lo and behold, put in a call to Agfa Canada, and with some efforts on the the green-cyan printed spectacularly — but the black ink part of their technical staff, the imagesetter was converted to was (predictably) far too heavy. But by cutting back drasti- a CristalRaster-enabled machine. cally on the black and adjusting the cyan and green, we Lerrick output three sets of film, using all three Cristal- managed to get to a color that was almost okay, although Raster compensation curves. Meanwhile, some of the folks at Agfa were getting nervous. “What if it doesn’t work?” they CONTINUED ON PAGE 26

22« june/july 1999« graphic exchange PAGE 23 FUJI GRAPHIC AD NEW FILM TWELVE TIPS TO BUILDING BETTER PAGES

BY LIDKA SCHUCH

1 Use a high end graphics application 3 Check page Prepare layouts or artwork in a program commercially used in the graphic 2 Delete unused geometry industry such as QuarkXPress, Illustrator or Photoshop. If you work in master pages Always use the CorelDraw or PageMaker, better check with your output people to see if they and blank measurement palette pages do, too. Microsoft Word and WordPerfect are not graphics programs, so don’t for positioning. You can expect everybody to accept them. CorelDraw files don’t always easily translate Deleting all unused Master use it like a calculator: into Quark-friendly graphics, so don’t expect a Mac/Quark based studio or Pages and blank pages add, subtract, multiply service bureau to deal with them free of charge. And don’t forget that there from your publication will and divide. There is are lots of versions of the same program in use, so always make sure that make your file less really no need to your service bureau takes files in the version you use. For example, complex and therefore eyeball for positioning. QuarkXPress 4 has been around for a while, but there are still incompatibility smaller in size. problems with some versions of imposition software — and other bugs — so many service bureaus prefer to get QuarkXPress 3.3.x files. 6 Delete unused colors, 4 5 Crop graphics style sheets and h&js Use native to size To make file sizes smaller, delete all unused colors, style sheets programs to transform graphics Making PostScript describe and H&Js from your palettes. Bitmaps should be resized and rotated in what is invisible can’t be a bitmap programs. If you do that in a page layout good idea. Crop your image program, you not only lose quality, but also in Photoshop to no bigger increase the file size and printing time. Fine lines than the size you need. 7 Create control marks properly in vector graphics may disappear if they are Whether in Illustrator, reduced too much. Remember, Quark QuarkXPress or any other Draw and position crops, registration marks, fold marks, dielines, etc. Use scales everything proportionally, Registration color, or make sure that correct color marks overprint each other including line widths. layout program, do not make little boxes that so they print on every color plate. Standard width of a control mark is .3 pt. contain huge hidden However, if you are designing a multi-page publication like a book, an images. And likewise, do annual report or a magazine, use the page size as trim size, and not step and repeat little leave creating flats (multi-page impositions) to Delete unused fonts 8 boxes with large images. your service bureau. Ever had fonts showing in your file that weren’t used? This happens if you have empty text boxes or empty 9 Keep paths simple 10 Use self-descriptive file names text paths. In QuarkXPress, All paths, whether drawn or traced, Remember that other people may have to understand your file Find/Replace fonts, and in Illustrator should ideally have one point for each change of names, so use names which clearly describe the contents of use the amazing Edit/Path/Cleanup direction. Tracing with tolerance close to zero your files. Use the proper file format extension—it makes it (I use it a lot!). Ghost fonts can also results in lines that trace square pixels—which not visually easier to find files. cause PostScript errors on output. only produces jaggies, but also slows printing WRONG: Business card times considerably and can possibly logo3 generate PostScript errors. RIGHT: CAP>Bcard CMYK layout.qxd CAP>logoCMYK.eps

11 Use picture boxes for shapes In Quark’s tool box you have several picture box shapes and one text 12 Provide hard copies box shape for a simple reason. Empty picture boxes are smaller in size Always send or fax printouts of both composite output and separations to than text boxes. If you need to draw a shape, always use a picture box. your output service. PAGE 25 COREL AD NEW FILM All Pages

Are Not CONTINUED FROM PAGE 22 “Stop everything!” I said. “We have a problem.” Created Then I called Image Plus and reported my discovery. Equal there was nothing we could do about the harsh transitions. “That’s not possible,” was all the production manager I went home to bed. could say. The magazine went through bindery and was delivered “It’s not only possible,” I replied. “I’m looking at it.” to our mailing house. And this is where the story takes an The explanation, as it turned out, was relatively low tech. unexpected twist. Halfway through the run, the pressmen stopped to do a When my samples were delivered, I looked at the cov- roller washup. When the press resumed printing, the gold er closely. Then I looked again. plate “went blind”, as it’s called in the trade. Alas, the press- It was missing the gold! man was so occupied with making sure he held the color How could this be? I double checked my press sheets. consistently that he failed to notice the missing gold. Sure enough, there was gold all over them. I put in a call to And so it was that half the magazines were printed mi- the mailing house. nus a gold plate — which might not have been so important Prepress Fundamentals for Corporate

BY LERRICK STARR

I REMEMBER WATCHING EVIL KNIEVEL’S FAILED AT- analog film houses — amounted to the per- • Application files. This is your applica- tempt to jump the Grand Canyon. functory duty of proof approvals or press tion’s native file. They typically have ex- And equally brave are the human souls checks. And if they signed off on the job tensions like .qxd (Quark), .psd (Photo- buried in the bowels of corporate HQ, try- and were later dissatisfied, the client’s re- shop), .wrd (Word), etc. (there are ing to bridge that giant chasm between cre- course was based solely on good will — a probably dozens of other possibilities. ative professionals and the Printing Trade. kind of indentured clientude. • PostScript files. You pretend that I salute those whom by virtue of some This system worked well for the trade. you’re the prepress house and push in-born design sense, or a facility with other print on your own job, but instead of applications (or perhaps just plain bad luck) NEW MILLENNIUM WAY going to an output device, you save are burdened with the responsibility of pro- Even though graphic artists today are in the PostScript stream to a file. Typical- ducing printed material for their corporate the thick of things, they receive less respect ly this file has a .ps or .prn extension. masters. Reports and analyses peppered than ever from both corporate masters and Better get it right! with graphs and charts, all for quick distri- printers. Why? Because they’re not in the tra- • PDF files. The Portable Document bution — and with a shelf life of ten sec- ditional loop where job information is Format is finally maturing into a prac- onds. The results of a day’s business which passed between content creator and the tical medium for digital file exchange. must be boiled down in an hour into a 12- print manufacturing process. The traditional The release of Acrobat 4 has removed page journal, rushed to a print shop, and corporate infrastructure where managers talk many of the difficulties and work- ready for distribution the next morning. to managers may create an effective com- arounds necessary in earlier releases. There’s not a lot of time for creativity in munication buffer between layers of bu- Distiller, with default press optimized a production cycle that short. reaucracy, but it’s also much like playing settings, will create a PDF from just But the gulf between corporate content ‘broken telephone’, seldom allowing accu- about any .ps or .prn file. creators and printers feels very much like rate pressroom information to be passed on Warning: Don’t use PDFWriter to create the size of Knievel’s Grand Canyon. Print- to the artist. PDFs for prepress work. While it may create ers, in their traditional view, stand at the We can’t cure the communication short- a PDF that looks good and reproduces well centre of their universe. All the other pro- comings of big business with new in-house on the office printer, it will not contain all duction processes surround them like the creative capabilities. But at least corporate the information required for a job destined layers in a blackball candy being slowly clients can acquire grudging respect from for commercial printing. sucked away. their digital suppliers and printers by doing No matter which route you take, there In the days when prepress and print their best to deliver a properly prepared are some basic things that have to be cor- manufacturing were all part of the same co- digital file, free of bugaboos. rect in order for film or plates to be imaged terie, everyone knew the rules, and lived by at maximum quality: them. In that universe, the role of clients — WHAT TO SEND THE PRINTER? • fonts previously well-insulated by photographers, Let’s start with the source file to be used • image density writers, designers, production artists, and for imaging. You can send a printer: • color mode

26« june/july 1999« graphic exchange if not for the fact that it was mentioned prominently in the produced, the file was re-imaged and stripped and put back article in the issue describing the production of the cover. on press. What to do? This time it looked just as we had seen it on the monitor To give full credit to Image Plus, they soon realized there — soft vignettes, detail in the shadows, eerie skin tones — was only one thing to do: put the magazine back on press. and by substituting a brighter gold, we managed to achieve Which now presented us with an unexpected opportuni- a much richer effect. ty: what, if anything, could we do to improve the cover? And if you check page 17 of your last issue, you can “Let me do the separations my way,” said Shane. read a complete description of the production — which will “Are you sure?” I said. vary, depending on which version you received. “Trust me,” he said. All pages are definitely not created equal. So, less than 48 hours later, through the efforts of both I can’t resist adding this footnote. Shane and Lerrick, and without the benefit of any hard proof, new Hexachrome separations of the cover file were CONTINUED ON PAGE 30 Communications

• completeness In the PC world, fonts are not quite the production. These values correspond to the And we can add these options: issue they are on the Mac side. Corel created line screens that large, medium and small • trapping a de facto standard in PC fonts with its col- presses are capable of printing reliably (al- • imposition lection freely distributed with CorelDraw. though many exceptions exist), for which Macs are different. There are many ver- there is a direct correlation to the visible TALK TO YOUR PRINTER sions of Mac fonts by different type houses. quality and detail of your photos. Rule #1. Talk directly with your printer. It is technically illegal for you to share Recognize that a 2” x 2” image at 300 ppi Communication is the key to success. De- your fonts. However the folks who license enlarged by 200% in a page layout program termine his requirements for the work you’re fonts have, to this point, looked the other yields an effective resolution of 150 ppi sending. Agree on: way if the font is to be used solely to output (double the size, half the resolution). But • whether you are sending film, plates or your job. Be warned, you could be charged there has to be 300 ppi in the image at its fi- a digital file (and in what format) with copyright infringement for sharing fonts nal size. So either make the 2” x 2” image • printing line screen to be used if the font house decides to make an exam- 600 ppi (not preferred) or change it to 4” x • imposition order (the correct placement ple of you. Insist that your provider delete 4” at 300 ppi in an image editing program. of pages on the printed sheet so that fonts after use and that if they want your However there is no advantage in trying they fall into place in the folded and business they must buy them. to manufacture more detail in a photo by finished job) for yourself or to provide Rule #5. Never deliver a scanned image bumping up its resolution. It doesn’t work. your prepress shop (photograph or gray scale) at less than 300 A word on image manipulation in a page • digital or analog proofs for sign off ppi (dpi) at 100% or a line art scan (bitmap) layout program: don’t. Ideally, all image ma- • contact person at less than 1200 ppi (dpi) at 100%; always nipulation should be done in an image edit- Rule #2. Give them what they ask for or use TIFF or EPS formats for images; shun ing program and placed at final size in the risk delays in production. JPEG, BMP, PICT, etc. layout. Any surprise before a scheduled press Line screen (lpi, lines per inch) is the ef- Skewing, rotating, or asymmetrical resiz- run is your guarantee that another job will fective resolution of the press as it relates to ing in a page layout program causes a raster go on press before your problem is fixed. the images that will be printed. Think of a image processor (RIP) to break into a sweat. Rule #3. If you’re uncertain about any as- laser printer — 1200 dpi is better and crisper There are things you can do to images in pect of your job, call and ask your question. than 600 dpi. Typically, 150 (or more) line CorelDraw which can cause a RIP to seize, The conclusion you arrive at yourself screen is best quality, 133 is good quality or worse yet get bogged down interpreting through dedicated study will undoubtedly be and anything less is newsprint quality. bad PostScript code — while you are billed wrong. You need enough information in the im- by the minute for run time. age file for it to print right. For 150 line qual- So avoid the temptation to skew and GET FONTS AND IMAGES RIGHT! ity presswork, your images have to be 300 stretch in your layout. Rule #4. It is imperative that you include ppi (dpi). Use 266 ppi for 133 line, and 200 your fonts with your job, or risk type reflow. ppi with 85-100 line for the lowest quality re- CONTINUED ON PAGE 30

graphic exchange» june/july 1999» 27 PAGE 28 APPLE DBL PG SPRD RPT APR/99 PAGE 29 APPLE DBL PG SPRD RPT APR/99 All Pages

Are Not CONTINUED FROM PAGE 27 ALL PAGES ARE CREATED EQUAL Created And what’s the point of this story? Equal Shortly after coming off press, I forwarded samples of Well, sometimes even when you think you know what both versions to Pantone. They responded by asking me if you’re doing, and you think you’ve taken every precaution I would sign a non-disclosure agreement concerning their to make your page right, relying on all the expertise you newest product, still in beta: HexImage, a replacement for can find, the printing process may still conspire against you. HexWrench. Printers live in a world geared to production. You can I respectfully declined. flag your problems and your special pages all you want, but It seems fairly apparent to me that Pantone wasn’t un- once film (or plates) come out, all pages are equal in the aware of the deficiencies in its Hexachrome separation soft- eyes of the printer. A page is part of a form, half of a sheet, ware. And if you go to the Pantone website, you will now part or all of a press run. And all sheets are created equal; in find a special offer on HexWrench — was $499, now $99. the end, they all need to be plated, printed and delivered.

CONTINUED FROM PAGE 27 genta, yellow and black. If you are using an office color printer to Many PC application programs only gen- proof your work then you should be sure to GET THE COLOR RIGHT erate RGB information. If this is the case, understand this rule. How can your printing Rule #6. Images must be CMYK for four your prepress shop should be advised that possibly look that good on press? Your print- color process printing. the job will be submitted in a format requir- er isn’t a press. If you’re running color man- Using RGB, indexed color or LAB color is ing color conversion for press. agement software, you may or may not not correct. Printing has its own way of come close, but always pay for a proper dig- defining color. CMYK is the acronym for its CHECKING YOUR COLOR WORK ital or analog proof unless you’re willing to color space and each letter stands for one of Rule #7. If a photo looks good on the office accept almost any level of quality. the primary colors in that space — cyan, ma- printer, it probably won’t look good on press. Rule #8. If colors look brilliant and the

Some Handy Cheats to Get You by

CHEAT #1. Create spot color jobs with C and M. Sometimes an application (often on PCs) does not support named spot colors. Instead you select your color visually from a color pallette. Sometimes in addition to the visual pallette, Cyan, Magenta, Yellow and Black (K) are named colors. The trick is to use K for black, C for your next spot color, and M for your third color. Create the entire publication substituting Cyan or Magenta for the colors you would prefer. While the job will not look correct in your printouts, simply substituting Cyan or Magenta on press with your desired spot color puts everything right. Do not use Yellow for a spot color plate unless it contains only solid ink coverage. Yellow moirés against the other colors and is entirely unsuitable as a spot color substitute.

CHEAT #2. Avoid cut and paste between programs. It’s always better to export graphics as EPS files with previews and place them in the target publication.

CHEAT #3. Use numeric values for line weights. Many PC page layout programs have you set your line weights visually. Those line weights are device dependent; that is, they will change in thickness depending on the printer’s resolution. A 1 point line that looks like 1 point at 300 dpi will be considerably thinner when printed on an imagesetter at 2400 dpi. Always punch in a numeric value for line thicknesses and never thinner than one-half point! If your page layout program does not allow you to set this value, send a test page to your prepress shop and check it for yourself. Tints (screens) may also be a visual choice. You can’t depend on them to look the same in the printed job. Test your tints mixed in with the line weight test and save yourself a little aggravation.

CHEAT #4. In PageMaker, set the resolution for the target device at the same value your prepress shop uses. This will help avoid type reflows.

CHEAT #5. Always test your job on a PostScript printer. Printing the file to a PostScript printer at your office is a good test of the integrity of the file — sort of a hard copy preflight. Printing to any other type of printer is not a test of your file’s integrity and may mask hidden problems.

CHEAT #6. Distill your files through Acrobat Distiller. Whether or not you intend to supply a PDF for output, distill it anyway. Acrobat Distiller is a CPSI conforming interpreter so if it distills, looks right on screen, and prints to your PostScript printer, then it is likely to print without problems.

30« june/july 1999« graphic exchange Printing is a manufacturing process, and as content creators, let us never kid our- selves into thinking that print production managers have the time or interest to check every individual part of every print job. It’s enough just to keep those presses rolling. Match the proof, finish the job. Which brings us back to my opening remarks: the process starts with page creation. And that page has to be 100% right — 99% just isn’t good enough. So what’s the first responsibility of a good graphic designer? To “communicate ef- fectively”? To “structure visual information”? To “enhance products”? Nope. The first level of accountability for any designer is the last step in the process: to deliver a job that prints right. And in this respect, both clients and printers expect that all designers should be created equal — but, sad to say, they’re not. ✷ boss loves the way it looks, you probably • an imposition as supplied by the forgot to convert the color images from printer RGB to CMYK. • emergency contact numbers Never send your images as RGB un- Although contrary to the established less you have made the service bureau credo, these rules even apply to PDFs, if aware ahead of time, or you’re printing you want your job to be bulletproof. in Hexachrome (wide-gamut six color And finally: printing) and intend to have the conver- Rule #10. Don’t go to press with less sion done by your trade house. than the whole job. But also be aware that the RGB to Graphic arts tradition says that a CMYK conversions performed by some printer will never start working on your image editing programs can make pea job until it all arrives. soup from ambrosia. When in doubt, leave it to the experts. I CAN’T GET NO RESPECT! Corporate content creators can get re- STRIVE FOR COMPLETENESS spect from printers and prepress houses Rule #9. If you don’t embed your by doing two things: graphics and images, some or all will not • Pay attention to the details of your make it to the prepress house. file construction and learn how to QuarkXPress links images by design; get it right the first time; PageMaker by choice. When confronted • If you know that your file is defi- with the options of either linking or em- cient in some way, pass on those bedding graphics in PageMaker (or in details to your prepress people. any program that offers this choice), em- Where uncertainty exists, ask your bed them — AND include the originals provider to preflight your file and advise separately. It’s called insurance! you of any errors and/or omissions. You want the graphics embedded to Set up a job report sheet and take the prevent forgetting one. You want the time to detail the job specifications and backups in case the embedded version its shortcomings wherever you can iden- needs to be edited. tify them. Belt and suspenders, right? Clients who proactively work to solve So be sure to pack up all your origi- their prepress problems can expect re- nals and corollary job materials. This spect from the trades. should include: The provision being, of course, that • native application files they pay their bill. ✷ • all image files • all graphics files LERRICK STARR IS A PREPRESS CONSULTANT AND • all fonts VETERAN RIPPER WHO SPECIALIZES IN PC-BASED • a hard copy of the job, preferably WORKFLOWS. HE CAN BE CONTACTED VIA in color E-MAIL AT [email protected]. All Pages

Are Not Created A Guide to Graphics Courses in Canada Equal

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Box 1693 St. John’s NF A1C COLLEGE GROUP) Adobe After Effects; Macromedia Director; 457 Queen Street P.O Box 6000 PROFESSIONAL DEVELOPMENT SERIES COURS- Macromedia Flash; Macromedia Dreamweaver; 5P7 Tel: 709-758-7282 Fax: 709- 2120 St.Catherine West Montreal ES 758-7304 Fredericton NB E38 5H1 Tel: 506- NetObjects Fusion; Microsoft FrontPage. 453-2305 Fax:506-457-7352 QC H3H 1M7 Tel: 514-939-4444 Graphic Design Through Intuition; Digital Story- 800-363-3541 Fax: 514-939-3046 telling Intensive; Interactive Entertainment and GRAPHIC DESIGN PROGRAM e-mail: [email protected] Web: DESKTOP TRAINING CENTRES www.nbcc.nb.ca e-mail: [email protected] Game Design with MacroMedia’s Lingo; Infor- Web: www.interdec.qc.ca COLLEGE OF THE NORTH mation Design Intensive 365 Bloor St.E Toronto ON M4W DIPLOMA IN FINE CRAFT—CREATIVE GRAPH- 3L4 Tel: 416-927-9200 Fax: 416- ATLANTIC, CLARENVILLE ICS (3 YR. PROGRAM) VISUAL PRESENTATION DESIGN CAMPUS COMPUTER ANIMATION IN CINEMA AND TELE- 927-7077 VISION C.B.S. COLLEGE OF e-mail: [email protected] P.O. Box 308 Clarenville NF A0E NEW BRUNSWICK COMMUNITY COMPUTER GRAPHICS IN EDITING AND PRINT- INFORMATION TECHNOLOGY Web: http://gutenberg.com 1J0 Tel: 709-466-0360 888-982- COLLEGE ING 1) 80 Bloor St. W (10th floor) Macintosh and Windows platform courses 2268 Fax: 709-466-2771 VIDEO EDITING e-mail: [email protected] 100 Broadway St Woodstock NB Toronto ON Tel: 416-925-9929 Fax: available. lantic.nf.ca Web: http://cville.north- E7M 5C5 Tel: 506-325-4850 Fax: 1-416-925-9220 e-mail: INDIVIDUAL APPLICATIONS: Adobe Illustrator; atlantic.nf.ca 506-328-8426 ICARI INSTITUTE [email protected] Adobe Photoshop; FrontPage; QuarkXPress; e-mail: [email protected] 85 St-Paul West Suite 31 Montreal Web: www.cbstraining.com PageMaker, Microsoft Office; HTML; Windows; MULTIMEDIA COMMUNICATIONS PROGRAM Web:http://www.woodstock.nbcc.- Workshops available through Gutenberg Inter- nb.ca/nbcc/graphics.htm QC H2Y 3V4 Tel: 514-982-0922 2) 55 Town Centre Ct (Ground floor) Fax: 514-982-0288 e-mail: net Services on use of the Internet for market- MEMORIAL UNIVERSITY OF Scarborough ON M1P 4X4 Tel: 416- ing and knowledge management. COMMUNICATION ARTS PROGRAM Option: [email protected] 290-6565 e-mail: learn@cbstrain- NEWFOUNDLAND (SIR WILFRED Electronic Prepress (Graphic Arts) Web: http://www.icari.com GRENFELL COLLEGE) ing.com DESKTOP PUBLISHING AND INTERNET PRO- Web: www.cbstraining.com DIGITAL MEDIA STUDIOS Visual Arts Program Division of GRAM (DIVISION OF HOFFMAN+ Fine Arts Sir Wilfred Grenfell Col- MULTIMEDIA SPECIALIST DIPLOMA 2D-3D ANIMATION PROGRAM DIGITAL MEDIA SPECIALIST DIPLOMA ASSOCIATES) lege Memorial University of New- NOVA SCOTIA CARTOON ANIMATION (CLASSICAL AND COM- foundland Cornerbrook NF A2H Macromedia Certification; Quark Education Cer- 34 Ross St. Toronto ON M5T 1Z9 PUTERIZED PROGRAM) tification; Desktop Publishing Certificate; Digital Tel: 416-977-6732 Fax: 416-977- 6P9 Tel: 709-637-6200 Fax: 709- NOVA SCOTIA COLLEGE OF ART MULTIMEDIA PRODUCTION PROGRAM 639-8125 e-mail: & DESIGN Graphics; Digital Multimedia; Web Mastering; 0766 e-mail: [email protected] Microsoft Certification and Prometric Testing Web: http://digitalmediastud- [email protected] 5163 Duke St Halifax NS B3J 3J6 Web: www.swgc.mun.ca THE NATIONAL ANIMATION AND Centre ios.com Tel: 902-494-8129 FAX: 902-425- DESIGN CENTRE (NAD CENTRE) BACHELOR OF FINE ARTS-VISUAL ARTS 2987 e-mail: [email protected] CENTENNIAL COLLEGE (BELL DIGITAL ESSENTIALS Web: www.nscad.ns.ca 335 De Maisonneuve East Blvd, DIGITAL GRAPHIC DESIGN Suite 300, Montreal QC H2X 1K1 CENTRE FOR CREATIVE COMMUNICATIONS) DIGITAL INTERACTIVE MEDIA PRODUCTION BACHELOR OF DESIGN (HONOURS) Major in Tel: 1-514-288-3447 Fax: 1-514- DIGITAL WEB DESIGN Communication Design 288-5799 e-mail: [email protected] 951 Carlaw Ave Toronto ON M4K 3D COMPUTER MODELLING & RENDERING BACHELOR OF DESIGN (HONOURS) Major in Web: www.nad.qc.ca 3M2 Tel. 416-289-5100 Fax 416- ADVANCED COMPUTER ANIMATION & MODEL- Digital Communication Design NEW BRUNSWICK 3D ANIMATION FOR FILM AND TELEVISION 289-5106 Web: www.bccc.com LING BACHELOR OF FINE ARTS (INTERDISCIPLI- DIGITAL INTERNET SCRIPTING AND PROGRAM- NARY) (LONG-TERM PROGRAM) BOOK & MAGAZINE PUBLISHING PROGRAM BKM RESEARCH AND VIDEO GAME DESIGN PROGRAM (LONG-TERM MING DEVELOPMENT MASTER OF FINE ARTS Communication Design; CORPORATE COMMUNICATION PROGRAM Digital Media; Fine & Media Arts PROGRAM) CREATIVE ADVERTISING PROGRAM 438 Paul St Dieppe NB E1A 4Z5 Minors available in Graphic Design and Digital 3D Animation Introductory Weekend; Autho- RTV PROGRAM Tel: 506-857-9620 800-488-4BKM Media rized training center for SoftImage 3D 201 VISUAL ARTS FOUNDATION PROGRAM EUREKA COMPUTER RESOURCE Fax: (506) 852-3728 and 301; Kaydara/Filmbox Level 1; SoftIm- DIGITAL ANIMATION CENTER e-mail: [email protected] age DS 201 and 301; Effect Level 1 &2 from NEWMEDIA DESIGN 4914A Yonge St. Toronto ON M2N NOVA SCOTIA COMMUNITY Discreet Logic; Web: http://www.bkm.ca COLLEGE Wide variety of part-time courses and certifi- 5N5 Tel: 416-222-3222 Fax: 416- CUSTOMIZED TRAINING: Softimage 3D; Kay- cates in new media available 222-1819 e-mail: yolande@inter- INTERACTIVE CONTENT DESIGN PROGRAM 1825 Bell Road Halifax NS B3H dara/Fil mbox;Softimage DS ; Effect from Dis- Courses: 3D Animation, Authorware, Director, log.com 2Z4 Tel: 902-491-4636 Fax: 902- creet Logic; Eddie; Toonz; UNIX; DirectX;3D CIMDI-CENTRE FOR INTERNET & Photoshop, Video, Powerpoint, HTML, Quark- 491-4711 e- Studio Max COMPUTER GRAPHICS PROGRAM (REGULAR & XPress. 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Box 1015 Station B Toronto ON Digital Media Design & Production (year-long), QUEBEC Web: www.cimdi.com Macromedia Authorized Training Provider for NOTE: website in French only M5T 2T9 Tel: 416-415-2137 or 800-265-2002 Director and Flash, Workshops in Director, CIMDI provides professional new media train- COLLEGE AHUNTSIC Colour theory/management; Data storage; Es- e-mail: [email protected] Flash, Photoshop, and Web Design available ing in 1, 2 and 5 day courses available for cor- timating/production planning; Image manipu- Web: www.gbrownc.on.ca 9155, rue Saint Hubert Montreal lation; Network administration; Pagination/im- porate clients and student participants multi- COMPUTER TRAINING INSTITUTE QC H2M 1Y8 Tel: 514-389-5921 position; Photo CD; Tabletop scanning; Work- media design certificate program web design VISUAL ART FUNDAMENTALS e-mail: Elaine.Bari- flow management; 2-D imaging; Animation; certificate program 120 McDonald St Saint John, NB DIGITAL MEDIA [email protected] Authoring for mac; Illustration: vector, bitmaps, E2J 1M5 Tel: 506-632-1604 Fax: ELECTRONIC DESKTOP COMPOSITION Web: www.CollegeAhuntsic.qc.ca 3-D; Introduction to internet; Scripting with Di- 506-632-1607 DPA COMMUNICATIONS CORP. ELECTRONIC PREPRESS & IMAGE ASSEMBLY *Note: website in French only rector, HTML, Lingo; Web site design; Printabili- e-mail: [email protected] Web: GRAPHIC DESIGN ty and linting analysis 439 University Ave, Suite 1150 PRINT MEDIA TECHNICIAN http://www.cti.fundy.net GRAPHISME Toronto ON M5G 1Y8 Tel: 416-205- TECHNOLOGIE DE L’IMPRESSION SCREEN PRINTING 9604 or1-800-CMYK-RGB Fax: SIGN GRAPHICS MULTIMEDIA/GRAPHICS DESIGN INFOGRAPHIE EN PREIMPRESSION 416-205-9605 Courses include: Corel Draw, MacroMedia Di- GESTION DE L’IMPRIMERIE e-mail: [email protected] rector, Shockwave, Flash, Infini-D, 3D Studio ANIMATION ONTARIO, GREATER Web: www.colourweb.com HUMBER COLLEGE OF APPLIED Max, Avid Video Shop, Adobe Photoshop, ARTS AND TECHNOLOGY Adobe Premiere, Adobe Illustrator, QuarkX- TORONTO AREA Color Management; Color Correction; Design CONCORDIA UNIVERSITY 205 Humber College Blvd. Etobi- Press, MS FrontPage 98, Java & Perl. (DEPARTMENT OF CINEMA) for Desktop Publishing;PRODUCTIVITY APPLICA- CANADIAN FILM CENTRE- TIONS: Overview of the Macintosh; Microsoft coke ON M9W 5L7 Tel: 416-675- Program also includes CD production, CD cover 925 ave. Rockland Outremont QC WINDFIELDS/MEDIALINX Word; Microsoft Excel; Microsoft Powerpoint; 6622 ext.4734 Fax: 416-675-0135 design, and digital photography (still & video). H2V 3A2 Tel: 514-848-4666 Fax: HABITAT Microsoft Access and Filemaker Pro; Microsoft e-mail: [email protected] Web: http://www.humberc.on.ca Print Level 3: New Age Print Production; Statis- Macintosh: An Introduction; Creating and de- North York ON M3J 1P3 Tel: 416- CONCEPTION GRAPHIQUE tical Process Control for Prepress; Understand- signing Web pages; Customized training avail- 736-5135 Fax: 416-736-5447 WWW.LACITEC.ON.CA/OTOGRAPH98 THE DIGITAL IMAGING TRAINING CENTRE AT ing and Evaluating Colour; Understanding Digi- able e-mail: [email protected] INFOGRAPHIE TECHNIQUES D’EDITION ELEC- HUMBER COLLEGE OFFERS 6 PART-TIME tal Pre-Press Web: www.yorku.ca TRONIQUE (EDITION INFORMATIQUE) CERTIFICATE PROGRAMS AND, IN PARTNER- INDIVIDUAL APPLICATIONS: Adobe Illustrator; SHIP WITH THE SCHOOL FOR THE BUILT STERLING EDUCATION CENTRE FINE ARTS-VISUAL ARTS DEPARTMENT Adobe Photoshop; QuarkXPress CONESTOGA COLLEGE ENVIRONMENT AT HUMBER, 1 FULL TIME Designing a Website 869 Main St. East Hamilton ON DESIGN PROGRAM POST DIPLOMA PROGRAM : INDIVIDUAL APPLICATIONS: Macromedia Direc- L8M 1M2 Tel: 905-545-6363 299 Doon Valley Dr. Kitchener ON Digital Design Certificate, Digital Photo-Imaging tor Level 1; Macromedia Director Level 2 N2G 4M4 Tel: 519-748-3516 Fax: Certificate, Internet Design Certificate,3D Mod- DESKTOP PUBLISHING CERTIFICATE PROGRAM 519-748-3546 e-mail: webmas- eling and Animation Certificate, Interactive BUSINESS APPLICATIONS CERTIFICATE ONTARIO COLLEGE OF ART & [email protected] Web: Multimedia Production Certificate, Digital New Newsletter Clinic; Prepare to Print (Trap); Start ONTARIO,OUTSIDE www.conestogac.on.ca Media Certificate, 3D for Design and Architec- DESIGN a DTP Business; Typography Seminar; tural Professionals - 1 year post diploma pro- 100 McCaul St Toronto ON M5T INDIVIDUAL APPLICATIONS: Adobe Illustrator; TORONTO GRAPHIC DESIGN & ADVERTISING-3 YEAR PRO- gram 1W1 Tel: 416-977-6000 Fax: 416- Adobe PageMaker; Adobe Photoshop; Adobe GRAM 977-4080 Web: www.ocad.on.ca PressWise; Advanced QuarkXPress; Claris- ALGONQUIN COLLEGE THE SCHOOL OF MEDIA STUDIES AT HUMBER Works; QuarkXPress 1385 Woodroffe Ave Nepean ON CONFEDERATION COLLEGE DESIGN PROGRAM (4-YEAR) MULTIMEDIA/NEW MEDIA CERTIFICATE PRO- COLLEGE OFFERS FULL-TIME DIPLOMA AND K2G 1V8 Tel: 613-727-9797 Fax: P.O. Box 398 Thunder Bay ON P7C POST-DIPLOMA PROGRAMS: GRAM 613-727-7754 RYERSON POLYTECHNIC Multimedia; Web page Design 4W1 Tel: 807-475-6110 Web: Multimedia Specialist - 2 year diploma, Interac- e-mail: [email protected] www.confederationc.on.ca tive Multimedia - 1 year post diploma, Internet UNIVERSITY INDIVIDUAL APPLICATIONS: Adobe PageMill; Web: www.algonquinc.on.ca Management - 1 year post diploma , Electronic Adobe Premiere; Macromedia Director 350 Victoria St Toronto ON M5B MULTIMEDIA PRODUCTION PROGRAM Publishing - 1 year post diploma, Film and TV - ADVERTISING-CREATIVE 2K3 Tel: 416-979-5036 Fax: 416- 3 year diploma, Media Copyright - 1 year post STUDIO L ANIMATION-TELEVISION 979-5341 DURHAM COLLEGE & diploma, Creative Photography - 2 year diplo- GRAPHIC DESIGN PRODUCTION e-mail: [email protected] 85 Hollywood Cr, Suite 2, Toronto UNIVERSITY CENTRE ma, Advanced Photography - 1 year post diplo- GRAPHICS TECHNICIAN-PRINTING Web: www.ryerson.ca ON M4L 2K4 Tel: 416-466-7188 ma, Broadcast Journalism - 3 year diploma, INTERACTIVE MULTIMEDIA P.O.Box 385 2000 Simcoe St. N. Fax: 416-466-0450 PHOTOGRAPHY Oshawa ON L1H 7L7 Tel: 905-721- Radio Broadcasting - 3 year diploma GRAPHIC COMMUNICATIONS MANAGEMENT e-mail: [email protected] PROGRAM (BACHELOR OF TECHNOLOGY DE- 2000 Fax: 905-721-3201 e-mail: Web: http://home.istar.ca/~stu- [email protected] INFORMATION TECHNOLOGY GREE PROGRAM) NOTE:MULTIMEDIA MINOR dio_l CAMBRIAN COLLEGE OF APPLIED DESIGN CENTRE (DIVISION OF OPTION AVAILABLE IN SECOND YEAR OF STUD- ARTS & TECHNOLOGY Web: http://www.durhamc.on.ca HOFFMAN + ASSOCIATES) IES Digital Prepress for Professionals (file formats, 1400 Barrydowne Rd Sudbury ON GRAPHIC DESIGN IMAGE ARTS PROGRAM-FILM, PHOTOGRAPHY layout and control marks, color systems, Trap- 34 Ross St. Toronto ON M5T 1Z9 P3A 3V8 Tel: 705-566-8101 Fax: MULTIMEDIA DESIGN AND NEW MEDIA (BAA DEGREE PROGRAM) ping, Font management, Preflight checks, Mac 705-524-7329 WEBSITE DESIGN Tel: 416-977-2301 maintenance) Fax: 416-977-0766 Web: www.cambrianc.on.ca FOUNDATIONS OF ART & DESIGN SCI TRAINING SOLUTIONS: A DIV. INDIVIDUAL APPLICATIONS: Adobe Illustrator; e-mail: [email protected] Adobe Photoshop; QuarkXPress; Macromedia Web: www.h-plus-a.com/h-plus-a OF SPINTECH COMPUTING INC. Graphic Design FANSHAWE COLLEGE Director; Web Page Design (Adobe PageMill, Fine Arts and Crafts 1895 Avenue Rd Toronto ON M5M ADVANCED ANIMATION AND MODELLING BBEdit) Attn: Information and Customer 3Z9 Tel: 416-781-1119 Fax: 416- Services 1460 Oxford St. E. P.O.Box COMPUTER ANIMATION & SPECIAL EFFECTS 781-2156 CANADORE COLLEGE DIGITAL GAME DESIGN TORONTO IMAGE WORKS 7005 London ON N5Y 5R6 Tel: 519- e-mail: [email protected] 100 College Dr Box 5001 North Bay 452-4277 e-mail: Registrar@fan- THREE-DIMENSIONAL COMPUTER MODELLING Web: www.interlog.com/~dpope 207-80 Spadina Ave Toronto ON AND RENDERING ON P1B 8K9 Tel: 705-474-7600 shawec.on.ca M5V 2J4 Tel: 416-703-1999 Fax: Fax: 705-474-2384 e-mail: Web: www.fanshawec.on.ca INDIVIDUAL APPLICATIONS: Alias Composer Summer courses available for students aged 9 416-703-7659 e-mail: tiw@toron- (SGI); Alias Studio and Power Animation [email protected] - 16 as 1 week camps toimageworks.com Web: Web: www.canadorec.on.ca AUDIO VISUAL & MULTIMEDIA PRODUCTION (SGI); Alias Studio Paint 3D (SGI); ElectroGIG www.torontoimageworks.com TECHNICIAN (SGI) SENECA COLLEGE (SCHOOL OF GRAPHIC DESIGN PRODUCTION PROGRAM GRAPHIC DESIGN COMMUNICATION ARTS) Adobe Illustrator, ImageReady, ImageStyler, In- INTERACTIVE MULTIMEDIA (POST DIPLOMA) FINE ART INSTITUTE OF CANADIAN Design, Pagemaker, PageMill, Photoshop; PROGRAM Seneca@York 70 The Pond Rd PHOTOGRAPHY (ADVANCED) (POST-GRADU- ADVERTISING Macromedia Director, Dreamweaver, Fire- ATE) Toronto ON M3J 3M6 Tel: 416-493- works, Flash; QuarkImmedia, QuarkXPress; 500-2300 Yonge St. Box 2350 4144 ext 2800 email: email@regis- CARLETON UNIVERSITY SCHOOL PHOTOGRAPHY (ADVANCED-DIGITAL) (POST- Web Development, HTML, Adobe GoLive, OF COMPUTER SCIENCE GRADUATE) Toronto ON M4P 1E4 Tel: 416-482- trar.senecac.on.ca Web: Shockwave; Interactive Multimedia; Digital 1396 Fax: 416-482-1852 Web: www.senecac.on.ca Publishing & Imaging; Full & Part-Time Cours- 1125 Colonel By Dr Ottawa ON K1S www.ica-ad.com es; Free Seminars; Photography Courses; Digi- 5B6 Tel: 613-520-4333 Fax: 613- FULL-TIME PROGRAMS: 520-4334 e-mail: GEORGIAN COLLEGE CERTIFIED PRINT PRODUCTION PRACTITIONER Broadcasting - Radio and Television tal & Photographic services. PROGRAM [email protected] 1 Georgian Dr. Barrie ON L4M 3X9 Creative Advertising Web: www.scs.carleton.ca Digital Media Arts UNIVERSITY OF TORONTO Tel: 705-728-1968 Fax: 705-722- INTERNATIONAL ACADEMY OF Digital Media Technical Production SCHOOL OF CONTINUING COMPUTER GRAPHICS COURSE- 5123 Web: www.georcoll.on.ca DESIGN Graphic Design STUDIES 4TH-YEAR BACHLOR OF COMPUTER SCIENCE ADVERTISING (HONOURS DEGREE) 31 Wellesley St. E Toronto ON M4Y 158 St. George Street Toronto ON GRAPHIC DESIGN PRODUCTION 1G7 Tel: 416-922-3666 or 800- SHERIDAN COLLEGE M5S 2V8 Tel: 416-978-2400 Fax: DESIGN & VISUAL ARTS FUNDAMENTALS 361-6664 Fax: 416-922-7504 1430 Trafalgar Rd Oakville ON L6H 416-978-6666 e-mail: CIMDI-CENTRE FOR INTERNET & FINE ARTS (2-YEAR) e-mail: [email protected] 2L1 Tel: 905-845-9430 [email protected] MULTIMEDIA DEVELOPMENT FINE ARTS (ADVANCED) Web: http://www.iaod.com e-mail: infosheridan@sheri- onto.ca INTERNATIONAL INC. LAMBTON COLLEGE danc.on.ca COMMUNICATIONS Adobe Certified Training Provider, Full time programs: Web: www.sheridan.on.ca Advertising Design, Computer Animation in EFFECTIVE PROJECT MANAGEMENT Macromedia Authorized Training 1457 London Rd. Sarnia ON N7S Centre Post Production, Computer Assisted Drafting & FULL TIME PROGRAMS: DELIVERY TECHNOLOGY 6K4 Tel: 519-542-7751 Fax: 519- Design, Computer GraphicsDigital Media De- ADVERTISING MULTIMEDIA INTERFACE DESIGN 1430-220 Laurier Avenue West, Ot- 542-0991 sign, Digital Video Editing & Design, Digital ANIMATION-CLASSICAL AN OVERVIEW OF INTERNET TECHNOLOGIES tawa ON K1P 5Z9 Toll Free:1-877- email:[email protected] Television Production APPLIED PHOTOGRAPHY STRATEGIES FOR A WEB PRESENCE 246-3436 Fax: 416-863-0648 Web:www.lambton.on.ca WEB SITE IMPLEMENTATION AND MANAGE- COMPUTER ANIMATION e-mail: [email protected] GRAPHIC DESIGN FUNDAMENTALS PROGRAM INTERNATIONAL BUSINESS MENT Web: www.cimdi.com EDUCATION CENTER SRA TRAINING GROUP INC. Animation: 3D Studio Max; Creation and Man- agement Tools for a Dynamic Web Site; Creat- CIMDI provides professional new media train- MOHAWK COLLEGE OF APPLIED 216-109 Vanderhoof Ave Toronto 1200 Bay St., Suite 505, Toronto ing Educational Multimedia for Children; Digital ing in 1, 2 and 5 day courses available for cor- ARTS AND TECHNOLOGY ON M4G 2H7 Tel: 416-696-1010 ON M5R 2A5 Tel: 416-929-6700 Imaging and Photoshop; Instructional Design porate clients and student participants Box 2034 Hamilton, ON L8N 3T2 Fax: 416-424-4325 Fax: 416-929-0244 e-mail: for Digital Media; Introduction to Multimedia Tel: 905-575-1212 [email protected] Authoring; An Introduction to VRML; Scripting LA CITÉ COLLÉGIALE Web: www.mohawkc.on.ca Colour Management and Control; Colour Mea- Web: www.sragroup.com Multimedia surement and Control; Design Synthesis; Disk 801 Promenade de L’Aviation Ot- GRAPHIC ARTS & PACKAGING PreFlighting; Lithographic Troubleshooting; Mac QuarkXPress: Introduction & Advanced avail- YORK UNIVERSITY tawa ON K1K 4R3 Tel. 613-742- MEDIA STUDIES for PrePress Imaging Operators; Mac to Pre- able; Photoshop: Introduction & Advanced 2483 Fax 613-742-2481 e-mail: Press Links; Mac Suite Level 1; Mac Diagnos- available; Illustrator: Introduction & Advanced Liaison and Advising Office Faculty [email protected] Web: tics; Print Level 1: Print Production Basics; Print available; Live Picture; Macromedia Director; of Fine Arts 213 Centre for Fine www.lacitec.on.ca Level 2: Colour Reproduction Troubleshooting; PageMaker; PageMill; Premiere; Persuasion; Arts York University 4700 Keele St Note: website in French only! CONTINUED ON PAGE 34 All Pages

Are Not Created A Guide to Graphics Courses in Canada Equal

NIAGARA COLLEGE P.O. Box 1796 Edmonton AB T5J Media Communications Project; Principles of VANCOUVER FILM SCHOOL SASKATCHEWAN 2P2 Tel: 403-497-5040 Fax: 403- Project Management Professional Foundations Welland Campus Box 1005 300 497-5045 400 West Hastings St Vancouver Woodlawn Rd Welland ON L3B 5S2 SASKATCHEWAN INSTITUTE OF Web: http://www.gmcc.ab.ca BC V6B 1C2 Tel: 604-685-5808 Tel: 905-735-2211/905-641-2252 APPLIED SCIENCE AND CDIS (CENTER FOR DIGITAL Fax: 604-685-5830 e-mail: regis- e-mail: [email protected] TECHNOLOGY, WASCANA DESIGN & DIGITAL MEDIA IMAGING AND SOUND) [email protected] Web: www.niagarac.on.ca INSTITUTE DESIGN & VISUAL PRESENTATION 3264 Beta Ave Burnaby BC V5G Web: www.vfs.com DESIGN & ILLUSTRATION INFORMATION & COMPUTER TECHNOLOGY P.O. Box 556 221 Winnipeg St 4K4 Tel: 604-298-5400 or 1-800- 3D ANIMATION COURSE (FULL-TIME) INTERACTIVE MULTIMEDIA (POST-GRADUATE) North Regina SK S4P 3A3 Tel: 306- 661-1885 Fax: 604-298-5403 e- This program consists of a balanced combina- 787-7755 Fax: 306-787-6108 e- LETHBRIDGE COMMUNITY mail: [email protected] Web: tion of hands-on classes, exercises, lab time, COLLEGE www.artschool.com ST. CLAIR COLLEGE mail: [email protected] Web: individual and group projects; with a structure www.siast.sk.ca/~siast/prog- 3000 College Dr. South Lethbridge Character Animation, Classical Animation Mas- that emphasizes practical production skills and 2000 Talbot Rd. West Windsor ON ramf.htm AB T1K 1L6 Tel: 403-320-3200 or techniques and allows generous N9A 6S4 Tel: 519-966-1656 Fax: ters, Digital Animation Masters, Digital Film, 800-572-0103 Fax: 403-320-1461 Electronic Gaming Arts & Design, eMusicians, individual lab time for personal portfolio pro- 519-972-3811 e-mail: GRAPHIC ARTS PRODUCTION PROGRAM Web: www.lethbridgec.ab.ca duction. [email protected] MULTIMEDIA COMMUNICATIONS PROGRAM Game Design Applied Programming, Integrated Web: www.stclairc.on.ca Media, Media Arts Core Studies, Recording Arts MULTIMEDIA PRODUCTION PROGRAM Foundation, Recording Arts Music, Recording A range of part-time courses are also available. UNIVERSITY OF REGINA GRAPHIC DESIGN Arts Post, Recording Arts Masters, Visual Ef- ADVERTISING-BUSINESS 3737 Wascana Pkwy Regina SK UNIVERSITY OF ALBERTA fects Digital Animation, Visual Effects Digital UNIVERSITY OF BRITISH COLUM- S4S 0A2 Tel: 306-585-5572 e-mail: Office of the Registrar & Student Animation Masters BIA, CONTINUING STUDIES ST. LAWRENCE COLLEGE [email protected] Web: www.ure- Awards 201 Administration Build- 5997 Iona Dr Vancouver BC V6T gina.ca ing Edmonton AB T6G 2M7 Tel: DIGIPEN APPLIED COMPUTER 1Z1 Tel:604-822-1420 Fax: 604- King & Portsmouth Kingston ON 403-492-3113 Fax: 403-492-7172 GRAPHICS SCHOOL 822-1499 e-mail: K7L 5A6 Tel: 613-544-5400 Fax: Four-year programs: BA in Visual Arts or Art [email protected] e-mail: [email protected] Web: 500-530 Hornby Street., Vancouver 613-545-3920 History, BA Hons in Art History, BFA in Visual www.ualberta.ca Web: http://www.cstud- e-mail: [email protected] Arts BC V6C 2E7 Tel: 609-682-0300 ies.ubc.ca/computers lawrencec.on.ca acad1140@slc- Two-year program: MFA degree in Studio Art Concepts and Systems in Visual Communica- e-mail: [email protected] sl.stlawrencec.on.ca Web:www.st- Two-year certificate: Visual Arts. tion Design; Communication Design for Interac- Web: www.digipen.edu UBC CERTIFICATE IN MULTIMEDIA STUDIES lawrencec.on.ca Writing, Graphics, Imaging, Animation, tive Media; The Image (Communication); In- THE ART AND SCIENCE OF 2D AND 3D VIDEO troduction to Visual Presentation; Design Video/Sound, Authoring and New Media GRAPHIC DESIGN PROGRAM GAME PROGRAMMING DIPLOMA, THE ART AND Business Issues SCIENCE OF 3D COMPUTER, ANIMATION PRO- UBC CERTIFICATE IN INTERNET PUBLISHING ALBERTA DUCTION DIPLOMA Web Site Design, Authoring, Programming, Project ALBERTA COLLEGE OF ART & BRITISH COLUMBIA EMILY CARR INSTITUTE OF ART Management and Online Marketing MANITOBA DESIGN AND DESIGN CAPILANO COLLEGE RED RIVER COMMUNITY 1407 14th Ave NW Calgary AB T2N 1399 Johnston St Vancouver BC COLLEGE 4R3 Tel: 403-284-7678 or 1-800- 2055 Purcell Way N Vancouver BC V6H 3R9 Tel: 604-844-3897 Fax: 251-8290 Fax: 403-289-6682 V7J 3H5 Tel: 604-983-7516 Fax: 604-844-3801 Creative Arts Dept. FM71-2055 Web: www.acad.ab.ca/CALEN- 604-984-4946 e-mail: toons@cap- Web: www.eciad.bc.ca NORTHWEST Notre Dame Ave Winnipeg MB R3H DAR/ACADHOME.htm college.bc.ca Web: www.capcol- TERRITORIES 0J9 Tel: 204-632-2330 lege.bc.ca/magic BACHELOR OF DESIGN VISUAL COMMUNICATIONS PROGRAM Web: www.rrcc.b.ca Major in Communication Design and Industrial NUNAVUT ARCTIC COLLEGE PHOTOGRAPHIC ARTS PROGRAM COMMERCIAL ANIMATION - 2 YEAR PROGRAM Design ADVERTISING ART PROGRAM IN CLASSICAL ANIMATION BACHELOR OF MEDIA Nunatta Campus Box 600 Iqaluit BANFF CENTRE FOR THE ARTS DIGITAL ANIMATION - EIGHT MONTH PROGRAM Animation NT X0A 0H0 Tel: 819-979-7200 UNIVERSITY OF MANITOBA (MEDIA & VISUAL ARTS DEPT.) IN COMPUTER CHARACTER ANIMATION Fax: 819-979-4579 e-mail: nacin- 424 University Centre Winnipeg P.O.Box 1020 Station 28 107 Tunnel VANCOUVER COMMUNITY [email protected] MB R3T 2N2 Tel: 204-474-8808 Mountain Dr Banff AB T0L 0C0 CANADIAN INSTITUTE FOR NEW COLLEGE Web: natsiq.nunanet.com/~nachq Web: www.umanitoba.ca Tel: 403-762-6180 Fax: 403-762- MEDIA, RESEARCH AND DEVELOPMENT King Edward Campus 1155 East CERTIFICATE IN COMPUTER STUDIES 6345 Web: www_nmr.banffcen- Broadway Vancouver BC V5N 5T9 ART INSTITUTE CERTIFICATE DESKTOP PUBLISHING PROGRAM tre.ab.c Desktop Layout and Design Box 8500 Cranbrook BC V1C 5L7 Tel: 604-871-7000 Fax: 604-871- INDIVIDUAL APPLICATIONS: CorelDRAW Final DEEP WEB WORK STUDY PROGRAM Tel: 250-489-8278 7100 Web: www.vcc.bc.ca e-mail: [email protected] Project; CorelDRAW Introduction; CorelPHO- MEDIA ARTS WORK STUDY PROGRAM INTRODUCTION TO CAREERS IN ELECTRONICS TOPAINT; Chart and Trace; Corel Ventura Multimedia Workshop Series Web: www.mediavis- ion.cotr.bc.ca/institut.htm & COMPUTERS GRAPHIC ARTS-PRINTING PRODUCTION ANIMATION GRANT MACEWAN COMMUNITY Advanced Media Production;Communications TELETOON WEBSITE COLLEGE for New Media; New Media Production; New www.teletoon.com/A_Schl_E.htm

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