So, the semester is officially over, and so is this course. Looking back, I'd have to say that this has been one of the most valuable classes I've taken so far. Prior to this semester, I knew nothing about proper file preparation, and I barely had any experience with Adobe products. Now, I can proudly say I feel so much more confident with both the software and putting together files for output. The checklists we used in each project have already stuck with me. I find myself doing all of the same things for my projects in other courses.
I've liked each of the projects we've done over the course of the semester. As far as a favorite goes, I'm stuck between the billboard/magazine project and the final project. I liked the freedom we got in each of those, and I very proud my final products for each of them. Both are definitely portfolio pieces for me that I will gladly show off to friends, family, and future employers to come.
I hope you've enjoyed reading my blog, however boring it may have gotten at times.
And with that, I sign off for the summer!
Tuesday, May 8, 2012
Thursday, May 3, 2012
Adobe Tutorial #5
For my final tutorial for this class, I decided to do something a bit more in depth. About a month ago, I did a tutorial on WeGraphics to make a Transformers logo. I was watching Transformers 2 at the time, so I was pretty inspired. It turned out really well. You can see that full tutorial here.
That being said, when I got the email update from their blog about a tutorial to make a Batman logo that was pretty similar, I got pretty excited. You can follow along with the detailed steps of the tutorial here, as I'm just going to write a very basic summary as I show you my work.
Making the Bat
To start off, I went ahead and downloaded the vector bat symbol he provided on the tutorial, just to save some time. Plus, I get really finicky when I'm drawing these sorts of things, and I just didn't want to deal with my own stress.
Then, I brought the vector into Photoshop. I used a document size of 1280x800, so I could use this for a background on my laptop. After putting in a background color set to #2e3943 and pasting the vector into it's own layer, I was ready to get into the fun stuff.
Adding Texture & Lighting on the Bat
I applied the setting outlined in the tutorial to add an Outer Glow, Bevel & Emboss, and a Gradient Overlay. He didn't specify what colors to use on the Gradient, so I guessed based on the screen grab of the window he posted. I used #2e3943 and #a6b3bf, and it came out pretty close to what his was.
Next up is adding the texture overlays. I already had a scratched metal texture (see the free download on the Transformers tutorial that replaced the same ones this one calls for), and I downloaded the second one linked in this tutorial. I placed, scaled, desaturated, and deleted the unwanted areas of the texture around the bat symbol. Then, I set the blending mode to Overlay and repeated the whole process for the second texture too.
Now, I added the highlights and shadows with the Brush tool according to the image he posted. I turned the Flow down to around 40%, because the highlights were coming in too strongly. Also, the tutorial didn't say to, but I decided to set my highlights/shadows layer to Overlay, which seemed to make it look a bit better.
Adding Texture & Lighting to the Background
For the background, instead of the paid texture they suggested, I used another one I had downloaded before. It was in the Free Grunge Paper pack. Also, he says to set the blending mode to Opacity, but I'm fairly sure he meant Overlay.
When I went to paint in the highlight on the background, I wasn't liking the way the low-opacity white looked. So, I switched it to full Opacity and Flow on the Brush tool. Then, I set that layer blending mode to Overlay and turned the layer opacity down to 50%. This gave me more what I was looking for.
Here's my final image!
http://wegraphics.net/blog/tutorials/create-a-dark-knight-rises-style-wallpaper-in-3-easy-steps/
Tuesday, April 24, 2012
Job Search Analysis 2
A brand identity designer is one of the many job options for those in the graphics field. Basically, what a brand identity designer does is coordinating all of the visual (and implied) aspects of the identity of a company to make the desired outcome. Every company has a certain identity they have and want to portray. Proper use of logos, signage, advertising, social media, etc. helps to convey that effectively, while at the same time, promoting the company.
Having education (usually a Bachelor's degree) and skills experience in the graphic design field is a must for this position. Even if you are managing, it is still important to have a background and understanding of the basic concepts of design and communication. Without that knowledge, you cannot effectively convey the proper messages with the branding of the company. Most positions will require a working knowledge of software in the Adobe Creative Suite, including Illustrator, Photoshop, etc.
Salary for this position varies a great deal, as there are several different levels of the job. There may be multiple employees working with brand identity, or one person in charge of it all. Salaries can range from around $30,000 per year up into $60,000-$70,000. The average is around $54,000 per year.
Sources:
http://www.adigitaldreamer.com/articles/brand-identity-designer.htm
http://www.freelancer.com/work/brand-identity-design-average-salary/
http://www.indeed.com/salary/q-Brand-Identity-Design-Manager-l-Cincinnati,-OH.html
http://www.studydiscussions.com/advance-your-career-as-brand-identity-designer/
Having education (usually a Bachelor's degree) and skills experience in the graphic design field is a must for this position. Even if you are managing, it is still important to have a background and understanding of the basic concepts of design and communication. Without that knowledge, you cannot effectively convey the proper messages with the branding of the company. Most positions will require a working knowledge of software in the Adobe Creative Suite, including Illustrator, Photoshop, etc.
Salary for this position varies a great deal, as there are several different levels of the job. There may be multiple employees working with brand identity, or one person in charge of it all. Salaries can range from around $30,000 per year up into $60,000-$70,000. The average is around $54,000 per year.
http://www.adigitaldreamer.com/articles/brand-identity-designer.htm
http://www.freelancer.com/work/brand-identity-design-average-salary/
http://www.indeed.com/salary/q-Brand-Identity-Design-Manager-l-Cincinnati,-OH.html
http://www.studydiscussions.com/advance-your-career-as-brand-identity-designer/
Thursday, April 19, 2012
Adobe Tutorial #4
Today, I did a tutorial over cropping with the perspective function in Photoshop. Check out the video here. It discussed how quickly and easily you can crop an image of a subject taken from an angle to appear to have been taken from straight ahead.
Here is the before image from the sample files provided by the tutorial:
After you open the image, simply click on the crop tool and make a rough selection of the painting. Then, go up to the control panel and click the box labelled Perspective.
With this function active, you can now move each corner of the crop selection independently to make it fit the trapezoidal shape of the distorted image.
Now, all that's left is to confirm the crop by either clicking the check mark or hitting Enter on the keyboard. That's it! Here's what you'll get!
Sources:
http://tv.adobe.com/watch/visual-design-cs5/gs03-correcting-perspective-with-the-crop-tool/
Here is the before image from the sample files provided by the tutorial:
After you open the image, simply click on the crop tool and make a rough selection of the painting. Then, go up to the control panel and click the box labelled Perspective.
With this function active, you can now move each corner of the crop selection independently to make it fit the trapezoidal shape of the distorted image.
Now, all that's left is to confirm the crop by either clicking the check mark or hitting Enter on the keyboard. That's it! Here's what you'll get!
http://tv.adobe.com/watch/visual-design-cs5/gs03-correcting-perspective-with-the-crop-tool/
Tuesday, April 17, 2012
Job Search Analysis 1
I discussed Preflighting in my first blog post. For this job analysis, I'll provide a few more details about Preflight Technicians.
A preflight technician would be in charge of reviewing files prior to printing/output. He/she would thoroughly check the file(s) and compare them to a preflight checklist to ensure the pieces would be printed/output without issues.
The education level, skills, and experience for this position varies somewhat from company to company. For the most part, an associate's or bachelor's degree in graphic design and/or a vocational certificate in prepress technology would be the minimum requirements. Familiarity with graphic design, page layout, and composition are extremely useful in this job. Also, preflight technicians will need to be trained and familiar with whatever software the company in question is using (i.e. Adobe Creative Suite, etc). Experience of 1-2 years in the industry is preferred for many companies. The salary range for this position ranges between $30,000 and $50,000, depending on the company and area. On average, technicians receive $17.21/hour.
Sources:
http://en.wikipedia.org/wiki/Pre-flight_%28printing%29
http://www.jobsonamap.com/surrey-jobs-pre-flight-operator-printing-position-minuteman-press-surrey-job-Z1292496-zELueY
http://www.careerbliss.com/salary/alphagraphics-printing-graphic-designer-and-preflight-specialist-salaries-189592/?q=Graphic+Designer+And+Preflight+Specialist
http://diplomaguide.com/articles/Prepress_Technician_Career_Overview.html
http://www.campusexplorer.com/careers/B19C7DE5/prepress-technicians-and-workers/
A preflight technician would be in charge of reviewing files prior to printing/output. He/she would thoroughly check the file(s) and compare them to a preflight checklist to ensure the pieces would be printed/output without issues.
The education level, skills, and experience for this position varies somewhat from company to company. For the most part, an associate's or bachelor's degree in graphic design and/or a vocational certificate in prepress technology would be the minimum requirements. Familiarity with graphic design, page layout, and composition are extremely useful in this job. Also, preflight technicians will need to be trained and familiar with whatever software the company in question is using (i.e. Adobe Creative Suite, etc). Experience of 1-2 years in the industry is preferred for many companies. The salary range for this position ranges between $30,000 and $50,000, depending on the company and area. On average, technicians receive $17.21/hour.
http://en.wikipedia.org/wiki/Pre-flight_%28printing%29
http://www.jobsonamap.com/surrey-jobs-pre-flight-operator-printing-position-minuteman-press-surrey-job-Z1292496-zELueY
http://www.careerbliss.com/salary/alphagraphics-printing-graphic-designer-and-preflight-specialist-salaries-189592/?q=Graphic+Designer+And+Preflight+Specialist
http://diplomaguide.com/articles/Prepress_Technician_Career_Overview.html
http://www.campusexplorer.com/careers/B19C7DE5/prepress-technicians-and-workers/
Sunday, April 15, 2012
Final Project
The final project is....dun dun dun!....designer's choice! While it's nice to have (mostly) free reign over what to do for this one, I was overwhelmed by my options. After quite a big of debating, I decided to do something business card related, so that I might be able to use it for myself.
As you would guess, the purpose of this business card, like all others, would be to supply my contact information for others. In my case, a business card would be used when meeting possible future employers and/or clients for business (if I were to do freelance design work). Thus, the call to action would be to contact me via phone, email, postal mail, or to visit my blog or Facebook page.
I decided to do something a little different from an average business card, and not just because we were required to design a project with a fold in it. I wanted to try and balance make something interesting and different, but quite simple and striking.
Here are my (super quick) thumbnails:
And here are my rough sketches of two of my designs:
I'm still unsure if I'll do a bi-fold or tri-fold design at this point. I need to get some things on screen and see how they look before I make my decision.
Update!
Here are some quick pictures of my folding dummy:
My final piece unfolded will measure 2" x 9.875". This also includes the die-cut, which I changed to a "}" like shape. I also can make a version of the piece without the die-cut, since it's more of an additional element and isn't essential to the piece. I used a 1/8" bleed and 1/4" margins. I considered using smaller margins since it's such a small piece, but the 1/4" worked because I didn't have a lot of content to fit on there.
It would be a full color, dual-sided tri-fold. I chose to print my proofs on what I think was around 70-pound book weight paper. I wanted a bit thicker weight since it is a business card and needed to be a fairly sturdy.
I talked to PittCraft to get my price quote for 1,000 of these with the die-cut. The printing cost for 4 color on cover stock is $119.00. The pricing for the die-cut and score is $254.00. I forgot to ask what the cost would be to fold without the die-cut, but that was just something extra on top of our requirements for the project.
Here's a screen grab of my final PDF and some photos I took of my final mock-up.
There it is! All finished. I'm super happy with how it turned out, and I'm actually considering getting these made (without the die-cut, of course).
As you would guess, the purpose of this business card, like all others, would be to supply my contact information for others. In my case, a business card would be used when meeting possible future employers and/or clients for business (if I were to do freelance design work). Thus, the call to action would be to contact me via phone, email, postal mail, or to visit my blog or Facebook page.
I decided to do something a little different from an average business card, and not just because we were required to design a project with a fold in it. I wanted to try and balance make something interesting and different, but quite simple and striking.
Here are my (super quick) thumbnails:
And here are my rough sketches of two of my designs:
I'm still unsure if I'll do a bi-fold or tri-fold design at this point. I need to get some things on screen and see how they look before I make my decision.
Update!
Here are some quick pictures of my folding dummy:
My final piece unfolded will measure 2" x 9.875". This also includes the die-cut, which I changed to a "}" like shape. I also can make a version of the piece without the die-cut, since it's more of an additional element and isn't essential to the piece. I used a 1/8" bleed and 1/4" margins. I considered using smaller margins since it's such a small piece, but the 1/4" worked because I didn't have a lot of content to fit on there.
It would be a full color, dual-sided tri-fold. I chose to print my proofs on what I think was around 70-pound book weight paper. I wanted a bit thicker weight since it is a business card and needed to be a fairly sturdy.
I talked to PittCraft to get my price quote for 1,000 of these with the die-cut. The printing cost for 4 color on cover stock is $119.00. The pricing for the die-cut and score is $254.00. I forgot to ask what the cost would be to fold without the die-cut, but that was just something extra on top of our requirements for the project.
Here's a screen grab of my final PDF and some photos I took of my final mock-up.
There it is! All finished. I'm super happy with how it turned out, and I'm actually considering getting these made (without the die-cut, of course).
Master
Image List Elements: The last Master Image List requirement I needed was a screen tint, which was fulfilled by the inside color block.
Copyright
statement:
The hand and grunge element (front -- behind logo) were both vectors taken from the course syllabus.
The two paint blocks were from a free grunge paint block vector download on WeGraphics.
Both instances of the logo were created by me.
The brackets on the inside were also created by me.
The textures on the outside of the piece were both free downloads from WeGraphics.
Friday, April 13, 2012
Adobe Tutorial #3
When I was going through trying to find a tutorial to do, I decided to check out one on using the Vibrance slider.
I've recently become a pretty big fan of bright, saturated colors in photos, so I thought this would be an interesting video to watch. It's less of a tutorial and more of an explanation of what the Vibrance adjustment does (as opposed to the Saturation adjustment) and when to use it.
Here's a link to the video: http://tv.adobe.com/watch/learn-photoshop-cs5/saturating-selectively-with-vibrance/
This is my example photo with no adjustments added:
The photo doesn't look bad as is, but it would be nice to brighten up the purple of the sweatshirt and the orange of the kitten to emphasize the contrast of the colors.
The first thing showed in the video is the effect of the Saturation adjustment. Here's what a photo looks like with the Saturation level all the way up (100):
This is obviously a very dramatic look, but I've done that to show how harshly the saturation change appears. Even at low levels, the skin tones of the subject appear too orange/red. The purple looks pretty good here. We could go in and mask out the skin areas, leaving the purple saturated, but the contrast between the old image and the new adjustment would look a bit odd.
Instead, we can adjust the vibrance on the image. Here's what the photo looks like with the Saturation at 0 and the Vibrance at 100. I've also shown the original (top right) and the saturated (bottom right), so you can easily compare the different settings to one another.
The brightening of colors here is much more appealing. We can still see the purple sweatshirt is close to that of the overly saturated image, and we have warmer colors in the skin and the kitten, without over-doing it.
So, the Vibrance adjustment, used in place of the Saturation adjustment, or alongside it, can provide nice, bright colors in an image, without the harsh effects on skin tones. Try it for yourself!
I've recently become a pretty big fan of bright, saturated colors in photos, so I thought this would be an interesting video to watch. It's less of a tutorial and more of an explanation of what the Vibrance adjustment does (as opposed to the Saturation adjustment) and when to use it.
Here's a link to the video: http://tv.adobe.com/watch/learn-photoshop-cs5/saturating-selectively-with-vibrance/
This is my example photo with no adjustments added:
The photo doesn't look bad as is, but it would be nice to brighten up the purple of the sweatshirt and the orange of the kitten to emphasize the contrast of the colors.
The first thing showed in the video is the effect of the Saturation adjustment. Here's what a photo looks like with the Saturation level all the way up (100):
This is obviously a very dramatic look, but I've done that to show how harshly the saturation change appears. Even at low levels, the skin tones of the subject appear too orange/red. The purple looks pretty good here. We could go in and mask out the skin areas, leaving the purple saturated, but the contrast between the old image and the new adjustment would look a bit odd.
Instead, we can adjust the vibrance on the image. Here's what the photo looks like with the Saturation at 0 and the Vibrance at 100. I've also shown the original (top right) and the saturated (bottom right), so you can easily compare the different settings to one another.
So, the Vibrance adjustment, used in place of the Saturation adjustment, or alongside it, can provide nice, bright colors in an image, without the harsh effects on skin tones. Try it for yourself!
Tuesday, April 3, 2012
National Logo Redesign
There are dozens of successful logo redesigns that have been done with some of the most recognizable companies in the world. I had plenty to choose from to discuss.
I decided to talk about Sprint's recent logo redesign (to try and find something positive to redeem them despite their awful service).
Here is a before and after image of their old logo next to their new one:
As a kid, I clearly remember seeing commercials for Sprint almost every day of my life. I vividly remember their tagline that the quality was so clear, you could hear a "pin drop". So, when Sprint combined with Nextel, and decided to re-brand the company, I was one of few youngsters who understood their new logo. It calls back to that "pin drop" they talked about for years. Also, Sprint dropped their gray and red color scheme, and took on Nextel's black and bright yellow. Finally, they opted for a more modern looking sans-serif typeface.
Sprint did a lot of advertising to promote their partnership with Nextel and re-branding of a company. They did an excellent job of getting their new look out there.
I think it is a much nice, much more modern look for them, and I like it a lot more than their previous logo. Go Sprint! Now that I've been nice, can I get a discount on my cell phone bill? :)
I decided to talk about Sprint's recent logo redesign (to try and find something positive to redeem them despite their awful service).
Here is a before and after image of their old logo next to their new one:
 |
| Image from here. |
As a kid, I clearly remember seeing commercials for Sprint almost every day of my life. I vividly remember their tagline that the quality was so clear, you could hear a "pin drop". So, when Sprint combined with Nextel, and decided to re-brand the company, I was one of few youngsters who understood their new logo. It calls back to that "pin drop" they talked about for years. Also, Sprint dropped their gray and red color scheme, and took on Nextel's black and bright yellow. Finally, they opted for a more modern looking sans-serif typeface.
Sprint did a lot of advertising to promote their partnership with Nextel and re-branding of a company. They did an excellent job of getting their new look out there.
I think it is a much nice, much more modern look for them, and I like it a lot more than their previous logo. Go Sprint! Now that I've been nice, can I get a discount on my cell phone bill? :)
Thursday, March 29, 2012
Everyday Design Inspiration
We were assigned to pay extra attention to the designs we see in our everyday lives, and analyze their colors, typography, branding, and how well they get their message to their target audience.
When it comes to analyzing design around my, the item I can probably speak best on is Dr. Pepper. I've been a "Pepper" for as long as I can remember. One of the biggest things I notice about Dr. Pepper today is the new branding. On the right is the can as it was while I was growing up, while below is a photo of the can I'm currently guzzling trying to power through homework.
The color palette has remained, as far as I can tell, the exact same. Also, the font of the Dr. Pepper logo is pretty similar between the older and newer versions. With the reinvention of the logo, and the new focus on the "23 flavors," it looks as though the company has simply updated what they already had, as opposed to starting over. There is also an incorporation of "Est. 1885," showing an emphasis on the history of the brand itself. Dr. Pepper has changed their branding to match the newer generation, focusing on the younger audience. However, it seems that because of this focus, they are making a point to keep their history intact, as they try to connect the new Dr. Pepper fans with those that have enjoyed it for years.
 |
| Photo retrieved from Google Images All Rights Belong to Dr. Pepper. |
When it comes to analyzing design around my, the item I can probably speak best on is Dr. Pepper. I've been a "Pepper" for as long as I can remember. One of the biggest things I notice about Dr. Pepper today is the new branding. On the right is the can as it was while I was growing up, while below is a photo of the can I'm currently guzzling trying to power through homework.
The color palette has remained, as far as I can tell, the exact same. Also, the font of the Dr. Pepper logo is pretty similar between the older and newer versions. With the reinvention of the logo, and the new focus on the "23 flavors," it looks as though the company has simply updated what they already had, as opposed to starting over. There is also an incorporation of "Est. 1885," showing an emphasis on the history of the brand itself. Dr. Pepper has changed their branding to match the newer generation, focusing on the younger audience. However, it seems that because of this focus, they are making a point to keep their history intact, as they try to connect the new Dr. Pepper fans with those that have enjoyed it for years.
Tuesday, March 27, 2012
Billboard
This billboard project is paired with the Magazine Ad, and it is meant to be it's complement. Referring back to the post of the Magazine Advertisement, we see that I'm planning on doing a promotion for a fake band. This billboard will go along with a campaign for the band's album and upcoming summer tour.
The target audience for this billboard will be very similar to that of the magazine ad: young adult to middle-aged, mostly males. However, it will reach a larger, more broad audience than the magazine will. The call to action will also be the same: to get people to look up the band, check out their new album, and potentially see the band on their summer tour.
The specifications provided by the instructor include a JPEG template and a PDF with additional information. The template says to create the file directly on top of the JPEG image, and save as a JPEG (at maximum quality). Also, the image would be 400 pixels (h) x 1400 pixels (w), and it should be created in RGB color mode.
I did a bit of research on Lamar Advertising's site. I looked at their interactive rate card to get some pricing information. I decided that since this billboard was for a band, not a local business or service, I should price for a larger city. I went with Olathe, KS (I'm really not sure why, so don't ask). For a 4 week run of a 14' x 48' sign, the cost would be $5,000, which isn't as bad as I thought it would be.
Anyways, back to the real work.
Here are scans of my thumbs and roughs for this billboard.
So then I got started on actually creating the billboard. I created the Magazine ad, since it would require more information. From there, I took bits and pieces out of the ad to place into the billboard template. This is my final piece!
Be sure to check out my post on my Magazine Advertisement to see the rest of my little mini-campaign!
The target audience for this billboard will be very similar to that of the magazine ad: young adult to middle-aged, mostly males. However, it will reach a larger, more broad audience than the magazine will. The call to action will also be the same: to get people to look up the band, check out their new album, and potentially see the band on their summer tour.
The specifications provided by the instructor include a JPEG template and a PDF with additional information. The template says to create the file directly on top of the JPEG image, and save as a JPEG (at maximum quality). Also, the image would be 400 pixels (h) x 1400 pixels (w), and it should be created in RGB color mode.
I did a bit of research on Lamar Advertising's site. I looked at their interactive rate card to get some pricing information. I decided that since this billboard was for a band, not a local business or service, I should price for a larger city. I went with Olathe, KS (I'm really not sure why, so don't ask). For a 4 week run of a 14' x 48' sign, the cost would be $5,000, which isn't as bad as I thought it would be.
Anyways, back to the real work.
Here are scans of my thumbs and roughs for this billboard.
So then I got started on actually creating the billboard. I created the Magazine ad, since it would require more information. From there, I took bits and pieces out of the ad to place into the billboard template. This is my final piece!
Be sure to check out my post on my Magazine Advertisement to see the rest of my little mini-campaign!
Master Image List Elements: The white text on the left counts as a reverse, and the background images are both 4 color rasters.
Copyright statement: The match stick image was taken from the "Elements to Copy" folder on the server in the classroom. The textured background image was a free download from WeGraphics.
Magazine Advertisement
We're nearing the end of the semester here, and the next project up is a Magazine Advertisement. This piece will be paired with a Billboard, as a sort of campaign. Both need to cover the same subject, but they will have several differences. Check out my post on the Billboard Project for more information.
First, let's figure out the parameters of the assignment. Create a full page, full color advertisement including a Microsoft Tag, and the advertisement should follow the advertising specifications of the particular publication we are designing for.
I tapped into my inspiration, which led me to...listening to music. This seems like procrastination, but it eventually got me going in the right direction. I decided to look up the ad specs for Guitar World magazine, and, thankfully, I found them! So, with that in mind, I got to thinking of what I could conjure up that would fit into a guitar centered magazine. Finally, I came to the decision that I would create a promotional piece for a fake band, releasing a fake album, planning a fake summer tour. Simple stuff, right? I thought so.
Considering the magazine I chose to design for, I assumed I would need to have a target audience in young adult to middle-aged group focusing mostly on males. Of course, I'd also need to gear my ad towards music, which I've already got covered. One call to action here is to scan the Microsoft Tag, which would lead to this blog, rather than the band's sit (since there isn't a site). The second call to action would be to either look up the band, check out their new album, or go to one of their shows on their summer tour. I figured that depending on which one of these I chose for the magazine ad, I would choose the other for the billboard.
Here's some screen grabs from the PDF of the ad specs showing pricing and ad sizes:
So, there are various price breaks depending on the number of runs I would want to do in a year. For a one-time run of the advertisement, it would cost $12,060. The specs also tell us that the page will have a bleed of 8.25"x10.75", a trim size of 8"x10.5", and a live area of 7.5"x10". That means that the ad will have 1/8" bleeds and 1/4" margins. Compressed/stuffed high-resolution PDFs or TIFFs are accepted. Files are sent in via online submission. However, the specs give no information on preferred line screen or color mode.
Now that we've got all the basics covered, it's time to get some actual ideas out there. Here are scans of my thumbs (5) and roughs (2).
I decided to go with the more simplistic design, because I felt it was the most fitting for a magazine advertisement. I created this portion of the campaign first (before the billboard), because it would require more information. Here's what I came up with!
Just as a note, the image I used for the background was only meant for use on the web, so the resolution was 72 dpi. Since it was a dark texture, I decided to change the resolution up to 300, and then tile the image to fill the appropriate area, which I did in Photoshop. After that, I used the Patch and Spot Healing tools to get rid of any lines where the images met, and merged the layers down into one. The original Photoshop document I downloaded had a gradient overlay, which I then put over the new high-resolution image.
Also, I decided to do some extra work and add some scratched texture behind the social media icons. The texture came in a free download pack from WeGraphics. I used an appropriate one as an overlay on each of the icons, and turned them into clipping paths so the extra image wouldn't show around the edges. It was a lot of work for a very small detail, and it's difficult to see the different here on the screen. On paper, though, it's much more noticeable and adds a nice touch.
First, let's figure out the parameters of the assignment. Create a full page, full color advertisement including a Microsoft Tag, and the advertisement should follow the advertising specifications of the particular publication we are designing for.
I tapped into my inspiration, which led me to...listening to music. This seems like procrastination, but it eventually got me going in the right direction. I decided to look up the ad specs for Guitar World magazine, and, thankfully, I found them! So, with that in mind, I got to thinking of what I could conjure up that would fit into a guitar centered magazine. Finally, I came to the decision that I would create a promotional piece for a fake band, releasing a fake album, planning a fake summer tour. Simple stuff, right? I thought so.
Considering the magazine I chose to design for, I assumed I would need to have a target audience in young adult to middle-aged group focusing mostly on males. Of course, I'd also need to gear my ad towards music, which I've already got covered. One call to action here is to scan the Microsoft Tag, which would lead to this blog, rather than the band's sit (since there isn't a site). The second call to action would be to either look up the band, check out their new album, or go to one of their shows on their summer tour. I figured that depending on which one of these I chose for the magazine ad, I would choose the other for the billboard.
Here's some screen grabs from the PDF of the ad specs showing pricing and ad sizes:
Now that we've got all the basics covered, it's time to get some actual ideas out there. Here are scans of my thumbs (5) and roughs (2).
I decided to go with the more simplistic design, because I felt it was the most fitting for a magazine advertisement. I created this portion of the campaign first (before the billboard), because it would require more information. Here's what I came up with!
Just as a note, the image I used for the background was only meant for use on the web, so the resolution was 72 dpi. Since it was a dark texture, I decided to change the resolution up to 300, and then tile the image to fill the appropriate area, which I did in Photoshop. After that, I used the Patch and Spot Healing tools to get rid of any lines where the images met, and merged the layers down into one. The original Photoshop document I downloaded had a gradient overlay, which I then put over the new high-resolution image.
Also, I decided to do some extra work and add some scratched texture behind the social media icons. The texture came in a free download pack from WeGraphics. I used an appropriate one as an overlay on each of the icons, and turned them into clipping paths so the extra image wouldn't show around the edges. It was a lot of work for a very small detail, and it's difficult to see the different here on the screen. On paper, though, it's much more noticeable and adds a nice touch.
Master Image List Elements: The white text counts as a reverse. The background image and the album cover are both 4 color rasters. The three social media icons are all clipping paths.
Copyright statement: The background and the texture used on the social media icons were both downloaded from WeGraphics. The social media icons themselves were supplied on ANGEL by the instructor. The Microsoft Tag was made online at the Microsoft Tag site.
Monday, March 12, 2012
Adobe Tutorial #2
For this tutorial, I chose one of Straightening a crooked image.
Straightening an image that is crooked or tilted is a very common practice today. Previously, photographers needed to take extra care to ensure their photos would be straight as they were taking them. But, with new tools in photo-editing software like Photoshop, those can be easily fixed after shooting.
Now, Photoshop offers the ability to straighten and crop an image with one tool in one step.
Here is the starting image from the tutorial:
1) Open the file.
2) Select the Ruler Tool (nested under the Eyedropper Tool).
3) Click and drag the Ruler from one side of the image to the other, following the horizon line, and release.
4) In the Control Panel, click Straighten.
5) Voila! A straight and cropped image is before you, like the one below.
Straightening an image that is crooked or tilted is a very common practice today. Previously, photographers needed to take extra care to ensure their photos would be straight as they were taking them. But, with new tools in photo-editing software like Photoshop, those can be easily fixed after shooting.
Now, Photoshop offers the ability to straighten and crop an image with one tool in one step.
Here is the starting image from the tutorial:
1) Open the file.
2) Select the Ruler Tool (nested under the Eyedropper Tool).
3) Click and drag the Ruler from one side of the image to the other, following the horizon line, and release.
4) In the Control Panel, click Straighten.
5) Voila! A straight and cropped image is before you, like the one below.
Sources:
Thursday, March 1, 2012
Adobe Tutorial #1
I chose to do an Adobe Creative Suite Tutorial over making selections in Photoshop. Even though I'm fairly new to the Adobe Creative Suite, I know how difficult it is to make selections around areas like hair. This tutorial showed how Photoshop CS5 can make such selections much easier and produce far better results.
These are the starting images (supplied from the tutorial), which will be put together in a composite.
Here are the basic steps (assuming you already have your images open and ready to begin):
1) Make a general selection around the subject of the image, staying well within the troublesome areas (hair) as this will make the following steps much easier.
2) Once you have the selection made, go to the control panel and select Refine Edge.
3) In the Refine Edge dialog, select how you wish to view the selection (on white, black, layers, etc.).
4) Adjust the radius slider so that there is enough detail of the hair intact in the image, but the other areas of the subject are still fully there.
5) Click the Smart Radius check box. This causes Photoshop to adjust the radius to be smaller in smooth, high contrast areas and larger in soft, detailed areas like in the hair.
6) Make small adjustments as you see fit to the Smooth and Feather sliders to make sure the high contrast areas are nicely selected.
7) Use the Refine Radius and Erase Refinements Tools on the areas around the hair to bring detail back into the selection.
8) Check the Decontaminate Colors check box. Move the slider below to the right and, when you release, Photoshop will now replace the areas of the image with a whitish cast with different colored pixels so that they will blend better with the background image. Find a setting which you feel gives you the best results.
9) Choose an output for the selection, check Remember Settings, and click OK.
And here is my final composite after completing these steps.
These are the starting images (supplied from the tutorial), which will be put together in a composite.
Here are the basic steps (assuming you already have your images open and ready to begin):
1) Make a general selection around the subject of the image, staying well within the troublesome areas (hair) as this will make the following steps much easier.
2) Once you have the selection made, go to the control panel and select Refine Edge.
3) In the Refine Edge dialog, select how you wish to view the selection (on white, black, layers, etc.).
4) Adjust the radius slider so that there is enough detail of the hair intact in the image, but the other areas of the subject are still fully there.
5) Click the Smart Radius check box. This causes Photoshop to adjust the radius to be smaller in smooth, high contrast areas and larger in soft, detailed areas like in the hair.
6) Make small adjustments as you see fit to the Smooth and Feather sliders to make sure the high contrast areas are nicely selected.
7) Use the Refine Radius and Erase Refinements Tools on the areas around the hair to bring detail back into the selection.
8) Check the Decontaminate Colors check box. Move the slider below to the right and, when you release, Photoshop will now replace the areas of the image with a whitish cast with different colored pixels so that they will blend better with the background image. Find a setting which you feel gives you the best results.
9) Choose an output for the selection, check Remember Settings, and click OK.
And here is my final composite after completing these steps.
Sources:
Tuesday, February 28, 2012
Newspaper Ad
Our third project is a newspaper advertisement for the Collegio, the PSU newspaper. First thing's first, we had to understand how the newspaper was set up and how we would determine what size our ads would be. Using the supplied measurements for column widths and a formula, we were able to determine the different pricing for various sizes of ads. The formula is: (number of columns) x (height in inches) x $4 (per inch). This will give you the total cost for that specific ad size. We also had the width in actual inches for each of the column widths: 1 = 1.83", 2 = 3.79", 3 = 5.75", 4 = 7.71", 5 = 9.67", and 6 = 11.63". With all of this taken care of, we were then assigned our budget for the project, which was to spend as close to $97 without going over. Using both the formula and the column widths in inches, we were able to determine what sizes of ads we could choose from for our own projects.
Since it's a newspaper ad, it is to be in black and white only. Also, there would be no bleeds, but there would need to be margins of at least .125". Pretty basic stuff.
Now, on to the (semi-)interesting stuff...what my ad is for! I decided I would design an advertisement for my father's Automotive Body Repair business in Parsons: The Body Shop. For the past couple of years, I've been helping him create a new logo and sign to use for advertisement in the local paper, on Facebook, on T-shirts, etc. I created the outlines in AutoCad (while I was a senior in high school). I then used our school's vinyl cutter to cut all of the pieces, which I then applied to the sign myself. In case you're a curious creature and would like to see the logo and the sign, just have a peek at them here on the right.
Obviously, my target audience for the piece could be anyone with a vehicle. After I thought about it for a while, I realized that it's very likely that someone with a wrecked vehicle needing repairs may turn to the yellow pages of the phone book before they would check the newspaper. So, I decided I would include information on one of the other services my dad offers besides body work. About a year ago, he did a little experimenting with refinished cloudy, yellowed headlights (experimented he did on my car and several other family members, mind you). Since it was so successful, he began offering it to his customers. I figured there would be a higher number of readers with cloudy headlights than wrecked cars, so advertising this service would be a great way to get people to come in and see the work first-hand. Then, if and when they would need body work, they would already have a (hopefully) positive experience with us.
With the information I knew I needed to include in the ad and the preexisting logo (seen above), I decided to draw thumbnails for two different sizes of ads: 4 column x 6" (7.71" x 6") and 5 column x 4.5" (9.67" x 4.5"). Note that not all of them were designed to include the headlight service. I tried a couple ideas simply including the basic services and contact information of the business. Once I had my thumbs drawn, I decided it best to go with the headlight idea. Anyways, here they are:
I spent some time reviewing my thumbnail designs, and, after a phone call to my mom for some insight, I decided to go with the bottom-most design. The left portion will include information about the headlight restoration service, while the right will include general information about other repair services. Employee names, contact information, and a link to Facebook will be placed running along the bottom of the ad. Here's my rough sketch:
Here is a screen grab of my final image. I only made a couple of changes during the creation of the file. I included a bitmap (the bullet within the text on the right) and a vector image (the truck in the lower left).
Since it's a newspaper ad, it is to be in black and white only. Also, there would be no bleeds, but there would need to be margins of at least .125". Pretty basic stuff.
Now, on to the (semi-)interesting stuff...what my ad is for! I decided I would design an advertisement for my father's Automotive Body Repair business in Parsons: The Body Shop. For the past couple of years, I've been helping him create a new logo and sign to use for advertisement in the local paper, on Facebook, on T-shirts, etc. I created the outlines in AutoCad (while I was a senior in high school). I then used our school's vinyl cutter to cut all of the pieces, which I then applied to the sign myself. In case you're a curious creature and would like to see the logo and the sign, just have a peek at them here on the right.Obviously, my target audience for the piece could be anyone with a vehicle. After I thought about it for a while, I realized that it's very likely that someone with a wrecked vehicle needing repairs may turn to the yellow pages of the phone book before they would check the newspaper. So, I decided I would include information on one of the other services my dad offers besides body work. About a year ago, he did a little experimenting with refinished cloudy, yellowed headlights (experimented he did on my car and several other family members, mind you). Since it was so successful, he began offering it to his customers. I figured there would be a higher number of readers with cloudy headlights than wrecked cars, so advertising this service would be a great way to get people to come in and see the work first-hand. Then, if and when they would need body work, they would already have a (hopefully) positive experience with us.
With the information I knew I needed to include in the ad and the preexisting logo (seen above), I decided to draw thumbnails for two different sizes of ads: 4 column x 6" (7.71" x 6") and 5 column x 4.5" (9.67" x 4.5"). Note that not all of them were designed to include the headlight service. I tried a couple ideas simply including the basic services and contact information of the business. Once I had my thumbs drawn, I decided it best to go with the headlight idea. Anyways, here they are:
I spent some time reviewing my thumbnail designs, and, after a phone call to my mom for some insight, I decided to go with the bottom-most design. The left portion will include information about the headlight restoration service, while the right will include general information about other repair services. Employee names, contact information, and a link to Facebook will be placed running along the bottom of the ad. Here's my rough sketch:
Here is a screen grab of my final image. I only made a couple of changes during the creation of the file. I included a bitmap (the bullet within the text on the right) and a vector image (the truck in the lower left).
Master Image List Elements: Bitmap and Vector images. The vector is also a reverse.
Copyright statement: I created all image elements myself.
Sources:
McCue, Claudia. Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 80-81. Print.
Master Image List Descriptions
Bitmap - These contain only black and white (with no shades of gray). They are typically scanned and can have a very high resolution while maintaining a small file size. Bitmaps are created by changing the color mode of the image to Bitmap, and they are saved as .bmp files.
Reverse - This is where the image area is set so that the paper shows through, and the non-image area is created by the ink on the paper. This is most often done with text, but it can also be done with certain images. Reverses can be done in various color modes. They are simply created by setting them to Paper, instead of an ink color. Reverses can be done in .indd (InDesign) and .ai (Illustrator) file formats.
Vector Art - Vector images are free of pixels and are created through mathematical formulas. This means that they may be sized up and down without any effect on resolution. Vector images are great for logos and various other graphical elements, particularly when creating ones that require precision or scaling. They can be made in both RGB and CMYK color modes. Acceptable file formats are .eps (Encapsulated PostScript), .ai (Illustrator), and PDF.
Grayscale Raster - Grayscale images are compiled from a series of black and white pixels, along with those in various shades of gray. These are what we typically call Black and White images. Since these are raster images, their resolutions are greatly effected by scaling up or down. They can be created in Photoshop (or other image software) by selecting the Grayscale color mode. Though they can be created in several file formats, the best option is .tif.
Duotone Raster - Duotones are very similar to grayscale rasters, except they also include a spot color to add a tint to the image. Selecting the Duotone color mode and the desired spot color will produce a Duotone image. Keep in mind that if you are going to print the Duotone, that the spot color may need to be converted to CMYK before sending it off for output. File formats for these are a bit more strict and should be limited to the .eps file type.
Silhouette Raster -A silhouette is created through the use of a clipping path, commonly done in Photoshop. Silhouette rasters can be done in most color modes, but they should always be saved as an .eps file. This is the only way to have the image appear clipped without actually deleting the rest of the image.
Full Bleed Raster - Full bleed rasters can be done with grayscales, duotones, or four color images. What makes them special is that they need to be a high enough resolution to extend (bleed) off of all sides of the page. It can sometimes be difficult to find images large enough to be a full bleed without hindering resolution.
Four Color Raster - Four color rasters, obviously, use all four colors of the CMYK process. These are simply what we would refer to as full color images. The best format to save a four color raster is a .tif.
Screen Tint -A screen tint is done where a Pantone spot color is converted to a process color for printing. This is most often done when working with duotones that will be printing, since duotones begin with a grayscale image and a spot color.
Reverse - This is where the image area is set so that the paper shows through, and the non-image area is created by the ink on the paper. This is most often done with text, but it can also be done with certain images. Reverses can be done in various color modes. They are simply created by setting them to Paper, instead of an ink color. Reverses can be done in .indd (InDesign) and .ai (Illustrator) file formats.
Vector Art - Vector images are free of pixels and are created through mathematical formulas. This means that they may be sized up and down without any effect on resolution. Vector images are great for logos and various other graphical elements, particularly when creating ones that require precision or scaling. They can be made in both RGB and CMYK color modes. Acceptable file formats are .eps (Encapsulated PostScript), .ai (Illustrator), and PDF.
Grayscale Raster - Grayscale images are compiled from a series of black and white pixels, along with those in various shades of gray. These are what we typically call Black and White images. Since these are raster images, their resolutions are greatly effected by scaling up or down. They can be created in Photoshop (or other image software) by selecting the Grayscale color mode. Though they can be created in several file formats, the best option is .tif.
Duotone Raster - Duotones are very similar to grayscale rasters, except they also include a spot color to add a tint to the image. Selecting the Duotone color mode and the desired spot color will produce a Duotone image. Keep in mind that if you are going to print the Duotone, that the spot color may need to be converted to CMYK before sending it off for output. File formats for these are a bit more strict and should be limited to the .eps file type.
Silhouette Raster -A silhouette is created through the use of a clipping path, commonly done in Photoshop. Silhouette rasters can be done in most color modes, but they should always be saved as an .eps file. This is the only way to have the image appear clipped without actually deleting the rest of the image.
Full Bleed Raster - Full bleed rasters can be done with grayscales, duotones, or four color images. What makes them special is that they need to be a high enough resolution to extend (bleed) off of all sides of the page. It can sometimes be difficult to find images large enough to be a full bleed without hindering resolution.
Four Color Raster - Four color rasters, obviously, use all four colors of the CMYK process. These are simply what we would refer to as full color images. The best format to save a four color raster is a .tif.
Screen Tint -A screen tint is done where a Pantone spot color is converted to a process color for printing. This is most often done when working with duotones that will be printing, since duotones begin with a grayscale image and a spot color.
Sources:
McCue, Claudia. Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. Print.
Tuesday, February 21, 2012
Chapters 11 & 12 Summary
Chapter 11 -- InDesign CS4 Production Tips
One of the most prominent things to be familiar with when working with InDesign deals with placing images into the document through the use of the Place function. InDesign offers the option to place graphics with or without creating a box for it to rest in before placement. If you chose to make a box, you can use the Rectangle Frame tool or the Rectangle tool (any other form of enclosed shape will also accept placement of a graphic). The Rectangle Frame tool will create a shape with a fill and stroke value of None, whereas the other tools create objects with strokes and nothing in the middle. This can become an issue if these objects are at the top of the stacking order, because when you go to place a graphic, it can be put inside that empty object instead of the one you were aiming for. Placing an image without first creating a frame can save you a lot of time since InDesign will automatically create a frame for the image once you place it.
If you don't like going through the menus to place an image, you also have the option to drag and drop an image onto the layout. Dragging and dropping from a folder within the Finder or Windows Explorer (depending on if you are using Macintosh or Windows) is equivalent to the Place command, and it provides links for the graphics. You can do the same thing through Adobe Bridge, which can more easily be placed over the InDesign window. Additionally, Bridge will display high-quality thumbnails. However, you should be aware of the potential issues caused when doing so from some applications. Dragging and dropping or copy/pasting an image from Photoshop will leave you with a number of issues and will not provide a link in the Links panel. Also, using this method to insert content from Illustrator can also cause some problems with transparencies and shadows.
The Links panel will show you information on all of the graphics placed into the document, and it will show which of these have been modified or are missing. Modified links will be indicated by a small yellow triangle next to the filename, while missing links will be indicated by a red stop sign. Additionally, you can view other details about each link within the panel. To resolve missing links, you much Relink them, using the button at the bottom of the panel. Then you will navigate to the file you wish to relink to. You can also click Update Link to update any modified graphics within the document.
Transforming graphics in InDesign can be done in several ways. Using the Selection tool, select the object, then use either the Scale or Free Transform tool to scale both frame and its contents. Also, you can change the percentage values into the scale fields of the Control panel. Command+Shift and dragging a frame corner will also allow you to scale an object. Note that using the Selection tool will only select the frame, thus the scale will always appear to be 100%. Clicking on the frame with the Direct Selection tool will select only the graphic placed inside. This is where you will fine the true scale percentage of the object.
You can use Photoshop, Illustrator, or InDesign to add a drop shadow to an object, and each will do a good enough job. InDesign and Illustrator are especially good for making drop shadows which will interact with other objects within the document. For more complicated shadowing, it's best to do so in Photoshop. However, keep in mind that InDesign can only handle these to a certain extent. Shadows falling onto other elements in InDesign will not necessarily work out. Special options can resolve this issue.
The Swatches panel provides a place to keep colors used within the document as well as ones created in the Color panel. Those created in the Color panel will only appear if you have gone into the Swatches panel menu and selected Add Unnamed Colors. This option will find all used colors made from the Color panel and adds them to the Swatches. Pay close attention to the color mode of the swatches, that is, if they are process or spot colors. A process color will display a gray square next to the swatch name, and a spot color will show a white square with a gray circle (spot) in the center. Also, note any swatches that should be the same, but have different names. A RIP will see each of these as a different color and will output each one separately. A solution is to use Ink Manager, which intended to fix spot-color errors through remapping. This will remap each of the extra, differently named swatches to a single ink color. You can access the Ink Manager through the Separations Preview panel menu, the Swatches panel menu, and in the Print and Export dialogs. First, select the spot color you intend to remap, then select the correct color from the Ink Alias list. All of these changes take place for output and will have no effect on the document itself, including the Swatches panel.
Chapter 12 -- Acrobat Production Tips
Though PDFs (Portable Document Files) are generally viewed in an application like Adobe Acrobat Reader, they are created elsewhere. PDFs can come from scanners, images, web pages, and software like InDesign and Illustrator, and a few other places. There are several settings associated with PDF creation. These include Standard, Smallest File Size, and Press Quality, which are self-explanatory, as well as various PDF/X and PDF/A settings, which are based on specific standards. The "X" stands for "exchange," meaning it can be exchanged between creators and recipients. The "A" stands for "archive," meaning that they are aimed for towards record keeping and, of course, archival. Each standard enables certain specific settings within the PDF and will be intended for different viewing, outputting, etc. The most common standard, and the best to choose when no standard is specified, is PDF/X-1a. This standard will have a PDF version of 5.0, a downsample/threshold of 300/450, and maximum compression image quality. Also, no changes will be made to the color policy, and it will be available in Illustrator, Photoshop, InDesign, and Distiller.
To make a PDF in InDesign, Illustrator, or Photoshop using the Export command. This will retain layers, live transparency, and interactivity. Some printers still prefer you use Distiller to create PDFs, but in most cases exporting is faster and easier, while Distiller is simply a longer way of doing things.
Editing PDFs in Acrobat is rather limited. However, there are three Advanced Editing tools available for your use. TouchUp Text will select and edit text as long as the proper fonts are installed. TouchUp Object will select raster and vector images to edit in Photoshop or Illustrator. TouchUp Reading Order, though rarely used, can modify objects to make files for visually impaired users. These options are limited because PDFs are intended to maintain the integrity of the document.
One of the most prominent things to be familiar with when working with InDesign deals with placing images into the document through the use of the Place function. InDesign offers the option to place graphics with or without creating a box for it to rest in before placement. If you chose to make a box, you can use the Rectangle Frame tool or the Rectangle tool (any other form of enclosed shape will also accept placement of a graphic). The Rectangle Frame tool will create a shape with a fill and stroke value of None, whereas the other tools create objects with strokes and nothing in the middle. This can become an issue if these objects are at the top of the stacking order, because when you go to place a graphic, it can be put inside that empty object instead of the one you were aiming for. Placing an image without first creating a frame can save you a lot of time since InDesign will automatically create a frame for the image once you place it.
If you don't like going through the menus to place an image, you also have the option to drag and drop an image onto the layout. Dragging and dropping from a folder within the Finder or Windows Explorer (depending on if you are using Macintosh or Windows) is equivalent to the Place command, and it provides links for the graphics. You can do the same thing through Adobe Bridge, which can more easily be placed over the InDesign window. Additionally, Bridge will display high-quality thumbnails. However, you should be aware of the potential issues caused when doing so from some applications. Dragging and dropping or copy/pasting an image from Photoshop will leave you with a number of issues and will not provide a link in the Links panel. Also, using this method to insert content from Illustrator can also cause some problems with transparencies and shadows.
The Links panel will show you information on all of the graphics placed into the document, and it will show which of these have been modified or are missing. Modified links will be indicated by a small yellow triangle next to the filename, while missing links will be indicated by a red stop sign. Additionally, you can view other details about each link within the panel. To resolve missing links, you much Relink them, using the button at the bottom of the panel. Then you will navigate to the file you wish to relink to. You can also click Update Link to update any modified graphics within the document.
Transforming graphics in InDesign can be done in several ways. Using the Selection tool, select the object, then use either the Scale or Free Transform tool to scale both frame and its contents. Also, you can change the percentage values into the scale fields of the Control panel. Command+Shift and dragging a frame corner will also allow you to scale an object. Note that using the Selection tool will only select the frame, thus the scale will always appear to be 100%. Clicking on the frame with the Direct Selection tool will select only the graphic placed inside. This is where you will fine the true scale percentage of the object.
You can use Photoshop, Illustrator, or InDesign to add a drop shadow to an object, and each will do a good enough job. InDesign and Illustrator are especially good for making drop shadows which will interact with other objects within the document. For more complicated shadowing, it's best to do so in Photoshop. However, keep in mind that InDesign can only handle these to a certain extent. Shadows falling onto other elements in InDesign will not necessarily work out. Special options can resolve this issue.
The Swatches panel provides a place to keep colors used within the document as well as ones created in the Color panel. Those created in the Color panel will only appear if you have gone into the Swatches panel menu and selected Add Unnamed Colors. This option will find all used colors made from the Color panel and adds them to the Swatches. Pay close attention to the color mode of the swatches, that is, if they are process or spot colors. A process color will display a gray square next to the swatch name, and a spot color will show a white square with a gray circle (spot) in the center. Also, note any swatches that should be the same, but have different names. A RIP will see each of these as a different color and will output each one separately. A solution is to use Ink Manager, which intended to fix spot-color errors through remapping. This will remap each of the extra, differently named swatches to a single ink color. You can access the Ink Manager through the Separations Preview panel menu, the Swatches panel menu, and in the Print and Export dialogs. First, select the spot color you intend to remap, then select the correct color from the Ink Alias list. All of these changes take place for output and will have no effect on the document itself, including the Swatches panel.
Chapter 12 -- Acrobat Production Tips
Though PDFs (Portable Document Files) are generally viewed in an application like Adobe Acrobat Reader, they are created elsewhere. PDFs can come from scanners, images, web pages, and software like InDesign and Illustrator, and a few other places. There are several settings associated with PDF creation. These include Standard, Smallest File Size, and Press Quality, which are self-explanatory, as well as various PDF/X and PDF/A settings, which are based on specific standards. The "X" stands for "exchange," meaning it can be exchanged between creators and recipients. The "A" stands for "archive," meaning that they are aimed for towards record keeping and, of course, archival. Each standard enables certain specific settings within the PDF and will be intended for different viewing, outputting, etc. The most common standard, and the best to choose when no standard is specified, is PDF/X-1a. This standard will have a PDF version of 5.0, a downsample/threshold of 300/450, and maximum compression image quality. Also, no changes will be made to the color policy, and it will be available in Illustrator, Photoshop, InDesign, and Distiller.
To make a PDF in InDesign, Illustrator, or Photoshop using the Export command. This will retain layers, live transparency, and interactivity. Some printers still prefer you use Distiller to create PDFs, but in most cases exporting is faster and easier, while Distiller is simply a longer way of doing things.
Editing PDFs in Acrobat is rather limited. However, there are three Advanced Editing tools available for your use. TouchUp Text will select and edit text as long as the proper fonts are installed. TouchUp Object will select raster and vector images to edit in Photoshop or Illustrator. TouchUp Reading Order, though rarely used, can modify objects to make files for visually impaired users. These options are limited because PDFs are intended to maintain the integrity of the document.
Sources:
McCue, Claudia. "InDesign CS4 Production Tips." Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 203-258. Print.
McCue, Claudia. "Acrobat Production Tips." Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 259-296. Print.
Thursday, February 16, 2012
Microsoft Tag
Several weeks ago, I discussed QR Codes. Today, I'll be touching on a similar technology called Microsoft Tag. Generally, they're pretty much the same thing, but of course, one is more proprietary (and a bit more interesting to look at).
Microsoft Tag is a version of two-dimensional barcodes that can be scanned using any smart phone that has the free Microsoft Tag app installed. Like QR codes, these tags can be placed almost any place a user might see, and, once scanned, they can connect to the user to online content. The only downside here is that scanning Microsoft Tags can only be done with the Microsoft Tag app, not with a general barcode scanner like the ones QR codes require.
Generating one of these tags is fairly quick and simple, so long as you are registered with a Windows Live ID. Once you've signed in (or signed up), you can begin creating your tags. I'm writing all of this under assumptions, as I experienced quite a few issues when trying to sign up for a Windows Live ID, and as a result, I was not able to complete the sign-up. Technology isn't always perfect, despite what we'd like to believe.
Anyways, according to the Microsoft Tag site, you will simply log into the Tag Manager using your Windows Live ID login. Then, click on "Create a Tag." After that, you just start punching in all your information needed to create your tag. Click the Download button and decide on the size of tag you want, the format you'd like it to be in, and whether it will be a Basic or Custom Tag. Then, your tag will be downloaded and ready to put all over the place!
Microsoft Tag is a version of two-dimensional barcodes that can be scanned using any smart phone that has the free Microsoft Tag app installed. Like QR codes, these tags can be placed almost any place a user might see, and, once scanned, they can connect to the user to online content. The only downside here is that scanning Microsoft Tags can only be done with the Microsoft Tag app, not with a general barcode scanner like the ones QR codes require.
Generating one of these tags is fairly quick and simple, so long as you are registered with a Windows Live ID. Once you've signed in (or signed up), you can begin creating your tags. I'm writing all of this under assumptions, as I experienced quite a few issues when trying to sign up for a Windows Live ID, and as a result, I was not able to complete the sign-up. Technology isn't always perfect, despite what we'd like to believe.
Anyways, according to the Microsoft Tag site, you will simply log into the Tag Manager using your Windows Live ID login. Then, click on "Create a Tag." After that, you just start punching in all your information needed to create your tag. Click the Download button and decide on the size of tag you want, the format you'd like it to be in, and whether it will be a Basic or Custom Tag. Then, your tag will be downloaded and ready to put all over the place!
The option to create a Custom Tag, I think, is the real "selling" point for Microsoft Tags. You have the ability to create completely abstract-looking tags like this...
 |
| More Examples Here |
Or, you can place an image, graphic, solid color, or gradient behind the tag like this...
 |
| More Examples Here |
You also have the ability to track the interactions with your tags using the Tag Manager's reporting tools (similar to Google Analytics). With this, you can see what, when, where, and how many times a tag has been scanned. Each of these bits of information can be used to find out the most effective uses of the tags and how to improve return in the future.
Even though created a Microsoft Tag isn't quite as simple as creating a QR code and a specific app is required for scanning, there are several advantages with it's Custom Tag feature. If appearance is a top priority to you, Microsoft Tag can definitely be a great option for you. Plus, this service offers all of the same features you would get when using QR codes.
So, with all of this in mind, happy tagging!
Sources:
Wednesday, February 15, 2012
Chapters 8, 9, & 10 Summary
Chapter 8 -- Job Submission
When it comes to getting jobs printed, it's important to keep in touch with employees of the printing company to ensure both parties are happy in the end. When you're initially talking with the printer, you'll likely be talking to a saleperson. In the best cases, they'll be sure to ask plenty of questions about the job at hand, let you know ahead of time how you can resolve any potential problems before they happen, and give you an idea of what to expect once it is finished. Additionally, the salesperson will be the one responsible for obtaining all of your information and the specifications for the job in order to give you a quote for the cost and an estimated production timeline. After that, you'll begin speaking to a CSR (customer service representative). This person will be more experienced as a professional printer, and they'll be the one giving you specific information about the job. It can be very beneficial to you to have a working relationship with as many people as necessary within a printing company so that you know as much as possible about the process. The more you know, the more smoothly everything will go.
When planning for printing, you should make sure that you've established all of the most vital parameters including external document size, adequate bleeds, internal panel sizes (if any), images, graphics, or text that may interact with folds, perforations, die cuts, or trimming, the correct number of pages, and the correct number and type of inks for the job. You should also make sure to check your raster and vector images to make sure they are appropriate for the job and meet any requirements established by the printer. For rasters, keep an eye on: the resolution (the general minimum is 300 ppi), the color space for the image (RGB, CMYK, grayscale, monochrome, and duotone are the major ones), any necessary retouching to be done either by yourself or the printer, that any scans or digital images are rotated or scaled properly so that detail is not compromised, and that you have followed proper file naming techniques for your own system and the printer's system(s). For vector graphics, make sure you are using the correct colors and color naming, avoid embedding images if possible as it will be the safest route, embed fonts or outline text (keeping the EULAs in mind), check text for proper spelling and grammar, eliminate any remnants of of empty text, and include an adequate amount of bleed.
The final step before production is to get proofs made. The types of proofs are image proofs and page proofs. Image proofs are made for each of the individual images on the layout to show you how they will look on the final print. This is very helpful for both scans and digital images because it can help you to be sure of the sizing, cropping, orientations, color, and detail. Page proofs can be offered as individual pages or as an imposed proof, which shows multiple pages on one sheet (how they will be printed). These proofs are extremely important, as they provide an opportunity to check for size, bleeds, image and text areas, correct fonts and images, any special effects, crossover art, etc. Getting a printed proof of the job before printing can save you a lot of time and stress, and likely a lot of money.
Chapter 9 -- Photoshop CS4 Production Tips
One of the biggest issues in working with images in Photoshop deals with scaling and rotating. If you're scanning the image, try to scan it in at the appropriate size, rather than scaling it within Photoshop or other software. Also, if the image is to appear multiple times at different sizes, take that into account as well. If the two images are relatively close in size, it is generally safe to simply use the scale tool to reduce the larger image down to the size of the smaller one. However, if the images are considerably different in size, it is best to make two separate scans. If scaling is necessary, doing so in Photoshop will give you more control with resampling and sizing. Whenever possible, it is always best to scan images at the correct angle. This isn't always possible if you are taking the photograph yourself. So, if you must rotate the image, again, do so in Photoshop. Since rotating the image multiple times will lessen the detail of the image, try to determine the total angle of rotation first, and do it all at once.
Resolution is another big thing to keep in mind when working with images in Photoshop. Similar to working with image size, start off with as much information (higher resolution) as possible, because you can delete it, but you can't necessarily create it. 300 ppi is generally what is used, however, certain situations could call for a higher or lower resolution.
The two basic color spaces you'll deal with are RGB and CMYK. RGB is the same color space as what we see with our eyes and what is displayed on monitors and screens. It is also the color space used by scanners and cameras. It can be quite advantageous to keep images in RGB while you are working with them and to refrain from converting them to CMYK until you are ready to print. CMYK, or process color, is using in printing. Generally, you'll be converting your images to this color space to have them printed, unless you are having them printed as a grayscale or a duotone.
With advancements in software in the Adobe Creative Suite, Illustrator and InDesign can handle unflattened layered PSD files, so compatibility is not an issue. However, flattening a Photoshop document with a large file size can be more efficient if they are to be placed into a layout. Also, flattening can prevent others from editing your image, but if you chose to do so, be sure to keep an unflattened version available to you just in case. Similarly, transparencies in Photoshop files work with both Illustrator and InDesign, but these programs do not handle the blending modes used by Photoshop. This issue can also be solved by flattening the image before placing it into another program. Again, be sure to keep the original files as well as the flattened ones, in case further adjustments or changes need to be made.
When creating a path in Photoshop, there are a few tricks to making it smooth and appealing. Using a 10-pixel (approximately) tolerance can make a smoother line, but the path is loosely fitted to the object and some areas may be cut off. Though it can be painstaking, using the Pen tool will produce a better outline for the image. Also, it's best to leave the "Flatness" value (in the Clipping Path options) blank, so that whatever RIP that will be processing the file can use the appropriate value for itself. Finally, be sure that all clipping paths are designated as such within the Paths panel, otherwise, they will not really be a clipping path.
Duotones are images that consist of only two colors, one of which is almost always black while the other is generally a specific spot color. This option can make your job a great deal more appealing without having as much of an affect on your budget as a full process job would. When creating a duotone, you must first convert the image to a grayscale, if it isn't one already. Then, select your colors. If you plan on using black, simply select the "Black" ink listing (Note: This is not a spot color. The printer will use their plain black ink for this.). Don't attempt to change the name of the black ink, as this will cause the printer to use a spot color, which is what you're trying to avoid in the first place.
Chapter 10 -- Illustrator CS4 Production Tips
Illustrator uses a page-like feature called artboards. These artboards don't correlate to actual page sizes of documents created in the program. When you create a new file, it defaults to include one artboard with the dimensions set when you select New Document. Also, in this dialog box, you can change not only the size of the artboard, but the number of them to be created. Additionally, new artboards can be created and edited at any time within an existing document through the use of the Artboard tool. You simply drag your cursor to create an artboard of that size. Pressing Enter after you have created an artboard orgoing to the Artboard Options icon will open a dialog where you can adjust the dimensions of the selected artboard. There is also a list of preset sizes to choose from that includes most of the common print sizes. Finally, all artboards can be modified and moved using the Artboard tool into any size and position you want; you can even overlap them if you choose. Any artwork placed outside of artboards will not be printed or exported, unless you choose the Ignore Artboards option when outputting.
Bleed settings can be specified when creating a new document or when editing an existing document in the "Document Setup" dialog. These bleeds can be asymmetrical (different on each side), and they can be set to any measurement up to one inch. The bleed value will be used on all artboards, meaning no artboard can have a unique bleed.
Even though today's RIPs can handle a great deal more than ones in the past, it is still a good idea to simplify complex art. Though using numerous points when drawing with the Pen tool might seem like it would make for a better drawing, images can often come out just the opposite. A function called Simplify will modify objects and reduce the total number of points used within them. In the Simplify dialog, you can use the Curve Precision slider to control the amount of points retained in a selection. Checking the Preview box when making alterations in this dialog allows you to see the changes real time to determine if you are happy with the results before committing to them. It's important to note that reducing the Curve Precision to anything much less than 95% will start to erode the detail in the image and delete many needed points. Also, extra or empty points somewhere in the artboard can cause the bounding box for the file to be far larger than necessary. Illustrator offers a Clean Up function, that, when used, deletes any stray points, objects without fills or stroke, and all empty text paths. Fortunately, Clean Up is smart enough to know not to delete masks, which don't have a fill or stroke.
Illustrator also includes some live effects to be used on objects, meaning that the changes you make to them can be edited, hidden, or deleted after applying them. The filters of former versions of Illustrator have been removed, because not only were they redundant to the Effects, but also they made permanent changes and altered the actual object. The Effects panel includes both Illustrator and Photoshop effects. Illustrator Effects are used on interiors and edges of vectors and Clipping Masks. Photoshop Effects affect only the interior of vectors and Clipping Paths.
There are many options in Illustrator to make use of it's transparency capabilities. Blending modes like Difference and Exclusion cause areas to be converted to CMYK (or RGB depending on the specified color mode of the document). Also, applying blending modes to spot colors in Illustrator and placing them into InDesign for output to CMYK could be problematic. Making use of Overprint Preview can help you be sure that what you are seeing on the display is correct. Similar to working with transparencies in Photoshop, you may need to flatten your Illustrator images before sending them off for printing.
Upon placing an image in Illustrator, you must choose whether you want to Link or Embed the image. If you choose to Link the image, the overall size of the Illustrator file will be smaller, and you still have the ability to edit or correct those images with their native programs. Linking provides no issues, so long as you make sure to keep all links up to date and to supply them to the printer when the time comes. Embedding the image into Illustrator will result in a larger file size, just as you would expect. Even though this seems like it is an easier option for keeping things organized, it can make it very difficult to edit the image after it has been placed. If you still have the original, you can simple click Relink on your Links panel and choose the image. You would then edit that image, update the link, and embed it again. However, it happens quite often that you do not have access to the original image, and Illustrator will not let you extract it so it may be edited. But, you can select the image and copy/paste it into a Photoshop document and edit it from there. If you are planning on embedding images, it's best to make sure they require no further editing afterwards, as it is just much easier that way.
When it comes to getting jobs printed, it's important to keep in touch with employees of the printing company to ensure both parties are happy in the end. When you're initially talking with the printer, you'll likely be talking to a saleperson. In the best cases, they'll be sure to ask plenty of questions about the job at hand, let you know ahead of time how you can resolve any potential problems before they happen, and give you an idea of what to expect once it is finished. Additionally, the salesperson will be the one responsible for obtaining all of your information and the specifications for the job in order to give you a quote for the cost and an estimated production timeline. After that, you'll begin speaking to a CSR (customer service representative). This person will be more experienced as a professional printer, and they'll be the one giving you specific information about the job. It can be very beneficial to you to have a working relationship with as many people as necessary within a printing company so that you know as much as possible about the process. The more you know, the more smoothly everything will go.
When planning for printing, you should make sure that you've established all of the most vital parameters including external document size, adequate bleeds, internal panel sizes (if any), images, graphics, or text that may interact with folds, perforations, die cuts, or trimming, the correct number of pages, and the correct number and type of inks for the job. You should also make sure to check your raster and vector images to make sure they are appropriate for the job and meet any requirements established by the printer. For rasters, keep an eye on: the resolution (the general minimum is 300 ppi), the color space for the image (RGB, CMYK, grayscale, monochrome, and duotone are the major ones), any necessary retouching to be done either by yourself or the printer, that any scans or digital images are rotated or scaled properly so that detail is not compromised, and that you have followed proper file naming techniques for your own system and the printer's system(s). For vector graphics, make sure you are using the correct colors and color naming, avoid embedding images if possible as it will be the safest route, embed fonts or outline text (keeping the EULAs in mind), check text for proper spelling and grammar, eliminate any remnants of of empty text, and include an adequate amount of bleed.
The final step before production is to get proofs made. The types of proofs are image proofs and page proofs. Image proofs are made for each of the individual images on the layout to show you how they will look on the final print. This is very helpful for both scans and digital images because it can help you to be sure of the sizing, cropping, orientations, color, and detail. Page proofs can be offered as individual pages or as an imposed proof, which shows multiple pages on one sheet (how they will be printed). These proofs are extremely important, as they provide an opportunity to check for size, bleeds, image and text areas, correct fonts and images, any special effects, crossover art, etc. Getting a printed proof of the job before printing can save you a lot of time and stress, and likely a lot of money.
Chapter 9 -- Photoshop CS4 Production Tips
One of the biggest issues in working with images in Photoshop deals with scaling and rotating. If you're scanning the image, try to scan it in at the appropriate size, rather than scaling it within Photoshop or other software. Also, if the image is to appear multiple times at different sizes, take that into account as well. If the two images are relatively close in size, it is generally safe to simply use the scale tool to reduce the larger image down to the size of the smaller one. However, if the images are considerably different in size, it is best to make two separate scans. If scaling is necessary, doing so in Photoshop will give you more control with resampling and sizing. Whenever possible, it is always best to scan images at the correct angle. This isn't always possible if you are taking the photograph yourself. So, if you must rotate the image, again, do so in Photoshop. Since rotating the image multiple times will lessen the detail of the image, try to determine the total angle of rotation first, and do it all at once.
Resolution is another big thing to keep in mind when working with images in Photoshop. Similar to working with image size, start off with as much information (higher resolution) as possible, because you can delete it, but you can't necessarily create it. 300 ppi is generally what is used, however, certain situations could call for a higher or lower resolution.
The two basic color spaces you'll deal with are RGB and CMYK. RGB is the same color space as what we see with our eyes and what is displayed on monitors and screens. It is also the color space used by scanners and cameras. It can be quite advantageous to keep images in RGB while you are working with them and to refrain from converting them to CMYK until you are ready to print. CMYK, or process color, is using in printing. Generally, you'll be converting your images to this color space to have them printed, unless you are having them printed as a grayscale or a duotone.
With advancements in software in the Adobe Creative Suite, Illustrator and InDesign can handle unflattened layered PSD files, so compatibility is not an issue. However, flattening a Photoshop document with a large file size can be more efficient if they are to be placed into a layout. Also, flattening can prevent others from editing your image, but if you chose to do so, be sure to keep an unflattened version available to you just in case. Similarly, transparencies in Photoshop files work with both Illustrator and InDesign, but these programs do not handle the blending modes used by Photoshop. This issue can also be solved by flattening the image before placing it into another program. Again, be sure to keep the original files as well as the flattened ones, in case further adjustments or changes need to be made.
When creating a path in Photoshop, there are a few tricks to making it smooth and appealing. Using a 10-pixel (approximately) tolerance can make a smoother line, but the path is loosely fitted to the object and some areas may be cut off. Though it can be painstaking, using the Pen tool will produce a better outline for the image. Also, it's best to leave the "Flatness" value (in the Clipping Path options) blank, so that whatever RIP that will be processing the file can use the appropriate value for itself. Finally, be sure that all clipping paths are designated as such within the Paths panel, otherwise, they will not really be a clipping path.
Duotones are images that consist of only two colors, one of which is almost always black while the other is generally a specific spot color. This option can make your job a great deal more appealing without having as much of an affect on your budget as a full process job would. When creating a duotone, you must first convert the image to a grayscale, if it isn't one already. Then, select your colors. If you plan on using black, simply select the "Black" ink listing (Note: This is not a spot color. The printer will use their plain black ink for this.). Don't attempt to change the name of the black ink, as this will cause the printer to use a spot color, which is what you're trying to avoid in the first place.
Chapter 10 -- Illustrator CS4 Production Tips
Illustrator uses a page-like feature called artboards. These artboards don't correlate to actual page sizes of documents created in the program. When you create a new file, it defaults to include one artboard with the dimensions set when you select New Document. Also, in this dialog box, you can change not only the size of the artboard, but the number of them to be created. Additionally, new artboards can be created and edited at any time within an existing document through the use of the Artboard tool. You simply drag your cursor to create an artboard of that size. Pressing Enter after you have created an artboard orgoing to the Artboard Options icon will open a dialog where you can adjust the dimensions of the selected artboard. There is also a list of preset sizes to choose from that includes most of the common print sizes. Finally, all artboards can be modified and moved using the Artboard tool into any size and position you want; you can even overlap them if you choose. Any artwork placed outside of artboards will not be printed or exported, unless you choose the Ignore Artboards option when outputting.
Bleed settings can be specified when creating a new document or when editing an existing document in the "Document Setup" dialog. These bleeds can be asymmetrical (different on each side), and they can be set to any measurement up to one inch. The bleed value will be used on all artboards, meaning no artboard can have a unique bleed.
Even though today's RIPs can handle a great deal more than ones in the past, it is still a good idea to simplify complex art. Though using numerous points when drawing with the Pen tool might seem like it would make for a better drawing, images can often come out just the opposite. A function called Simplify will modify objects and reduce the total number of points used within them. In the Simplify dialog, you can use the Curve Precision slider to control the amount of points retained in a selection. Checking the Preview box when making alterations in this dialog allows you to see the changes real time to determine if you are happy with the results before committing to them. It's important to note that reducing the Curve Precision to anything much less than 95% will start to erode the detail in the image and delete many needed points. Also, extra or empty points somewhere in the artboard can cause the bounding box for the file to be far larger than necessary. Illustrator offers a Clean Up function, that, when used, deletes any stray points, objects without fills or stroke, and all empty text paths. Fortunately, Clean Up is smart enough to know not to delete masks, which don't have a fill or stroke.
Illustrator also includes some live effects to be used on objects, meaning that the changes you make to them can be edited, hidden, or deleted after applying them. The filters of former versions of Illustrator have been removed, because not only were they redundant to the Effects, but also they made permanent changes and altered the actual object. The Effects panel includes both Illustrator and Photoshop effects. Illustrator Effects are used on interiors and edges of vectors and Clipping Masks. Photoshop Effects affect only the interior of vectors and Clipping Paths.
There are many options in Illustrator to make use of it's transparency capabilities. Blending modes like Difference and Exclusion cause areas to be converted to CMYK (or RGB depending on the specified color mode of the document). Also, applying blending modes to spot colors in Illustrator and placing them into InDesign for output to CMYK could be problematic. Making use of Overprint Preview can help you be sure that what you are seeing on the display is correct. Similar to working with transparencies in Photoshop, you may need to flatten your Illustrator images before sending them off for printing.
Upon placing an image in Illustrator, you must choose whether you want to Link or Embed the image. If you choose to Link the image, the overall size of the Illustrator file will be smaller, and you still have the ability to edit or correct those images with their native programs. Linking provides no issues, so long as you make sure to keep all links up to date and to supply them to the printer when the time comes. Embedding the image into Illustrator will result in a larger file size, just as you would expect. Even though this seems like it is an easier option for keeping things organized, it can make it very difficult to edit the image after it has been placed. If you still have the original, you can simple click Relink on your Links panel and choose the image. You would then edit that image, update the link, and embed it again. However, it happens quite often that you do not have access to the original image, and Illustrator will not let you extract it so it may be edited. But, you can select the image and copy/paste it into a Photoshop document and edit it from there. If you are planning on embedding images, it's best to make sure they require no further editing afterwards, as it is just much easier that way.
Sources:
McCue, Claudia. "Job Submission." Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 125-142. Print.
McCue, Claudia. "Photoshop CS4 Production Tips." Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 143-167. Print.
McCue, Claudia. "Illustrator CS4 Production Tips." Real World Print Production with Adobe Creative Suite Applications. Berkeley, CA: Peachpit, 2009. 169-202. Print.
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