Thursday, 13 October 2011

Print Seminar - 7 things you need to know

Lorenzo Imparts his wisdom.

1. Colour Models
2. Formats
3. Artwork
4. Stock
5. Processes
6. Finishing
7. Costing


1.

CMYK
RGB
Heaxachrome
Spot Colour
PMS (pantone matching system)


2.

Standard ISO paper sizes
A & SRA sizes (SRA is slightly bigger for full bleed printing)
Imperial (North America)
Metric (rest of the world)
Tabloid (compact), Broadsheet, Berliner
Envelope 'C' sizes


3.

Document set up
File formats and fonts
Spell check
Colour specification
Printer marks
Pre flight check
Mock ups
Proof
Sign off - really important (get the client to sign off the work, that way you wont be to blame if they aren't happy with it later)


4.

Weights (gsm/grams per square metre)
Finish - gloss/silk/matt/coated/uncoated etc
Laid or wove (way the fibres go down)
Boards, Carton (white on one side, grey board on the other)
Many many more variations
Plastics and acetates


5.

Litho
Gravure
Screenprint
Flexo
Pad
Six Colour
Laminate - gloss/matt
Foil Blocking
Embossing - De-bossing
Spot UV Varnish


6.

Binding (what type?)
Folding and creasing
Die stamping/drilling


7.

Get a quote early on (for when you show the client and they ask how much will it be and you don't say 'I don't know')
Always give an identical specification to 3 print estimators to keep it consistent when comparing prices.
Learn roughly how much things cost (unit cost)
Understand viable minimum quantities
Extras and Author corrections (anything above what the client quoted to you to send to the printers)
Delivery? (how long will it take? how much will it cost? shipping cost? delivery charge? is it extra?)

Tuesday, 11 October 2011

Software Workshop 3 - InDesign


INDESIGN

New file - document, book or library

document is for small publications
book is for highly complex books with hundreds of pages
library is like a swatch palette of information

Page size - defined by the content, design purpose.

The actually page size is defined by the actual designed, printed and trimmed final piece. so if your book will be A3, the page size will be A3.

you can choose fro mthe preset page sizes or type in your own dimensions underneath. This would be good for say a business card which is too small to print on an A4 sheet of paper.

Columns
Margins
Bleed and slug

All to do with GUIDES.

Guides don't specify where content can and cant go and they don't affect the final print they just help you with structuring your layout.

3mm is the standard bleed value that you work to. If you bleed something off you must make sure that the image or text is extending over the edge of the page so that when you trim it down it wont have a whit line where you may or may not have made a mistake.

Once you have made the document you will see 3 rectangles.
The black one is the boarder of the page.
The red one is the bleed line.
And the Pink and purple one is the margin line.

Indesign has much less default swatches in the swatch palette. To apply colour you have to make an image or text box first, then you select the box you you would like to fill and click on the colour swatch you would like to use. The colour will automatically fill the area. For the stroke use the stroke pallet and you can increase and change the colour of the outline stroke of the box.

You can apply the same technique to colouring text simply by highlighting the text you want to change and using the swatch and stroke palettes.

To create a new swatch you simply go to the swatch palette menu and select new colour swatch and use the colour sliders in the pop up window to create a new colour, then just click ok to create it and it will automatically appear in your swatch palette.

All the colour swatches in the Indesign palette are global so if you change the ink mix of one of then it will update every single instance of that colour in your work. Good time saving technique.

This is also useful for making a new tint swatch, It's even easier than photoshop and illustrator. All you do is go to new tint swatch in the swatch palette menu and use the tint colour slide at the bottom of the popup window and then click ok, again the swatch will appear automatically in the swatch palette.

If you were to then change the original 100% swatch that you created the tints from then the rest of the tint swatches would change accordingly. So everything is linked and designed to help you change thinks quickly to get lots of variations of colour.

When on the new swatch colour window you can select different colour libraries and pantone books to get a colour swatch that already exists. Useful for when you have been given a colour reference by a client.
the swatch will come up in the swatch palette but instead of having the global square symbol next to it, it will have a spot colour symbol next to it instead to signify that it wont be printed in CMYK colour mode. The symbol is a square with a grey circle inside it.

IMAGES

If importing from Photoshop.

Things to consider -

1. Colour Mode - usually CMYK but can be grayscale, duotone, monotone (not RGB)
2. Resolution 300dpi.
3. Actual Size. Mustn't change the image size on Indesign, making it larger will decrease the resolution and become pixelated.
4. File Format - TIFF , PDF, JPEG, PSD (TIFF and PSD are the recommended file types) you can use JPEG but because it's a compression file it lowers the quality of the image.

PSD files are good if you want to work with transparency as they maintain the transparent areas in the design, TIFF files don't support transparency.


If importing from Illustrator.

Things to Consider -

1. Colour Mode - CMYK
2. Don't have to worry about resolution as its vectored art and not dpi
3. Size is able to change as much as you like.
4. File Format - Illustrator AI file.

The default setting for Illustrator files will always support transparency, so anything that is white or untouched when designing in illustrator will be transparent in Indesign.

To import an image from Photoshop or Illustrator you go to file then place and you select the file you want to place. You can place an image directly into Indesign or you can create an image or text box and place it directly into one of those instead.

Illustrator files will come up very pixelated, this is so that Indesign can run more smoothly as there will be less information to display. What you are seeing is a low resolution preview.
When sent to the printer it will come out as it should be however you need to have the folder where the image was placed from otherwise it will remain as a low resolution preview. It is important to keep track of all your images and make sure they are available when printing your final document.

Secondly this is helpful because you can then edit the artwork whilst on Indesign and it will update, this doesn't apply to Photoshop files. To edit the artwork, right click on it and go to edit with and select Illustrator. The artwork will open up in illustrator ready for you to edit. Once you have finished editing the artwork save it and close the file and it will change the artwork automatically in Indesign.

If your using a monotone or duotone image then you can select the image on Indesign and change the colour by simply selecting the colour swatch you want to change it to. Very useful as you don't have to go back to Photoshop and edit the original file.



Monday, 10 October 2011

Design for Print - print processes seminar

AT THE PRINTERS

Comercial print processes are usually Practical, Technical and Economical

Types of print processes

- rotary printing
- digital printing
- screen printing
- pad printing

ROTARY PRINT

Uses cylinders hence the name 'rotary'

types of rotary are - lithography/offset lithography (litho or planographic), rotogravure (intaglio or etching and flexography (flexo or relief)

offset litho - 3 cylinders - really fast - used for leaflets, flyers, comic books

has to be proofed because getting it wrong can be expensive.

Web litho - is on a massive roll and the machine can fill an entire warehouse - used mainly for publications like newspapers.

rotogravure - more durable - holds more ink - not offset - straight from the cylinder to paper - more expensive than offset - used for laminate flooring - high end maps

flexography - process for packaging - plate is silicon not metal - quality is not as good as litho - used for bottle labels - chocolate and sweet wrappers (anything produced on mass where the packaging or wrapper will be discarded shortly after purchasing the product)


DIGITAL PRINT

Not a mechanical process

Short runs are more expensive per unit

consider - material - ink quality - important not to let go after doing the artwork by just putting it through a digital printer - really good for mock ups and one off prints.

the computer - Raster Image Processor (R.I.P) - sorts of the code and sends it to the printer


SCREEN PRINT

silk screen - fabric

cheap - good for small run prints

3 types of screen print
1. mechanical screen print process
2. manual screen print - long winded
3. rotary screen printed


PAD PRINT

used for printing 2D artwork, logos, designs etc onto 3D objects

e.g. pens, golfballs, safety hats, bottle caps and so on.


KEY ASPECTS OF DIGITAL COLOUR MANAGEMENT

Additive colour - Screen print (RGB) - adds more colour the more you put on
Subtractive colour - Digital print (CMYK) takes more colour the more you put on

CMYK
C - cyan
M - magenta
Y - yellow
K - key (black)

When all four are together they make what is referred to as a 'Composite' image.

Gamut - more colours can be seen on screen than on print.

The human eye can see more colours than a screen can display and than a printer can produce.

The RGB gamut is much larger than the CMYK gamut so you have to proof your work before sending it to print otherwise you'll get completely different results to what you thought you would get.

Colour modes.

Grayscale - black, white, grey

Duotone - two colours - cyan and magenta, cyan and yellow, magenta and yellow, etc.

Spot colour - grayscale with one other colour mixed and printed on top of that image, could be over the entire image or in just one area.

Monochrome - one colour, cyan, magenta or yellow.


We have been asked to look at some links to videos that explain more about printing processes and colour management.

Lithography
<iframe width="420" height="315" src="http://www.youtube.com/embed/XUlBueqStg4" frameborder="0" allowfullscreen></iframe>

Pazzaz Rant
<iframe width="420" height="315" src="http://www.youtube.com/embed/VpAuDrs5ocg" frameborder="0" allowfullscreen></iframe>

Pad Printing

<iframe width="560" height="315" src="http://www.youtube.com/embed/RlypyjjLDZI" frameborder="0" allowfullscreen></iframe>

Screen Printing
<iframe width="420" height="315" src="http://www.youtube.com/embed/YFM_tBfyjM0" frameborder="0" allowfullscreen></iframe>

<iframe width="420" height="315" src="http://www.youtube.com/embed/i3iY21z8qLQ" frameborder="0" allowfullscreen></iframe>



COLOUR
This woman/video annoys me.
<iframe width="560" height="315" src="http://www.youtube.com/embed/059-0wrJpAU" frameborder="0" allowfullscreen></iframe>

CMYK and printing
<iframe width="420" height="315" src="http://www.youtube.com/embed/TUd4r5olX1Q" frameborder="0" allowfullscreen></iframe>

<iframe width="560" height="315" src="http://www.youtube.com/embed/8cOZv4AF4pc" frameborder="0" allowfullscreen></iframe>

CMYK vs RGB
<iframe width="560" height="315" src="http://www.youtube.com/embed/fNisT6ROdUo" frameborder="0" allowfullscreen></iframe>

Rich Black vs Normal

About Pantone
<iframe width="420" height="315" src="http://www.youtube.com/embed/l6r_CK0rNlk" frameborder="0" allowfullscreen></iframe>

About Colour Matching
<iframe width="420" height="315" src="http://www.youtube.com/embed/Pz3AMwRJiRw" frameborder="0" allowfullscreen></iframe>

Colour models





Tuesday, 4 October 2011

Mac Suite Workshop 2 - Photoshop.

Most of the time you will be using a photo or scanned image.

When opening a new file you can change the resolution.
You don't get a higher quality resolution than 300dpi when printing for commercial print.

The default colour mode is RGB (design for screen) which has a different colour gamut (range) so some of the colours wont be printable.
Also working in CMYK colour mode when working in photoshop restricts some of the options so you don't get the full potential of the software. So it's best to work in RGB while editing and preparing and then convert in CMYK before saving. You can do this by going to image/mode/CMYK.
One of the down sides to working in CMYK is that the files are larger than RGB files.
When applying colour you can click on the foreground and background colour swatches in the tool bar to change the colour your using. You can change the hue and tint to your colour or you can even type in the percentages.

After converting you colour mode to CMYK there will be a change in the colour on the screen, this is really important because you may send something to be printed and it will come back completely different in colour if you don't check it.

To check which colours are not printable go to view/gamut warning. You will see the colours turn to grey and if you were to print the image those colours will be shifted into the nearest printable colour.

You can adjust the image by going to image/adjustments and the selecting which one  you would like to use. To help change the colours that are grey to colours that are printable by using a hue and saturation sliders. The saturation needs to be reduced until all the grey is gone.

The replace colour tool does a similar thing to the hue and saturation tool but works like the magic wand tool. You select the grey area that you need to change and then use the slider to adjust it. This tool focuses on that specific area that you have selected.

The gamut warning is something that you use just to check the colour when your doing your adjustments.

You can use the proof colours option in the view menu to check your colours and give you a preview of how the image will look in CMYK colour mode. You'll notice that the title bar of the file will change from (RGB/8) to (RGB/8/CMYK).

Creating new swatches in photoshop

You can hold down the alt key and delete the default swatches before making your own.

To make your own click on the foreground colour picker and from there you can select your own colours. There will be a little warning sign that will pop up next to the colour preview next to the colour picker that signifies that the colour you have selected is out of the printable gamut.
Once you have to colour you want to simply click 'add to swatches' and you can name your swatch if you need to.

Another way to add a swatch is to select a colour for your foreground colour and then click in the grey space on the swatches library to create a swatch form it. This is a good method if you want to make a swatch of a colour thats already in the image your working with.


SPOT COLOUR

Good for economic design and highlighting parts of images.

Go to your foreground colour picker and select colour libraries. Here you can select a specific colour and colour book which will work best with the type of stock your printing on to.

If you have a reference number from a client of from a book then you can type it in and you will automatically jump to that particular swatch.

Once you have the colour you need your foreground preview box will change to that colour.

Applying the colour.

create a selection box and then fill it (shortcut alt+delete)

For spot colouring you need to apply it to a grayscale image. You can convert a full colour image to grayscale in the image/mode menu.

To apply the colour and replace the black with the colour you go to image/mode/duotone then select the black swatch and the colour picker will pop up, from there go to the colour libraries and select the colour you want to swap the black with. Thats the way to create a monotone image. Once you click ok it will change the title bar to  (monotone/8).

You can add a second colour by changing the setting to duotone in the duotone window. This allows you to mix colours with each other to get new ones. Also you can change the contrast between then by click on the swatches with a diagonal line through them.

Channels

Every image has a channel or channels. RGB has red green blue and but grayscale has just black. Each RGB channel is black and white but the change to represent how much of that particular colour is in that area, black means there is a lot, white means theres is little or none.

You cansave a selected area by going to select/save selection. This is useful if you keep having to go back to a certain area and saves time. The selection can then be accessed in the channels palette, the white on the channel is whats being selected and the black is whats left.

Then you need to go to the palette menu and select new spot channel, this will automatically apply your last colour used but you can change it with the colour picker and libraries by clicking on the swatch in the spot channel window. The colour when printed will overprint the black ink underneath, making the colour transparent.

If the coloured area is too jagged or covers something you don't want it to, you can edit it and erase parts of it on the spot colour channel. This wont alter the image underneath.

You can also create spot channel gradient by creating a new spot colour channel and using the gradient tool. You can manipulate the spot colour channel using most of the standard tools in the tool bar.

You can use spot colouring on a full colour image however it means you will be applying 5 colours to that area, this will cause the paper to get an excess of ink and become ink and it may make all the colours underneath smudge together.

Thursday, 29 September 2011

'GOOD IS' Studio Workshop.

Todays workshop was a follow up session from yesterdays, we were focusing on logo generation and producing as many as we could as quickly as we could.

We begun by picking out 32 different words or variations of a word to work with and from there we were set the task of writing them down visually in response to the examples of brands, logos and identities that we had collected. The examples were collected in relation to the 9 questions that we were investigating in yesterdays work shop.

We had 30 mintes to come up with 32 different visuals before moving on to doing just 8 visuals of the same word in 10 minutes. Afterwards we did the same but with one letterform from that word and finally the same process but with image generation.

It was evident by the end of the workshop that I wasn't working quickly enough and i wasn't making the most of the space that I was working in. It was pointed out that I should be using tools to creat neat and presentable ideas whilst keeping up the pace.

The task for next week is to produce 150 logos which combine two of these three elements WORD/LETTERFORM/SYMBOL
using the words that we picked out at the start and changing them completely each time.

This is something that I will find challenging.

Wednesday, 28 September 2011

'GOOD IS' - Studio workshop.

THE UKULELE.

1. What makes it good?


It's relaxing.It sharpens your mind and memory.
It has a bright and happy sound to it.
They're cheap to buy.
They're easy to learn to play.


2. Who would find it good?


Musicians.
Music lovers.
Hawaiians.
Holiday makers.


3. Who wouldn't find it good?


Fans of heavy metal.
Music haters.


4. Whats it better than?


Other instruments.
Watching T.V.
Not having a hobby.


5. If your good was a profession what would it be?


Entertainment.
A musician.
A session artist.
An event performer.


6. If your good was a celebrity who would it be?


George Formby.
Israel Kamakawiwo'ole.
Arthur Godfrey.
The entire Great British Ukulele Orchestra.
Spongebob Squarepants.


7. If your good was a place where would it be?


Hawaii.
Portugal.
A music shop.
A beach holiday destination.
Bikini Bottom.


8. If your good was an event what would it be?


A jam session.
A Hawaiian cultural festival.
A gig at a venue.
A society social.


9. If your good was a product what would it be?


Ukulele.
A felt plectrum.
A packet of nylon strings.
A shoulder Strap.
A gig bag or flight case.


We the compiled one answer for each question and displayed them on a different sheet of paper for everyone to see. From here Fred began to unpick certain points about what we had written down, the use of words like 'people, someone, anybody' are all too vague and generalised. We need to be more specific with our answers.

The task now is to review the answers we put down and go back over the questions to develop the answers and make them more specific and to give each answer a reason as to why it is the best one.

Further more we have to collect an example of Branding, Identity or Logo to do with each question and answer in relation to our 'good'.

1. It's relaxing.
2. Acoustic Music Lovers.
3. Music Haters.
4. Other Instruments.
5. Entertainment.
6. George Formby.
7. Hawaii.
8. An open air gig or mini festival.
9. Ukulele.

Some of the answers I selected I thought were good and just needed explaining but there are some in here that need to be modified as well as justified through further investigation.


REFINED ANSWERS

1. What makes it good?

I went back and researched further into the benefits of playing the ukulele and found some more helpful websites with lots of points on how it can be healthy and relaxing.

Sunnier disposition
Relief from stress
Promotes musical tendencies
Impulsive socialization via song
Release of inner child

This website also provided a lot of valid points as to what makes my 'good', good.

From this further research I've decided that my answer for this question is...

...it makes you and happier, healthier person because it relieves you from stress, broadens your minds capability and gives you a positive social aspect.


2.Who would find it good?
3.Who wouldn't find it good?
4.What's it better than?

For this one I'm sticking with my original answer of 'other instruments'. I play a range of instruments myself so and I don't believe the ukulele to be superior to them but more practical and fun than the rest of them.

Guitars for example, as a first instrument it can be rather intimidating and overwhelming but the ukulele is small  and the strings are soft so its doesn't hurt your fingers and you feel in control of what your doing.

The ukulele is cheaper than most instruments, only the vintage ones control a lot of money. You can buy a ukulele for as little as £12.99. Consequently, the ukuleles size means that gig bags, flight cases and strings are all cheaper than it would be for any other string instrument.

They are easily transportable as don't take up much space, so you can take it anywhere you want and it wont be any trouble.

My refined answer for this question is...

...other instruments, because of its practical, financial and spacial benefits.


5.If it was a profession, what would it be?

Easy, ENTERTAINMENT.


6. If it was a celebrity, who would it be?

George Formby hands down. He was an entertainer from 1921 for 40 years until his death in 1961. He pioneered the ukulele's popularity boom with his tongue in cheek songs and his quirky northern accent. People to this day of all ages have picked up the ukulele purely because of Georges example.


Below is a website for the George Formby Society where they review his life, his films, his music and any other topic to do with him. They celebrate his life and works in full and hold conventions throughout the year to bring people together to appreciate him.


7. If it was a place, where would it be?

Hawaii was my first choice of answer because it's the country that the ukulele is most commonly related to and it has a great reputation for being a place with a happy culture and also to be a popular holiday destination. However there is more to Hawaii than the instruments they play so I've revised this one and changed it to...

...a minor/vintage music shop. Mainstream music stores don't often stock instruments of such low retail, and if they do they don't have the best range to choose from. They tend to be more commercial selling mostly, guitars, pianos, drums and bass guitars.


8. If it was an event, what would it be?

my first answer was very vague for this one and I realised a had a few gaps in my research into Hawaiian culture. I went back to my research and began to look into Hawaiian events and festivals. An discovered a few websites aimed at tourists mostly about the islands and what they have to offer.

My refined answer for this question is...

...the Honolulu festival. Because it's a true example of the Hawaiian culture that the ukulele is associated with which brings together art and dance as well as music. The festival culminates in a vibrant parade through Waikiki.



9. If it was a product, what would it be?

My 'good' already is a product so it would be difficult to say it would be anything else other than itself for this question. I did however list as many other products that relate to it.

nylon strings
steel strings
felt plectrum
tuning keys
electronic tuner
capo
gig bag/flight case
varnish
shoulder strap
grass skirt
flower necklace
package holiday
surf board