Intro to Pre-Press Pre-Media PDF

Pre-Media Workflow Overview Historical Timeline...

Pre-Media Workflow Overview Historical Timeline Johannes Gutenberg (printing press ink & variable width type casting method – circa 1448) Workflow: design → set each character of type → proof → press, bindery Linotype (lead lines of type – 1886) Workflow: design → output lines of type → set each line of type → proof → press, bindery Negatives design → typesetting → mechanical paste-ups → panchromatic & orthochromatic film → stripping → proofing → expose plates → press & bindery olu abiola Film-Setter design → computer → film-setter → proofing → expose plates → press & bindery GRCO 1130 Digital Pre-Media Plate-Setter design → computer → plotter, plate-setter → press & bindery Graphic Communications Digital Press → design → computer → press & bindery Pre-Media Pre-Media Overview Workflow Kaleidosnow Pre-Media Considerations Output Processes Printing Methods, ex: O set Press PDF creation Colour Profiles, Spot, Foil Pre-flighting Bleed Imposition Paper stocks and finishes Trapping ex: Photos on gloss Rasterization KS Binding method, die cutting and finishing Proofing Output Machinable Mail Plate or Digital Output JDF Workflow patricia dipinto | alex pankratz becky blois ff Pre-Media Pre-Media Display Resolution Bitmapped Images A Pixel is the smallest display unit that holds file Referred to as “Raster” images. information – Photoshop uses PPI (Pixels per Inch) for resolution measurement In some contexts bitmap indicates that only black and white pixels exist in an image, however, the number of Pixels are based on a Grid and use X and Y coordinates. colours per pixel is dependent on bit-depth*. the higher the PPI, the more a graphic or photo will appear as a continuous tone image (the higher the resolution) Bitmapped Images are pixelated images – broken down into small squares called pixels Default settings for PPI is 72 for Web graphics and 300 for Print media. Don’t assume this is absolute, as it may vary Bitmapped Images are “Resolution Dependent,” for specific jobs and equipment. resolution needs to match the output device’s capabilities You can change your Pixel Grid on your display by changing the Monitor properties – e.g. 800x600 or Stair Casing E ect becomes visible with low resolution 1024x768, this does not change the file resolution. Bitmapped Images → higher file resolutions decrease the amount of visible stair-casing Bitmapped images are the standard for Photoshop and Pre-Media Bitmapped Images Obvious Stair-casing occurs in the Pixel areas. Created By: Graphic Communications \ NAIT 350ppi - print quality 72ppi - screen quality ff  Pre-Media Vector Images Vector images redraw using mathematical formulas on “curves” or “paths” Resolution Independent & create smaller file sizes Commonly used in Corel and Illustrator Lines and Shapes remain smoother as Vectors Unless necessary try to leave Vector images as Vectors and not convert them to Bitmaps When using some filters in Photoshop, Vector images may first have to be Rasterized – converted to a Bitmapped image Pre-Media Vector Images Pre-Media Vector Images Car Decals & Vinyl Applications Signs, Stencils Logos and other Graphics that will be output at a variety of sizes Curves are redrawn and remain smooth regardless of the enlargement Created By: Graphic Communications \ NAIT Pre-Media Printer Resolution A Dot is the smallest spot of ink created by output devices – printers, platesetters or plotters Dots are measured as DPI (Dots per Inch) - the more dots in 1 inch the better quality the printed piece will be Typical DPI settings for printers are between 300 to 1200 Typical DPI settings for image and platesetters are between 2400 and 6400 kiruba thana Pre-Media Image Bit Depth Each Pixel contains information based on colour or tonal range – these pixels contain Black & White, Grayscale or Colour information 1 Bit images are often referred to as “Bitmapped” or B&W – they only display 2 colours Black or White 8 Bit images can display 256 colours or 256 shades of gray. Suitable for standard use in print and web graphics. 16 Bit - 65,536 colours. For heavy photo editing, or for fine art print reproduction using specialty output devices with an extended colour range 24 Bit images can display 16 million colours 32 to 64 Bit images contain more information such as CMYK or alpha channels – create larger file sizes. HDR images.  Pre-Media Pre-Media Rasterizing Compression Converting of files from vector or postscript to Used to reduce file sizes – especially for transfer bitmapped images Can be done within an application or third party software When outputting files to printers, plotters or Lossless – no data lost (e.g. LZW or TIFF files) platesetters vector files will automatically be rasterized at the RIP (raster imaging processor) Lossy – data lost (e.g. JPEG or GIF) Use an image manipulation application such as Determine if compression is necessary – if file size is not a Photoshop to perform the transition problem leave the file uncompressed If possible try to retain as a Vector image In Photoshop when you do a “Save file for Web” it will automatically compress the file, and can be saved as a In Photoshop: Text or images need to be GIF, PNG or JPEG rasterized before certain e ects or filters can be applied. Each year, new versions of Photoshop If data is lost (after compressing) it can not be retrieved o er more advancements and flexibility Most images on the web are compressed files ahmed mohamed Pre-Media Pre-Media File Formats – Print File Formats for Screen | Web Non Native Non Native not proprietary to any application (generic / neutral) not proprietary to any application (generic / neutral) TIFF – Tagged Info File Format JPEG – images, lossy compression EPS – Encapsulated Postscript GIF – index colour, load fast, smaller images or PDF – Portable Document Format logos, animation, transparent background Native Formats proprietary to a specific application PDF – transportable, higher res PNG – next generation for web, can create PSD, AI, INDD, CDR, PM and QXD transparent backgrounds, RGB DCS – (Desktop Colour Separation) used for Remember – files downloaded from the web, in creating separations. For example: Spot Colours most cases are not ready to print. (RGB, or Pantone Colours resolution.) Rule of Thumb – When in doubt save as a TIFF! ff ff  Pre-Media Pre-Media Other File Formats Bitmapped Images | Line Art 1 Bit Depth (Pixels are On or O ) PICT – Older Macintosh format Black and White – No Grey BMP – Windows format Scan @ Maximum of 1200 PPI WMF – Windows format Di erence between B&W can be changed RAW Camera – files that are specific to through the Threshold (what will be read as specific brands of cameras – Photoshop can black and what will be read as white) handle many of the raw files that are created from digital cameras. Professional Very Little Detail (no shadows, shading or Photographers shoot in RAW highlights) Retain smaller file sizes kira leaner Pre-Media Pre-Media Bitmapped Images | Line Art Grayscale Images Original RGB Converted to Line Art Original RGB Converted to Grayscale Created By: Graphic Communications \ NAIT Created By: Graphic Communications \ NAIT ff ff Pre-Media Pre-Media Greyscale Images Duotones | Tritones 8 or 16 Bit Depth Using 2 or 3 Spot Colours in lieu of the 4 colour process 256 Shades of Grey Can add colours to Grayscale Images (Pantone or Resolution Dependent on Output Trumatch) Can be used for Screen (monitor) or Print A colour overlay can be added to create a “Fake Duotone” Screen Ranges from 0% - 100% Bit Depth decided from Original image For printing, screens should range between Colour correction and manipulation can be done 3-5% to 95% (highlight | shadow) via curves Used primarily in single colour jobs A design choice that can cut printing costs (2 or 3 Gray balance correction can be done via levels, spot ink colours) curves or brightness \ contrast Easily replicated using PhotoShop Pre-Media Duotones | Tritones Pre-Media RGB Colours Red, Green and Blue combine to create White (RGB) RGB is the Additive Colour Model Some printers will take RGB files, but often these files print much darker than CMYK versions For consistent colour across multiple mediums convert to CMYK RGB Blacks & dark colours converted for print may cause significant dotgain Original RGB Converted to a Duotone Created By: Graphic Communications \ NAIT Created By: Graphic Communications \ NAIT  Pre-Media Pre-Media CMYK Colours RGB Colours 8 – 64 Bit Depth Millions of Colours Used in Display and Web (CMYK conversion needed for o set printing) Resolution dependent on Output Device or Display Colour Values from 0 to 255 Colour correction can be done via levels, curves or brightness | contrast Simulates printed ink behavior: Yellow, Magenta, Cyan and Black combine to remove White * In a perfect world, CMY=black, but it’s muddy, so we use black ink as well. Subtractive Colour Model Created By: Graphic Communications \ NAIT Pre-Media Pre-Media CMYK Colours LAB Colour Cyan, Magenta, Yellow & Black Uses Luminance (L) and 2 Colour Channels (A) CMY combine to make a Muddy Brown so BlacK & (B) to Create the Colour Space is added Some photographers work in LAB colour mode Millions of Colours Primarily used as an intermediate colour space 24 – 64 Bit Depth for transferring spaces from one device to another CMYK images modified for use on the Web must be converted to RGB Problems with LAB in Photoshop – some filters and features won’t work Colour correction can be done via levels, curves or brightness | contrast Colour correction can be done via levels, curves or brightness | contrast All files going to press must be in CMYK Mode – convert RGB files ff Pre-Media Pre-Media LAB Colour HSB Colour Hue – Actual Colour Saturation – Intensity of the Colour Brightness – How much Black is added Can be used for simple Colour Correction Can be created as an Adjustment Layer within Photoshop Intermediary Colour Mode between various Devices Created By: Graphic Communications \ NAIT Pre-Media Pre-Media Index Colour Colour Gamut 8 – 24 Bit Depth Gamut is the Range of Colours that can be Reproduced or Viewed 256 Colours that uses a Specific Colour Table Colour Modes have Individual Colour Gamuts – RGB vs CMYK Used for Web & Screen Displays Colours Produced on Monitors may not be able to be Reproduced on a Primarily used for GIF’s Printer or Press – Hence the term “Out of Gamut” Supported by common Internet Browsers – These out of gamut colours must be changed – by converting colour IE, FireFox, Opera, Chrome and Safari modes in Photoshop you are allowing the software to apply the Index colours don’t create a wide colour gamut but changes to the closest value file size is reduced Florescent Colours are a good example of what can be produced on a Images created using index colour load faster in monitor but may have to be run as an additional colour on the press web browsers Colour correction can be done via levels, curves or brightness | contrast Pre-Media Pre-Media Colour Gamut Colour Gamut Colours shown in RGB and will be di icult to convert to CMYK The grey area shows the colours that are di icult to replicate Various Processes and Devices have Di erent Gamuts Created By: Graphic Communications \ NAIT Created By: Graphic Communications \ NAIT Pre-Media Pre-Media Hex Colour Additional Readings The Production Manual (Second edition) The Production Manual Hex Colour is based on the CMYK colour mode with the addition of Half-tones: pg 41, 94-95, 116, 145 (Pink edition) 2 other colours Dots per inch: pg 46, 111 Half-tones: pg 30, 102 -103, 122, 147 Orange & Green are added to provide a wider colour gamut Moire patterns: pg 144 Dots per inch: pg 36, 116-117 PDF Files: pg 42-43 Moire patterns: pg 146 The additional colours also intensify the process colours and may PDF Files: pg 32-33 eliminate the need to run additional Pantone colours Trapping: pg 120 A 6 colour printing press is needed for this process CMYK: pg 42, 44, 48-49, 70, 73, 76, 85, 95, 148 Trapping: pg 126 Rich black: pg 121 CMYK: pg 32, 34, 38-39, 76-77, 79, 82, 91, 95, Adds additional cost of the print job 150 Over printing: pg 114-115, 120 Sharper images and better detail in Knockout : pg 120 Rich black: pg 130 the shadows can be created Bleed: pg 118-119 Over printing: pg 120-121, 127 with Hex Knockout : pg 127 The Standard – page12 Bleed: pg 124-125 The Standard PDF resides in the GRCO1130 Course on the Moodle site. ff ff ff