Pdf password remover software SDK project winforms windows .net UWP GoprintCommercialPrinterGuide4-part1866

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To make a black element print dense and completely flat,

simply create a ‘Rich Black’ in the Swatches Palette (see

figure 7.9). In the case of a four-colour process job this

would be done using 100% black and 50% cyan. If your job

was black and another spot-colour then you would use 100%

and 50% of the second colour (see figure 7.10).

InDesign sees this rich black colour as a unique stand

alone colour and accordingly does not try to overprint it on

top of its background. The end result is the black is dense

and unaffected by whatever lies underneath.

If you look at figure 7.11, this highlights how the

underlying colour is effected by the use of a rich black.

Create a rich black by

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black and 50% cyan

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rich black has been

created using black

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black panel have

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out of its background

and contains 50% tint of

cyan to give the black a

dense colour

Cyan separation only

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Black separation only

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Take a look at figure 7.12, a simple black poster with some

coloured images. This example is a prime candidate to make

the black solid - a rich black, it will look great made up of

100% black, 50% cyan.

But, there is another good reason to utilise the rich black

technique... to help the printer.

Printing a flat solid black requires the printer to run the

black ink at a higher strength than they would normally

prefer. The down side to this is; other elements using black

(such as the three animal images) will reproduce darker than

expected. In fact the images may appear dirty.

To avoid this happening, the use of a rich black for

the solid will allow the printer to run the black at normal

density and the images will print perfectly.

Wildlife

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The rich black usage

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printing process by

letting the printer run

the black ink at normal

strength

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king with colou

lib

ies

All professional desktop publishing applications offer a wide

selection of colour libraries to choose colour swatches from and it

can be a little confusing to the newcomer.

Fortunately, there is only a small selection of these libraries

which you normally need to be concerned with.

Pantone solid coated & uncoated

These are the two libraries you will use most often.

The first thing you need to understand is; there is no such thing

as coated ink or uncoated ink, the same tin of Pantone 295 for

instance is used whichever colour library is selected. The difference

is how the colour appears on the paper it is printed on.

There are thousands of different types of paper (or stock),

but they all generally fall under two main categories; coated or

uncoated. Coated stock has a finish applied to the surface such

as glossy stocks for example, whereas uncoated stocks such as

standard photocopier paper is unfinished.

Each type of stock accepts ink differently, on uncoated stock

the ink will generally appear darker than the same ink printed on

a coated stock. This is why we are offered two different colour

libraries within InDesign. Each library tries to replicate on screen

how the colour will appear on the stock you are printing on.

The point to remember here is; unless your monitor is calibrated

correctly to display colour it really does not matter which library

you choose to work from. Just choose one and stick with it.

If on the other hand your monitor has been calibrated correctly

to display colour, then you need to firstly; identify the stock your

project is to be printed on and use the appropriate colour library.

Metallics and pastel libraries

As I mentioned earlier, metallic, pastel and fluorescent inks are

notoriously difficult to reproduce using the four-process colours. If

you select a colour from one of these libraries, then be prepared to

print it as a spot-colour for the desired effect.

Please note: that metallic inks are the only lithographic inks

that are actually opaque and not transparent.

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from each application.

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coated library, then make sure any graphics imported from either

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Making the most of two colou

When you are working with a limited palette of only a couple of

colours, here’s a tip to extend your design possibilities.

InDesign allows you create other colours by mixing various

amounts of the base colours you have in your swatches palette.

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In this example (figure 7.13) the file is created using two base

colours, black and Pantone 185 Red. By selecting ‘New Mixed Ink

Swatch’ from the Swatch Palette’s drop down menu, you can then

define another colour to be made by mixing different amounts of

black and the red.

In this example I have created a Dark Red by mixing 100%

Pantone 185 and 40% Black. The new colour will be added to the

Swatch Palette ready-to-use and will separate accordingly with the

black and red separations.

GURE 7.13

Fi l e F o r m a t s

When you work with desktop publishing applications such as

InDesign, Illustrator or QuarkXPress you will at some point

find it necessary to import images or graphics created in another

application such as Photoshop or Illustrator.

All of these images and graphics can be saved in various file

formats, all of which have a specific purpose. The question is,

“Which format is best for the task I am performing”?

Let’s see if I can make this easier for you.

Photog

aphic images

Whether your photographic images are taken from a digital camera

or scanned from hard copy the final format you save your images

in remains the same.

There are a few file formats I would like to bring to your

attention, all of them suitable for your desktop publishing projects

(although some more suitable than others).

IFF

- Tagged

mage

ile

ormat

TIFF files are supported by all major desktop publishing

applications and will, on the whole, give you no problems. Just

one thing to keep in mind, some applications will not support

transparency features used by TIFFs in Photoshop.

PSD - Photoshop Document

PSD is Adobe Photoshop’s native file format. In my opinion this

is the best format to save your images in. All of Photoshop and

InDesign’s transparency features are fully supported.

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G -

oint Photographers

xpert Group

If you own a digital camera you will probably be aware this is the

format that is most often used to capture the image.

The JPEG file format serves a particular purpose, the file is

compressed to make it smaller. In fact, JPEG images can be tiny

compared to TIFFs or PSDs.

Generally, it is fine to use JPEGs, but be aware! Since the whole

point of a JPEG is to compress the file there is a price to pay. JPEG

is said to be a ‘lossy file format’. In other words once you save an

image as a JPEG you will lose some quality. Re-save the same file

and you lose more quality, and so on.

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Stay well away from these two file formats, they work well with

images to be used on the Web, but are unsuitable in a desktop

publishing environment.

ecto

-based g

aphics

Vector based graphics are those which were created in a drawing

program such as Adobe Illustrator or Corel Draw. They differ from

photographic images in they are not generated from pixels, they

use lines and curves produced mathematically.

Generally, if you save your vector-based graphics as .eps

files they will be fine. However, if you intend to place then into

InDesign then I suggest you save them in Adobe’s native Illustrator

.ai format. This way they can take advantage of more of InDesign’s

editing features.

The main advantage of using vactor based graphics is the

graphic can be scaled at any size without any loss of quality in the

final output.

Th e D i g i t a l C a m e r a &

Ma n a g i n g R e s o l u t i o n

Ithink everyone will agree that over the past few years the digital

camera revolution has changed the way we all handle our

photography dramatically. No more so than in the printing and

graphic arts industry. Whereas once, all photography was supplied

to a printer as hard copy photos or transparencies to be scanned

by a professional scanner operator, nowadays many images are

supplied directly from a digital camera.

My intention in this section is not to compare the virtues of

traditional photography with digital photography, nor is it to

compare the results of using a professional photographer over the

images amateurs produce. It is rather to explain the complexities

and misconceptions of resolution and how to successfully manage

your digital files.

Digital

ame

If you use a digital camera you need to sit down and read the

manual that came with it. There should be a section on Quality

Settings. The lower the quality setting you choose the more images

you can store on the memory chip. The higher the setting the less

images you can store on the memory chip.

Basically, what’s happening here is the lower quality images

contain less pixels, where the higher quality images are made up

of many more pixels. I would strongly advise that you set your

camera to operate at the highest quality possible. From here the

image and its resolution can be managed accordingly.

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What is

esolution and how is it

measu

ed?

Basically, resolution is the amount of digital information contained

within an electronic image. When you take a digital photograph

or scan an image, you actually convert the subject into a series

of very small squares of colour known as pixels (short for picture

elements). Each individual pixel is made of one flat colour and the

amount of pixels contained within an image determines the quality

of the print output.

The amount of resolution within an image is referred to as

‘pixels per inch’ or ppi. Some people actually refer to the resolution

of an image as ‘dots per inch’ or dpi, which in fact relates to the

output resolution of a printing device. A small tip – please refrain

from trying to convert ppi into pixels per centimetre, this can be

very confusing as using the imperial inch for measuring resolution

is a worldwide standard.

What is the co

ect

esolution to use?

This depends on what you intend to do with the final image, for

instance, an image intended to be printed on a printing press needs

much more resolution (300ppi) than an image intended for use on

the web (72ppi).

Before we get into this subject, there is one extremely important

piece of information you need to understand. The resolution of

an image in pixels, and the physical size of the image (width and

height in millimetres) work hand in hand with each other.

When an image is placed into a document and scaled up by a

factor of 200% you effectively half its resolution. When an image

is placed into a document and scaled down by 50% you effectively

double its resolution.

To explain this further take a look at the chess board graphic

(figure 9.1) and imagine that it is 1 inch x 1 inch and each square

is a pixel, you actually have 8 pixels per linear inch. Double the

size of the chess board and you only have 4 pixels per inch. Half

the size, and you double the amount of pixels to 16 per inch.

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Understand this concept and you will be well on your way to

understanding resolution.

Managing the resolution of images from a digital camera

Before you can use the images downloaded from your digital

camera there are a number of issues you must address. For

instance, the images need to be converted into the correct file

format and correct colour model. This would normally mean

converting the images from RGB JPEG’s to CMYK (or Grayscale)

TIFFs or PSD files.

Once that part of the process is complete it’s time to look at the

important issue of resolution.

Most digital cameras normally shoot pictures at 72ppi which is

considered to be low resolution. But, the other factor to consider

here is, the actual physical size (width and height in centimetres)

of the image.

My own camera at its highest setting produces an image

80.15cm x 60.11cm at 72ppi.

1 inch

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pixels per inch.

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doubling and halving the

image effects the resolution

By reducing the image

50% you effectively have

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inch. So you are doubling

the resolution to 16 pixels

per inch

By enlarging the image by 200% you

effectively have half as many pixels

to the inch. So you are halving the

resolution to 4 pixels per inch

100%

50%

200%

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