101 Tips & Tricks
Introducing the World of Commercial Print
Introduction to Designing for Print
Breakdown of the Print Process
Colour For Print
Introducing Colour For Print
RGB vs. CMYK Colour Models RGB - Red, Green, Blue
Additive Colour Additive color describes the situation where color is created by mixing the visible light emitted from differently colored light sources. In additive color models such as RGB, white is the â€œadditiveâ€? combination of all primary colored lights, while black is the absence of light. Computer monitors and televisions are the most common form of additive light, and he additive reproduction process usually uses red, green and blue light to produce the other colours. Combining one of these additive primary colors with another in equal amounts produces the additive secondary colors cyan, magenta, and yellow. The colored pixels in displays do not overlap on the screen, but when viewed from a sufficient distance, the light from the pixels diffuses to overlap on the retina.
CMYK - Cyan, Magenta,Yellow, Key
Subtractive Colour A subtractive color model explains the mixing of paints, dyes, inks, and natural colorants to create a full range of colors, each caused by subtracting (that is, absorbing) some wavelengths of light and reflecting the others. The color that a surface displays depends on which colors of the electromagnetic spectrum are reflected by it and therefore made visible. Subtractive color systems start with light, presumably white light. Colored inks, paints, or filters between the viewer and the light source or reflective surface subtract wavelengths from the light, giving it color. If the incident light is other than white, our visual mechanisms are able to compensate well, but not perfectly, often giving a flawed impression of the â€œtrueâ€? color of the surface.
Spot Colours In offset printing, a spot color is any color generated by an ink (pure or mixed) that is printed using a single run. Generally the cost and potential for problems for a print job increase as one adds more spot colors, due to the increased cost and complexity of added process inks and films, and requiring more runs per finished print.
Image Manipulations for Print
Formats For Print
Paper - A Brief History
ISO Paper Sizes
Newspaper Sizes and Formats
Envelope Sizes and Formats
Book Sizes and Formats
Stock For Print
Introduction to Stock
Weights of Stock
Finishes of Stock
Stocks for Different Dimensions
Paper vs. Non Paper Based Stocks
Introduction to Print Processes
Screen Printing and Traditional Methods of Printing
Offset Lithographic Printing
Six Colour Printing
Embossing and Debossing
Preparations - Setting Work Up For Print
Introduction to Preparing Work for Commercial Printing
Setting Up A Document
Layouts and Grids
Bleeds and Printers Marks
Before Printing Proofing
The Importance of Proofing Work Before Printing
Proofing Work and Pre-Flight Checks
Paper Folding Techniques
Book Binding Techniques
Tips and Tricks For Graphic Designers
How to make life easier for yourself as a graphic designer...
Costing and Quotes
Collecting Stock and Printing Samples
‘10 Things Clients Wish Designers Would Do...’ 1 Listen to what a client wants and then make helpful suggestions 2 Think commercially rather than just feeding your creative ego 3 Don’t design things that can’t be changed and adapted at a later date without causing unnecessary cost. 4 Check you have done all of the revisions, clients don’t like doing (or paying) for revisions that are not done. 5 Keep within budget, no matter how great the idea is, if it costs a fortune to produce it becomes worthless.
6 Build in contingency plans so that you are able to stick to the deadline. 7 Clients don’t like nasty surprises, especially on invoices. 8 Ask questions if you don’t understand, don’t make assumptions. 9 Make an effort to understand the culture of the client’s company and the market they aim to communicate with. 10 Involve clients in the design process.
By Bee de Soto