Efnisyfirlit

• Front Matter
• 01. graphic print production
  • Figure 1.1
  • 1.1 The Graphic Print Production Flow
    • Figure 1.2
    • 1.1.1 Strategic Work
    • 1.1.2 Creative Work
    • 1.1.3 Images and Text
      • Figure 1.3
      • Figure 1.4
      • Figure 1.5
    • 1.1.4 Layout
      • Figure 1.6
    • 1.1.5 Prepress
      • Figure 1.7
    • 1.1.6 Printing
    • 1.1.7 Finishing and Binding
      • Figure 1.8
      • Figure 1.9
    • 1.1.8 Distribution
  • 1.2 What Affects Costs?
    • PARTICIPANTS IN THE GRAPHIC PRINT PRODUCTION PROCESS
    • 1.2.1 Makeready and Start-up Costs
    • 1.2.2 Print Run, Format, and Volume
      • Figure 1.10 Costs for small editions and small volume.
      • Figure 1.11 Costs for large editions and large volume.
    • 1.2.3 Colors
    • 1.2.4 Image Editing
    • 1.2.5 Layout Work
    • 1.2.6 Prepress
      • Figure 1.12
    • 1.2.7 Finishing and Binding
    • 1.2.8 Paper
      • CHECKLIST FOR REQUESTING AN ESTIMATE
    • 1.2.9 Packing and Distribution
    • 1.2.10 Archiving
    • 1.2.11 Environmental Concerns
      • Figure 1.13
  • 1.3 Choosing a Service Provider
    • 1.3.1 Quality and Competence
    • 1.3.2 Delivery Times and Delivery Guarantees
    • 1.3.3 Capacity and Resources
    • 1.3.4 Organization and Working Together
    • 1.3.5 Proximity and Availability
    • 1.3.6 References and Communication
    • 1.3.7 Standard Practices and Conditions
    • 1.3.8 Quality and Environmental Work
    • 1.3.9 Economy and Future
  • 1.4 Planning Graphic Print Production
    • Figure 1.14 PRODUCTION PLAN
• 02. the computer
  • Figure 2.1
  • 2.1 The Computer
    • Figure 2.2
    • COMPUTERS AND THE ENVIRONMENT
    • 2.1.1 The Processor
    • 2.1.2 The Data Bus
    • 2.1.3 Random-Access Memory (RAM)
    • 2.1.4 Read-Only Memory (ROM)
    • 2.1.5 Integrated Circuits (ICs)
    • 2.1.6 The Hard Disk
    • 2.1.7 CD and DVD
    • 2.1.8 Video Card
    • 2.1.9 Network Interface Card
  • 2.2 What Makes a Computer Fast?
    • Figure 2.3
    • Figure 2.4 COMPUTER CONNECTIONS
    • 2.2.1 Memory
    • 2.2.2 Video Card
    • 2.2.3 Other Programs
  • 2.3 The Monitor
    • 2.3.1 CRT Screens
      • Figure 2.5
      • Figure 2.6
    • 2.3.2 LCD Screens
      • Figure 2.7
    • 2.3.3 Screen Size
      • Figure 2.8 SCREENS
    • 2.3.4 Screen Quality
      • Figure 2.9
    • 2.3.5 Screen Connections
      • Figure 2.10
      • Figure 2.11
      • Figure 2.12
  • 2.4 Software
    • 2.4.1 Operating Systems
    • 2.4.2 Utility Software
    • 2.4.3 Drivers
      • Figure 2.13 DIFFERENT KINDS OF SOFTWARE
    • 2.4.4 Applications
      • Figure 2.14
      • Figure 2.15 HARD DISK
    • 2.4.5 Plug-ins
  • 2.5 Storage Media
    • 2.5.1 What Differentiates Storage Media?
    • 2.5.2 Hard Disks
      • Figure 2.16
      • Figure 2.17
      • Figure 2.18
    • 2.5.3 Tape
    • 2.5.4 CD and DVD
      • Figure 2.19
      • Figure 2.20 PRICE DIFFERENCES
      • Figure 2.21
      • Figure 2.22
      • Figure 2.23
    • 2.5.5 Flash Memory for Portable Equipment
      • FLASH MEMORY CARDS
  • 2.6 Communication
    • 2.6.1 USB
    • 2.6.2 IEEE 1394 FireWire
    • 2.6.3 Bluetooth
      • Figure 2.24 USB
      • Figure 2.25 FIREWIRE
  • 2.7 Network
    • 2.7.1 What Is a Network?
    • 2.7.2 The Ethernet Network Standard
    • 2.7.3 Cable-Connected Ethernet
      • Figure 2.26 DEVICE IN A NETWORK
    • 2.7.4 Network Cables
    • 2.7.5 Wireless Ethernet (WLAN)
    • 2.7.6 Base Stations for Wireless Networks
      • Figure 2.27 OLDER TYPES OF COMPUTER COMMUNICATION
    • 2.7.7 Network Protocol
    • 2.7.8 How TCP/IP Works
      • Figure 2.28
      • Figure 2.29 DIFFERENT TYPES OF NETWORKS
    • 2.7.9 Network Interface Cards
    • 2.7.10 Network Devices
    • 2.7.11 Servers
    • 2.7.12 Transmission Technique and Capacity
      • Figure 2.30 THREE TYPES OF NETWORK CABLES
  • 2.8 The Internet
    • Figure 2.31 WIRELESS NETWORK STANDARDS
    • 2.8.1 High-Speed Connection
    • 2.8.2 ADSL and Cable Modem
    • 2.8.3 Analog Modems
    • 2.8.4 Connecting with a Cell Phone
    • 2.8.5 Firewalls
  • 2.9 Transferring Files
    • Figure 2.32 THE CONTENT OF THE PACKET
    • 2.9.1 Email Attachments
    • 2.9.2 FTP
      • Figure 2.33 NETWORK
    • 2.9.3 HTTP/Web transfer
• 03. color management
  • Figure 3.1
  • 3.1 What Is Color?
  • 3.2 The Eye and Color
    • Figure 3.2
    • Figure 3.3
  • 3.3 RGB: Additive Color Mixing
    • Figure 3.4 THE EYE'S FUNCTION
    • Figure 3.5
    • Figure 3.6
    • Figure 3.7
    • Figure 3.8
  • 3.4 CMYK: Subtractive Color Mixing
    • Figure 3.9
    • Figure 3.10 ADDITIVE AND SUBTRACTIVE PRIMARY COLORS
    • Figure 3.11
    • Figure 3.12
    • Figure 3.13
    • Figure 3.14
  • 3.5 Pantone and HKS: Two Spot Color Systems
    • Figure 3.15 COLOR TEMPERATURE
    • Figure 3.16 COLORS AND LIGHT
    • Figure 3.17
    • Figure 3.18 COLOR RANGE
  • 3.6 Why Are the Colors Never Right?
    • Figure 3.19
    • Figure 3.20
    • Figure 3.21
  • 3.7 CIE: A Device Independent Color System
  • 3.8 RGB Color Standards
    • Figure 3.22
    • Figure 3.23 DIFFERENT DEVICES DIFFERENT RESULTS
    • Figure 3.24 IDENTICAL DEVICES DIFFERENT RESULTS
    • Figure 3.25
    • Figure 3.26
    • Figure 3.27
    • 3.8.1 RGB Standard Color Range
      • Figure 3.28
    • 3.8.2 The RGB Standard's Gamma Value
    • 3.8.3 The RGB Standard's White Point
      • Figure 3.29
    • 3.8.4 Adobe RGB
    • 3.8.5 ECI RGB
    • 3.8.6 sRGB
      • Figure 3.30
    • 3.8.7 Apple RGB
    • 3.8.8 ColorMatch RGB
    • 3.8.9 Wide Gamut RGB
    • 3.8.10 Monitor RGB
      • Figure 3.31
    • 3.8.11 CIE RGB
    • 3.8.12 NTSC
    • 3.8.13 PAL/SECAM
  • 3.9 Color Management Systems
    • Figure 3.32
  • 3.10 How the ICC Profile Works
    • Figure 3.33
    • 3.10.1 Creating an Input Profile
      • Figure 3.34 PROOFING: HOW IT WORKS
      • Figure 3.35 SIMULATION: HOW IT WORKS
    • 3.10.2 Creating an Output Profile for Printers and Printing Presses
      • Figure 3.36
    • 3.10.3 Creating an Output Profile for Monitors
      • Figure 3.37
      • Figure 3.38
    • 3.10.4 Standard Profile or Custom Profile?
      • Figure 3.39
  • 3.11 Creating Effective Color Management
    • 3.11.1 Stabilization
      • INFORMATION IN AN OUTPUT PROFILE
      • PROGRAM FOR CREATING ICC PROFILES
      • INFORMATION IN A MONITOR PROFILE
    • 3.11.2 Calibration
      • STANDARD PROFILES
      • A STABLE ENVIRONMENT IS IMPORTANT
    • 3.11.3 Characterization
  • 3.12 Color Management in Practice
    • 3.12.1 Getting the Right Colors in Print
    • 3.12.2 Color Management of Monitors
    • 3.12.3 Color Management for Color Printers
    • 3.12.4 Color Management for Printing
    • 3.12.5 Simulation of Printing
  • 3.13 Color Conversion
    • Figure 3.40
    • 3.13.1 Perceptual Conversion
    • 3.13.2 Absolute Conversion
      • Figure 3.41
    • 3.13.3 Relative Conversion
      • Figure 3.42
      • Figure 3.43
    • 3.13.4 Saturation Conversion
  • 3.14 Problems with Color Management
    • Figure 3.44
• 04. digital images
  • Figure 4.1
  • Figure 4.2
  • Figure 4.3
  • Figure 4.4
  • 4.1 Object Graphics
    • 4.1.1 Outlines and Lines
      • Figure 4.5
    • 4.1.2 Fill
    • 4.1.3 Patterns
    • 4.1.4 Gradients
    • 4.1.5 Knockouts
      • Figure 4.6 CREATING OBJECT GRAPHICS
    • 4.1.6 Superimpositions and Transparency
      • Figure 4.7 CONVERTING PIXEL GRAPHICS INTO OBJECT GRAPHICS
  • 4.2 Pixel Graphics
    • Figure 4.8
  • 4.3 Color Modes
    • 4.3.1 Line Art
    • 4.3.2 Grayscale Images
    • 4.3.3 Duotones: Tinted Grayscale Images
      • Figure 4.9
      • Figure 4.10
      • Figure 4.11
      • Figure 4.12 GRAYSCALE
    • 4.3.4 RGB
      • Figure 4.13
    • 4.3.5 LAB
      • Figure 4.14
      • Figure 4.15 IMAGES WITH TINTS
      • Figure 4.16 CREATING A DUOTONE IMAGE
    • 4.3.6 CMYK
      • Figure 4.17
    • 4.3.7 Index Color Mode
    • 4.3.8 RAW Format
      • Figure 4.18 HOW MUCH MEMORY IS USED IN DIFFERENT IMAGE MODES?
  • 4.4 Resolution
    • Figure 4.19
    • 4.4.1 The Right Resolution for Images
    • 4.4.2 The Right Resolution for Line Art
      • Figure 4.20
      • Figure 4.21
  • 4.5 File Formats
    • Figure 4.22 RECOMMENDED SCREEN FREQUENCY
    • 4.5.1 Photoshop Format (PSD)
    • 4.5.2 Illustrator (AI)
    • 4.5.3 TIFF
      • Figure 4.23
    • 4.5.4 EPS
    • 4.5.5 DCS and DCS2
    • 4.5.6 PDF
    • 4.5.7 JPEG
    • 4.5.8 RAW
      • Figure 4.24
      • COMPARISON BETWEEN IMAGE FORMATS
    • 4.5.9 DNG
    • 4.5.10 PSB
    • 4.5.11 PICT
    • 4.5.12 GIF
    • 4.5.13 PNG
      • FILENAME EXTENSIONS
    • 4.5.14 MNG
    • 4.5.15 BMP
    • 4.5.16 PCX
    • 4.5.17 Photoshop RAW
    • 4.5.18 WMF and EMF
    • 4.5.19 SVG
    • 4.5.20 DWG and DXF
    • 4.5.21 SWF
  • 4.6 Compression
    • 4.6.1 Run Length Encoding (RLE)
    • 4.6.2 LZW Compression
      • Figure 4.25
    • 4.6.3 Huffman Coding
    • 4.6.4 ZIP Compression
    • 4.6.5 CCITT
    • 4.6.6 JPEG
    • 4.6.7 JPEG 2000
      • Figure 4.26
      • Figure 4.27
  • 4.7 Digital Cameras
    • Figure 4.28
    • 4.7.1 Web Cameras and Cell Phone Cameras
    • 4.7.2 Compact Digital Cameras
    • 4.7.3 Semi-Compact and SLR-Like Cameras
      • Figure 4.29
    • 4.7.4 SLR Cameras
      • Figure 4.30
      • Figure 4.31
      • FILE SIZE AND MEGAPIXELS
      • Figure 4.32
    • 4.7.5 Studio Cameras
      • FILE FORMATS FOR IMAGES AND THEIR FUNCTIONS
      • Figure 4.33
      • Figure 4.34
  • 4.8 Digital Photography
    • 4.8.1 The Lens Determines the Angle of View
    • 4.8.2 The Aperture Controls the Amount of Light and Depth of Field
    • 4.8.3 The Shutter Controls the Exposure Time
    • 4.8.4 The Image Sensor Registers the Image
    • 4.8.5 Buffer Memory, Image Processor, and Memory Card
      • PHOTOGRAPHING WITH QUALITY
      • FILE FORMATS IN THE CAMERA
      • Figure 4.35
    • 4.8.6 Saving Images in JPEG, TIFF, or RAW Format
      • Figure 4.36
    • 4.8.7 ICC Profiles for Digital Cameras
  • 4.9 Scanners
    • Figure 4.37
    • Figure 4.38
    • Figure 4.39
    • Figure 4.40
    • 4.9.1 Flatbed Scanners
    • 4.9.2 Film Scanners
      • Figure 4.41
    • 4.9.3 Precision and Sharpness
      • Figure 4.42
    • 4.9.4 Tonal Range
      • Figure 4.43
    • 4.9.5 Bits per Color
      • Figure 4.44
    • 4.9.6 Scanner Resolution
      • Figure 4.45
    • 4.9.7 Noise Level
    • 4.9.8 Speed
    • 4.9.9 Image-Scanning Software
      • Figure 4.46
    • 4.9.10 ICC profiles for Scanners
      • Figure 4.47
  • 4.10 Scanning Images
    • Figure 4.48
    • 4.10.1 Original Images
      • Figure 4.49
    • 4.10.2 Tonal Range in Original Images
      • Figure 4.50
    • 4.10.3 Quality of Original Images
      • Figure 4.51
    • 4.10.4 Take the Motif into Account
      • Figure 4.52
    • 4.10.5 The Gamma Curve
      • Figure 4.53
      • Figure 4.54
    • 4.10.6 Enlarging Images When Scanning
    • 4.10.7 The Optimal Scanning Resolution
    • 4.10.8 How Much Can the Scanner Enlarge an Image?
      • Figure 4.55
• 05. image editing
  • 5.1 What Is a Good Image?
    • 5.1.1 How to Create a Good Original Image
    • 5.1.2 Requirements for a Digital Original Image
      • Figure 5.1
  • 5.2 Discussing Image Quality and Images
    • Figure 5.2
  • 5.3 Proofing Images
    • 5.3.1 Proofing Images in the Computer and in Printouts
      • Figure 5.3
      • Figure 5.4 PROOFING IMAGES
    • 5.3.2 RGB Images Lack or Have Diverging ICC Profiles
      • Figure 5.5
    • 5.3.3 The Image Is in CMYK Mode
      • Figure 5.6
      • Figure 5.7 SIZE AND RESOLUTION
    • 5.3.4 Resolution Too Low
      • Figure 5.8
      • Figure 5.9 HOW JPEG ARTIFACTS ARE REDUCED
    • 5.3.5 JPEG Artifacts
      • Figure 5.10
    • 5.3.6 Missing Colors in the Image
      • Figure 5.11
    • 5.3.7 Specular Highlights
    • 5.3.8 Interpolation Damage
    • 5.3.9 Grain and Digital Noise
      • Figure 5.12
    • 5.3.10 Sharpening the Image
      • Figure 5.13
      • Figure 5.14 REMOVING NOISE
    • 5.3.11 Oversharpening
    • 5.3.12 Moiré from Scanned Screen Frequencies
    • 5.3.13 Poor Extractions
      • Figure 5.15
      • Figure 5.16
  • 5.4 Adjusting Images
    • 5.4.1 Creating the Best Image Quality
      • Figure 5.17
      • Figure 5.18 WORSE BUT BETTER
      • Figure 5.19
      • Figure 5.20
      • Figure 5.21
      • Figure 5.22
    • 5.4.2 Rotating and Adjusting the Image for Perspective
    • 5.4.3 Cropping the Image
      • Figure 5.23
    • 5.4.4 Decreasing an Image's Resolution
    • 5.4.5 Increasing an Image's Resolution
      • Figure 5.24
      • Figure 5.25
    • 5.4.6 Adjusting Color Casts
      • Figure 5.26
    • 5.4.7 Setting the Black and White Points
      • IMAGES AND PAPER
      • Figure 5.27
      • Figure 5.28
      • Figure 5.29
    • 5.4.8 Adjusting Brightness and Contrast
      • Figure 5.30
    • 5.4.9 Adjusting Certain Colors
      • Figure 5.31
    • 5.4.10 Adjusting Parts of the Image
      • Figure 5.32
      • Figure 5.33
    • 5.4.11 Homogenizing Images
      • Figure 5.34
      • Figure 5.35
    • 5.4.12 Sharpening
      • Figure 5.36
      • Figure 5.37
  • 5.5 Retouch and Photoshop Tools
    • 5.5.1 The Options Bar
    • 5.5.2 Size and Texture
    • 5.5.3 Marquee Tools
      • Figure 5.38
      • Figure 5.39
    • 5.5.4 Quick Mask
    • 5.5.5 History Brush
    • 5.5.6 Clone Stamp and Healing Brush
    • 5.5.7 Blur, Sharpen, and Smudge
    • 5.5.8 Dodge, Burn, and Sponge Tools
    • 5.5.9 Brush and Pencil
    • 5.5.10 Pen Tool
    • 5.5.11 Gradient
    • 5.5.12 Match Color
      • Figure 5.40
      • Figure 5.41
      • Figure 5.42
    • 5.5.13 Shadow/Highlight
    • 5.5.14 Blur Tool
    • 5.5.15 Layers
    • 5.5.16 Adjustment Layers
      • Figure 5.43
    • 5.5.17 Masks in Layers
      • HOW MUCH SPACE DO DIFFERENT IMAGES REQUIRE?
    • 5.5.18 Extraction Techniques
      • Figure 5.44
      • Figure 5.45
  • 5.6 Naming and Tagging
    • 5.6.1 Naming Files
    • 5.6.2 File Information
      • Figure 5.46
  • 5.7 Adjusting the Image for Printing and the Web
    • 5.7.1 Adjusting the Image for Printing
      • Figure 5.47
      • Figure 5.48
    • 5.7.2 Adjusting Images for Monitor Viewing and the Web
      • FILE FORMATS FOR THE INTERNET
      • NO RESOLUTION FOR THE WEB
  • 5.8 Editing Images Effectively
    • 5.8.1 Image Specifications and Reference Images
    • 5.8.2 Following the Right Work Steps
    • 5.8.3 Keyboard Shortcuts
    • 5.8.4 Actions
    • 5.8.5 Droplet
    • 5.8.6 Batch Editing
    • 5.8.7 Saving the Tool Presets
      • Figure 5.49
    • 5.8.8 Working Flexibly
• 06. layout
  • A BELOVED CHILD HAS MANY NAMES
  • 6.1 Layout Work
    • 6.1.1 Choosing Layout Software
    • 6.1.2 Planning the Layout
    • 6.1.3 Making Templates and Setting the Basic Structure
    • 6.1.4 Document Templates and Master Pages
    • 6.1.5 Library and Pull-outs
    • 6.1.6 Typographical Templates, Object Templates, and Color Squares
      • Figure 6.1
      • Figure 6.2
    • 6.1.7 Default Settings
  • 6.2 Text Manuscript
    • 6.2.1 Appropriate Software for Word Processing
    • 6.2.2 Appropriate File Formats for Text
    • 6.2.3 Program-Specific Text Files
    • 6.2.4 ASCII Format
      • UNICODE
    • 6.2.5 RTF Format
  • 6.3 Mounting Text
    • Figure 6.3
    • THE TEXT ON THE RIGHT AS INDESIGN-TAGGED TEXT
    • EXCEL FILES IN THE LAYOUT
    • THE TEXT ON THE RIGHT AS XML CODE
    • 6.3.1 Using the Structured Manuscript
    • 6.3.2 Using Tagged Manuscript Text
    • 6.3.3 Using Manuscripts in XML Format
    • 6.3.4 Linking the Layout to Text Databases
    • 6.3.5 Working with Text editing Parallel with Layout Work
      • Figure 6.4
      • FONT, TYPEFACE, FONT FILE
        • TYPEFACE
        • TYPESTYLE
        • FONT FILE
        • FONT
  • 6.4 Typefaces, Fonts, and Typography
    • 6.4.1 Typeface and Font
    • 6.4.2 Choosing a Typeface
      • Figure 6.5
    • 6.4.3 Working with Typography Templates
    • 6.4.4 How to Install Fonts
      • Figure 6.6
      • Figure 6.7
    • 6.4.5 Activating Fonts Without Installing Them
      • Figure 6.8
    • 6.4.6 Finding the Right Characters in the Font
    • 6.4.7 Keeping Fonts Organized
      • Figure 6.9
    • 6.4.8 Creating, Modifying, and Converting Fonts
      • Figure 6.10
  • 6.5 Font File Formats and Functions
    • 6.5.1 OpenType
      • Figure 6.11
    • 6.5.2 PostScript Type 1
      • Figure 6.12
    • 6.5.3 TrueType
      • Figure 6.13
      • Figure 6.14
      • Figure 6.15
      • Figure 6.16
    • 6.5.4 Kerning Tables
    • 6.5.5 Hinting for Better Printouts
      • Figure 6.17
  • 6.6 Pitfalls with Fonts
    • 6.6.1 Missing Fonts
      • Figure 6.18
      • Figure 6.19
      • Figure 6.20
    • 6.6.2 Different Typefaces with the Same Name
    • 6.6.3 Font Identification Numbers
    • 6.6.4 Mac and Windows Fonts
    • 6.6.5 TrueType Fonts
    • 6.6.6 Bold or Italic in the Layout Program
  • 6.7 Images in Layout
    • 6.7.1 Images in CMYK or RGB?
      • KEEP TRACK OF IMAGE COPYRIGHTS
      • Figure 6.21
    • 6.7.2 Optimal Image Size
  • 6.8 Mounting Images
    • Figure 6.22
    • Figure 6.23
    • MAKING A FACSIMILE AS A PDF FILE
    • Figure 6.24
    • 6.8.1 Embedding Images in the Layout Document
    • 6.8.2 Reducing and Enlarging the Image in the Layout
    • 6.8.3 Viewing the Images in Low or High Resolution
    • 6.8.4 Printouts in High or Low Resolution
  • 6.9 Color in Layout
    • Figure 6.25
    • Figure 6.26
    • 6.9.1 Choosing Colors from Printed Color Guides
      • SPOT COLOR OR FOUR-COLOR
    • 6.9.2 Four-Color Together with Spot Colors
      • Figure 6.27
      • Figure 6.28
    • 6.9.3 Converting Spot Colors to Four-Color Values
      • Figure 6.29
      • Figure 6.30
    • 6.9.4 Converting Four-Color Values to Pantone Colors
    • 6.9.5 Saving the Color Combination as a Color Swatch
    • 6.9.6 Varnish Is Defined as an Ink in the Layout
      • Figure 6.31
    • 6.9.7 Handling Colors Using ICC in the Layout
      • Figure 6.32
  • 6.10 Pitfalls in Managing Colors
    • Figure 6.33
    • 6.10.1 Removing Unused Spot Colors
      • Figure 6.34
    • 6.10.2 Spot Colors That Are Not Color-Separated
    • 6.10.3 Naming Spot Colors Alike
    • 6.10.4 Being Careful with Ink Amounts
  • 6.11 Pitfalls in the Layout Work
    • 6.11.1 Bleeds
      • Figure 6.35
    • 6.11.2 Crossover
      • Figure 6.36
    • 6.11.3 Color Variations
      • Figure 6.37
      • Figure 6.38
    • 6.11.4 Rich Black and Overprints
      • Figure 6.39
    • 6.11.5 Text and Tint Areas
      • Figure 6.40
    • 6.11.6 Transparency and Drop Shadow
      • Figure 6.41
    • 6.11.7 Moving Documents Between Mac OS and Windows
      • Figure 6.42
      • SMALLER FILE SIZES FOR LAYOUT DOCUMENTS
      • Figure 6.43
    • 6.11.8 Moving Documents Between Diff erent Programs
      • Figure 6.44
      • WHAT SHOULD BE CHECKED IN THE TEXT?
      • TIPS FOR PROOFREADING TEXT
  • 6.12 Proofing
    • 6.12.1 Proofreading on Paper
      • Figure 6.45
      • Figure 6.46
    • 6.12.2 Proofreading with PDF and Acrobat
  • 6.13 Proofs
    • 6.13.1 Printouts for Proofing
      • Manual document reviews
        • IMAGES
        • COLORS
        • TYPOGRAPHY AND FONTS
        • THE PAGE
    • 6.13.2 Checking Printing Colors
      • Figure 6.47
    • 6.13.3 Preflight of the Layout Document
      • Figure 6.48
  • 6.14 Sending Documents to Print
    • SEND THE LATEST VERSION
    • Figure 6.49
    • Figure 6.50
    • 6.14.1 Including a Dummy
    • 6.14.2 Collecting Documents, Images, and Fonts
    • 6.14.3 Delivering Files
  • 6.15 Structuring and Archiving
    • 6.15.1 Working in Conjunction with a Server
      • Figure 6.51
    • 6.15.2 Storing Files in a Structured Way
    • 6.15.3 Naming Files and Folders
      • Figure 6.52
    • 6.15.4 Metadata and Keywords
    • 6.15.5 File Managers
      • Figure 6.53
• 07. prepress
  • 7.1 PostScript
    • Figure 7.1 POSTSCRIPT CODE
    • 7.1.1 PostScript Is Object-Based
      • Figure 7.2
    • 7.1.2 Creating PostScript Files
    • 7.1.3 Postscript Rips
      • Figure 7.3
    • 7.1.4 PostScript and Typeface Management
      • LOOKING FOR POSTSCRIPT ERRORS
    • 7.1.5 PostScript Level 1
    • 7.1.6 PostScript Level 2
    • 7.1.7 PostScript 3
  • 7.2 PDF
    • Figure 7.4
    • 7.2.1 Programs for PDF Files
    • 7.2.2 Creating PDF Files
      • Figure 7.5 THE ADOBE ACROBAT FAMILY
    • 7.2.3 Adjusting for Proofs
    • 7.2.4 Security Settings
      • Figure 7.6
      • Figure 7.7
    • 7.2.5 Different Kinds of PDF Files
    • 7.2.6 PDF/X
      • PDF/X
    • 7.2.7 Proofing PDF Files
      • Figure 7.8 SETTINGS FOR CREATING PDF FILES
      • THINGS TO CHECK IN PREFLIGHT
    • 7.2.8 Editing PDF Files
  • 7.3 JDF: Job Definition Format
    • Figure 7.9 PROOFING TOOLS IN ACROBAT PROFESSIONAL
    • Figure 7.10
  • 7.4 Adjusting for Printing
    • Figure 7.11
    • Figure 7.12
    • 7.4.1 Color Standards
      • Figure 7.13
    • 7.4.2 Gray Balance
      • WHAT AFFECTS THE CMYK CONVERSION?
      • TO SET VALUES WHEN CONVERTING INTO CMYK
    • 7.4.3 UCR and Maximum Ink Coverage
      • Figure 7.14 GCR: HOW IT WORKS
    • 7.4.4 GCR and UCA
      • Figure 7.15 GCR: HOW IT WORKS
      • Figure 7.16 GRAY BALANCE
    • 7.4.5 Dot Gain
      • Figure 7.17
    • 7.4.6 Sharpen the Image
      • Figure 7.18 KNOCKOUT AND OVERPRINT
    • 7.4.7 Knocking Out, Trapping, and Overprinting
      • Figure 7.19 KNOCKOUT AND TRAPPING
      • Figure 7.20
      • Figure 7.21
  • 7.5 Proofing and Contract Proofs
    • Figure 7.22
    • 7.5.1 What Should Be Checked and by Whom?
      • Figure 7.23
    • 7.5.2 Soft Proofs: Proofing on the Screen
      • Figure 7.24
      • Figure 7.25 DOT GAIN
    • 7.5.3 Laser Printer Output
    • 7.5.4 Preflight Software: Technical Controls
      • Figure 7.26
    • 7.5.5 Contract Proofs
      • Figure 7.27 COLOR CONVERSION WITH ICC PROFILES
      • Figure 7.28 CREATING AN ICC PROFILE IN PHOTOSHOP
      • Figure 7.29
      • Figure 7.30
    • 7.5.6 Limitations of Contract Proofs
      • IMAGE PROOFS/PRINT
    • 7.5.7 Press Proofs
      • Figure 7.31 DIGITAL PROOF SYSTEMS
  • 7.6 Imposition
    • Figure 7.32
    • Figure 7.33
    • Figure 7.34 IMPOSITION
    • 7.6.1 Gang-Up
    • 7.6.2 Front-and-Back
    • 7.6.3 Work-and-Turn (Halfsheet Work) and 2-Set (2-Up)
      • SHEET AND GRAIN DIRECTION
      • TAKE THE PRINTED IMAGE INTO CONSIDERATION
    • 7.6.4 Signatures and Sheet Order
    • 7.6.5 Crossover Bleeds
      • Figure 7.35
    • 7.6.6 Gripper Edge
    • 7.6.7 Compensation for Creeping
      • Figure 7.36 TYPICAL IMPOSITIONS
    • 7.6.8 Imposition Proofs
      • Figure 7.37 SIGNATURES OR SHEET ORDER
      • Figure 7.38 IMPOSITION PROOFS
  • 7.7 Halftone Screening
    • Figure 7.39 REGISTRATION MARKS AND COLOR BARS
    • 7.7.1 Halftone Dot Types
      • Figure 7.40
    • 7.7.2 Stochastic or Frequency Modulated Screening
      • Figure 7.41
      • Figure 7.42 IMPOSITION: HOW IT WORKS
      • Figure 7.43 HALFTONE DOT SHAPES
      • Figure 7.44
    • 7.7.3 Hybrid Halftone Dots
    • 7.7.4 Other Screening Techniques
    • 7.7.5 Screen Frequency and Dot Size
    • 7.7.6 The Structure of the Halftone Dot
      • Figure 7.45 FM VS. TRADITIONAL HALFTONE
      • Figure 7.46 OTHER HALFTONE TECHNIQUES
    • 7.7.7 Screen Frequency and Visual Resolution
      • Figure 7.47
      • Figure 7.48 SCREEN FREQUENCY
      • Figure 7.49
    • 7.7.8 Tonal Range
      • Figure 7.50 THE STRUCTURE OF THE HALFTONE DOT
      • Figure 7.51
      • Figure 7.52 MOIRÉ
    • 7.7.9 Screen Angles
      • Figure 7.53 THE EYE'S RESOLUTION ABILITY
      • Figure 7.54
    • 7.7.10 Screen Rosettes
    • 7.7.11 Moiré
      • Figure 7.55 GRAY LEVELS
      • Figure 7.56 SCREEN ANGLES
• 08. paper
  • Figure 8.1 COATED AND UNCOATED PAPER
  • 8.1 Coated or Uncoated
  • 8.2 Matte/Silk or Glossy
  • 8.3 Wood-Free Pulp and Wood Pulp
    • RAG PAPER
  • 8.4 Paper or Cardboard
  • 8.5 Plastics and Foils
    • PRINTING ON TRANSPARENT PLASTIC
    • OXIDATION DRYING
  • 8.6 Paper Format
    • Figure 8.2
    • Figure 8.3 CUTTING CHARTS
    • Figure 8.4 PAPER FORMATS
    • Figure 8.5 AMERICAN AND EUROPEAN PAPER FORMATS
    • Figure 8.6 BASIS WEIGHTS
  • 8.7 Basis/Substance Weight
  • 8.8 Density and Bulk
    • Figure 8.7
  • 8.9 Surface Smoothness and Formation
  • 8.10 Brightness and Whiteness
    • Figure 8.8
  • 8.11 Opacity
    • Figure 8.9 GRAIN DIRECTION
  • 8.12 Grain Direction
  • 8.13 Dimensional Stability
  • 8.14 Strength
    • SOME QUESTIONS YOU SHOULD ASK YOURSELF BEFORE CHOOSING PAPER:
  • 8.15 Age-Resistant and Archival Paper
    • Figure 8.10
  • 8.16 Choosing a Paper
    • PAPER PRICES DIFFER
    • 8.16.1 The Feel and Appearance of the Printed Product
    • 8.16.2 The Life Span and Uses of the Printed Product
      • Figure 8.11
    • 8.16.3 Costs and Print Runs
      • Figure 8.12
    • 8.16.4 Readablity vs. Image Quality
      • Figure 8.13
    • 8.16.5 Printing Technique
      • Figure 8.14 RECOMMENDED SCREEN FREQUENCIES
    • 8.16.6 Finishing and Binding of the Printed Product
      • Figure 8.15 WEIGHT STATED IN GRAMMAGE FOR A PRINTED PRODUCT IN A4 FORMAT
      • Figure 8.16
    • 8.16.7 Distribution and Weight
  • 8.17 Paper and the Environment
    • 8.17.1 Recycled Paper
    • 8.17.2 Chlorine-Free Paper
    • 8.17.3 Alternative (Non-Wood) Fibers
  • 8.18 Handling of the Paper
    • 8.18.1 Paper and Moisture
      • ORDER THE PAPER IN TIME
    • 8.18.2 Storage of Paper
      • Figure 8.17
    • 8.18.3 Transport of Paper
      • Figure 8.18
      • Figure 8.19 PAPER AND HUMIDITY
      • PRINTABILITY
  • 8.19 What Paper Is Made Of
    • 8.19.1 Paper Pulp
      • Figure 8.20
    • 8.19.2 Stock Preparation
      • Figure 8.21 PAPER PULP
    • 8.19.3 The Paper Machine
      • Figure 8.22
      • Figure 8.23
    • 8.19.4 Finish
      • Figure 8.24 PAPER PULP HAS DIFFERENT PROPERTIES
      • Figure 8.25
      • Figure 8.26
• 09. printing
  • Printed product / Technique
  • 9.1 Different Printing Techniques
    • DIGITAL PRINTING AND THE ENVIRONMENT
  • 9.2 Xerography
    • 9.2.1 How the Technique Works
      • CHARACTERSTICS/TECHNIQUE
      • Figure 9.1
      • Figure 9.2
      • Figure 9.3
    • 9.2.2 Ink
      • Figure 9.4
      • STANDARDS FOR VARIABLE DATA FILES
      • Figure 9.5
    • 9.2.3 Paper
    • 9.2.4 Typical Problems in the Xerographic Process
      • CHECKLIST FOR VARIABLE DATA PRINTING
      • Figure 9.6
  • 9.3 Inkjet
    • 9.3.1 Inkjet Technology
      • CUSTOMER RELATIONSHIP MANAGEMENT
      • Figure 9.7
    • 9.3.2 Ink
      • Figure 9.8
      • Figure 9.9
      • Figure 9.10
    • 9.3.3 Paper and Printing Materials
      • Figure 9.11
    • 9.3.4 Typical Problems in Inkjet Printing
  • 9.4 Sublimation
    • 9.4.1 Sublimation Technique
      • Figure 9.12
    • 9.4.2 Ink
    • 9.4.3 Paper and Printing Materials
  • 9.5 Offset
    • Figure 9.13
    • 9.5.1 How Offset Technique Works
      • Figure 9.14
    • 9.5.2 Sheet-Fed Offset and Web-Fed Offset
      • SHEET-FED OFFSET VS. HEATSET VS. COLDSET
      • Figure 9.15
      • WATER-FREE OFFSET PRINTING: +/-
      • Figure 9.16
      • Figure 9.17
    • 9.5.3 The Printing Unit
      • Figure 9.18
    • 9.5.4 The Rubber Blanket
      • Figure 9.19
    • 9.5.5 Ink-Dampening Balance
      • Figure 9.20
      • DAMPENING SOLUTION
      • Figure 9.21
    • 9.5.6 Ink
    • 9.5.7 Dampening Solution
      • Figure 9.22
      • Figure 9.23
      • Figure 9.24
    • 9.5.8 Control of Ink Coverage
      • CONTROLLING INK COVERAGE
      • Figure 9.25
      • Figure 9.26
    • 9.5.9 Sheet Transportation
    • 9.5.10 Paper
      • SHET-FED OFSET VS. HEATSET VS. COLDSET
    • 9.5.11 Production of Offset Printing Plates
      • Figure 9.27
    • 9.5.12 Platesetters
    • 9.5.13 Types of Plates
      • Figure 9.28
      • Figure 9.29
      • CTP PLATES
      • LARGE FORMAT FOR LIGHT BOXES
    • 9.5.14 Typical Problems in Offset Printing
      • Figure 9.30
      • Figure 9.31
      • Figure 9.32
      • Figure 9.33
      • Figure 9.34
  • 9.6 Letterpress
    • 9.6.1 Letterpress Technique
      • Figure 9.35
      • Figure 9.36
    • 9.6.2 Printing Blocks and Type
    • 9.6.3 Ink
    • 9.6.4 Paper
    • 9.6.5 Typical Problems in Letterpress Printing
  • 9.7 Screen Printing
    • Figure 9.37
    • 9.7.1 Screen Printing Technique
      • Figure 9.38
      • Figure 9.39
    • 9.7.2 The Screen Cloth
    • 9.7.3 Ink
    • 9.7.4 Paper and Material
    • 9.7.5 Typical Problems in Screen Printing
  • 9.8 Gravure Printing
    • Figure 9.40
    • Figure 9.41
    • Figure 9.42
    • Figure 9.43
    • 9.8.1 Gravure Printing Technique
    • 9.8.2 The Gravure Printing Form
      • Figure 9.44
      • Figure 9.45
      • Figure 9.46
      • Figure 9.47
    • 9.8.3 Ink
    • 9.8.4 Paper
    • 9.8.5 Typical Problems in Gravure Printing
      • Figure 9.48
      • SCREEN PRINTING +/−
      • GRAVURE PRINTING +/−
      • Figure 9.49
      • FLEXOGRAPHIC PRINTING +/−
  • 9.9 Flexographic Printing
    • 9.9.1 Flexography Technique
      • Figure 9.50
      • Figure 9.51
      • Figure 9.52
      • Figure 9.53
    • 9.9.2 Flexographic Plates
    • 9.9.3 Ink
    • 9.9.4 Paper and Material
    • 9.9.5 Typical Problems in Flexographic Printing
  • 9.10 Print Makeready
    • 9.10.1 Plate Makeready
    • 9.10.2 Setting the Feeder
    • 9.10.3 Registration of the Sheets
    • 9.10.4 Presetting of Ink Screws
    • 9.10.5 Ink-Dampening Balance
      • Figure 9.54
      • Figure 9.55
      • Figure 9.56
      • Figure 9.57
    • 9.10.6 Registration
    • 9.10.7 Ink Coverage
    • 9.10.8 Consistency with the Proof
  • 9.11 Checking Prints
    • 9.11.1 Density
    • 9.11.2 Amount of Ink
      • Figure 9.58
      • Figure 9.59
    • 9.11.3 Dot Gain
    • 9.11.4 Maximum Ink Coverage
    • 9.11.5 Minimum Highlight Dot
      • Figure 9.60
      • Figure 9.61
    • 9.11.6 Trapping
    • 9.11.7 Gray Balance
      • Figure 9.62
    • 9.11.8 Misregistration
    • 9.11.9 Dot Deformation: Slurring and Doubling
    • 9.11.10 Printing Proofs for an ICC Profile
      • Figure 9.63
      • Figure 9.64
      • Figure 9.65
      • Figure 9.66
      • Figure 9.67
  • 9.12 Printing Inks and Environmental Issues
    • Figure 9.68
    • IN-HOUSE AUDITING
    • COMMUNICATION
• 10. finishing and binding
  • 10.1 Different Types of Finishing and Binding
  • 10.2 Before Finishing and Binding
    • Figure 10.1
    • Figure 10.2
  • 10.3 Varnishing
    • Figure 10.3
    • VARNISHING AND THE ENVIRONMENT
  • 10.4 Lamination
  • 10.5 Foiling
    • Figure 10.4
  • 10.6 Embossing
    • Figure 10.5
    • Figure 10.6
    • Figure 10.7
  • 10.7 Cropping
    • Figure 10.8 Cutting machine
  • 10.8 Die-cutting
    • Figure 10.9
    • Figure 10.10
  • 10.9 Punching
    • Figure 10.11
  • 10.10 Folding/
    • Figure 10.12
    • Figure 10.13 THE ROAD TO BINDING
    • Figure 10.14 BUCKLE FOLDER AND KNIFE FOLDER
    • Figure 10.15 DIFFERENT FOLDERS
  • 10.11 Creasing
    • Figure 10.16 FOR THICKER AND STIFFER PAPER
    • Figure 10.17 INSERTING OR GATHERING
  • 10.12 Signatures and Sheet Order
    • Figure 10.18
    • Figure 10.19 CROSSOVER BLEEDS
  • 10.13 Metal Stitching
    • Figure 10.20
    • Figure 10.21
    • Figure 10.22 METAL STITCHING
    • Figure 10.23
    • Figure 10.24
  • 10.14 Spiral Bindings
    • Figure 10.25 SPIRAL BINDINGS
    • Figure 10.26
  • 10.15 Glue Binding
    • Figure 10.27
    • Figure 10.28
  • 10.16 Thread Sewing
    • Figure 10.29
  • 10.17 Thread Sealing
    • Figure 10.30
  • 10.18 Covering
    • Figure 10.31
    • Figure 10.32 DIFFERENT TYPES OF BOOKS
    • TO KEEP IN MIND
    • THE PRICE LADDER OF BINDING
  • 10.19 Casing In
    • Figure 10.33
    • Figure 10.34
    • Figure 10.35 OTHER TYPES OF POSTPRESS PROCESSES
    • CALCULATING THE WIDTH OF THE SPINE
• Back Matter
  • glossary
    • A
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    • E
    • F
    • G
    • H
    • I
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    UM RAFBÆKUR Á HEIMKAUP.IS

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