A Guide to Graphic Print Production
6.190 kr.
Lýsing:
Print production requires designers be familiar with graphic design, typography, illustration, editing, workflow management, materials, proofing, mechanical and photographic outputs, prepress processing, paper, color, manufacturing, and distribution. A Guide to Graphic Print Production covers all steps in the print production process with detailed explanations supported by informative sidebars and full-color illustrations.
Annað
- Höfundur: Kaj Johansson, Peter Lundberg, Robert Ryberg
- Útgáfa:3
- Útgáfudagur: 10/2011
- Blaðsíður: 400
- Hægt að prenta út 10 bls.
- Hægt að afrita 2 bls.
- Format:ePub
- ISBN 13: 9781118229903
- Print ISBN: 9780470907924
- ISBN 10: 1118229908
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
- 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
- 2.3.1 CRT Screens
- 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
- 2.5.1 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
- 2.6.1 USB
- 2.6.2 IEEE 1394 FireWire
- 2.6.3 Bluetooth
- Figure 2.24 USB
- Figure 2.25 FIREWIRE
- 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
- 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
- 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
- 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
- 3.11.1 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
- 3.12.1 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
- 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
- Figure 3.44
- 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
- 4.1.1 Outlines and Lines
- Figure 4.8
- 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?
- 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
- 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
- 4.6.1 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
- 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
- 4.8.1 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
- 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
- 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
- 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
- Figure 5.2
- 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
- 5.4.1 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
- 5.5.1 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
- 5.6.1 Naming Files
- 5.6.2 File Information
- Figure 5.46
- 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
- 5.8.1 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
- 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
- 6.4.1 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
- 6.5.1 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
- 6.6.1 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
- 6.7.1 Images in CMYK or RGB?
- KEEP TRACK OF IMAGE COPYRIGHTS
- Figure 6.21
- 6.7.2 Optimal Image Size
- 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
- 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
- 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
- 6.11.1 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
- 6.12.1 Proofreading on Paper
- Figure 6.45
- Figure 6.46
- 6.12.2 Proofreading with PDF and Acrobat
- 6.13.1 Printouts for Proofing
- Manual document reviews
- IMAGES
- COLORS
- TYPOGRAPHY AND FONTS
- THE PAGE
- Manual document reviews
- Figure 6.47
- Figure 6.48
- 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
- 6.15.1 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
- 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
- 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
- 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
- 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
- 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
- 8.18.1 Paper and Moisture
- 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
- 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
- 9.2.1 How the Technique Works
- 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
- 9.4.1 Sublimation Technique
- Figure 9.12
- 9.4.2 Ink
- 9.4.3 Paper and Printing Materials
- 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
- 9.6.1 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
- 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
- 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 +/−
- 9.9.1 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
- 9.10.1 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
- 9.11.1 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
- Figure 9.68
- IN-HOUSE AUDITING
- COMMUNICATION
- 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
- glossary
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- X
- Z
UM RAFBÆKUR Á HEIMKAUP.IS
Bókahillan þín er þitt svæði og þar eru bækurnar þínar geymdar. Þú kemst í bókahilluna þína hvar og hvenær sem er í tölvu eða snjalltæki. Einfalt og þægilegt!
Rafbók til eignar
Rafbók til eignar þarf að hlaða niður á þau tæki sem þú vilt nota innan eins árs frá því bókin er keypt.
Þú kemst í bækurnar hvar sem er
Þú getur nálgast allar raf(skóla)bækurnar þínar á einu augabragði, hvar og hvenær sem er í bókahillunni þinni. Engin taska, enginn kyndill og ekkert vesen (hvað þá yfirvigt).
Auðvelt að fletta og leita
Þú getur flakkað milli síðna og kafla eins og þér hentar best og farið beint í ákveðna kafla úr efnisyfirlitinu. Í leitinni finnur þú orð, kafla eða síður í einum smelli.
Glósur og yfirstrikanir
Þú getur auðkennt textabrot með mismunandi litum og skrifað glósur að vild í rafbókina. Þú getur jafnvel séð glósur og yfirstrikanir hjá bekkjarsystkinum og kennara ef þeir leyfa það. Allt á einum stað.
Hvað viltu sjá? / Þú ræður hvernig síðan lítur út
Þú lagar síðuna að þínum þörfum. Stækkaðu eða minnkaðu myndir og texta með multi-level zoom til að sjá síðuna eins og þér hentar best í þínu námi.
Fleiri góðir kostir
- Þú getur prentað síður úr bókinni (innan þeirra marka sem útgefandinn setur)
- Möguleiki á tengingu við annað stafrænt og gagnvirkt efni, svo sem myndbönd eða spurningar úr efninu
- Auðvelt að afrita og líma efni/texta fyrir t.d. heimaverkefni eða ritgerðir
- Styður tækni sem hjálpar nemendum með sjón- eða heyrnarskerðingu
- Gerð : 208
- Höfundur : 12591
- Útgáfuár : 2011
- Leyfi : 380