THE DESIGNER’S DESKTOP MANUAL - Logobook.kz...If you’ve picked your startup disk, you’ll be prompted to restart so that the check can take place. If you’re having major problems,

THEDESIGNER’SDESKTOPMANUAL

A RotoVision Book

Published and distributed by RotoVision SARoute Suisse 9CH-1295 MiesSwitzerland

RotoVision SASales and Editorial OfficeSheridan House, 114 Western RoadHove BN3 1DD, UK

Tel: +44 (0)1273 72 72 68Fax: +44 (0)1273 72 72 69www.rotovision.com

Copyright © RotoVision SA 2007

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without permission of the copyright holder.

While every effort has been made to contact owners of copyright material produced in this book, we have not always been successful. In the event of a copyright query, please contact the Publisher.

10 9 8 7 6 5 4 3 2 1

ISBN: 978-2-940361-76-2

Design: Fineline

Printed in China by Midas Printing International Ltd.

THEDESIGNER’SDESKTOPMANUALJASON SIMMONS

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CONTENTSCONTENTS

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CONTENTS

Operating Systems and Applications 007

A Mac user’s guide to PCs 008A PC user’s guide to Macs 010How computers display an image 012Bitmaps and vectors 014The InDesign workspace 016The QuarkXPress workspace 018The Illustrator workspace 020The Photoshop workspace 022The DreamWeaver workspace 024The Bridge workspace 026The Acrobat workspace 028Keyboard shortcuts 030Setting application defaults 034Utilities 036

Type 039

The anatomy of type 040Choosing a typeface 042Font formats 046Managing type on a Mac 048Managing type on a PC 050Manipulating type 052Creating neat body text 056Glyphs and hidden characters 058Using non-Roman alphabets 060Proofreading marks 062Using style sheets 064Type and color 066Custom typefaces 068Using fonts for print 070Using fonts on a website 072Getting started with CSS style sheets 074

Color 077

RGB vs CMYK 078Achieving accurate color 080Screen angle, dot shape, and dot gain 084Trapping and choking 086Manipulating color 088Creating a smooth gradient 094Color-matching systems 096Spot colors and special finishes 098Color proofing on-screen 100Inkjet color proofs 102Professional color proofing 104Choosing color for screen use 106

Images 109

Sourcing images 110Building a graphics library 114Commissioning an illustrator 116Working with photographers 118Using desktop scanners 120Using a digital camera as a scanner 122Taking screen grabs 124Opening awkward files 126Scaling images 128Creative cropping 130Brightness, contrast, hue, and saturation 132Image retouching 134Layers, paths, and channels 140Blending modes 144Creating cutouts 148Creating a photomontage 150Pixels to vectors 152Vectors to pixels 154Creative image techniques 156

Black-and-white conversion 158Preparing an image for print 160Setting up a CMYK profile 162Understanding color profiles 164Converting an RGB image to CMYK 166Image-proofing marks 168Image file formats for print 170Preparing images for the web 172Image file formats for the Internet 174

Layout 177

Working with page objects 178Placing images 180Placing text 182How many columns? 184Setting up a grid 186Setting up master pages 188Setting up a library 190Proportion and consistency 194Designing tables 196Barcodes and document readers 198Web-design basics 202Designing your first web page 204Developing your website 206Publishing a website 208

Production 211

Setting up a studio printer 212Preflight procedures 216InDesign’s transparency flattener 218Exporting PDFs 220Preparing for output 224Files transfer 226Choosing paper 228Paper sizes 230Folds and bindings 232Imposition 234Print finishing 236Solving common print problems 238Dealing with printers 240Repurposing a magazine for the web 242Archiving 244

Glossary 2�6

Index 2��

Operating Systems and ApplicationsWhether you’re a die-hard Mac fan, love the flexibility of Unix, or prefer the universal acceptance of Windows, operating systems are an essential element of all computers. Often they are merely conduits to your applications, but many hours of frustration can result from not being able to find a particular function or option. The following pages provide you with a beginner’s guide to the main operating systems. If you are used to Windows, we’ll show you how to get started with a Mac, and vice versa.

The tools designers use are their software applications. And while many of you will be familiar with, or even expert in, a few applications, it’s unusual for designers to have much knowledge of software outside their core area of skills. However, today’s designers need to have more flexibility, as it’s not unusual to find yourself in a situation where you need to get a quick job done in an application you’ve never used before. To get you started, an overview of the primary design applications is given with annotated guides to the interface and tips to get the job done.

A Mac user’s guide to PCs A Mac user’s guide to PCsOPERATING SYSTEMS AND APPLICATIONS

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OPERATING SYSTEMS AND APPLICATIONS

A MAC USer’S GUIde TO PCs

Many Mac users would rather go back to alcohol markers and Letraset than use a PC—but such narrow-mindedness is ill-advised. The problems that beset PCs in the past—viruses, stability problems, compatibility issues, poor build quality—have largely been addressed thanks to a mixture of the maturing of the operating system and its attendant “ecosystem,” and a recognition on the part of top- and mid-tier manufacturers that they had to improve the user experience.

Consider too that while the desktop-publishing revolution began on the Mac, all the major print and online publishing packages are now also available for Windows. A modern PC, therefore, is as valid a choice

for design work as a Mac, with two caveats. First, type rendering on older systems using “nondesign” applications tended to be less sophisticated than that with Mac OS X. Obviously, one wouldn’t necessarily expect precise typographic rendering and control when not using specific dTP applications such as QuarkXPress or Indesign, but things have improved. For example, text rendering in Word 2007 is particularly impressive.

The second proviso relates to color. Thanks in part to Windows’ more business-focused heritage, colors appear punchier; for this reason you need to make consistent use of gamma correction and color profiles to ensure accurate color throughout the workflow, just as you would on a Mac.

CONTROL KEYSControl/CtrlOn a PC, Ctrl does the equivalent job of Mac’s Command/Cmd in most circumstances, issuing keyboard shortcuts to active applications. Common shortcuts such as X, C, V, and P (for cut, copy, paste, and print, respectively) work as expected.

AltLook across the menus of most Windows’ applications and you’ll notice that one letter in each is underlined. Tap Alt to access any menu, then press the relevant key to initiate whatever menu item you’ve chosen. You can access almost any menu item or select almost all onscreen options directly from the keyboard using Windows or Vista. This facility is particularly popular with “power users” who need to work fast with the minimum number of mouse clicks.

WINDOWS The main use of the key marked with the Windows symbol is to pop up the Start menu, from which you can navigate, using arrow keys, to any option within the Start menu. It’s also used a lot for shortcuts, such as Win+e for a new explorer window, or Win+r which opens the Run dialog box.

FILE STRUCTUREBy default, Windows creates three visible folders in the root of your main hard disk: Documents and Settings (which holds your user data, as with Users under Mac OS X); Program Files (analogous to Mac’s Applications) and WINDOWS, which holds your system and its settings.

INSTALL/UNINSTALLUnlike the Mac, Windows has a native uninstaller utility. Add or Remove Programs is part of the Control Panel.

BASIC TROUBLESHOOTING AND HOUSEKEEPINGWindows PCs’ hard disks do need to be defragmented every so often. right-click on your hard disk, and go to Properties > Tools, and select Defragment Now.

A PC will usually run a disk health check automatically on startup if it detects a problem, but you can force this. From the Tools window, select Check Now. If you’ve picked your startup disk, you’ll be prompted to restart so that the check can take place. If you’re having major problems, restart in Safe Mode. Switch your PC on, gently but repeatedly tapping F8 until the Options menu appears.

Force quitTap Control-Alt-Delete and the Task Manager appears. From here you can inspect running processes, and click End Process to force Windows to quit it. Always exercise caution however, and don’t shut down any processes unless you’re sure they’ve actually crashed.

A PC user’s guide to Macs A PC user’s guide to MacsOPERATING SYSTEMS AND APPLICATIONS

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A PC USer’S GUIde TO MACS

There’s a misconception that an Apple Mac is so different from a Windows-powered PC that anyone familiar with the latter would find it almost impossible to use a Mac. This is wrong on many levels. Not only is the hardware itself now identical—in 2005, Apple switched from PowerPC to Intel chips—the “user experience” is also very similar.

Like Windows, Macs employ a graphic user interface—windows, icons, menus, and pointers—sometimes shortened to WIMP. In both platforms, documents are stored in folders, work is created using applications, and settings are made using Preferences. There are, however, some differences between the two platforms. Here are some examples.

CONTROL KEYSCommand ⌘ This is the main command modifier on the Mac, and in many circumstances takes the place of Control under Windows. Common shortcuts such as X, C, V, and P—for “cut,” “copy,” “paste,” and “print,” respectively—work as expected. Command-Tab on the Mac provides the same functionality as Alt-Tab under Windows.

Control (ctrl)Often used simply as an additional modifier for keyboard shortcuts, one of Control’s most essential roles comes into play if you only

have a one-button mouse or trackpad. Hold Control when you click to emulate a “right-click” in order to bring up contextual menus.

Alt (alt) or Option (opt)One of Alt’s main roles is to help type accented characters (see Glyphs and hidden characters, pages 56–7); Windows’ use of Alt to navigate menus has no Mac equivalent.

FILE STRUCTUREThe root level of a Mac’s hard disk contains four folders: • Applications—where installed software

and utilities reside• Library—which contains configuration

and support files• System—in which the operating system

(OS) and associated files are found• Users—which contains all the files

you create

Try to get into the habit of respecting Users’ basic file structure—documents, Pictures, and so on—which is imposed by the system.

THE DOCKSimilar to, though not the same as Windows’ Taskbar, the dock allows you to launch applications, minimize windows, and store links to folders and documents; simply drag items in and out.

INSTALL/UNINSTALLApplications should be copied to your Applications folder before being used. An installer will often do this for you, but in some cases you’ll have to drag programs from mounted virtual disks (.dmg files).

QUITTING APPLICATIONSUnlike Windows, closing an application’s last active document does not exit the application. You need to quit manually from the application menu to quit the software.

DEFRAGMacs usually don’t need to be defragmented—the file system handles it automatically, although this does require that you keep your Mac on 24 hours a day. Alternatively, there are a number of shareware applications that will let you run a variety of maintenance operations manually.

BASIC TROUBLESHOOTINGIf your Mac is misbehaving, first try repairing permissions (open disk Utility, click on your hard disk, then click repair disk Permissions), then restart from your install Cd/dVd, holding down the C key. Pick disk Utility from the Utilities menu and then repair your hard disk.

CONTROL-ALT-DELETEPressing Command-Control-escape on the Mac brings up a window that allows you to force quit troublesome applications.

Mac OS X structure overviewMac OS X installation, troubleshooting, and force quit

How computers display an image How computers display an imageOPERATING SYSTEMS AND APPLICATIONS

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Anti-alias off

Anti-alias on

PC display

Mac display

HOW COMPUTerS dISPLAY AN IMAGe

Look closely at any screen—no matter whether it’s a flat-panel screen, a boxy CrT monitor, or a television—and you’ll see small blocks of color, known as pixels (short for picture elements). Look closer still, and you’ll see that these colors are made up of even smaller blocks of pure red, green, and blue light—all at differing intensities.

displays use this system—known as the “additive” color system—of mixing together red, green, and blue light to create the gamut, or range, of colors we see on-screen. Such a

system relies on our mind’s ability to perceive adjacent blocks of pure color either as different hues, shades, or tints (see pages 78–9).

The practical upshot of this is that while you might think the photograph you see on-screen uses continuous tones of color, in fact it’s just a trick that exploits our eyesight’s relatively poor ability to resolve fine detail. The image is really made up of a fine matrix of blocks of color, a little like a 21st-century equivalent of a roman mosaic.

COLOR PERCEPTIONToday’s computer monitors are sufficiently sophisticated to display more colors than our eyes are able to distinguish, but that doesn’t mean the colors you see on-screen are necessarily “accurate”—it’s all a question of perception.

Let’s think of a printed page for a moment. In simple terms, the colors in this book were created by mixing different intensities of cyan, magenta, yellow, and black inks. This is known as the “subtractive,” CMYK model. And while color-matching systems such as Pantone® help ensure color consistency from screen to page, additive and subtractive systems construct colors in different ways, with each displaying a different gamut of colors. For example, it’s quite usual for print designers previewing CMYK colors on-screen (using simulation systems such as those in Photoshop) to be disappointed by how dull the colors appear (see pages 78–9).

To make the matter more complicated, PCs and Macs display slightly different color gamuts, with images appearing darker on a PC than on a Mac. Consistent and sensible use of color profiles can help to reduce this effect (see pages 80–3).

ANTI-ALIASINGComputer displays are still only capable of displaying relatively coarse detail compared with the printed page, so anti-aliasing—a system of reducing the jagged appearance of edges—is used. This is particularly apparent in text rendering. In addition, modern systems can use sub-pixel rendering (anti-aliasing with colored blocks) to exploit the inherent misregistration of flat-panel screens and increase the resolution of a display.

CRT and TFTThe two most common monitor types

are Cathode Ray Tube (CRT) and Thin

Film Transistors (TFT). CRTs are the

traditional television-style monitor,

and while the technology is old by

computer standards, CRTs are the

most reliable for work requiring

accurate color matching. TFTs, more

commonly known as flat-panel

displays, are very thin and have a

small desk footprint. However, the

colors a TFT displays may shift

slightly if not viewed directly from

the front.

Anti-aliasingThe illusion of smooth edges is

provided using a system called anti-

aliasing. Single pixels of color are

tinted to blend between the

foreground and background

elements, fooling the mind into

ignoring the jagged edge that would

otherwise be obvious.

A screen up closeOn-screen images are made up of

thousands of points of red, blue,

and green light. These combine to

produce an image with millions of

colors, hues, and shades, but the

illusion breaks down as it is magnified.

The example shown here is a flat

screen rather than a CRT.

The importance of calibrationMacs and PCs have slightly different

approaches to displaying colors, and

because of this, the same image will

look different when viewed on each

system. Proper color calibration can

minimize these problems.

Bitmaps and vectors Bitmaps and vectorsOPERATING SYSTEMS AND APPLICATIONS

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BITMAPS ANd VeCTOrS

As discussed earlier, all computer monitors display images by using a grid of colored dots called pixels. At a basic level, we can create patterns, text, and even images simply by switching some of these pixels on (white) or off (black), as we could do with a sheet of graph paper, a black pen, and infinite patience. exchange the black pen for a big box of crayons in thousands of different colors, and you have the ability, in theory at least, to create images that, when viewed from a sufficient distance, look like continuous-tone photographs.

BITMAP IMAGESBitmap images, such as those created by a digital camera for example, are created using finite grids of colored pixels—and unsurprisingly the fewer pixels that make up the image, the less detail. You can reduce detail by removing pixels from an image, but you can’t add detail that’s not already there simply by adding new pixels. The best you can do is use a process called interpolation, which calculates pixel values between existing pixels during an image enlargement and fills in the gaps. There are various tools

that can interpolate images, including Photoshop’s Resample Image, found in the Image Size dialog window (see pages 128–9), but such tools can only approximate missing detail, and results will vary depending on the content of the image.

This, then, is the main drawback of bitmap images—there is a finite level of detail available. Their use of fine grids ensures that they can show very subtle changes in color, texture, and detail, but scale an image up too far and pixellation—blocks of color replacing the smooth gradations—will occur.

VECTOR IMAGESContrast this with vector images which are constructed from a series of connected points defined by mathematical coordinates. rather than slavishly drawing a number of lined-up black pixels to create a line, as for a bitmap image, a vector representation of the same line is described simply as two points, the beginning and the end, joined by a line.

This system has two advantages: vector file sizes are much smaller than bitmap files (think of just two data points rather than

many thousands of individual pixels), and vectors are resolution-independent. This latter characteristic means that you can scale vector images up or down with no loss in quality, which is not the case with bitmap images.

The drawback is that you can’t create complex, photo-real images using vectors. They are best suited to simple shapes and flat colors as found in type, company logos, and certain types of artwork. remember, however, that since computer displays use a bitmap system, you never truly “see” vector

images. Instead, you see a “rasterized”—or preview version of the vector—created inside the computer. The vector data remain pure as far as scaling, storage, and manipulation are concerned, but are rasterized—converted to a series of lit pixels or droplets of ink—during display or output, usually at the maximum resolution of the display or printer concerned.

DetailThe more detail you require in a

vector graphic, the more points it will

require. This can increase the file size

enormously, to the point where it may

be beneficial to convert the vector

image to a bitmap.

BitmapsBitmap, or raster images, are created

using colored blocks or pixels. Subtle

shifts in tone, color, and detail are

possible, which makes them perfect

for photographs.

ResolutionA bitmap image at a low resolution

will have little fine detail. Attempting

to scale-up such a graphic often leads

to poor results, although there are

workarounds that can help to a

certain degree.

VectorsVector graphics use a series of points

and lines to describe an image that is

resolution-independent, so the

graphic can be scaled up or down

with no loss of quality. This makes

vector graphics perfect for type,

logos, and bold illustration work.

The Indesign workspace The Indesign workspaceOPERATING SYSTEMS AND APPLICATIONS

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THe INdeSIGN WOrKSPACe

The first thing users will notice when working with Adobe’s third version of Creative Suite (CS3) is that Adobe have adopted a new standardized interface for all the individual applications. As CS3, however, is not so different in terms of functionality

seasoned users will adapt quickly. CS3 has collectively picked up on some of the better features found in all components from version 4 (CS2), and there are important advancements in the feature set too—so here’s a rundown of some of those additions.

THE EFFECTS PALETTEIndesign’s Effects palette is new and contains a range of effects including drop shadow, inner and outer glow, bevel and emboss, satin, plus several feathering effects. All the effects have their own set of fully editable

options, which will be familiar to Photoshop users, and a global light source option is also included. Transparency is now also controlled from the new Effects palette rather than from its own dedicated palette. Previously an applied transparency affected all the elements of an object, but now fill, stroke, and text can be edited independently of one another via this palette. Blending modes such as multiply, screen, overlay, and so on can also be adjusted.

FRAME FITTINGIndesign can now assign fitting options to a picture box before an image is imported. Boxes can be assigned an instruction to fit content to frame, fit proportional, or scale proportional, as well as other options such as crop. The options can be built into object styles, which is particularly useful when creating multiple picture boxes in a layout.

Multiple placementsAnother added function of the latest

version of InDesign is that you can

now select and place multiple items,

including text and graphics, all at

once without having to go through

the import process every time. If you

select more than one item to place in

a layout from a list, a small thumbnail

preview is displayed next to the cursor.

You can cycle through these with the

arrow keys until you find the one you

require, and place each in turn by

clicking into the document at either

the appropriate position to create

a new frame or by clicking on an

existing frame. Once all the selections

have been placed the cursor returns

to its normal state. If you place an

item in error you can undo the action

and it will return to its place in the

queue formed on the cursor.

THE PAGES PALETTEThe Pages palette has been improved with the addition of thumbnail previews, allowing easier navigation through longer documents by way of the visual guide.

THE ALIGN PALETTEThe Align palette has been improved by the addition of a drop-down menu that aligns selected items against the margins, page, or spread. Previously, alignment was restricted to selected objects only.

The QuarkXPress workspace The QuarkXPress workspaceOPERATING SYSTEMS AND APPLICATIONS

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THe QUArKXPreSS WOrKSPACe

The interface of the latest incarnation of QuarkXPress, version 7, isn’t that different from QuarkXPress 6. The familiar tools and palettes are all recognizable and accessed from more or less the same places. However, there are several key advances in the feature set of QuarkXPress 7, and in addition the Measurements palette has undergone a major overhaul. Here are a few of those new and updated features.

TRANSPARENCY, DROP SHADOWS, AND ALPHA MASKINGQuarkXPress can now set the opacity of items such as text, images, and rules in 0.1% increments. Opacity controls are now color based, so transparency can be set from either the Modify dialog box, or the Measurements and Colors palettes. Frames can be given a different opacity to their contents if required, and blends can fade from solid to a transparent background. Feathered drop shadows can be created easily for text, boxes, and rules, and full overprinting control allows shadows to be created over colored backgrounds. As QuarkXPress can now support alpha channels, custom masks created in other applications can be used to blend objects and backgrounds. Channels can be selected in either the Modify box or from the Measurements palette.

PICTURE EFFECTSThe QuarkVista Xtension, which has come free with QuarkXPress since version 6.5, allows image editing to be carried out within QuarkXPress itself—so now there’s no need to exit to Photoshop to perform most common image-editing tasks. Adjustments can be made to Levels, Curves, Brightness/Contrast, Color balance, and Hue/Saturation plus several other options. There are also several filters available, such as Unsharp Mask and Gaussian Blur, all of which stack up in the Picture Effects palette. The applied adjustments and effects can be switched off or deleted altogether, and the stacking order can be changed if required.

SYNCHRONIZATIONQuarkXPress 7 allows you to synchronize the content of both text and picture boxes, including all attributes, between different layouts in one particular project. To achieve this, access the Shared Item Properties palette where the synchronization can be customized to include item and content attributes, or content only. All synchronized items used in a project will be automatically updated when any one of the items is amended.

QuarkXPress 7 also includes multiuser page composition, support for OpenType, multiple layout views, improved color management, and a host of other feature enhancements. In particular, it now includes support for Job Jackets, which are files that describe complete specifications for projects. They can be created at the beginning of a workflow, and are able to automatically maintain specifications for colors, style sheets, and preferences, as well as many other stylistic consistencies, such as required rule weights. They can even dictate the number of pages to appear in a document.

Picture Effects and Shared Item Properties palettes QuarkXPress workspace

The Illustrator workspace The Illustrator workspaceOPERATING SYSTEMS AND APPLICATIONS

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THe ILLUSTrATOr WOrKSPACe

Adobe Illustrator has long been seen as the sister product to Photoshop, using vectors rather than pixels (see pages 14–15) for creating graphics. Although the differences between Illustrator, Photoshop, and Indesign have become blurred over the years, Illustrator is still the leading tool for creating complex vector-based images, with its only rival, Freehand, being bought by Adobe in 2005, and subsequently discontinued. Illustrator’s interface has in the past contained some small quirks that didn’t crop up in Photoshop or Indesign, although functionality in cross-over areas was, of course, similar. The new CS3 release addresses those issues, and adds some interesting new features.

USING ILLUSTRATORIllustrator graphics are created using polygon shapes and the Pen tool. each shape or path can be manipulated and colored in much the same way as in Photoshop or Indesign. There are many similarities to other CS applications. Most tools, palettes, and commands, for example, are identical to their CS counterparts.

Vector graphics are usually used for razor-sharp line work—images that need to stay crisp no matter how much they are enlarged.

But the distinction between Illustrator’s vector files and Photoshop’s bitmaps becomes indistinct once you start feathering vector graphics or stylizing them with filters that were, until recently, strictly off limits for vector graphics. even when feathered, distorted, warped, sketched, and extruded, the original image remains completely editable and scaleable.

TRACING IMAGESPreviously sold as a separate application, Adobe’s image-tracing tool, Streamline, has made its way into the Illustrator package. The Live Trace tool can be used to transform a photograph or other bitmap image into a vector graphic. The Live Trace options allow you to specify the numbers of colors, detail, and accuracy of the resulting artwork.

The quality of the original image, and the conversion settings greatly affect the finished result, but with practice it is possible to start with a washed-out and grainy bitmap image and achieve an exciting graphic masterpiece.

3D GRAPHICSAnother Adobe application that has made the journey to Illustrator is dimensions. Using the 3d effects it is possible to add depth and perspective to flat graphics. The controls will never match those in a dedicated 3d-rendering application such as Cinema 4d, and the surface rendering is crude, but when a graphic designer requires a basic 3d effect for a print project there is now no need to leave the Creative Suite.

Effect > 3D > Extrude and Bevel is the primary 3d tool, allowing a flat shape to be stretched into an object that can be rotated around the X, Y, and Z axis. It’s perfect for making 3d type or adding perspective.

BlendingThe Blend tool transforms separate shapes and colors into a seamless

blend. Specify the number of steps in

the blend, or the distances between

each stage. The effect is live, so

altering the target shapes will update

the blend.Building shapesBy merging, knocking-out, or splitting

simple polygons, it’s possible to

construct more complex shapes. The

Pen tool can be used to add, remove,

or alter the points of the polygon, or

draw in more detail.

SAVING AND EXPORTINGThe main formats for Illustrator files are the proprietary .AI or vector ePS. Printers will accept Illustrator files as final artwork, usually for packaging designs when the complex meshes are packed full of rich graphics, but little type.

Illustrator files can be imported or placed into Photoshop or Indesign, but the simplest and quickest way to transfer graphics is to simply cut and paste between the applications. Its integration with Flash has also improved considerably, making even Illustrator more appealing for web designers.