Project Guide 1 - CPINTL

PROJECT GUIDE
PROJECT GUIDE
PROJECT GUIDE
© 2013 Aptech Limited
All rights reserved.
No part of this book may be reproduced in any form or by any

means - graphic, electronic or mechanical, including
photocopying, recording, taping, or storing in information
retrieval system or sentor transferred without the prior written
permission of copyright owner Aptech Limited.
APTECH LIMITED
Contact E-mail: ov-support@onlinevarsity.com
Edition 1 - 2013
Disclaimer: Arena Multimedia is registered of Aptech Ltd.
ii
Dear Learner,
We congratulate you on your decision to pursue an ARENA course.
Aptech Ltd. designs its courses using a sound instructional design

model – from conceptualization to execution, incorporating the following
key aspects: -
 Scanning the user system and needs assessment
Needs assessment is carried out to find the educational

and training needs of the learner.
Technology trends are regularly scanned and tracked by

core teams at Aptech Ltd. TAG (Technology & Academics
Group) analyzes these on a monthly basis to understand
the emerging technology training needs for the Industry.
An annual Industry Recruitment Profile Survey # is

conducted during August - October to understand the
technologies that industries would be adapting in the next 2
to 3 years. An analysis of these trends & recruitment needs
is then carried out to understand the skill requirements for
different roles & career opportunities.
The skill requirements are then mapped with the learner

profile (user system) to derive the Learning objectives for
the different roles.
 Needs analysis and design of curriculum
The Learning objectives are then analyzed and translated

into Learning tasks. Each learning task or activity is
analyzed in terms of knowledge, skills and attitudes that
are required to perform that task. Teachers and domain
experts do this jointly. These are then grouped in clusters
to form the subjects to be covered by the curriculum.
In addition, the society, the teachers, and the industry

expect certain knowledge and skills that are related to
abilities such as learning-to-learn, thinking, adaptability,
problem solving, positive attitude etc. These competencies
would cover both cognitive and affective domains.
A precedence diagram for the subjects is drawn where the
prerequisites for each subject are graphically illustrated. The
number of levels in this diagram is determined by the duration
of the course in terms of number of semesters etc. Using the
precedence diagram and the time duration for each subject,
the curriculum is organized.
 Design & development of instructional materials
The content outlines are developed by including additional

topics that are required for the completion of the domain
and for the logical development of the competencies
identified. Evaluation strategy and scheme is developed
for the subject. The topics are arranged /organized in a
meaningful sequence. The detailed instructional material
– Training aids, Learner material, Reference material,
Project guidelines, etc. are then developed. Rigorous
quality checks are conducted at every stage.
 Strategies for delivery of instruction
Careful consideration is given to the integral development

of abilities like thinking, problem solving, learning-to-learn
etc. by selecting appropriate instructional strategies
(training methodology), instructional activities and
instructional materials.
The area of IT is fast changing and nebulous. Hence

considerable flexibility is provided in the instructional
process by specially including creative activities with
group interaction between the students and the trainer.
The positive aspects of web based learning – acquiring
information, organizing information and acting on the basis
of insufficient information are some of the aspects, that
are incorporated in the instructional process.
 Assessment of learning
The learning is assessed through different modes – tests,

assignments & projects. The assessment system is
designed to evaluate the level of knowledge & skills as
defined by the learning objectives.
 Evaluation of instructional process and instructional materials
The instructional process is backed by an elaborate

monitoring system to evaluate - on-time delivery,
understanding of a subject module, ability of the instructor
to impart learning. As an integral part of this process, we
request you to kindly send us your feedback in the reply
pre-paid form appended at the end of each module.
*
TAG – Technology & Academics Group comprises of members from
Aptech Ltd, professors from reputed Academic Institutions, Senior
Managers from the Industry, Technical gurus from Software Majors &
representatives from regulatory organizations/forums.
Technology heads of Aptech Ltd. meet on a monthly basis to share

and evaluate the technology trends. The group interfaces with the
representatives of the TAG thrice a year to review and validate the
technology and academic directions and endeavours of Aptech Ltd.
Industry Recruitment Profile Survey# - The Industry Recruitment Profile

Survey was conducted across 1581 companies in August/September
2000, representing the Software, Manufacturing, Process Industry,
Insurance, Finance & service sectors.
Our Instructional Design Model
PR E FAC E
Preface
A creative process can be broadly divided into two parts :

Planning and Execution.
Any creative project or assignment has to be planned, where the

basic appeals and themes are decided. Once the copy platform
and the basic appeals and themes are finalized, the job is now to
execute the theme, translating the ideas into pictures and words.
Though planning of an assignment or advertisement campaign

theme is of primary importance, it is also necesssary to have
the powerful interpretation of the theme into actual assignment
or advertisement, that has visual appeal or else a good theme
could be marred by poor execution.
This project guide covers all aspects of any project right from
planning to final execution and conveys good amount of
information which is very much needed at the time of designing,
in such a way that the student while working on projects can
execute and deliver the project successfully.
Student will work on five projects step by step right from logo and
stationery designing to different media, which helps you to develop
designs and to expand your creative services for your clients.
Hope this effort will help you in understanding the process in a

better way.
ARENA Design Team
vii
PROJECT GUIDE
viii
Table of Contents
TABLE OF CONTENTS
PROJECT 1
Planning and Designing.....................................................................1

Planning.................................................................................3
Planning a Project ................................................................4
Steps Towards Perfect Assignment .......................................6
The Design.............................................................................8
Line and Halftone Artwork..................................................11
Introduction to Project : Stationery Designing
PROJECT 2
Planning Layouts.............................................................................19
Production Process Flow.....................................................21
Planning the Layout.............................................................22
Tips for Designing and Page Layout...................................30
Typography & Typefaces ....................................................32
Typesetting...........................................................................37
Introduction to Project : Press advertisement or Magazine

advertisement layout
PROJECT 3
Making Artworks.............................................................................43
Execution of an Assignment.................................................45
Preparing an Artwork..........................................................45
Sending Files to the Printer.................................................48
Tips For Publishing the Project...........................................52
Commonly Used File Formats.............................................54
Checklist..............................................................................55
Introduction to Project : Brochure Design

PROJECT 4
ix
Table of Contents
Processing, Printing and Paper......................................................63

Scanning and Printing.........................................................65
Processing............................................................................67
Types Of Printing Processes................................................70
Paper....................................................................................74
International Standard Paper Sizes.....................................76
Introduction to Project : Poster/Hoarding or Packaging

Design ....................................................... for
the Product
PROJECT 5
Designing for Web............................................................................89

Web Page Designing............................................................91
Vocabulary...........................................................................97
Graphics formats for the Web..............................................98
Tips for Web Page Designing.............................................100
Introduction to Project : Design a Web Page Layout
Glossary.......................................................................................... 111
: Notes
: Important
x
Planning and Designing
P R O J E C T
1
Project
Contents :
 Planning
 Planning a Project
 Step Towards
Planning and 
Perfect Assignment
The Design
Designing  Line and Halftone

Artwork
 Introduction to
Project : Stationery
Designing
1
P R O J E C T 1
2
Any Project concern with the Creative Process has to start with an idea
that can be developed. This is done by way of gradually progressing
with the concept until the potential of the original idea is exhausted.
Like we said in a Preface Creativity Process can be broadly divided into
two parts : Planning and Execution.
Planning
It all begins with a Creative Director’s dream. This planning process,

can be called as the pre-production stage of any assignment.
Ideas
Ideas are the soul of any assignment and advertising is nothing but
selling ideas based on cold and hard facts.
Creative thinking is the sound ground on which we can reap a rich
harvest of ideas. Men with ideas are hard to come by, and those who
can come out with an idea that can sell a product, can very well sell the
idea profitably.
Concepts
Thinking is an ongoing involuntary process when we consciously think
for a purpose; raw, usual thoughts develop into idea. When these ideas
are further exploited for a wider application – such as dividing upon
a common theme, formulating a business plan, communicating to an
audience, and the like – ideas transform into concepts. In simpler words
concepts are ideas with a purpose application.
Copywriting
Every written text that communicates i.e. informs, induces, expresses,
evokes, interests and in some way creates an impact on the audience is
copy. In several cases, copy helps to complete what the visual cannot
say entirely. Visual & copy are both integral parts of an advertisement
and are complementary though one of the two may or may not dominate.
Once the basic thought is decided upon and the copy platform
formulated, the next step is to write the copy matter in an advertisement.
Advertising copy is the advertiser’s sales message that appear in print,
3
P R O J E C T 1
the written portion of the message, excluding the illustrations. Copy

includes headline, sub headline, logotype (the advertiser’s signature
and address), slogan and the main body of the sales message. Even the
spoken message as broadcast over the radio or television must be written
before it is delivered. Copy is merely the expression in the best and most
effective possible wording of a basic idea or theme of the advertisement.
Visualization
Every human has a certain amount of thought processing inside him and
depending on certain needs, the thought process varies in degree and
in vision. Most of the cases lead to a conflict between creative thinking
and common sense, which encourages the belief that visualization or
the ability to think visually is oriented towards creativity only. Visual
thinking also stirs lateral thinking, which results in a balanced thought
process. Visualization can therefore, be defined as a mixture of creativity
and common sense.
The creative department is where the ‘idea’ or theme behind any

assignment or advertising campaign is born. Visualizers, artists
and copywriters are basically ‘idea men’ and their duty is to create
advertisements or movies that compel attention, create interest and also
a desire to possess the product and if possible to create action.
Visualization in multimedia will vary depending on the output media

where it is being utilized such as print media, broadcast media and
interactive web media.
Planning a Project
The basic process is to pull together all the material for the publication -
articles, ads, photos, etc. These are assembled in a page layout program.
Then they are printed out as camera-ready copy for shooting onto film
or output to film, which is used to make the plates for printing.
The basic concept of a project is to combine text and graphics on the

page using desktop publishing software like Photoshop, Illustrator,
Indesign etc.
4
Term ‘desktop publishing’ refers to the process of using the computer

to produce documents such as newsletters, brochures, books, etc.
 Find Your Function
There are many desktop publishing possibilities.
What kind of work comes to mind when we think of desktop publishing?

Brochures? Business cards? Newsletters?
There are dozens of other types of design projects that can be created
in whole or in part with our computer using desktop publishing and
graphics software.
Use all these medias to help us develop designs for our clients, to expand
our services, or to simply find new ways to use our computer for fun
or profit.
- Annual Reports, Proposals

- Business Forms
- Catalogs, Menus, Product Lists
- Collateral Materials (brochures, fliers, posters)
- Corporate Identity (logos, letterheads, visiting cards)
- Crafts, Creative Printing
- Marketing Materials (ads, direct mail)
- Periodicals (newsletters, newspapers, magazines)
- Packaging
- Presentation Graphics
- Publication Art (book jackets, CD inserts)
- Publications (books, manuals)

- Resume’s, Word Processing
5
P R O J E C T 1
- Self-Publishing
- Signage
- Web and Electronic Publishing (web sites, multimedia, pdf)
Keeping in mind our target audience, we can prepare a comprehensive

media list.
Steps Towards Perfect Assignment
Our best bet for turning out a polished publication:
 Page Layout / Templates

 Fewer fonts
 Simple clipart selections
 The right paper
1. Page Layout
Rely on the professional
While there are many reasons for using pre-designed templates,
for non-designers one of the prime reasons is the ability to look
good without having to become a graphic designer. One of the
key features of “entry-level” page layout programs and “creative
printing” software is the surplus of templates and design wizards.
They allow the user to concentrate on creating a nice card, flier,

banner, or Web page without having to learn the finer points of
good design. They are there to help us use them.
In many cases templates are designed by well-known designers. We

often look at the work of others for inspiration. Using templates is
simply another way of borrowing from the talents of those around
us. Starting with a template is a smart idea.
6
2. Typography
Don’t overdose on fonts
Fonts are fun. Most desktop publishing programs come with tons
of nifty alphabets. But when it comes to putting professional polish
on desktop designs, use restraint. Three or fewer typefaces are
usually enough for most design.
“Readability is the key to appropriate body type.” Consider the

beauty and simplicity of the single typeface document.
3. Graphics
Cut the clipart clutter
We can have lively, interesting pages without any clipart, but if we
just can’t resist, use restraint. Limit clipart, photos, graphic accents
to one or two per page. Nine times out of ten, a single medium
or large image is better than three, four, or more smaller graphics
scattered around the page.
“Use clipart with moderation and with purpose. Use clipart that
supports our text or illustrates a point.”
“A good illustration... should grab attention and draw the reader

into the message.”
4. Printing
Pick a pack of perfect paper
Users are increasingly turning to desktop publishing to create
everything from greeting cards to business cards from their own
desktop printers. While the results may not be as great as the output
from a commercial printing press, we can still get good results by
choosing the right paper and using it properly.
“Copier papers can be used for desktop publishing, but should not
be the first choice when a quality presentation is desired.”
7
P R O J E C T 1
“Most inkjet papers are designed to produce best results on only

one side. Need double-sided documents? Plan color for one side
and black and white only for the second side.”
“To ensure best results, use only the replacement ink cartridges
recommended by the printer’s manufacturer.”
“Fan paper before placing it in the paper tray to remove static

electricity that can cause sheets to stick together.”
The Design
Graphic Design
It is a process and art of combining text and graphics and communicating
an effective message in the design of logos, graphics, brochures,
newsletters, posters, signs, and any other type of visual communication.
This is also known as graphic arts.
Today’s graphic designers often use desktop publishing software and

techniques to achieve their goals.
 Design should be purposeful

Begin by reviewing the reason for designing- as contrasted to
setting everything in 12-point Times Roman. Start by thinking in
terms of opposite. Ask yourself: “Am I designing for attention or
designing for transparency?”
We “design for attention” when we design a poster for the front

cover of a book. Design for attention is intended to get prospective
readers to notice you. Design for attention is different than “design
for transparency” where the success of our efforts is measured
by the ease with which readers can “see through” our design and
assimilate our message.
 Design should be simple

Good design makes complicated information easy to understand. Try
breaking long messages into a series of bite-sized chunks. This will
help the reader gather information.
8
 Design should organize

Good design helps readers immediately separate the important
from the unimportant. Good design reveals the structure of our
messages.
 Design should provide contrast

Good design provides visual stimulation, which prevents reader
boredom. Our primary tools of contrast include white space,
typography and size. Pages filled margin-to-margin with text
present a gray, boring appearance which discourages readership.
 Design should provide selective emphasis

Good design should provide a consistent background for emphasis
where emphasis is desired. In a roomful of shouting people, one
more shout is unlikely to be noticed. But, a shout in a library or a
church is certain to attract attention!
 Design should reflect restraint

There is a deceptive simplicity to good design. Good design is
based on using a few typefaces well. This isn’t as easy as it sounds.
with hundreds of typefaces at our disposal, and color becoming
more and more affordable, it’s all too easy to allow the technique
to overwhelm the message. It’s simply too easy to center text and
add styling attributes like italics and underlining.
 Develop a Designer’s eye

Becoming a good designer is a task, and it can be fun also Simple
if we just keep your eyes open and learn what makes a document
communicate effectively.
 Notice all what we see

The first step in developing an eye for design is to become a
“conscious consumer.” By that it means we should begin to notice
what we see. Look at the packaging (design), look at the design
on television etc.
9
P R O J E C T 1
To learn design principles, take a few minutes to check out how

the message is delivered. We will find ourself forming opinions
about what we like and don’t like.
Where can we find documents to observe? Virtually everywhere.

Look at billboards, print ads, business cards, magazine cards,
magazine articles, books and product packaging, yellow pages etc.
 Take advantage of the programs

Get in the habit of breaking each documents we see into its design
components and figuring out the easiest way we can get our
program to create that effect.
 Emphasize the most important elements

Now that we’re really seeing the documents in front of us we’ll
notice how document design affects the way we absorb the
document’s message. Have we ever noticed how all sentences
look basically the same- capital first letter, single space between
words. Paragraphs are also basically the same- indented first word
or separated by extra space. There simple writing conventions are
just as important to page design as the cooler stuff like fancy fonts
and graphic images.
 Check it close - Check it far

Look at the design from a distance. Walk toward the design and
notice where the focus is. Our focus should be where we planned
it to be. We might want to have a friend do this step.
 Save the best and worst

Save all works and collections.
10
Line and Halftone Artwork
What is Line Art?

Line art is typically 2-color (usually black & white) clipart, pen and ink
drawings, or pencil sketches. Whether we intend to scan line art for use
‘as it is’ or to modify it or to use as a ‘template’ for tracing or redrawing,
there are specific ways we can get the best image and just the right look.
Halftones
The basics of color and black & white halftones.
Halftones are images made up of a series of dots in a specific pattern
that simulates the look of a continuous tone image. Because printers
cannot print continuous tones whether it’s the many shades of grey in a
greyscale image or the millions of colors in a color photograph, images
must be converted to halftones. Another term for half toning is dithering.
Color Halftones
Color photographs printed in magazines, newspapers, or books are
actually made up of a series of dots in cyan, magenta, yellow, and black
(CMYK) that fools the eye into seeing the millions of colors that make
up the original image.
Black & White Halftones

Black and white continuous tone photographs are actually millions of
shades of grey. When printed these shades of grey are converted to a
pattern of black dots that simulates the continuous tones of the original
image. Simply put, lighter shades of grey are composed of fewer or
smaller black dots spaced further apart. Darker shades of grey contain
more or larger black dots closely spaced.
Traditional Halftones
In traditional prepress, when we supply the printer the actual photographs,
rather than digital scans, they create the halftone effect necessary for
printing by photographing the photograph through a special halftone
screen. For color images, there are actually four separate halftone
11
P R O J E C T 1
screens made which are then superimposed on each other in each of

the four colors.
Digital Halftones
When using scanned images or images from a digital camera, we can
produce digital halftones direct from the software to the printer. Digital
half toning depends on the lpi (lines per inch, or screen frequency) and
the resolution of the output device (printer). The halftone screen used
may be specified in the printer’s PPD (PostScript Printer Driver) or set
specifically in our software program.
File Preparation
Color images are recreated through a combination of color separations
and specific halftone screening patterns and screen angles. When creating
color separations, use the settings that match our output device.
In addition to screening patterns, different presses and the paper we

are printing on require specific screen frequencies the number of dots
used to create the image. This is the often misunderstood concept of
LPI (lines per inch). In general, a higher screen frequency produces a
smoother, more detailed image. However, for certain types of paper a
higher screen frequency is not better. Typically newsprint uses an LPI
of 85. 133 is the norm for glossy paper such as used in magazines.
However, there may be instances when we want to override default

settings or create our own halftones. In the print dialog options for our
document we can choose a different PostScript Printer Driver (PPD) or
override the LPI and screen angle settings for our document.
In a graphics program such as Adobe Photoshop we can convert our

image to a black and white image using a specific halftone screen or
dithering. This is necessary when supplying camera-ready artwork using
digital images. Photoshop allows us to specify LPI, screen angle, and a
dot shape. Remember, size and rotate the image in our graphics program
before converting to a halftone.
This is a brief overview of halftones intended to provide basic

information only.
Introduction to Project : Stationery Designing

12
* Refer the example of halftone and line work illustration.
About Illustration :
– Illustration Halftone or Continuous tone.
– Illustration Line work & soild color.
Line work Illustration
Halftone Illustration
13
P R O J E C T 1
 Part 1
- Design a thoughtful logo and symbol for XYZ cold drinks
company.
- Logo and symbol should have some meaning, which can
represent the Product and also the Company.
 Part 2
- Then make a layout design for stationery which must include
Letterhead, Visiting card, Continuation sheet and Envelop.
Valuable Tips . . .
While designing, keep in mind :-
- The activity of company / product / company & services.

- The Logo text and symbol size, so that if we reduce or enlarge it
should not get patchy or pixilated and should always be readable
in all sizes.
- Paper, paper size, colors and printing.
- It is the only visual representation, which communicates our
thought silently and creates an image of our company and product.
- Try to make purposeful and useful design layout, which suits our
requirements.
- To suit our design we can use any type of paper, paper color, paper
size and printing– one side or both side– screen printing or offset
etc.
- For commercial viability, we should always go for the standard
paper size and printing as per our requirement which can save a
lot of money and time.
Ultimately our design should solve the purpose.
* Refer the display section for the sample stationery.
14
Note : If the stationery is to be printed in Offset printing, the images

should be in TIFF format, in CMYK mode, in 300 dpi (Dot per Inch)
for good reproduction of printing.
If the stationery is to be sreen printed in flat patch color and our artwork
is in halftone then convert that artwork into solid line artwork for color
separations.
For line artwork use the separations of all colour in a solid patch.
15
P R O J E C T 1
 Display Section
Sample Stationery Design for a Letterhead and Visiting Card.
16
Sample Stationery Design for a Continuation Sheet & Envelop.
17
P R O J E C T 1
18
Planning Layouts
P R O J E C T
2
Project
Contents :
 Production Process
Flow
Planning 

Planning a Layout
Tips for Designing
Layouts 
and Page Layout
Typography and
Typefaces
 Typesetting
 Introduction to
Project : Press
advertisement
or Magazine
advertisement
layout
19
P R O J E C T 2
20
Planning Layouts
Production Process Flow
Four major steps should be always considered while designing a

document :
1. Message (Decide on content)
 Identify Audience/Identify Context/ Content

 Choose/compose text
 Choose/compose graphics
2. Form (Decide on overall look of finished piece)
 Look at other examples

 Paper and pencil mock-ups
 Determine the SCOPE of the project
 Decide on software package to use at this point to ensure
compatibility of word processing files and graphics
 Determine output requirements (printer, paper, resolution,
color)
Wrapped Text Columns Gutter Normal Text Columns
Fig. 2.1
3. Craft (Composing elements)
 Format page, titles, headers, columns, font

 Enter & format text
21
P R O J E C T 2
 “Place” graphics & images

 Test output and revise
 Final color output
4. Evaluation (Does it work?)
 Usability (readability) test

 Evaluate content or structure that requires modification
 Revise (at whatever level necessary)
Planning a layout
Layouts for DTP & Printing

A printed product or job must be well planned. The combination of ideas
used in planning and designing the product is called a layout. It can be
defined as the arrangement of all the units or elements into a printed,
usable format. These units or elements include the heading, sub-heading,
text matter, illustrations, and photographs. The preparation of a complete
set of layouts will require: thumbnail sketches, rough layout, and a
comprehensive layout. A definite plan, predetermined, is very necessary.
Values of good planning

Graphic planning allows the designer to review and revise his or her
thoughts. Printed work is often completed in less time and people who
perform a mechanical function leading to the final product know their
job. Questions are kept to a minimum.
Spelling, wording, and the placement of material must be accurate,

otherwise the final product will have little value. The specifications of
the client for their printed material must be accurately met. This will
result in a high-quality final product and the client, commercial printing
plant management, and the skilled workers will be satisfied that their
22
Planning Layouts
work has fulfilled a particular requirement.
Pre-layout planning
A pre-layout planning form should be completed to help formulate the
ideas of the person who is going to originate the printed job. Each of
the 12 questions that follow should be recorded for reference during the
layout preparation:
1. Objective of the product : What is the purpose of the finished
product? Is it to sell, inform or reference?
2. Target group : Will the printed material be for personal use, for
scientists, for teenagers, or for some other group? The design
approach would be different for each.
3. Personality of the product : Should it be sophisticated, gaudy,
dignified, humorous, or have some other quality? The type of paper,
typography, and illustrations depend on these decisions.
4. Style of the finished product : Will it contain photographs? Will it
be strictly typographic, or will it contain cartoons, illustrations, or
a combination of both?
5. Layout format : Will the product be a booklet, folder, bulletin,
brochure, pamphlet, or an entire book?
6. Approximate trimmed dimensions : What will be the physical size
of the printed product? This will affect which standard paper size
can be used.
7. Approximate number of pages : Will there be one sheet printed on
only one side or on both sides? Will a sheet be printed on both sides
and folded? Will there be several pages?
8. Approximate number of copies : The number of copies desired often
determines the printing process used.
9. Finishing and Binding requirements : Will the printed sheets from
the press or duplicator need to be trimmed, folded, scored, or bound
together by one of several methods?
10. Layout required : Does the customer require thumbnail sketches,
a rough layout, and a comprehensive layout.
23
P R O J E C T 2
11. Estimated hours for completion : How long will it take to complete
the entire job? The answer to this question will depend on the
answers to the ten previous questions, and will assist in making a
cost estimate.
12. Approximate date of completion : This involves consideration of the
time available per day, and the number of hours or days required.
Layout Procedure
Thumbnail Sketch Thumbnail Sketch
Thumbnail Sketch Thumbnail Sketch
Rough Layout
Comprehensive Layout
The sequence followed for preparing graphic layout materials is drawing
thumbnail sketches, rough layout, and comprehensive layout. Several
thumbnail sketches are usually prepared. The selection is made by the
person who is ordering the product.
Fig. 2.2
The rough layout is made up of the thumbnail sketch chosen. This

layout is generally the same size as the final product and contains all of
the copy and illustrations. Alterations can be easily made between the
thumbnail sketch to the rough layout, and again between the rough and
the comprehensive layout.
The comprehensive layout is based upon the general arrangements of
the thumbnail sketch and the rough layout. This is a precision layout
which permits the customer to see what the final product will look like.
The overlay sheet generally attached to the base sheet is used to indicate
how the final product should be produced.
Design and Layout considerations

Copy analysis is the first essential when designing a job. Thorough
24
Planning Layouts
knowledge of the job is needed; then the operation will simply become
one of mixing brains with type and/or illustrations.
Thoroughly understand the meaning of the copy before attempting actual
work. Study the copy; analyse it. It is time well spent.
To hit upon the correct formula, there are certain considerations that
must be kept in mind. They are in the following brief points:
1. Planning is important.
2. Design and layout are essential to obtain a quality finished product.
3. Make it readable. A printed product is designed to give information.
4. A layout is a blue-print, a master plan.
5. Compose the final product in the appropriate media; then arrange
to compose it with the actual type, illustrations and photographs.
6. Simplicity is important.
7. Knowledge of type and typography is necessary.
8. The printer’s point system must be understood.
9. Basic design principles must be understood.
10. Knowledge of colour and its effect on people are important.
 Thumbnail Sketches
Thumbnail sketches are simple idea sketches which will help the designer
to obtain an attractive and acceptable final result. The client can see the
ideas and then choose the layout which they prefer.
Thumbnail sketches serve these three primary purposes :
1. Graphically preserve ideas,

2. Visually portray ideas
3. Compare two or more ideas visually.
Preparation of these sketches should begin immediately after the

desired product has been selected and after completion of the pre-layout
planning sheet. Copy selection precedes thumbnails; therefore, one of the
25
P R O J E C T 2
responsibilities of the designer is to obtain all the copy that will appear
on the final product. The originator of the planned printed product should
have this information readily available.
Fig. 2.3
Method of preparation
1. Prepare the pre-layout planning sheet and list the copy.
2. Choose the final size of the printed product and plan to sketch the
thumbnails, in correct proportion, one-quarter size.
3. Select the copy elements needing emphasis. Block and shade areas
of space in the approximate position that each element is desired.
The space given should be a representation of the desired final size.
4. Use straight line to represent type that is 12-pts or smaller in size.
Do not necessarily use lettering for either the large or small type.
5. Outline the space for illustrations or photographs. Within this space,
sketch the illustrations or content of the photograph. This permits
another person studying the sketches to obtain a basic idea of the
content. Detail is not needed for thumbnail sketches of illustrations
or photographs.
It is important to sketch several ideas from which a final selection can
26
Planning Layouts
be made. Skilled designers prepare at least four thumbnails for any copy
given to them. Don’t be afraid to prepare as many thumbnail sketches as
our ideas. It is often difficult for the novice to visualise large numbers
of varied possibilities.
 Rough Layout
The second major step in any layout procedure involves the preparation
of a rough layout. This layout is an improvement or refinement of a
thumbnail sketch, or even a combination of two or more of these.
The purposes of a rough layout are:

1. Force a selection of one of the several sketched ideas,
2. Begin refining a specific idea, and
3. Provide a tangible item that can be studied and changed.
Fig. 2.4
27
P R O J E C T 2
Actually, a rough layout can be considered a pre-final product. Therefore,

in many cases, it can be used as the basis for the final product without
the need to produce a comprehensive layout. In many instances it will
be necessary to produce at least two rough layouts, for client approval
and comparison.
1. Study the several thumbnail sketches that have been prepared.
2. Select the one that best presents the content of the final two-
dimensional product. Selection can then be made by the designer
and/or the client.
3. Obtain a sheet of paper that allows for the layout to be drawn in
full size.
4. Refer to a type specimen book and select the type font(s) we intend
to use in the design.
5. Block or outline the area that will be devoted to type and illustrations
according to the thumbnail (or combinations of them) selected.
6. Letter all type within the rectangular outlined areas, based on the
copy. Use straight lines to represent the x-height of 12-pt type and
smaller.
7. Sketch the illustration(s) within the outlined areas. They should
be of a higher quality and contain more detail than a thumbnail
sketch illustration. The rough layout should reasonably resemble
the finished product.
8. Study the rough layout; make any additions/changes. Consult the

client about the final product as this gives the client the opportunity
to suggest changes if necessary.
 Comprehensive Layout
The comprehensive layout is the most important step in the production
of a printed work. It is the master plan or blue-print of the finished
product, and therefore its value cannot be over-emphasized. It allows the
designer and the client to see the finished product and to make changes
28
Planning Layouts
if necessary.
After the designer and the client have made all the necessary decisions,
the comprehensive layout will contain all of the information needed to
guide specialists who will produce the final product.
Fig. 2.5
1. Study the rough.

2. If the complete material is to be multi-coloured, choose the colours
and the content for each. Use coloured pencils or marking pens to
represent the colour of each element.
3. Letter all type in the exact position desired. Make the type look
like the actual kind.
4. Lines should be used to designate the correct position, even if the
layout contains 12 point type or smaller. However, the typewritten
copy should be attached.
5. Draw the illustrations carefully in the correct position.
6. Block the space for the photograph(s) or the illustration(s), if
they are used, and attach the glossy print if it is available. If the
photographs have not yet been taken, give directions as to the
29
P R O J E C T 2
content, and, where the subject or photograph contents can be

obtained.
7. Prepare an overlay sheet to protect the finished layout after all
content has been placed on the layout.
8. Thoroughly review the layout. Be certain that to have included all
copy and given full production information on the overlay sheet.
A designer is primarily concerned with the layouts or plans of work to be

carried out. Most designs involve two very different completed layouts.
One may be the carefully drawn and coloured finished comprehensive
(colour visual) for the client; the other is visually much simpler, but
technically more detailed. This second layout, referred to as either the
working layout, the printer’s layout, or the composing room layout, is
for the printer and serves as the equivalent of the architect’s working
drawing.
Tips for Designing and Page Layout
A rule of thumb is an easy-to-remember guideline that isn’t necessarily

a hard-and-fast rule or scientific formula but it’s more than just a dumb
guess. While these rules won’t always work for us, nine times out of ten
they’ll give us the results we want with the least amount of trial and error.
When we read each one we can mentally insert the phrase “In general”
before each rule. In general, these are the guidelines to follow. But as
heard before, “rules are made to be broken” and sometimes we will
need to do just that. But for new designers, or when we just need to
“get it done” these rules of thumb can help us quickly put together an
attractive publication.
Ad Design
If an ad is well designed, it will look just as good upside down.
Alignment
Everything on the page should align with something else. A grid is an
effective tool ensuring that text and images align. Break alignment only
for emphasis and sparingly within a piece.
Margins
30
Planning Layouts
Avoid using the same margins on all sides of a publication. In facing-page

documents, the inside margin should be smaller than the outside margins.
The bottom margin is usually larger than any other margins.
In publications with facing pages, the outside margin of each page should
be double the inside margin.
For best appearance, margins should be sized progressively from smallest
to largest: inside, top, outside, bottom.
Rule of Thirds
Visually divide the page into thirds. Place elements on the page within
these thirds for a more interesting and visually appealing layout.
Size
One measure of importance is size. Use larger graphics to communicate
the most important goals of the piece. Smaller graphics are of lesser
importance. When space is at a premium, drop the smaller elements
first — they are less important.
Typography
Typography is one of the main ingredients of a layout. One should be
very care full while using.
Choosing Fonts
When in doubt, pair a serif font for body text and a sans serif font for
headlines.
Avoid mixing two very similar typefaces, such as two scripts or two
sans serifs. There is not enough contrast and the small differences will
cause a visual clash.
Limit the number of different typefaces used in a single document to no
more than three or four.
Avoid mono spaced typefaces for body copy. They draw too much
attention to the individual letters distracting the reader from the message.
Setting Type
Avoid setting type in lines of more than sixty-five characters. Longer
31
P R O J E C T 2
lines cause the reader to “double,” or read the same line twice.
Avoid setting type in lines of less than thirty-five characters. Shorter
lines cause sentences to be broken and hard to understand.
Apply the alphabet-and-a-half rule to the text. This would place ideal
line length at 39 characters regardless of type size.
Apply the points-times-two rule to the text. Take the type size and
multiply it by two. The result is your ideal line length in picas. That
is, 12 point type would have an ideal line length of 12x2 or 24 picas
(approx. 4 inches).
Avoid setting type in all capital letters. Capital letters slow reading speed
and take 30 percent more space than lowercase letters.
Type Size
For a predominantly older readership of 65 and over, or for audiences
with known visual handicaps, set body text in sizes from 14 to 18 points.
Use 11 to 12 point type for readers in the 40-65-age range.

For most general audiences, body copy set at 10 or 11 points is good.
For beginning readers of any age, a larger type size around 14 points
is good.
Keep headlines between 14 and 30 points in most cases, keeping in
mind that the closer in size to the body text, the harder it is to distinguish
headlines from other text.
When we’re choosing slides for a presentation, spread them on a light
table and toss out any that have type too small to read with the unaided
eye.
Initial Caps
Avoid placing initial caps in the running text.
Kerning
Round characters can be kerned more than straight characters.
Typography & Typefaces

32
Planning Layouts
Incorrect choice of Fonts and poor Page Layout can ruin an otherwise
good advertising campaign or product promotion.
Subconsciously the readers attention can be directed to other topics.
These are proven facts that should not be treated lightly.
Type Terms
A typeface may be named for its original designer (Baskerville, Bodoni,
Garamond, Goudy); for its use (Times Roman was designed for the
London Times; Century and Avant Garde were designed for Century and
Avant Garde magazines); for its characteristics (Excelsior and Paragon
were designed for high legibility); or for its designer’s fancy (Perpetua,
Souvenir, Centaur).
Typefaces are also given generic names as well as brand names, e.g.
different type-founder’s call Times Roman different names, e.g. Times
New Roman, Geneva and English.
Typefounders’ versions of the same typeface differ only slightly from
each other. Even so we can, for example, seldom interchange one
typefounder’s 10-pt Baskerville with another’s. To try to do so would
result in a noticable mis-match with the original setting.
To identify type or recognise a wrong font, we must know what the

variables are, because differences amongst the thousands of typefaces
available today can be minute. Since an untrained eye cannot distinguish
even gross differences, we should become familiar with the fundamental
features of type that are labelled in the following diagram:
Fig. 2.6 : Basic anatomy of type
 x-height : The height of the lower case letters such as ‘x’, ‘a’, ‘e’.
 Ascender : The stroke of a letter which rises above the Mean line
as ‘k’, ‘l’, ‘h’.
 Descender : The stroke of a letter which hangs below the Base line
33
P R O J E C T 2
such as ‘p’, ‘y’, ‘g’.

 Mean line : The imaginary line which determines the height of
lowercase letters; ascenders rise above the mean line.
 Base line : The imaginary line on which all characters rest;
descenders hang below the base line.
 Body size : Size of the type being used; measured from the end of
the ascender to the end of the descender.
 Serif : Small strokes and cross-lines at the ends of major lines.
 Set width : Width, in units, allowed for each letter which varies
between letters and type faces.
 Cap Line : The height of capital letters. Depending on type design,
capitals may be taller/shorter or same height as ascenders.
Font
Many of the more popular type faces used today are available in three
different alternatives: Commercial font, Expert font and Pi font.
A Commercial type font contains the usual range of characters that
are needed for most forms of typesetting, i.e. one complete assortment
of alphabet letters comprised of capitals and lower case, numerals,
punctuation, special characters and symbols.
A type font is available only in one specific typeface design.
Therefore, a typeface such as 10-pt Times Roman is considered to be
one font and 10-pt Times Bold is another.
34
Planning Layouts
Fig. 2.7 : Commercial font

Extra care must be taken when working across two or more platforms
because certain characters from the same font and type foundry, accessible
on the PC platform, are not available to the Apple Mac.
Currently, Expert fonts are limited to those fonts, which are the most
popular typefaces. These fonts contain special characters such as

‘ligatures’, ‘small caps’ and ‘swash’ letters that are not normally used,
or needed, in the everyday world of commercial typesetting. For certain
classes of bookwork and high-class typesetting purposes, their inclusion
forms an invaluable addition to the finished result.
Expert Font
Fig. 2.8 : Alternate Character Font
Fig. 2.9 : Swash Character Font
35
P R O J E C T 2
It is unfortunate that in many cases, the actual number of characters

that type foundries include into some of their expert fonts is small,
necessitating the purchase of additional fonts to service particular
typesetting needs.
Pi fonts usually contain a collection of special characters such as

mathematical, monetary or decorative symbols, etc.
Fig. 2.10 : Pi Font — Zapf Dingbats

If we have a special need for certain characters, most manufacturers
will make a pi font to fit our need using standard characters or even
develop new one to suit our need. Symbol, Carta, and Zapf Dingbats
are examples of common pi fonts.
Family
The last variable in the flexibility (and popularity) of a typeface design
is whether or not the design has a range of variants. If a number of fonts
have the same name and general characteristics of face, e.g. Helvetica,
Helvetica Bold, Helvetica Bold Italic, etc. then they are known as a
Family.
Fig. 2.11 : Font Family
The majority of fonts in common use have at least four variants, i.e.
normal, italic, bold, and bold italic. The popular type design used above
(Helvetica), has a family of over 50 variants, whereas many decorative
and script style fonts such as Algerian, Arnold Boecklin Giddyup and
Pepita, do not have a range of different variations and are usually
restricted to a single font.
When nominating a typeface, the order of description can be thus:
36
Planning Layouts
 Type Size: 10 point

 Type Body: 12 point
 Type Family: Helvetica
 Type Weight: Bold
 Type Width: Extended
 Type Modification: Outline
Type Posture: Italic
Typesetting
Copy Preparation
Little discipline, or coordination with work mates can make life, and
the production process, so much simpler. So, use a word processor and
simply type and type until the end.
Copy preparation is a skilled job, which, if done properly, assists the

smooth flow of work through later stages of the production cycle.
Uniformity of Style
When marking up copy ensure that the typographic styles for headings,
subheadings, captions and text point sizes, spacing and indentions are
maintained. Punctuation style within the text should also be maintained.
Abbreviations and capitalization throughout the text must be uniform to
maintain the style of the job, especially if the copy is likely to be received
from different sources.
Typesetting Instructions
Typesetting is expensive, time consuming. Fewer errors and resetting
mean efficient cheaper jobs. The easiest way to reduce typesetting errors
is to provide clear and complete instructions.
Following is a list of all the information a typesetter/page layout person

could need. It is a long list and we will not need to use all of it for every
job, but each item should be considered:
37
P R O J E C T 2
Size in points
Leading in points
Line Length in picas
Column Structure justified,
Type Family Palatino, Helvetica
Weight light, med, bold
Posture roman, italic
Capitalization CAPS, U/lc, lc
Indentation in ems
Let/Wrd Spacing from loose to touching
Introduction to Project : Press advertisement or

Magazine advertisement layout
 Black & White Press advertisements
Design an attractive layout (in Black & White) Press advertisements

for a XYZ cold drinks company, who wants to launch the product for a
coming summer season.
Size of the advertisement is 4 column cms x 29.7 cms.
(Size: 1 column cms = 5.5 cms).
Take the necessary elements required for designing a good layout
like related to Visual, Product, Copy Text, Product logo, Company
logo, and the address line.
For (Black & White) Press advertisements we have to keep certain
major points in mind, such as :
- Details of copy matter should be very specific and clear-cut,
because lasting of Newspaper is the matter of one day.
- Layout can be in the Typography manner & Photography manner.
- Details of contents.
- The Branded product.
- Depth of the tones of colours.
- Define the point sizes of matter in the layout.
38
Planning Layouts
- Generally the copy matter for the press advertisements should be

less and very specific, because people have less time to go through
the matter in details and so matter should be less and product should
be more emphasized accordingly.
- Emphasis unique points as per the requirements of the company
and also keeping in mind the durations of an advertisement of the
particular branded product of the company.
- Layout approach should appeal to the viewer as per the type of
branded product of the company.
- Work on the layout keeping in mind the quality of the paper to be
used for the final printing.
Press advertisements appear generally daily, fort-nightly, etc.
We can create the impact layout to attract the viewers and appeal
for the demand of the branded product of the company.
Note : The images should be in TIFF format, in CMYK mode, in

300 dpi (Dot per Inch).
We can use different kinds of screen like Quartertone screen,
Halftone screen, etc. for the reproduction of printing according
to the different qualities of papers.
 4 color Double spread magazine advertisements

Design an attractive layout (4 colour) of a magazine advertisements for
a XYZ Cold drinks company.
Make a bleed format layout.

Take size for the double spread magazine advertisement as 41 cms
x 27.5 cms.
Take the necessary elements required for designing a good layout
like related to Visual, Product, Copy Text, Product logo, Company
logo, and the address line.
For Double spread (4 colour) Magazine advertisements we have
to keep certain major points in mind, such as :
39
P R O J E C T 2
- Kinds of layout format either in Bleed or Non-bleed.

- Details of contents.
- The Branded product.
- Layout as per the Typography & Photography.
- Colour shades, preferably minimum colours should be used for
maximum visual impact.
- Define the point sizes and colour of matters in the layout properly.
- Details of copy matter can be more than the newspaper
advertisements, because duration of magazine advertisements is
more than the newspaper, the minimum duration is of weekly.
- Emphasize the unique points as per the requirements of the company
and durations of an advertisement of the company.
- Layout approach should be appealing and attract the viewers as
per the type of branded product of the company.
Magazine advertisements generally appear weekly, monthly, bi-
monthly, quarterly, etc.
Be very imaginative to get a wide imagination for doing attractive
40
Planning Layouts
 Display Section
41
P R O J E C T 2
42
Making Artworks
P R O J E C T
3
Project
Contents :
 Execution of an
Assignment
Making  Preparing an
Artwork
Artworks  Sending files to the

printer
 Tips for Publishing
the Project
 Commonly Used
File Formats
 Checklist
 Introduction to
Project :
Brochure Design
43
P RO J E C T 3
44
Making Artworks
Execution of an Assignment
We can say execution is also the pre-production Phase of a process, which

often determines the success of any media project. It is a phase of the
entire process where the scope of the project is determined and plans
are made accordingly. The pre-production phase begins immediately
following the determination of the exact content and goals of the project
and extends up to the production phase. Only prototypes of the product
are produced in this phase.
Once we create anything that will be used in the final product we are in
the production phase. Naturally, we may be in the pre-production phase
with one component of the product at the same time that we are in the
production phase with another.
Needed :
 Access to desktop publishing machine

(on a computer connected to a good quality Scanner and Printer)
 Access to graphics/imaging and word-processing software

(Software like Photoshop, Illustrator, Indesign etc.)
 Access to net connection for ready to use content like :

Information, Clipart Gallery etc.
Before making a final artwork always make a comprehensive design for

final approval from the concerned person.
Preparing an artwork
Artwork
The final creation that is to be used to reproduced, as it is with some
alterations in proportionate sizes, is an artwork. At artwork is a prototype
of the work to be reproduced. There are some basic elements of artworks
like Text, Graphics, Photographs, and Illustration etc.
45
P RO J E C T 3
General
 Each illustration, whether a line figure or a photograph, should be
clearly identified with our name and the figure number, preferably
on the front.
 Each figure should be cited in the text (e.g. 'See Fig. 3.1(a)'),
 Each figure will be placed in the book near its first text citation
unless we specify otherwise.
 Indicate our preferences for the final size of a figure (e.g. ‘full page’,
‘half page’, ‘quarter page’). If any figures are to be cropped, mark
this clearly on a xerox of the figure.
 Give the source for the figure in the caption in the same form as
text citations for references (where possible - in some cases the
permission for reproduction requires a specific form of citation
in the caption which must be respected); make sure that the full
reference for the source is given in the reference list.
Line illustrations
 All artwork should be provided in finished form suitable for
reproduction, either as hard copy originals or as electronic files (see
'Illustrations on disk'). If we do not label our figures, then we should
provide xeroxes of the figures with the labels clearly marked. If
we provide roughs for redrawing (again, with agreement from the
Press editor), make sure that we make them as clear as possible,
with explicit instructions to clarify indistinct symbols, etc.
 Keep tints (shades of grey) within the boundaries of 40%-80% and
use them as little as possible as they reproduce poorly.
 If we are providing hard copy only, figures should be drawn at
150% (including the typeface) of the approximate size you would
like the figure to appear in the book; if electronic files are being
provided, they should be drawn at 100%. If we are unsure of the
final page size of the book please check with the Press editor.
 Figures should be drawn so that final line thickness is no less than
0.2 mm (0.5 pt) and the typeface (preferably Times) is 3.2 mm
(9 pt).
46
Making Artworks
Photographs
 Wherever possible, supply original prints or slides, not photographs
we have scanned onto our own computer or photographs of
illustrations in books or journals, which are already screened and
will not reproduce well.
 During the process of origination for printing there will be a
degree of loss of quality. This is especially true when colour slides
are provided for black-and-white reproduction. Ensure that our
photographs are the best quality in terms of tonal contrast and detail.
 Any lettering should be marked on a transparent overlay with
register marks.
 Suggest any areas that may be cropped to reduce the size.
 Consider whether faces should be masked to hide identity of
patients, for example.
 Use scale bars to indicate the magnification; do not give a
magnification factor in the caption as this nearly always has to be
adjusted at proof stage to allow for reduction.
 Photos will be printed in color only if mentioned spatially.
Labels on artwork
 For clarity, keep figure labels to a minimum.
 Labelling should be of a consistent size within each illustration,
and where possible throughout all artwork.
 Make sure that all labelling on a figure matches the text and the
caption (e.g. use the same symbols, the same italicisation, the same
abbreviations, the same spelling).
 Variables should be italicised, to match the text. (The sub/
superscripts should be roman or italic, again to match the text.)
 Make sure that every symbol and abbreviation used in the figure
is explained in the caption.
 Do not put legends on the figures. These should be incorporated in
the figure caption.
47
P RO J E C T 3
 Only the first word of a label should begin with an upper case letter
(e.g. 'Energy levels' not 'Energy Levels'). Lower case lettering is
also acceptable (e.g. 'energy levels'). This should be consistent
throughout.
 Make sure that all parts of figures are clearly labelled (always prefer
these as (a), (b), etc.) and that each part of the figure is referred to
in the caption.
 Graphs should be as simple as possible and should not be boxed.
All axes must be labelled, and the units given where appropriate.
 Axis labels on graphs should preferably have the units in
parentheses, e.g. Distance (mm), Mass (X102 g), Temperature T
(K). They should be placed reasonably close to the axis and should
normally be centered on it.
Sending Files to the Printer
Files, Fonts, Graphics, Disks

When we send a digital file out for film or printing there is more that
needs to go along than just our digital document. We may need to send
fonts and graphics too. Requirements differ from one printer to another
but here are the basics we need to know in order to give our printer what
they need to process our job.
Usually the printer will ask us to send :
 Application file
This is the actual digital file that we created in CorelDRAW, or some
other desktop publishing program. Before we send an application
file:
 Be sure our printing house or printer has the same software,

same version.
 If we’re upgraded before our printing house, we may have
to 'save down' our file to the version they use.
 Insure that the printing house can handle files from our
platform.
48
Making Artworks
 Few printing houses accept Microsoft Publisher (.pub) files

or files from anything other than the Adobe programs, Corel,
and other major 'professional' applications.
If the application file is not acceptable we may have to consider

submitting a PostScript (or PDF) file for output.
 Fonts
Even when we use common, classic typefaces we’ll need to send

the copies of the actual font files that our document contains. Fonts
can vary from vendor to vendor and there are differences between
the TrueType and Type 1 versions of fonts. If we don’t supply our
own fonts, the printing house may substitute their own version. This
might work. Or it might result in subtle or obvious differences in
our document including text re-flow.
 Check our font license agreement. Generally it is an acceptable

practice to supply a copy to a printer in order to output our
job.
 Send both screen and printer fonts (for Type 1 fonts).
 If we have embedded EPS files that include text that is not
converted to curves, be sure to send the fonts for those images
as well.
 Avoid mixing TrueType and Type 1 fonts in the same file.
 Send the same version of the font (that is, if we used TrueType
fonts but send the Type 1 version of that typeface we may see
errors).
We could embed all our fonts or convert text to curves to avoid

having to send font files. However, this isn't always possible or
advisable.
 Graphics
Send copies of all the images used in our document. If we practice

good file size management, then our graphics are usually linked,
not embedded in our document. The printing house will need to
have access to those graphics, otherwise our application file may
have only low-quality preview images in the file or no graphic at
49
P RO J E C T 3
all.
 Use EPS and TIFF images. If we must use other formats,

check with the printing house.
 Convert RGB images to CMYK.
 Save graphics in uncompressed formats.
 Don't change graphics file names unless we first re-link them
in our application file.
 In some instances, the printing house may want us to also send
original format graphics (Freehand, Illustrator, Photoshop
files), in addition to the placed EPS/TIFF images in our page
layout application, for troubleshooting purposes. Ask them.
To ensure that we include all fonts and graphics needed for our
output.
 Non-digital Items
To ensure that what they print looks like what we intended, supply
a laser-printed copy of our file. This can help technicians see
immediately if there are obvious font differences, missing graphics,
or changes in layout. Other items that we’ll want to include are
additional artwork, font lists, and any special instructions not
previously conveyed to the printer.
 Send a PostScript laser proof of each color separation.

 Make sure we generate a proof after making any changes,
otherwise the printer may see differences between his output
and our proof as errors which can delay our job.
 If we can't send our proof at 100% size then mark it to show
the percentage size at which it was printed.
 Send original artwork or photographs to replace FPO (for
position only) placeholders, if any, in our digital file.
 Include a list of all fonts used as well as a list of all the files
that appear on our disk.
 We may also need to include a dummy or mockup of our
finished project to show how it is to be cut, folded, or bound.
50
Making Artworks
Valuable Tips
Always talk to the printing house or printer first before sending anything.
They may have specific requirements and suggestions that may help our
project go more smoothly.
Delivering the File

Once we know what files to send, we have to get them to the printing
house. We’ll need to find out from them what formats they can accept.
Some options include:
 3.5 inch disks. These are suitable only for small files or files
compressed (such as with ZIP archives). If we compress our files, be
sure the printing house can uncompress them or send self-executing
archives.
 ZIP, Syquest, etc. ZIP disks, Syquest cartridges, Bernoulli

cartridges, and Magneto-Optical Disks allow us to send large
application files and their accompanying fonts and graphics without
compression.
 Electronic Transmission. Some printers will accept files as email

attachments or by modem transfer via their own bulletin board
system or over the Internet. It may be necessary to compress files
into an archive files first to speed the file transfer.
Label the disk

Include our name, address, phone number, and if we have a job number
assigned, put it on the disk as well. Another good measure; include a
‘read me’ file on the disk that also includes this same information.
No matter how beautiful our design or how carefully you’ve prepared our
files, if we don’t include the necessary files and non-digital materials we
jeopardize our project. Avoid last minute surprises and wasted time by
making sure that we’ve included all application files, fonts, and graphics
in a format that the printer can use.
51
P RO J E C T 3
Tips for Publishing the Project
1. Prior to working on a document, make sure that we have the

following information:
 Dimensions of the live area and bleed requirements.
 Printers specifications for film output, screen (dots per inch
and density), positive/negative, right reading emulsion side
down/up and type of color proof needed.
 Stock its printing on: coated or uncoated.
2. All electronic files must be supplied with a laser proof. The proof
must be an exact representation of the document in the file.
3. If changes have been made, output another laser proof. We are not
saving time and are spending unnecessary money, if something on
the disk is incorrect that we may have found when reviewing the
final revised changes on the laser proof.
4. If the document is oversized and crop marks cannot be seen on the
laser output, then the document must be tiled showing the image
and crop marks. Do not reduce the page to display all images; the
proof must be a true representation of the file. The laser proof is
what both we and the output person double checks.
5. If the document is in color then two laser proofs must accompany
the disk, one proof is in composite form, the second is the separated
form. Please mark color-process or spot.
6. If spot colors are chosen, click off “process separations” for the
chosen color, so that color is imaged to separate film, not as part
of the process separation.
7. Confirm in advance that the program we use to create our document
is compatible with the printers requirements. Some prefer an
application file, while others may prefer a postscript file.
8. All imported files such as TIFF & EPS files should accompany the
document.
9. Check with the printer to see what fonts/versions they have in their
system. Heavy users can supply their font library one time, reducing
52
Making Artworks
time on future jobs.

10. When defining colors, review a color tint guide or check with the
printer before inserting values in the color palette. Our color monitor
is not accurate.
11. Always include any special instructions with our disk(s) and laser
proofs.
12. A key issue today is who is responsible for trapping. This is easy to
indicate to the printer if trapping has been done or not. The printer
should always check this information any way. Files not properly
trapped don’t print well.
13. As a rule of thumb, grey scale or 24 bit color images should be
scanned in at no more than twice the lpi, unless the image is scaled,
in which the following equation can be used: lpi x 2 % of reduction
or enlargement.
14. Avoid “nesting” files or fonts within files. Importing EPS or TIFF
files within an EPS file and then importing the combined file into
a page layout can make the document difficult to print.
15. Try to avoid rotating large halftones within the page layout program.
Instead, rotate the graphic in Photoshop and export it into our page
layout program. Jobs will rip much faster !!!!
16. It is best to use “true” bold or italic fonts instead of styling fonts
through the application file.
17. If creating a postscript file, remember to:
1. Select the correct printer driver
2. Set line screen ruling
3. Set dpi resolution
Note: Remember, once the postscript file is created, we cannot edit
or adjust the file.
18. If our file is compressed, indicate this on our order. Compressed
files, if not caught and decompressed, will either crash the rip or
needlessly tie up the rip while the file decompresses on the fly.
19. Avoid obscure manufacturers! strange fonts. They can cause
53
P RO J E C T 3
problems with high resolution output. If they are used, notify the
printer accordingly.
20. Remember to give the printer all the information they need to run
our job.
Valuable Tip
Never fear of giving too much information. It will only help insure
100% job success.
Commonly Used File Formats
PICT
PICT is widely used in Macintosh for lossless compression. For 16 or
32 bit images, PICT can use JPEG compression. Often used in video
and multimedia applications.
EPS
Encapsulated PostScript- Adobe created format with vector ( line-art data
only which can be scaled with no loss of quality) or raster ( bitmap which
cannot be scaled or edited) options. Photoshop supports transparent
whites in bitmap mode.
TIFF
Tagged Image File Format- the most common and portable format for
saving bitmap scans, useful for moving files between the Mac and PC,
does not compress data, but offers lossless option.
JPEG
Joint Photographic Experts Group- use JPEG to save and compress
photos, “lossy” compression identifies and discards non-essential data;
however, JPEG allows us to adjust the amount of loss, trading between
loss and compression.
GIF
Graphics Interchange Format- use GIF to download images from the
internet. Supports 1 to 8-bit per pixel built-in “lossy compression”
54
Making Artworks
256 colors only.
Checklist
Checklist for Computer Artwork
If we are not experienced at sending colour files for a print or reproduction

house at a professional level, then it is strongly recommend that we read
and fully absorb this section.
Checklist at a glance:
Software - Try to stick to these guidelines
Image file format - Try to stick to Tiff, JPEG, EPS
Colors - Use only CMYK and Pantone Spot colors if possible
Sending Fonts - send all required fonts
Linked Files - Make sure they are present and only CMYK or Pantone
with fonts
Page Setup for Print - Ensure proper bleeds, trims etc.

Send Printed Proofs - Preferably separations from a postscript printer
Give clear written instructions
Folding - Set our layout to allow for folding
Try to understand the following from a printer’s point of view:
Software:- Experience says that there are several programs in the

market that claim to be capable of producing quality, full color work
but in reality are just not upto the job. This is gradually becoming less
of a problem as full color on the desktop becomes more mature. If at
all possible stick to software of known professionals such as InDesign,
55
P RO J E C T 3
Illustrator, Photoshop etc.
Image File Formats:- As experience says, there are three file formats
that consistently perform in a more reliable manner than others. TIFF,
JPEG and EPS/DCS. Try to avoid sending graphics/pictures in any other
format to the printer as they may work perfectly on our system but not
on the printers. If sending JPEGs, ensure they have been produced in a
high end professional package e.g. Photoshop.
Page Setup for Print:- Double check our trim marks since if the printer
executes our job to our trim marks and they are wrong then it will spoil
the entire job.
Bleeds:- We have total freedom to bleed any object over the edge of our
page but do not place important objects closer than 4 mm to the edge
of the sheet. This allows plenty of clearance for executing. Make any
bleeds 2 mm beyond trim marks.
Postscript Driver:- There are many postscript printer drivers available,

some of which are known to be faulty. It is recommend that we obtain
the most recent version.
Pagination:- Do not send multipage documents without checking with

the printer how to handle the pagination. Confirm, before sending to the
printer, the best way to produce our job if we are unsure.
Fonts:- Unless we are using Corel fonts on PC, supply our own fonts
with the job. Just because the printer has the same named fonts, does
not mean that our version is spaced EXACTLY the same.
Linked Files:- Ensure that all linked files are present on our disk. If
we are providing our own scans/bitmaps then do not send them at a
resolution more than twice the intended output screen value, i.e. if we
want to print at 175 lpi try to limit our bitmap resolution to 320 - 350
dpi. To do otherwise will retard processing without any improvement in
quality since Postscript discards this extra image data anyway. Remember
many colours are just not printable in CMYK.
CMYK Colours:- For four colour work, make sure all our colour objects
56
Making Artworks
are converted to the CMYK colour model. Avoid making fine lines or
small text from more than two CMYK colours or colours to be printed
at less than 100%. When converting Pantone to CMYK, remember that
the CMYK equivalent may not be a good match.
Also bear in mind that our monitor’s RGB color space is much larger
than that of process color inks on paper and just because a job looks
nice on screen does not mean that all those colors are actually printable.
Do not try to evaluate colors using our monitor since this is likely to be
very misleading.
Hard Copy Proofs: - It is recommend that we print all four color

separations of our job on a postscript laser or similar. If we can
successfully print separations, then the chances are that we will also be
able to. This will also enable us to spot separation errors such as RGB
graphics etc. Set our printer driver to download all fonts as Type 1. Once
we are happy with the separations, print out a composite or a color ink
jet proof or similar and send all these proofs to the printer with our job.
It is recommend that we use a postscript device for all proofing. These

simple precautions will remove most problems before they have chance
to waste the printers time and our money.
Written Instructions: - Give the printer clear instructions in writing.

This avoids misunderstandings and removes potential problems at the
cost of very little extra effort.
Folding:- Consider where folds will fall on our job. Remember folding
is relatively inaccurate and it is safest to allow a 2 mm region in which
the fold can fall. For gatefold leaflets, it is recommend the front panel be
larger than the center panel, which is larger than the back panel. E.g. for
an A4 leaflet to be folded into three make the front 100 mm, the center
99 mm and the back 98 mm.
57
P RO J E C T 3
Introduction to Project : Brochure Design
Brochure design
Design an attractive layout (4 Colour) of a Brochure for a XYZ Cold

drinks company.
XYZ company is sponsoring an event in the next month. During that

event they want to promote the company as well as the product. For
that they are planning to create an attractive Brochure to distritute at
the event.
Designing details are as follows :
- Create a brochure having three folds.

- The size of the brochure is A4 size in a landscape form and divide
that into three folds. The size of A4 = 29.7 cms x 21 cms.
- The elements for the brochure are Product logo, Company logo,
Headline and sub-headlines, Copy matter, Address line, and related
Visuals, etc.
- The layout should be proportionately done to look attractive and
appealing to the general customer.
- Attractive colour scheme along with good background or plain
background as per the necessity of the product.
Valuable Tips . . .
Designing a full-colour brochure is a right-way to showcase any

business or product. Brochures can be used to build an image for
a company, promote an event, update product specifications, or for
a number of other purposes.
We can customize our brochure size as per creativity and need

for the event or product. Brochures come in three standard sizes,
81/2” x 11”, 81/2” x 14”, and 11” x 17”. An unfolded 81/2” x 11” is
often used for product sheets, or tri-folded for a company brochure.
Many companies use an 11” x 17” brochure, folded in half, as an
economical product catalog.
58
Making Artworks
Brochure can have 4-colour printing on the front, and the second
side can be printed with black and white process or 4-colour process.
Brochure can be done in bleed or non-bleed, as preferred.
We can do almost anything with a brochure – the only limit is our

imagination.
* Refer the display section for the sample of ready reference.
Note: The images should be in TIFF format, in CMYK mode, in 300

dpi (Dot per Inch) for good reproduction of printing. The heavier
the image size, the better the result.
59
P RO J E C T 3
 Display Section
60
Making Artworks
61
P RO J E C T 3
62
Processing, Printing and Paper
P R O J E C T
4
Project
Contents :
 Scanning and
Printing
Processing,  Processing
 Types of Printing
Printing and Pa- Processes

 Paper
per  International
Standard Paper
Sizes
 Introduction to
Project : Poster
/ Hoarding or
Packaging Design
for the Product
63
P R O J E C T 4
64
Scanning and printing
 Scanning
What Is Resolution?
Resolution is the amount of information an image contains. This
information comes together in the form of pixels. Pixels appear as
tiny dots, which, when placed closely together create the illusion of
continuous colors and shades–the colors and shades which give shape
to our image.
What Is Scaling?
Scaling refers to the physical size of our image, in inches or pixels, not to
its resolution size. A small image requires less disk space and processing
time than a larger image but a high resolution (DPI) scan increases our
file size tremendously.
What Is Moire?
When we scan in an image at too high a resolution or when we are
scanning color, black and white and greyscale photos with fine patterns,
the scanner may create what is known as moiré patterns. ( See moiré
patterns in the Enhancing Images section.)
What Is DPI, PPI, LPI?

When scanning images we need to keep in mind the resolution of the
output device through which our images will be displayed. Different
output devices use different methods to display image data and have
different limitations on their output resolution. These factors need to be
taken into account when we scan images.
DPI is the number of dots of ink per inch for an image printed on paper.
Most laser printers can print at between 300 and 1,200 DPI, depending
on the quality and cost of the printer. In general however, we should
choose an image’s resolution to be lower than the printer’s resolution in
order to maintain a good level of greys across the printed image.
65
P R O J E C T 4
PPI is the number of pixels per inch in an image. This reflects the actual
sampling of the scanned photograph where each sample becomes a pixel.
The PPI should normally be greater than the DPI in a printed image,
giving us room to re-size the image, and equal to the screen resolution
when the image is going to be displayed on a monitor.
LPI is the number of lines per inch in halftone printing. These lines
contain halftone dots which, when viewed as a whole, form the image.
The LPI is related to the DPI as both deal with printing resolution
(generally LPI is half the DPI), however the LPI is more concerned with
the printing of an entire publication, while the DPI is concerned with
the resolution of images.
Printing
Images Print Out Too Small

This happens when the image resolution is set at a value near, or above
the printer’s resolution. To solve this problem we need to decrease the
image resolution. A helpful way to determine the proper image size
before printing is by using the Print Preview mode in Photoshop. In this
mode we can see how big an image appears before we print, allowing
us to re-size the image accordingly.
Matching Image And Printer Resolution

Matching the image resolution with the printer’s resolution doesn’t give
us the highest definition image. The closer the image resolution is to the
printer resolution, the fewer grey shades the printer simulates. Use the
following equation to calculate the number of grey shades that our printer
will produce: Printer resolution (dpi) Image resolution (lpi)=(Number
of grey shades) 1/2
Color Images And Printers

If we print color images on a black and white printer, the result is
sometimes disappointing. We should first convert the image type from
color to greyscale and then adjust the brightness and contrast to make
66
the image look better before printing. Another problem may be that our
PC and printer are not well calibrated.
Printing Text And Images

If we try and print images and text together and we find that the page
only shows part or none of the image. This is due to either:
 A large image size

or
 Limited print buffer
or
 Limited system RAM (memory)
The best strategy is to resample the image downward. Re-sampling

downward cuts pixels that are likely not needed, reducing the size of
the image and freeing system resources.
Processing
Color separation
It is the act of de-composing a color graphic or photo into single-color
layers. For example, to print full-color photos with an offset printing
press, one must first separate the photo into the four basic ink colors:
cyan, magenta, yellow, and black (CMYK). Each single-color layer is
then printed separately, one on top of the other, to give the impression
of infinite colors.
This type of color separation, mixing three or four colors to produce

an infinite variety of colors, is called process color separation. Another
type of color separation, called spot color separation, is used to separate
colors that are not to be mixed. In this case, each spot color is represented
by its own ink, which is specially mixed. Spot colors are effective for
highlighting text but they cannot be used to reproduce full-color images.
Traditionally, process color separation has been performed

photographically with different colored filters. However, many modern
desktop publishing systems are now capable of producing color
separations for graphics stored electronically. This capability is essential
if we want to create full-color documents on our computer and then print
them using an offset printer. We don’t need to perform color separation if
67
P R O J E C T 4
we are printing directly to a color printer because in this case the printer
itself performs the color separation internally.
One aspect of printing is color separations. If we have a black & red

brochure. Then the printer will have a set of film with just the black
elements. And, a set of just the red elements for printing.
If we have multiple colors, then we use “four-color process”. Every

color is a percentage variation of four inks - Cyan, Magenta, Yellow &
Black. The printer uses four sets of film - one for each color. We can
print out negatives of each separation as well as provide a Match print.
Understanding Color Separations

If we magnify a ‘color print’ with a magnifying glass, we would be able
to see colors such as cyan, magenta, yellow and black. The combination
of these four colors forms the ‘color print’. This method is called CMYK
form which is an abbreviation of the colors that are employed namely
cyan, magenta, yellow and black. CMY is subtractive mixture meaning
it is composed of three primary colors of paints. Black is a supplemental
color, because for printing purposes, these three colors (CMY) are unable
to produce ‘Black’. This is called ‘4 colour processing’.
Fig. 4.1 : Demonstrating additive and subtractive colors
Study the pretty color photo depicted. Four colors are required for
printing this photo on paper. These means only four colors are used.
Basically, it contains a vivid description of a mixture of Cyan (C),
Magenta (M), Yellow (Y) and Black (K).
This photo has been developed in diverse four-color photos.
68
Fig. 4.2 : Demonstrating CMYK applicability in the range of

colorful clothing worn by the kids in the images
Correct color separations

All colors must be separated sort of like pieces of a jigsaw puzzle. Once
all the colors have been separated, no matter what the colors are on
the finished piece, they need to be printed out or supplied in black and
white as shown below. Note how “XYZ” was dropped out of the circle.
Why do we need color separations?

It is important to remember that ink is transparent, essentially like paint.
Fig. 4.3
If we put blue ink over yellow ink, the color would appear to be green.
Any color that has another color covering it must have the covering
color dropped out of it. This way we don’t have ink-covering ink and
the ink colors will not change. If this is not done, when one color is
printed over the other color, the colors will blend together and give you
an unacceptable printed piece. By not dropping “XYZ” out of the circle
on the separations, it causes the “XYZ” on the finished color logo to
appear to be a different color.
Types Of Printing Processes
69
P R O J E C T 4
Fig. 4.4
Introduction
In some ways, the printing industry uses an entirely different set of
technological skills than most of us are familiar with. The following
information may help those of us that support the graphics art industry.
There are two important terms that we need to introduce before we get
started:
Image Carrier: The device that carries the inked image to the substrate.
This device can vary depending on the printing process being used.
Substrate: This is the material that is being printed on such as paper,
cardboard, vellum, etc.
1. Offset Lithography – the most common printing process today. It

offsets ink from metal plates to a rubber blanket (cylinder) to the
paper. Almost every commercial printer does offset printing.
This is the most commonly used commercial printing process and

also the most complicated. It is used to create magazines, books,
newspapers, reports, brochures and much more. The fundamental
concept behind this process is that “ink and water don’t mix”. This
type of printing is done on an offset press that uses an indirect
printing process. This means that the image carrier and the substrate
do not come into contact with each other. These presses can be either
sheet fed or web fed in nature. Sheet fed presses send individual
sheets through the press while web fed presses use a very large roll
of paper.
The first step is to create a plate which is typically made of

aluminum, polyester or paper depending on how long the run is and
how durable the plate needs to be for archiving. There are several
different pre-press workflows in existence with the newest method
being CTP (computer to plate) technology. Traditionally, plates are
created through a time consuming pre-press process that involves
70
creating CMYK color separations and then developing large film

negatives from which the plates are made. CTP improves the time
and effort involved considerably by using a device (looks like a
large printer) that accepts electronic files and then images the plates,
removing the necessity for film development.
Once the plate is created, it is wrapped around the plate cylinder

and water is applied to the non-image areas white ink is applied to
the image areas. The plate cylinder then comes into contact with
the blanket cylinder and the image is transferred to it. The blanket
cylinder has a rubber blanket wrapped around it that picks up the
image from the plate cylinder. The substrate passes between the
blanket cylinder and the impression cylinder where the image is
passed to the substrate. Commercial presses are very fast and have
very high quality output.
2. Engraving – think of “fine stationery.” Produces the sharpest

image of all. Image feels indented (run our fingers over the back
side of the sheet). Most law firms still use engraving.
3. Thermography – raised printing, less expensive than engraving.

Uses special powder that adheres to any color ink. Mainly used for
stationery products.
4. Reprographics – general term covering copying and duplicating.

Think of in-house copying departments and copy or quick-printing
shops. They take our originals and make duplicates of them.
5. Digital Printing – the newest printing process and the least

understood. Includes all processes that use digital imaging to create
printed pieces. Doesn’t use film. (Think of desktop to the digital
press.) For short-run, fast-turnaround jobs. Limitations include
color, paper choices and quality.
Digital printing is typically used for shorter run paper based jobs such
as reports, newsletters, books, brochures, promotional material etc.
Nowadays it is widely used for hoardings and show window
posters etc. Digital printing has some distinct advantages over
the other printing processes. The other processes are incapable of
producing variable data which is the ability to create sections of a
job that vary from page to page. An example of this would be a
phone bill in which our name, account number, address, etc. are
71
P R O J E C T 4
printed on the bill. Many digital printers can pull this information
from a database and incoporate it into a job. This is possible because,
unlike the other processes, a digital printers image carrier is imaged
on a page by page basis. This can’t be done on an offset press (for
example) where permanent plates are fixed to a drum. Digital
printing comparatively has very little pre-press time and provides
the ability to easily edit a job. Digital printing’s weaknesses are
it’s comparative lack of speed, resolution and color reproduction.
However, technological advances are improving these factors all
of the time.
So how does it work? Digital printing uses a positive electric charge
on the image areas of a drum while non-image areas possess a
negative charge. The drum is passed by negatively charged toner
particles that are attracted to the positively charged areas of the
drum. The paper passes across the drum and the toner is transferred.
From here, the paper passes through a fusing unit that uses heat
and pressure to bond the toner to the paper. Digital printing cuts
down on much of the pre-press labor involved with using an offset
press and is very popular for shorter run jobs where the speed and
quality of a press is not needed.
6. Letterpress – the original process founded by Gutenberg in 1440.
“Relief” printing (like rubber stamps, images on the plate are higher
than the surface). Fine letterpress is being done by fewer and fewer
printers.
This is the oldest of the major printing processes and is not very
commonly used anymore. This process uses plates which were first
made of wood and later they were made of metal. The print image
on the plate is raised and when inked, the plate is placed in contact
with a platen that holds the paper and the image is transferred.
7. Screen printing or silk-screening – Ink is forced through a screen
following a stencil pattern. Used for ring binders, T-shirts, bumper
stickers, billboards.
In this process, a squeegee forces ink through a mesh or screen. The
non-image areas are blocked so that the ink does not pass through.
Screens can be made of a variety of materials including polyester,
nylon or metal. This is the only printing process in which the ink
passes through the image carrier. Common uses include T-shirts,
mugs, mouse pads, etc.
72
Screen (or silkscreen, as it is sometimes called) printing primarily

uses a hand or electronically-prepared stencil. The part that is to
be printed is made up of silk, nylon or a stainless-steel mesh. Ink
can pass through this area but not through the other part of the
stencil which is contained inside a frame. The printing surface is
placed under the frame on a flat surface. The impression is made
by forcing the ink through the screen area with a rubber squeegee.
The need for a heavy ink consistency and, as we might expect,

a coarse halftone screen restricts reproduction quality. However,
the process offers high-opacity and brilliant color possibilities.
The process is ideal for banners, T-shirts, posters and most other
surfaces one can think of. The downside is that it is not a highly
automated process and the amount of detail one can achieve is
somewhat limited. Like letterpress printing, this process is very
popular in school workshops.
Other types of printing:
8. Flexography – special type of printing for packaging products.

The plates used are flexible. Products include cardboard boxes,
grocery bags, gift wrap, can and bottle labels.
Flexography is most commonly seen in the packaging industry as

it provides the flexibility to print on a wide variety of surfaces. The
process is very similar to Letterpress except for the fact that the
plate used is made of a flexible material such as rubber or plastic.
9. Gravure – prints directly from cylinder to paper. Used when

printing for millions of impressions think magazines, newspapers
and direct mail catalogs.
So when we’re looking for a printer, make sure we know they can
deliver what we need. Printing is complicated; stuff the more we
ask, the better our printed results will be!
Gravure is used for a variety of purposes such as magazines,

catalogs, packaging, tablecloths, wallpaper, etc. This process is sort
of opposite of the relief processes described above in that the print
image is recessed through an engraving/etching process and uses
a metal cylinder as the image carrier. When the substrate comes
into contact with the cylinder, ink is transferred from the recessed
73
P R O J E C T 4
cells on the cylinder to the substrate.
Comparison table
As previously mentioned, the Letterpress is no longer very common
due to it’s low substrate versatility, short run lengths and high
costs. So of the remaining 5 processes, which is the best? Well,
that question really can’t be answered as each serves a purpose and
Process Image Carrier Image Transfer Substrate Run Length Cost
Versatility
Letterpress Lead Direct Low Short Low
Flexography Rubber Direct High Long Moderate
Gravure/Intaglio Copper/Chrome- Direct Moderate Very Long Very High

Plated
Screen Printing Polyester, Nylon Direct (Through High Short to Long Low
or Metal image carrier)
Lithography Polyester, Paper Indirect High Short to Long Low to

or Aluminum Moderate
Digital Photo-receptor Direct Low Short Very Low
handles certain types of jobs. As printing technology progresses,

there is becoming a bit of competition between the Digital and
Lithographic (offset press) markets. While larger presses are
much faster than any production digital printer, they are also very
expensive (in millions of Rupees for a large one). Both digital
printers and presses are becoming faster and less expensive, which
will continue to perpetuate the odd competition between these
dissimilar pieces of equipment.
Paper
In this topic we will compare various types of paper and their “Equivalent
Weights.”
Paper characteristics
Weight - Also known as Basis Weight, is the weight, in pounds, of a ream
of paper (500 sheets or sometimes 480 sheets) cut to a given standard size,
74
or basis size, for that grade. One ream of 25” x 38” 70 lbs. text weighs
70 pounds; one ream of 20” x 26” 80 lbs. cover weighs 80 pounds. The
metric system (ISO) standardizes a ream at 500 sheets and measures basis
weight on a weight per unit basis. The area is standardized to a sheet
having one square meter (A0 size) and the weight is expressed in grams.
The term Grammage of g/m2 is used to define the basis weight of all
grades of paper.
Size
Paper in the U.S. is measured in inches. A 25 x 38 sheet is 25 inches
wide and 38 inches long. Sheets of paper come in standard parent, or
“folio” sizes determined by their grade - writing, book, cover, etc. Some
papers are also available in smaller cut sizes.
Quantities
Reams have 500 sheets (or 480 for tissue paper). Packages, cartons, or
skids may contain any number of sheets or reams; there are no standards.
A full skid of paper weighs about 2,000 lbs.; a carload (trailer truck)
weighs about 40,000 pounds. CWT means hundredweight; cost per
CWT means dollars per 100 pounds. Paper can be sold per CWT, or any
other unit of measure such as package, ream, carton, per M (thousand)
sheets, or per C (hundred) sheets.
Bulk
The thickness of paper, measured in thousandths of an inch (mils), and
expressed as point size: 10pt. is .010 inches thick. Printers use calipers or
micrometers to measure thickness, and talk about how a sheet calipers or
“mikes out”, which is short for micrometer. Unless specified otherwise,
paper is manufactured to basis weight, not caliper.
Formation
It is the physical distribution of fibers and other solid materials in the
structure of a sheet, which affects its appearance and physical properties.
Premium grades have better formation, or uniform distribution of fibers
75
P R O J E C T 4
across the sheet.
Color
It is the quality of light given off by a sheet as described by its hue
(chroma), saturation (strength), and value (darkness or lightness). A
whiter sheet reflects equal amounts of red, green, and blue light - the
entire visual spectrum. While most balanced white sheets have a slightly
yellowish cast, most people will perceive a sheet with a slightly blue
tint to be whiter.
Brightness
The amount of light reflected by the paper expressed as a percentage. The
Technical Association of the Pulp and Paper Industry, or TAPPI, defines
brightness as the 45-degree directional reflectance at 457 nanometers. A
brightness rating of 85 means that 85% of the light spectrum is reflecting
at 457 nanometers. Offshore manufacturers use the ISO scale.
International Standard Paper Sizes
The ISO paper size concept

In the ISO paper size system, all pages have a height-to-width ratio of
square root of two (1:1.4142). This aspect ratio is especially convenient
for a paper size. If we put two pages with this aspect ratio next to each
other, or equivalently cut one parallel to its shorter side into two equal
pieces, then the resulting page will have again the same width/height
ratio.
The ISO paper sizes are based on the metric system. The square-root-of-
two ratio does not allow the height and width of the pages to be nicely
rounded metric lengths. Therefore, the area of the pages has been defined
to have nice metric values. As paper is usually specified in g/m², this
allows easy calculation of the mass of a document if the format and
number of pages are known.
76
ISO 216 defines the A series of paper sizes as follows:
 The height divided by the width of all formats is the square root of
two (1.4142).
 Format A0 has an area of one square meter.
 Format A1 is A0 cut into two equal pieces, i.e. A1 is as high as A0
is wide and A1 is half as wide as A0 is high.
 All smaller A series formats are defined in the same way by cutting
the next larger format in the series parallel to its shorter side into
two equal pieces.
 The standardized height and width of the paper formats is a rounded
number of millimeters.
For applications where the ISO A series does not provide an adequate
format, the B series has been introduced to cover a wider range of paper
sizes. The C series of formats has been defined for envelopes.
 The width and height of a B series format is the geometric mean

between the corresponding A format and the next larger A format.
For instance, B1 is the geometric mean between A1 and A0, that
means the magnification factor that scales A1 to B1 also scales B1
to A0.
 Similarly, the formats of the C series are the geometric mean

between the A and B series formats with the same number. For
example, an A4 letter fits nicely into a C4 envelope, which in turn
fits as nicely into a B4 envelope. If we fold this letter once to A5
format, then it will fit nicely into a C5 envelope.
77
P R O J E C T 4
The following table shows the width and height of all ISO A and B paper
formats, as well as the ISO C envelope formats.
The dimensions are in millimeters:
A Series Formats B Series Formats C Series Formats
4A0 1682 × 2378 - - - -

2A0 1189 × 1682 - - - -
A0 841 × 1189 B0 1000 × 1414 C0 917 × 1297
A1 594 × 841 B1 707 × 1000 C1 6 4 8 ×
917
A2 420 × 594 B2 500 × 707 C2 4 5 8 ×
648
A3 297 × 420 B3 353 × 500 C3 3 2 4 ×
458
A4 210 × 297 B4 250 × 353 C4 2 2 9 ×
324
A5 148 × 210 B5 176 × 250 C5 1 6 2 ×
229
A6 105 × 148 B6 125 × 176 C6 1 1 4 ×
162
A7 74 × 105 B7 88 × 125 C7 81 × 114
A8 52 × 74 B8 62 × 88 C8 57 × 81
A9 37 × 52 B9 44 × 62 C9 40 × 57
A10 26 × 37 B10 31 × 44 C10 28 × 40
78
The allowed tolerances are ±1.5 mm for dimensions up to 150 mm,

±2 mm for dimensions above 150 mm up to 600 mm, and ±3 mm for
dimensions above 600 mm. Some national equivalents of ISO 216 specify
tighter tolerances; for instance DIN 476 requires ±1 mm, ±1.5 mm, and
±2 mm respectively for the same ranges of dimensions.
Ream
Now defined as 500 sheets of paper, but some related definitions are
shown in the following table.
Number of Sheets Called Comments

of Paper
480 Short ream Old definition of ream
500 Ream Used to be called a long ream
516 Printer’s ream A l s o c a l l e d a p e r f e c t
ream
Sizes
The size of paper in metric measure is stated in millimeters. There are
25.4 millimeters in one inch. The procedure is to multiply the inches
by 25.4, and round off to the nearest millimeter.
For example: to convert the size of standard letter size from inches to
millimeters 81/2” x 25.4 mm = 215.9 mm and 11” x 25.4 mm = 279.4
mm. The measurement therefore becomes 216 mm x 279 mm.
Basis weight
The basis weight of paper and paperboard is stated in grams per square
meter (g/m2 ).
To convert from basis weight in pounds the following formula may be

applied equally to basis ream weights of any dimension, e.g. 17” x 22”,
25” x 38”, 24” x 36”. Multiply the basis weight by 1406.13 and divide
by the square inches in the base sheet.
79
P R O J E C T 4
Application examples
The ISO standard paper size system covers a wide range of formats,
but not all of them are widely used in practice. Among all formats,
A4 is clearly the most important one for daily office use. Some main
applications of the most popular formats can be summarized as:
A0, A1 technical drawings, posters

A2, A3 drawings, diagrams, large tables
A4 letters, magazines, forms, catalogs, laser printer and
copying machine output
A5 note pads
A6 postcards
B5, A5, B6, A6 books
C4, C5, C6 envelopes for A4 letters: unfolded (C4), folded once
(C5), folded twice (C6)
B4, A3 newspapers, supported by most copying machines
in addition to A4
The main advantage of the ISO standard paper sizes becomes obvious
for users of copying machines.
80
Introduction to Project : Poster / Hoarding or

Packaging Design for the Product
 A Poster design
Design an attractive layout in (4 Colour) of a Poster for a XYZ Cold

drinks company.
- For poster we should plan the size. Take size as 21” x 27”.
- Make a 4 colour vertical layout, and in bleed format.
- Take the necessary elements required for designing a good layout
like related to Visual, Product, Slogan, Copy matter, Product logo,
Company logo, if required the address line.
- In the poster design, the contents of matter should be less.
- The picture should be emphasized along with the support to the
product we are talking about.
- A good poster can be either in colour or black and white.
- The sizes, the colours, the atmosphere has to be created according
to the related subjects or branded products of the company.
- A proper balanced layout and a proper colour balance, emphasizing
the related product, gives the impact to posters.
- The posters should be very catchy as it is seen at-a-glance, to catch
the attraction of the viewers and they feel like watching it again
and again.
- Keep in mind the posters are seen from distance; so we should take
care of the whole layout, that each and every element in layout is
seen clear and good in the terms the result of output.
Note: We can plan Poster design keeping in mind the light effect, like
Front lit & Back lit, etc. as mentioned in the note part of the
hoarding design.
While sending this design for digital printing make sure the images
should be TIFF format, in CMYK mode, in 300 dpi (Dot per Inch) the
heavier the file size will give better effect, and better reproduction of
81
P R O J E C T 4
printing.
 A Hoarding design
Design an attractive layout (4 Colour) of a Hoarding for a XYZ Cold

drinks company.
- For the hoarding, take size as 4 sheets. The size of 1 sheet is 30”
x 40”.
- Make a 4 colour horizontal layout, and in bleed format.
- Take the necessary elements required for designing a good layout
like related to Visual, Product, Slogan, Copy matter, Product logo,
and Company logo.
- In the hoarding design, the contents of matters should be less.
- The picture should be emphasized along with the support to the
product we are talking about.
- A good hoarding can be either in colour or black and white.
- The sizes, the colours, the atmosphere has to be created according
to the related subjects or branded products of the company.
- A proper balanced layout and a proper colour balance, emphasizing
the related product, gives the impact to the hoardings.
- The hoardings should be very catchy as it is seen at-a-glance, to
catch the attraction of the viewers and they feel like watching it
again and again.
- Keep in mind the hoardings are seen from distance; so we should
take care of the whole layout, that each and every elements in layout
is seen clear and good in the terms the result of output.
Valuable Tip . . .
Hoardings come in sheet form.

Sizes can be in 2 sheets, 4 sheets, 6 sheets, 8 sheets, 12 sheets, etc.
Ultimately our layout should create the impact to be the center of
attraction of the viewers and appeal for the demand of the branded
82
product of the company, and for the company to retain the place in
the market for longer period, and vice-versa.
Note: We can plan Hoarding design keeping in mind the light effect,
like Front lit & Back lit, etc.
The different kinds of printing media like
Flex, Vinyl (Front lit & Back lit), Film (Front lit & Back lit),
and other paper media, etc.
While sending this design for digital printing make sure the
images should be TIFF format, in CMYK mode, in 300 dpi (Dot
per Inch) the heavier the file size will give better effect, and better
reproduction of printing.
 Packaging design for product
Design an attractive layout (4 Colour) of a Packaging for a XYZ Cold

drinks company for launching of their new product i.e. 200 ml. soft diet
lemon flavour, for any age group.
(For example like: The package of Frooti etc).
- In the beginning we should plan the size of the related product we

are working on.
- To design good packaging we should have certain required elements
such as:
- Product name, branded name of the company.
- Slogan or caption.
- Description of the product.
- Address line of the company.
- A colorful or black & white well-balanced catchy background if
required.
Valuable Tip . . .
83
P R O J E C T 4
Packaging in todays world has become a powerful media; it makes

a lot of difference to the related branded products of the company.
If the product is weak while the packaging is very catchy and

impactable in view, it becomes easier to sell the product.
Packaging again can be in black and white or in color depending

on the cost to be spent for the product. In any manner, it should
hold the attraction of the viewers and also have a liking for it.
Packaging should be very attractive, very catchy and very soothing

to the eye, and at the same time it should reflect to the customers.
Note: The images should be in TIFF format, in CMYK mode, in 300

dpi (Dot per Inch) for good reproduction of printing. The heavier
the image size, the better the result.
84
 Display Section
85
P R O J E C T 4
86
87
P R O J E C T 4
88
Designing for Web
P R O J E C T
5
Project
Contents :
 Web Page
Designing
Designing for  Vocabulary
 Digital Graphic
Web formats for the

Web
 Tips for Web Page
Designing
 Introduction to
Project :Design a
Web Page Layout
89
P R O J E C T 5
90
Designing for Web
Web Page Designing
There are so many homepages available today that our site must
distinguish from the others. We can do it by having a better layout and
optical appearance, because this is the user’s first impression.
Here are easy to understand, step-by-step instructions to create a

homepage.
1. Planning
If we want to create a really successful site, we have to do some planning
first. Here are some tips for this first step of creating a homepage.
Very often this step is under-estimated. Experience says that this step
usually takes about 50% of the time until a Web site goes online.
Here are some ideas of what one should think about when we intend to
create a homepage:
Demographics
Define the target audience of our Web site and use demographic data of
surveys to optimize our homepage of the average Internet user.
Defining the target audience of our site is the first step when we plan
your Internet presence. The persons that we reach will be quite different
compared to advertisements in print media and mailings.
Of course our audience will be international, but if our target group are
women over 65, we will not find too much in the Internet.
Metaphor
Try to find an attractive, simple and intuitive comparison in real life and
show it on all pages of our site.
An important and very useful idea is to have a metaphor for our site.
A metaphor is a kind of comparison to something in real life. It can be
quite different, e.g. a restaurant, a newspaper, a map, everything that
applies to our page.
91
P R O J E C T 5
The metaphor should be

 Attractive
 Simple
 Intuitive
We should use it on all pages and also on our invoices and anything else
so that the visitor/customer recognizes immediately that it belongs to us.
For “Better Homepage”, we decided to use the puzzle as our metaphor,

symbolizing that a good homepage is assembled from various different
elements that must fit together.
Consistency
Before we start with HTML code, we should do some outlines of the
pages of our site on paper. Look a several ideas, decide on one solution
and use this one consistently over all pages. The visitor should already
see when he looks at the page very shortly that it belongs to our site.
The following items should be used consistently on our pages:
 Background Image
It is not recommend using a background image, but if we want to
use one, we should use the same one on all pages.
 Page Layout
E.g. the columns and positions of elements like logo, headings and
navigation area.
 Logo
Use the company logo image on all pages. Could also be a metaphor
 Fonts
Use only one font family on all the pages, eventually a second one
for code samples, but not more.
 Colors
This includes the colors of the background, text, links and special
sections like the navigation area.
92
Designing for Web
 Navigation
Use the same navigation method on all pages, e.g. a navigation bar.
2. Layout
HTML does not give us much tags for specifying the layout of a
page. But there are some designer software to get much more layout
control.
Web Page Design is a very important component to create a

successful site, because its the first impression that a user has from
our homepage about our company, and its a way to make the user
confident that we have a professional Web presence.
But to implement our design ideas we would like to have complete
control over the page layout. Fortunately there are some software
like Dreamweaver and Photoshop with Imageready to get much
more layout control. They all come with ready-to-use HTML code
to make it easy for us to use them and to improve our homepage.
3. Navigation
The best layout is useless if our visitor does not find the information
he is looking for. Here we can find some navigation techniques with
ready-to-use HTML code and some very new navigation ideas.
First generation Web sites had simple hyperlinks within the text
or lists of links. Today we should have a special navigation area or
navigation tool for our homepage.
Here are some ideas to follow :
 Rollover buttons
A rollover is a Web effect in which different states of an image
appear when a viewer performs a mouse action such as rolling
or clicking over an area of the Web page. A state is defined
by a specific configuration of the Layers palette, including
layer location, styles, and other formatting options. Rollover
buttons are associated links to other documents or URL’s.
 Image Maps
93
P R O J E C T 5
An image map is a picture that is subdivided into regions

and associated links to other documents. They are loaded
depending on which region the user clicks.
There are two types of image maps: server-side image maps

and client-side image maps. Because all major browsers
are supporting the easy to use client-side image maps, the
following description is about this type.
Before we start with designing the page layouts, we have to
find out the coordinates of the regions within the image where
a click links to another document. We can use any image editor
for this task.
 Vertical Navigation Area

A vertical navigation bar is a very popular way of site
navigation.
 Java Applets
Java Applets are perhaps the modernist form of a site
navigation tool. They have many advantages too.
4. Images
Images are one of the most used objects in Web pages. They are
needed for a good layout and make a page more attractive. And
often it is better to add one image instead of writing 100 lines of
text to explain something.
But before we start using images, we should think about some
possible problems that occur:
 What graphics formats should we use?

 Is the size of the images acceptable to the users?
 Do the images display correctly in all browsers, all screen and
all color resolutions?
The following sections have the answers to our questions about images:
94
Designing for Web
Graphics Format
There are more than 100 image formats available, but only two are
supported by all-important browsers: GIF and JPEG. So we highly
recommend using only one of these two formats. All other graphic
formats need browser plug-ins, and nearly no user will install a plug-in
just to see our page correctly. If we do not have really good reasons to
use a special format, use GIF and JPEG images.
Format Decision
Which of these two formats should we use? Here is the decision table:
 JPEG : If we need more than 256 color

 But keep in mind, that a lot of the visitors of a page still have
hardware that cannot display more than 256 colors.
 If you have photo-like images
 GIF : If we only need 256 color or less
 If we have large areas with identical color
Reduce file Size

Tips to reduce the size of images.
To reduce the size of images, as much as possible, is very important,
because it decreases the bytes to be transfered to the user very much. Keep
in mind that many users still use 14.4 modems. A general rule is that a
page should not have more than 30 kB altogether (HTML plus images).
Here are some tips to reduce the size of the images:
JPEG
There are two parameters to reduce the image size in this format:
 Dots-Per-Inch (DPI)
Defines the image resolution in dots-per-inch (DPI). DPI data
is used mostly by word processing and page layout programs.
Reduce the number to reduce the image size.
 Compression Level
95
P R O J E C T 5
Set the amount of data compression applied to the image. The

higher the number, the smaller the file, and the greater the loss
of data.
Play with both parameters and reduce the size so long as the image
quality is acceptable.
GIF
Here we can reduce the size by reducing the number of used colors.
Some pictures require only 16 colors. Reduce the colors used so long
as the image quality is acceptable.
To Optimize GIFs :
Shrink the graphics file size upto 90%. This online utility will help us
reduce the file size of our image files so that they load faster and take
up less space in our homepage directory.
5. Colors
Why should we think about the use of colors? There are two reasons:
Many visitors of our page still have hardware that can only display
256 colors. But even if we reduce the number of used colors, it is still
important which colors we use, because Netscape has its own 216-color
palette that it uses in the browser. So if we want to be sure that our
images appear exactly as we want it, we can only use these 216 colors.
Otherwise Netscape chooses the colors for use.
This is the 216-color Netscape palette:
Vocabulary
96
Designing for Web
Some Key Terms commonly used in web page designing :
Bit Map
Representation of graphics or characters by individual pixels, arranged
in rows and columns. Each pixel may be represented by one bit (black
and white) or up to 32 bits (millions of colours).
Compression
Software or hardware process that shrinks images (data) so they take
up less storage space. No matter how data is compressed, it must be
decompressed before it can be viewed.
Decompression
Reverses the procedure used to compress an image. It returns the
compressed image to its original size and condition (though not in the
case of lossy systems, such as JPEG - the condition of the image is
different compared to the original, pre-compressed image.)
Dithering
Diffuses many adjacent colours into a single apparent colour. With this
technique the human eye is fooled into seeing more colours than are
actually present in an image.
Palette
The colours which make up a picture in a graphics file.
Raster Graphics
Images created using a set of pixels, in a column and row format. Also
called Bit Mapped Graphics.
Vector Graphics
Images made up of mathematically defined lines and curves called
vectors. (must be rasterized for viewing or printing but much more
precise for re-sizing and outputting to various devices).
Digital Graphics Formats for the Web
97
P R O J E C T 5
GIF and JPEG

GIF and JPEG are the two most commonly used graphic types on the
Web. The goals for good graphics on the web are to be small (creates
less network traffic, downloads to workstation faster, takes less memory
to display), fast and easy for the workstation to display (decompression
should not take long and image should already be in raster form ready
to display) and where possible, device independent (can be viewed by
whatever type of monitor is out there and printed to any printer).
JPEG
JPEG stands for Joint Photographic Experts Group. It’s a lossy
compressed format supporting 24-bit color making it best suited to
realistic images such as photographs. JPEG’s compression method
involves dithering and the loss of data. There are different levels of
JPEG compression. At the maximum compression (most data loss and
smallest file size) it can compress a file to one tenth its original size.
JPEG’s compression method makes it unsuitable to detailed text, images

with sharp edges or solid colors. Very poor results can also occur if we
attempt to use JPEG compression on a file that has had the number of
colors reduced from 24 bit (or start with a GIF file that only has 8 bits
of color or less to start with). The JPEG compression method was only
designed to handle 24 bit color correctly.
When a JPEG file is viewed on monitors that can handle 24 bit color,
the graphic is seen as intended with all of its colors. If the monitor can
only display 256 (or 16) colors, the system will dither the file again to
try and represent the missing colors.
GIF
GIF stands for Graphics Interchange Format and was created by
CompuServe Information Services. GIF files rely on a defined palette
of 256 or fewer colors and each pixel in the graphic is represented by
an index into this palette. (ie. the color of this pixel is the 213th entry in
the palette). The GIF compression method does not lose data.
GIF shines in its ability to handle bullets, drawings, logos or any graphic
that is created of solid color areas and uses less than 256 colors. Not only
98
Designing for Web
does GIF represent these files well on the screen, but the compression is
at its greatest when it finds a horizontal line with many pixels in a row
of the same color. The compressed file would contain the equivalent of
“183 of color 213” instead of 213 213 213..... 183 times.
There are 3 types of palettes to be aware of: PC system palette, Mac

system palette and Adaptive palette. For PCs and Macs that can only
handle 256 colors, the system maintains a palette of the 256 available
colors. Of these standard 256 colors, only 216 colors are in common
between the Mac and PC palettes. Graphics created with the other 40
colors will display fine on the original platform but those 40 colors will
be created with dithering on the opposite platform. There is a Photoshop
custom palette available from Adobe’s Web site that contains the 216
common colors so that if we create logos etc. we can make sure to stay
with the colors in common to both systems. For a look at the standard
216 colors available on all systems without dithering, check out.
Another approach is to send along a custom or adaptive palette with the

image. This instructs Netscape or other browsers not to use the system
palette, but to use the included palette. This also greatly improves the
ability of a photographic image to be properly displayed if it can use the
256 (or 128) colors that it most needs and not just the systems default
256 colors.
A problem can arise on workstations that can only use 256 colors. The
adaptive color palette works well enough if there is only one graphic on
the Web page. If there were two graphics with two very different adaptive
palettes, both using 256 colors, then we may see strange results as the
system tries to merge the information into a single 256 color palette
(since this is all the system is capable of handling at any one time - this
depends on the video card and video memory). It is best to use adaptive
palettes of 7 bits (128 colors) or less, make sure that multiple graphics
use the same palette or don’t use multiple adaptive 256 color images on
the same page to avoid this problem.
GIF and JPEG have wide acceptance and many tools are available for
creating and manipulating these types of files. Most commercial graphics
products have added the ability to SAVE files in these formats and all
current Web browsers handle these types of files. Another graphics format
that we may not have heard about is PNG since it is relatively new (one
year old) and as yet Netscape does not support it (although both Mosaic
99
P R O J E C T 5
and Internet Explorer have it in their latest releases). Several graphics

packages, including Photoshop have added PNG support.
PNG
PNG provides a lossless compression that handles 24-bit color and
compensates for accurate display on a wide variety of devices making
it suitable for use on the Web.
Tips for Web Page Designing
Two of the most important factors in good web design are repetition
(consistency) and clarity. A visitor should never have to figure out how
to use our navigation system, where they are in the site, or whether they
are still on our web site or have jumped somewhere else.
Repetition
Repeat certain visual elements on every page in our web site. This not
only lets the visitor know they are still at our site, but also provides unity
and continuity, intrinsic features of any good design.
The navigation buttons on our home page are often set up in a way that
we can’t repeat on other pages, perhaps because the buttons change once
we get to sections of the site, or perhaps because the home page has such
a different visual arrangement than the content pages. But once we get to
content pages, the visitor should find the navigation in the same place,
in the same order, with the same graphics. Not only does this make it
easy for the visitor to find their way through our site, but it provides a
unifying factor to the collection of pages.
Readability
One of the most unreadable places to read text is on a monitor, whether
its television, video, or computer. So we need to make a few adjustments
to the text on web pages to make sure its as easy to read as possible. Use
shorter line lengths than we might use on paper. The body copy should
never run the entire width of the web page, which means we must put
the text in a table (or at least use a block indent, which indents the text
from both the left and right sides). But don’t use such short line lengths
100
Designing for Web
that we break up the phrasing of the sentences too much.
If we are specifying the text to appear in a certain typeface (if we’re not,
ignore this), typically Helvetica or Arial and Times or Times Roman,
please specify Geneva in front of Helvetica, and New York in front of
Times. This will make the text on Macintoshes appear much so much
cleaner and easier to read. (If we use a Mac, set our default font to New
York instead of Times, and we will be amazed at how much easier it
is to read web pages. Change it back to Times before we print a page.)
Watch out for the following items each one is a sign of an amateur
designer. Each item can be easily corrected to make the page look so
much more professional. Keep in mind that the point of eliminating bad
features is not just to make the page prettier, but also to communicate
more effectively.
Backgrounds
 Gray default background color
 Color combinations of text and background that make the text hard
to read
 Busy, distracting backgrounds that make the text hard to read

Text
 Text crowding against the left edge
 Text that stretches all the way across the page
 Centered type over flush left body copy
 Paragraphs of type in all caps
 Paragraphs of type in bold
 Paragraphs of type in italic
 Paragraphs of type in all caps, bold, and italic all at once

Links
101
P R O J E C T 5
 Default blue links

 Blue link borders around graphics
 Links that are not clear about where they will take us to
 Links in body copy that distract readers and lead them off to remote,
useless pages
 Text links that are not underlined so we don’t know it’s a link
 Dead links (links that don’t work anymore)

Graphics
 Large graphic files that take forever to download
 Meaningless or useless graphic files
 Thumbnail images that are nearly as large as the full-sized images
they link to
 Graphics with “halos” of icky stuff (called anti-aliasing “artifacts”)
around the edges
 Graphics with no alt labels
 Missing graphics, especially missing graphics with no alt labels
 Graphics that don’t fit on the screen

Tables
 Borders turned on in tables
 Tables used as design elements, especially with large (dorky)
borders
Blinking and animations

 Anything that blinks, especially text
 Multiple things that blink
 Rainbow rules
 Rainbow rules that blink or animate
102
Designing for Web
 “Under construction” signs, especially of little men working

 Animated “under construction” signs
 Animated pictures for e-mail
 Animations that never stop
 Multiple animations that never stop
Junk
 Counters on pages
 Junky advertising
 Having to scroll sideways
 Too many little pictures on the first page of awards that don’t mean
anything
Navigation
 Unclear navigation; overly complex navigation

 Complicated frames, too many frames, unnecessary scroll bars in
frames
 Orphan pages (no links back to where they came from, no
identification)
 Useless page titles that don’t explain what the page is about
General design
 Entry page or home page that does not fit within the standard
browser window (640 x 460 pixels)
 No focal point on the page
 Too many focal points on a page
 Navigation buttons as the only visual interest, especially when
they’re large (and dorky)
 Cluttered, not enough alignment
 Lack of contrast (in color, text, to create hierarchy of info, etc.)
 Pages that look okay in one browser but not in another
103
P R O J E C T 5
One of the elements of good web design is a lack of the elements that
make bad web design. If we stay away from everything on the previous
page, we’ve probably got a pretty nice web site. In addition, keep these
concepts in mind:
Text
 Background does not interrupt the text
 Text is big enough to read, but not too big
 The hierarchy of information is perfectly clear
 Columns of text are narrower than in a book to make reading easier
on the screen
Navigation
 Navigation buttons and bars are easy to understand and use
 Frames, if used, are not intrusive
 A large site has an index or a site map
Links
 Link colors coordinate with page colors
 Links are underlined so they are instantly clear to the visitor
 The links give the visitor a clue as to where they are, what page
they are currently on
Graphics
 Buttons are not big and dorky
 Every graphic has an alt label
 Every graphic link has a matching text link
 Graphics and backgrounds use browser-safe colors
 Animated graphics turn off by themselves
104
Designing for Web
General design
 Pages download quickly
 First page and home page fit into 640 x 460 space
 All other pages have the important stuff in 640 x 460 space
 Good use of graphic elements (photos, subheads, pull quotes) to
break up large areas of text
 Every web page in the site looks like it belongs to the same site;
there are repetitive elements that carry throughout the pages
Keep the web page lay-out simple, small, and short
1. Keep the size of pages small. No one wants to wait 5 minutes for
a page to load. Try to keep the load time within 30 seconds for the
home page.
2. Provide enough information on the home page so the reader
will know about the location and what is available. Consider
storyboarding the information before constructing the pages.
3. Use courier or verdana 10 point for the body of the text. Save the
file as text-only with the extension .html. We can also use an HTML
editor.
4. Square or 1.5”x 3” for a rectangle are good examples. Create
thumbnail images that link to larger images on separate pages. Show
the amount of KB for each of the larger pictures so the reader will
know the approximate load time.
5. Keep in mind the width of the page when designing the size of
logos. Readers will have various computer screen sizes. If the logo
is too wide they will have to scroll in order to see all of it.
6. Provide new information on a regular basis so that readers will
return. We might want to design interactive projects, links to
changing information, or curriculum materials such as lesson plans.
7. Avoid long lists of links to other sites.
8. Each additional page should point back to the home page.
105
P R O J E C T 5
9. Provide an e-mail address or contact information for comments

from readers.
10. Avoid publishing personal information.
11. Save all the files in one folder or directory so the links match when
we load them on the server.
12. Type the files in lowercase for simplicity.
106
Designing for Web
Introduction to Project : Design a Web Page

Layout
Create a home page design for a XYZ, a cold drinks

company.
- Create a template keeping resolution to 800 pixels x 600 pixels.

- Creating rollover buttons for a hypertext link.
- Try to use following elements like:
Rollover buttons, graphics, text and font, photograph, email address

for the above home page.
Essential elements to remember for browser:
Use of web-safe colors / mode of color / format i.e. GIF, JPEG, or PNG
(this format is lossless).
 The Web-safe colors are a set of 216 colors that browsers on a

computer with at least an 8-bit display (which is almost universal
now) will be assured to be displayed as-is, regardless if the computer
is a Macintosh or running Windows. The Web-safe colors are broken
down into six values for each red, green, and blue, which is good
because it gives a good range of choices for colors. If you notice
6 x 6 x 6 = 216, which can be represented by a color cube, where
amounts of red, green and blue correspond to X,Y, and Z axes.
 Mode of color should be RGB (red, green, and blue).

 Format – Only use compressed GIFs or JPEG.
 Try to keep individual image sizes below 15KB and all the
graphics on a page below 75KB.
 Use JPEGs for photographic images, greyscale images, images
with continuous tones and images with realistic lighting.
 Use GIFs for Icons, Buttons, Banners, and other non-
photographic images, such as cartoons and logos. JPEGs take
107
P R O J E C T 5
longer to download than GIFs.

 Save JPEGs as Medium to Low Quality – there is very little
difference in appearance on most computer screens.
 Save GIF files as interlaced so they will form on the user’s
screen gradually as the image downloads. Always save GIFs
as adaptive.
 Save GIFs with less than 256 colors (8 bit) when possible;
save GIFs with reduced color tables to make them smaller
files.
To design a Web Page layout we have to keep certain major
points in mind, such as :
 Organize content into logical categories and sub-categories.
 Use headings and subheadings to help the readers zero in on
the content that interests them.
 Use color and graphics to create interest and visually direct
focus from one topic to the next.
 Break content up into short paragraphs for easy reading.
 Limit the width of lines of text. Long lines of text are harder
to read and can cause eye strain.
 Make use of bulleted or numbered lists. Information in lists
can be quickly and easily digested.
 Use bold text for emphasis.
 Never underscore text that is not a link.
 Clearly label all links.
 Use legible fonts and font sizes.
108
Designing for Web
Valuable Tips . . .
Paragraphs composed of sentences that are similar in length are

easier to read than ones that combine long and short sentences.
Limit the number of fonts and font colors used throughout the site.
Be consistent in the way we present our material throughout the
site.
Creation is endless where there is imagination.
 Refer the display section for the sample of ready reference.
Note:
Avoid wide pages, particularly those that cause rightward scrolling.
Try to keep important items such as primary navigation in the first
screen.
Try to fit content vertically within 3-5 screens, if possible.
109
P R O J E C T 5
Homepage design. Pixel dimensions 779 x 434 pixels.
Homepage design viewed in browser. Pixel dimensions 779 x 434 pixels.
Reference : Design layout of a dummy home page.
 Display Section
110
Glossary
Glossary

PROJECT GUIDE
112
Glossary
A/W. An abbreviation for Artwork.

The final out look of the concept.
Acrobat Reader. A free program from Adobe, used for displaying and
printing PDF files. Creating and editing PDFs requires commercial
programs such as Acrobat Distiller and Acrobat Exchange.
Airbrush. A mechanical painting tool producing an adjustable spray
of paint driven by compressed air. Used in illustration design and
photographic re-touching.
Align. To line up typeset or other graphic material as specified, using a
base or vertical line as the reference point.
Alphabet (length or width). The measurement of a complete set of lower
case alphabet characters in a given type size expressed in points or picas.
Art paper. A smooth coated paper obtained by adding a coating of china
clay compound on one or both sides of the paper.
Art. In graphic arts usage, all matter other than text material; e.g.
illustrations and photographs. See stock art.
Ascender. Any part of a lower case letter extending above the x-height.
For example, the upper half of the vertical in the letters b or h.
Backing up. To print the second side of printed sheet.

Banner. A large headline or title extending across the full page width.
Base artwork. Artwork requiring additional components such as
halftones or line drawings to be added before the reproduction stage.
Baseline. The line on which the bases of capital letters sit.
Batch file. See macro.
Bed. The base on which the From is held when printing by Letterpress.
113
PROJECT GUIDE
Binding. The various methods used to secure loose leaves or sections in

a book; eg saddle-stitch, perfect bound. The layout usually has a binding
margin to accommodate the physical space on the paper required to
bind it.
Black patch. Material used to mask the window area on a negative
image of the artwork prior to ‘stripping in’ a halftone.
Blanket cylinder. The cylinder via which the inked litho–plate transfers
the image to the paper. The cylinder is covered with a rubber sheet which
prevents wear to the litho-plate coming in contact with the paper.
Bleed. Layout, type or pictures that extend beyond the trim marks on a
page. Illustrations that spread to the edge of the paper without margins
are referred to as ‘bled off’.
Blind emboss. A raised impression made without using ink or foil.
Blow up. An enlargement, most frequently of a graphic image or
photograph.
Board. Paper of more than 200 gsm.
Body. The main text of the work but not including headlines.
Body size. The height of the type measured from the top of the tallest
ascender to the bottom of the lowest descender. Normally given in points,
the standard unit of type size.
Bold type. Type with a heavier, darker appearance. Most typefaces have
a bold face.
Bond. A sized finished writing paper of 50 gsm or more. Can also be
used for printing upon.
Border. A continuous decorative design or rule surrounding the matter
on the page.
Box. A section of text marked off by rules or white space and presented
separately from the main text and illustrations. Longer boxed sections
in magazines are sometimes referred to as sidebars.
Broadside. An original term for work printed on one side of a large
sheet of paper.
Bromide. A photographic print made on bromide paper.
114
Glossary
Bronzing. An effect produced by dusting wet ink after printing with a

metallic powder.
Bullet. A large dot preceding text to add emphasis.
Burn. To expose an image onto a plate. Also refers to the production
of CDs.
Cap line. An imaginary line across the top of capital letters. The distance
from the cap line to the baseline is the cap size.
Caps. An abbreviation for capital letters.
Caps and small caps. A style of type that shows capital letters used in
the normal way while the body copy is set in capital letters which are
of a slightly smaller size.
Caption. The line or lines of text that refer to information identifying
a picture or illustration.
Carbonless. Paper coated with chemicals and dye which will produce
copies without carbon paper.
Caret marks. An indication to the printer of an omission in the copy
indicated as ( ^ ) showing the insertion.
Cartridge. A thick general purpose paper used for printing, drawing
and wrapping.
Case bound. A hardback book made with stiff outer covers. Cases are
usually covered with cloth, vinyl or leather.
Catchline. A temporary headline for identification on the top of a galley
proof.
Character count. The number of characters; i.e letters, figures, signs
or spaces in a piece of copy, line or paragraph used as a first stage in
type calculations.
Chase. A metal frame in which metal type and blocks (engravings) are
locked into position to make up a page.
Close up. A proof correction mark to reduce the amount of space between
characters or words.
115
PROJECT GUIDE
Coated. Printing papers which after making have had a surface coating
with clay etc, to give a smoother, more even finish with greater opacity.
Color. Refers to use of paper other than white and ink other than black.
Computer monitors use the RGB color space and most printers use
CYMK. Most color problems stem from either poor translation between
these color models, limitations in one of the color models (out of a gamut
of colors), or poor color separation. Also common is spot color, in
which black ink is supplemented with an additional color. One way of
ensuring that color fidelity is maintained across the design and printing
process is to use a standardized set of colors, usually from the Pantone
Matching System.
Color separations. The division of a multi-coloured original or line
copy into the basic (or primary) process colours of cyan, yellow, magenta
and black. These should not be confused with the optical primaries; red,
green and blue.
Column inch. A measure of area used in newspapers and magazines to
calculate the cost of display advertising. A column inch is one column
wide by one inch deep.
Column rule. A light faced vertical rule used to separate columns of type.
Compose. To set copy into type.
Condensed. A style of typeface in which the characters have an elongated
appearance.
Continuous tone. An image in which the subject has continuous shades
of colour or grey without being broken up by dots. Continuous tones
cannot be reproduced in that form for printing but must be screened to
translate the image into dots.
Contrast. The degree of tones in a photograph ranging from highlight
to shadow.
Copyright. The right of copyright gives protection to the originator of
material to prevent use without express permission or acknowledgement
of the originator.
Corner marks. Marks printed on a sheet to indicate the trim or register
marks.
Cropping. The elimination of parts of a photograph or other original
116
Glossary
that are not required to be printed. Cropping allows the remaining parts
of the image to be enlarged to fill the space.
Cross head. A heading set in the body of the text used to break it into
easily readable sections.
Cursive. Used to describe typefaces that resemble written script.
Cut flush. A method of trimming a book after the cover has been attached
to the pages.
Cutout. A halftone where the background has been removed to produce
a silhouette.
CYMK. Cyan, Yellow, Magenta, Black. The color space (defined
by the four colors of ink used) most commonly used in high quality
printing (4-color printing refers to these four colors). The image must
be separated into these four colors, then re-combined by having those
inks combined on the press using a halftone pattern.
D
Dagger and double dagger. Symbols used mainly as reference marks
for footnotes.
Dash. A short horizontal rule used for punctuation. See hyphenation.
Descender. Any part of a lower case letter that extends below the
x-height, as in the case of y and j.
Desktop publishing. A familiar term for Electronic publishing (or
electronic pre-press) so called because of low expense.
Die. A hardened steel engraving stamp used to print an inked image.
Used in the production of good quality letter headings.
Dingbat. A non-text character, usually decorative, such as a star or flower.
Disk Operating System (DOS). Software for computer systems with
disk drives which supervises and controls the running of programs. The
operating system is ‘booted’ into the computer from disk by a small
program which permanently resides in the memory. Common operating
systems include MS-DOS, PC-DOS (IBM’s version of MS-DOS), CP/M
(an operating system for older, 8-bit computers), Unix and BOS.
Display type. Larger type used for headings etc. Normally about 18
point or larger.
117
PROJECT GUIDE
Dot matrix printer. A printer in which each character is formed from

a matrix of dots. They are normally impact systems, ie a wire is fired
at a ribbon in order to leave an inked dot on the page, but thermal and
electro-erosion systems are also used.
Double density. A method of recording on floppy disks using a modified
frequency modulation process that allows more data to be stored on a
disk.
Double page spread. Two facing pages of newspaper or magazine where
the textual material on the left hand side continues across to the right
hand side. Abbreviated to DPS.
Downloadable fonts. Type faces which can be stored on a disk and
then downloaded to the printer when required for printing. These are,
by definition, bit-mapped fonts and, therefore, fixed in size and style.
DPI (Dots Per Inch). The measurement of resolution for page printers,
phototypesetting machines and graphics screens. Currently graphics
screens reproduce 60 to 100 dpi, most page printers work at 3-600 dpi
and typesetting systems operate at 1,200 dpi and above.
Drop cap. A large initial letter at the start of the text that drops into the
line or lines of text below.
Eight sheet. A poster measuring 60 x 80 inches (153 x 203 cm) and,

traditionally, made up of eight individual sheets.
Electronic Publishing. A generic term for the distribution of information
which is stored, transmitted and reproduced electronically. Teletext and
Videotext are two examples of this technology in its purest form, i.e no
paper. Desktop publishing forms just one part of the electronic publishing
market. See desktop publishing.
Em. In printing terms it is a square unit with edges equal in size to the
chosen point size. It gets its name from the letter M which originally
was as wide as the type size.
Embossing. Relief images formed by using a recessed die.
En dash. A dash approximately half the width of an em dash.
118
Glossary
En. A unit of measurement that is half as wide as an em.

End papers. The four page leaves at the front and end of a book which
are pasted to the insides of the front and back covers (boards).
EPS. A file format using the PostScript language and including a screen
preview of the artwork, making it useful for desktop publishing.
Expanded type. A typeface with a slightly wider body giving a flatter
appearance.
Face. An abbreviation for typeface referring to a family in a given style.

Fill. The color or pattern within a shape (such as a letter or box).
Filler. Extra material used to complete a column or page, usually of
little importance.
Film. Non-paper output of an imagesetter or phototypesetter.
Flag. The designed title of a newspaper as it appears at the top of page
one.
Flexography. A rotary letterpress process printing from rubber or flexible
plates and using fast drying inks. Mainly used for packaging.
Floating accent. An accent mark which is set separately from the main
character and is then placed either over or under it.
Flush left. Copy aligned along the left margin.
Flush right. Copy aligned along the right margin.
Flyer. An inexpensively produced circular used for promotional
distribution.
Foil blocking. A process for stamping a design on a book cover without
ink by using a coloured foil with pressure from a heated die or block.
Font. A complete set of characters in a typeface at a particular size.
Often used synonymously with typeface.
Form letter. Used in word processing to describe a repetitive letter in
which the names and addresses of individuals are automatically generated
119
PROJECT GUIDE
from a data base or typed individually.

Fraction. A ratio of two whole numbers, such as 1/2 (one half). Presents
a problem in typesetting because there are too many possible fractions
to create a character for each one, so although some fractions are usually
included in a character set, the rest must be typeset using subscripted
and superscripted characters kerned around a solidus.
Full measure. A line set to the entire line length.
Full point. A full stop.
Gatefold. An oversize page where both sides fold into the gutter in
overlapping layers. Used to accommodate maps into books.
Gathering. The operation of inserting the printed pages, sections or
signatures of a book in the correct order for binding.
GIF. (Graphics Interchange Format) A file format popular on the world-
wide web because of its small size. Limited to 256 colors, therefore not
generally suitable for pre-press. See JPEG, TIFF.
Gloss ink. For use in litho and letterpress printing on coated papers
where the ink will dry without penetration.
Golden ratio. The rule devised to give proportions of height to width
when laying out text and illustrations to produce the most optically
pleasing result.
Gothic. Typefaces with no serifs and broad even strokes.
Gravure. A rotary printing process where the image is etched into the
metal plate attached to a cylinder. The cylinder is then rotated through
a trough of printing ink after which the etched surface is wiped clean
by a blade leaving the non-image area clean. The paper is then passed
between two rollers and pressed against the etched cylinder drawing the
ink out by absorption.
Greeking. A software device where areas of grey are used to simulate
lines of text. One of desktop publishing’s less clever methods of getting
round the slowness of high resolution displays on the PC.
120
Glossary
Grey scale. A range of luminance values for evaluating shading through

white to black. Frequently used in discussions about scanners as a
measure of their ability to capture halftone images. Basically the more
levels the better but with correspondingly larger memory requirements.
Grid. A systematic division of a page into areas to enable designers to
ensure consistency. The grid acts as a measuring guide and shows text,
illustrations and trim sizes.
GSM. Grams per square metre. The unit of measurement for paper
weight. (g/m2)
Guard. A narrow strip of paper or linen pasted to a single leaf to allow
sewing into a section for binding.
Gutter. The central blank area between left and right pages. See Binding.
Hairline rule. The thinnest rule that can be printed.

Hairlines. The thinnest of the strokes in a typeface.
Half up. Artwork one and a half times the size it will be reproduced.
Halftone. An illustration reproduced by breaking down the original tone
into a pattern of dots of varying size. Light areas have small dots and
darker areas or shadows have larger dots.
Halftone screen. A glass plate or film placed between the original
photograph and the film to be exposed. The screen carries a network of
parallel lines. The number of lines to the inch controls the coarseness of
the final dot formation. The screen used depends on the printing process
and the paper to be used; the higher the quality the more lines can be
used. See LPI.
Halftone cell. An arrangement of dots used to simulate a traditional
halftone on a digital printer. Because an imagesetter can only produce
black dots, it must simulate shades of grey by turning some of the dots in
the cell on or off. If half the dots are on, it appears to be 50% grey. Since
PostScript can handle 256 shades of greay, the optimal halftone cell is
8 x 8 (8 dots wide times 8 cells high equals 256 dots total). Therefore,
the optimal line screen for a given printer is its dpi divided by 8 (e.g.
600 dpi can produce a halftone pattern 75 lines per inch). Unfortunately,
121
PROJECT GUIDE
this simple formula is complicated by arcane matters beyond the scope

of this document.
Hanging punctuation. Punctuation that is allowed to fall outside the
margins instead of staying within the measure of the text.
Hard disk. A rigid disk sealed inside an airtight transport mechanism.
Information stored may be accessed more rapidly than on floppy disks
and far greater amounts of data may be stored. Often referred to as
Winchester disks.
Head. The margin at the top of a page.
Header. See Running head.
Helvetica. A sans serif typeface.
Hemp. A plant fiber used to make paper. Desirable because it grows
quickly and its fibers are strong (they are also used to make rope).
Highlight. The lightest area in a photograph or illustration.
Hyphenation. Breaking of words into syllables separated by hyphens.
Impedes readability but is usually necessary to maintain even right
margins and text color in fully justified type.
Icons. Pictorial images used on screen to indicate utility functions, files,

folders or applications software. The icons are generally activated by an
on-screen pointer controlled by a mouse or trackball.
Imagesetting. Imagesetting is the new word for phototypesetting.
Today’s imagesetters do more than just set type: they set images and
graphics, as well, through PostScript, the standard for controlling laser
printers. Most imagesetters were designed to be used in digital pre-press
and are capable of reproducing color photographs and graphics in great
detail. The main advantage of an imagesetter over laser printers is that
they print at between 1200 and 5000 dots per inch (versus 300-600 for
laser printers). Imagesetters also output directly to film, which is more
stable than paper, and at much larger sizes; some imagesetters can output
20”x24” or larger.
Imposition. A catch-all term for how a printer positions artwork on
122
Glossary
a press-sheet. Printers, print projects on paper much larger than the

finished size of the piece. Often this means that a design might be printed
several times on the same sheet, making the print run much shorter.
The printed sheet is then cut and folded as needed to match the original
specification. Imposition can be done manually (e.g. with a light table
or with specialized software.)
Impression cylinder. The cylinder of a printing machine which brings
the paper into contact with the printing plate or blanket cylinder.
Imprint. The name and place of the publisher and printer required by
law if a publication is to be published. Sometimes accompanied by codes
indicating the quantity printed, month/year of printing and an internal
control number.
InDesign. The next-generation desktop publishing program from Adobe.
See PageMaker, QuarkXPress.
Insert. An instruction to the printer for the inclusion of additional copy.
Interface. The circuit, or physical connection, which controls the flow
of data between a computer and its peripherals.
International paper sizes. The International Standards Organisation
(ISO) system of paper sizes is based on a series of three sizes A, B and C.
Series A is used for general printing and stationery, Series B for posters
and Series C for envelopes.
ISBN. International Standard Book Number. A reference number given
to every published work. Usually found on the back of the title page.
Italic. Type with sloping letters. Also see Oblique.
Ivory board. A smooth high white board used for business cards etc.
JPEG. A file format using a compression algorithm developed by the

Joint Photographic Experts Group. Very popular on the world-wide web
and usable (but not common) in pre-press. See GIF, TIFF.
123
PROJECT GUIDE
Justify. The alignment of text along a margin or both margins. This is

achieved by adjusting the spacing between the words and characters as
necessary so that each line of text finishes at the same point.
KB (Kilobyte). 1024 bytes, a binary 1,000.

Keep standing. To hold type or plates ready for reprints.
Kerning. The adjustment of spacing between certain letter pairs, A and
V for example, to obtain a more pleasing appearance. See also Tracking.
Keyline. An outline drawn or set on artwork showing the size and
position of an illustration or halftone.
Kraft paper. A tough brown paper used for packing.
Laid. Paper with a watermark pattern showing the wire marks used
in the paper making process. Usually used for high quality stationery.
Laminate. A thin transparent plastic coating applied to paper or board
to provide protection and give it a glossy finish.
Landscape. Work in which the width used is greater than the height.
Also used to indicate the orientation of tables or illustrations which are
printed ‘sideways’. See Portrait.
Laser printer (also see Page printer). A high quality image printing
system using a laser beam to produce an image on a photosensitive drum.
The image is transferred on to paper by a conventional xerographic
printing process. Currently, most laser printers set at 300dpi with newer
models operating at up to 600dpi.
Lateral reversal. A positive or negative image transposed from left to
right as in a mirror reflection of the original.
Layout. A sketch of a page for printing, showing the position of text
and illustrations and giving general instructions.
Lead or Leading. Space added between lines of type to space out text
124
Glossary
and provide visual separation of the lines. Measured in points or fractions

thereof. Named after the strips of lead which used to be inserted between
lines of metal type.
Legend. The descriptive matter printed below an illustration, mostly
referred to as a caption. Also an explanation of signs or symbols used
in timetables or maps.
Letraset. A proprietary name for rub-down or dry transfer lettering used
in preparing artwork.
Letterpress. A relief printing process in which a raised image is inked
to produce an impression; the impression is then transferred by placing
paper against image and applying pressure.
Letterset. A printing process combining offset printing with a letterpress
relief printing plate.
Letterspacing. The addition of space between the letters of words to
increase the line-length to a required width or to improve the appearance
of a line.
Library picture. A picture taken from an existing library and not
specially commissioned.
Light table. A box with a glass top and a light inside making it very
useful for paste-ups, as the light allows us to see through the paper,
improving alignment.
Lightface. Type having finer strokes than the medium typeface. Not
used as frequently as medium.
Line block. A letterpress printing plate made up of solid areas and lines
and without tones.
Line gauge. A metal rule used by printers. Divided into picas it is 72
picas long (11.952in).
Linen tester. A magnifying glass designed for checking the dot image
of a halftone.
Lithography. A printing process based on the principle of the natural

aversion of water to grease. The photographically prepared printing plate
when being made is treated chemically so that the image will accept ink
and reject water.
Logo. Short for logotype. A word or combination of letters set as a single
125
PROJECT GUIDE
unit. Also used to denote a specially styled company name designed as

part of a corporate image.
Loose leaf. A method of binding which allows the insertion and removal
of pages for continuous updating.
Loup. A small free-standing magnifier used to see fine detail on a page.
Lower case. The small letters in a font of type.
LPI. Lines per inch. A measure of the halftone screen. In general, the
LPI of the halftone is determined by the DPI of the output device and
the number of shades of grey needed (due to the need to combine printer
dots into a halftone cell). A common imagesetter outputting at 1270dpi
x 1270dpi can produce 256 shades of grey at 133 LPI, while a 300 dpi
laser printer can only produce 14 shades of grey at 53 LPI.
MB (Megabyte). One million (1,048,576) bytes or 1,024 kilobytes.

Macro. A series of instructions which would normally be issued one at
a time on the keyboard to control a program. A macro facility allows
them to be stored and issued automatically by a single keystroke. Also
called a script (e.g. in Pagemaker) or batch file (e.g. in DOS).
Magnetic ink. A magnetized ink that can be read both by humans and
by electronic machines. Used in cheque printing.
Make-up. The assembling of all elements to form the printed image.
Making ready. The time spent in making ready the level of the printing
surface by packing out under the form or around the impression cylinder.
Manuscript (MS). The original written or typewritten work of an author
submitted for publication.
Margins. The non-printing areas of page.
Mark up. Copy prepared for a compositor setting out in detail all the
typesetting instructions.
Mask. Opaque material or masking tape used to block-off an area of
the artwork.
126
Glossary
Masthead. Details of publisher and editorial staff usually printed on

the contents page.
Matt art. A coated printing paper with a dull surface.
Measure. The width of a column of type.
Mechanical. A pasted-up page ready for the press. Also called camera
ready art.
Mechanical binding. A method of binding which secures pre-trimmed
leaves by the insertion of wire or plastic spirals through holes drilled in
the binding edge.
Mechanical tint. A pre-printed sheet of dots, lines or patterns that can
be laid down on artwork for reproduction.
Memory. The part of the computer which stores information for
immediate access. Nowadays this consists exclusively of RAM (random
access memory) which holds the applications software and data or ROM
(read-only memory) which holds permanent information such as the DOS
or Macintosh bootstrap routines. Memory size is expressed in KB or MB.
Menu-driven. Programs which allow the user to request functions by
choosing from a list of options.
Metallic ink. Printing inks which produce an effect gold, silver, bronze
or metallic colours.
MG (Machine glazed). Paper with a high gloss finish on one side only.
Mock-up. The rough visual of a publication or design.
Modem (MOdulator-DEModulator). A device for converting digital
data into audio signals and back again. Primarily used for transmitting
data between computers over telephone lines.
Montage. A single image formed from the assembling of several images.
Mounting board. A heavy board used for mounting artwork.
Mouse. A handheld pointing device using either mechanical motion or
special optical techniques to convert the movement of the user’s hand
into movements of the cursor on the screen. Generally fitted with one,
two or three buttons which can control specific software functions.
Mutt. A typesetting term for the em space.
127
PROJECT GUIDE
N
Newsprint. Unsized, low quality, absorbent paper used for printing
newspapers.
O
Oblique. A slanted character, the sans serif equivalent to italics.
Oblique stroke. (/)
OCR (Optical Character Recognition). A special kind of scanner
which provides a means of reading printed characters on documents
and converting them into digital codes that can be read into a computer
as actual text rather than just a picture.
Offprint. A run-on or reprint of an article first published in a magazine
or journal.
Offset lithography. (see Lithography) a printing method whereby the
image is transferred from a plate onto a rubber covered cylinder from
which the printing takes place.
Onion skin. A translucent lightweight paper used in air mail stationery.
Opacity. Term used to describe the degree to which paper will show
print through.
OPI (Open Pre-press Initiative). A method of using small low
resolution images in the DTP application and having the appropriate
high resolution image obtained by the RIP from a server at output time.
Optical centre. A point above the true centre of the page which will not
appear ‘low’ as the geometric centre does.
Optical Disks. Video disks on which large amounts of information can
be stored in binary form representing characters of text or images. The
disks cannot be used to view the information using a modified compact
disk player and TV. Mainly used for reference works such as dictionaries,
encyclopedias, etc.
Orphan. Line of type on its own at the top or bottom of a page.
Outline. A typeface in which the characters are formed with only the
outline defined rather than from solid strokes.
128
Glossary
Output device. The final destination for a pre-press workflow, usually

a laser printer or imagesetter.
Overlay. A transparent sheet used in the pre-paration of multi-colour
artwork showing the colour breakdown.
Overprinting. Printing over an area already printed. Used to emphasise
changes or alterations.
Page Printer. The more general (and accurate) name used to describe
non-impact printers which produce a complete page in one action.
Examples include laser, LED and LCD shutter xerographic printers, ion
deposition, electro-erosion and electro-photographic printers.
Page proofs. The stage following galley proofs, in which pages are
made up and paginated.
PageMaker. The software program from Adobe Corporation that
everyone associates with desktop publishing due to its immense success
on the Apple Macintosh. Now available on both the Macintosh and the
PC, it is still used as a benchmark product, although in many areas it
has been supplanted by competitors such as QuarkXPress, and more
recent products such as InDesign..
Pagination. The numbering of pages in a book.
Paper plate. A short run offset printing plate on which matter can be
typed directly.
Paragraph mark (¶). A type symbol used to denote the start of a
paragraph. Also used as a footnote sign.
Parallel fold. A method of folding; eg two parallel folds will produce
a six page sheet.
Paste up. The process of putting a page together by arranging the
elements on a light table and fixing them into position with a waxer or
some other adhesive. Also used to describe the resulting mechanical.
PDF. Portable Document Format. A file format invented by Adobe which
combines all elements in a design (text, graphics, embedded fonts, etc.)
into one file that can be viewed on any computer and look very close to
the original. Becoming very popular as a way to send files to a printing
129
PROJECT GUIDE
house, since there is no need to include non-standard fonts as separate

files on disk.
Perfect binding. A common method of binding paperback books. After
the printed sections having been collated, the spines will be ground off
and the cover glued on.
Perfector. A printing press which prints both sides of the paper at one
pass through the machine.
Photoshop. A program from Adobe, now dominant in image editing,
touching up photos, etc.
Phototypesetting. A method of putting type onto film. Now almost
universally replaced by imagesetters.
Pi fonts. Characters not usually included in a font, but which are added
specially. Examples of these are timetable symbols and mathematical
signs.
Pica. A printing industry unit of measurement. There are 12 points to a
pica, one pica is approximately 0.166 inches.
Picking. The effect of ink being too tacky and lifting fibres out of the
paper. Shows up as small white dots on areas of solid colour.
Pipelining. The ability of a program to flow automatically text from the
end of one column or page to the beginning of the next. An extra level
of sophistication can be created by allowing the flow to be re-directed
to any page and not just the next available. This is ideal for US-style
magazines where everything is ‘Continued on...’!
Plate. Paper, polyester, or metal sheet used in a printing press to transfer
an image onto paper.
PMS. PMS stands for the Pantone® Matching System, a system for
identifying ink colors. Each color is identified by a number (for instance,
PMS 485 is a bright red) and letter (usually U or C for uncoated and
coated) representing the kind or paper. When we request a particular PMS
color from a swatch book, the printer can use a color which (should)
match precisely. There are thousands of colors available in the Pantone
Matching System, including specialty inks such as pastels and metallics.
Point. The standard unit of type size of which there are 72 to the inch
(one point is approximately 0.01383 inches). Point size is the measured
from the top of the ascender to the bottom of the descender.
130
Glossary
Portrait. An upright image or page where the height is greater than the
width.
Positive. A true photographic image of the original made on paper or film.
PostScript. A page description language (PDL) developed by Adobe
Systems. Widely supported by both hardware and software vendors,
it represents the current standard in the market. John Warnock and
Chuck Geschke of Adobe both worked for Xerox at the Palo Alto
Research Center where PDLs were invented and set up their company
to commercially exploit the concepts they had helped develop.
PPI. Pixels per Inch. A more precise term for DPI; usually used in
discussion about image editing, such as in Photoshop.
Pre-Press. All work done between writing and printing, such as
typesetting, layout, and imposition. Usually done electronically today.
Preview mode. A mode where word processing or desktop publishing
software which doesn’t operate in WYSIWYG fashion can show a
representation of the output as it will look when printed. The quality
ranges from acceptable to worse than useless.
Primary colours. Cyan, yellow and magenta. These three colours when
mixed together with black will produce a reasonable reproduction of all
other colours.
Print engine. The parts of a page printer which perform the print-
imaging, fixing and paper transport. In fact, everything but the controller.
Printer Command Language. A language developed by Hewlett
Packard for use with its own range of printers. Essentially a text
orientated language, it has been expanded to give graphics capability.
Printing house. A shop specializing in high-quality scanning and
printing using equipment (drum scanners, imagesetters, etc.) not
normally affordable by the average user.
Process Colors. The four colors used in full color printing using
separations — cyan, magenta, yellow and black. See CYMK.
Progressives. Colour proofs taken at each stage of printing showing each
colour printed singly and then superimposed on the preceding colour.
Proof. A copy obtained from inked type, plate, block or screen for
checking purposes.
131
PROJECT GUIDE
Proof correction marks. A standard set of signs and symbols used in

copy preparation and to indicate corrections on proofs. Marks are placed
both in the text and in the margin.
Proportional spacing. A method of spacing whereby each character
is spaced to accommodate the varying widths of letters or figures, so
increasing readability. Books and magazines are set proportionally
spaced, typewritten documents are generally monospaced.
Proxy. A stand in, such as an intermediary server on a LAN, an image in
the DTP application that is for position only, or the object manipulation
tool on the PageMaker control strip.
Pulp. The raw material used in paper making consisting mainly of wood
chips, rags or other fibres. Broken down by mechanical or chemical
means.
Q
Quadding. The addition of space to fill out a line of type using en or
em blocks.
QuarkXPress. A competitor to PageMaker that has become dominant
in magazines and many pre-press shops.
Quire. 1/20th of a ream (25 sheets).
R
Rag paper. High-quality stationery made from cotton rags. The rag
content is the percentage of linen in the paper. See Recycled.
Raster Image Processor (RIP). The hardware engine which calculates
the bit-mapped image of text and graphics from a series of instructions.
It may, or may not, understand a page description language but the end
result should, if the device has been properly designed, be the same.
Typical RIPs which aren’t PDL-based include the Tall Trees JLaser,
the LaserMaster and AST’s TurboLaser controller. A basic page printer
comes with a controller and not a RIP which goes some way to explaining
the lack of control.
Ream. 500 sheets of paper.
Recycled. Reused, as in old paper fibers made into new paper. The
132
Glossary
recycled content is the percentage of reused fibers. 100% recycled means

it was all reused at one point. However, this could mean that the paper
manufacturer had simply thrown mill waste (Pre-Consumer content)
back into the vat. The real indicator is Post-Consumer content, which
tells you what percentage of the recycled content was paper diverted from
the waste stream and reused instead of buried in a landfill. Paper with
100% post-consumer content is sometimes called “tree-free” because
no trees had to be used to produce the paper.
Reference marks. Symbols used in text to direct the reader to a footnote.
E.g. asterisk (*), dagger, double dagger, section mark (§), paragraph
mark (¶).
Register marks. Used in colour printing to position the paper correctly.
Usually crosses or circles.
Register. The correct positioning of an image especially when printing
one colour on another.
Registration. Correct alignment of the different color plates.
Resolution. The measurement used in typesetting to express quality of
output. Measured in dots per inch, the greater the number of dots, the
more smoother and cleaner appearance the character/image will have.
Currently Page (laser) Printers print at 300, 406 and 600dpi. Typesetting
machines print at 1,200 dpi or more.
Rest in Proportion. An instruction when giving sizes to artwork or
photographs that other parts of the artwork are to be enlarged or reduced
in proportion.
Re-touching. A means of altering artwork or colour separations to correct
faults or enhance the image.
Reverse out. To reproduce as a white image out of a solid background.
Revise. Indicates the stages at which corrections have been incorporated
from earlier proofs and new proofs submitted. E.g. first revise, second
revise.
RGB. Red, Green, Blue. The color space used by most computer
monitors and a few imagesetters.
Right reading. A positive or negative which reads from left to right.
RIP. Raster Image Processor. A device or program that converts
133
PROJECT GUIDE
electronic files into a pattern of dots the output device can display.
All outputs work with dots. Vector art, halftones, and outline fonts are
rendered as a pattern of dots by the RIP.
River. White space between words that joins together so it resembles a
river (or stream) of white running down the page, disrupting the even
text color. Normally caused by the irregular spacing in justified text
combined with shorter measures and poor hyphenation.
Roman. Type which has vertical stems as distinct from italics or oblique
which are set at angles.
Rotary press. A web or reel fed printing press which uses a curved
printing plate mounted on the plate cylinder.
Rough. A preliminary sketch of a proposed design.
Ruler. Rulers displayed on the screen that show measures in inches,
picas or millimeters.
Running head. A line of type at the top of a page which repeats a
heading. Also called header.
S
S/S (Same size). An instruction to reproduce to the same size as the
original.
Sans serif. A typeface that has no serifs (small strokes at the end of main
stroke of the character).
Scale. The means within a program to reduce or enlarge the amount of
space an image will occupy. Some programs maintain the aspect ratio
between width and height whilst scaling, thereby avoiding distortion.
Scaling. A means of calculating the amount of enlargement or reduction
necessary to accommodate a photograph within the area of a design.
Scamp. A sketch of a design showing the basic concept.
Scanner. A digitizing device using light sensitivity to translate a picture
or typed text into a pattern of dots which can be understood and stored
134
Glossary
by a computer. Scanners some in various types: drum scanners are the

best quality, but are very expensive, usually requiring a skilled operator
at a printing house; film scanners (or slide scanners), used for scanning
transparencies; and flatbed scanners, used to scan reflective material,
such as printed photos.
Scraperboard. A board prepared with black indian ink over a china clay
surface. Drawings are produced by scraping away the ink to expose the
china clay surface.
Script. see Macro.
Section mark (§). A character used at the beginning of a new section.
Also used as a footnote symbol.
Section. A printed sheet folded to make a multiple of pages.
Security paper. Paper incorporating special features (dyes, watermarks
etc.) for use on cheques.
Separations. The result of extracting the four process colors (CYMK)
in a photograph onto four separate plates for reproduction on a printing
press.
Serif. A small cross stroke at the end of the main stroke of the letter.
Set size. The width of the type body of a given point size.
Set solid. Type set without leading (line spacing) between the lines. Type
is often set with extra space; eg. 9 point set on 10 point.
Set off. The accidental transfer of the printed image from one sheet to
the back of another.
Sheet. A single piece of paper. In poster work refers to the number of
Double Crown sets in a full size poster.
Sheet fed. A printing press which prints single sheets of paper, not reels.
Signature. A letter or figure printed on the first page of each section of
a book and used as a guide when collating and binding.
Size. A solution based on starch or casein which is added to the paper
to reduce ink absorbency.
Slab serif. A typeface with heavy square serifs. Also called Egyptian.
Slurring. A smearing of the image, caused by paper slipping during the
135
PROJECT GUIDE
impression stage.
Small caps. A set of capital letters which are smaller than standard and
are equal in size to the lower case letters for that typesize.
Snap-to (guide or rules). A WYSIWYG program feature for accurately
aligning text or graphics. The effect is exercised by various non-printing
guidelines such as column guides, margin guides which automatically
places the text or graphics in the correct position flush to the column
guide when activated by the mouse. The feature is optional and can be
turned off.
Soft back/cover. A book bound with a paperback cover.
Soft or discretionary hyphen. A specially coded hyphen which is only
displayed when formatting of the hyphenated word puts it at the end
of a line.
Spell check. A facility contained in certain word processing and page
makeup programs to enable a spelling error check to be carried out.
Dictionaries of American origin may not conform to English standards
and the option should be available within the program to modify the
contents. Dictionaries usually contain between 60,000-100,000 words.
Spine. The binding edge at the back of a book.
Standoff. The distance between a graphic and the text that wraps around
it. See Runaround.
Standing cap. A large capital letter which shares a baseline with the
adjoining text but rises above it. See drop cap.
Stem. The main vertical stroke making up a type character.
Stet. Used in proof correction work to cancel a previous correction.
From the Latin; ‘let it stand’.
Stock art. Illustrations used from an already available source, usually
a commercial vendor of images. The first stock art was called “clipart”
and generally consisted of low resolution black and white paintings. The
next generation was variable resolution vector art, usually in EPS format,
such as that created by PostScript illustration programs like Freehand.
Today, all those still exist, but the most popular format is high resolution
TIFF images, either royalty-free photography or original illustrations.
They are generally available as low resolution FPO images, or “comps,”
136
Glossary
and high resolution versions which must be purchased.

Strap. A subheading used above the main headline in a newspaper article.
Strawboard. A thicker board made from straw pulp, used in bookwork
and in the making of envelopes and cartons. Not suitable for printing.
Strike-through. The effect of ink soaking through the printed sheet.
Stripping. The process of separating a color image into it component
process colors.
Stroke. The line that defines a shape (such as the outline of a letter).
Style sheet. A collection of tags specifying page layout styles, paragraph
settings and type specifications which can be set up by the user and
saved for use in other documents. Some page makeup programs, such
as Ventura, come with a set of style sheets.
Subscript. The small characters set below the normal letters or figures.
E.g. Vitamin B12.
Superscript. The small characters set above the normal letters or figures.
E.g. E=mc2.
Tabloid. A page half the size of a broadsheet.

Tabular setting. Text set in columns such as timetables.
Tagged Image File Format (TIFF). A common format for interchanging
digital information, generally associated with greyscale or bitmap data.
Tags. The various formats which make up a style sheet- paragraph
settings, margins and columns, page layouts, hyphenation and
justification, widow and orphan control and automatic section numbering.
Template. A standard layout usually containing basic details of the page
dimensions.
Text. The written or printed material which forms the main body of a
publication.
Text color. The appearance of set type from a distance where the words
cannot be read. The text should have an even grey appearance ranging
137
PROJECT GUIDE
from light to dark (depending on typeface, leading, etc.) with no gaps,

or “rivers.”
Text type. Typefaces used for the main text of written material. Generally
no larger than 14 point in size.
Text wrap. See Runaround.
Thin space. The thinnest space normally used to separate words.
Thumbnails. The first ideas or sketches of a designer noted down for
future reference.
TIFF (Tagged Image File Format). A high-quality graphics file format
suitable for desktop publishing and prepress and capable of retaining
information about various color depths and resolutions. Compare to
JPEG, GIF, EPS.
Tint. The effect of adding white to a solid colour or of screening a solid
area.
Tip in. The separate insertion of a single page into a book either during
or after binding by pasting one edge.
Tone line process. The process of producing line art from a continuous
tone original.
Toolbox. An on-screen mouse operated facility that allows the user to
choose from a selection of ‘tools’ to create simple geometric shapes-
lines, boxes, circles etc. and to add fill patterns.
Tracking. Like kerning, a method for adjusting the spacing of characters,
but since tracking is used globally on blocks of type it does not offer the
fine control of kerning. However, it has the advantage of being adjustable
so that the tracking value changes based on the size of the type.
Transparency. A full colour photographically produced image on
transparent film.
Trash can (US). The icon selected for the deleting of files or objects.
Tree free. Paper with no virgin pulp, using 100% post consumer.
Trim. The cutting of the finished product to the correct size. Marks are
incorporated on the printed sheet to show where the trimming is to be
made.
138
Glossary
Turnkey. A system designed for a specific user and to work as an

integrated unit. Usually has built-in contractual responsibilities for
hardware and software maintenance.
Twin wire. Paper which has an identical smooth finish on both sides.
Typeface. Originally, the raised surface carrying the image of a type
character cast in metal. Now used to refer to a complete set of characters
forming a family in a particular design or style. For instance, Adobe
Caslon Italic is a typeface. See font, font family.
Typescript. A typed manuscript.
Typo. abbreviation for typographical error. An error in the typeset copy.
Typographer. A specialist in the design of printed matter, and in
particular the art of typography.
Typography. The design and planning of printed matter using type. A
related field, type design, refers to the art of creating letterforms.
U&lc. An abbreviation for UPPER and lower case.
Varnishing. A finishing process whereby a transparent varnish is applied

over the printed sheet to produce a glossy finish.
Vertical justification. The ability to adjust the interline spacing (leading)

and manipulation of text in fine increments to make columns and pages
end at the same point on a page.
Vignette. A small illustration in a book not enclosed in a definite border.
Watermark. An impression incorporated in the paper making process

showing the name of the paper and/or the company logo.
139
PROJECT GUIDE
Web. A continuous roll of printing paper used on web-fed presses.

Weight. The degree of boldness or thickness of a letter or font.
Widow. A single word left on the last line of a paragraph which falls at
the top of a page.
Windows. A software technique that allows a rectangular area of a
computer screen to display output from a program. With a number
of programs running at one time, several windows can appear on the
screen at one time. Information can be cut and pasted from one window
to another. The best known version of “windows” is that developed by
Microsoft.
Wire. The wire mesh used at the wet end of the paper making process.
The wire determines the textures of the paper.
Word break. The division of a word at the end of a line.
Word wrap. In word processing, the automatic adjustment of the number
of words on a line of text to match the margin settings. The carriage
returns set up by this method are termed “soft”, as against “hard” carriage
returns resulting from the return key being pressed.
X-height. The height of a letter excluding the ascenders and descenders;

eg. ‘x’, which is also height of the main body.
X-Acto knife. A cutting instrument (similar to a scalpel) used to cut the
elements to be pasted up.
Xerography. A photocopying/printing process in which the image is
formed using the electrostatic charge principle. The toner replaces ink
and can be dry or liquid. Once formed, the image is sealed by heat. Most
page printers currently use this method of printing.
140

Project Guide 1 - CPINTL

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Project Guide 1 - CPINTL

Uploaded by

Copyright:

Available Formats

PROJECT GUIDE

© 2013 Aptech Limited

All rights reserved.

No part of this book may be reproduced in any form or by any

Contact E-mail: ov-support@onlinevarsity.com

Disclaimer: Arena Multimedia is registered of Aptech Ltd.

We congratulate you on your decision to pursue an ARENA course.

Aptech Ltd. designs its courses using a sound instructional design

 Scanning the user system and needs assessment

Needs assessment is carried out to find the educational

Technology trends are regularly scanned and tracked by

An annual Industry Recruitment Profile Survey # is

The skill requirements are then mapped with the learner

 Needs analysis and design of curriculum

The Learning objectives are then analyzed and translated

In addition, the society, the teachers, and the industry

 Design & development of instructional materials

The content outlines are developed by including additional

 Strategies for delivery of instruction

Careful consideration is given to the integral development

The area of IT is fast changing and nebulous. Hence

The learning is assessed through different modes – tests,

The instructional process is backed by an elaborate

Technology heads of Aptech Ltd. meet on a monthly basis to share

Industry Recruitment Profile Survey# - The Industry Recruitment Profile

A creative process can be broadly divided into two parts :

Any creative project or assignment has to be planned, where the

Though planning of an assignment or advertisement campaign

Hope this effort will help you in understanding the process in a

ARENA Design Team

Planning and Designing.....................................................................1

Introduction to Project : Press advertisement or Magazine

Introduction to Project : Brochure Design

Processing, Printing and Paper......................................................63

Introduction to Project : Poster/Hoarding or Packaging

Designing for Web............................................................................89

Introduction to Project : Design a Web Page Layout

Designing  Line and Halftone

It all begins with a Creative Director’s dream. This planning process,

the written portion of the message, excluding the illustrations. Copy

The creative department is where the ‘idea’ or theme behind any

Visualization in multimedia will vary depending on the output media

The basic concept of a project is to combine text and graphics on the

Term ‘desktop publishing’ refers to the process of using the computer

 Find Your Function

There are many desktop publishing possibilities.

What kind of work comes to mind when we think of desktop publishing?

- Annual Reports, Proposals

- Publications (books, manuals)

Keeping in mind our target audience, we can prepare a comprehensive

Steps Towards Perfect Assignment

Our best bet for turning out a polished publication:

 Page Layout / Templates

They allow the user to concentrate on creating a nice card, flier,

In many cases templates are designed by well-known designers. We

“Readability is the key to appropriate body type.” Consider the

“A good illustration... should grab attention and draw the reader

“Most inkjet papers are designed to produce best results on only

“Fan paper before placing it in the paper tray to remove static

Today’s graphic designers often use desktop publishing software and

 Design should be purposeful

We “design for attention” when we design a poster for the front

 Design should be simple

 Design should organize