You should also review info from previous exam. 

Copyfitting - sample
Given a manuscript with 45,000 characters, please calculate the number of typeset lines and the depth of the galley in picas and inches for the following. 
The type you will use has: 

2.6 characters per pica for 10 point. 
2.4 characters per pica for 11 point. 10/12 at 20 picas = 

________char per line.  ________lines  ________picas  ________inches

 11/13 at 22 picas = 

________char per line.  ________lines  ________picas  ________inches

Understanding the processes of printing production. The designer must be able to shepherd the job through production stages efficiently and control the output of the intended design. This information also makes client interaction easier as the designer can explain the necessary production steps and limitations.

Printing: is a method of making many copies of words or pictures by creating a plate that will transfer ink to paper. In all processes the plate must allow the image area to trransfer ink. There are several methods of separating the image area (the inked image) area from the non-image area.

Letterpress: Relief process which prints from a raised surface plate. Image is inked because it is higher than non-image.

Gravure: Intaglio process which prints from an incised image below the plate surface. Entire surface is inked which fills incised image. Surface is then wiped clean. Image is thus separated from non-image.

Lithography: Planographic process which prints from a flat surface on which the image and non-image areas are separated on the basis that oil and water do not mix.

To print offset lithography -

• Photograph or scan and RIP (raster image processor) repros to produce film negatives. 
• Strip negatives (align) onto masking flats for platemaking. 
• Use flats to expose plate or plates. 
• The plates are developed. 
• One plate per ink color. 
• The plates are attached to the press. 
• Fountain solution is applied first, then ink. 
• The image area of plate is water repellent and remains dry. The non-image area of the plate is dampened to repel ink which attaches to the dry image area. The plate transfers the image to the blanket cylinder which transfers the image to the paper when it is fed through the press. Multi-color images must be in registration (aligned properly). 
• After printing, the copies are trimmed and folded if necessary

Significant information that a printer would need in order to plan for the printing of a job would include. 

• paper (type, weight, color, texture, trim size), 
• quantity, 
• number of colors (specific ink colors may have to be ordered), 
• halftones? tint screens? bleeds? 
• printed both sides? 
• folded? 
• deadline?

For Bleed: Allow minimum 1/8" extra image on all bleed edges for post printing trim.

Proof: Before copy goes to press it is usually proof read several times. 

Aside from typographic errors, the designer proofs copy to determine if 
• instructions were followed for: 
• style, face, size, leading, line length, format, indentions. 
• Also to determine if it fits, 
• has the intended look, 
• is legible, 
• and has good image quality.

Photo selection: Reject for:

damaged surface, 

extreme size (small or large), 

wrong format, 

poor contrast, 

inappropriate subject, 

poor focus.

Terms: Die cut, emboss, hot foil stamping, duotone, imposition, signatures, perfect binding, saddle stitch, NCR paper.

Imposition: Pages are place in the proper position and orientation for printing to signatures.

Signature: A printed sheet with imposed pages that after folding, insertion, binding/trimming, produce finished multi page document.

Continuous tone imagery can have a full value range from black to white.

Line Copy or "line art" is black and white imagery with no intermediate value.

A halftone is line copy of an image that is created by using a pattern of dots of varying size to simulate continuous tone imagery. Traditionally photographed through a halftone contact screen, many halftones are now produced digitally.

Tint screens produce a pattern of dots of a specific size which will produce various values (tints) of a given color. Tint screens are categorized by percentage. 100% is solid color (no dot pattern).

Resolution and image quality
Scanning is a process of converting imagery to digital form. It is a pixel oriented opeation. Resolution is an important consideration. Output quality of image is dependent on resolution quality of input. PPI (pixels per inch)

How many pixels are required? This depends on the purpose and output size of the image. Images destined for viewing on a monitor such as world wide web applications or power point presentations may only need 72 pixels per inch. Full color, high quality magazine cover photos may need 400 pixels per inch. Scanning at higher resolution than necessary creates very large files that take longer processing time, more storage space, and cause problems in applications that don't require high resolution. Images that are at a lower resolution than necessary produce low quality unacceptable results.

Pixel based applications (often referred to as paint programs) such as Adobe Photoshop use “pixels” (picture elements), small squares of red, green, or blue to comprise the image. The input resolution determines the output quality. Editing or alteration involves erasing and redrawing each pixel in the image. Large size images make larger files.

Object oriented applications (often referred to as drawing programs) such as Adobe Illustrator use mathematical points based on vectors (giving both magnitude and direction) to define lines and shapes. In an object oriented application the quality of the line between each point is determined by the resolution of the output device. object oriented images are easy to alter and edit and produce a smaller file size regardless of image dimensions.

PPI = pixels per inch,  defines resolution density of digital images. A pixel (picture element) is the information carrying component of a digital image. More pixels equals more information, better resolution. Preferred density (ppi) is roughly twice the halftone output. (300 ppi for 150 lpi).

DPI = dots per inch, defines resolution for digital output. These dots are not like halftone dots. These dots are all the same size, adjacent to each other, and have no space between them. It takes 2400 dots per inch to create a 150 line halftone image with 256 levels of gray.

LPI = lines per inch, (dot centers in one linear inch, can vary in size) defines resolution for commercially printed images. a 150 line screen is used for most magazine work. 65 to 85 line screens are used for coarse newsprint, where absorbancy of the paper would cause smaller dots to slur together.

Ligatures (from Latin "Ligare" to bind) are combinations of two or more characters treated as one piece of type. They are typically offered for combinations of letters that do not set well together under normal spacing conditions. Traditional characters are ff, fi, ffi, fl, ffl.

In QuarkXPress and InDesign, Option shift 5 = fi, option shift 6 = fl (if supported by the font selection. InDesign includes fonts from various OpenType families, including Adobe Garamond Pro, Adobe Caslon Pro, Trajan Pro, Caflisch Script Pro, Myriad Pro, Lithos, and Adobe Jenson Pro.

For example: the word "copyfitting" set in Garamond. 

 

In QuarkXPress and inDesign, document character preferences can be set to automatically insert ligatures.

Greeking text and pictures in QuarkXPress and InDesign is adjusted under "preferences." 
Greeking replaces text or pictures with a gray tint to indicate shape and size position on the page. This allows for much faster screen redraws when it is not necessary to see detail.

Label computer files with last name, brief description, date, extension.

Hanging indents or outdents as they are called by some computer page makeup applications Have the first line sticking out to the left, rest of paragraph is indented.

Dot leaders are used fill a space between two typographic items such as description and page number or item and price. QuarkXPress and InDesign, as with most computer page assembly applications, allows the tab function to produce "dot leaders" (actually any character can be used, not just dots, most form work uses underline leaders for lines).

The following information is first presented in the Art 205 course, 
but restated in Art 206.

SYMBOLS AND MARKS.

A PICTOGRAPH is a graphic image that substitutes for words. Pictographs are used to inform and guide people who are unable to read a specific written language.

The advantage of a pictograph is that it can cross language barriers.

The disadvantage of a pictograph is that it can seem very abstract, and be confused with corporate marks.

A SYMBOL is a mark without type used to represent a person or organization. 

The advantage of a symbol is that it can be a creative and unique image which has an immediate impact on a viewer. 

The primary disadvantage of a symbol is that the relationship between the symbol and the entity it represents is seldom obvious and must be learned. This requires frequent exposure and time. 
Another disadvantage of symbols is that they can be confused with other unrelated marks or graphic images. 

A LETTERMARK uses letters, in type, as a means of representation, but not as pronounceable words. 

The advantage of a lettermark is that it can abbreviate a long company name such as 3M, instead of Minnesota Mining and Manufacturing. Also, since it uses type as a visual image, it uses a legibility code that people are familiar with. 

There are several disadvantages of using lettermarks. There is possible confusion with other groups of letters. The Pantone Matching System for color control developed by Frank Herbert in the 1970s was referred to as PMS long before other associations to those letters were formed, but other than design professionals and printers, most people do not associate PMS with the color match system. The letters by themselves do not make sense to people with out an explanation. A great example of this is the alphabet soup of acronyms in use by our federal bureaucracies. Since a lettermark is made of type, there is the possibility that it could be lost among so many other typographic images and be unnoticed.

A LOGO (LOGOTYPE) is a name of an individual or organization in type. 

A logo has the same legibility code advantage as the lettermark. Another advantage is that the logotype is a pronounceable word which gives it a definite phonic edge above a symbol. In the recent past, the rock singer, "Prince" legally changed his name to an abstract symbol which no one could remember or describe. He finally changed it back to "Prince" perhaps because he tired of being referred to as "The Artist formerly known as Prince." Logotypes are less abstract that other marks because they are pronounceable words that can be descriptive. 

The primary visual disadvantage of logotypes is that they often have very complex figure/ground relationships. also, since logotypes are made with type, they can go unnoticed among other typographic images. Designers often make subtle alterations to the type used in a logo to increase uniqueness.

A COMBINATION MARK is a symbol and a logo together or even a lettermark and a logo. 

The advantage is that a combination mark partakes of the best of both the symbol and the logo. There is a labeling effect. You have a unique graphic mark with the name spelled out. 

The disadvantage is the redundancy which is contrary to the design principle of "economy." Very often the combination mark exhibits complex "gestalt." Sometimes the logotype can be dropped from a combination mark after enough exposure has assured recognition. This allows the symbol to be used alone, such as the "Nike Swash" or the "CBS Eye" or the "NBC Peacock."

TRADEMARKS  All the marks above are trademarks, marks used to identify a company. Trademarks can be registered with the U.S. Patent Office which insures that unauthorized use is prohibited by law. 

A note on copyright. Copyright protects intellectual properties. If you, as an individual, create art, music, literature, etc. you retain ownership of your product. You may register copyrighted items with the Library of Congress. This registration could be of some additional help in court if you need to prevent someone from stealing your ideas. However, you do not have to register to be protected. You merely place your name and date on the item to prove ownership. If it is worth a great deal, and easy to copy, registration is a good idea. Also a paper trail, of sorts, to verify your right to ownership, such as sketches, prototypes, variations on a theme, etc.

Wow! Do you think Mr. Fassett's crazy idea of keeping a design journal might have merit?

TRAITS OF GOOD SYMBOLS/MARKS:

POSITIVE ASSOCIATION: It is generally hoped that the mark would present a good impression to any viewers, and at the very least not cast the person or company in an unfavorable light.

RECOGNITION: The mark should be easily identified as being associated with the person or company it represents. abstraction level: The mark should not be too abstract for the understanding level of the audience.

COMPACT GESTALT: A good symbol or mark will have a simple or compact figure/ground relationship. Consider a foreground image of a closed fist against a background. Now consider that same background with a foreground image of an open hand with each finger pointing outward. The closed fist provides a very simple figure/ground relationship. The open hand creates a figure/ground relationship that is very complex.

NEGATIVE SPACES: Imagery creates negative spaces. A good symbol or mark will effectively utilize negative space. Less can be more. Often by removing imagery, the space left vacant can become more imagery. Designers should control negative space. Certainly they should be careful not to create unintentional and unwanted images made of negative areas.

ONE COLOR: A symbol or mark should be capable of working in one color.

REDUCTION: A symbol or mark should be capable of reduction to a small size such as .5 to .75 inches without loss of imagery.

WEIGHT: Weak or light images do not have much visual presence. A heavier or bolder mark is also easier to reproduce in print or video.

FLOW: Symbols and marks are more interesting if the eye can travel within or even through the mark. Some marks provide open boundaries where the eye can enter and exit through the mark.

DIRECTION: Though direction will occur by default within most designs, it can be exploited and controlled by the designer as a significant aspect of a symbol or mark. In our western civilization we are conditioned by our use of written language to consider the left to right direction to be forward or progressive. Right to left seems to be reverse or backward. We also think of "up" as progressive, successful, with positive connotations We generally consider "down" to be repressive or unsuccessful.

PLUS SOME INFO FROM THE FIRST REVIEW