SOFTWARE WORKSHOP WITH SIMON

Central Coding

http://www.lipsum.com/  <----- lorum ipsum (use when you don't have content.

Content:

Video

Images

Text

Animation

Links

Games

Audio

Maps

Lightbox for images

Fanzibox for videos

OUGD504. DESIGN FOR WEB. WORKSHOP WITH SIMON

www.ollymoss.com - black, space, clear, empty

(was made by indexhibit)

www.malikafavre.com - flashing, moving, colorful

(created by cargo)

www.caavadesign.com - round, american, welcoming, waves

www.cat-bounce.com - what is going on?

www.vickiandlaura.co.uk - Simons job



THE QUESTIONS YOU NEED TO ANSWER

1. What is the purpose of the website You are creating?

2. Who is the target audience?

3. What do the target audience need?

THE BRIEF.

Limitations:

1. size
2. font
3. colour mode (RGB)


Books:

HTML&CSS design and build websites

Language:

(scripting)

HTML - hyper text markup language

CSS - cascading style sheets

WYSIWYG - what you see is what you get

HTTP - hyper type transfer protocol

URL - uniform resource locator

FTP - File Transfer Protocol

CMS - content management system

Where to buy a domain name

 http://orders2.names.co.uk/

http://www.123-reg.co.uk/

OUGD504. SOFTWARE WORKSHOP. FINDING MISTAKES.

1. There is a missing link on the first page (image tree).

how to: fint the original image and link it up trough the link pannel.

2. Wrong color mode on the 3rd and 2nd picture.

how to: Open up the image in photoshop proof colours and make them into CMYK.

3. The bleed on the front page is not filled in.

how to: Just drag the background colour to the bleed margins

4. Wrong colour mode on the Blue - RGB, needs to be CMYK

how to: Change it to CMYK, quite easy through the swatch pannel and find an accordingly fitting Pantone.

5. 2 colours in the swatch pannel that are not used and would cose problems while printing.

how to: find them on separation bar to look up if they are there or not and than just delete them and save a new swatch panel.

6. The text on the botto is registration and not BLACKL, registration colour is used for colour runs and is not used for text and grayscale.

how to: change it into BLACK on the swatch pannel.

7. Top image dimension is too big so it would probably just get stuck while trying to export into a pdf.

how to: the size needs to be change before putting the image on indesign.

8. Last image is too small only 72dpi, you always use 300dpi for print otherwise it will go pixelated.

how to: find the original file and change the resolution on photoshop.

REALLY USEFUL:

to save files in a folder (does everything for you)

Press quality for print!

OUGD504. SOFTWARE WORKSHOP. INDESIGN.

How to set up your file in INDESIGN.

How to manage Your pages.

Using Master Pages.

CMN + SHIFT - UNLOCKS THE MASTER PAGE SETTINGS! 

REALLY IMPORTANT (did not know how to do that for ages now) 

You can create loads of master pages and add them by dragging it 

to a frame. 

Frame tool.

T - TEXT (apply color)

BOX - BOX (apply color)

Re: Difference between Pantone Solid Uncoatedand Pantone Solid Matte?

There may be a minor difference in the ink mix. All spot colors are "mixed" using a formula an ink mixer uses to match the spot color on press. The "swatch" itself may be the same percentages between the two, but the difference is identifying the type of spot color which will show up on plates when the file is separated to direct-to-plate setter.

Most spot colors are opaque, whereas 4c process inks are semi-transparent. In some cases, depending on the colored paper, an apaque White may need to go down first because the spot color is spec'd using a White paper stock. So, in order to keep the color's true color intact, it may have to go over a white. Pantone metallics look good on colored paper, but sometimes they need a double-strike to hold up on some dark colored stocks.

Coated vs. Uncoated 

If you have a Pantone Formula Guide, or if you've used any design programs like the Adobe applications, you know that Pantone colors are listed by number. For example, PANTONE 185 is a bright red, while PANTONE 355 is kelly green.  These colors have a letter after the number, C or U. Older programs might tag these colors as CVC or CVU (for "Computer Video Coated" and "Computer Video Uncoated"), but this has largely been abandoned. Either way, when you see these letters they refer to the type of paper. C stands for "coated" and U stands for "uncoated." In some rare instances you might see an M for "matte," which is still technically a coated stock. In the world of Pantone though "coated" means GLOSS coated... as in, shiny paper. In this post, when you see "coated" you'll know we mean "gloss coated." 

Coated papers have a smooth finish, where the paper is pressed and polished while hot or steamed during the manufacturing process. This coating makes the paper less absorbent and takes ink better. Think of it as the coat of primer you'd use before painting your walls.

Uncoated paper is just that; paper without the coated layer. It's often used for letterhead, printer paper, copy machine paper, etc.  Sometimes it will be classified as "bond" or "writing," but those are  just other ways of saying "uncoated." it's fair to say, if coated paper is less absorbent (like a wall with primer) than uncoated paper is MORE absorbent (like a wall WITHOUT primer!)

Regardless of whether a color is C or U, the ink is made the same. The image to the right shows that PANTONE 293 C and PANTONE 293 U look very different, but are made from the same formula (equal parts of Reflex Blue and Process Blue.) Since coated papers allow the ink to sit on the surface, it remains rich and vibrant. The uncoated sheet allows more ink to be absorbed into the paper.  Sometimes the minerals used as pigment to color the inks effect how it will absorbed and also effects the color.

Notice PANTONE 290 C and PANTONE 290 U are closer in color.  This color is made mostly from Transparent White (which you'll remember is essentially "clear" and allows more paper to show though the ink.) Since only 3.2% of the mixture is actual pigmented ink, it's less affected by the coated and uncoated paper. As a result, coated and uncoated versions of lighter colors like yellow and light shades of blue, red, or green, will match more closely, while darker shades and colors will look different... sometimes VERY different.

In fact, some designers will go as far as to choose different spot colors for their files, depending on the stock that's used.  PANTONE 710 U don't really match PANTONE 710 C very well, but PANTONE 185 U does match fairly well.

The color difference in coated and uncoated stocks is also true for Process Colors, though for slightly different reasons.  Process color allows a wider array of colors due to using halftones and blending tints of each process color.  Everything is made up of dots; big dots, little dots, but dots nonetheless (if you need a visual, check our previous blog Spot Color vs Process Color.)  These dots of varying sizes are more likely to be effected by something called "dot gain."  Remember how uncoated stocks are more absorbent, which means they will be more likely to cause the ink dots to swell slightly? This is dot gain. Most everyone knows the Bounty Paper Towel commercials, where the paper towel is used on a small spill and as the towel absorbs it, the spot on the towel spreads out.  Ink on uncoated paper does a similar thing, so a halftone dot of magenta that's set for 50%, could swell up to 55% on some stocks and causing the color to shift slightly.

The bottom line is, whether you choose a coated paper or an uncoated paper for your project, you'll want to work closely with your Customer Service or Sales Representative. They can always provide you with coated or uncoated chips of different Pantone colors.  You can also request a Press Proof, where you can see your job running on press and review the final version for yourself. 

Creating a tint colour into the colour swatch.

BEFORE SENDING FOR PRINT 

(what You need to check) 

PHOTOSHOP

#1 CMYK or GREYSCALE

#2 300dpi

#3 Actual Size

#4 Format (PSD (support transparent) or TIFF

ILLUSTAROR

#1 CMYK

#2 AI or copy+paste to another software 

INDESIGN

#1

#2

#3

Working in grayscale and applying spot colour.

Applying colour looks so amazing, a really useful thing to know. 

 Editing the image while in indesign. Shortcut (Alt and + double click)

SEPARATION pallet how to use it and what it does.

You can control the print colours by this. It's also useful for screen-print. 

PRINT ----> Separations (CUSTOMIZE) 

OVERPRINT PREVIEW (useful for screen printing) 

OUGD405. MAC SUITE. WORKSHOP. COLOUR.

The pictures we are going to be working in this workshop:

HOW TO PROOF COLOUR:

Before saving it's important to save it in CMYK

To delete palet click ALT. To re-set to original black and white colour press D. 

If You want to save the swatch for other adobe software. 

A Lab color space is a color-opponent space with dimension L for lightness and a and b for the color-opponent dimensions, based on nonlinearly compressed CIE XYZ color space coordinates.

The coordinates of the Hunter 1948 L, a, b color space are L, a, and b.^[1][2] However, Lab is now more often used as an informal abbreviation for the CIE 1976 (L*, a*, b*) color space (or CIELAB). The difference between Hunter and CIE color coordinates is that the CIE coordinates are based on a cube root transformation of the color data, while the Hunter coordinates are based on a square root transformation.

Both spaces are derived from the "master" space CIE 1931 XYZ color space, which can predict which spectral power distributions will be perceived as the same color (see metamerism), but which is not particularly perceptually uniform.^[3]Strongly influenced by the Munsell color system, the intention of both "Lab" color spaces is to create a space which can be computed via simple formulas from the XYZ space, but is more perceptually uniform than XYZ.^[4] Perceptually uniformmeans that a change of the same amount in a color value should produce a change of about the same visual importance. When storing colors in limited precision values, this can improve the reproduction of tones. Both Lab spaces are relative to the white point of the XYZ data they were converted from. Lab values do not define absolute colors unless the white point is also specified. Often, in practice, the white point is assumed to follow a standard and is not explicitly stated (e.g., for "absolute colorimetric" rendering intent ICC L*a*b* values are relative to CIE standard illuminant D50, while they are relative to the unprinted substrate for other rendering intents).^[5]

The lightness correlate in CIELAB is calculated using the cube root of the relative luminance.

The L*a*b* color space includes all perceivable colors which means that its gamut exceeds those of the RGB and CMYK color models. One of the most important attributes of the L*a*b*-model is the device independency. This means that the colors are defined independent of their nature of creation or the device they are displayed on. The L*a*b* color space is used e.g. in Adobe Photoshop when graphics for print have to be converted from RGB to CMYK, as the L*a*b* gamut includes both the RGB and CMYK gamut. Also it is used as an interchange format between different devices as for its device independency.

http://en.wikipedia.org/wiki/Lab_color_space

FIND: TRUMATH and all other spot colours.

DUOTONE

absolutely amazing

Channels

You can use channels to do varnish printing.