learner guide dp2_a

Centre for Design 21874VIC: Diploma of Graphic Design

Digital Production Studio 2 [A]The Learner Guide

Course Digital Production 2 (A)Code VPAU053, ICPPP252BCourse Coordinator Wendy BilboeTelephone 965 842425 ext. 520Teacher Nada AlshammariTelephone 965 842425 ext 521E-mail [email protected] Times 6 hours/weekUnit Hours 90 hours over 16 weeks, Stage 3 Prerequisites Successful completion of year 1 GA

AcknowledgementsAuthor: Nada AlShammari

Reviewer: Wendy Bilboe

Curriculum: BHI TAFE

Design & Layout: N. AlShammari

Box Hill College Kuwait

Course Guide: Digital Production Studio 2 [A]Published 2009

This work is copyright. Apart from any use permitted under the Copyright Act of 1999 (1420 H), no part may

be reproduced by any process without prior written permission from BHCK.

Important disclaimer

The information contained in this publication is made on the understanding that users will exercise their own

skill and care with respect to its use.

BHCK of TAFE has used reasonable endeavours to ensure that the information contained in this publication

was obtained from reliable sources and was correct at the time of its creation, modification and publication.

BHCK of TAFE, its related partnerships, consultants, contractors, author, agents or employees thereof

accepts no liability to any user with regards to any liability, loss, damage for reliance on the information

contained in this publication.

ContentsDiploma of Graphic Design 1

Course Details 2

Study Tips 6

Resources 7

Assessment Information and Overview 8

BHCK Attendance Policy 12

BHCK Rules and Regulations 13

Course Schedule 15

Teacher Student Agreement 17

Assessment Plan 20

Materials Covered 21

Assigned Assessment #1 29

Assigned Assessment #2 31

Safety in the Lab 33

Guide to Industry standards 34

Terminology 38

Fair Use / WIPO 43

Tips and Tools 44

Feedback Form 47

21874VIC: Diploma of Graphic Design V3/ S3 GA DP 2


Diploma of Graphic Design 21874VICThe Diploma of Graphic Design is a qualification designed to address the specific skills and knowledge

required to undertake work as an independent designer or within a graphic design or related businesses.

The qualification includes units of competency that particularly address the skills and knowledge required

by the graphic design industry.

A strong creative and skill based component underpins most units which include skill sets in design, drawing,

research and analysis, digital technologies, legal and administrative requirements, business promotion and

professional development.

Elements of competency and their performance criteria The performance criteria are what your assessments will measure to indicate your current competence for

that particular element.

Introduction to the Course: Digital Production Studio 2This course will allow students to gain the skills and knowledge required to produce, scan and output

complex colour separated images at an advanced level for reproduction. You are encouraged to create

art to communicate and design ideas, thoughts, or feelings and to plan, analyse, and create visual solutions

to communications problems. The application of this course will require you to work in the classroom and

in cooperation with members of the professional industry to produce and scan complex colour separated

images that meet the requirements of a brief at an advanced level.

Prerequisites Satisfactory completion of all year one units.


Course DetailsThis course will be conducted in a Mac lab and various professional environments in order for students to

have first hand experience in working with industry standard equipment. Classes will begin with a review

of the weekly materials and technologies and will finish with demonstrations and mini exercises. When it is

possible, students are expected to simulate simultaneously what is being demonstrated.

Students are required to explore image production and output. All assignments will be submitted to

professional standard. Proper printing, trimming, folding or digital prep work is required for successful

outcomes. Students are responsible for being prepared for in class studio work with all relevant materials and

resources. Students will set up BHCK DP2 online photo group at Flickr and are required to upload work to

this site for critique and/ assessment. Students will be encouraged to modify and build on traditional image

production and output by experimenting with lenses, various masks (analogue and digital)and alternative

points of view of environments, including motion, underwater, double/triple/overlapped exposures or

Multiple Sequencing.

Course PurposeStudents who successfully complete this course will be able to:

Recognize various types and applications of industry standard output devices

Calibration procedures for devices to ensure accuracy

Implement specifications for successful production

Implement correct system procedures and file management as required by the brief

Establish photographic processing data

Evaluate and interpret results

Identify and use information sources

Input from various sources

Output to various professional standard printers including commercial digital printers / plotters, paper

image setters, plate setters and postscript devices

Make autonomous professional decisions


Unit VPAU053: Produce and Scan Complex Digital Images for Reproduction

Element Performance Criteria

1 Interpret the design brief

1.1 Correctly interpret the specifications of the brief

1.2 Establish and clarify with the user or client the proposed product/

service to inform decisions

1.3 Identify and clarify specifications, parameters or constraints of the

brief in consultation with relevant colleagues

1.4 Source and evaluate information pertinent to the brief

1.5 Decide upon and confirm design setting requirements

2 Assess digital camera

qualities

2.1 Assess camera software compatibility with hardware system and

select appropriate software for the job

2.2 Match pixel resolution of the camera to the required quality and

resolution of outcome

2.3 The RAM capacity of the camera is checked to be appropriate to

the number of images required to be captured

2.4 Assess shutter speed, focal lengths and camera feature modes

suitable for the quality and use of photographic images required

2.5 Handle and store lithium batteries according to OHS requirements

3 Capture and preview image

3.1 Set up camera for image composition according to job specifications

3.2 Arrange lighting according to job specifications

3.3 Set light intensity for the correct exposure

3.4 Adjust tone curves according to job specifications

3.5 Arrange and adjust neutral balance of the image

3.6 Make adjustments to image composition and exposure


Unit VPAU053: Produce and Scan Complex Digital Images for Reproduction

4 Photograph and upload a

digital image

4.1 Load and operate digital camera according to manufacturers

specifications appropriate to the quality of image to be photographed

4.2 Upload the computer card interface/disk onto the relevant computer

and the image saved on hard disk

4.3 Create and store photographic image files on the computer

according to software procedures

4.4 Enhance, crop and alter photographic images electronically to

deliver the required image

4.5 Check photographic images for fitness of purpose and conformance

to the job brief

4.6 Assess photographic images as being fit for the relevant delivery

mode and deliver appropriately

5 Scan images

5.1 Scale and identify the original image according to job specifications

5.2 Clean and ensure dust free work surfaces and identify and implement

correct OHS practices

5.3 Set up, calibrate and mount the original according to specifications

and enterprise procedures

5.4 Select and prepare the scanner application or plug-in and the

medium being scanned

5.5 Output images as required according to job specifications

5.6 Check the output images for conformance to the technical

specifications of the job and scan adjustments if made


Unit ICPPP252B: Output Images

Element Performance Criteria

1. Prepare the output device 1.1 Output devices are prepared according to manufacturers and job

specifications

1.2 All required proofs and checks are completed prior to outputting

images

2. Output the image 2.1 The system is activated to initiate the output according to job

specifications

2.2 Print queues are managed to ensure efficient production

2.3 The image output is evaluated to ensure it conforms to the job

specifications

2.4 The image is prepared for the next stage of the production process

according to job specifications


Study Tips

Be in charge

Set your own learning goals for the program

Develop a routine

Work to your own weekly planner

Set up a study area for yourself

Give yourself rewards for completing study tasks

Be a smart learner

Focus on the required assessment elements

Read this guide all the way through to know what is expected of you

Read the introduction and summary of any assignment or assessment before you start

Review by doing the review questions and answers for each section

Use the library resources

Use the Mac lab outside of class

Discuss your learning

Keep in touch with your teacher (by e-mail and phone)

Keep in touch with other learners (by e-mail and phone)

Talk about what you are learning with others (family, colleagues, and friends).

Apply your learning

Use what you learn in areas outside the classroom

REMEMBER Always make a backup copy of your course work/assignments!


Resources Mac Computers

Scanners

Imaging software

Access to output devices

Access to Input Devices

Access to Digital SLR/Professional standard Photographic equipment (including

tripod,memory cards and camera accessories, lighting)

Required materials Digital storage (external hard drive (at least 60 gig) for storage of digital images is suggested)

Notebook & selection of pens and pencils

2x CD-R and 1x DVD-R

Required text Adobe Photoshop CS4 Classroom in a Book

Adobe Illustrator CS4 Classroom in a Book:

The Designers Desktop Manual

Useful Web sites www.adobe.com

www.chicagomanualofstyle.org

www.dest.gov.au/sectors/training_skills/policy_issues_reviews/key_issues/es/incorporating_es.htm

http://www.nikon-image.com/eng/LensGuide/topic.html

Http://www.tiffen.com/filters.htm

Further resourcesOther resources will be in the course folder on the s-drive; these will include all exercise materials.


Assessment overviewAssessed work is designed to allow students to demonstrate their ability to learn and implement the course

objectives. Satisfactory completion of course work illustrates the ability to:

1. Interpret the design brief

2. Assess digital camera qualities

3. Capture and preview image

4. Photograph and upload a digital image

5. Scan images

6. Prepare the output device

7. Output the image

Learning activities In-class demonstrations and exercises On-sight demonstrations and practice

Assessment Assessment for this unit is based on the completion of tasks and assignments in-class as well as in-

class observation by your instructor for specified task. All assessments are based on in-class activity

so it is very important that you do not miss any studio production sessions. This course is a studio

class fully dependent on practice based assessment. Techniques are introduced and demonstrated

in classes and explored over the semester. Assignments are set to examine your comprehension and

production abilities including the competencies gained over the semester. You are assessed on your

technical and conceptual comprehension, technical skills and eloquence of the creative production,

and your conformance to the brief.


Important Assessment Information:

Students are required to attend 85% of the course

To Demonstrate competence in this unit, a student must attend at least 85% of the class. All assessment

exercises are to be completed in-class, with instructor observation. Outcomes will be achieved with on-

going in-class exercises and projects. This course is a studio class fully dependent on practice based

assessment. Techniques are introduced and demonstrated in classes and explored over the semester.

Assignments are set to examine your comprehension and production abilities including the competencies

gained over the semester. You are assessed on your ability to carry out the following:

1. Communicate ideas and information

2. Collecting, analyzing and organizing information

3. Planning and organizing activities

4. Using mathematical ideas and techniques

5. Solving Problems

6. Using Technology

Marking guide:

NN/Fail 0 - 49 %

PA/Pass 50 - 64%

PC/Pass with Credit 65 - 79%

DI/Pass with Distinction 80 - 89%

HD/High Distinction 90 - 100%

Week Assignment Format Weighting

1-16 Attendance and participation Ongoing observation and exercises 20%

6Worksheet 1&2: equipment analyses

Written to be sent to instructor via e-mail [[email protected]] 30%

10 & 13 Output Images worksheet & Advertorial

Soft copy and hardcopy 25%+25%


Assessment Rules and Guidelines

Meeting the submission deadlines

To avoid clashes with deadlines in other units, you are urged to submit your work on or before the due dates.

Early submission is strongly encouraged. We recognise however that for various reasons individual students

may need to vary their timetable for submitting assignments.

Assignment extensions

If you wish to seek an extension for an assignment, you should apply by e-mail or phone directly to your

teacher (or where directed, Course Coordinator) as soon as you become aware that you will have difficulty

in meeting the scheduled deadline. Please attach the response to your assessment when submitting.

Special Consideration

You should approach your teacher and the Design Department to discuss the problem in the first instance.

In many circumstances an Extension may be able to assist you through your particular difficulty.

Timing of assignment feedback to students

In setting assessment tasks that depend on feedback from a previous task, the due date will be set to ensure

that feedback can be provided in time for you to benefit from the feedback. Feedback for work submitted

on time will normally be sent within 15 working days of the assignment due date.

Assessment Rules

1. Assessment tasks submitted after the advertised date of submission, without an approved extension

being granted, shall receive a penalty of five percent (5%) per day for each working day late.

2. No assessment task shall be accepted more than two (2) weeks after the advertised date of submission,

unless an extension has been granted or an application for Special Consideration has been submitted.

3. Where an assessment has been submitted late, the assessor will endeavor to provide feedback to the

student in a timely manner. However, the normal arrangement where work is returned to students within

15 working days of the due date will be waived.


HANDING IN AND PICKING UP ASSIGNMENTS1. Assignments are to be handed in to your teacher during class teaching time.

2. If you are given an extension of time to hand in your assignment after class has finished or the teacher

tells you to hand the assignment into their assignment box, you must take the work upstairs to the

Mail Room.

3. Staff will take your assignment, stamp it and place it in the teachers box. The teacher will collect it

and mark it.

4. Assignments are generally handed back during class time. If you are absent, you should talk to your

teacher to make a time to collect your work.

5. If you hand in your work during the last week of the semester, you must contact your teacher to make a

time to collect the work and you must keep this appointment.

6. If you do not collect your assignments before a vacation, you must come and collect it before the next

semester starts. You must contact your teacher to find out your results.

7. Remember, if you miss a DEADLINE without approval from your teacher, you cannot hand in your

assignment upstairs and expect it to be marked.

8. If you fail to collect your work at the end of a semester, it will be destroyed by week 4 of the

following semester.

RULES FOR SECOND ATTEMPTS1. Students may have a second attempt to pass a learning outcome.

2. To be eligible for a second attempt, students must make a first attempt. You, cannot for example, not

write a word or do anything in your first attempt and claim you want a second attempt.

3. If you miss a first attempt due to lateness, your second attempt will be treated as your first attempt and

your first attempt result will be recorded as a fail. You will be permitted to do the assessment at a time

set by your teacher, but it will be treated as a second attempt.

4. You cannot have a third attempt. You can only obtain a PASSING GRADE on a second attempt.


BHCK Attendance Policy You must attend 85% of the teaching time to pass a unit or cluster of units. If you do not maintain a

75% attendance rate you will not be able to sit for a second attempt assessment and you will have to

re-enrol in the module, at your own expense, before you can move onto a progression module. Students

who maintain an 85% or higher attendance record will be awarded an extra 5 marks at the end of the

semester.

Box Hill College Kuwait expects that all students will attend all scheduled classes to optimize academic

success. The college recognizes that there are legitimate causes for absenteeism, lateness and or for

leaving early, however habitual and ongoing absenteeism will be investigated and dealt with in line with

College guidelines and Student Attendance Procedure.

Lateness and Leaving Early If you are late more than 5% of the unit/clusters total delivery hours or you are repeatedly late you will

receive written warnings. A maximum of 3 written warnings for lateness in a semester will result in a

failing grade.

The maximum grace period for lateness is 10 minutes after the scheduled start. After 15 minutes of

scheduled start, the teacher MAY refuse you entry to the class and you will be marked absent. You may

not be allowed to sit for an assessment and you will be marked absent.

You must advise the teacher at the beginning of the class if you need to leave class early. You are

responsible for finding out from the teacher or a classmate the material missed

You will be considered absent for any class that they leave early without permission.

Sick leaveYou student may self-certify for one days absence due to sickness but any subsequent days must be

certified by a doctors note and verified by Ministry Of Health.


BHCK General Rules1. No mobile phones are to be used in the classroom.

2. No dictionaries will be allowed during tests, unless authorised by the teacher.

3. Mainstream students: Must keep a copy of all your work until you receive your final grade for an

assessment.

4. If you do not have your student ID card you will not be allowed to do a test or an assessment, particularly

a computer based test. You will be marked absent for the test.

5. Do not allow other students to use your student ID card to log on into the BHCK computer system.

Academic misconduct: CHEATING is: Any action (or lack of action) by an examinee (student being tested) that makes it impossible

for his or her knowledge, insight and skills to be judged properly. Box Hill College regards the following

situations and types of conduct as examples of cheating:

Having notes, texts, electronic apparatus or anything with comparable features or functions available

for use in a test or examination, even though their use or consultation during a test or examination is

absolutely forbidden.

Looking at other students test work or exchanging information with other students.

Pretending to be someone else during a test or examination or letting someone else replace the

examination candidate.

Switching question papers or answer sheets, or exchanging them with someone else.

Prior to an examination, obtaining the examination questions, assignments or answers for oneself or for

one or more other examination candidates.

Borrowing facts, texts, reasoning or ideas from someone else for a thesis or other assignment, without

the proper acknowledgements as laid down in the generally accepted rules for academic work.

Giving fellow students or examinees the chance to cheat, or encouraging them to do so.

If you are caught cheating, the teacher will take a note of it and they will also confiscate any pieces of

evidence. Your actions will be reported to the Director of Academic Affairs.

The type of punishment students can expect, if they plagiarize something or cheat, depends on the

seriousness of the misconduct. The penalties will be one or more of the following: In all cases, the

assessment, test or formal examination involved is declared invalid and you will fail the unit; You may

suspended and/or expelled.


PLAGIARISMWhat is plagiarism?

Plagiarism occurs when you make intentional or unintentional use of the work of someone else without

proper acknowledgment. It includes:

Copying any material from books, periodicals, study notes or tapes, the web, CDs, the work of other

students, or any other source without acknowledgment.

Rephrasing ideas from books, periodicals, study notes or tapes, the web, CDs, the work of other

students, or any other source without acknowledgment.

Collaborating without authority with other students or other people in producing an assessment task.

How can you avoid plagiarism?

Be aware of the style of acknowledgment that is recommended for use in your course, including the

referencing techniques required for information sourced from the Internet.

Write the source on any notes or copies you make from any document or electronic sources such as the

Internet. Copying or cutting and pasting from a source as you read is very risky. It is easy to forget that

the notes and excerpts you have cut and pasted are not your own work.

Acknowledge all sources from which you have extracted or developed ideas for your assessment material

even if you put those ideas into your own words.

Always use quotation marks when quoting directly from a work. It is not enough merely to acknowledge

the source.

Avoid excessive paraphrasing and quoting, even where you acknowledge the source.

We are asking you to master the material in the course. If your assignment has errors, we will ask you to

work again on the assignment to remove errors. If you cheat, you are not mastering the material and hence

are learning nothing. Dont do that. If you dont pass an assessment, you may take it again.You are not

competing against other students in this course; you pass the course when you have done the assignments

adequately and when you demonstrate on the exams that you know the material. So dont cheat.

Sources: Box Hill Institute Staff Code of Conduct, BHI Teaching and Learning Standards, BHI Student Code of Conduct


Course Schedule

WK Content ResourcesLearning

outcome

1 Introduction to the course Course outline, Textbooks, Storage media

VPAU053 1

2Digital Camera Basics: Types of Cameras, Digital and Film Cameras, Parts of a Camera, Buying a Camera, Vocabulary List, Resolution of images: PPI, DPI

Mac Labs, Imaging Software, Textbooks, Imaging Equip-ment, Storage media

VPAU053 1, 2

3File Formats and Organization: Downloading, Storing and saving files and images; File formats and image quality setting work sheet (30%) (parts 1 and 2)

Internet, Computers, Design-ers Desktop, Manual,Storage media

VPAU053 1, 2,3,4

4

Camera Operation- Settings and ControlsExposure, Shutter Speed Control and movement/blur control, Aperture Settings and depth of field control

Digital Cameras, tripods and accessories including tripods

VPAU053 1, 2,3,4

5Students demonstrate camera operation to instructor

Digital Cameras, tripods and accessories VPAU053 1, 2,3,4

6Software: Photoshop exercisesBitmap vs. Vector Images RGB or CYMK? Chapter 6 PsCS4 exercises work sheet (30%) due (parts 1 & 2)

Computer, Photoshop CS4, Images from Disc, Internet, Textbooks, Storage Media

VPAU053 1, 2,3,4,5

7Scanning and Scanner Photography: Juxtaposition of images, Subjects placed in a new context or creative environment, Layering of Images, Textures and Effects from papers, objects

Computer, Photoshop CS4, Images from Disc, Internet, Textbooks, Storage Media

VPAU053 1, 2,3,4,5ICPPP252B 1

8

Photographic Processes:Printers and Printing Images, Producing a high quality print, Printing papers and inks Special effects and filters, T-shirt transfers, Greeting Cards, combining Digital and Traditional, Double Exposure.

Assigned assessment #2 (part 1&2)

Digital Cameras and accessories,Computer, imag-ing software, Images, Internet, Textbooks, Storage Media

VPAU053 1, 2,3,4,5ICPPP252B 1,2

9 Digital Technologies: visiting industry specialist Notebooks, writing imple-ments, cameras

VPAU053 1, 2,3,4,5ICPPP252B 1

10 Workflow: setting up - field trip to studio(Assigned assessment #2 part 1 due- 25%)

Notebooks, cameras, work-sheet

VPAU053 1, 2ICPPP252B 1,2


Course Schedule

WK Content ResourcesLearning

outcome

11 Work flow continued: import and metadata Computer, software, Images, Textbooks, Storage Media

VPAU053 1, 2,3,4,5ICPPP252B 1

12 Work flow continued: handling and archiving Computer, software, Images, Textbooks, Storage Media

VPAU053 1, 2,3,4,5

13Work flow continued: image output(Assigned assessment #2 part 2 due- 25%)

Computer, software, Images, Textbooks, Storage Media

VPAU053 1, 2,3,4,5ICPPP252B 1,2

14 Final Project Critique Final work and all outstanding assignments

VPAU053 1, 2,3,4,5ICPPP252B 1,2

15 Resubmitting work Notebooks, computers, imag-ing software

VPAU053 1, 2,3,4,5ICPPP252B 1,2

16 Introduction to DP(2) S4 Handouts, notebooks VPAU053 1, 2ICPPP252B 1,2


Student Teacher Contract

As your teacher, I will:

Treat students equitably and with respect

Be courteous, responsive and fair in my dealings with students

Make decisions that are procedurally fair

Not discriminate on grounds such as gender, race, disability, cultural background, religion, marital status,

age or political conviction

Ensure students are informed of class cancellations, change of classroom location or time changes prior

to commencement of the class, via note on doors or via SMS.

Provide students with Unit/module outlines, training and assessment strategies and required student

materials in the first week of classes.

Be punctual in commencing all classes

Ensure that all assessment will be relevant, fair, consistent and equitable. All assessment requirements

will be clearly communicated to students at all stages of their course.

Clearly communicate attendance requirements, including implications for arriving late, leaving class

early and attendance problems affecting academic progress.

Ensure that you have the opportunity to gain maximum recognition of current competence or prior learning

in a course of training based on skills and knowledge gained through prior work and life experiences,

education and training (RCC and RPL).

Supervise students at all times during practical sessions.

Ensure sufficient equipment will be available to students for practical sessions to ensure their safety.

Teacher Name:

Teacher Signature:

Date:


Student Teacher Contract

As a student in this class, I will:

Treat teachers and students equitably and with respect.

Be courteous in my dealings with teachers and students.

Not discriminate on grounds such as gender, race, disability, cultural background, religion, marital status,

age or political conviction.

Be punctual in attending all classes.

Not engage in harassment, bullying, physical or verbal assault.

Behave in a way to ensure my actions and words support learning and teaching.

Always ensure mobile phones are turned off in class.

Adhere to Occupational Health and Safety requirements.

Respect the property of the BHCK community.

Not bring illegal drugs or alcohol to the college or be under their influence of illicit substances while on

BHCK premises.

Sources: Box Hill Institute Staff Code of Conduct, BHI Teaching and Learning Standards, BHI Student Code of Conduct

Student Name:

Student Number:

Student Signature:

Date:


ASSESSMENT PLAN (To be signed and returned to teacher)

Teacher: N. Alshammari Student Name:______________________________

Course: Digital Production (S3) VPAU053, ICPPP252B Student ID:____________________

Date:________________________________ Location: BHCK

Programme dates: 16 weeks ( 1 semester )

Purpose of assessment: To assess the students competency, those that relate to the learning

criteria as outlined for the units stated above. To demonstrate competence in this unit, you are

required to complete the following assessment tasks: The tasks set for you will cover all the

elements outlined in this guide.

Week Assignment Format Weighting

Week 1-16

Ongoing

Attendance and

participation

Ongoing observation and exercises 20%

Due week 6 Equipment analyses Written to be sent to instructor via

e-mail [[email protected]]

30%

Due week 10

and 13

Part 1&2 output images

worksheet & Advertorial

Soft copy and hardcopy 25%+25%

Student has read and understood this information package.

Student has read and fully understands and will abide by the student / instructor contract.

Student Signature:_____________________________


Material covered by this unit: Learning Elements:


2 Assess digital camera qualities

As you learn about the image document (virtual and physical) you are becoming a part of global developments

occurring in this field. Image production has gone through a whole host of changes and movements. These

transformations are creating a new architecture for the field of image production and use.

The first image intentionally produced required an eight-hour exposure time in bright sunlight and access to

specialized tools and materials, which were available to only a privileged few. Technologies today allow for

a multi-surface approach to the production of the image, re-appropriating the spirit of adventure that once

belonged only to analogue image-production.

A photographer can begin with something and nothing. Your tools are as complex or as simple as you make

or want them to be. An exquisite image can be produced using a biscuit tin or high-res, gigapixel digital

equipment; your limitations are those that you set for yourself.

Pre-production / Whats your Objective?

Think about the following:

Intended interaction with image

Intended user of the image

Different spaces of intended use for the image

Consider your environment. The use of computer screens requires human interactions in external

space and results in movements both virtual and material. For example, the architecture of a

virtual gallery allows the intended user to wander around with few limitations beyond those set by

the producer, including constraints related to the users movements (e.g. clicking of the mouse).

User, Screen, Image. The virtual image has no dimensions if it is not accessed, and yet, if it is,

it need not have a beginning or an end. Any dimensions will fade away when the intended user

is able to move, copy, enlarge or reduce the scale of the images. Images may be parsed and

unparsed if they are digitally forwarded through virtual space and may continue a life of their own

through time in the space of the WWW.


Digital Image Production: getting to know your tools (DSLR)Time Frame: 5 weeks

Learning Elements: VPAU053 Produce and scan complex digital images for reproduction


2 Assess digital camera qualities

3 Capture and preview image

4 Photograph and upload a digital image

phos (light)+graphis (stylus/paintbrush)= drawing with light

Get to know your Camera As you learn to experiment and play with your camera controls, you will progressively see them for the

invaluable tools that they are. Leave the fear behind, let go, experiment and invent. The controls are not a

barrier; they will help you to know what you can do and how you will be able to do it. De-mystify the controls

by taking them on.

Key Camera Controls

Shutter , Exposure

The shutter setting determines exposer time or how much light you use to paint your image. As the

shutter opens and closes, the sensor will record two things: all light and all movement. You will notice an

improvement in your photographs if you try using longer exposure time. This is because you will be able

to introduce movement and richer colours into your compositions, both of which are lost when applying

short exposures.

Depth of Field

A lot of us are seduced by the digital mediums ability to produce an extensive depth of field. The visual

affect of this is a flat composition, where everything is crisp and sharp. Experimenting with a smaller depth

of field adds dimensionality and interest to your photographic compositions. Try decreasing the depth of

field by controlling aperture, focal length and magnification.

Think about how humans see, and try to pay attention to what you can see. When you look at something,


the closer your eyes are to what you are looking at, the more of it is in focus. The further you are from your

subject, or what you are looking at, the less of it is in focus. In reality, only a small percent of what we see

is sharp and in focus. As our eyes move from scene to scene they are constantly re-focusing. Dont forget

that pre-production considerations of the intended size of the image will influence the perception of the

depth of field by your viewer.

ISO

Photographers who use or have used film will be familiar with the concept of grain. Increased film

sensitivity will increase the graininess of the final image. In digital image production, the equivalent of

grain is noise. Digital noise is more complex and variegated than film grain. Digital noise results in

random specs that have no relation to the intended photocomposition. Noise can be used in the same

way that grain is used in film. A higher ISO setting or lower pixel count will increase digital noise and can

be used to give the subject a truth-value.

Resolution

The first thing to be said about high resolution is that its not always what it says on the label. Images taken

at a high-resolution are made up of a lot of pixels, but do not necessarily have a better resolution. Keep in

mind those essential elements like the lens you use will affect the actual quality of your images.

Colour Space

The reproduction of accurate colour relies on which sensor used, precise white balance, the choice of ink

and paper (if intending to print) and correctly calibrating production devices. The mechanical eye can

become a second observer of your subject. Most cameras will be set to the sRGB (standard red green blue

colour space) because that is the default for Internet use, computer screens and average quality printing.

Learning about Adobe RGB and Adobe Wide Gamut RGB may be more useful to you, as both of these are

larger colour space and will enable you to achieve richer colours.

Important tip: Decisions about colour space are better left to post-production editing when it is easier to

evaluate images using a high quality screen. This is only possible when shooting in RAW format.


RAW

The RAW format is image data with no in-camera processing or compression. Its always best to shoot in

RAW format. If you shoot in JPEG format your image is already processed and compressed. Shooting in

RAW allows for vital editing post-production. You can download the latest RAW plug-in from www.adobe.

com. At a resolution of 10x megapixels, a 2 GIG SD card will store around 380 images in JPEG. At the RAW

setting the same space will store around 80 images, so be prepared with more storage if you use RAW.

Shooting in RAW gives you better quality photographs because it will allow you to have more control over

colour space, saturation, gradation, sharpness, white balance, tonal values in post-production editing. RAW

files are made up of uncompressed data that enable more creative freedom than the highest quality JPEG

files. There is no one single RAW format.

Important tip: Never manipulate original RAW files, always save the manipulated image data as a new file.

Working with RAW

Working with RAW files requires a lot of storage space and has the drawback of a slower workflow, but is

worth the patience for greater creative control. There are several RAW data converters to choose from. You

can find more information about the most common of these programmes at www.phaseone.com, www.dxo.

com, www.apple.com and www.adobe.com

Common File RAW file extensions:

Camera RAW file extension

Adobe .dng

Sony .arw .srf .sr2

Canon .crw .cr2

Minolta .mrw

Nikon .nef .nrw

Panasonic .raw .rw2

Kodak .dcr .drf

fuji .raf


In-class and on location demonstrations, exercises & assignments

Topics

Exposure effects

Depth of field and distance

Quality settings

Colour settings

Image Sharpness

Image analyses

LEARNING OUTCOMES: VPAU053

2.1 Assess camera software compatibility with hardware system and select appropriate software for the job

2.2 Match pixel resolution of the camera to the required quality and resolution of outcome

2.3 The RAM capacity of the camera is checked to be appropriate to the number of images required to be

captured.

2.4 Assess shutter speed, focal lengths and camera feature modes suitable for the quality and use of

photographic images required.

2.5 Handle and store lithium batteries according to OHS requirements.

4.1 Load and operate digital camera according to manufacturers specifications appropriate to the quality

of image to be photographed.

4.2 Upload the computer card interface/disk onto the relevant computer and the image saved on hard disk.

4.3 Create and store photographic image files on the computer according to software procedures.


1 EQUIPMENT

Types of Cameras available in the Industry.

Demonstration: various DSLR cameras, including medium format cameras.

Activity: go through manuals for hardware and software, students to use a specified product

manuals (online or in local shops).

Batteries (Demonstrate)

Discussion: different types, safety, recharging [ battery saving features ].

Accessories

Lenses: features and components

Extension tubes, bellows, macro lens, microscope attachments and close-up lenses

Activity: compare two styles of lenses, what do they have to offer: weight, cost, focal length, field

of view, lens speed [wide angle, normal, and telephoto].

Activity: students to look at images created using close focus equipment.

Resource: www.nikon-image.com/eng/LensGuide/topic.html

Filters

Discussion: list the types and uses of clear filters.

Types of filters: polarizing, ultra-violet (UV), contrast and tone changing (red, yellow and orange,

blue and green).

Resource: www.tiffen.com/filters.htm

Activity: photograph the same object with and without a filter; compare results.[Ultra-violet, skylight (1A),

polarizing, haze, neutral density, diffusion, special effects and other filters]


2 CAMERA CONTROLS

Exposure

Discussion:

Shutter speed

Aperture: how much light gets to the sensor & depth of field

Duration of exposure

Exact time when the image sensor is exposed to light

The numbers represent fractions of a second - 250 means 1/250 of a second.

Stop motion / Allow motion

Demonstration: stop motion and movement creation

Activity: Experiments with different shutter speeds

Activity: students to create a series of 6 photographs while maintaining the same focal point, incorporate

a moving subject in the scene; slow the shutter speed to blur the motion to hold the subject; demonstrate

stop motion and movement.


Flash/Light

Discussion: Manual flash, Automatic flash, Dedicated flash

Activity: Students make a list of conditions that would be improved through the use of a flash.

Possible scenarios: Direct flash on subject, Side lighting from one or more locations, Bouncing the flash

from reflective surface, Fill flash to subjects that are backlit, Stop action photographs and slow motion film

or video of high-speed events often use a repeating electronic flash or a strobe light.

Discussion: Harold Edgerton (inventor of the electronic flash from stroboscope)

Activity: Experimentation with multiple image photography

Light meter

Discussion: using the camera settings to produce detail in the shadows.

Activity: use in-camera meter to check the darkest area of a selected scene; expose with two stops less light.

Bracket exposures

Discussion: A practice that insures at least one exposure gives the preferred result.

3 possibilities:

Expose auto-meter setting

Expose a second frame overexposed one stop

Expose third frame one stop underexposed

Activity: (dark lighting conditions) create an image by shooting a normal exposure, then shoot two additional

exposures to overexposure by one, and then two stops.

Activity: (very bright lighting conditions) shoot a normal exposure then shoot two additional exposures to

underexpose one, and then two stops.

Exercise on location PHOTO SHOOT: Drawing with light

1. Choose a spot in town where you can find coloured night-lights. Be sure to choose somewhere safe

to walk around and shoot.

2. Capture your cities unique environment using different settings. You will end up with ten final images;

Record the settings for each image in photo journal.


3 Studio Lighting


3.1 Set up camera for image composition according to job specifications

3.2 Arrange lighting according to job specifications

3.3 Set light intensity for the correct exposure

3.4 Adjust tone curves according to job specifications

3.5 Arrange and adjust neutral balance of the image

3.6 Make adjustments to image composition and exposure

Artificial lighting

Discussion: Review photoflood and strobe (as previous experiments); studio lights and vocabulary.

Demonstration: one light on a subject.

Discussion: Three-Point Lighting ( including reflectors)-Reflectors can be made (tbc)

Activity: experiment by using a model; light with a single source for three separate exposures: shot #1 the

front, shot #2 side, and shot #3 back

Discussion: compare the effect on the subject, main light fill light, and a backlight

Activity: Students experiment using the three lights to adequately light a subject. There should be a main

light, fill light, and a backlight.

Discussion: Students to describe the function each light fulfills, Butterfly lighting (two lights and reflector)

and Rembrandt lighting (one light and a reflector).

Activity: produce two digital images of the same subject, one using the butterfly style and the other the

Rembrandt lighting style.

Activity: Tour a commercial studio to see how lighting is used in the workplace for different job requirements:

Preparing lighting for portrait shoot, The outcome: Obtaining uniform lighting over the entire group

Possible scenarios: Team pictures, Wedding parties, Other groups.


Assigned Assessment #1 30% (Part 1&2) Time frame: 3 weeks Due Week 6

Assessed elements for parts 1 and 2

LEARNING OUTCOMES: ICPPP252B


2. Output the image


2 Assess digital camera qualities.

3 Capture and preview image.

4 Photograph and upload a digital image.

5.4 Select and prepare the scanner application or plug-in and the medium being scanned.

5.5 Output images as required according to job specifications.

5.6 Check the output images for conformance to the technical specifications of the job and scan adjustments

if made.

Part 1Produce a summary of the camera, software and hardware you are using. Your summary must have the

following information:

Camera Software Camera compatibility Hardware

Connectivity, requirements Procedure to upload How to enter and Exit the software

Pixel resolution of the Camera Shutter Speed Focal Lengths

Camera feature modes how to load Type of battery that may be used


Part 2On a separate sheet, answer the following questions using complete sentences:

1. What is the main difference between bitmapped images and vector images?

2. What is another name for bitmap images?

3. What s another name for Vector images?

4. Given a continuous tone, 24 bit photographic image which is 640 pixels wide and 320 pixels high.

a) Calculate the total number of pixels.

b) Calculate the raw file size in bits, bytes and Kilobytes.

e) If this image will be printed out on a 300 dpi printer how wide will it be?

g) Which format TIFF, JPEG or GIF would be best for displaying this image in a web page?

5. How many different colors can the computer display in an 8 bit color image?

6. If every pixel in the image described in #4 was a different color, how many bits of colour information

would be needed? ( Hint: it is somewhere between 8 and 24 bits)

7. You are given an 8 bit grayscale image which appears to be 4 inches wide and 6 inches high on your

72 dpi monitor:

a) Calculate the number of pixels in this image.

c) How big will it be if you print it out on a 1000 dpi printer?

d) How many shades of gray can be displayed in this image?

8. An 800 pixel wide image is printed out. The width of the printed image is 2 inches. What is the resolution

of the printer?

9. Calculate the width in pixels of an image which appears 3 inches wide on your 72 dpi monitor.

10. A typical computer monitor displays 1024 pixels wide by 768 pixels high. A typical laser printer can

print on 7 1/2 inches of paper at 400 dpi. If you were creating an image that needed to both fit on the

screen and on the printed page would it be the printer or the computer monitor that would limit the size?

Source: NC State Department of Public Instruction

Resources for integrating graphics with science and technology education


Assigned Assessment #2 50%

Assessed elements

LEARNING OUTCOMES: ICPPP252B


2. Output the image


1 Interpret the design brief with colleagues

3 Capture and preview image.

4 Photograph and upload a digital image.

5.1 Scale and identify the original image according to job specifications

5.2 Clean and ensure dust free work surfaces and identify and implement correct OHS practices

5.4 Select and prepare the scanner application or plug-in and the medium being scanned.

5.5 Output images as required according to job specifications.

5.6 Check the output images for conformance to the technical specifications of the job and scan adjustments

if made.

PART 1 [due week 10] WorksheetAnswer the following questions and save as a digital word document. E-mail the completed work [ use your

college email ] to your teacher by the end of class on the due date.

1. Give five examples of output devices used in pre-press, and explain when and why you would use them.

2. What does calibration software do? Explain how you would calibrate at least two different output devices.

3. Describe the procedure for downloading a file to an output device. [use any of the devices from Q1]

4. What factors control image quality through a processor?

5. List the criteria for identifying a correctly transferred file.

6. What manuals, safety and other documentation are relevant to this task [ Q5 ] and where are they kept?

What information is included in these documents (list) ?


Assigned Assessment #2 PART 2 [due week 13]

Advertorial*... is an advertisement that has the appearance of a news article or editorial, in a print publication. www.advertisingprinciples.com/dictionary/a.htm

Assignment Description

This brief requires you to conceptualise and produce an advertorial spread for product tbd to be published

in Middle East Design Magazine.

Objectives

The objective of the advertorial spread is to:

1. Have consumers appreciate the unique design features of the brand.

2. Entice consumers to take ownership of the brand.

* Product background and target market will be provided by client. Add Copy and Logo to be

provided by client.

What to submit

1. Digital files: indesign and pdf files

2. 4-7 original images produced by you to be used in the advertorial.

3. Hardcopy, full colour, A3 scale, in sleeve with original mock-up handsketches.

Tips for shooting :

Use Juxtaposition on the same composition plane creates interest

Vary the exposure for the same composition to learn about tonal variation

Contrast sharp details with the blur of moving image to create emphasis

Use the colour of the evening sky as a backdrop to lights in the foreground

Diagonal lines lead the viewers eyes into your composition

Look for shadows/texture in order to create a dramatic composition

Experiment with long exposure time, start with 1/10th of second and go longer using a tripod or a steady

surface where you can set your camera

Check out the photographic work of Rut Blees Luxemburg, Arthur Fellig and Brassai


SAFETY in the MAC LAB

Seating-When seated correctly, the lower arms and thighs should be in a roughly horizontal position while

working at the keyboard.

Work tops -keep sufficient distance from the screen while working.

Lighting-use the non reflective blinds on the windows when working on the computers; positioning of the

screen away from light reflection and glare. The optimum position is at right angles to the source of natural light.

Screens- the top of the screen should be at eye level.

Power supply- do not leave liquids/food near power supplies or wires, be aware of the electrical wires so

as to avoid them.

Fire precautions-A fire extinguisher suitable for electrical fires (such as carbon dioxide) must be provided

in all computer rooms. NOTE nearest fire exit.

Repetitive Strain- In order to reduce muscle fatigue and strain, get up and move around at reasonably

frequent intervals ( approximatelty every 40 minutes)

Eye Strain- look away from the screen and focus on a distant object from time to time, this will relax the

eye muscles.


Digital Production 2: a guide to industry standards

Typical Printing Specifications

To produce successful printed materials from your designs, you must pay special attention to the details of

setting up the printing job. As a designer you should organise all the information related to the printing job

on a specification sheet so that the printer knows exactly what is required.

A typical spec sheet should include the following:

Client name, job title, job description, date : For example, a multi-page brochure or catalogue

Quantity :Include number of samples and percentages of overs youll accept. (The industry standard is

plus/minus 10 percent.)

Size : Include both trim and folded sizes

Paper Stock : Brand name, colour, finish, weight; is it text, cover, bristol, bond or other

Ink : Include Pantone numbers, varnishes or any other special coating

Design features : Describe any special features included in the artwork: line art, tints (how many colours

per tint), bleeds, reverses, solids, special-built tint colours, etc. Let the printer know in what form he will

receive artwork original file format or PDF.

Separations : Specify number of separations and plates required

Proofs : Indicate which type of proof is required and if a press check is needed

Binding : Indicate which type of binding process is required, ie. Saddle stich, spiral, perfect binding...

Finishing specialties : Indicate if any specialty finish is required: embossing, foil stamping, UV coating,

laminating...

Due date and delivery instructions : Include address and phone number to call for verifying delivery


Pre-Press Information

Printers ChartsCommercial printers will usually make available to designers an imposition chart for each type of spread and

sequence that may be required for different jobs. A designer should ensure that they make any mock-ups

based on the printers charts.

Creating Graphics for ScreenAs current technology stands print remains the optimal medium for some forms of writing and communication,

especially for long works like books and marketing documents. Users typically want to spend an extended

period of time reading long texts and they prefer not having to sit at their screen while doing so. Surveys

show that users prefer to print out long texts rather than read them on the screen.

For this reason most graphic designers generate two versions of graphics documents for their clients: one

that is optimized for online viewing (is chunked appropriately into many files and has plenty of hypertext

links) and one that is optimized for printing (has good layout and is in one piece).

The print file is usually standardised to a PDF print format using ink colour specifications such as CMYK and

Pantone as well as crops, bleeds and print impositions.

The web versions of any graphics documents produced by designers need to apply web standards for

colour and display on the screen.

Colour for PrintIn print the standard for the reproduction of images are:

CMYK colour

Pantone spot colours

Spot colour monotone or duotone Images

Greyscale images


Colour for editing and controlFor controlling, editing and correcting colour the standard mode is Lab colour Mode.

Colour for Screen

For the screen the standard for the reproduction of images is RGB colour which can be used to save

graphics as:

Indexed GIF files.

Compressed PNG files or Compressed JPEG files.

Web Standards for Screen GraphicsThe web is an area of technology that is constantly changing. The standards listed below are current but it

should be noted that they will in all likelyhood change many times during a designers career.

Graphics compressionThe speed of online delivery of files is very important so it is essential that all graphics documents be

delivered in a compressed format. This makes reduces data size for quicker delivery to the end user.

Indexed ColourIndexed colour produces 8_bit image files with up to 256 colours. When converting to indexed colour,

Photoshop builds a colour lookup table (CLUT), which stores and indexes the colours in the image. If a

original image colour does not appear in the table, the program chooses the closest one or uses dithering

to simulate the colour using available colours. Indexed colour can reduce file size yet maintain the visual

quality needed for multimedia presentations, web pages, and the like. Images that use indexed colour need

to saved as GIF or PNG files.

GIF formatGraphics Interchange Format (GIF) is the file format commonly used to display indexed-colour graphics

and images in Hypertext Markup Language (HTML) documents over the World Wide Web and other online

services. GIF is an LZWcompressed format designed to minimize file size and electronic transfer time. GIF

format preserves transparency in indexed-colour images; however, it does not support alpha channels.


PNG formatPortable Network Graphics (PNG) format is used for lossless compression and for display of images on

the web. Unlike GIF, PNG supports 24 bit images and produces background transparency without jagged

edges; Some web browsers do not support PNG images. PNG format supports RGB, Indexed Colour,

Greyscale, and Bitmap mode images without alpha channels. PNG preserves transparency in greyscale and

RGB images.

JPEG CompressionJoint Photographic Experts Group (JPEG) format is commonly used to display photographs and other

continuous-tone images in documents over the World Wide Web and other online services. JPEG format

supports CMYK, RGB, and Greyscale colour modes, and does not support alpha channels. Unlike GIF format,

JPEG retains all colour information in an RGB image but compresses file size by selectively discarding data.

A JPEG image is automatically decompressed when opened. A higher level of compression results in lower

image quality, and a lower level of compression results in better image quality. In most cases, the Maximum

quality option produces a result indistinguishable from the original.

About optimisationWhen preparing images for the web and other online media, you often need to compromise between image

display quality and the file size of the image.

Save for Web & DevicesYou can use the optimisation features in the Save For Web & Devices dialog box to preview optimized images

in different file formats and with different file attributes.

When you save an optimized file using the Save For Web & Devices command, you can choose to generate an

HTML file for the image. This file contains all the necessary information to display your image in a web browser.

Web Standards for text and layout on the screenCurrently the standard language for the layout is HTML, XML and CSS. There is also a growing use of Flash

technology which is a proprietary format owned by Adobe and can be used for creating animations and

interactive web pages.


Vocabulary CMYK Acronym for cyan, magenta, yellow, and black, the four process colour inks which, when properly

overprinted, can simulate a subset of the visible spectrum. See also colour separation. Also refers to

digital artwork that contains information necessary for creating colour separations.

colour overlay A sheet of film or paper whose text and art correspond to one spot colour or process

colour. Each colour overlay becomes the basis for a single printing plate that will apply that colour to paper.

Colour proof A representation matching the appearance of the final printed piece. Includes colour laser

proofs, colour overlay proofs, and laminate proofs.

Colour separation The process of transforming colour artwork into four components corresponding to

the four process colours. If spot colours are used, additional components may be created containing

only those items that will appear in the corresponding spot colour layer. Each component is imaged to

film or paper in preparation for making printing plates that correspond to each ink.

Composite proof A version of an illustration or page in which the process colours appear together to

represent full colour.

DefiningcolourThe colour, usually the darker colour, whose shape defines the object. The defining

colour should not be choked or spread, as that would compromise the image.

Densitometer A device used throughout the printing process to measure the amount of light passing

through or reflecting from a given medium.

Dot gain When an ink dot enlarges through absorption on a porous paper. This affects the overall tone

of an image, as the size of the dot is equivalent to the tone it represents.

Down-sampling The reduction in resolution of an image, resulting in a loss of detail.

Duotone A halftone that is printed as a two-colour image by replicating a portion of the original tonal

range for the second colour. The halftone screens must be angled 30 degrees apart.

Emulsion The light-sensitive coating on film or photographic paper.

EPS Acronym for Encapsulated PostScript, a single-page PostScript file that contains greyscale or

colour information and can be imported into many electronic layout and design applications.

Encapsulated postscript A standard file format that allows vector and bitmap graphics, as well as page

layouts, to be placed into other documents. EPS files cannot be manipulated, and need to be trapped

in the parent program.

Final size The size of the printed piece after folding and any finishing work.


FPO Acronym for For Position Only, a term applied to lowquality art reproductions used to indicate

placement and scaling of an art element on mechanicals or camera-ready artwork. In digital publishing,

an FPO can be lowresolution TIFF files that are later replaced with highresolution versions. An FPO is not

intended for reproduction but only as a guide and placeholder for the prepress service provider.

GCR Abbreviation for gray component replacement, a technique for minimizing ink coverage. When

software like Photoshop converts RGB data to CMYK, it analyzes a bitmap image for gray tones

composed of cyan, magenta, or yellow and replaces those colours with a similar percentage of black.

Graduatedfill An area in which two colours (or shades of gray) are blended so as to create a gradual

change from one to the other. Graduated fills are also known as blends, gradations, gradient fills, and

vignettes.

Grayscale The representation of colours in varying shades of gray-usually 256 shades in digital artwork.

Grind-off The trim at the back (or spine) of a signature, or of two or more gathered signatures, in

preparation for perfect binding.

Gripper edge The leading edge of a sheet of paper, which the grippers on the press grab to carry the

paper through a press.

Halftone The reproduction of continuous - tone artwork (such as a photograph) through the application

of a screen that converts the image into dots of various sizes. Highlight and shadow detail In a halftone,

the image detail at either end of the tonal range that is difficult to hold when printing. Highlights often get

blown out (lost) and the shadow detail often gets plugged (filled in). You can control this by preparing

your halftones for the specific paper stock used.

Imagesetter An output device using photosensitive paper or film and achieving high resolution.

A photographic device that interprets the postscript description of a page through its Raster Image

Processor (RIP) to image the graphical data directly onto film.

Imaging The process of producing a film or paper copy of a digital file from an output device.

Imported graphics Graphics and photos that are created in one program, such as Adobe Illustrator, and

imported into another, such as InDesign, for final output.

Interpolation The computers way of increasing image resolution by filling in new pixels. The pixels

colour or tonal range are based on neighboring pixels.

Keyline A thin border around a picture or a box indicating where to place pictures. In digital files, the key

lines are often vector objects while photographs are usually bitmap images.


Knockout A printing technique that prints overlapping objects without mixing inks. The ink for the

underlying element does not print (knocks out) in the area where the objects overlap. Opposite of

overprinting.

Line art Art that is made up of continuous lines such as pen & ink drawings or typefaces. There is no

tonal difference from one area to another.

Line screen (lpi) The number of lines or spots per inch on a halftone screen.

Mis registration The unwanted result of incorrectly aligned process colours and spot colours on a

finished printed piece. Mis registration can be caused by many factors, including paper stretch and

improper plate alignment. Trapping can compensate for mis registration.

Mock-up A proof used to ensure the correct page numbers, orientation, and dimensions are used in

the final printout of an imposition layout. A mock-up does not include any of the text or graphics of the

imposed page.

Neutral density A measurement of the lightness or darkness of a colour. A neutral density of zero (0.00)

is the lightest value possible and is equivalent to pure white; 3.294 is roughly equivalent to 100% of each

of the CMYK components.

Object oriented art Vector-based artwork composed of separate elements or shapes described

mathematically rather than by specifying the colour and position of every point. This contrasts to bitmap

images, which are composed of individual pixels.

OPI Acronym for Open Prepress Interface, a set of PostScript language comments developed by Aldus

Corporation for defining and specifying the placement of high-resolution images in PostScript files on

an electronic page layout.

Output device Any hardware equipment, such as a laser printer or imagesetter, that produces text or

graphics created on a computer.

Overprint A printing method that prints one ink on top of another ink. In overprinting, the combination

of inks combine to make a new colour. The opposite of knockout.

PICT A file format for both object oriented graphics and bitmap images.

Pixel Abbreviation for picture element, one of the tiny dots generated by a computer or output device

to constitute images.

Posterisation An effect that is achieved by converting an image with continuous tonal range (such as a

photo) to one with a limited number of visible steps/bands.


PPD Acronym for PostScript Printer Description, a file format developed by Adobe Systems, Inc., that contains

information enabling software to produce the best results possible for each type of designated printer.

Pre-press service provider In the publishing industry, the generic term for colour separation houses,

commercial printers, electronic prepress houses, service bureaus, and in-plant printers.

Press sheet In sheet-fed printing, the printed sheet of paper that comes off the press.

Printers marks The marks printed on a press sheet or film to aid in positioning the print area on the

press sheet, checking the quality of the printed image, and trimming the final pages. Printers marks may

include calibration bars, crop marks, and registration marks.

Process colours The four transparent inks (cyan, magenta, yellow, and black) used in four-colour

process printing.

Rasterize The process of converting digital information into pixels. Also the process used by an

imagesetter to translate PostScript files before they are imaged to film or paper.

Reflectiveart Artwork that must be photographed from light reflected from its surface. Generally used

as camera ready art.

Resolution The density of graphic information expressed in dots per inch (dpi) or pixels per inch

RGB Acronym for red, green, blue, the colours of projected light from a computer monitor that, when

combined, simulate a subset of the visual spectrum. Also refers to the colour model of most digital artwork.

RIP Acronym for raster image processor, the part of an output device or imagesetter that converts digital

information into dots on film or paper.

Sheet side guides Printers marks that appear along each side near the bottom of a press sheet to aid

in positioning the print area on the press sheet.

Shingling An adjustment for the way page images in a folded signature tend to move toward the outer

or facing edge of a book. The amount of shingling needed steadily increases as you move toward the

centre signatures in the book.

Signature A completed press sheet, before folding, collating, binding, and trimming.

Spot colour Any premixed ink that is not one of or a combination of the four process colour inks.

Step-and-repeat A layout in which two or more copies of the same piece are placed on a single plate.

This is useful for printing several copies of a small layout, such as a business card, on a single sheet.

Also called a multiple-up layout.

Stripping The act of assembling individual film negatives into flats for printing. Also referred to as film

assembly. The final positioning of film negative pages onto a goldenrod flat prior to plate making.


Tiff Acronym for Tagged Image File Format, a file format developed by Aldus, Microsoft (TM), and leading

scanner vendors for bitmap images containing greyscale or colour information. An image file format that

is supported by the majority of image-editing programs, running on a wide variety of computer platforms.

Tints Various even tone areas (strengths) of a solid colour. Created by converting the area to a set

dot size.

Tonal curves These curves are used to adjust smoothly the tonal range of a scanned image. Curves can

be adjusted for the overall image, a selected portion of the image, or individual colour channels (CMYK).

Trapping The process of creating an overlap between abutting colours to compensate for imprecision

in the printing process.

Trim page size Area of the finished page after the job is printed, bound, and trimmed.

UCR Abbreviation for under colour removal, a technique for minimizing ink coverage. When Photoshop

converts RGB data to CMYK, it analyzes a bitmap image for excessive cyan, magenta or yellow in dark

areas and replaces those colours with a similar percentage of black.

Unsharp mask A filter in Adobe Photoshop used to make an image look crisper. The filter identifies

where two tones adjoin and increases the contrast. The user can control the amount of contrast applied

and the amount of pixels affected.

Vector objects Artwork or text characters constructed from mathematical statements instead of

individual pixels. Vector objects usually take less disk space than bitmap images and can be scaled to

virtually any size without losing visual quality.

source: http://www.slugovprintery.com


FAIR USE AND COPYRIGHT uses that are considered fair use:

Criticism and comment: excerpting a work in a review or criticism for purposes of illustration.

Nonprofit educational uses: photocopying of limited portions of written works by teachers for

classroom use.

Non-commercial use is often fair use. Violations often occur when the use is motivated primarily by

a desire for commercial gain. The fact that a work is published primarily for private commercial gain

weighs against a finding of fair use.

Benefittothepublicmaybefairuse.A commercial motive doesnt always disqualify someone from

claiming a fair use. A use that benefits the public can qualify as a fair use, even if it makes money for

the user.

Rules of fair use:1. Are You Creating Something New or Just Copying?

2. Are Your Competing With the Source Youre Copying From?

3. The More You Take, the Less Fair Your Use Is Likely to Be

4. The Quality of the Material Used Is as Important as the Quantity

When you are not sure, please refer to the copyright Act of 1999 (1420 H), PDF document can be found at

this link www.wipo.int/clea/docs_new/pdf/en/kw/kw002en.pdf


Tips and tools

Resolution

Resolution for a Computer Screen: pixels per linear inch - ppi (72 to 96 ppi) Resolution on a printer: the number of dots printed in a linear inch - dpi Resolution on a scanner: the number of pixels sampled per linear inch of the scanned

image- ppi IMAGE RESOLUTION: is measured in pixels per inch - ppi PRINTER RESOLUTION: is measured in dots per inch - dpiIf an image has a resolution of 72 ppi, this means it contains 5184 pixels in a square inch (72 pixels wide x 72 pixels high = 5184).

VECTOR BITMAP (raster)

Mathematical equation. Mathematically defined

lines and curves.

grids made of squares (like checkerboards).

Independent of resolution, scaling does not affect

image quality

When a bitmap picture is resized, it often distorts

the image.

Vector art consists of fills and outlines applied to a

geometric description of a wireframe design.

The grid of pixels. Has four basic characteristics

dimension, revolution, bit depth, and colour model.

Characterized by geometric precision

and a perfect focus.

Bitmapped image can simulate photographs

and paintings because qualities of lighting

transparency and depth of field.

Both vector and pixel images are displayed as pixels on computer screens.

File size (kilobytes) = (resolution to square power) x With x Height x Bits 8,192


Graphicsfiles(Table1)

File Type Uses Advantages Disadvantages Compression

TIFF / Tagged Image File

print industry; line art and continuous tone images; managing scanned images

print-based graphics software; 24-bit color support. Multiple resolution support.

Non-standard; large files; not useful for web based graphics

user can define

GIF/ Graphic Interchange Format

Web-based images using few colors: icons, line art, graphs, etc.

supported by Web-based graphics software; Lossless compression.

no useful for Continuous tone images; Limited to 256 (8-bit) colors. Also limited to one resolution setting (72 dpi)

LZW used on all images. One level of compression.

JPEG/ Joint Photo-graphic Experts Group

Digital camera images, continuous tone images for the Web

Used and supported extensively in both Web and print-based graphics software; 24-bit color support. Multiple resolution support.

no useful for line art; Lossy compression. Can introduce artifacts, particularly at high levels of compression and in line art.

JPEG used on all images. Level of compression is variable and can be set by the user.

Graphicsfiles(Table2)

Assets Common File Types Software

Still images.doc .rtf .htm / .html .txt.ps (Post Script) .pdf (Adobe Acrobat)

Adobe Photoshop, Corel PhotoDraw, Paint Shop Pro, PhotoImpact, Macromedia Fireworks

Video .avi .ram .mpg .mov .qt Adobe Premiere, Ulead Studio Pro, Avid Xpress, Adobe After Effects, Combustion, Commotion

2D animation.swf (Flash).fla (Flash)

.bmp (2D Graphic import)

Macromedia Flash, Toon Boom, US Animation, Animation Stand, ReTAS Pro, AXA, Pegs, DigiCel, Adobe Live Motion

Authoring tools.mswmm .fla (Flash)

.swf(Flash) .htm / .html / .dhtml / .shtml /.asp

.dir (Director)

Movie MakerMacromedia Flash, Macromedia Director, Macromedia Authorware, Macromedia Dreamweaver

Streaming Media.wav.ram.mpg.mp3

Windows Media EncoderReal Media Producer


Bit depth is the number of bits making up each pixel:

Bit Depth Colour Resolution

1 bit black and white

8 bits 256 colours16 bits 65,536 colours

24 bits 16,777,215 colours

Bit Depth Table:

Colour Mode

Bit Depth Channels Colours

Bitmap 1 bit One 2- black and white

Grayscale 8 bits One 256-254 grays plus black and white

Indexed 16 bits One 256

RGB 24 bits Three: R(red), G (green) and B (blue)

16.7 million

CYMK 32 bits Four: (C (cyan), M (magenta),Y (yellow) and K(black)

16.7 million


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learner guide dp2_a

Documents

graphic design industry

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