Designing for Print

252 Pages·2011·29.973 MB·English

by  Charles Conover

An In-Depth Guide to
Planning, Creating, and Producing
Successful Design Projects
CHARLES CONOVER
JOHN WILEY & SONS, INC
This book is printed on acid-free paper. ∞
Copyright © 2011 by John Wiley & Sons, Inc. All rights reserved
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Published simultaneously in Canada
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Library of Congress Cataloging-in-Publication Data:
Conover, Charles.
Designing for print / Charles Conover. -- 2nd ed.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-470-90597-5 (pbk.); ISBN 978-1-118-13088-9 (ebk)
1. Graphic design (Typography) 2. Layout (Printing) 3. Desktop publishing. 4. Computer graphics.
5. Adobe Creative Suite 5. I. Title.

Z246.C57 2011
686.2’20285--dc23 2011018369
Printed in the United States of America
10 9 8 7 6 5 4 3 2 1
IV DESIGNING FOR PRINT
Contents
Chapter One: Planning Your Design
Layout Variations: Standard and Custom Formats . . 2 Getting Ideas and Gathering Imagery . . . . . . . . . 10
CD Booklets . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Sketching Out a Game Plan: Thumbnailing . . . . 12
Brochures . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Exhaust the Possibilities:
Custom Formats . . . . . . . . . . . . . . . . . . . . . . . 2 Creating Design Variations . . . . . . . . . . . . . . 14
Building Mechanicals . . . . . . . . . . . . . . . . . . . . . . 4 Cutting to the Chase: Designing with Die Cuts . . 16
Developing a Working Grid . . . . . . . . . . . . . . . . . 6
Margins and Gutters . . . . . . . . . . . . . . . . . . . . 7
Grid Variations . . . . . . . . . . . . . . . . . . . . . . . . 7
Placing Elements within the Grid . . . . . . . . . . . . . 8
Single Pages . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Facing Pages and Spreads . . . . . . . . . . . . . . . 9
Chapter Two: Designing with Type
Type Fundamentals . . . . . . . . . . . . . . . . . . . . . . . 20 Type and Drop Shadows . . . . . . . . . . . . . . . . . . . 37
Understanding Tracking and Kerning . . . . . . . . . 22 Hard-Edged Drop Shadows . . . . . . . . . . . . . 37
Kerning Display Type . . . . . . . . . . . . . . . . . . 22 Soft Drop Shadows . . . . . . . . . . . . . . . . . . . . 37
Tracking Body Copy . . . . . . . . . . . . . . . . . . . 23 Creating Baseline Grids . . . . . . . . . . . . . . . . . . . 38
Distorting Type and Scaling in Proportion . . . . . 24 Setting Baseline Grids . . . . . . . . . . . . . . . . . 38
Getting Type to Fit without Distorting It . . . . . . 25 Baseline Grids and Text Boxes . . . . . . . . . . . 39
Widows, Orphans, Ladders, and Rivers . . . . . . . 26 Understanding Baseline Grids . . . . . . . . . . . . . . 40
Treating Type with Consistency . . . . . . . . . . . . . 27 Letting the Baseline Grid Serve as a Guide . . . . 41
Many Faces, Many Moods . . . . . . . . . . . . . . . . . 28 Using Baseline Grids to Cross-Align . . . . . . . . . 42
Classic Typefaces . . . . . . . . . . . . . . . . . . . . . . . . 29 Type Readability . . . . . . . . . . . . . . . . . . . . . . . . . 44
Selecting Effective Typefaces . . . . . . . . . . . . . . . 30 Serif and Sans Serif Typefaces . . . . . . . . . . . 44
Choosing Typefaces: Form and Function . . . . . . 32 Upper- and Lowercase Settings . . . . . . . . . . 44
Working with Text Boxes and Columns . . . . . . . 34 Character Recognition . . . . . . . . . . . . . . . . . 44
Separate Text Columns . . . . . . . . . . . . . . . . . 34 Knockout Type . . . . . . . . . . . . . . . . . . . . . . . 45
Multiple-Column Text Boxes . . . . . . . . . . . . 34 Case Settings and Readability . . . . . . . . . . . 45
Small Caps and All Caps . . . . . . . . . . . . . . . . . . 36 Type Form Follows Function . . . . . . . . . . . . 45
Setting Small Caps in InDesign . . . . . . . . . . 36 Reverse Type and Image . . . . . . . . . . . . . . . . 45
DESIGNING FOR PRINT V
CONTENTS Designing For Print
Chapter Two: Designing with Type
Readability and Column Width . . . . . . . . . . . . . 46 Designing and Styling Text Tables . . . . . . . . . . . 56
Readability: Complex Text Wraps . . . . . . . . 47 Styling Tables with Tint Bands . . . . . . . . . . . 56
Mastering Text Wraps . . . . . . . . . . . . . . . . . . . . . 48 Using Tint Bands as Rules . . . . . . . . . . . . . . 57
Taking Control: Manually Editing Text Wraps .47 Refi ning the Chart Design . . . . . . . . . . . . . . 57
Creating Depth with Silhouetted Images . . . 47 Simple Tables in InDesign . . . . . . . . . . . . . . . . . 58
Setting and Styling Captions . . . . . . . . . . . . . . . 50 Creating Stylesheets . . . . . . . . . . . . . . . . . . . . . . 59
Show Hidden Characters . . . . . . . . . . . . . . . . . . 51
Styling Paragraphs . . . . . . . . . . . . . . . . . . . . . . . 52
Applying and Styling Drop Caps . . . . . . . . . . . . 53
Basic Drop Cap Settings in InDesign . . . . . . 53
Controlling Indents and Insets . . . . . . . . . . . . . . 54
Understanding and Setting Tabs . . . . . . . . . . . . . 55
Chapter Three: Designing with Photographs
Image Types: One Color, Two Color . . . . . . . . . 62 Editing Picture Box Shapes . . . . . . . . . . . . . . . . 84
Color Models . . . . . . . . . . . . . . . . . . . . . . . . 62 Resizing Frames . . . . . . . . . . . . . . . . . . . . . . 84
The Four-Color Process . . . . . . . . . . . . . . . . 62 Reshaping Frames . . . . . . . . . . . . . . . . . . . . 84
CMYK Process Color . . . . . . . . . . . . . . . . . . 62 Complex Shapes and Bézier Curves . . . . . . . 85
TruMatch Color System . . . . . . . . . . . . . . . . 62 Custom Shapes: Using Pathfi nder . . . . . . . . . . . 86
The Pantone System . . . . . . . . . . . . . . . . . . . 63 Pathfi nder Options . . . . . . . . . . . . . . . . . . . . 87
Swatch Books . . . . . . . . . . . . . . . . . . . . . . . . 63 The Big Picture . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Maintaining Image Integrity . . . . . . . . . . . . . . . . 64 Complex Shapes: Advanced Techniques . . . . . . 89
Image Distortion: Scaling . . . . . . . . . . . . . . 64 Tabbed Windows . . . . . . . . . . . . . . . . . . . . . . 89
Image Distortion: Flipping Photos . . . . . . . 65 Slicing Images . . . . . . . . . . . . . . . . . . . . . . . 89
What’s Wrong with this Picture? . . . . . . . . . 65 Image Grids: Step and Repeat . . . . . . . . . . . . . . 90
Formatting Images for Print . . . . . . . . . . . . . . . . 66 Compound Shapes . . . . . . . . . . . . . . . . . . . . 90
Understanding Linked Images . . . . . . . . . . . . . . 67 Complex Shapes: Align and Distribute . . . . . . . 91
Manipulating Images and Picture Boxes . . . . . . 68 Label Design . . . . . . . . . . . . . . . . . . . . . . . . . 91
Rotation Settings . . . . . . . . . . . . . . . . . . . . . . 68 Placing Images into Text . . . . . . . . . . . . . . . . . . 92
Customizing Corner Styles . . . . . . . . . . . . . . 69 Using Create Outlines . . . . . . . . . . . . . . . . . 92
Image Types: Monotones, Duotones . . . . . . . . . 70 Selecting Appropriate Typefaces . . . . . . . . . 92
Creating a Basic Duotone . . . . . . . . . . . . . . 71 Cutting Type Outlines into an Image . . . . . . 93
Monotones and Tritones . . . . . . . . . . . . . . . . 71 An Image for Every Letter . . . . . . . . . . . . . . 93
Duotones and Sepia Tone Effects . . . . . . . . . 71 Organizing Annotated Photo Layouts . . . . . . . . . 94
Type, Image, and Readability . . . . . . . . . . . . . . . 72 Styling Pointers and Annotations . . . . . . . . . . . . 96
Type and Image: Composing Page Layouts . . . . 74 Creating Customized Annotations . . . . . . . . 97
Vertical and Horizontal Compositions . . . . . 75 Creating Legends for Photographs . . . . . . . . . . . 98
Type and Image: Page Composition . . . . . . . . . . 76 Using Legends with Maps . . . . . . . . . . . . . . 98
Perfect Imbalance: Asymmetrical Design . . . . . 78 Placing Legends in Photos . . . . . . . . . . . . . 99
Using Holding Rules . . . . . . . . . . . . . . . . . . . . . . 79
Focusing In: Cropping Techniques . . . . . . . . . . . 80
Picture Box Shapes . . . . . . . . . . . . . . . . . . . . . . . 82
Standard Frame Types . . . . . . . . . . . . . . . . . 82
Customizing Picture Frames . . . . . . . . . . . . 83
VI DESIGNING FOR PRINT
Chapter Four: Advanced Typography
Using the Character and Paragraph Palettes . . . 102 Metallic Type and Gradients . . . . . . . . . . . . . . . 122
Vertical Type: Cheap Motels and Drive-ins . . . 104 Type on a Path: Curves, Spirals, and Circles . . 123
Curves Ahead: Create Outlines . . . . . . . . . . . . . 105 Receding Type into the Distance . . . . . . . . . . . 124
Outlines: The Pros and Cons . . . . . . . . . . . 105 The Free Distort Effect . . . . . . . . . . . . . . . . 124
Controlling Type Outlines . . . . . . . . . . . . . . . . 106 3D Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 125
The Pen and Selection Tools . . . . . . . . . . . . 106 Inlaid Text: Cropping Objects into Type . . . . . 126
Keepin’ It Real: Staying True to the Inlaying Straight Lines into Text . . . . . . . . 126
Original Typeface . . . . . . . . . . . . . . . . . . . . . 108 Inlaying Wavy Lines into Text . . . . . . . . . . . 126
Creating Custom Ligatures . . . . . . . . . . . . . . . . 109 Creating Concentric Shapes . . . . . . . . . . . . 127
Applying Effects: The Good, Bad, and the Ugly . 110 Inlaying Concentric Patterns . . . . . . . . . . . 127
Shattering Type . . . . . . . . . . . . . . . . . . . . . . . . . 112 Filling Shapes with Body Copy . . . . . . . . . . . . 128
Offset Path: Inlines, Outlines, and Shadows . . 113 Using Photoshop Paths . . . . . . . . . . . . . . . 129
Creating Stylized Drop Shadows . . . . . . . . . . . 114 Filling Custom Shapes . . . . . . . . . . . . . . . . 129
Knockout Shadows . . . . . . . . . . . . . . . . . . . 114 Bubbles and Balls: Warp Effects . . . . . . . . . . . 130
Linear Drop Shadows . . . . . . . . . . . . . . . . . 114 Creating Logotypes: 3D Effects . . . . . . . . . . . . 132
Soft Drop Shadows Using Blends and Filters .115 Distressed Type and Alternative Techniques . . 134
Refl ective Shadows . . . . . . . . . . . . . . . . . . . 115 Using Hand-Drawn Type . . . . . . . . . . . . . . 134
Creating the Illusion of Transparency . . . . . . . 116 Using 3D Objects as Letterforms . . . . . . . . 134
Separating Stroke and Fills . . . . . . . . . . . . . . . . 117 Using Photocopiers to Distress Type . . . . . 135
3D Type: Beveling Type Outlines . . . . . . . . . . 118 Old School: Rubber Stamps,
Complex Beveling . . . . . . . . . . . . . . . . . . . . 119 Stencils, and Typewriters . . . . . . . . . . . . 135
Extrude & Bevel Effects . . . . . . . . . . . . . . . 119 Using Envelopes to Warp Type . . . . . . . . . . . . 136
Extruding and Creating Perspective . . . . . . . . 120 Masking Images into Type . . . . . . . . . . . . . . . . 137
Manually Extruding Type . . . . . . . . . . . . . . 120
3D Effects: Extrude . . . . . . . . . . . . . . . . . . 120
Chapter Five: Preparing Your Images
Destination Please? Formatting Images . . . . . . 140 Silhouetted Images: Clipping Paths . . . . . . . . . 156
Sizing, Scaling, and Setting Resolution . . . . . . 142 Silhouetting Images: The Quick Selection Tool . 158
Scanning and Scaling Images . . . . . . . . . . . 142 Soft Edges: Feathering Images . . . . . . . . . . . . . 159
Scaling Images for InDesign Documents . . 143 Creating Natural Shadows . . . . . . . . . . . . . . . . 160
Increasing Resolution . . . . . . . . . . . . . . . . . 143 The Cutting Edge: Torn Paper Effects . . . . . . . 162
Image Prep: Cropping Images . . . . . . . . . . . . . 144 3D Objects and Textures . . . . . . . . . . . . . . . . . . 164
Spot Remover: The Clone Stamp Tool . . . . . . . 145 Scanning and Designing with 3D Objects . 164
Getting Results: Basic Scanning Techniques . . 146 Creating Custom Surface Textures . . . . . . . 164
Focusing In: Sharpening Images . . . . . . . . . . . 147 Smart Objects and Silhouetted Images . . . . . . . 166
True Colors: Color-Correcting Images . . . . . . . 148 Compositing with Smart Objects . . . . . . . . 166
Adjusting Levels and Curves . . . . . . . . . . . . .149 Fade Away: Creating Vignetted Images . . . . . . 168
Color-Correction 101: A Primer . . . . . . . . . . . . 150 Manipulating Imagery Using Filters . . . . . . . . . 170
Dodge and Burn: Tonal Correction . . . . . . . . . 152 The Blur Filters . . . . . . . . . . . . . . . . . . . . . 170
Scanning Large-Scale Artwork . . . . . . . . . . . . . 153 The Color Halftone Filter . . . . . . . . . . . . . . 171
Ghosting Images . . . . . . . . . . . . . . . . . . . . . . . . 154 Posterizing Images . . . . . . . . . . . . . . . . . . . 171
Image Opacity and Type Readability . . . . . 154 Adding Noise to Images . . . . . . . . . . . . . . . 171
Tombstones: Opacity and Selections . . . . . 155
DESIGNING FOR PRINT VII
CONTENTS Designing For Print
Chapter Six: Illustrating Effectively
Simple Illustration Approaches . . . . . . . . . . . . . 174 Vanishing Points and Two-Point Perspective . . 196
Visual References: Tracing and Live Paint . . . 176 Creating Mechanical Gears . . . . . . . . . . . . 196
To Trace or Autotrace . . . . . . . . . . . . . . . . . 176 Creating Two-Point Perspective . . . . . . . . . 197
Applying Live Paint to Raster Images . . . . 176 Using 3D Effects . . . . . . . . . . . . . . . . . . . . . 197
Combining Primary Shapes . . . . . . . . . . . . . . . 178 Using Blends to Build Shapes and
Using Shapes to Unite and Subtract . . . . . . 178 Create Volume . . . . . . . . . . . . . . . . . . . . . . 198
Creating Individual Shapes Using Divide . 178 Creating Banners and Ribbons . . . . . . . . . . . . . 200
Complex Shapes . . . . . . . . . . . . . . . . . . . . . 179 Corner Banners . . . . . . . . . . . . . . . . . . . . . 201
Mirror, Mirror: Building Symmetrical Shapes . . 180 The Final Touch: Backgrounds and Shadows . 202
From Line to Shape: Outline Stroke . . . . . . . . . 181 Creating Drop Shadows . . . . . . . . . . . . . . . 202
Refi ning and Styling Line Quality . . . . . . . . . . 182 Skewing Shadows . . . . . . . . . . . . . . . . . . . . 202
Stylizing Lines and Digitizing Tablets . . . . 182 Styling Drop Shadows . . . . . . . . . . . . . . . . 203
Between the Lines: The Live Paint Tools . . . . . 183 Merging Shadows and Surface . . . . . . . . . . 203
Styling Illustrations: Linear Techniques . . . . . . 184 Using Opacity . . . . . . . . . . . . . . . . . . . . . . . 203
Creating Linear Patterns . . . . . . . . . . . . . . . . . 186 Using Custom Brushes . . . . . . . . . . . . . . . . . . . 204
Keeping Perspective: Cylindrical Shapes . . . . . 188 Brush Basics . . . . . . . . . . . . . . . . . . . . . . . . 204
Basic Transformations . . . . . . . . . . . . . . . . 188 Type as Brush . . . . . . . . . . . . . . . . . . . . . . . 204
Building on the Process . . . . . . . . . . . . . . . 188 Creating Custom Art Brushes . . . . . . . . . . . 204
Styling with Blends and Gradients . . . . . . . 189 Building Pattern Brushes . . . . . . . . . . . . . . 205
Fluted Shapes . . . . . . . . . . . . . . . . . . . . . . . 189 Warp Effects and Custom Brushes . . . . . . . . . . 206
Building Interlaced Shapes . . . . . . . . . . . . . . . . 190 Building a Custom Art Brush . . . . . . . . . . . 206
Coiled Objects: Chain Links and Slinkys . . . . . 192 Applying a Custom Art Brush . . . . . . . . . . . 207
Building Chain Links . . . . . . . . . . . . . . . . . 192 Designing Charts and Graphs . . . . . . . . . . . . . . 208
Building Coiled Shapes . . . . . . . . . . . . . . . 193 Creating Custom Columns . . . . . . . . . . . . . 209
Slinkys and Other Variables . . . . . . . . . . . . 193 Creating Variations and Using Artboards . . . . . 210
Nuts and Bolts: Building and Styling Gradient Mesh: Smooth Surfaces . . . . . . . . . . . 211
Technical Shapes . . . . . . . . . . . . . . . . . . . . . . . . 194
Building the Basic Shapes . . . . . . . . . . . . . 194
Styling Objects: Smooth Blends . . . . . . . . . 195
Styling Objects: Linear Blends . . . . . . . . . . 195
The Revolve Effect . . . . . . . . . . . . . . . . . . . 195
Chapter Seven: Putting It All Together
Prepping Images . . . . . . . . . . . . . . . . . . . . . . . . 214 Fifth Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Why Doesn’t the Print Match the Screen? . . . . 214 Paper Stocks . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Mechanicals . . . . . . . . . . . . . . . . . . . . . . . . . . . 215 PDF Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Building Prototypes . . . . . . . . . . . . . . . . . . . . . 215 Decimal Conversion Chart . . . . . . . . . . . . . . . . 223
Creating Acrobat PDF Files . . . . . . . . . . . . . . . 215 Design Resources . . . . . . . . . . . . . . . . . . . . . . . 225
Preparing Files for Final Output . . . . . . . . . . . . 216 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Optimizing Images and Updating Links . . . 216 Photography and Illustration Credits . . . . . . . . 229
Prefl ighting the InDesign Document . . . . . 217 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Color Proofi ng . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Collecting for Output: InDesign Packages . . . . 218
Compressing Files . . . . . . . . . . . . . . . . . . . 218
VIII DESIGNING FOR PRINT