The document discusses digital art preflight and analysis, outlining tools like Rapid Inspector that can help identify issues with digital images submitted for publication to reduce rework, and explaining concepts like input and output resolution, color spaces, file formats, and using vector versus raster images. It also covers analyzing images for manipulation through software tools to help catch intentional or unintentional changes.
The document discusses color management in Photoshop. It explains what color management is and how it helps maintain color consistency across different devices. It provides instructions on setting a digital camera to the Adobe RGB color space, calibrating a computer display, choosing a color space in Photoshop, acquiring printer profiles, and proofing documents on screen.
This document provides information on various topics related to digital images and design software. It discusses the differences between raster and vector images, describes anti-aliasing and its purpose, and covers concepts like resolution, aspect ratio, and file formats. Color models like RGB and CMYK are explained as well as design programs like Photoshop, Illustrator, and InDesign. Sources are provided for further reading on each topic.
Vector graphics use mathematical formulas to define images as objects made of points and paths, allowing resolution-independent scaling. Raster graphics are composed of pixels arranged in a grid to form images. Key factors that determine raster image quality include resolution, color depth, and file format. Common file formats like JPEG, PNG, and GIF vary in their compression algorithms and support for animation and transparency.
This document provides tips for ensuring artwork is print-ready, including using the proper font size and type, converting files to CMYK color mode, including bleeds and margins, using the appropriate resolution for images, and outlining fonts. Key applications that can be used to create print-ready files are listed. The document also notes that vector programs like InDesign are best for type while raster programs like Photoshop are suited for images.
Adobe Illustrator Tutorials: Digital Photography FlyerFlyer Tutor
This document provides steps to create a simple flyer in Adobe Illustrator. It includes instructions on setting up the document, drawing and coloring rectangles to create the background, adding and formatting text, inserting a star graphic and applying effects like transparency and drop shadows. The steps are accompanied by images illustrating each stage of the flyer creation process.
This document discusses different types of images used in multimedia. It describes bitmapped images, which are composed of pixels and have attributes like resolution and color depth that determine file size. Vector images are composed of graphic primitives defined by mathematical equations and can be resized without quality loss. The document outlines popular file formats for bitmaps and vectors as well as software used to create and edit different image types. Hardware and file conversion are also mentioned.
1) The document discusses preparing Illustrator files for prepress and printing, including exploring color theory, working in CMYK mode, specifying spot colors, and creating crop marks and bleeds.
2) Key aspects covered include the differences between additive and subtractive color, RGB and CMYK color modes, and creating high resolution PDFs with appropriate settings for different uses like emailing clients or sending to printers.
3) The document provides information on color theory, resolution, and file preparation steps to ensure artwork is print-ready and of high quality for its intended use.
The document provides information about an upcoming Cambridge Darkroom Meetup on colour management. It will give attendees the basics of colour concepts, colour management fundamentals, and an overview of how colour is represented and interpreted across different devices and colour spaces. The slides for the meetup will be made available as a PDF. Attendees are encouraged to ask questions and provide feedback to help improve future meetups.
The document discusses color management in Photoshop. It explains what color management is and how it helps maintain color consistency across different devices. It provides instructions on setting a digital camera to the Adobe RGB color space, calibrating a computer display, choosing a color space in Photoshop, acquiring printer profiles, and proofing documents on screen.
This document provides information on various topics related to digital images and design software. It discusses the differences between raster and vector images, describes anti-aliasing and its purpose, and covers concepts like resolution, aspect ratio, and file formats. Color models like RGB and CMYK are explained as well as design programs like Photoshop, Illustrator, and InDesign. Sources are provided for further reading on each topic.
Vector graphics use mathematical formulas to define images as objects made of points and paths, allowing resolution-independent scaling. Raster graphics are composed of pixels arranged in a grid to form images. Key factors that determine raster image quality include resolution, color depth, and file format. Common file formats like JPEG, PNG, and GIF vary in their compression algorithms and support for animation and transparency.
This document provides tips for ensuring artwork is print-ready, including using the proper font size and type, converting files to CMYK color mode, including bleeds and margins, using the appropriate resolution for images, and outlining fonts. Key applications that can be used to create print-ready files are listed. The document also notes that vector programs like InDesign are best for type while raster programs like Photoshop are suited for images.
Adobe Illustrator Tutorials: Digital Photography FlyerFlyer Tutor
This document provides steps to create a simple flyer in Adobe Illustrator. It includes instructions on setting up the document, drawing and coloring rectangles to create the background, adding and formatting text, inserting a star graphic and applying effects like transparency and drop shadows. The steps are accompanied by images illustrating each stage of the flyer creation process.
This document discusses different types of images used in multimedia. It describes bitmapped images, which are composed of pixels and have attributes like resolution and color depth that determine file size. Vector images are composed of graphic primitives defined by mathematical equations and can be resized without quality loss. The document outlines popular file formats for bitmaps and vectors as well as software used to create and edit different image types. Hardware and file conversion are also mentioned.
1) The document discusses preparing Illustrator files for prepress and printing, including exploring color theory, working in CMYK mode, specifying spot colors, and creating crop marks and bleeds.
2) Key aspects covered include the differences between additive and subtractive color, RGB and CMYK color modes, and creating high resolution PDFs with appropriate settings for different uses like emailing clients or sending to printers.
3) The document provides information on color theory, resolution, and file preparation steps to ensure artwork is print-ready and of high quality for its intended use.
The document provides information about an upcoming Cambridge Darkroom Meetup on colour management. It will give attendees the basics of colour concepts, colour management fundamentals, and an overview of how colour is represented and interpreted across different devices and colour spaces. The slides for the meetup will be made available as a PDF. Attendees are encouraged to ask questions and provide feedback to help improve future meetups.
Image resolution refers to the number of pixels per inch in a digital image. Higher resolutions allow for more detail but increase file size. When printing, a resolution of 300 pixels per inch (PPI) or higher is typically recommended. To modify an image's resolution, one opens the Image Size dialog box and changes the resolution value. However, increasing a low-resolution image's PPI does not actually add quality, and decreasing a high-resolution image's PPI results in quality loss. The steps also depend on the intended use of the image, such as web display versus printing.
This document defines and explains various graphic design, printing, and publishing terms. It provides concise definitions for terms like alpha channel, anti-aliasing, bitmap, bleed, body copy, CMYK, crop, desktop publishing, dots-per-inch, duotone, EPS, FPO, gamut, GIF, grid, halftone, histogram, icon, inkjet printer, JPEG, kerning, leading, logotype, low resolution, mask, Pantone, pixel, pixels per inch, PostScript, printers spread, process color, and RGB. The document is intended as a reference for people working in graphic design, printing, and publishing.
Technical concepts for graphic design production 9Ahmed Ismail
Technical concepts for graphic design production includes:
1- History Of Graphic Design.
2- Graphics Types.
3- Bitmaps.
4- Color Gamut.
5- Files Formats.
6- Resolutions.
7- Color Depth.
8- Document Structure.
9- Digital Printing.
10 - pdf.
11- Color Management System CMS.
The document discusses key concepts in digital graphics and design including:
- The differences between raster (bitmap) and vector graphics and their uses.
- Anti-aliasing techniques to reduce jagged edges in raster images.
- Factors that impact image quality such as resolution, aspect ratio, and file formats.
- Color models like RGB and CMYK.
- Popular design software like Adobe Photoshop, Illustrator, and InDesign.
Digital graphics can be bitmaps or vectors. Bitmaps use a grid of pixels that lose quality when zoomed in, while vectors use mathematical expressions and can be resized without quality loss. This report discusses bitmap and vector file formats, programs, and uses, as well as factors that affect image quality such as pixels and resolution. It also covers techniques for capturing and organizing digital images and graphics.
Vector graphics are composed of geometrical primitives like points, lines, and shapes. They are scaleable without loss of quality. Common vector formats include AI, SVG, and common software is Adobe Illustrator. Raster graphics are composed of pixels with color values. Common formats are BMP, TIFF, JPEG and common software is Photoshop. Both have advantages for different uses like printing. Metafiles can contain vectors, rasters, and text. Common formats are PDF, EMF, WMF.
Raster images are composed of pixels while vector images are composed of paths. Raster images appear jagged when enlarged but vector images remain smooth at any size. Anti-aliasing uses subtle pixel transitions to minimize the jagged effect in raster images. Vector images are mathematically defined so they appear smooth at any resolution or size. Raster images are best for photos while vector images are suited for illustrations, layouts and type.
The document discusses various types of digital graphics formats including raster graphics, vector graphics, JPEG, TIFF, PSD, Adobe Illustrator (AI) files, and 3DS files. It provides information on each format such as how they are created, their advantages and disadvantages, suitable uses, and software used to open them. Key graphics file formats discussed are raster (bitmap images made of pixels), vector (shapes and strokes defined by mathematical equations), JPEG (standard format for photos), PSD (Photoshop file format that preserves layers), and AI (Adobe Illustrator vector file format).
Raster images are composed of pixels and do not scale well, as enlarging an image causes pixels to become visible and image quality to degrade. Vector images use mathematics to define objects as paths rather than pixels, allowing them to be scaled to any size without quality loss. Raster images are better for photos while vector images are better for logos and illustrations that may need resizing.
The document provides step-by-step instructions for repairing and enhancing a low-resolution digital photograph using layers and filters in Photoshop. It describes isolating noise in the blue channel, creating blurred layers to smooth skin tones and add soft focus, and using layer masks to selectively sharpen details. It then explains how to separate the foreground subject from the background to add depth of field by blurring the background layer.
Not knowing the difference between a Bitmap and Vector image could mean that your visual content leaves you looking unprofessional. Check out the differences in this presentation.
This document reviews and describes the features of Adobe Photoshop Extended CS5. It highlights key capabilities like creating 3D extrusions, advanced 3D editing tools, editing motion content, and state-of-the-art photography and raw image processing features. The document also summarizes new features in Photoshop CS5 like improved selection tools, Content-Aware Fill, enhanced HDR Pro functionality, and improved painting effects.
Bitmap graphics represent pictures as a collection of pixels, where each pixel is assigned a binary code representing its color. Bitmaps allow for editing at the pixel level and layering of shapes, though moving layered shapes can result in missing parts from lower layers. Bitmaps are stored based on their resolution, or number of pixels, with higher resolutions requiring more storage space.
The document provides an overview of the Illustrator work area, including the artboard, scratch area, toolbox, and palettes. It describes how to navigate and view artwork using tools like the Zoom and Direct Selection tools. Key points covered include restoring default preferences, opening a file, using outline and pixel previews, and adjusting the view by zooming, fitting to window, and using the Zoom tool.
The document discusses various topics related to digital images, including raster images, vector images, file formats, color models, and image editing software. Raster images represent images as a grid of pixels while vector images use geometric primitives. Common file formats include JPEG, TIFF, EPS, PSD, and PDF. Color models include RGB, CMYK, and HSV/HSL. Adobe Photoshop and Illustrator are widely used image editing programs.
The document provides guidelines for merchandise presentation and visual merchandising. It discusses colour blocking merchandise by zones, with zone 1 being the most visible area to showcase new items, zone 2 for basics, and zone 3 displaying themes. Colour blocking involves arranging items by colour vertically according to the colour wheel to make the full range visible. Hanging and stacking should group similar styles together.
Lesson 6 discusses images in multimedia. It covers creating still images using bitmaps or vector graphics. Bitmaps use pixels to represent images while vector graphics use mathematical formulas. The document also discusses color models like RGB and HSB. Color palettes define the available colors and dithering is used to match colors. Common file formats for images on different platforms are also presented.
Images are an important element in multimedia. There are two main types of images: bitmaps, which use pixels to represent color information, and vector images, which use mathematical coordinates. Various tools can be used to create and edit images, including bitmap software, 3D modeling programs, and image capture and editing features. Color is a key aspect, with different color models and palettes used depending on the intended display and use of the images.
This document discusses graphics and summarizes key elements of traditional graphics, computer graphics, and multimedia graphics. It covers bitmapped images, vector-drawn images, and 3D graphics. For bitmapped images, it describes pixels, color resolution, file formats, and sources. For vector images, it discusses device independence and file formats. It also outlines the four steps to create 3D images: modeling, surface definition, scene composition, and rendering. The document provides guidelines for using graphics in multimedia and defines several important graphics terms.
This document discusses various types of images used in multimedia. It describes bitmaps, which are raster images made up of pixels that can depict fine detail but require more storage. Vector images use mathematical formulas to describe geometric objects and require less storage but cannot depict photographs. 3D modeling uses vector graphics in three dimensions. Color is created through additive methods for screens and subtractive methods for print. File types like JPEG, GIF, and PNG are cited for different image needs.
This document discusses various types of images used in multimedia. It describes bitmaps, which are raster images made up of pixels that can depict fine detail but require more storage. Vector images use mathematical formulas to describe geometric objects and require less storage but cannot depict photographs. 3D modeling uses vector graphics in three dimensions. Color is created through additive processes for screens and subtractive for print. File types like JPEG, GIF, and PNG are cited for different image needs.
Image resolution refers to the number of pixels per inch in a digital image. Higher resolutions allow for more detail but increase file size. When printing, a resolution of 300 pixels per inch (PPI) or higher is typically recommended. To modify an image's resolution, one opens the Image Size dialog box and changes the resolution value. However, increasing a low-resolution image's PPI does not actually add quality, and decreasing a high-resolution image's PPI results in quality loss. The steps also depend on the intended use of the image, such as web display versus printing.
This document defines and explains various graphic design, printing, and publishing terms. It provides concise definitions for terms like alpha channel, anti-aliasing, bitmap, bleed, body copy, CMYK, crop, desktop publishing, dots-per-inch, duotone, EPS, FPO, gamut, GIF, grid, halftone, histogram, icon, inkjet printer, JPEG, kerning, leading, logotype, low resolution, mask, Pantone, pixel, pixels per inch, PostScript, printers spread, process color, and RGB. The document is intended as a reference for people working in graphic design, printing, and publishing.
Technical concepts for graphic design production 9Ahmed Ismail
Technical concepts for graphic design production includes:
1- History Of Graphic Design.
2- Graphics Types.
3- Bitmaps.
4- Color Gamut.
5- Files Formats.
6- Resolutions.
7- Color Depth.
8- Document Structure.
9- Digital Printing.
10 - pdf.
11- Color Management System CMS.
The document discusses key concepts in digital graphics and design including:
- The differences between raster (bitmap) and vector graphics and their uses.
- Anti-aliasing techniques to reduce jagged edges in raster images.
- Factors that impact image quality such as resolution, aspect ratio, and file formats.
- Color models like RGB and CMYK.
- Popular design software like Adobe Photoshop, Illustrator, and InDesign.
Digital graphics can be bitmaps or vectors. Bitmaps use a grid of pixels that lose quality when zoomed in, while vectors use mathematical expressions and can be resized without quality loss. This report discusses bitmap and vector file formats, programs, and uses, as well as factors that affect image quality such as pixels and resolution. It also covers techniques for capturing and organizing digital images and graphics.
Vector graphics are composed of geometrical primitives like points, lines, and shapes. They are scaleable without loss of quality. Common vector formats include AI, SVG, and common software is Adobe Illustrator. Raster graphics are composed of pixels with color values. Common formats are BMP, TIFF, JPEG and common software is Photoshop. Both have advantages for different uses like printing. Metafiles can contain vectors, rasters, and text. Common formats are PDF, EMF, WMF.
Raster images are composed of pixels while vector images are composed of paths. Raster images appear jagged when enlarged but vector images remain smooth at any size. Anti-aliasing uses subtle pixel transitions to minimize the jagged effect in raster images. Vector images are mathematically defined so they appear smooth at any resolution or size. Raster images are best for photos while vector images are suited for illustrations, layouts and type.
The document discusses various types of digital graphics formats including raster graphics, vector graphics, JPEG, TIFF, PSD, Adobe Illustrator (AI) files, and 3DS files. It provides information on each format such as how they are created, their advantages and disadvantages, suitable uses, and software used to open them. Key graphics file formats discussed are raster (bitmap images made of pixels), vector (shapes and strokes defined by mathematical equations), JPEG (standard format for photos), PSD (Photoshop file format that preserves layers), and AI (Adobe Illustrator vector file format).
Raster images are composed of pixels and do not scale well, as enlarging an image causes pixels to become visible and image quality to degrade. Vector images use mathematics to define objects as paths rather than pixels, allowing them to be scaled to any size without quality loss. Raster images are better for photos while vector images are better for logos and illustrations that may need resizing.
The document provides step-by-step instructions for repairing and enhancing a low-resolution digital photograph using layers and filters in Photoshop. It describes isolating noise in the blue channel, creating blurred layers to smooth skin tones and add soft focus, and using layer masks to selectively sharpen details. It then explains how to separate the foreground subject from the background to add depth of field by blurring the background layer.
Not knowing the difference between a Bitmap and Vector image could mean that your visual content leaves you looking unprofessional. Check out the differences in this presentation.
This document reviews and describes the features of Adobe Photoshop Extended CS5. It highlights key capabilities like creating 3D extrusions, advanced 3D editing tools, editing motion content, and state-of-the-art photography and raw image processing features. The document also summarizes new features in Photoshop CS5 like improved selection tools, Content-Aware Fill, enhanced HDR Pro functionality, and improved painting effects.
Bitmap graphics represent pictures as a collection of pixels, where each pixel is assigned a binary code representing its color. Bitmaps allow for editing at the pixel level and layering of shapes, though moving layered shapes can result in missing parts from lower layers. Bitmaps are stored based on their resolution, or number of pixels, with higher resolutions requiring more storage space.
The document provides an overview of the Illustrator work area, including the artboard, scratch area, toolbox, and palettes. It describes how to navigate and view artwork using tools like the Zoom and Direct Selection tools. Key points covered include restoring default preferences, opening a file, using outline and pixel previews, and adjusting the view by zooming, fitting to window, and using the Zoom tool.
The document discusses various topics related to digital images, including raster images, vector images, file formats, color models, and image editing software. Raster images represent images as a grid of pixels while vector images use geometric primitives. Common file formats include JPEG, TIFF, EPS, PSD, and PDF. Color models include RGB, CMYK, and HSV/HSL. Adobe Photoshop and Illustrator are widely used image editing programs.
The document provides guidelines for merchandise presentation and visual merchandising. It discusses colour blocking merchandise by zones, with zone 1 being the most visible area to showcase new items, zone 2 for basics, and zone 3 displaying themes. Colour blocking involves arranging items by colour vertically according to the colour wheel to make the full range visible. Hanging and stacking should group similar styles together.
Lesson 6 discusses images in multimedia. It covers creating still images using bitmaps or vector graphics. Bitmaps use pixels to represent images while vector graphics use mathematical formulas. The document also discusses color models like RGB and HSB. Color palettes define the available colors and dithering is used to match colors. Common file formats for images on different platforms are also presented.
Images are an important element in multimedia. There are two main types of images: bitmaps, which use pixels to represent color information, and vector images, which use mathematical coordinates. Various tools can be used to create and edit images, including bitmap software, 3D modeling programs, and image capture and editing features. Color is a key aspect, with different color models and palettes used depending on the intended display and use of the images.
This document discusses graphics and summarizes key elements of traditional graphics, computer graphics, and multimedia graphics. It covers bitmapped images, vector-drawn images, and 3D graphics. For bitmapped images, it describes pixels, color resolution, file formats, and sources. For vector images, it discusses device independence and file formats. It also outlines the four steps to create 3D images: modeling, surface definition, scene composition, and rendering. The document provides guidelines for using graphics in multimedia and defines several important graphics terms.
This document discusses various types of images used in multimedia. It describes bitmaps, which are raster images made up of pixels that can depict fine detail but require more storage. Vector images use mathematical formulas to describe geometric objects and require less storage but cannot depict photographs. 3D modeling uses vector graphics in three dimensions. Color is created through additive methods for screens and subtractive methods for print. File types like JPEG, GIF, and PNG are cited for different image needs.
This document discusses various types of images used in multimedia. It describes bitmaps, which are raster images made up of pixels that can depict fine detail but require more storage. Vector images use mathematical formulas to describe geometric objects and require less storage but cannot depict photographs. 3D modeling uses vector graphics in three dimensions. Color is created through additive processes for screens and subtractive for print. File types like JPEG, GIF, and PNG are cited for different image needs.
This document discusses various types of images used in multimedia, including bitmaps, vector images, and 3D models. It describes the capabilities and limitations of bitmap and vector images. Bitmaps are best for photo-realistic images while vector images are better for drawings and use less file size but cannot be used for photos. The document also covers color models like RGB, CMYK and HSB as well as common file formats like JPEG, GIF and PNG.
This document discusses computer graphics and summarizes key points about 2D and 3D graphics. It covers the different types of 2D graphics including bitmapped images, such as line art, grayscale, and color images. It also discusses vector-drawn graphics and compares the advantages and disadvantages of bitmapped and vector graphics. For 3D graphics, it describes the four main steps of modeling, surface definition, scene composition, and rendering to create 3D images and scenes.
This document provides an introduction to graphic design concepts through a Photoshop CC crash course. It defines graphic design as the art of visual communication using text, images, and symbols. It discusses the history and evolution of graphic design and outlines key elements such as visual arts, typography, page layout, ads, business cards, brochures, and logos. It also covers color representation and meaning, image resolution, and raster vs vector graphics. File formats such as PNG, JPG, GIF, BMP and TIFF are defined as well as lossy and lossless compression techniques.
Technical concepts for graphic design production 2Ahmed Ismail
Technical concepts for graphic design production includes:
1- History Of Graphic Design.
2- Graphics Types.
3- Bitmaps.
4- Color Gamut.
5- Files Formats.
6- Resolutions.
7- Color Depth.
8- Document Structure.
9- Digital Printing.
10 - pdf.
11- Color Management System CMS.
The document provides an overview of three essential areas for those entering creative fields: page layout & design (Adobe InDesign), vector drawing (Adobe Illustrator), and image editing (Adobe Photoshop). It discusses the main features and uses of each program. Key points covered include the differences between raster and vector images, how to determine appropriate image sizes and resolutions for printing, and when each file type is best used.
This document provides information about a fashion illustration fundamentals course, including some course policies, resources available to students, and an overview of the introductory lesson. It mentions that students should not use Facebook or have their phones on in class. It also discusses available laptop loans and recommended USB storage sizes. The introductory lesson will cover Illustrator's interface and essential tools like the pen tool. Students are given homework to complete a fashion figure using the pen tool and post it to the course Facebook group. The document provides some basic information about raster vs vector images and when to use each, as well as image resolution requirements for different mediums.
This document provides instructions for preparing an Illustrator document for prepress and printing. It discusses exploring color theory and resolution issues such as working in CMYK mode, understanding color gamuts and specifying spot colors. It also covers how to create crop marks and bleeds, and how to save the file as a PDF.
This document discusses digital graphics and images for games. It describes the two main types of digital images - bitmaps and vectors. Bitmaps use a grid of pixels and lose quality when zoomed in, while vectors use mathematical expressions and can be resized without quality loss. The document provides examples and details on pixels, capturing images, output methods, and organizing digital image files.
The document discusses graphics and their importance in integrative media, describing different types of graphics like raster images, vector images, and factors that affect graphic quality like size, color depth, and resolution. It also outlines some graphic file formats, software used for creating and editing graphics, and color models like RGB, CMYK, and HSB.
This document discusses graphics and their use in multimedia applications. It defines graphics as pictures, diagrams, charts and backgrounds. It discusses resolution and color depth of graphics. The two main types of graphics are vector graphics, which are represented by geometric shapes, and bitmap graphics, which are represented by pixels in an array. Bitmap graphics have higher image quality but larger file sizes than vector graphics. The document also covers compression formats, image sizes, sources of graphics, and software used to create and edit graphics.
This document discusses digital graphics and the types of digital images. There are two main types of digital images: bitmaps and vectors. Bitmaps are made up of pixels in a grid and can lose quality when zoomed in, while vectors use mathematical expressions and lines so images remain clear at any size. The document provides examples and details on pixels, capturing and creating images, and output considerations for digital graphics.
This document discusses digital graphics and the types of digital images. There are two main types of digital images: bitmaps and vectors. Bitmaps are made up of pixels in a grid and can lose quality when zoomed in, while vectors use mathematical expressions and lines so images remain clear at any size. The document provides examples and details on pixels, capturing and creating images, and output considerations for digital graphics.
The document provides guidance for a fashion drawing and digital media class, including instructions to keep mobile phones off during class, respect computers by keeping food and drink away, and notes on borrowing laptops from the university IT center and using vector vs raster images.
Color Settings dialog box appears. page).
2. Select North America Prepress Defaults from To assign a color profile to a new document:
the Settings menu (A). 1. Choose File > New. The New dialog box appears.
3. Click the RGB button (B). 2. Select the RGB or CMYK radio button, depend-
4. Select Adobe RGB (1998) from the Color Space ing on whether you want to create an RGB or
menu (C). CMYK document.
5. Click OK. 3. Choose Adobe RGB (1998) from the Color Profile
menu (A).
This sets Adobe RGB as
This document provides guidance for vendors responding to a request for proposal (RFP). It outlines the key steps, which include reading the RFP thoroughly, establishing win themes in an internal kickoff meeting, collecting questions, framing the response, ensuring proper grammar, conducting an internal review, submitting before the deadline, preparing for presentations as an assembled team with rehearsal, taking nothing for granted by being overly prepared, negotiating if selected, celebrating the outcome, and conducting a post-mortem review.
The document discusses the request for proposal (RFP) process. It defines an RFP as an invitation for vendors to submit proposals to provide goods or services to an organization. The document outlines the key steps in the RFP process, including assessing needs, preparing and distributing the RFP, evaluating proposals, conducting presentations, and negotiating contracts. It provides guidance on elements to include in an RFP, questions to ask vendors, tips for evaluating proposals and presentations, and best practices for negotiations.
This document discusses the RFP (Request for Proposal) process. It begins by outlining when an RFP may be needed, such as when a contract is up for renewal or there are issues with the current vendor. It then discusses selecting a consultant to manage the RFP process if desired. The document outlines the consultant's role in defining needs, identifying vendors, developing the RFP, managing communications and evaluations. Key aspects of the RFP are described like requirements, expectations and allowing vendor questions. The proposal, demo and contract phases are also summarized. The goal is to have a smooth transition to the new vendor selected through this competitive process.
This document provides guidance on executing a successful RFP (request for proposal) process. It begins by outlining when an RFP is the right tool and when it may not be suitable. When scope is unclear or requirements are not well defined, a project charter can help determine the best path forward. The document emphasizes treating the RFP as a process, not just a document, with clear communication and sufficient time allotted. It also provides tips on prioritizing requirements, evaluating differentiators between vendors, negotiating contracts, and determining when to engage a consultant.
This document summarizes a seminar on networking for career development. The speaker has over 24 years of experience in strategy, sales, legal, and business development. They will discuss their experiences as a mentee, peer, and mentor. Networking is defined as developing business opportunities through referrals and introductions in person or online to build enduring relationships. The speaker will discuss why networking and mentoring are important for meeting people in your field, learning industry dynamics, and finding new opportunities. They will provide tips on how to network strategically including starting with goals, focusing on personal connections, using professional societies and social networks, and maintaining a long-term perspective. Contact details are provided for anyone seeking mentoring advice.
Elizabeth Demers is a senior acquisitions editor at Johns Hopkins University Press with 20 years of experience in academic and trade publishing. She signs 20-30 books per year, including monographs, trade titles, and course adoption books. She commissions new books, evaluates submitted manuscripts, provides developmental edits, and attends conferences to promote books and the press. Her talk discusses strategies for networking to build professional connections in two areas: building her book list through conferences, outreach, and social media; and finding future career opportunities by getting involved in the industry and being generous with her time and recommendations.
Angela Cochran is a director, mother, wife, daughter, and volunteer leader who advocates for networking through volunteering and active participation. She recommends getting involved in committees and leadership roles to meet people, learn negotiation and collaboration skills, and gain experience in governance. Cochran also suggests attending professional events to ask questions, start conversations, exchange business cards, contribute online, and speak up so others realize your knowledge and potential to contribute.
Digital Science's mission is to fuel scientific discovery with software that simplifies research. They aim to empower researchers with disruptive technology. They incubate and invest in startups in the research field, with the goal of making research simpler so researchers have more time for discovery. Digital Science is a technology company that serves the needs of scientific research by changing the way science works.
The document discusses diversity and inclusion in mentorship at the American Society of Civil Engineers (ASCE). It describes the ASCE Diversity & Inclusion Council established in 2014 with a mission to foster understanding and cultivate an inclusive workforce. The council has 13 members from different departments, designations, races, ethnicities, and genders. It also works with a separate committee for ASCE's over 150,000 members from 177 countries. Activities to promote diversity include highlighting heritage months, lunch-and-learn sessions on topics like disability etiquette and working styles, and inviting outside speakers on bias. Mentorship can be formal or informal and aims to bridge gaps in skills, self-awareness, and confidence through
The Mentorship Program at T&F was created in 2010 based on employee feedback requesting guidance and support from experienced employees. The program is informal with 1:1 mentoring relationships lasting 6-12 months between employees in different divisions. Over 70 matches have been made in 5 years with only 2 not working out. Benefits include 20% of participants being promoted, 10% transferring, and under 5% turnover. The program increased employee engagement and led to improved productivity and cost savings.
This document discusses mentoring at the American Society of Civil Engineers (ASCE). It provides details about the pilot mentoring program launched in 2014 and the full program launched in 2015. Key points include pairing mentees and mentors, providing training and guidelines, and collecting feedback. The program aimed to facilitate a culture shift at ASCE to emphasize core values like trust, teamwork and excellence. Lessons learned include ensuring mentors and mentees are a good match and maintaining expectations. The author provides their own experience being paired as a mentor and mentee.
The document discusses advice and mentorship. It presents a series of fictional scenarios where a person seeks advice at different career stages and receives both helpful and unhelpful advice. It then provides recommendations for finding mentors and making the most of advice received, such as looking across different fields, mentoring others, and remembering that not all advice should be followed. The overall message is that while advice can be good or bad, it is still useful to consider different perspectives to help advance one's career.
October Ivins has worked in various library and information science roles since 1985, including positions at UNC Chapel Hill Library, LSU Baton Rouge Library, and UT Austin. She has been involved with professional organizations like ALA, NASIG, and SSP since 1981. As an independent consultant since 2001, Ivins mentors others on career development topics such as getting the most out of conferences, choosing positions, supervisor and coworker issues, and professional associations. Her document provides advice on training opportunities, managing staff, getting referrals, and preparing for phone interviews.
Early in one's career, a formal mentor is not necessary as support can be found from observing mid-to-late career colleagues. Peer mentoring through collaboration with other managers, especially other women managers, can also be effective. As careers advance, having a women mentor becomes important as women face unique challenges in the workplace and mentors help other women navigate their careers. Without any mentor, one risks lacking career advice, feeling stagnant in their career progression, and experiencing periods of career confusion with no expert to provide guidance.
Adrian Stanley discussed his experience mentoring fellows through the SSP program. He explained that mentoring involves softer guidance to help mentees develop over the long term through balanced listening, directing, and connecting. Fellows benefit from the experience and connections of mentors, who can help open doors, share new perspectives, and make introductions to expand networks and opportunities in the industry. Feedback from fellows showed mentoring helped them learn from experience, feel more included and secure asking questions, and broaden their industry perspectives.
The document discusses two kinds of mentorship at the nonprofit organization BioOne. It provides an overview of BioOne's mission to make scientific research more accessible and its founding by both library and publisher interests. It then defines a "culture of mentorship" as a work environment where employees feel comfortable getting advice from supervisors and colleagues, who see them as whole people rather than just skills. The second kind of mentorship is described as a more traditional unofficial mentor who provides professional guidance. It concludes by listing the executive staff of BioOne and contact information for the speaker.
This document provides a summary of October Ivins' career experience and areas of expertise. It lists her educational background, including degrees from UNC Chapel Hill Library in 1974-1985, UNC Chapel Hill SILS in 1985-1987, and LSU Baton Rouge Library in 1987-1995. It also outlines her work experience at UT Austin SILS from 1995-1998, Publist.com from 1998-2000, Booktech.com from 2000-2001, and as an independent consultant from 2001-present. The document then discusses how her definition of an information professional has loosened over time to include various managerial roles. It concludes by listing topics she provides career coaching and mentoring on, such as choosing jobs
Mohammad H Asadi Lari presented on creating an office culture of mentorship from the perspective of an early career student and mentee. He discussed his experiences being mentored through the SSP Fellowship program and beyond. Emerging trends in early career mentorship include more organizations introducing formal mentorship opportunities and an increase in both professional and peer mentoring models. Mentorship provides visible benefits like networking and career development, as well as hidden benefits beyond initial programs.
This document discusses opportunities for Western academic publishers in China. It notes that China is a rapidly growing market with increasing research output and funding. However, it is also highly competitive. The document outlines several strategies publishers can consider to engage with the Chinese market, including developing local language materials, using social media platforms allowed in China, attending Chinese conferences, exploring co-publishing opportunities with Chinese partners, and developing a long-term strategic plan focused on impact and relationships within China. It also discusses China's increasing open access policies and investments in research universities that could affect publishing opportunities.
This document discusses JSTOR's growing participation in Turkey from 1999-2014. It shows that participation grew slowly at first but increased significantly after the Turkish government began funding access to JSTOR collections through the Anatolian University Libraries Consortium in 2005. Participation and number of collections licensed continued to grow steadily through partnerships with the consortium and engaging a licensing agent in 2013. While agents can help with local representation, awareness, and relationships, they also present challenges of managing expectations, competing demands, and individuals not reporting to JSTOR.
1. Digital Art Preflight and Analysis
Society for Scholarly Publishing
Baltimore, MD
27 May 2009
Chris Coleman, Digital Specialist,
Greg Suprock, VP/GM
1
2. Digital Art Preflight
What is Preflight?
– An objective review of an image designed to identify:
– Resolution problems,
– File format issues,
– Color space concerns that may compromise quality,
– Other problematic issues that could affect reproduction.
What Preflight is not…
– A way to evaluate the context of the image…that is copyediting.
– A way to evaluate the scientific merit of an image…that is an
editor or reviewer’ role.
s
– A way to evaluate whether an image is “ photoshopped”.
2
3. Rapid Inspector: A preflight tool
What is Rapid Inspector?
– It’an application designed to ensure the quality and the
s
accuracy of images of images submitted by authors.
– Help reduce time spent re-working digital art and quickly
detect and resolve any manipulations before production.
What does it do?
– Rapid Inspector equips users with a technical assessment of a
file and how it was built & it’characteristics.
s
– It accepts or rejects images based on your criteria and
provides a list of errors with instructions for fixing them.
3
11. File Formats
Graphic Formats designed for print
–TIFF
Acceptable Formats
–EPS
–PDF Peer Review only
Graphic Formats designed for www
–JPEG, GIF, BMP, PICT, WMF
11
12. Industry Standard Editing Software
Adobe Photoshop (tif)
Best suited for editing images photos
Adobe Illustrator (eps)
Best suited for editing charts and graphs
12
13. Pitfalls of Power Point
Color accuracy
PowerPoint files are intended for screen display (RGB color model).
CMYK color conversion is required for (commercial printing).
Poor typeface management
PowerPoint files can be opened with no warning that a font is substituted.
Thus, the font substitution is 'invisible' but very common and potentially bad.
Cross-Platform inconsistencies
Power Point presentations are not interpreted identically across platforms.
Graphics may be altered in appearance or not display at all.
Image format and resolution
PowerPoint does not have the ability to save high resolution tiff or eps files.
PowerPoint exports images using screen resolution, (72 dpi).
13
14. Using PowerPoint Files
The best option is to copy images from
PowerPoint and paste into Adobe
Illustrator. This copy-and-paste method
will actually give you more predictable
results without resolution, font, and
quality issues.
Please see this tutorial available on the Cadmus Digital art site
http://cpc.cadmus.com/da/howto/creating_ai_eps_excel
14
15. Vector Graphics
• Vector graphics are made up of mathematically defined lines and curves called
vectors. You can move, resize, or change the color of a line without losing the
quality of the graphic.
• Vector graphics are resolution-independent—that is, they can be scaled to any size
and printed at any resolution without losing detail or clarity. As a result, vector
graphics are the best choice for representing bold graphics that must retain crisp
lines when scaled to various sizes (logos, for example).
•Note: Because computer monitors can display images only on a grid, both vector
graphics and bitmap images are displayed as pixels on-screen.
15
16. Bitmap or Raster Graphics
• Bitmap images—technically called raster images—are made up of a grid of dots
known as pixels. When working with bitmap images, you edit pixels rather than
objects or shapes. Bitmap images are the most common electronic medium for
continuous-tone images, such as photographs or digital paintings, because they
can represent subtle gradations of shades and color.
• Bitmap images can lose detail when scaled on-screen because they are resolution-
dependent, they contain a fixed number of pixels, and each pixel is assigned a
specific location and color value. Bitmapped images can look jagged if they’ re
printed at too low a resolution because the size of each pixel is increased.
16
17. The 2 Worlds of Color
Transmitted Light Reflected Light
17
18. The 2 Worlds of Color
• RGB exists in the
transmitted world of
light.
• Is a reality in computer
monitors and TV’ s.
• Suitable for internet
publishing at 72 PPI.
• CMYK exists in the
reflected world of light
utilizing pigments.
• Is a reality in all
printed materials.
18
19. The 2 Worlds of Color
60
52 99
Reflected Light Transmitted Light
“Perceived” “Actual”
19
20. The 2 Worlds of Color
RGB Color Space
Visible
Spectrum Computer Monitors
Human Eye (soft proofing)
CMYK Color Space
Offset Printing
20
22. Color Accuracy
Please do not rely on a monitor display to predict color
output on press. RGB colors on the screen are brighter
than what is printed on paper. Colors onscreen are
created with light, which adds brightness of its own to
the colors.
When printing on paper, the light is taken out of the
equation. RGB color can also be "out of gamut" for
CMYK printing, meaning that some of the colors cannot
be replicated with printing inks.
22
23. Column width
A pica is printer's unit measure, equal
to 12 points or 1/6 of an inch.
Composition unit of measurement used
in determining the dimensions of lines,
illustrations, or printed pages.
1 column = 20 pica or 3.33 inches
1 1/2 column =30 pica or 5 inches
2 column = 41 pica or 6.833 inches
1 column 1.5 column 2 column
23
24. Column Width & Sizing
Calculating Sizing Percentage: “
ideal for scanning”
The formula to determine resizing by percentage is to divide the target column width by
the original width. A 4x5 original intended for 1 column: 3.33” 4” 0.832” 83%
/ = or
Using rulers & guides to size:
To create a ruler guide: If the rulers are not already displayed, choose View > Show
Rulers. Position the pointer on the left ruler for a vertical guide or on the top ruler for a
horizontal guide. Drag the ruler guide into position.
To change the rulers' zero origin: Position the pointer over the intersection of the rulers
in the upper left corner of the window, and drag diagonally down onto the image. A set
of cross hairs appears, marking the new origin on the rulers.
Drag guides to the desired column width. With the selection tool, select the object or
objects to scale. Drag a handle until the selection is the desired size. Shift-drag the
handle to preserve the proportion.
24
25. Line weight & Type
Fine Line Weights 100% Original
and Small Type Small Type
may be too small
after reduction
1/2 Point
1 Point
2 Point
4 Point
25% Reduction
25
26. Line weight & Type Tips
Avoid using lines less than .5 Point
Panel labels should be 14 point Helvetica Bold
Type should be at least 9 pt at 100%
Submit Artwork final size that it will appear in
the journal (1 column wide, etc.)
26
27. Adjusting Line Thickness
Using Adobe Illustrator
Under the Window pull down menu click on Stroke to display the Stroke
pallet if not already visible. Using the direct selection tool click to select
one of the thin lines. (see screen captures below)
Under the Select pull down scroll to Same and select Stroke Weight
With the all of the strokes with the same weight selected increase the
stroke value by clicking on the right arrow in the Stroke pallet and
selecting a greater value. As a general rule thin rules should not be less
than .5 pt.
27
28. Shaded Area Tips
Use 20% Increments starting with 0%
Patterns fills can also be used instead of Shading
Shades of grey are preferred because they are most
compatible when copying and pasting into Illustrator.
Pattern fill’that are not compatible can be substituted
s
using Adobe Illustrator preset patterns.
28
29. Replacing Fills
Illustrator comes with a variety of preset
patterns. These patterns can be found on
the Hard drive and accessed by selecting
Window->Swatch Libraries->Other Libraries:
Typical location of preset patterns :
Local Disk(C:) ->Program Files->Adobe->Adobe Illustrator -
>Presets->Patterns->Basic Graphics
29
30. Input Resolution
In order to print, we need to get:
From Here To Here
30
31. Input Resolution
• Image files are
made from tiny
picture elements
known as pixels.
• Input resolution is
expressed in pixels
per inch (PPI).
31
32. Input Resolution
300 PPI Image Resolution
• Formula for
determining
proper image
resolution: two
times the output
screen frequency.
32
34. Output Device
An imagesetter is a high resolution
output device that can transfer
electronic text and graphics directly
to film or plates used in computer-
based preproduction work.
Unlike the resolution on a home or
office printer, which is probably
between 300 - 600 dots per inch
(dpi), the resolution on a typical
imagesetter is 1270 or 2540 dpi
34
35. Output Resolution
Halftone Grid 15 LPI 150 LPI
Halftone screens are measured in lpi (lines per inch). This refers to how
many rows, or lines, of dots fit in a linear inch. The number of lpi in a
halftone screen is called the screen frequency or line screen.
35
36. Resolution Summarized
300 PPI Image File
2400 SPI Imagesetter
Resolution
150 LPI Halftone
Screen Frequency
36
37. Screens
• Binary system results
in an optical illusion
of tone gradation.
• Continuous tone
images are converted
to varying sized dots
in a grid pattern.
• This is known as the
“halftone” process.
37
38. Screens: Dots a Moiré
• Uncontrolled variation
of grid placement
produces an
undesirable Moiré
pattern.
38
39. Screen Angles
• Pre-set grid rotation
minimizes the effect of
Moiré.
• Grids placed at 45
degrees from each
other result in the
least amount of Moiré.
39
40. Screen Angles
•Moiré avoidance requires
multiple screen angles
precisely placed.
•Dominant colors are placed
at greatest angles.
• degrees between
30
dominant colors.
•Proper screen angling
produces a minimized
“rosette” pattern.
40
41. Screens Summarized
Halftone screen attributes
include the screen frequency
and dot shape for each
screen used in the printing
process.
Setting the screens at
different angles ensures that
the dots placed by the four
screens blend to look like
continuous color and do not
produce moiré patterns.
41
45. Fonts
Cadmus supports the use of the following
Type 1 PostScript fonts for the creation of
digital art figures:
•Times Roman
•Helvetica
•Arial
•Symbol
•European PI
•Mathematical PI
45
46. Where to Get Help
Application Help
Adobe provides a variety of options for you to learn applications,
including online Help, and tool tips. You can easily access a host
of continually updated Web resources for learning Illustrator,
from tips and tutorials to tech support information using the:
Help menu
Cadmus Digital Art Web Site
http://art.cadmus.com/da/
Cadmus Email Support
digitalart@cadmus.com
46
47. Digital Art Analysis
Digital Art Tools make Electronic Images a Dynamic Medium
Not all authors understand the Digital Art Tools they use
– Unintentional changes to images may result
– Data may be lost
– Data may be hidden
– Data may become confusing to interpret
Some authors understand the Digital Art Tools they use
– Proper image preparation may occur
– Images may be enhanced
– Images may be beautified
– Images may be altered, in the worst cases, fraudulently
Hwang et al., Science 303(5664): 1669-1674, 2004 brought
this issue to front page news
48. Digital Art Analysis
Most preventative steps are:
– Suitable for low volume workflows
– Rely on manual detection
– Require high-level Photoshop skills
– Are time consuming
– Catch those errors the human eye can see
The optimal solution is:
– Scalable
– Capable of integration into Peer Review workflows
– Robust, Fast, Easy to use
– Software-based detection: Rigour ™, JPEG Snoop
53. Digital Art Analysis –Quality Matters
For more information see: www.cenveo.com/pdf/digital_art_analysis.pdf
Contact Info: Chris Coleman, Digital Specialist, colemanc@cadmus.com
Greg Suprock, VP/GM, suprockg@cadmus.com