DESKTOP PUBLISHING OPERATOR

2nd Semester

TRADE THEORY

SECTOR: IT & ITES

DIRECTORATE GENERAL OF TRAINING

MINISTRY OF SKILL DEVELOPMENT & ENTREPRENEURSHIP
GOVERNMENT OF INDIA

NATIONAL INSTRUCTIONAL
MEDIA INSTITUTE, CHENNAI
Post Box No. 3142, CTI Campus, Guindy, Chennai - 600 032
Sector : IT & ITES
Duration : 1 year
Trades : DTPO - 2nd Semester - Trade Theory

Copyright © 2014 National Instructional Media Institute, Chennai

First Edition : May 2015 Copies : 1,000
First Reprint : February 2016 Copies : 1,000
Second Reprint : May 2017 Copies : 1,000

Rs.230 /-

All rights reserved.

No part of this publication can be reproduced or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording or any information storage and retrieval system, without permission in writing from
the National Instructional Media Institute, Chennai.

Published by:
NATIONAL INSTRUCTIONAL MEDIA INSTITUTE
P. B. No.3142, CTI Campus, Guindy Industrial Estate,
Guindy, Chennai - 600 032.
Phone: 044 - 2250 0248, 2250 0657, 2250 2421
Fax : 91 - 44 - 2250 0791
email : [email protected]
Website: www.nimi.gov.in

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 FOREWORD

The National Instructional Media Institute (NIMI) is an autonomous body under the Directorate General of
Employment and Training (DGE&T) Ministry of Labour and Employment has been developing, producing
and disseminating Instructional Media Packages (IMPs are extensively used in the Industrial Training
Institutes/Training centres in Industries to impart practical training and develop work-skills for the train-
ees and the trainers

The Ministry of Labour & Employment constituted Mentor Councils (MCs) to revampcourses run / to be
run under National Council of Vocational Training (NCVT) in 25 sectors. The MCs have representatives
from thought leaders among various stakeholders viz. one of the top ten industries in the sector innovative
entrepreneurs who have proved to be game-changers, academic/professional institutions (IITs etc.), ex-
perts from field institutes of DGE&T, champion ITIs for each of the sectors and experts in delivering
education and training through modern methods like through use of IT, distance education etc. The
technical support to the MCs is provided by Central Staff Training and Research Institute (CSTARI),
Kolkata and National Instructional Media Institute (NIMI), Chennai. Some of the MCs are also supported
by sector-wise Core Groups which were created internally in the Ministry (in 11 sectors).

A Steering Committee to provide overall coordination and guidance to Mentor Councils has also been
constituted and has representation from the MCs, Chair positions to be endowed by the Ministry, trade
unions, and experts on distance education and training. The MCs are mandated to work towards revamp-
ing/suggesting new courses, improving assessment systems, overall learning etc. for subjects under the
purview of the NCVT.

Accordingly NIMI with the support and assistance of MC has developed DTPO Trade Theory 2nd Semester
in IT & ITES sector to enhance the employability of ITI trainees across the country and also to meet the
industry requirement.

I have no doubt that the trainees and trainers of ITIs & Training centres in industries will derive maximum
benefit from these books and that NIMI's effort will go a long way in improvement of Vocational Training.

I complement Director, Mentor Council members, Media Development Committee (MDC) members and
staff of NIMI for their dedicated and invaluable contribution in bringing out this publication.

ALOK KUMAR, I.A.S.,

Director General of Employment &
Training/ Joint Secretary
Ministry of Labour and Employment
Government of India

New Delhi - 110 001

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 PREFACE
This National Instructional Media Institute (NIMI) was set up at Chennai by the Directorate General
of Employment and Training (DGE&T) Ministry of Labour and Employment, Government of
India with technical assistance from the Govt. of the Federal Republic of Germany. The prime
objective of this institute is to develop and disseminate instructional materials for various trades
as per the prescribed syllabi under the Craftsmen and Apprenticeship Training Schemes.
The instructional materials are developed and produced in the form of Instructional Media
Packages (IMPs). An IMP consists of Trade Theory book, Trade Practical book, Test and
Assignment book, Instructor guide, Wall Charts and Transparencies.
Hon'ble Union Minister of Finance during the budget speech 2014-2015 mentioned about
developing Skill India and made the following announcement
"A national multi-skill programme called Skill India is proposed to be launched. It would skill the
youth with an emphasis on employability and entrepreneur skills. It will also provide training and
support for traditional professions like welders, carpenters, cobblers, masons, blacksmiths,
weavers etc. Convergence of various schemes to attain this objective is also proposed."
The Ministry of Labour & Employment constituted Mentor Councils (MCs) to revamp courses
run / to be run under National Council of Vocational Training (NCVT) in 25 sectors which will give
a sustained skill based employability to the ITI trainees as the main objective of Vocational
training. The ultimate approach of NIMI is to prepare the validated IMPs based on the exercises
to be done during the course of study. As the skill development is progressive the theoretical
content on a particular topic is limited to the requirement in every stage. Hence the reader will
find a topic spread over a number of units. The test and assignment will enable the instructor to
give assignments and evaluate the performance of a trainee. If a trainee possesses the same
it helps the trainee to do assignment on his own and also to evaluate himself. The wall charts
and transparencies are unique, as they not only help the instructor to effectively present a topic
but also helps the trainees to grasp the technical topic quickly. The instructor guide enables the
instructor to plan his schedule of instruction, plan the raw material requirement ,
Thus the availability of a complete Instructional Media Package in an institute helps the trainer
and management to impart an effective training. Hence it is strongly recommended that the
Training Institutes/Establishments should provide at least one IMP per unit. This will be small,
one time investment but the benefits will be long lasting.
The DTPO Trade Theory 2nd semester in IT&ITES sector is one of the book develop by the
core group members of the Mentor Councils (MCs). The 2nd semester book includes Module1-
Photoshop, Module 2 - Corel Draw, Module 3 - InDesign, Module 4 - Bi-Lingual Software,
Module 5 - Printing and Publishing
The DTPO Trade Theory 2nd semester is the outcome of the collective efforts of Members of
Mentor Council which includes academic/professional institutions (IITs etc.) , experts from field
institutes of DGE&T, champion ITIs for each of the sectors, and also Media Development
Committee (MDC) members and staff of NIMI.
NIMI wishes that the above material (Trade Practical & Trade Theory) will fulfil to satisfy the long
needs of the Trainees and Instructor and helps the trainees for their employability in vocational
training.
NIMI would like to take this opportunity to convey sincere thanks to all the Mentor Council members
and Media Development Committee (MDC) members.
A. MAHENDIRAN
Chennai - 600 032. Director, NIMI

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 ACKNOWLEDGEMENT

National Instructional Media Institute (NIMI) sincerely acknowledges with thanks for the co-operation and
contribution extended by the following Media Developers and their sponsoring organisation to bring out this IMP
(Trade Theory) for the trade of DTPO under the IT & ITES Sector for Craftsman Training Scheme. This Book is
prepared as per Revised Syllabus.

MEDIA DEVELOPMENT COMMITTEE MEMBERS

Dr. Sanjeev Kumar Gupta - Additional Director (IT),

NIELIT, Deity, MCIT, New Delhi.
Chairman, Mentor council.

Shri. Naresh Chandra - Joint Director of Training ,

DGE&T, New Delhi
Mentor, Mentor council.

Dr. M. Jayaprakasan, - Deputy Director of Training,

ATI, Chennai
Team Leader, Mentor council.

Shri. S.K. Acharya - Vocational Instructor,

NVTI, Noida.
Member, Mentor council.

Shri. Muhammed Anvar - Vocational Instructor,

RVTI, Trivandrum.
Member, Mentor council.

Shri. S. Chitrakumar - Assistant Training Officer

Govt. ITI (W), Trichy
Member, Mentor council.

Shri. N. Sundararajan - Training Officer,

NIMI, Chennai - 32
Co-ordinator, NIMI, Mentor council.

NIMI records its appreciation of the Data Entry, CAD, DTP operators for their excellent and devoted services in the
process of development of this instructional material.

NIMI also acknowledges with thanks, the invaluable efforts rendered by all other staff who have contributed for the
development of this Instructional material.

NIMI is also grateful to all others who have directly or indirectly contributed and helped in developing this IMP.

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 INTRODUCTION
TRADE THEORY

The manual of trade theory consists of theoretical information for the Second Semester course of the DTPO
Trade. The contents are sequenced according to the practical exercise contained in the manual on Trade
practical. Attempt has been made to relate the theortical aspects with the skill covered in each exercise to
the extent possible. This co-relation is maintained to help the trainees to develope the perceptional capabilities
for performing the skills.

The Trade theory has to be taught and learnt along with the corresponding exercise contained in the manual
on trade practical. The indicating about the corresponding practical exercise are given in every sheet of this
manual.

It will be preferable to teach/learn the trade theory connected to each exercise atleast one class before
performing the related skills in the shop floor. The trade theory is to be treated as an integrated part of each
exercise.

The material is not the purpose of self learning and should be considered as supplementary to class room
instruction.

TRADE PRACTICAL

The trade practical manual is intented to be used in workshop. It consists of a series of practical exercies to
be completed by the trainees during the Second Semester course of the DTPO trade supplemented and
supported by instructions/ informations to assist in performing the exercises. These exercises are designed
to ensure that all the skills in the prescribed syllabus are covered.

The manual is divided into Five modules. The distribution of exercises in the Five modules are given below.

Module 1 Photoshop 11 Exercises

Module 2 Corel Draw 13 Exercises
Module 3 InDesign 9 Exercises
Module 4 Bilingual software 3 Exercises
Module 5 Printing and publishing 8 Exercises

Total 44 Exercises

The skill training in the shop floor is planned through a series of practical exercises centred around some
practical project. However, there are few instance where the individual exercise does not form a part of project.

While developing the practical manual a sincere effort was made to prepare each exercise which will be easy
to understand and carry out even by below average traninee. However the development team accept that there
if a scope for further improvement. NIMI, looks forward to the suggestions from the experienced training faculty
for improving the manual.

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 CONTENTS

Lesson No. Title of the Lesson Page No.

Module 1 : Photoshop

2.1.01 Image editing software 1

2.1.02 Selecting, Editing and Cropping the images 17
2.1.03 Image essentials 22
2.1.04 Image editing softwares 29
2.1.05 Formatting text, paragraphs using the brushes and layers 39
2.1.06 Retouching and repairing images 53
2.1.07 Drawing and painting 58
2.1.08 Basics of layers 64
2.1.09 Filters and effects 79
2.1.10 Use an action panel and saving files in graphics formats 87
2.1.11 Printing from photoshop 90

Module 2 : Corel Draw

2.2.01 Introduction to graphic design and corel draw 98

2.2.02 Opening and editing the existing drawing in CorelDraw 114
2.2.03 Usage of guides and drawing tools in coreldraw 121
2.2.04 Creating ellipses, circles, rectangles and square 125
2.2.05 Shaping object 132
2.2.06 Fills effects 136
2.2.07 Aligning and arranging the objects 140
2.2.08 Shaping object 143
2.2.09 & Adding and formatting the text 148
2.2.10
2.2.11 Adding and formatting the table 154
2.2.12 Adding and formatting the bitmap 156
2.2.13 Printing and printer properties in coreldraw 159

Module 3 : InDesign
2.3.01 Creating a document and column set up for a variety of publications 162
2.3.02 Identification and use of tools, rulers, guides and snap-to-guides 165
2.3.03 Formatting text and page 171
2.3.04 Placing and editing graphics 180
2.3.05 Drawing and painting object 192
2.3.06 Creating and formatting tables 202
2.3.07 Using the color, color libraries and color separation 206
2.3.08 Create a books with styles and layers 214
2.3.09 Printing solutions and PPD’s and PDF’s generation 225

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Lesson No. Title of the Lesson Page No.

Module 4 : Bi-Lingual Software

2.4.01 Installation of multilingual software 250

2.4.02 Working with multilingual software 255
2.4.03 Working with advanced tools & settings of ISM 257

Module 5 : Printing and Publishing

2.5.01 Classification of printers 259

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IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.01
Image editing softwares
Objectives : At the end of this lesson you shall be able to
• explain about the process of producing printed products
• describe various image editing software
• explain about Adobe Photoshop CS6
• learning about Creating, Opening, and importing images in Adobe Photoshop
• identifying workspace and tools.
Graphic reproduction CD-ROMs containing text and pictures. In a wider sense,
The process of producing printed products can be divided therefore, "prepress" is also referred to as "pre-media",
into three parts: prepress, printing (press), and print meaning the preparation of text and image for the several
finishing (postpress). publication media. As can be seen in, the premedia
production stage may already be incorporated in the actual
Printed products are graphic products in the widest sense:
prepress stage.
books and brochures, newspapers and magazines, leaf-
lets and posters, labels and stickers, stamps and securi- A fundamental technological change has taken place
ties, credit and check cards, as well as folding cartons and within prepress. The use of conventional typesetting ma-
blister packs, bags and pouches, beakers and tins, paper chines, repro cameras, and film has been replaced by
plates and lanterns, paper tissues, beer mats, mailings, computer technology in virtually all branches of this indus-
and much more. try. Text and image are digitized or actually created
digitally, processed electronically and output directly onto
Prepress includes all the processing steps required to go
the printing plate in print format, and increasingly without
from the preparation of the text, original images and
the use of film intermediates. Nevertheless, for many
graphics as well as the design concept right up to the
companies film remains an indispensable information
production of the ready-for-print master; the master (print-
carrier, albeit for a short-term transitional phase. It is for
ing plate) is then employed at the printing stage to produce
this reason that both prepress technologies.
the job.
The informational content and professional typographic/
• Conventional and
graphic design of printed products are also a useful starting • Digital
point for publications in the field of electronic media even
outside print media, such as homepages on the Internet or

Text Images
The possibilities of word capturing and processing, as well The picture objects of a printed product are usually avail-
as the generation of a typesetting product, are described able as photograph, slide, or reflection copy, and are
in. The method of working has not been changed by the scanned in, or digitized, for publication. The digital data are
introduction of digital production, only the place of execu- then available at a workstation for further processing (i.e.,
tion has changed in most cases: that is from the depart- corrections of the image contents or geometry). In the
ments of typesetting and reproduction to the correspond- mean time, further alternatives have been added to this
ing departments at the customer's or at the agency. classical procedure: for instance the principle of the photo
The text data are primarily prepared in "Word" format, CD. This procedure still includes the use of a camera and
which has virtually become the word processing standard, the development of the film. However, very often the result
since it is most widely used and offers many professional is not a slide, but a data file, for example stored on a Photo
tools. The text data are very rarely edited directly in word; CD, containing original pictures that are already digitized.
instead they are positioned and typographically edited in a As for the scanned image, these data can also be pro-
layout program (e.g., Quark XPress, InDesign, or cessed directly onto the workstation.
Pagemaker).
1
 Images may be present both as line art (graphics), black-
and-white or colored, and as black-and-white or colored
continuous-tone images. The base material containing the
image data is called the original. In the case of a continu-
ous-tone original it is most often a photograph. A black-
and-white photo contains a large number of gray values
ranging from the black areas of the image, the "shadows,"
to the white areas, the "highlights", the range of optical
density of a positive slide, which is often the original for
image reproduction, is greater than that of a print, it is
necessary for adjustments to be made depending on the
subject matter. In addition there is scaling (enlargement/
reduction), image correction (spotting out unwanted de-
tails, smoothing or contours, addition or removal of ele-
ments of the image, etc.), color correction, and, as already
mentioned, screening for the halftone reproduction of
continuous-tone images for printing. This whole range of
tasks must be accomplished during the image processing/
reproduction process-efficiently and within tightly con-
trolled limits. There are two processing routes to achieve
this goal, which involve different principles:
Graphics
Graphics constitute the third main element of a printed
• Analog image processing and
page. They are generally generated in so called illustration • Digital image processing.
programs such as Freehand, Illustrator, or Coreldraw.
These data are usually saved in the form of vector-based
data files, which cannot be edited or positioned in a layout
program. Therefore, these software programs offer an
opportunity to save graphics or drawings in EPS format and
make them available in the layout for geometric processing
(scaling, cropping).
Layout
Layout programs are software packages allowing for flex-
ible, creative work and for integrating the elements (text,
images, and graphics) on pages or a sequence of pages,
or to position them on the page depending on the current
job. Thus they have taken over a significant function of
production. One particular layout program has virtually
become a standard application: Quark Xpress. In 1999, a
competitor appeared on the market: Indesign from Adobe.
Another popular layout program is page-maker (formerly by
Aldus, today Adobe), which is mostly used in offices.
Photomechanical image processing/reproduction
Image processing or reproduction is the process that
information in the form of images undergoes when it is
converted from an original to a ready-for-print master/plate.
In photomechanical image processing the master (usually Analog image processing uses predominantly photome-
film) is produced by using optical devices to record the chanical, chemical, and physical means to complete the
images (camera, optics, filters, etc.) and process them tasks whereas digital image processing is carried out
(color filters, optical screens, special properties of the film electronically/digitized.
material, etc.); no digital processes are used for photome-
chanical recording and processing the images, which is Principles, tasks of photomechanical reproduction
the case in "electronic reproduction technology" Photomechanical reproduction technology has the task of
producing masters/copies (films) for the platemaking pro-
cess from original images via a photomechanical route.
Knowledge of fundamental definitions and laws of light
technology and the properties of films used in repro
technology is required in order to fully master the optical
and photographic processes involved.
2 IT&ITES : DTPO - Related Theory for Exercise 2.1.01
Image editing softwares Fig 2

Modern cameras can make digital photography seem very

easy, and even the most basic models will often produce
crisp, clear photos.
You'll still have occasional issues with lighting, white
balance, red-eye and more, though, so it's a good idea to
learn & use a photo editor around to help resolve these
issues.
The extremely demanding software for image editing is
Photoshop, and there's no doubt it's a great program. But
it is a licensed program which is costly as well.
3. PhoXo
Some excellent free tools are also available. Lets get some
brief on a few Image editing softwares before studying PhoXo has been around for almost 10 years now, and it's
Photoshop. grown into a very useful editor with something for everyone.
Kids can play around with the clipart, customising images
1. GIMP with cartoon cats; practical types will enjoy options like the
GIMP (the GNU Image Manipulation Program) first ap- ability to add a custom watermark to an entire folder of
peared way back in 1996, and has been regularly updated images; and everyone else will appreciate the drawing and
ever since, so it's no surprise that the package is one of the paint tools, image transformations, effects and more.
most powerful free photo editor. There are tools to correct Fig 3
colours, enhance contrast, brightness and more; sharpen
or blur an image, fix perspective problems, remove red-eye;
add special lighting effects, turn a photo into an oil painting,
and create an animation.
The paint tools alone are amazing, there's full layer support
and lots of ways to extend the program.
All this power does mean GIMP takes a while to learn, but
don't let that put you off - if you've any previous image editing
experience then you'll be doing useful work within minutes.
Fig 1
4. Funny Photo Maker
Funny Photo Maker has no layer support, no smart
selection tools, no paint or drawing options. But that
doesn't matter, because what it does have is an amazing
range of effects which you can apply in seconds.
So you can add someone's face to a movie poster,
magazine cover or a dollar bill; transform a still image into
an animation; add rain or snow to a photo, apply some
excellent frames, and turn your photos into a college,
amongst many other options.
2. Paint.NET
Fig 4
It may not have anything like the power of GIMP, but there's
still plenty to like about Paint.NET. It's strong on image
editing basics, with options to resize and rotate your
photos, a good range of selection and paint tools, and
some excellent special effects.
Support for layers means you can apply your edits to part
of an image only, and the program can be extended with
plugins.
Best of all, though, Paint.NET'sar and straightforward
interface means it's very easy to use, even if you're a
complete graphics novice.

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 3

5. Photo Pos Pro Fig 5
Its tiny toolbars and dated interface mean Photo Pos
Prodoesn't look too promising, but begin to explore and
you'll soon be impressed.
There are plenty of selection options, a wide range of paint
tools, colour corrections and more.
You get reasonable support for layers and masks, lots of
effects (all extremely configurable), and a scripting tool
which helps you automate many editing tasks.
And the program offers some fun touches, too, like a set of
"Magical" effects which help you add fireworks, bubbles,
stardust or similar decorations to an image.

Introduction to photoshop CS5

Explain the capabilities and features for Photoshop

Fig 6

Introduction taken from different horizontal angles from the same spot
can be merged into a single panoramic image.
Photoshop can be described as a digital editing application
for digital-copy of raster images. Besides the standard Artistic effects
colour and lighting correction tools along with filtering,
Photoshop provides the ability to use different filters and
painting, masking, and layering options, it provides additional
warping tools to apply artistic effect to images. The
functionality to work with 3D objects, digital animations,
combination of numerous tools and filters in Photoshop
and video editing.
can create unexpected results.
Photo Corrections
Painting
Photoshop's strength lies in the ability to correct digital
Photoshop is one of the best applications available for
images to restore original color and lighting as well as to
creating digital paintings. The addition of wet brush capability
correct problems introduced in images by camera lenses.
in Photoshop CS5 makes it the first choice for digital
Photo composition painting. Many of the powerful features, such as the
layering and masking, are available for use with the painting
Image editing may be used to combine multiple images
tools. The paint-brushes are integrated into many of the
into one single image or composition. Multiple images
other tools in Photoshop.

4 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

Creating vector artwork Fig 7
Photoshop also is an excellent application to use for
creating vector artworks. The path tool quickly creates/
manipulates vector artwork created on a separate masked
layer upon any raster image. You also can add vector
artwork (including vector text) to raster images.
Adding text to images
Photoshop provides various type tools used to add text
upon images. The text can be resized, warped, and
adjusted to add special visual effects to the image(s).
Creating Web images
Another area where Photoshop excels is preparing images
for the web. Photoshop provides utilities to quickly format Name
images with the appropriate size, file format, and colors for
These settings specify the name of the document which is
use in web pages. Photoshop also provides tools for slicing
used to locate the document in the file system later.
of an image into clickable sections and provides the
required HTML code for use of the slices in Web pages. Preset
Print preparation This option includes a drop down list as shown below.
Photoshop is often used to convert the images from one Size
colour format to another making it ready for being printed.
This settings to select drop down list based on the preset
Usually RGB colour mode is changed to CYMK for four-
setting selected standard photo sizes and paper sizes or
colour printing. Spot colors are added separately and color
custom sizes available on the clip board.
separations are also created.
Creating 3D objects Fig 8

Photoshop has the capability to create and manipulate 3D

objects. Although it is not the best utility for creating
3Dobjects, it is very good at manipulating them and then
applying them to 2D images.
Adding textures to 3D objects
Photoshop has a big advantage over other 3Dapplications
at applying textures to 3D objects. With photoshop's filter
and painting capabilities, Edit the textures of your 3D
objects in ways that you may not have thought possible.
Video corrections
Just as with 3D modeling, photoshop should not be your
choice for creating video projects; however, using Width
photoshop's color, lighting, and filter effects, Quickly apply
corrections to video and even add some artistic effects, This setting specify the sizes document width area available
on the size, The available units they are inches, mm, cm,
Animating images picas, point, pixels and columns the available in the preset.
Another fun feature of Photoshop is the ability to add Height
animation to your images. Animated images can gives life
to web pages and allow you to create short animates This setting specify the sizes document height area
movies. available on the size, The available units they are inches,
mm, cm, picas, point, pixels and columns the available in
New Photo shop document the preset.
New Resolution
Go to File Menu → Choose the Option New from file menu. This settings specify the resolution and the units to set the
The New Dialogue box opens as shown in Fig. 7 resolution of the new document, The available units are
pixels/inch and pixels/cm
Color mode
This settings specify the Colour mode and number of
channels to use the creating document, Colour mode

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 5

(Bitmap, RGB colour, CMYK colour, Gray scale, Lab • The ability to import 3D images and to edit individual
Colour and bit level (1bit,8 bit,16 bit32 bit)available on the frames or image sequence files by painting, cloning,
new document retouching, or transforming them.
Background Contents • Support for 3D files including the U3D, 3DS, OBJ, KMZ,
This setting specifies the contents of the background of the and Collada file formats created by programs such as
new document, This options are white, background color Adobe Acrobat® 9 Professional and Google Earth. See
and transparent . background Colour is selected the Colour Lesson 12, "Working with 3D Images," to learn about
is selected the Colour of the back ground Photoshop these features.
toolbox is used as the background for the document.
• Support for specialized file formats, such as DICOM,
Introduction to Adobe Photoshop CS6 the most common standard for receiving medical scans;
Adobe® Photoshop® CS6, the benchmark for digital MATLAB, a high-level technical computing language
imaging excellence, provides strong performance, powerful and interactive environment for developing algorithms,
image-editing features, and an intuitive interface. Adobe visualizing and analyzing data, and computing num-
Camera Raw, included with Photoshop CS6, offers flexibility bers; and 32-bit highresolution images, including a
and control as you work with raw images as well as TIFF special HDR Color Picker and the capability to paint
and JPEG images. Photoshop CS6 pushes the boundaries and layer these 32-bit HDR images.
of digital image editing and helps you turn your dreams into Installing adobe Photoshop
designs more easily than ever before.
Before you begin using Adobe Photoshop CS6, make sure
What's New in this Edition that your system is set up correctly and that you've
This edition covers many new features in Adobe Photoshop installed the required software and hardware. You must
CS6, such as intuitive video editing tools, which make it purchase the Adobe Photoshop CS6 software separately.
easy to create and add effects to video clips and still For system requirements and complete instructions on
images; the Content-Aware Move tool, which lets you installing the software, see the Adobe Photoshop CS6
remove unwanted objects or replicate existing portions of Read Me file on the application DVD or on the web at
an image; simpler and more powerful 3D controls www.adobe.com/support. Note that some Photoshop CS6
(Photoshop CS6 Extended only); and the all-new Crop tool, Extended features, including all 3D features, require a
providing greater flexibility in cropping, straightening, and video card that supports OpenGL 2.0. Photoshop and
skewing an image. In addition, these lessons introduce Bridge use the same installer. You must install these
you to erodible brush tips, new vector layers, lens-aware applications from the Adobe Photoshop CS6 application
adjustments, paragraph styles, and more. New exercises DVD (you cannot run the programs from the disc), or from
and lessons cover: the installation files you downloaded from Adobe, onto your
hard drive. Follow the onscreen instructions. Make sure
• Using the Timeline panel, keyframes, and motion ef- that your serial number is accessible before installing the
fects to create movie files from video clips and still application.
images within Photoshop.
Photoshop CS6 system requirements
• Creating and applying paragraph styles to text. Windows
• Painting more realistic effects with erodible brush tips. • Intel® Pentium® 4 or AMD Athlon® 64 processor
• Creating, positioning, and adding effects to objects in a • Microsoft® Windows® XP with Service Pack 3
3D scene (Photoshop CS6 Extended only). orMicrosoft Windows 7 with Service Pack 1. Adobe®
This edition is also chock-full of extra information on Creative Suite® 5.5 and CS6 applications also support
Photoshop features and how best to work with this robust Windows 8 and Windows 8.1. See the CS6 FAQ for
application. You'll learn best practices for organizing, more information about Windows 8 support.*
managing, and showcasing your photos, as well as how to • 1 GB of RAM
optimize images for the web. And throughout this edition,
look for tips and techniques from one of Adobe'sown • 1 GB of available hard-disk space for installation;
experts, Photoshop evangelist Julieanne Kost. additional free space required during installation (can-
Adobe Photoshop CS6 Extended not install on removable flash storage devices)

This edition of works with the 3D features in Adobe • 1024 x 768 display (1280 x 800 recommended) with 16-
Photoshop CS6 Extended-a version with additional func- bit color and 512 MB (1 GB recommended) of VRAM
tions for professional, technical, and scientific users,
• OpenGL 2.0-capable system
intended for those creating special effects in video or in
architectural, scientific, or engineering images. Photoshop • DVD-ROM drive
Extended features include:

6 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

• This software doesn't operate without activation. Broad- Specify the file format in which to open a file
band Internet connection and registration are required If a file was saved with an extension that doesn't match its
for software activation, validation of subscriptions, and true format (for example, a PSD file saved with a .gif
access to online services. extension), or has no extension, Photoshop may not be
Starting to work in adobe Photoshop able to open the file. Selecting the correct format will allow
Photoshop to recognize and open the file.
The Adobe Photoshop work area includes menus, toolbars,
and panels that give you quick access to a variety of tools (Windows) Choose File > Open As, and select the file you
and options for editing and adding elements to your image. want to open. Then choose the desired format from the
You can also add commands and filters to the menus by Open As pop up menu, and click Open.
installing third-party software known as plug-ins. Photoshop If the file does not open, then the chosen format
works with bitmapped, digitized images (that is, continu- may not match the file's true format, or the file
ous-tone images that have been converted into a series of may be damaged.
small squares, or picture elements, called pixels). You can
also work with vector graphics, which are drawings made Open PDF files
of smooth lines that retain their crispness when scaled. Adobe Portable Document Format (PDF) is a versatile file
You can create original artwork in Photoshop, or you can format that can represent both vector and bitmap data. It
import images from many sources, such as: has electronic document search and navigation features.
• Photographs from a digital camera PDF is the primary format for Adobe Illustrator and Adobe
Acrobat.
• Commercial CDs of digital images Some PDF files contain a single image, and others contain
• Scans of photographs, transparencies, negatives, graph- multiple pages and images. When you open a PDF file in
ics, or other documents Photoshop, you can choose which pages or images to
open and specify rasterization options.
• Captured video images
You can also import PDF data using the Place command,
• Artwork created in drawing programs the Paste command, and the drag-and-drop feature. The
page or image is placed on a separate layer as a Smart
Open files Object.
You can open files using the Open command and Open The following procedure is only for opening ge-
Recent command. You can also open files into Photoshop neric PDF files in Photoshop. You don't need to
from Adobe Bridge or Adobe® Photoshop® Lightroom™. specify options in the Import PDF dialog box,
When opening certain files, such as camera raw and PDF, when opening Photoshop PDF files.
you specify settings and options in a dialog box before the Open an EPS file
files completely open in Photoshop.
Encapsulated PostScript (EPS) can represent both vector
In addition to still images, Photoshop® Extended users and bitmap data and is supported by virtually all graphic,
can open and edit 3D files, video and image sequence files. illustration, and page-layout programs. The Adobe applica-
Photoshop uses plug-in modules to open and tion that primarily produces PostScript artwork is Adobe
import many file formats. If a file format does not Illustrator. When you open an EPS file containing vector
appear in the Open dialog box or in the File > art, it is rasterized-the mathematically defined lines and
Import submenu, you may need to install the curves of the vector artwork are converted into the pixels or
format's plug-in module. bits of a bitmap image.
Sometimes Photoshop may not be able to determine the You can also bring PostScript artwork into Photoshop
correct format for a file. This can happen, for example, using the Place command, the Paste command, and the
because the file has been transferred between two operat- drag-and-drop feature.
ing systems. Sometimes a transfer between Mac OS and Opening a file with adobe Bridge
Windows can cause the file format to be mislabeled. In
such cases, you must specify the correct format in which In this book, you'll work with different start files in each
to open the file. lesson. You may make copies of these files and save them
under different names or locations, or you may work from
You can retain (where possible) layers, masks, transpar- the original start files and then copy them from the DVD
ency, compound shapes, slices, image maps, and editable again if you want a fresh start. This lesson includes three
type when bringing your Illustrator art into Photoshop. In start files.
Illustrator, export the art in the Photoshop (PSD) file format.
If your Illustrator art contains elements that Photoshop In the previous lesson, you used the Open command to
doesn't support, the appearance of the artwork is pre- open a file. Now you'll open another file using Adobe Bridge,
served, but the layers are merged and the artwork is a visual file browser that helps take the guesswork out of
rasterized. finding the image file that you need.

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 7

Acquiring digital images from cameras interface directly in Photoshop. In either case, make sure
to install the software necessary for your scanner. For
You can copy images to your computer by connecting your
installation instructions, see the documentation provided
camera or a media card reader to your computer.
by the scanner manufacturer.
• Use theGet Photos From Camera command in Adobe® Scanner drivers are supported by the scanner
Bridge® to download photos, and to organize, rename, manufacturer, not Adobe. If you have problems
and apply metadata to them. with scanning, make sure that you are using the
• If your camera or the card reader appears as a drive on latest version of the scanner driver and software.
your computer, copy images directly to your hard disk Import images from a separate scanning application
or into Adobe Bridge.
Most scanners come with software you can run outside of
• Use the software that came with your camera, Win- Photoshop, providing identical scanning options and qual-
dows Image Acquisition (WIA), or Image Capture (Mac ity. This method avoids issues caused by outdated TWAIN
OS). For more information on using Windows Image drivers. It can also improve efficiency, letting you edit
Acquisition or Image Capture, see your computer images in Photoshop while scanning continues in the
documentation. background.
Import images from a digital camera using WIA 1 Start the scanning software, and set options as de-
(Windows only) sired.
Certain digital cameras import images using Windows 2 Save scanned images in TIFF format.
Image Acquisition (WIA) support. When you use WIA, 3 In Photoshop, open the saved TIFF files.
Photoshop works with Windows and your digital camera or
scanner software to import images directly into Photoshop. Workspace overview
Importing scanned images You create and manipulate your documents and files using
various elements, such as panels, bars, and windows. Any
To import scanned images, either open TIFF files saved arrangement of these elements is called a workspace.
from separate scanning software, or use a TWAIN or WIA

Default workspace
A. Tabbed Document windows B. Application bar C. Workspace switcher D. Panel title bar E. Control panel F. Tools panel
G. Collapse To Icons button H. Four panel groups in vertical dock

8 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

• The Application bar across the top contains a workspace Add and remove panels
switcher, menus (Windows only), and other application If you remove all panels from a dock, the dock disappears.
controls. You can create a dock by moving panels to the right edge
• The Tools panel contains tools for creating and editing of the workspace until a drop zone appears.
images, artwork, page elements, and so on. Related • To remove a panel, right-click (Windows) or Control-
tools are grouped. click (Mac) its tab and then select Close, or deselect it
• The Options bar Control panel displays options for the from the Window menu.
currently selected tool. • To add a panel, select it from the Window menu and
• The Document window displays the file you're working dock it wherever you want.
on. Document windows can be tabbed and, in certain Save a custom workspace
cases, grouped and docked.
1. With the workspace in the configuration you want to
• Panels help you monitor and modify your work. For save, choose Window > Workspace > New Workspace.
example, the Layers panel in Photoshop. Panels can 2. Type a name for the workspace.
be grouped, stacked, or docked.
3. Under Capture, select one or more options:
Hide or show all panels
Keyboard shortcuts
• To hide or show all panels, including the Tools panel and
Control panel, press Tab. Saves the current set of keyboard shortcuts (Photoshop
only).
• To hide or show all panels except the Tools panel and Menus or Menu Customization
Control panel, press Shift+Tab.
Saves the current set of menus.
You can temporarily display hidden panels if Auto-Show
Hidden Panels is selected in Interface preferences. Move Restore the default workspace
the pointer to the edge of the application window (Win- 1. Select the Default or Essentials workspace from the
dows®) or to the edge of the monitor (Mac OS®) and hover workspace switcher in the application bar.
over the strip that appears.
2. Select Window > Workspace > Reset [Workspace
Display panel options Name].
• Click the panel menu icon in the upper-right corner 3. You can view information about any tool by positioning
of the panel. the pointer over it. The name of the tool appears in a tool
You can open a panel menu even when the panel is tip below.
minimized.
Photoshop CS5 tools
Dock and undock panels
When you start Photoshop, the Tools panel appears at the
A dock is a collection of panels or panel groups displayed left of the screen. Some tools in the Tools panel have
together, generally in a vertical orientation. You dock and options that appear in the context-sensitive options bar.
undock panels by moving them into and out of a dock. You can expand some tools to show hidden tools beneath
them. A small triangle at the lower right of the tool icon
• To dock a panel, drag it by its tab into the dock, at the indicates the presence of hidden tools.
top, bottom, or in between other panels.
You can view information about any tool by positioning the
• To dock a panel group, drag it by its title bar (the solid pointer over it. The name of the tool appears in a tool tip
empty bar above the tabs) into the dock. below the pointer.
• To remove a panel or panel group, drag it out of the dock
by its tab or title bar. You can drag it into another dock
or make it free-floating.

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 9

When you start Photoshop, the Tools panel appears at the
left of the screen. Some tools in the Tools panel have
options that appear in the context-sensitive options bar.
You can expand some tools to show hidden tools beneath
them. A small triangle at the lower right of the tool icon
signals the presence of hidden tools.
You can view information about any tool by positioning the
pointer over it. The name of the tool appears in a tool tip
below the pointer.
Selecting and displaying tools
Select a tool
Accessing tools
• Click a tool in the Tools panel. If there is a small triangle
at a tool's lower right corner, hold down the mouse A. Tools panel B. Active tool C. Hidden tools D. Tool name
E. Tool shortcut F. Hidden tool triangle
button to view the hidden tools. Then click the tool you
want to select.
Change tool pointers
• Press the tool's keyboard shortcut. The keyboard
Each default pointer has a different hotspot, where an effect
shortcut is displayed in its tool tip. For example, you
or action in the image begins. With most tools, you can
can select the Move tool by pressing the V key.
switch to precise cursors, which appear as cross hairs
Pressing and holding a keyboard shortcut key lets you centered around the hotspot.
temporarily switch to a tool. When you let go of the shortcut
In most cases, the pointer for a tool is the same as the icon
key, Photoshop returns to the tool you were using before
for that tool; you see that pointer when you select the tool.
the temporary switch.
The default pointer for the marquee tools is the cross-hair
pointer ; for the text tool, the default pointer is the I beam
10 IT&ITES : DTPO - Related Theory for Exercise 2.1.01
; and for the painting tools the default pointer is the Brush Tool presets
Size icon.
Tool presets let you save and reuse tool settings. You can
1. Choose Edit > Preferences > Cursors (Windows) load, edit, and create libraries of tool presets using the Tool
2. Choose tool pointer settings under Painting Cursors or Preset picker in the options bar, the Tool Presets panel,
Other Cursors: and the Preset Manager.
Standard To choose a tool preset, click the Tool Preset picker in the
Displays pointers as tool icons. options bar, and select a preset from the pop up panel. You
can also choose Window > Tool Presets and select a
Precise preset in the Tools Presets panel.
Displays pointers as cross hairs.
Normal Brush Tip
The pointer outline corresponds to approximately 50% of
the area that the tool will affect. This option shows the
pixels that would be most visibly affected.
Full Size Brush Tip
The pointer outline corresponds to nearly 100% of the area
that the tool will affect, or nearly all the pixels that would be
affected.
Show Crosshair In Brush Tip
Displays cross hairs in the center of the brush shape.
Show Only Crosshair While Painting
Improves performance with large brushes.
3. Click OK. Viewing the Tool Preset picker
A. Click the Tool Preset picker in the options bar to show the Tool
The Painting Cursors options control the pointers for the Preset pop up panel. B. Select a preset to change the tool's options
following tools: to the preset, which applies each time you select the tool until you
choose Reset Tool from the panel menu. C. Deselect to show all
Eraser, Pencil, Paintbrush, Healing Brush, Clone Stamp, tool presets; select to show presets for only the tool selected in
Pattern Stamp, Quick Selection, Smudge, Blur, Sharpen, the toolbox.
Dodge, Burn, and Sponge tools
The marquee tools make rectangular, elliptical, single
The Other Cursors options control the pointers for the
row, and single column selections.
following tools:
Marquee, Lasso, Polygonal Lasso, Magic Wand, Crop,
Slice, Patch, Eyedropper, Pen, Gradient, Line, Paint
Bucket, Magnetic Lasso, Magnetic Pen, Freeform Pen,
Measure, and Color Sampler tools
Using the options bar
The options bar appears below the menu bar at the top of The Magic Wand tool selects similarly colored areas.
the workspace. The options bar is context sensitive-it
changes as you select different tools. Some settings in the
options bar (such as painting modes and opacity) are
common to several tools, and some are specific to one tool.
You can move the options bar in the workspace by using
the gripper bar, and you can dock it at the top or bottom of
The Move tool moves selections, layers, and guides.
the screen. Tool tips appear when you position the pointer
over a tool. To show or hide the options bar, choose
Window > Options.

The lasso tools make free hand, polygonal (straight-

Lasso options bar edged), and magnetic (snap- to) selections.
A. Gripper bar B. Tool tip

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 11

The Quick Selection tool lets you quickly "paint" a The Magic Eraser tool erases solid-colored areas to
selection using an adjustable round brush tip transparency with a single click.

The Dodge tool lightens areas in an image.

• Crop and slice tools gallery

Crop tool trims images.

The Healing Brush tool paints with a sample or pattern to

repairimperfections in a image.
The tool creates slices.

The Slice Select tool selects slices.

The Pattern Stamp tool paints with part of an imageas a
pattern.

• Retouchingtoolsgallery
The Blur tool blurs hard edges in an image.
The Spot Healing Brush tool removes blemishes and
objects

The Clone Stamp tool paints with a sample of an image.

12 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

TheBurn tool darkens are as in an image. The Smudge tools mudges data in an image.

• Painting tools gallery

The Patch tool repairs imperfections in a selected area of The Brush tool paints brush strokes.
an image using a sampleor pattern.

The History Brush tool paints a copy of the selected state

The Eraser tool erase spixels and restores parts of an or snaps hot into the current image window.
image to a previously savedstate.

The Pencil tool paints hard- edged strokes.

The Sharpen tool sharpens soft edges in an image.

The Art History brush tool paints with stylized strokes

The Sponge tool changes the color saturation of an area. that simulate the look of different paint styles, using a
selected state or snapshot.

The Red Eye tool removes the red reflection caused by a

flash. The Color Replacement tool replaces a selected color
with a new color.

The Background Eraser tool erases are as to transpar-

ency by dragging.
The gradient tools create straight-line, radial,angle, re-
flected, and diamond blends between colors.

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 13

The Mixer Brush tool Simulates realistic painting tech- The type mask tools create a selection in the shape of
niques such as blending canvas colors and varying paint type.
wetness.

The Paint Bucket tool fills similarly colored areas with the The pen tools let you draw smooth-edged paths.
fore ground color.

• Drawing and type tools gallery • Navigation, notes and measuring tools gallery
The path selection tools make shape or segment selec- The Hand tool moves an image within its window.
tions showing anchor points, direction lines, and direction
points.

The Eye dropper tool samples colors in an image.

The shape tools and Line tool draw shapes and lines in
a normal layer or a shape layer.

The Rotate View tool non- destructively rotates the

The type tools create type on an image. canvas.

The Custom Shape tool makes customized shapes

selected from a custom shape list.
The Color Sampler tool displays color values for upto four
areas.

14 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

 The 3D Object Scale tool scales the object larger or
smaller.

The Zoom tool magnifies and reduces the view of an

image.
The 3D Walk Camera tool moves laterally when you drag
horizontally, or forward and back when you drag vertically.

The Ruler tool measures distances, locations, and angles.

The 3D Object Roll tool rotates the object around its z-

axis.

The Note tool makes notes that can be attached to an

image.

The 3D Rotate Camera tool orbits the camera in the x or

y direction.

The Count tool counts objects in an image. (Photoshop

Extended only)

The 3D Zoom Camera tool changes the field of view closer

or farther away.

• 3D tools gallery
The 3D Object Rotate tool rotates the object around its x-
axis.
The 3D Object Pan tool pans the object in the x or y
direction.

IT&ITES : DTPO - Related Theory for Exercise 2.1.01 15

 The 3D Pan Camera tool pans thecamera in the x or y
The 3D Roll Camera tool rotates the camera around the direction.
z-axis.

The 3D Object Slide tool moves the object laterally when

you drag horizontally, or forward and back when you drag
vertically.

16 IT&ITES : DTPO - Related Theory for Exercise 2.1.01

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.02
Selecting, Editing and Cropping the images
Objectives : At the end of this lesson you shall be able to
• use of Marquee tools in Adobe Photoshop
• use of Lasso, Polygonal Lasso, and Magnetic Lasso Tools
• learning about Transformation, Crop, Rotation and Canvas.
Contrast
Marquee tool
To specify the lasso's sensitivity to edges in the image,
The marquee tools let you select rectangles, ellipses, and
enter a value between 1% and 100% for Contrast. A higher
1 pixel rows and columns.
value detects only edges that contrast sharply with their
Select with the Lasso tool surroundings; a lower value detects lower-contrast edges.
The Lasso tool is useful for drawing freeform segments of Frequency
a selection border.
To specify the rate at which the lasso sets fastening points,
Select with the Polygonal Lasso tool enter a value between 0 and 100 for Frequency. A higher
value anchors the selection border in place more quickly.
The Polygonal Lasso tool is useful for drawing straight-
edged segments of a selection border. On an image with well-defined edges, try a higher width and
higher edge contrast, and trace the border roughly. On an
Select with the Magnetic Lasso tool
image with softer edges, try a lower width and lower edge
When you use the Magnetic Lasso tool , the border contrast, and trace the border more precisely.
snaps to the edges of defined areas in the image. The Stylus Pressure
Magnetic Lasso tool is not available for 32 bits-per-channel
If you are working with a stylus tablet, select or deselect the
images.
Stylus Pressure option. When the option is selected, an
The Magnetic Lasso tool is especially useful for quickly increase in stylus pressure decreases the edge width.
selecting objects with complex edges set against high-
5. Click in the image to set the first fastening point.
contrast backgrounds.
Fastening points anchor the selection border in place.
1. Select the Magnetic Lasso tool.
6. Release the mouse button or keep it depressed, and
2. Specify one of the selection options in the options bar. then move the pointer along the edge you want to trace.
The most recent segment of the selection border remains
active. As you move the pointer, the active segment snaps
to the strongest edge in the image, based on the detection
width set in the options bar. Periodically, the Magnetic
Selection options Lasso tool adds fastening points to the selection border to
A. New B. Add To C. Subtract From D. Intersect With anchor previous segments.
7. If the border doesn't snap to the desired edge, click
3. (Optional) Set feathering and anti-aliasing in the options once to add a fastening point manually. Continue to
bar trace the edge, and add fastening points as needed.
4. Set any of these options:
Width
To specify a detection width, enter a pixel value for Width.
The Magnetic Lasso tool detects edges only within the
specified distance from the pointer.
To change the lasso pointer so that it indicates the lasso
width, press the Caps Lock key. You can change the
pointer while the tool is selected but not in use. Press the
right bracket (]) to increase the Magnetic Lasso edge width
by 1 pixel; press the left bracket ([) to decrease the width Fastening points anchor selection border to edges
by 1 pixel.

17
8. To switch temporarily to the other lasso tools, do one horizontally and vertically.
of the following:
Rotate
• To activate the Lasso tool, hold down Alt (Windows) Turns an item around a reference point. By default, this
or Option (Mac OS), and drag with the mouse button point is at the center of the object; however, you can move
depressed. it to another location.
• To activate the Polygonal Lasso tool, hold down Alt Skew
(Windows) or Option (Mac OS), and click.
Slants an item vertically and horizontally.
9. To erase recently drawn segments and fastening points,
Distort
press the Delete key until you've erased the fastening
points for the desired segment. Stretches an item in all directions.
10.Close the selection border: Perspective
• To close the border with a magnetic segment, Applies one-point perspective to an item.
double-click, or press Enter or Return. (To manually Warp
close the border, drag over the starting point and
click.) Manipulates the shape of an item.

• To close the border with a straight segment, hold Rotate 180, Rotate 90 CW, Rotate 90 CCW
down Alt (Windows), and double-click. Rotates the item by the specified number of degrees, either
clockwise or counterclockwise.
11.(Optional) Click Refine Edge to further adjust the
selection boundary. Flip
Transforming objects Flips the item vertically or horizontally.
Transformations Set or move the reference point for a transformation
Transforming scales, rotates, skews, stretches, or warps All transformations are performed around a fixed point
an image. You can apply transformations to a selection, an called the reference point. By default, this point is at the
entire layer, multiple layers, or a layer mask. You can also center of the item you are transforming. However, you can
apply transformations to a path, a vector shape, a vector change the reference point or move the center point to a
mask, a selection border, or an alpha channel. Transform- different location using the reference point locator in the
ing affects image quality when you manipulate the pixels. options bar.
To apply non-destructive transformations to raster images,
1 Choose a transformation command. A bounding box
use Smart Objects. Transforming a vector shape or path is
appears in the image.
always non-destructive because you're only changing the
mathematical calculations producing the object. 2 Do one of the following:
To make a transformation, first select an item to transform • In the options bar, click a square on the reference point
and then choose a transformation command. If necessary, locator. Each square represents a point on the bound-
adjust the reference point before manipulating the transfor- ing box. For example, to move the reference point to the
mation. You can perform several manipulations in succes- upper-left corner of the bounding box, click the top left
sion before applying the cumulative transformation. For square on the reference point locator.
example, you can choose Scale and drag a handle to
scale, and then choose Distort and drag a handle to distort. • In the transform bounding box that appears in the
Then press Enter or Return to apply both transformations. image, drag the reference point . The reference point
can be outside the item you want to transform.
Photoshop uses the interpolation method selected in the
General area of the Preferences dialog box to calculate the Transform freely
color values of pixels that are added or deleted during The Free Transform command lets you apply transforma-
transformations. This interpolation setting directly affects tions (rotate, scale, skew, distort, and perspective) in one
the speed and quality of the transformation. Bicubic continuous operation. You can also apply a warp transfor-
interpolation, the default, is slowest but yields the best mation. Instead of choosing different commands, you
results. simply hold down a key on your keyboard to switch
You can also warp and distort raster images using between transformation types.
the Liquify filter If you are transforming a shape or entire path, the
Transform submenu commands Transform command becomes the Transform Path
command. If you are transforming multiple path
Scale segments (but not the entire path), the Transform
Enlarges or reduces an item relative to its reference point, command becomes the Transform Points com-
the fixed point around which transformations are per- mand.
formed. You can scale horizontally, vertically, or both
18 IT&ITES : DTPO - Related Theory for Exercise 2.1.02
Warp an item
The Warp command lets you drag control points to
manipulate the shape of images, shapes, or paths, and so
on. You can also warp using a shape in the Warp Style pop-
up menu in the options bar. Shapes in the Warp Style pop-
up menu are also malleable; drag their control points.
When using the control points to distort an item, choosing
View > Extras shows or hides the warp mesh and control
points. Crop or remove part of an image

Puppet Warp Cropping is the process of removing portions of an image

Puppet Warp provides a visual mesh that lets you drasti- to create focus or strengthen the composition. Use the
cally distort specific image areas, while leaving other areas Crop tool to crop and straighten images in Photoshop. The
intact. Applications range from subtle image retouching Crop tools in Photoshop CC and CS6 are non-destructive
(such as shaping hair) to total transformations (such as and you can choose to retain the cropped pixels to
repositioning arms or legs). optimize the crop boundaries later. The Crop tool also
provides intuitive methods to straighten the image while
In addition to image layers, you can apply Puppet Warp to
cropping.
layer and vector masks. To nondestructively distort im-
ages, use Smart Objects. For all operations, visual guides provide an interactive
preview. When you crop or straighten photos, real-time
Crop images
feedback helps you visualize the final result.
Cropping is the process of removing portions of an image
Using Crop tools
to create focus or strengthen the composition. You can
crop an image using the Crop tool and the Crop command. Watch how to preview the angle of your image to confirm
You can also trim pixels using the Crop And Straighten and that your crop is plumb. You can revisit a crop any time you
the Trim commands. like, so you never waste effort.

A. Active tool B. Size and proportions C. Rotate crop box D. Straighten image E. View F. Crop options G. Delete Cropped Pixels

Size and proportions Enable crop shield

Choose a ratio or size for the crop box. You can also Use the crop shield to overlay the cropped areas with a tint.
choose a preset, enter your own, or even define your own You can specify a color and opacity. If you Enable Auto
preset values for later use. Adjust Opacity, the opacity is reduces when you edit the
crop boundaries.
View
Delete cropped pixels
Choose a view to display overlay guides while cropping.
Guides such as Rule of Thirds, Grid, and Golden Ratio are Disable this option to apply a non-destructive crop and
available. To cycle through all the options, press O. retain pixels outside the crop boundaries. Non-destructive
cropping does not remove any pixels. You can later click
Crop Options
the image to see areas outside current crop borders.
Click the Settings menu to specify additional crop options.
Enable this option to delete any pixels that are outside the
Use Classic mode crop area. These pixels are lost and are not available for
Enable this option if you want to use the Crop tool like it was future adjustments.
in previous versions of Photoshop. Right-click the Crop box and access common crop options
Auto-center preview from the context menu.

Enable this option to place the preview in the center of the Crop an image using the Trim command
canvas. The Trim command crops an image by removing unwanted
Show Cropped Area image data in different ways than the Crop command. You
can crop an image by trimming surrounding transparent
Enable this option to display the area that is cropped. If this pixels, or background pixels of the color you specify.
option is disabled, only the final area is previewed.
Transform perspective while cropping | CS5
The Crop tool has an option that lets you transform the
perspective in an image. Transforming the perspective is

IT&ITES : DTPO - Related Theory for Exercise 2.1.02 19

useful when working with images that contain keystone
distortion. Keystone distortion occurs when an object is
photographed from an angle rather than from a straight on
view. For example, if you take a picture of a tall building from
ground level, the edges of the building appear closer to
each other at the top than they do at the bottom.

Rotate the image using the crop tool to straighten it

• To straighten an image do one of the following:

• Place the pointer a little outside the corner handles
and drag to rotate the image. A grid displays inside
the crop box and the image rotates behind it.
• Click Straighten in the control bar and then using the
Straighten tool, draw a reference line to straighten
the photo. For example, draw a line along the
horizon or an edge to straighten the image along it.
Straighten an image
The Ruler tool provides a Straighten option that quickly
aligns images with horizon lines, building walls, and other
key elements.

1. Select the Ruler tool . (If necessary, click and

hold the Eyedropper tool to reveal the Ruler.)
2. In the image, drag across a key horizontal or vertical
element.
A Draw initial cropping marquee B Adjust cropping marquee to
match the object's edges C Extend the cropping bounds D Final
3. In the options bar, click Straighten.
image Photoshop straightens the image and automatically crops
Crop and straighten scanned photos it. To reveal image areas that extend beyond the new
document boundaries, choose Edit > Undo.
You can place several photos on your scanner and scan
them in one pass, which creates a single image file. The Rotate or flip an entire image
Crop and Straighten Photos command is an automated The Image Rotation commands let you rotate or flip an
feature that can create separate image files from the entire image. The commands do not work on individual
multiple-image scan. layers or parts of layers, paths, or selection borders. If you
For best results, keep 1/8 inch between the images in your want to rotate a selection or layer, use the Transform or
scan, and the background (typically the scanner bed) Free Transform commands.
should be a uniform color with little noise. The Crop and Choose Image > Image Rotation, and choose one of the
Straighten Photos command works best on images with following commands from the submenu:
clearly delineated outlines. If the Crop and Straighten
Photos command cannot properly process the image file, 180°
use the Crop tool. Rotates the image by a half-turn.
Straighten an image 90° CW
You can straighten an image while cropping. The image is Rotates the image clockwise by a quarter-turn.
rotated and aligned to straighten it. The image canvas is
90° CCW
automatically resized to accommodate the rotated pixels.
Rotates the image counterclockwise by a quarter-turn.

20 IT&ITES : DTPO - Related Theory for Exercise 2.1.02

Arbitrary Crop and straighten photos
Rotates the image by the angle you specify. If you choose Cropping is the process of removing portions of an image
this option, enter an angle between -359.99 and 359.99 in to create focus or strengthen the composition. Use the
the angle text box. (In Photoshop, you can select °CW or Crop tool to crop and straighten images in Photoshop. The
°CCW to rotate clockwise or counterclockwise.) Then click Crop tools in Photoshop CC and CS6 are non-destructive
OK. and you can choose to retain the cropped pixels to
optimize the crop boundaries later. The Crop tool also
Flip Canvas Horizontal or Vertical
provides intuitive methods to straighten the image while
Flips the image along the corresponding axis. cropping.
Image Rotation is destructive editing and actually For all operations, visual guides provide an interactive
modifies the file information. If you want to non- preview. When you crop or straighten photos, real-time
destructively rotate the image for viewing, use feedback helps you visualize the final result.
the Rotation tool.
Change the canvas size
The canvas size is the full editable area of an image. The
Canvas Size command lets you increase or decrease an
image's canvas size. Increasing the canvas size adds
space around an existing image. Decreasing an image's
canvas size crops into the image. If you increase the
canvas size of an image with a transparent background, the
added canvas is transparent. If the image doesn't have a
transparent background, there are several options for
determining the color of the added canvas.

IT&ITES : DTPO - Related Theory for Exercise 2.1.02 21

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.03
Image essentials
Objectives : At the end of this lesson you shall be able to
• explain Raster and Vector graphics
• learn about various file format used in Adobe Photoshop
• explain Tonal value and Tonal Gradation.

Bitmap images Bitmap images are resolution-dependent-that is, they

contain a fixed number of pixels. As a result, they can lose
Bitmap images-technically called raster images-use a detail and appear jagged if they are scaled to high magni-
rectangular grid of picture elements (pixels) to represent fications on-screen or if they are printed at a lower resolu-
images. Each pixel is assigned a specific location and tion than they were created for.
color value. 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 more efficiently represent subtle gradations of
shades and color.

Bitmap images sometimes require large amounts of stor- Combining vector graphics and bitmap images
age space, and often need to be compressed to keep file
sizes down when used in certain Creative Suite compo- When combining vector graphics and bitmap images in a
nents. For instance, you compress an image file in its document, it's important to remember that how your
original application before you import it into a layout. artwork looks on-screen isn't always how it will look in its
final medium (whether commercially printed, printed on a
In Adobe Illustrator, you can create bitmap effects desktop printer, or viewed on the web). The following factors
in your artwork using effects and graphic styles. influence the quality of your final artwork:
Vector graphics Transparency
Vector graphics (sometimes called vector shapes or vector Many effects add partially transparent pixels to your
objects) are made up of lines and curves defined by artwork. When your artwork contains transparency,
mathematical objects called vectors, which describe an Photoshop performs a process called flattening before
image according to its geometric characteristics. printing or exporting. In most cases, the default flattening
You can freely move or modify vector graphics without process produces excellent results. However, if your
losing detail or clarity, because they are resolution-inde- artwork contains complex, overlapping areas and you
pendent-they maintain crisp edges when resized, printed require high-resolution output, you will probably want to
to a PostScript printer, saved in a PDF file, or imported into preview the effects of flattening.
a vector-based graphics application. As a result, vector Image Resolution
graphics are the best choice for artwork, such as logos,
that will be used at various sizes and in various output The number of pixels per inch (ppi) in a bitmap image. Using
media. too low a resolution for a printed image results in pixelation-
output with large, coarse-looking pixels. Using too high a
The vector objects you create using the drawing and shape resolution (pixels smaller than what the output device can
tools in Adobe Creative Suite are examples of vector produce) increases the file size without increasing the
graphics. You can use the Copy and Paste commands to quality of the printed output, and slows the printing of the
duplicate vector graphics betweenCreative Suite compo- artwork.
nents.

22
Printer resolution and screen frequency To take advantage of certain Photoshop features, such as
some filters, you can convert a 16-bpc image to an 8-bpc
The number of ink dots produced per inch (dpi) and the
image. It's best if you do a Save As and convert a copy of
number of lines per inch (lpi) in a halftone screen. The
the image file so the original file retains the full 16-bpc
relationship between image resolution, printer resolution,
image data.
and screen frequency determines the quality of detail in the
printed image. Convert between bit depths
Color channels • Do any of the following:
Every Photoshop image has one or more channels, each • To convert between 8 bpc and 16 bpc, Choose
storing information about color elements in the image. The Image > Mode > 16 Bits/Channel or 8 Bits/Channel.
number of default color channels in an image depends on
its color mode. By default, images in Bitmap, Grayscale, • To convert from 8 bpc or 16 bits to 32 bpc, choose Image
Duotone, and Indexed Color mode have one channel; RGB > Mode > 32 Bits/Channel.
and Lab images have three; and CMYK images have four.
Pixel dimensions and printed image resolution
You can add channels to all image types except Bitmap
mode images. Pixel dimensions measure the total number of pixels along
an image's width and height. Resolution is the fineness of
Channels in color images are actually grayscale images
detail in a bitmap image and is measured in pixels per inch
that represent each of the color components of an image.
(ppi). The more pixels per inch, the greater the resolution.
For example, an RGB image has separate channels for
Generally, an image with a higher resolution produces a
red, green, and blues color values.
better printed image quality.
In addition to color channels, alpha channels, can be added
to an image for storing and editing selections as masks,
and spot color channels can be added to add spot color
plates for printing.
Bit depth
Bit depth specifies how much color information is available
for each pixel in an image. The more bits of information per
pixel, the more available colors and more accurate color
representation. For example, an image with a bit depth of
1 has pixels with two possible values: black and white. An
image with a bit depth of 8 has 28, or 256, possible values.
Grayscale mode images with a bit depth of 8 have 256
possible gray values.
RGB images are made of three color channels. An 8-bit per
pixel RGB image has 256 possible values for each channel
which means it has over 16 million possible color values.
RGB images with 8-bits per channel (bpc) are sometimes
Unless an image is resampled the amount of image data
called 24-bit images (8 bits x 3 channels = 24 bits of data
remains constant as you change either the print dimen-
for each pixel).
sions or resolution. For example, if you change the
In addition to 8-bpc images, Photoshop can also work with resolution of a file, its width and height change accordingly
images that contain 16-bpc or 32-bpc. Images with 32-bpc to maintain the same amount of image data.
are also known as high dynamic range (HDR) images.
In Photoshop, you can see the relationship between image
Photoshop support for 16-bit images size and resolution in the Image Size dialog box (choose
Photoshop provides the following support for working with Image >Image Size). Deselect Resample Image, because
16-bpc images: you don't want to change the amount of image data in your
photo. Then change width, height, or resolution. As you
• Working in Grayscale, RGB Color, CMYK Color, Lab change one value, the other two values change accord-
Color, and Multichannel, modes. ingly. With the Resample Image option selected, you can
change the resolution, width, and height of the image to suit
• All tools in the toolbox, except the Art History Brush
your printing or on-screen needs.
tool, can be used with 16-bpc images.
• Color and tonal adjustment commands are available
• You can work with layers, including adjustment layers,
in 16-bpc images.
• Many Photoshop filters can be used with 16-bpc im-
ages.

IT&ITES : DTPO - Related Theory for Exercise 2.1.03 23

 Monitor resolution
Your monitor's resolution is described in pixel dimensions.
For example, if your monitor resolution and your photo's
pixel dimensions are the same size, the photo will fill the
screen when viewed at 100%. How large an image appears
on-screen depends on a combination of factors-the pixel
dimensions of the image, the monitor size, and the monitor
resolution setting. In Photoshop, you can change the
image magnification on-screen, so you can easily work
with images of any pixel dimensions.

When preparing images for viewing on-screen, you should

consider the lowest monitor resolution that your photo is
likely to be viewed on.
AOriginal dimensions and resolution B Decreasing the resolution Printer resolution
without changing pixel dimensions (no resampling) C Decreasing
Printer resolution is measured in ink dots per inch, also
the resolution at same document size decreases pixel dimensions
(resampling). known as dpi. Generally, the more dots per inch, the finer
the printed output you'll get. Most inkjet printers have a
Quickly display the current image size resolution of approximately 720 to 2880 dpi. (Technically,
inkjet printers produce a microscopic spray of ink, not
If you want to quickly display a document's current image
actual dots like imagesetters or laser printers.)
size, use the information box at the bottom of the document
window. Printer resolution is different from, but related to image
resolution. To print a high quality photo on an inkjet printer,
• Position the pointer over the file information box, and an image resolution of at least 220 ppi should provide good
hold down the mouse button. results.
File size Screen frequency is the number of printer dots or halftone
cells per inch used to print grayscale images or color
The file size of an image is the digital size of the image file,
separations. Also known as screen ruling or line screen,
measured in kilobytes (K), megabytes (MB), or gigabytes
screen frequency is measured in lines per inch (lpi)-or lines
(GB). File size is proportional to the pixel dimensions of the
of cells per inch in a halftone screen. The higher the
image. Images with more pixels may produce more detail
resolution of the output device, the finer (higher) a screen
at a given printed size, but they require more disk space to
ruling you can use.
store and may be slower to edit and print. Image resolution
thus becomes a compromise between image quality The relationship between image resolution and screen
(capturing all the data you need) and file size. frequency determines the quality of detail in the printed
image. To produce a halftone image of the highest quality,
Another factor that affects file size is file format. Because you generally use an image resolution that is from 1.5 to at
of the varying compression methods used by GIF, JPEG, most 2 times the screen frequency. But with some images
PNG, and TIFF file formats, file sizes can vary considerably and output devices, a lower resolution can produce good
for the same pixel dimensions. Similarly, color bit-depth results. To determine your printer's screen frequency,
and the number of layers and channels in an image affect check your printer documentation or consult your service
file size. provider.
Photoshop supports a maximum pixel dimension of 300,000 Some imagesetters and 600-dpi laser printers use
by 300,000 pixels per image. This restriction places limits screening technologies other than halftoning. If
on the print size and resolution available to an image. you are printing an image on a nonhalftone
printer, consult your service provider or your
printer documentation for the recommended im-
age resolutions.

24 IT&ITES : DTPO - Related Theory for Exercise 2.1.03

Resampling JPEG
Resampling is changing the amount of image data as you Joint Photographic Experts Group (JPEG) format is com-
change either the pixel dimensions or the resolution of an monly used to display photographs and other continuous-
image. When you downsample(decrease the number of tone images in hypertext markup language (HTML) docu-
pixels), information is deleted from the image. When you ments over the World Wide Web and other online services.
resample up (increase the number of pixels, or upsample), JPEG format supports CMYK, RGB, and Grayscale color
new pixels are added. You specify an interpolation method modes, and does not support alpha channels. Unlike GIF
to determine how pixels are added or deleted. format, JPEG retains all color information in an RGB image
but compresses file size by selectively discarding data.
About file formats
A JPEG image is automatically decompressed when
Graphic file formats differ in the way they represent image
opened. A higher level of compression results in lower
data (as pixels or as vectors), in compression technique,
image quality, and a lower level of compression results in
and in which Photoshop and ImageReady features they
better image quality. In most cases, the Maximum quality
support.
option produces a result indistinguishable from the original.
If a supported file format does not appear in the
PDF
appropriate dialog box or submenu, you may
need to install the format's plug-in module. Portable Document Format (PDF) is a flexible, cross-
platform, cross-application file format. Based on the
BMP
PostScript imaging model, PDF files accurately display
BMP is a standard Windows image format on DOS and and preserve fonts, page layouts, and both vector and
Windows-compatible computers. BMP format supports bitmap graphics. In addition, PDF files can contain elec-
RGB, Indexed Color, Grayscale, and Bitmap color modes. tronic document search and navigation features such as
You can specify either Windows or OS/2® format and a bit electronic links.
depth for the image. For 4-bit and 8-bit images using
Photoshop and ImageReady recognize two types of PDF
Windows format, you can also specify RLE compression.
files: Photoshop PDF files and Generic PDF files. You can
Photoshop EPS open both types of PDF files; however, you can only save
Encapsulated PostScript (EPS) language file format can images to Photoshop PDF format.
contain both vector and bitmap graphics and is supported PNG
by virtually all graphic, illustration, and page-layout pro-
Developed as a patent-free alternative to GIF, Portable
grams. EPS format is used to transfer PostScript-lan-
Network Graphics (PNG) format is used for lossless
guage artwork between applications. When you open an
compression and for display of images on the World Wide
EPS file containing vector graphics, Photoshop rasterizes
Web. Unlike GIF, PNG supports 24-bit images and pro-
the image, converting the vector graphics to pixels.
duces background transparency without jagged edges;
EPS format supports Lab, CMYK, RGB, Indexed Color, however, some Web browsers do not support PNG im-
Duotone, Grayscale, and Bitmap color modes, and does ages. PNG format supports RGB, indexed-color, grayscale,
not support alpha channels. EPS does support clipping and Bitmap-mode images without alpha channels. PNG
paths. Desktop Color Separations (DCS) format, a version preserves transparency in grayscale and RGB images.
of the standard EPS format, lets you save color separa-
TIFF
tions of CMYK images. You use DCS 2.0 format to export
images containing spot channels.To print EPS files, you Tagged-Image File Format (TIFF) is used to exchange files
must use a PostScript printer. between applications and computer platforms. TIFF is a
flexible bitmap image format supported by virtually all paint,
EPS TIFF or EPS PICT Preview (Photoshop)
image-editing, and page-layout applications. Also, virtually
These formats let you open images saved in file formats all desktop scanners can produce TIFF images.
that create previews but are not supported by Adobe
TIFF format supports CMYK, RGB, Lab, indexed-color,
Photoshop (such as QuarkXPress®). An opened preview
and grayscale images with alpha channels and Bitmap-
image can be edited and used like any other low-resolution
mode images without alpha channels. Photoshop can save
file. EPS PICT Preview is available only in Mac OS.
layers in a TIFF file; however, if you open the file in another
GIF application, only the flattened image is visible. Photoshop
can also save annotations, transparency, and multiresolution
Graphics Interchange Format (GIF) is the file format
pyramid data in TIFF format.
commonly used to display indexed-color graphics and
images in hypertext markup language (HTML) documents
over the World Wide Web and other online services. GIF is
an LZW-compressed format designed to minimize file size
and electronic transfer time. GIF format preserves trans-
parency in indexed-color images; however, it does not
support alpha channels.

IT&ITES : DTPO - Related Theory for Exercise 2.1.03 25

Tonal Value is defined as the comparative flimsiness or An example of a continuous-tone device is a CRT computer
darkness of tones linking black and white. These are the screen. Here, any pixel can represent any color, because
darkened lines of a drawing. Tonal values are what make a the color components of the pixel are analog and can vary
painting 'talk' not the color - no matter how much color you in infinite steps, and hence do not need halftones to make
put in a picture. the colors. Of course, because the computer is a digital
Tone refers to the degree of lightness or darkness of an device, it cannot provide the CRT with infinite tone varia-
area. Tone varies from the bright white of a light source tions. In 24-bit color mode, it provides the monitor with 256
through shades of gray to the deepest black shadows. How discrete steps for each channel (red, green, and blue), for
we perceive the tone of an object depends on its actual a total of 16,777,216 (2563) discrete colors. A purely
surface lightness or darkness, color and texture, the analog video signal (one that has not been manipulated by
background and lighting. Tone is may be used broadly a computer of any kind) can provide infinite tone variations
('global tone') to denote the major planes of an object; inside its own gamut.
realist artists use 'local tone' to accurately denote subtle A halftone device, in contrast, uses discrete dots of color,
changes within the plane which at a certain distance printers. Magazines and most
Tonal gradation printed material also use th look closely like the intended
color. Examples of this are inkjetis technique to create the
In pictures often concentrate on the density and detail of colors.
highlights and shadows when they should actually be
considering the most important or middle tones of the Halftone
negative. Middle tones are the various tones of gray Halftone is the reprographic technique that simulates
between the highlights and the shadows; that is, the continuous tone imagery through the use of dots, varying
densities that are not highlights or shadows are termed either in size, in shape or in spacing, thus generating a
middle tones or intermediate tones. gradient like effect as shown in Fig.2. "Halftone" can also
be used to refer specifically to the image that is produced
Fig 1
by this process.

Fig 2

The middle tones vary with the type of film and the subject
contrast. A negative should have a range of middle tone
densities that correspond proportionally to the middle
reflective brightness of the subject. A panchromatic nega-
tive that does not have proportionate mid tones is contrasty
or flat. Where continuous tone imagery contains an infinite range
of colors or greys, the halftone process reduces visual
Continuous tone
reproductions to an image that is printed with only one color
A continuous tone image is one where each color at any of ink, in dots of differing size. This reproduction relies on
point in the image is reproduced as a single tone, and not a basic optical illusion-that these tiny halftone dots are
as discrete halftones, such as one single color for mono- blended into smooth tones by the human eye. At a
chromatic prints, or a combination of halftones for color microscopic level, developed black-and-white photographic
prints. film also consists of only two colors, and not an infinite
The most common continuous tone images are digital range of continuous tones. For details, see film grain.
photographs every single pixel of which can take a continu- Just as color photography evolved with the addition of filters
ous range of colors depending on the quantity of captured and film layers, color printing is made possible by repeating
radiance. On the other hand, at a microscopic level, the halftone process for each subtractive color-most com-
developed black-and-white photographic film consists of monly using what is called the "CMYK color model". The
only two colors, and not an infinite range of continuous semi-opaque property of ink allows halftone dots of different
tones. For details, see film grain. Therefore, film is a colors to create another optical effect-full-color imagery.
halftone medium.

26
Moire pattern In the graphic arts, the term moiré means an excessively
visible moiré pattern. Part of the prepress art consists of
A moire pattern is a secondary and visually evident
selecting screen angles and halftone frequencies which
superimposed pattern created, for example, when two
minimize moiré. The visibility of moiré is not entirely
identical (usually transparent) patterns on a flat or curved
predictable. The same set of screens may produce good
surface (such as closely spaced straight lines drawn
results with some images, but visible moiré with others.
radiating from a point or taking the form of a grid) are overlaid
while displaced or rotated a small amount from one
another.
This interference is called a moire pattern. In a scanned
image, Moiré patterns are caused by interference between
two sets of fine pattern grids, the scanner samples and the
halftone screen in the original image as in Fig.3. Every
scanner does this.

Fig 3

Any image printed on a printing press (like a book,

magazine, newspaper, postcard, calendar, etc.) is printed In graphic arts and prepress, the usual technology for
with halftone screen patterns. The printed image is com- printing full-color images involves the superimposition of
posed of a pattern of dots. A strong magnifying glass will halftone screens. These are regular rectangular dot pat-
show them. The halftone dots are printed entirely in black terns-often four of them, printed in cyan, yellow, magenta,
if a B&W image, or there are four screens in each of the and black. Some kind of moiré pattern is inevitable, but the
three primary colors plus black (CMYK) if a Color image. spatial frequency of the moiré is so high that it is not
These fine dots cause optical problems in a scanned image noticeable.
because the scanned image is also composed of fine dots.
The two patterns of dots, the printed magazine's 133 or 150
lpi screened pattern, and the 300 or 600 dpi scanner CCD
cells, combine into maximums or minimums every several
pixels in the image, depending on the spacing of the dots
as shown in Fig.4. It affects the overall light intensity in
periodic patterns that become very visible. The pattern is
named Moire.
Fig 4

With the help of a strong magnifying glass you might

discover these crosshatched or dotted pattern in your
scanned images from printed material. Some image scan-
ner driver programs provide an optional filter, called a
"descreen" filter, to remove Moiré-pattern artifacts which
would otherwise be produced when scanning printed half-
tone images to produce digital images
Highlight, middletone and shadow area
It's important to know what shadows, midtones and high-

IT&ITES : DTPO - Related Theory for Exercise 2.1.03 27

lights in photographic in terms of photograph. These three Contrast
elements are present are in every photograph color or black
Contrast is the difference in luminance and/or color that
and white so it is important to understand how to improve
makes an object (or its representation in an image or
an adjust these settings.
display) distinguishable. In visual perception of the real
Highlight world, contrast is determined by the difference in the color
and brightness of the object and other objects within the
Highlight are the lightest area of an image, therefore the
same field of view. Because the human visual system is
parts that have the most light hitting it.if something has too
more sensitive to contrast than absolute luminance, we
many highlights we may say that it is overexposed and the
can perceive the world similarly regardless of the huge
area is lacking in detail.
changes in illumination over the day or from place to place.
Middle tone The maximum contrast of an image is the contrast ratio or
Midtones show the middle tones of an image - the colors dynamic range.
that are in between. For example - If we had black and white Contrast is also the difference between the color or shading
image, the midtone would be grey somewhere between the of the printed material on a document and the background
two. You want a good amount of midtone in a balanced on which it is printed, for example in optical character
image but at the same time, you don't want everything to recognition.
be 'grey' or flat.
Saturation
Shadow area
In graphics and imaging, color saturation is used to
Shadows are the darkest areas of a photograph. A shadow describe the intensity of color in the image. A saturated
is also devoid of color, it could be black in the photograph image has overly bright colors. Using a graphics editing
or just the areas that carry little light. An image with too program you can increase saturation on under-exposed
many shadows may be underexposed and, will not show images, or vice versa.
so much detail although this can be normally adjusted.

28 IT&ITES : DTPO - Related Theory for Exercise 2.1.03

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.04
Image editing softwares
Objectives : At the end of this lesson you shall be able to
• understanding about color
• convert an image to another color mode
• learning about Hue, Saturation and vibrance.
Understanding color The color wheel
Knowing how colors are created and how they relate to If you're new to adjusting color components, it helps to
each other lets you work more effectively in Photoshop. keep a standard color wheel diagram on hand when you
Instead of achieving an effect by accident, you'll produce work on color balance. You can use the color wheel to
consistent results thanks to an understanding of basic predict how a change in one color component affects other
color theory. colors and also how changes translate between RGB and
Primary colors CMYK color models.

Additive primaries are the three colors of light (red, green,

and blue) that produce all the colors in the visible spectrum
when added together in different combinations. Adding
equal parts of red, blue, and green light produces white. The
complete absence of red, blue, and green light results in
black. Computer monitors are devices that use the additive
primaries to create color.

Color wheel
A. Red B. Yellow C. Green D. Cyan E. Blue F. Magenta

For example, you can decrease the amount of any color in

an image by increasing the amount of its opposite on the
color wheel-and vice versa. Colors that lie opposite each
Additive colors (RGB) other on the standard color wheel are known as comple-
A. Red B. Green C. Blue mentary colors. Similarly, you can increase and decrease
a color by adjusting the two adjacent colors on the wheel,
Subtractive primaries are pigments, which create a spec- or even by adjusting the two colors adjacent to its opposite.
trum of colors in different combinations. Unlike monitors, In a CMYK image, you can decrease magenta either by
printers use subtractive primaries (cyan, magenta, yellow, decreasing the amount of magenta or by increasing its
and black pigments) to produce colors through subtractive complement, which is green (the color on the opposite side
mixing. The term "subtractive" is used because the primary of the color wheel from magenta). In an RGB image, you
colors are pure until you begin mixing them together, can decrease magenta by removing red and blue or by
resulting in colors that are less pure versions of the adding green. All of these adjustments result in an overall
primaries. For example, orange is created through the color balance containing less magenta.
subtractive mixing of magenta and yellow together.
Color models, spaces, and modes
A color model describes the colors we see and work with
in digital images. Each color model, such as RGB, CMYK,
or HSB, represents a different method (usually numeric) for
describing color.
A color space is a variant of a color model and has a specific
gamut (range) of colors. For example, within the RGB color
model are a number of color spaces: Adobe RGB, sRGB,
ProPhoto RGB, and so on.
Each device, like your monitor or printer, has its own color
Subtractive colors (CMYK) space and can only reproduce colors in its gamut. When
A. Cyan B. Magenta C. Yellow D. Black an image moves from one device to another, image colors

29
may change because each device interprets the RGB or Convert an image to another color mode
CMYK values according to its own color space. You can
You can change an image from its original mode (source
use color management when moving images to ensure that
mode) to a different mode (target mode). When you choose
most colors are the same or similar enough so they appear
a different color mode for an image, you permanently
consistent.
change the color values in the image. For example, when
In Photoshop, a document's color mode determines which you convert an RGB image to CMYK mode, RGB color
color model is used to display and print the image you're values outside the CMYK gamut (defined by the CMYK
working on. Photoshop bases its color modes on the color working space setting in the Color Settings dialog box) are
models that are useful for images used in publishing. You adjusted to fall within gamut. As a result, some image data
can choose from RGB (Red, Green, Blue), CMYK (Cyan, may be lost and can't be recovered if you convert the image
Magenta, Yellow, Black), Lab Color (based on CIE L* a* from CMYK back to RGB.
b*), and Grayscale. Photoshop also includes modes for
Before converting images, it's best to do the following:
specialized color output such as Indexed Color and Duotone.
Color modes determine the number of colors, the number • Do as much editing as possible in the original image
of channels, and the file size of an image. Choosing a color mode (usually RGB for images from most scanners or
mode also determines which tools and file formats are digital cameras, or CMYK for images from traditional
available. drum scanners or imported from a Scitex system).
When you work with the colors in an image, you are • Save a backup copy before converting. Be sure to save
adjusting numerical values in the file. It's easy to think of a a copy of your image that includes all layers so that you
number as a color, but these numerical values are not can edit the original version of the image after the
absolute colors in themselves-they only have a color conversion.
meaning within the color space of the device that is
• Flatten the file before converting it. The interaction of
producing the color.
colors between layer blending modes changes when
Adjusting color hue, saturation, and brightness the mode changes.
Based on the human perception of color, the HSB model Convert an image to Bitmap mode
describes three fundamental characteristics of color:
• Converting an image to Bitmap mode reduces the
Hue image to two colors, greatly simplifying the color
Color reflected from or transmitted through an object. It is information in the image and reducing its file size.
measured as a location on the standard color wheel, • When converting a color image to Bitmap mode, first
expressed as a degree between 0° and 360°. In common convert it to Grayscale mode. This removes the hue and
use, hue is identified by the name of the color, such as red, saturation information from the pixels and leaves just
orange, or green. the brightness values. However, because only a few
Saturation editing options are available for Bitmap mode images,
it's usually best to edit the image in Grayscale mode
Strength or purity of the color (sometimes called chroma). and then convert it to Bitmap mode.
Saturation represents the amount of gray in proportion to
the hue, measured as a percentage from 0% (grey) to • Images in Bitmap mode are 1 bit per channel. You must
100% (fully saturated). On the standard color wheel, convert a 16 or 32 bits-per-channel image to 8 bit
saturation increases from the center to the edge. Grayscale mode before converting it to Bitmap mode.

Brightness 50% Threshold

Relative lightness or darkness of the color, usually mea- Converts pixels with gray values above the middle gray level
sured as a percentage from 0% (black) to 100% (white). (128) to white and pixels with gray values below that level
to black. The result is a very high-contrast, black-and-white
representation of the image.
Pattern Dither
Converts an image by organizing the gray levels into
geometric configurations of black and white dots.
Diffusion Dither
Converts an image by using an error-diffusion process,
starting at the pixel in the upper-left corner of the image. If
the pixel's value is above middle gray (128), the pixel is
changed to white-if below it, to black. Because the original
HSB color model pixel is rarely pure white or pure black, error is inevitably
A. Hue B. Saturation C. Brightness
introduced. This error is transferred to surrounding pixels
and diffused throughout the image, resulting in a grainy,
film-like texture.
30 IT&ITES : DTPO - Related Theory for Exercise 2.1.04
Halftone Screen Convert a grayscale or RGB image to indexed color
Simulates the appearance of halftone dots in the converted Converting to indexed color reduces the number of colors
image. Enter values in the Halftone Screen dialog box: in the image to at most 256-the standard number of colors
supported by the GIF and PNG 8 formats and many
• For Frequency, enter a value for the screen frequency, multimedia applications. This conversion reduces file size
and choose a unit of measurement. Values can range by deleting color information from the image.
from 1.000 to 999.999 for lines per inch and from 0.400
to 400.00 for lines per centimeter. You can enter To convert to indexed color, you must start with an image
decimal values. The screen frequency specifies the that is 8 bits per channel and in either Grayscale or RGB
ruling of the halftone screen in lines per inch (lpi). The mode.
frequency depends on the paper stock and type of About foreground and background colors
press used for printing. Newspapers commonly use an
85 line screen. Magazines use higher resolution Photoshop uses the foreground color to paint, fill, and
screens, such as 133 lpi and 150 lpi. Check with your stroke selections and the backgroundcolor to make gradi-
print shop for correct screen frequencies. ent fills and fill in the erased areas of an image. The
foreground and background colors are also used by some
• Enter a value for the screen angle in degrees from 180 special effects filters.
to +180. The screen angle refers to the orientation of the
You can designate a new foreground or background color
screen. Continuous-tone and black-and-white halftone
using the Eyedropper tool, the Color panel, the Swatches
screens commonly use a 45° angle.
panel, or the Adobe Color Picker.
• For Shape, choose the dot shape you want. The default foreground color is black, and the default
The halftone screen becomes part of the image. background color is white. (In an alpha channel, the default
If you print the image on a halftone printer, the foreground is white, and the background is black.)
printer will use its own halftone screen as well as Choose colors in the toolbox
the halftone screen that is part of the image. On
some printers, the result is a moiré pattern. The current foreground color appears in the upper color
selection box in the toolbox; the current background color
Custom Pattern appears in the lower box.
Simulates the appearance of a custom halftone screen in
the converted image. Choose a pattern that lends itself to
thickness variations, typically one with a variety of gray
shades.
To use this option, you first define a pattern and then screen Foreground and background color boxes in toolbox
the grayscale image to apply the texture. To cover the A. Default Colors icon B. Switch Colors icon C. Foreground color
entire image, the pattern must be as large as the image. box D. Background color box
Otherwise, the pattern is tiled. Photoshop comes with
several self-tiling patterns that can be used as halftone
• To change the foreground color, click the upper color
screen patterns. selection box in the toolbox, and then choose a color in
the Adobe Color Picker.
Convert a Bitmap mode image to Grayscale mode
• To change the background color, click the lower color
You can convert a Bitmap mode image to Grayscale mode selection box in the toolbox, and then choose a color in
in order to edit it. Keep in mind that a Bitmap mode image the Adobe Color Picker.
edited in Grayscale mode may not look the same when you
convert it back to Bitmap mode. For example, suppose a • To reverse the foreground and background colors, click
pixel that is black in Bitmap mode is edited to a shade of the Switch Colors icon in the toolbox.
gray in Grayscale mode. When the image is converted
back to Bitmap mode, that pixel is rendered as white if its • To restore the default foreground and background col-
gray value is above the middle gray value of 128. ors, click the Default Colors icon in the toolbox.

1. Choose Image > Mode > Grayscale. Adobe Color Picker overview
2. Enter a value between 1 and 16 for the size ratio. In the Adobe Color Picker, you choose colors using four
The size ratio is the factor for scaling down the image. For color models: HSB, RGB, Lab, and CMYK. Use the Adobe
example, to reduce a grayscale image by 50%, enter 2 for Color Picker to set the foreground color, background color,
the size ratio. If you enter a number greater than 1, the and text color. You can also set target colors for different
program averages multiple pixels in the Bitmap mode tools, commands, and options.
image to produce a single pixel in the grayscale image. You can configure the Adobe Color Picker to let you
This process lets you generate multiple shades of gray choose only colors that are part of the web-safe palette or
from an image scanned on a 1 bit scanner. choose from specific color systems. Photoshop Extended
users can access an HDR (high dynamic range) picker to
choose colors for use in HDR images
IT&ITES : DTPO - Related Theory for Exercise 2.1.04 31
 What is a color management system?
Color-matching problems result from various devices and
software using different color spaces. One solution is to
have a system that interprets and translates color accu-
rately between devices. A color management system
(CMS) compares the color space in which a color was
created to the color space in which the same color will be
output, and makes the necessary adjustments to repre-
sent the color as consistently as possible among different
devices.
A color management system translates colors with the
help of color profiles. A profile is a mathematical descrip-
A. Picked color B. Original color C. Adjusted color D. Out-of-gamut
tion of a device's color space. For example, a scanner
alert icon E. Not a web-safe color alert icon F. Displays only web- profile tells a color management system how your scanner
safe colors G.Color field H.Color slider I.Color values "sees" colors. Adobe color management uses ICC profiles,
a format defined by the International Color Consortium
Why colors sometimes don't match (ICC) as a cross-platform standard.
No device in a publishing system is capable of reproducing Because no single color-translation method is ideal for all
the full range of colors viewable to the human eye. Each types of graphics, a color management system provides a
device operates within a specific color space that can choice of rendering intents, or translation methods, so that
produce a certain range, or gamut, of colors. you can apply a method appropriate to a particular graphics
element. For example, a color translation method that
A color model determines the relationship between values,
preserves correct relationships among colors in a wildlife
and the color space defines the absolute meaning of those
photograph may alter the colors in a logo containing flat
values as colors. Some color models (such as CIE L*a*b)
tints of color.
have a fixed color space because they relate directly to the
way humans perceive color. These models are described Do you need color management?
as being device-independent. Other color models (RGB,
Without a color management system, your color specifica-
HSL, HSB, CMYK, and so forth) can have many different
tions are device-dependent. You might not need color
color spaces. Because these models vary with each
management if your production process is tightly con-
associated color space or device, they are described as
trolled for one medium only. For example, you or your print
being device-dependent.
service provider can tailor CMYK images and specify color
Because of these varying color spaces, colors can shift in values for a known, specific set of printing conditions.
appearance as you transfer documents between different
The value of color management increases when you have
devices. Color variations can result from differences in
more variables in your production process. Color manage-
image sources; the way software applications define color;
ment is recommended if you anticipate reusing color
print media (newsprint paper reproduces a smaller gamut
graphics for print and online media, using various kinds of
than magazine-quality paper); and other natural variations,
devices within a single medium (such as different printing
such as manufacturing differences in monitors or monitor
presses), or if you manage multiple workstations.
age.
About color profiles
Precise, consistent color management requires accurate
ICC-compliant profiles of all of your color devices. For
example, without an accurate scanner profile, a perfectly
scanned image may appear incorrect in another program,
simply due to any difference between the scanner and the
program displaying the image. This misleading represen-
tation may cause you to make unnecessary, time-wasting,
and potentially damaging "corrections" to an already
satisfactory image. With an accurate profile, a program
importing the image can correct for any device differences
and display a scan's actual colors.
A color management system uses the following kinds
of profiles:
Monitor profiles
Colorgamuts of various devices and documents Describe how the monitor is currently reproducing color.
This is the first profile you should create because viewing
A. Lab color space B. Documents (working space) C. Devices
color accurately on your monitor allows for critical color
32 IT&ITES : DTPO - Related Theory for Exercise 2.1.04
decisions in the design process. If what you see on your Color Correction
monitor is not representative of the actual colors in your
Color correction is a lot easier than you think. You just need
document, you will not be able to maintain color consis-
to know which colors are complimentary (meaning on the
tency.
opposite end of the color wheel) and you can use those to
Input device profiles cancel out too much of another color. (If you need a
refresher on color, check out our color guide.) You also
Describe what colors an input device is capable of captur-
need to be able to spot where colors are the most
ing or scanning. If your digital camera offers a choice of
prominent. This means being able to tell, for example,
profiles, Adobe recommends that you select Adobe RGB.
when red is dominating the light areas of the photo and blue
Otherwise, use sRGB (which is the default for most
is dominating the dark areas. If you simple applied a blue
cameras). Advanced users may also consider using differ-
filter to the entire photo, you'd end up with more neutral
ent profiles for different light sources. For scanner profiles,
highlights-which you want-but a photo that looks too cool
some photographers create separate profiles for each type
because the shadows are overly saturated with blue color.
or brand of film scanned on a scanner.
To recap, you need to pay attention to two major things
Output device profiles when color correcting: which colors are dominating the
Describe the color space of output devices like desktop photograph and which colors aren't, and also where,
printers or a printing press. The color management system tonally, those dominating colors exist.
uses output device profiles to properly map the colors in a Fig 1
document to the colors within the gamut of an output
device's color space. The output profile should also take
into consideration specific printing conditions, such as the
type of paper and ink. For example, glossy paper is
capable of displaying a different range of colors than matte
paper.
Most printer drivers come with built in color profiles. It's a
good idea to try these profiles before you invest in custom
profiles.
Document profiles
Define the specific RGB or CMYK color space of a This is something you can generally do just by eying the
document. By assigning, or tagging, a document with a photo, but the proper method is to consult the histogram.
profile, the application provides a definition of actual color You can bring this up by going into the Window menu and
appearances in the document. For example, R=127, choosing Histogram. The left side represents the shadows,
G=12, B=107 is just a set of numbers that different devices the right side the highlights, leaving the middle for the
will display differently. But when tagged with the Adobe midtones. If a particular color is dominating the photo in any
RGBcolor space, these numbers specify an actual color or area, you'll see it dominating that space on the histogram.
wavelength of light-in this case, a specific color of purple. This can be a handy guide for spotting necessary correc-
When color management is on, Adobe applications auto- tions.
matically assign new documents a profile based on Work- Now that you've got a basic idea of what we're going to be
ing Space options in the Color Settings dialog box. targeting, let's take a look at some of the best color
Documents without assigned profiles are known as untagged balancing tools Photoshop has to offer. You can find all the
and contain only raw color numbers. When working with adjustments we'll be discussing in the following places:
untagged documents, Adobe applications use the current
working space profile to display and edit colors. • You can find standard adjustments that apply to a
single layer by going to the Image menu, choosing
Managing color with profiles Adjustments, then choosing the adjustment you want.
A. Profiles describe the color spaces of the input device
• If you want to create an adjustment layer that can apply
and the document.
to multiple layers and be adjusted after the first applica-
B. Using the profiles' descriptions, the color management tion you can create an adjustment layer. You can either
system identifies the document's actual colors. do this by going into the Layers menu, choosing
Adjustment Layer, and then selecting the adjustment
C. The monitor's profile tells the color management sys-
you want, or just selecting the adjustment you want
tem how to translate the document's numeric values to
from the Adjustments palette.
the monitor's color space.
D. Using the output device's profile, the color management
system translates the document's numeric values to
the color values of the output device so the correct
appearance of colors is printed.

IT&ITES : DTPO - Related Theory for Exercise 2.1.04 33

Color Balance RGB-or each individual channel (red, green, and blue). If
you want to brighten or darken just the reds, select the red
Fig 2 channel and make your adjustments.
Curves
Fig 4

Color Balance is not a very flexible tool, but sometimes you

just need minor adjustments to color and you can use Color
Balance to apply them quickly. If the brightest parts of your
photo are just a little bit too red-something that's common
with photos taken in low light-you can just select the
Highlights radio button and then move the sliders towards
cyan and blue a bit until you start to see the colors look a
bit more balanced and neutral. You can also use Color
Balance to create some interesting color effects by empha-
sizing different colors in the shadows, midtones, and
highlights.
Levels
Levels is like Curves (which we'll discuss next) with training Curves is definitely the best color correction tool you've got
wheels. You have three main sliders. On the left, you have in Photoshop, but you might find it a little intimidating and
the shadows slider. Moving it to the right will increase the shy away from it since Levels seems to work well enough.
intensity of the shadows. On the right, you have the Trust me-curves is much better, so take the time to get to
highlights slider. Moving it to the left will increase the know it and learn how it works so you're using it to do most
intensity of the highlights of your photo. In the middle, you of your adjustments. It's powerful, versatile, and very easy
have the midtones slider. Moving it to the left will brighten to control once you get the hang of it. That said, it works
up your photo and moving it to the right will make it darker. a lot like levels only you set your own points. You can
adjust the entire image or just specific channels, just like
Fig 3 you can in levels. To make a point on the curve, you just
click anywhere on the line and drag in a particular direction.
If you pull towards the top left corner, you'll brighten things
up. If you pull down towards the bottom right corner, you'll
darken things. The middle of the line in curves represents
the midtones. The bottom of the line, touching the bottom
left corner, represents the shadows. That would leave the
top, which represents the highlights.
Here's an example of creating a simple curve: make a point
at the midpoint of the line and then two more points that are
each about one grid space away from the midpoint. Pull the
bottom-most point down into the shadows a bit and the top-
most point up into the highlights. This will create basic
contrast and is the simplest adjustment you can make in
curves.
Auto Tone
These sliders mainly affect contrast. The sliders under
Output Levels affect brightness. Moving the black slider Fig 5
towards the white one will brighten things up. Moving the
white slider toward the black one will darken them. By
default, Levels applies any of these changes to the entire
photo, but you can select a specific color channel and alter
it all by itself. There's a little drop-down menu at the top of
the Levels panel that lets you select from all channels-I'm
going to assume you're in the RGB colorspace and it says
34 IT&ITES : DTPO - Related Theory for Exercise 2.1.04
Sometimes you can just let Photoshop do a lot of the work In addition to the Healing Brush and Clone Stamp, there are
for you. While you don't want to rely on Photoshop's Auto a few other ways to make corrections. If you're looking to
Tone option, you can just chose it from the Image menu to reduce redness in certain parts of the skin, often times you
let Photoshop make an educated guess about what your can accomplish this by simply desaturating the red area a
photo needs in terms tone and color adjustments. Some- little bit. The Sponge Tool can help you easily desaturate
times you can save yourself a little time by just using Auto a particular area. If you're removing blemishes and want
Tone, but definitely don't rely on it. Sometimes it just gets some alternatives, the Spot Healing Brush can sometimes
it right and it takes about two seconds to try it out and see be a little easier to use than the regular Healing Brush (you
if it works. If it doesn't work, undo it, and do the corrections can find it by clicking and holding down the Healing Brush
yourself. If it does work, you just saved yourself some time. in the tool bar). It doesn't require you to set a source point.
One last option is using Content-Aware Fill, which is a new
Photo Retouching and Enhancing
feature in Photoshop CS5. To use it, what you want to
Basic photo retouching and enhancing is very easy and remove needs to be in the background layer. Select the part
very effective if done with the right level of subtlety. We're you want to remove with a Marquee or Lasso tool and press
going to take a look at some options for correcting delete. You should be presented with a dialogue box
problems in your photos-like cuts on a face, dry skin, dust asking you what you want to do. If "Use:" isn't set to
from the lens, etc.-and also how to enhance a portrait to Content-Aware, change that and then press OK. Once you
make it look especially nice. do, Photoshop will try to figure out what your photo should
look like without that element. The more precise your
Touch Ups
selection is, the more successful Photoshop will be in
Most of the touch ups you're going to want to perform can replacing it.
be accomplished with the healing brush or the cloning
Enhancing a Portrait
stamp. If you're trying to just make a person look their best-
which is all you really ought to be doing with a portrait-you Using a couple of minor enhancements, you can make a
can do most of what you want to do with the healing brush portrait look significantly better than the original photo-
and clone stamp. We'll also take a brief look at some of graph. Everything we're going to discuss here is designed
your other options as well. to bring out the best in the image of the person you're
working on and not necessarily look better than they
The Healing Brush Revisited
actually do. Photos tend to pick up more detail than we'd
Fig 6 normally notice and people generally don't have pimples,
cuts, or other blemishes on their faces all the time. The idea
is to bring out the best in the subject and not perform
anything that's untrue to their appearance or is just
downright unrealistic.
Color Channeling
Fig 8
Basically it works by selecting a source point (which you
do by option-clicking an area of the photo) and painting over
the area you want to "heal" with image data from the source
point. The healing brush then uses its magic to blend in the
painted source material with the stuff surrounding it.
Generally this results in a more realistic result than you'd
get with the Clone Stamp, but not always. The Clone
Stamp works in the exact same fashion as the Healing
Brush, but the Clone Stamp doesn't do any healing. All it
does is replace the target area with whatever you selected
as a source point. While you're technically cloning another
part of the photo and this may seem like it's going to look One of the best and easiest tricks to enhancing a portrait
redundant, when you're correcting small areas it can is making use if your color channels. You can find your
sometimes look better than what the Healing Brush will color channels in the Channels palette on the right side of
give you-especially when you're near hard edges and areas your screen. Assuming you're in the RGB color space,
of contrast. you'll see four options: RGB, red, green, and blue. RGB is
the color image as you know it. The others are the
Other Tools respective channels. Click each of these and note their
differences. You'll find that red has the most light, blue has
Fig 7
the most detail, and green is kind of a combination of them
both. When you're dealing with people, detail in skin is
generally something you want to avoid and that's exactly
what the red channel can help you do. Sometimes it's a
near-perfect black and white photo all by itself, but if we're
working with color it's still very useful. To make a nice
IT&ITES : DTPO - Related Theory for Exercise 2.1.04 35
adjustment, select the red channel, then select all and • In the Adjustments panel (CS5) or the Properties panel
copy the image. Now switch back to the RGB combine (CS6), choose from the menu to the right of the On-
channel, go back to your Layers palette, and paste the red
image adjustment tool .
channel. This will create a new layer on top of your
background and you'll see only the red channel on your
• Choose Master to adjust all colors at once.
canvas. From the Layers palette, select a blending mode
of Overlay for your red channel layer and reduce its opacity • Choose one of the other preset color ranges listed for
to somewhere between 20 and 30 percent. This is one of the color you want to adjust. To modify the color range,
the easiest adjustments to make and it's incredibly useful. Choose a Hue/Saturation preset from the Preset menu.
It removes unwanted detail in the skin, adds contrast right
where you want it, and often improves your photo's color as • For Hue, enter a value or drag the slider until you are
well. satisfied with the colors.

Fig 9
The values displayed in the box reflect the number of
degrees of rotation around the wheel from the original color
of the pixel. A positive value indicates clockwise rotation;
a negative value, counterclockwise rotation. Values can
range from 180 to +180.
Burning and Dodging
Burning and dodging can also be extremely useful when
applying "virtual makeup" to your subject. This is some-
thing you'll want to do for men as well as women, because
we're going to be very subtle and make it look as natural as
possible. The idea is to place added contrast in the features
of the face we want to emphasize: the eyes, nose, and
mouth. You can use the burn tool to burn the midtones and
shadows of the eyelashes and eyebrows, the curve of the
Color wheel
nose, and the inner edges of the lips. You can use the
dodge tool to brighten up the midtones of the colored and A. Saturation B. Hue
white parts of the eye and the inside of the lips.
While these enhancements are pretty minor, they make a You can also select the On-image adjustment tool in
significant difference in the overall look of the photo. the Adjustments panel (CS5) or the Properties panel
Hue/Saturation lets you adjust the hue, saturation, and (CS6), and then Ctrl-click a color in the image. Drag left or
lightness of a specific range of colors in an image or right in the image to modify the hue value.
simultaneously adjust all the colors in an image. This • For Saturation, enter a value or drag the slider to the
adjustment is especially good for fine-tuning colors in a right to increase the saturation or to the left to decrease
CMYK image so that they are in the gamut of an output it.
device.
The color shifts away from or toward the center of the color
Apply a Hue/Saturation adjustment wheel. Values can range from 100 (percentage of
Do one of the following: desaturation, duller colors) to +100 (percentage of satura-
tion increase).
• Click the Hue/Saturation icon in the Adjustments
panel. You can also , select the On-image adjustment tool
• (CS5) Click a Hue/Saturation preset in the Adjustments in the Adjustments panel (CS5) or the Properties panel
panel. (CS6), and click a color in the image. Drag left or right in the
image to decrease or increase saturation of the color range
• Choose Layer > New Adjustment Layer > Hue/Satura- that includes the pixel you clicked.
tion. Click OK in the New Layer dialog box.
• For Lightness, enter a value or drag the slider to the right
The two color bars in the dialog box represent the colors in to increase the lightness (add white to a color) or to the
their order on the color wheel. The upper color bar shows left to decrease it (add black to a color). Values can
the color before the adjustment; the lower bar shows how range from 100 (percentage of black) to +100 (percent-
the adjustment affects all of the hues at full saturation. age of white).
You can also choose Image > Adjustments > Click the Reset button to undo a Hue/Satura-
Hue/Saturation. But keep in mind that this tion setting in the Adjustments panel (CS5) or
method makes direct adjustments to the image the Properties panel (CS6).
layer and discards image information.

36 IT&ITES : DTPO - Related Theory for Exercise 2.1.04

Specify the range of colors adjusted using Hue/
Saturation
• Apply a Hue/Saturation adjustment.
• In the Adjustments panel (CS5) or the Properties panel
(CS6), choose a color from the menu to the right of the
On-image adjustment button .
Four color wheel values (in degrees) appear in the Adjust- Hue/Saturation adjustment slider
ments panel (CS5) or the Properties panel (CS6). They A. Hue slider values B. Adjusts falloff without affecting
correspond to the adjustment sliders that appear between range C. Adjusts range without affecting falloff D. Adjusts
the color bars. The two inner vertical sliders define the color range of color and falloff E. Moves entire slider
range. The two outer triangle sliders show where the
adjustments on a color range "fall off" (falloff is a feathering If you modify the adjustment slider so that it falls into a
or tapering of the adjustments instead of a sharply defined different color range, the name in the Edit menu changes
on/off application of the adjustments). to reflect this change. For example, if you choose Yellow
and alter its range so that it falls in the red part of the color
• Use either the eyedropper tools or the adjustment bar, the name changes to Red 2. You can convert up to six
sliders to modify the range of colors. of the individual color ranges to varieties of the same color
range (for example, Red through Red 6).
• Click or drag in the image with the Eyedropper tool
to select a color range. To expand the range, By default, the range of color selected when you choose a
color component is 30° wide, with 30° of falloff on either
click or drag in the image with the Add To Sample
side. Setting the falloff too low can produce banding in the
Eyedropper tool . To reduce the range of color, image.
click or drag in the image with the Subtract From
Colorize a grayscale image or create a monotone
Sample Eyedropper tool . While an eyedropper
effect
tool is selected, you can also press Shift to add to
the range, or Alt (Windows) or Option (Mac OS) to • (Optional) If you are colorizing a grayscale image,
subtract from it. choose Image > Mode > RGB Color to convert the
image to RGB.
• Drag one of the white triangle sliders to adjust the
amount of color falloff (feathering of adjustment) • Apply a Hue/Saturation adjustment.
without affecting the range.
• In the Adjustments panel (CS5) or the Properties panel
• Drag the area between the triangle and the vertical (CS6), select the Colorize option. If the foreground color
bar to adjust the range without affecting the amount is black or white, the image is converted to a red hue
of falloff. (0°). If the foreground color is not black or white, the
image is converted to the hue of the current foreground
• Drag the center area to move the entire adjustment color. The lightness value of each pixel does not
slider (which includes the triangles and vertical bars) change.
to select a different color area.
• (Optional) Use the Hue slider to select a new color. Use
• Drag one of the vertical white bars to adjust the range the Saturation and Lightness sliders to adjust the
of the color component. Moving a vertical bar from saturation and lightness of the pixels.
the center of the adjustment slider and closer to a
triangle increases the color range and decreases Adjust color saturation using Vibrance
the falloff. Moving a vertical bar closer to the center
• Vibrance adjusts the saturation so that clipping is
of the adjustment slider and away from a triangle
minimized as colors approach full saturation. This adjust-
decreases the color range and increases the falloff.
ment increases the saturation of less-saturated colors
• Ctrl-drag (Windows) or Command-drag (Mac OS) more than the colors that are already saturated. Vibrance
the color bar so that a different color is in the center also prevents skintones from becoming over saturated.
of the bar.
• Do one of the following:
• In the Adjustments panel, click the Vibrance icon .
• Choose Layer > New Adjustment Layer > Vibrance
. In the New Layer dialog box, type a name for the
Vibrance adjustment layer and click OK.

IT&ITES : DTPO - Related Theory for Exercise 2.1.04 37

 You can also choose Image > Adjustments > • In the options bar, choose the way you want to change
Vibrance. But keep in mind that this method the color from the Mode menu:
makes direct adjustments to the image layer
Saturate
and discards image information.
Intensifies the color's saturation
• In the Adjustments panel (CS5) or the Properties panel
(CS6), drag the Vibrance slider to increase or decrease Desaturate
color saturation without clipping when colors become Dilutes the color's saturation
more saturated. Then, do one of the following:
• Specify the flow for the Sponge tool.
• To apply more adjustment to less saturated colors
and prevent colors clipping as they reach total • Select the Vibrance option to minimize clipping for fully
saturation, move the Vibrance slider to the right. saturated or desaturated colors.

• To apply the same amount of saturation adjustment • Drag over the part of the image you want to modify.
to all colors regardless of their current saturation, The "Hue / Saturation" Adjustment Layer in Photoshop
move the Saturation slider. In some situations, this
may produce less banding than the Saturation slider
in the Hue/Saturation Adjustments panel or Hue/
Saturation dialog box.
• To decrease saturation, move either the Vibrance or
the Saturation slider
Adjust color saturation in image areas
The Sponge tool subtly changes the color saturation of an
area. When an image is in Grayscale mode, the tool
increases or decreases contrast by moving gray levels
away from or toward the middle gray.
In a well-exposed image, it is quite possible that Levels and
• Select the Sponge tool . Hue / Saturation are the only 2 tools that you'll need for
working with the first 4 elements: Contrast, Color Balance,
• Choose a brush tip and set brush options in the options Luminance, and Color Saturation.
bar.

38 IT&ITES : DTPO - Related Theory for Exercise 2.1.04

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.05
Formatting text, paragraphs using the brushes and layers
Objectives : At the end of this lesson you shall be able to
• formatting text and Paragraph
• explain various options in Image, Layer, Select and Filter Menu
• explain arranging and displaying panels
• creating and Modifying brushes
• explain about brush and painting option
• filling and stroking selections, layers and paths.
Formatting characters Select Show Asian Text Options in the Type
Photoshop give you precise control over individual charac- preferences for the Set Tsume option to appear in
ters in type layers, including font, size, color, leading, the Character panel.
kerning, tracking, baseline shift, and alignment. You can You can access additional commands and options in the
set type attributes before you enter characters or reset Character panel menu. To use this menu, click the triangle
them to change the appearance of selected characters in in the upper right corner of the panel.
a type layer.
Dynamic Shortcuts
Selecting characters
Before you can format individual characters, you must Dynamic Shortcuts are keyboard shortcuts that are acces-
select them. You can select one character, a range of sible only when you are entering point or paragraph type,
characters, or all characters in a type layer. when type is selected, or when the I beam is in text. You
can view Dynamic Shortcuts in the Character panel menu
Character panel
when they are accessible. Dynamic Shortcuts are avail-
The Character panel provides options for formatting charac- able for type options such as Faux Bold, Faux Italic, All
ters. Some formatting options are also available from the Caps, Small Caps, Superscript, Subscript, Underline, and
options bar. Strikethrough.
You can display the Character panel by doing one of the
following:
• Choose Window > Character, or click the Character
panel tab if the panel is visible but not active.
• With a type tool selected, click the Panel button in
the options bar.
To set an option in the Character panel, choose a value from
the pop up menu on the right side of the option. For options
with numeric values, you can also use the up and down
arrows to set the value, or you can edit the value directly in
the text box. When you edit a value directly, press Enter
or Return to apply a value, Shift+Enter or Shift+Return to
Dynamic shortcuts appear in the Character panel menu
apply a value and then highlight the value just edited, or Tab only when you are entering point or paragraph type, when
to apply a value and move to the next text box in the panel. type is selected, or when the I beam is in text.

Specify type size

The type size determines how large the type appears in the
image.
The default unit of measurement for type is points. One
PostScript point is equal to 1/72 of an inch in a 72 ppi
image; however, you can switch between using the
PostScript and traditional definitions of point size. You can
change the default unit of measurement for type in the Units
& Rulers area of the Preferences dialog box.
Change the type color
Character panel
The type you enter is rendered in the current foreground
A. Font Family B. Font Size C. Vertical Scale D. Set Tsume color; however, you can change the color before or after you
option E. Tracking F. Baseline Shift G. Language H. Font
Style I. Leading J. Horizontal scale K. Kerning
enter type. When editing existing type layers, you can

39
change the color of individual, selected characters or of all Rasterize type layers
type in a layer.
Some commands and tools-such as filter effects and
• Do one of the following: painting tools-are not available for type layers. You must
rasterize the type before applying the command or using
• Click the Color selection box in the options bar or the tool. Rasterizing converts the type layer into a normal
Character panel, and select a color using the Adobe layer and makes its contents uneditable as text. A warning
Color Picker. message appears if you choose a command or tool that
requires a rasterized layer. Some warning messages
• Use fill shortcuts. To fill with the foreground color,
provide an OK button you can click to rasterize the layer.
press Alt+Backspace (Windows) or Option+Delete
(Mac OS); to fill with the background color, press ♦ Select the type layer and choose Layer > Rasterize >
Ctrl+Backspace (Windows) or Command+Delete Type.
(Mac OS).
Creating type effects
• Apply an overlay layer style to the type layer to apply You can perform various operations on type to change its
a color, gradient, or pattern on top of the existing appearance. For example, you can warp type, convert type
color. You can't apply an overlay layer style selec- to shapes, or add a drop shadow to type. One of the easiest
tively; it affects all characters in the type layer. ways to create type effects is to play the default Text
• Click the foreground color selection box in the Effects actions that come with Photoshop on a type layer.
toolbox, and select a color using the Adobe Color You can access these effects by choosing Text Effects
Picker. Alternatively, click a color in the Color panel, from the Actions panel menu.
or the Swatches panel. If you use this method to Create type along or inside a path
change the color of an existing type layer, you must
first select characters on that layer. You can enter type that flows along the edge of a work path
created by a pen or a shape tool. When you enter type
Set leading along a path, the type flows in the direction that anchor
The vertical space between lines of type is called leading points were added to the path. Entering horizontal type on
(rhymes with sledding). For Roman type, leading is mea- a path results in letters that are perpendicular to the
sured from the baseline of one line of text to the baseline baseline. Entering vertical type on a path results in text
of the line above it. The baseline is the invisible line on which orientation parallel to the baseline.
most letters sit. You can apply more than one leading You can also enter type inside a closed path. In this case,
amount within the same paragraph; however, the largest however, the type is always oriented horizontally, with line
leading value in a line of type determines the leading value breaks occurring wherever the type reaches path bound-
for that line. aries.
Kern and track
Kerning is the process of adding or subtracting space
between specific pairs of characters. Tracking is the
process of loosening or tightening the spacing between the
characters in selected text or an entire block of text.
Change the orientation of a type layer
The orientation of a type layer determines the direction of
type lines in relation to the document window (for point
type) or the bounding box (for paragraph type). When a type
layer is vertical, the type flows up and down; when a type
layer is horizontal, the type flows from left to right. Don't
confuse the orientation of a type layer with the direction of
characters in a type line.
1 Select the type layer in the Layers panel.
2 Do one of the following:
• Select a type tool, and click the Text Orientation
button in the options bar. Warp and unwarp type
You can warp type to create a special type effect. For
• Choose Layer > Type > Horizontal, or choose example, you can warp type in the shape of an arc or a
Layer> Type > Vertical.
wave. The warp style you select is an attribute of the type
• Choose Change Text Orientation from the Character layer-you can change a layer's warp style at any time to
panel menu. change the overall shape of the warp. Warping options give
you precise control over the orientation and perspective of

40 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

the warp effect. Note: You cannot warp type layers that Convert type to shapes
include Faux Bold formatting or that use fonts without
When you convert type to shapes, the type layer is
outline data (such as bitmap fonts).
replaced by a layer with a vector mask. You can edit the
vector mask and apply styles to the layer; however, you
cannot edit characters in the layer as text.
• Select a type layer, and choose Type > Convert To
Shape (CC, CS6) or Layer > Type > Convert To Shape
(CS5). Note: You cannot create shapes from fonts that
don't include outline data (such as bitmap fonts).
Format paragraphs
For point type, each line is a separate paragraph. For
paragraph type, each paragraph can have multiple lines,
Warp type depending on the dimensions of the bounding box.

1 Select a type layer. You can select paragraphs and then use the Paragraph
panel to set formatting options for a single paragraph,
2 Do one of the following: multiple paragraphs, or all paragraphs in a type layer.

• Select a type tool, and click the Warp button in • Select the Horizontal Type tool or the Vertical Type
the options bar. tool .
• Choose Type > Warp Text (CC, CS6) or Layer > • To apply formatting to a single paragraph, click in a
Type > Warp Text (CS5). paragraph.
You can use the Warp command to warp text in • To apply formatting to multiple paragraphs, make a
a type layer. Choose Edit > Transform Path >
selection within a range of paragraphs.
Warp.
3 Choose a warp style from the Style pop-up menu.
• To apply formatting to all paragraphs in the layer,
select the type layer in the Layers panel.
4 Select the orientation of the warp effect-Horizontal or
Vertical. Paragraph panel

5 If desired, specify values for additional warping options: You use the Paragraph panel to change the formatting of
columns and paragraphs. To display the panel, choose
• Bend to specify how much warp is applied to the Window > Paragraph, or click the Paragraph panel tab if the
layer panel is visible but not active. You can also select a type
• Horizontal Distortion or Vertical Distortion to apply tool and click the Panel button in the options bar.
perspective to the warp
To set options with numeric values in the Paragraph panel,
Unwarp type you can use the up and down arrows or edit the value
1 Select a type layer that has warping applied to it. directly in the text box. When you edit a value directly,
press Enter or Return to apply a value, Shift+Enter or
2 Select a type tool and click the Warp button in the Shift+Return to apply a value and then highlight the value
just edited, or Tab to apply a value and move to the next text
options bar, or choose Layer > Type > Warp Text. box in the panel.
3 Choose None from the Style pop-up menu, and click
OK.
Create a work path from type
You can work with type characters as vector shapes by
converting them to a work path. A work path is a temporary
path that appears in the Paths panel and defines the
outline of a shape. After you create a work path from a type
layer, you can save and manipulate it as you do any other
path. You cannot edit characters in the path as text;
however, the original type layer remains intact and editable.
• Select a type layer, and choose Type > Create Work Paragraph panel
Path (CC, CS6) or Layer > Type > Create Work Path A. Alignment and justification B. Left indent C. First line left indent
(CS5). Note: You cannot create work paths from fonts D. Space before paragraph E. Hyphenation F. Right indent G.
that don't include outline data (such as bitmap fonts). Space after paragraph

IT&ITES : DTPO - Related Theory for Exercise 2.1.05 41

You can access additional commands and options in the 1. Do one of the following:
Paragraph panel menu. To use this menu, click the triangle
in the upper right corner of the panel. • Select a type layer if you want all the paragraphs in
that type layer to be affected.
Specify alignment
• Select the paragraphs you want affected.
You can align type to one edge of a paragraph (left, center,
or right for horizontal type; top, center, or bottom for vertical 2. In the Paragraph panel, click a justification option.
type). Alignment options are available only for paragraph The options for horizontal type are:
type.
Justify Last Left
1. Do one of the following:
Justifies all lines except the last, which is left aligned.
• Select a type layer if you want all the paragraphs in
that type layer to be affected. Justify Last Centered
Justifies all lines except the last, which is center aligned.
• Select the paragraphs you want affected.
Justify Last Right
2. In the Paragraph panel or options bar, click an align-
ment option. Justifies all lines except the last, which is right aligned.
The options for horizontal type are: Justify All
Left Align Text Justifies all lines including the last, which is force justified.
Aligns type to the left, leaving the right edge of the The options for vertical type are:
paragraph ragged. Justify Last Top
Center Text Justifies all lines except the last, which is top aligned.
Aligns type to the center, leaving both edges of the Justify Last Centered
paragraph ragged.
Justifies all lines except the last, which is center aligned.
Right Align Text
Justify Last Bottom
Aligns type to right, leaving the left edge of the paragraph
ragged. Justifies all lines except the last, which is bottom justified.
The options for vertical type are: Justify All
Top Align Text Justifies all lines including the last, which is force justified.
Aligns type to the top, leaving the bottom edge of the Justification (right, center, and left align, and
paragraph ragged. justify all) for type on a path starts at the insertion
point and ends at the end of the path.
Center Text
Indent paragraphs
Aligns type to the center, leaving both the top and bottom
edges of the paragraph ragged. Indention specifies the amount of space between type and
the bounding box or line that contains the type. Indention
Bottom Align Text affects only the selected paragraph or paragraphs, so you
Aligns type to the bottom, leaving the top edge of the can easily set different indentions for paragraphs.
paragraph ragged. 1. Do one of the following:
Specify justification for paragraph type
• Select a type layer if you want all the paragraphs in
Text is said to be justified when it is aligned with both that type layer to be affected.
edges. You can choose to justify all text in a paragraph
excluding the last line, or you can justify text in a paragraph • Select the paragraphs you want affected.
including the last line. The settings you choose for justifi- 2. In the Paragraph panel, enter a value for an indention
cation affect the horizontal spacing of lines and the option:
aesthetic appeal of type on a page.
Indent Left Margin
Justification options are available only for paragraph type
and determine word, letter, and glyph spacing. Justification Indents from the left edge of the paragraph. For vertical
settings apply only to Roman characters; double byte type, this option controls the indention from the top of the
characters available in Chinese, Japanese, and Korean paragraph.
fonts are not affected by these settings. Indent Right Margin
Indents from the right edge of the paragraph. For vertical
type, this option controls the indention from the bottom of
the paragraph.

42 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

Indent First Line Adjustments
Indents the first line of type in the paragraph. For horizontal This submenu enables you to make adjustments to your
type, the first line indent is relative to the left indent; for image. It contains options such as the 'Curves' (which
vertical type, the first line indent is relative to the top indent. enables you to manipulate color), 'Bright/Contrast' (which
To create a first line hanging indent, enter a negative value. enables you to set the brightness and contrast), 'Hue/
Saturation' (which enables you to set the depth of color),
Image menu and 'Black and White' (which enables you to set the image
Fig 1
as Black or White). This submenu has a variety of options
through which you can perform so many different effects on
the image that you are working with.
Image Size
This submenu enable you to resize the size of your image.
Not only can you change the height and width of the image,
you can also change the height, width and resolution of
your document. This option enables you to set the size of
the working area of the document.
Canvas Size
This submenu enables you to change the working area of
the image so that you have more space to work with.
Crop
This submenu enables you to crop or cut off parts of an
image that you feel is not necessary for including in your
work area.
Trim
This submenu enables is similar to the Crop action. You
can remove unnecessary areas of the image. Use it to trim
Photoshop enables you to carry out a variety of effects on
parts of the image that you feel is unnecessary for your
various types of images. This program offers versatile tools
usage.
through which you can add effects to image. It is the 'Image
Menu' that enables you to add effects. Let's take a closer Each of these options enables you to carry out different
look at the tools offered by this menu. effects on the images that you are working with. You can
carry out so many different effects and in each image the
When you are dealing with Images in Photoshop, the first
result will be different, interesting and also unique.
thing that you will be using is the Image Menu. The Image
menu has many submenus, each of which enable you to Layers Menu
carry out a particular function that transforms the look of the
One of the most important Photoshop tools is the Layers
image that you are working with.
Panel. The Layers Panel lists out all the layers that make
Mode up your working image. You can use the Layers panel to
Create New Layers, Work with a Layer Group, or to Show
This submenu enables you to alter an image's appearance
and Hide Layers. Let's take a look at the many different
and its color scheme. The options available here are
things that can be done with the Layers Panel.
Bitmap, Grayscale, Duotone, Indexed Color, RGB Color,
CMYK Color, Lab Color, Multichannel, 8 Bits/Channel, 16
Bits/ Channel, and Color Table. These options enhance
you to enhance the appearance of your image as you think
is required. You can carry out many different color effects
through this menu.

IT&ITES : DTPO - Related Theory for Exercise 2.1.05 43

 Fig 2 Deleting Photoshop Layer
Deleting a layer is quite simple. Right click the layer you
want to delete to open a pop up menu. Click Delete Layer
to delete the layer. Alternatively, highlight the layer by
clicking it and then click the trashcan icon at the bottom of
the Layers Panel to delete it.
Locking and Unlocking Layers
Locking a layer is easy, you just have to click the Padlock
icon at the top of the Layers Panel to do this. This action
locks all the layers. You can unlock a layer by clicking the
Padlock Layer in the layer.
Merging Layers
You can merge layers by clicking on one layer and then
pressing CTRL to click the other layers that you wish to
merge with this layer. Once you have highlighted all the
layers, right click on any one. A pop up menu opens, where
you can click Merge Layers to carry out the merge action.
Select Menu

Fig 3

Creating a Layer
You can create a new layer by clicking the 'sheet-shaped'
icon bottom of the Layers Panel. You can also create a new
layer by going to the top of your Photoshop window and
click Layer > New > Layer.
Renaming a Layer
When you create a new layer, it is named as Layer 1 or
Layer 2, depending on when you create it. However, you
can assign your own name to a layer by renaming it. You The Select menu is used when you want to add something,
have to double-click the name of the layer to rename it. delete something, or make changes to one specific part of
the photo, rather than the photo as a whole. This Photoshop
Razterize your Layer
tutorial will explain which menu option does what, and what
You can rasterize any layer by first highlighting the layer they can be used for.
and then right clicking the layer to rasterize it.
All, Deselect, and Reselect
Using Blending Options
All: Select all will select the entire photo (or layer) that you
You can use this option in three different ways. The first are working on. This works well if you want to copy the
way to do this is by double clicking the layer and opening contents to a new layer, or a new document.
the Blending Options. You can also access this option by
doing a right click on the layer you are working with. This
opens a pop up menu that will allow you to access this
option. You can also access this option from the Photoshop
window and click Layer > Layer Styles > Blending Options.

44 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

Deselect: This will rid you of the "marching ants" around image. Lastly, Contract will let you make your selection
whatever part of the photo you've selected. This is usually smaller to define the exact portion of the image you want
used once you've copied the contents and pasted to a new to select.
layer and no longer need to have the contents of your image
Grow and Similar
selected.
Grow: Grow works by selecting more pixels that match the
Reselect: Reselecting is used when you've selected
color of your selection. For example, you've selected a
something, deselected it, and then realized you still need
portion of a tree. Grow will choose all of the pixels that
that portion of your image selected. This will select exactly
match the color of the tree portion you've selected. This
what you had previously, rather than making you try to
works best if you have an image that has a high contrast,
select the exact portion of your image again.
otherwise it may select more pixels than you need.
Inverse: This tool is probably one of the most under-
Similar: Similar will select all of the pixels in an image that
estimated within the batch. I love this tool. Inverse allows
match the color of your selected pixels. Again, this works
you to select a part of an image, go to inverse, and
best with high contrast images so that you don't end up
Photoshop Elements will select the exact opposite of what
selecting pixels you didn't need.
you've just selected. I use this all the time when I want to
put a portion of my photo on a new background. Rather than Loading, Saving, and Deleting a Selection
selecting every pixel of the background to delete it, I select Load Selection, Delete Selection, and Save Selection all
an easier portion of the image, go to inverse, and it will work together. To load a selection, you first must save it.
select the background for me! When you are finished with selecting a portion of an image,
All Layers: If you're working with a multi-layer document, suppose a flower, you've spent tons of time selecting the
this is a great tool to have. If you draw a marquis around a details of that flower, making sure you have selected all of
layer, you're only selecting that layer, nothing under it. the pixels. Saving the selection allows you to save that
Select all layers allows you to select every layer and work exact outline to use it later. Load selection allows you to
with them as a whole. load a previously saved selection, and delete selection
deletes any saved selections you no longer want or need.
Deselect Layers: Does the same as deselect, but will
deselect all layers rather than just the layer you are working
Filter Menu
on.
One of the most important things that you can do with
Similar Layers: This select option allows you to select
Photoshop is applying filters. Filters are some ready-made
layers of the same type such as all text layers, or all
effects that you can apply to the image that you are working
adjustment layers.
with.
Feather and Refine Edge
Photoshop offers a wide variety of filters. You can create
Feather: Feather is a great way to make your photo look some of the most stunning effects through Photoshop's
more realistic if you change its background. It will blur the filters. You can access them from the Filters menu in the
pixels around the selection (you can choose how many Photoshop Menu Bar. When you use any of the filter
pixels) and create the illusion that the photo was on that options available, a dialog box will open through which you
background all along, rather than making it look like you can see a preview of the effect that you are going to apply
took a portion of a photo and pasted into a new background. on the image. This gives you information on how the image
result will look after application.
Refine Edge: Refine edge gives you three options with
sliders to control the density of the change. Smooth will Here are the many filter options on Photoshop:
remove the jagged edges along a selection. Feather works • Artistic - This filter enables you to achieve artistic
the same as feather above, blurring the edges to make the
effects. You can get some of the most distinct effects
selection look more realistic. Contract/Expand allows you
through this option.
to increase or decrease the amount of selected pixels. You
can choose to view the image as you would see it, or view • Blur - This filter enables you to soften the look of an
the selection with an overlay color so that you can view the image. It can be used to soften the look of an entire
selection more in depth. image part of an image. You can use it to reduce the
hard edges of an image.
Modify
• Brush Strokes - This filter enables you to create artistic
Modify gives you a few options for your selection. Border effects using brush strokes.
allows you to create a border around the selected pixels (up
to 200 pixels) so that only the pixels within that border are • Distort - This filter enables you distort the image so that
selected. You can copy this selection to a new layer and you can get a unique effect on the original image. This
fill the layer with a color to make an outline of your image. is one of the most interesting Photoshop effects to try
Smooth works a lot like feathering. It will give the selection out.
a softer edge so it looks better, rather than having jagged • Noise - This filter is used for creating textures. Many
pixels. Expand lets you make your selection bigger by up texture effects can be added using the options available
to 200 pixels so that you can select the exact portion of the here.

IT&ITES : DTPO - Related Theory for Exercise 2.1.05 45

• Pixelate - It creates small cells in the image that you You can also Dock Palettes to one another by having their
are working with, based on color similarity. upper and lower edges meet one another. When a palette
is docked to another, it will snap into place.
• Render - This bring about cloud and light effects in the
image that you are selecting. Resizing, Showing, and Hiding Palettes
• Sharpen - This sharpens the soft edges in the image Perhaps you're working with a palette with a large number
by increasing pixel contrast. of styles, colors, or layers, all of which you like to be
accessible at the same time. You can resize many of the
• Sketch - This works much like the artistic filter, except-
palettes by dragging the bottom right corner out to which-
ing here you get a hand draw effect on the image.
ever size you prefer.
• Stylize - This option enables you to create special
Fig 2
stylish effects on the image.
• Texture - This option enables you to create various
types of texture effects that can really enhance the way
your image looks.
• Video - When you have image captured through video,
you can use this command to smoothen them out.
• Digimark - You have to use his option when you want
to add a digital watermark to the image.
Each of the filters enables you to create unique and
stylistic effects on your image document. You can carry
out so many variations in the image that you are working
with and bring out some of the best results. Check out the
results of each effect and carefully experiments with as
many variations as possible so that you get the kind of
results you want in your photo retouching or image enhanc-
ing requirements.
If you want to hide (minimize) a palette that you're not
In Photoshop, palettes are used to help modify and monitor currently using to save up on space, simply double click
your documents. An understanding of how to use, orga- that palettes tab. Likewise, you can expand a minimized
nize, and adjust palettes is essential in learning how to use tablet by double clicking the tab again.
Photoshop.
Closing, Opening, and Reseting Palettes
The Palettes
If you have some tablets open that serve no use to you for
In order to see how big of a role palettes play in Photoshop, your current work, it's possible to close out of them by
simply Press Tab in Photoshop to hide all palettes. clicking the "x" in the top right corner of the palette (On a
Palettes include everything from the toolbox, to the option mac, this will be the typical close button).
bar, to the layers and colors windows.
If you need to open a new palette, or a palette which you
Arranging Palettes have previously closed, go to Window in your menu bar,
It's possible to arrange palettes to your personal taste. and select the palette you'd like to reopen.
Doing so can help increase your efficiency by moving your If you're ever having trouble getting your palettes back into
most frequently used palettes to a more accessible part of place, and simply want to revert to the default palette
the screen. layout, go to Window > Workspace > Reset Palette
To move a palette to a separate palette group, or into a Locations in your Menu Bar. This will reset everything
palette group of its own, drag and drop that palettes tab into back to how you started when you first opened Photoshop.
another group, or anywhere else in the work area. Setting Options in Palettes
To move a palette group, drag the title bar of that palette Inside palettes, you'll find all sorts of various settings from
with your mouse, and release when it is positioned as you color choices, styles, opacity, and other values. We'll
see fit. cover many of these options in detail in the future, but for
now let's go over how to operate some of these options.
Fig 1

46 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

 Fig 3
The brush stroke preview at the bottom of the panel shows
how paint strokes look with the current brush options.

Drop-down Menus
To operate a drop-down menu, just click the arrow attached
to the menu. A list of available inputs will drop down. Click
any of these values to select them.

Fig 4

Brush panel with Brush Tip Shape options displayed

A. Locked B. Unlocked C. Selected brush tip D. Brush settings E.
Sliders Brush stroke preview F. pop up menu G. Brush tip shapes
(available when Brush Tip Shape option is selected) H. Brush
Sliders are operated by grabbing a handle by holding down options
your mouse button over one, and then dragging to your
desired value. Display the Brush panel and brush options
Swatches & Styles 1. Choose Window > Brush. Or, select a painting, eras-
To select a color swatch, or layer style, simply hover over ing, toning, or focus tool, and click the panel button
it with your mouse, and click once with your mouse. on the left side of the options bar.

Fig 5 2. Select an option set on the left side of the panel. The
available options for the set appear on the right side of
the panel.
Create a brush tip from an image
1. Using any selection tool, select the image area you
want to use as a custom brush. The brush shape can
be up to 2500 pixels by 2500 pixels in size.
When painting, you can't adjust the hardness of sampled
brushes. To create a brush with sharp edges, set Feather
You can create brushes that apply paint to images in a to zero pixels. To create a brush with soft edges, increase
variety of ways. You select an existing preset brush, a the Feather setting.
brush tip shape, or create a unique brush tip from part of an If you select a color image, the brush tip image is
image. You choose options from the Brush panel to specify converted to grayscale. Any layer mask applied
how the paint is applied. to the image doesn't affect the definition of the
Brush panel overview brush tip.
In the Brush panel, you can select preset brushes from the 2. Choose Edit > Define Brush Preset.
Brush Presets panel, but you can also modify existing 3. Name the brush, and click OK.
brushes and design new custom brushes. The Brush panel
contains the brush tip options that determine how paint is
applied to an image.
IT&ITES : DTPO - Related Theory for Exercise 2.1.05 47
Create a brush and set painting options
1. Select a painting, erasing, toning, or focus tool. Then
choose Window > Brush.
2. In the Brush panel, select a brush tip shape, or click
Brush Presets to choose an existing preset.
3. Select Brush Tip Shape on the left side of the Brush
panel, and set options. Flipping a brush tip on its x axis

4. To set other options for the brush, see the following A. Brush tip in its default position B. Flip X selected C. Flip X and
Flip Y selected
topics:
• Adding dynamic elements to brushes Flip Y
• Determining the scattering in a stroke Changes the direction of a brush tip on its y axis.
• Creating textured brushes
• Determine how a brush changes dynamically
• Drawing or painting with a graphics tablet
5. To lock brush tip shape attributes (retaining them if you
select another brush preset), click the unlock icon .
To unlock the tip, click the lock icon . Flipping a brush tip on its y axis.

6. To save the brush for use later, choose New Brush A. Brush tip in its default position B. Flip Y selected C. Flip Y and
Preset from the Brush panel menu. Flip X selected

To save your new brush permanently or distribute Angle

it to other users, you must save the brush as part
of a set of brushes. Choose Save Brushes from the Specifies the angle by which an elliptical or sampled
Brush Presets panel menu, and then save to a brush's long axis is rotated from horizontal. Type a value in
new set or overwrite an existing set. If you reset degrees, or drag the horizontal axis in the preview box.
or replace the brushes in the Brush Presets panel
without saving it in a set, you could lose your new
brush.
Standard brush tip shape options
For standard brush tips, you can set the following options
in the Brush panel:
Size Angled brushes create a chiseled stroke
Controls the size of the brush. Enter a value in pixels or drag Roundness
the slider.
Specifies the ratio between the brush's short and long
axes. Enter a percentage value, or drag the points in the
preview box. A value of 100% indicates a circular brush, a
value of 0% indicates a linear brush, and intermediate
values indicate elliptical brushes.

Brush strokes with different diameter values

Use Sample Size

Resets the brush to its original diameter. This option is
Adjusting roundness to compress a brush tip shape
available only if the brush tip shape was created by
sampling pixels in an image. Hardness
Flip X Controls the size of the brush's hard center. Type a
Changes the direction of a brush tip on its x axis. number, or use the slider to enter a value that is a
percentage of the brush diameter. You can't change the
hardness of sampled brushes.

48 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

 Brush preview

Shows brush tip that reflects changes to settings above, as

well as current pressure and stroke angle. Click the preview
window to see the brush from different sides.
Erodible tip options | CC, CS6
Brush strokes with different hardness values
Erodible tip brushes behave similar to pencils and crayons,
Spacing and wear down naturally as you draw. You can see the
Controls the distance between the brush marks in a stroke. amount of wear with the Live Brush Tip Preview to the upper
To change the spacing, type a number, or use the slider to left of the image.
enter a value that is a percentage of the brush diameter. Size
When this option is deselected, the speed of the cursor
determines the spacing. Controls the size of the brush. Enter a value in pixels or drag
the slider.
Softness
Controls the rate of wear. Enter a value in percentage or
drag the slider.
Shape
Controls the shape of the tip. Choose from a variety of tip
Increasing the spacing makes the brush skip
options.

Bristle tip shape options Sharpen Tip

Bristle tips let you specify precise bristle characteristics, Returns the tip to the original sharpness.
creating highly realistic, natural-looking strokes. Set the Spacing
following brush tip shape options in the Brush panel:
Controls the distance between the brush marks in a stroke.
Shape To change the spacing, type a number or use the slider to
Determines the overall arrangement of bristles. specify a percentage of the brush diameter. When this
option is deselected, the speed of the cursor determines
Bristles the spacing.
Controls overall bristle density. Brush preview
Length
Changes bristle length.
Shows brush tip that reflects changes to settings above, as
Thickness well as current pressure and stroke angle. Click the preview
Controls the width of individual bristles. window to see the brush from different sides.
Stiffness Airbrush tip options | CC, CS6
Controls bristle flexibility. At low settings, brush shape Airbrush tips replicate spray cans with a 3D conical spray.
deforms easily. With a stylus, you can alter the spread of sprayed strokes
by changing pen pressure.
To vary stroke creation when using a mouse, adjust the
stiffness setting. Size
Spacing Controls the size of the brush. Enter a value in pixels or drag
the slider.
Controls the distance between the brush marks in a stroke.
To change the spacing, type a number or use the slider to Hardness
specify a percentage of the brush diameter. When this Controls the size of the brush's hard center.
option is deselected, the speed of the cursor determines
the spacing. Distortion
Angle Controls the distortion to apply to the spray of paint.
When painting with a mouse, determines the brush tip Granularity
angle. Controls how grainy the paint drops look.

IT&ITES : DTPO - Related Theory for Exercise 2.1.05 49

Spatter Size Brush scattering
Controls the size of the paint droplets. Brush scattering determines the number and placement of
marks in a stroke.
Spatter Amount
Controls the number of paint droplets.
Spacing
Controls the distance between the droplets. If this option is
deselected, the speed of the cursor determines the spac-
ing.
Brush preview
Brush strokes without scattering (left) and with
scattering (right)

Shows brush tip that reflects changes to settings above, as Scatter and Control
well as current pressure and stroke angle. Click the preview Specifies how brush marks are distributed in a stroke.
window to see the brush from different sides. When Both Axes is selected, brush marks are distributed
Brush pose options | CC, CS6 in a radial direction. When Both Axes is deselected, brush
marks are distributed perpendicular to the stroke path.
Brush pose options let you achieve stylus-like effects and
let you control the angle and position of the brush. To specify the maximum percentage of scattering, enter a
value. To specify how you want to control the scattering
Tilt X variance of brush marks, choose an option from the Control
Determines the tilt angle of the brush from left to right. pop up menu:

Tilt Y Off

Determines the tilt angle of the brush from front to back. Specifies no control over the scattering variance of brush
marks.
Rotation
Fade
Determines the rotation angle of the bristles.
Fades the scattering of brush marks from maximum
Pressure scattering to no scattering in the specified number of steps.
Determines the pressure the brush applies on the canvas. Pen Pressure, Pen Tilt, Stylus Wheel, Rotation
Enable Override options to maintain a static brush pose. Varies the scattering of brush marks based on the pen
Other brush options pressure, pen tilt, position of the pen thumbwheel, or
rotation of the pen.
Noise
Count
Adds additional randomness to individual brush tips. This
option is most effective when applied to soft brush tips Specifies the number of brush marks applied at each
(brush tips that contain gray values). spacing interval.

Wet Edges If you increase the count without increasing the

spacing or scattering values, painting perfor-
Causes paint to build up along the edges of the brush mance may decrease.
stroke, creating a watercolor effect.
Count Jitter and Control
Airbrush/Build-up
Specifies how the number of brush marks varies for each
Applies gradual tones to an image, simulating traditional spacing interval. To specify the maximum percentage of
airbrush techniques. The Airbrush option in the Brush brush marks applied at each spacing interval, enter a value.
panel corresponds to the Airbrush option in the options bar. To specify how you want to control the count variance of
Smoothing brush marks, choose an option from the Control pop up
menu:
Produces smoother curves in brush strokes. This option is
most effective when you are painting quickly with a stylus; Off
however, it may produce a slight lag time in stroke Specifies no control over the count variance of brush
rendering. marks.
Protect Texture Fade
Applies the same pattern and scale to all brush presets Fades the number of brush marks from the Count value to
that have a texture. Select this option to simulate a 1 in the specified number of steps.
consistent canvas texture when painting with multiple,
textured brush tips.
50 IT&ITES : DTPO - Related Theory for Exercise 2.1.05
Pen Pressure, Pen Tilt, Stylus Wheel, Rotation On the Background layer, press Delete or Backspace to
quickly access the Fill dialog box.
Varies the number of brush marks based on the pen
pressure, pen tilt, position of the pen thumbwheel, or • From the Use menu, select one of the following:
rotation of the pen.
Content-Aware
Clear brush options
Seamlessly fills the selection with similar image content
You can clear all options that you changed for a brush nearby. For the best results, create a selection that
preset (except brush shape settings) at once. extends slightly into the area you want to replicate. (A
• Choose Clear Brush Controls from the Brush panel quick lasso or marquee selection is often sufficient.)
menu. 1. Color Adaptation
Filling and stroking selections, layers, and paths Algorithmically blends the color of the fill with the surround-
ing color
You can fill the inside of a selection, path, or layer with a
color or pattern. You can also add color to the outline of a
selection or path, called stroking
Fill with the Paint Bucket tool
The Paint Bucket tool fills adjacent pixels that are similar
in color value to the pixels you click.
The Paint Bucket tool cannot be used with images
in Bitmap mode.
1. Choose a foreground color.

2. Select the Paint Bucket tool .

The Paint Bucket tool is grouped with the Gradi- Content-Aware Fill with Color Adaptation
ent tool in the toolbar. If you can't find the Paint
Pattern
Bucket tool, click and hold the Gradient tool to
access it. Click the inverted arrow next to the pattern sample, and
select a pattern from the pop up panel. You can load
3. Specify whether to fill the selection with the foreground
additional patterns using the pop up panel menu. Select
color or with a pattern.
the name of a library of patterns, or choose Load Patterns
4. Specify a blending mode and opacity for the paint. and navigate to the folder containing the patterns you want
5. Enter the tolerance for the fill. to use.

The tolerance defines how similar in color a pixel must be (CC, CS6) You can also apply one of five included Scripted
(to the pixel you click) to be filled. Values can range from Patterns to easily create a variety of geometic fill patterns.
0 to 255. A low tolerance fills pixels within a range of color Select Scripted Patterns at the bottom of the fill dialog box,
values very similar to the pixel you click. A high tolerance and then choose a fill pattern from the Script pop-up menu.
fills pixels within a broader range. If Pattern is dimmed, you need to load a pattern
6. To smooth the edges of the filled selection, select Anti- library prior to making a selection.
aliased. History
7. To fill only pixels contiguous to the one you click, select Restores the selected area to the source state or snapshot
Contiguous; leave Contiguous unselected to fill all set in the History panel.
similar pixels in the image.
8. To fill pixels based on the merged color data from all
visible layers, select All Layers.
9. Click the part of the image you want to fill. All specified
pixels within the specified tolerance are filled with the
foreground color or pattern.
If you're working on a layer and don't want to fill transparent
areas, make sure that the layer's transparency is locked in
the Layers panel. Content-aware fill

Content-aware, pattern, or history fills A. Create selection that extends slightly into area you want to
replicate B. Seamlessly replace selection with Content-Aware fill
• Select the part of the image you want to fill.
• Choose Edit > Fill.
IT&ITES : DTPO - Related Theory for Exercise 2.1.05 51
Fill the work canvas Draw a circle or square
The work canvas surrounds the image area. You can fill the You can draw a circle or square using the elliptical or
canvas with a different color that contrasts better with a rectangular marquee tools, and then add a line (called a
given image. stroke) to the selection marquee. Stroking a selection is a
quick way to add a border or frame around an object. You
• Right-click the work canvas, and choose Gray, Black, can stroke any selection you create with the selection
or Custom. (To specify the custom color, choose tools.
Select Custom Color.)
Stroke a selection or layer with color 1. In the Layers panel, click the New Layer button to
create a new layer for the circle or square. Isolating the
You can use the Stroke command to paint a colored border circle or square on its own layer makes it easier to work
around a selection, path, or layer. When you create a with.
border this way, it becomes a rasterized part of the current
layer. 2. Select the Elliptical Marquee tool or the Rectangu-
To create shape or layer borders that can be turned on or lar Marquee tool in the toolbox.
off like overlays and are anti-aliased to create softer-edged
corners and edges, use the Stroke layer effect instead of 3. Drag in the document window to create the shape. Hold
the Stroke command. down the Shift key while dragging to constrain the
shape to a circle or square.
1. Choose a foreground color.
4. Choose Edit > Stroke.
2. Select the area or layer you want to stroke.
5. In the Stroke dialog box, type a value for Width, and then
3. Choose Edit > Stroke.
click the color swatch to display the Adobe Color
4. In the Stroke dialog box, specify the width of the hard- Picker.
edged border.
6. In the Adobe Color Picker, locate the color range you
5. For Location, specify whether to place the border want using the triangle sliders on the color spectrum
inside, outside, or centered over the selection or layer bar, and then click the desired color in the color field.
boundaries. The color you select appears in the top half of the color
swatch. The original color remains in the bottom half.
If the layer contents fill the entire image, a
Click OK.
stroke applied outside the layer will not be
visible. 7. Set the location for the stroke in relationship to the
marquee by choosing Inside, Center, or Outside. Ad-
6. Specify an opacity and a blending mode.
just the other settings as desired, and click OK.
7. If you're working in a layer and want to stroke only areas Photoshop strokes the line using the color and stroke
containing pixels, select the Preserve Transparency settings you set.
option.

52 IT&ITES : DTPO - Related Theory for Exercise 2.1.05

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.06
Retouching and repairing images
Objectives : At the end of this lesson you shall be able to
• explain about clone stamp tool
• explain about lens distortion.

Clone Source panel frame is in a different video layer or in a different open

document.
The Clone Source panel (Window > Clone Source) has
options for the Clone Stamp tools or Healing Brush tools. You can set up to five different sampling sources at a time
You can set up to five different sample sources and quickly in the Clone Source panel. The Clone Source panel saves
select the one you need without resampling each time you the sampling sources until you close the document.
change to a different source. You can view an overlay of 1. (Photoshop Extended only) To clone video or animation
your sample source to make it easier to clone the source frames, open the Animation panel (if you're not cloning
in a specific location. You can also scale or rotate the video or animation frames, skip to step 2). Select the
sample source to better match the size and orientation of timeline animation option and move the current-time
the cloning destination. indicator to the frame with the source you want to
Retouch with the Clone Stamp tool sample.
2. To set the sampling point, select the Clone Stamp tool
The Clone Stamp tool paints one part of an image over and Alt-click in any open document window.
another part of the same image or over another part of any
open document that has the same color mode. You can 3. (Optional) To set another sampling point, click a differ-
also paint part of one layer over another layer. The Clone ent Clone Source button in the Clone Source panel.
Stamp tool is useful for duplicating objects or removing a
defect in an image. You can change the sampling source for a Clone Source
button by setting a different sampling point.
To use the Clone Stamp tool, you set a sampling point on
the area you want to copy (clone) the pixels from and paint Scale or rotate the sample source
over another area. To paint with the most current sampling 1. Select the Clone Stamp or Healing Brush tool and set
point whenever you stop and resume painting, select the one or more source samples.
Aligned option. Deselect the Aligned option to paint start-
ing from the initial sampling point no matter how many 2. In the Clone Source panel, select a clone source and
times you stop and resume painting. then do any of the following:

You can use any brush tip with the Clone Stamp tool, which • To scale the sample source, enter a percentage
gives you precise control over the size of the clone area. value for W (width) or H (height) or scrub W or H. The
You can also use opacity and flow settings to control the default is to constrain proportions. To adjust the
paint application to the cloned area. dimensions independently or restore the constrain
option, click the Maintain Aspect Ratio button .

• To rotate the sample source, enter a degree value or

scrub the Rotate The Clone Source icon .

• To reset the sample source to its original size and

orientation, click the Reset Transform button .
Adjust the sample source overlay options
Adjust the sample source overlay options to see the
Altering an image with the Clone Stamp tool overlay and underlying images better when painting with
the Clone Stamp and Healing Brush tools.
Set sample sources for cloning and healing To temporarily display the overlay while painting with the
Clone Stamp tool, press Alt+Shift (Windows). The brush
Using the Clone Stamp or Healing Brush tool, you can
changes temporarily to the Move Source Overlay tool. Drag
sample sources in the current document or any open
to move the overlay to another location.
document in Photoshop.
(Photoshop Extended) When cloning video or animation,
• In the Clone Source panel, select Show Overlay and
you can set sampling points in the current frame you're do any of the following:
painting or sample sources in a different frame, even if the
53
 • To hide the overlay while you apply the paint strokes, Mode
select Auto Hide. Specifies the blending mode. Choose Replace to preserve
• To clip overlay to the brush size, enable the Clipped noise, film grain, and texture at the edges of the brush
option. stroke when using a soft edge brush.
Source
• To set the opacity of the overlay, enter a percentage
value in the Opacity text box. Specifies the source to use for repairing pixels. Sampled
to use pixels from the current image, or Pattern to use
• To set the appearance of the overlay, choose either pixels from a pattern. If you chose Pattern, select a pattern
the Normal, Darken, Lighten, or Difference blending from the Pattern pop up panel.
mode from the pop up menu at the bottom of the
Clone Source panel. Aligned
Samples pixels continuously, without losing the current
• To invert the colors in the overlay, select Invert.
sampling point, even if you release the mouse button.
Specify the clone source offset Deselect Aligned to continue to use the sampled pixels
from the initial sampling point each time you stop and
When using the Clone Stamp tool or Healing Brush tool,
resume painting.
you can paint with the sampled source anywhere in the
target image. The overlay options help you visualize where Sample
you want to paint. However, if you paint in a specific
Samples data from the layers you specify. To sample from
location relative to the sampling point, you can specify the
the active layer and visible layers below it, choose Current
x and y pixel offset.
And Below. To sample only from the active layer, choose
• In the Clone Source panel, select the source you want Current Layer. To sample from all visible layers, choose All
to use and enter the x and y pixel values for the Offset Layers. To sample from all visible layers except adjust-
option. ment layers, choose All Layers and click the Ignore
Adjustment Layers icon to the right of the Sample pop up
Retouch with the Healing Brush tool menu.
The Healing Brush tool lets you correct imperfections, 3. Set the sampling point by positioning the pointer over an
causing them to disappear into the surrounding image. area of the image and Alt-clicking (Windows) or Option-
Like the cloning tools, you use the Healing Brush tool to clicking (Mac OS).
paint with sampled pixels from an image or pattern.
However, the Healing Brush tool also matches the texture, If you are sampling from one image and apply-
lighting, transparency, and shading of the sampled pixels ing to another, both images must be in the
to the pixels being healed. As a result, the repaired pixels same color mode unless one of the images is in
blend seamlessly into the rest of the image. Grayscale mode.

(Photoshop Extended) The Healing Brush tool can be 4. (Optional) In the Clone Source panel, click a clone
applied to video or animation frames. source button and set an additional sampling
point.
You can set up to 5 different sampling sources. The Clone
Source panel remembers the sampled sources until you
close the document you're editing.
5. (Optional) In the Clone Source panel, click a clone
source button to select the sampled source you want.

Sampled pixels and healed image 6. (Optional) Do any of the following in the Clone Source
panel:
1. Select the Healing Brush tool . • To scale or rotate the source that you're cloning,
enter a value for W (width), H (height), or the rotation
2. Click the brush sample in the options bar and set brush
options in the pop up panel: in degrees .

If you're using a pressure-sensitive digitizing • To show an overlay of the source that you're cloning,
tablet, choose an option from the Size menu to select Show Overlay and specify the overlay op-
vary the size of the healing brush over the tions.
course of a stroke. Choose Pen Pressure to
7. Drag in the image.
base the variation on the pen pressure. Choose
Stylus Wheel to base the variation on the
position of the pen thumbwheel. Choose Off if
you don't want to vary the size.

54 IT&ITES : DTPO - Related Theory for Exercise 2.1.06

Retouch with the Spot Healing Brush tool Correct lens distortion and adjust perspective
The Spot Healing Brush tool quickly removes blemishes The Lens Correction filter fixes common lens flaws such as
and other imperfections in your photos. The Spot Healing barrel and pincushion distortion, vignetting, and chromatic
Brush works similarly to the Healing Brush: it paints with aberration. The filter works only with 8 and 16 bit-per-
sampled pixels from an image or pattern and matches the channel images in RGB or Grayscale mode.
texture, lighting, transparency, and shading of the sampled
You can also use the filter to rotate an image or fix image
pixels to the pixels being healed. Unlike the Healing Brush,
perspective caused by vertical or horizontal camera tilt.
the Spot Healing Brush doesn't require you to specify a
The filter's image grid makes these adjustments easier and
sample spot. The Spot Healing Brush automatically
more accurate than using the Transform command.
samples from around the retouched area.
Automatically correct image perspective and lens
flaws
Using lens profiles, the default Auto Correction option
quickly and accurately fixes distortion. For proper automatic
correction, Photoshop requires Exit metadata that identifies
the camera and lens that created the image, and a
matching lens profile on your system.
1. Choose Filter > Lens Correction.
2. Set the following options:
Correction
Using the Spot Healing Brush to remove a blemish
Select the problems you want to fix. If corrections undesirably
extend or contract the image beyond original dimensions,
Patch an area
select Auto Scale Image.
The Patch tool lets you repair a selected area with pixels
The Edge menu specifics how to handle blank areas that
from another area or a pattern. Like the Healing Brush tool,
result from pincushion, rotation, or perspective corrections.
the Patch tool matches the texture, lighting, and shading
You can fill blank areas with transparency or a color, or you
of the sampled pixels to the source pixels. You can also
can extend the edge pixels of the image.
use the Patch tool to clone isolated areas of an image. The
Patch tool works with 8 bits or 16 bits-per-channel images. Search Criteria
Lens distortion Filters the Lens Profiles list. By default, profiles based on
image sensor size appear first. To list RAW profiles first,
Barrel distortion is a lens defect that causes straight lines
click the pop-up menu , and select Prefer RAW Profiles.
to bow out toward the edges of the image. Pincushion
distortion is the opposite effect, where straight lines bend Lens Profiles
inward.
Select a matching profile. By default, Photoshop displays
only profiles that match the camera and lens used to create
the image. (The camera model does not have to match
perfectly.) Photoshop also automatically selects a matching
sub-profile for the selected lens based on focal length, f-
stop and focus distance. To change the automatic selection,
right-click the current lens profile, and select a different
sub-profile.
If you find no matching lens profile, click Search Online to
acquire additional profiles created by the Photoshop
Examples of barrel distortion (left) and pincushion distor- community. To store online profiles for future use, click the
tion (right)
pop-up menu , and choose Save Online Profile Locally.
Vignetting is a defect that darkens the corners of an image
due to light falloff around the perimeter of the lens. Chro- Manually correct image perspective and lens flaws
matic aberration appears as a color fringe along the edges You can apply manual correction alone or use it to refine
of objects, caused by the lens focusing on different colors automatic lens correction.
of light in different planes.
1. Choose Filter > Lens Correction.
Some lenses exhibit different defects at certain focal
2. In the upper-right corner of the dialog box, click the
lengths, f stops, and focus distances. With the Lens
Custom tab.
Correction filter, you can specify the combination of set-
tings used to make the image.

IT&ITES : DTPO - Related Theory for Exercise 2.1.06 55

3. (Optional) Choose a preset list of settings from the Scale
Settings menu. Lens Default uses settings that you
Adjusts the image scale up or down. The image pixel
previously saved for the camera, lens, focal length, f
dimensions aren't changed. The main use is to remove
stop, and focus distance used to create the image.
blank areas of the image caused by pincushion, rotation,
Previous Conversion uses the settings used in your last
or perspective corrections. Scaling up effectively results in
lens correction. Any group of custom settings you
cropping the image and interpolating up to the original pixel
saved are listed at the bottom of the menu.
dimensions.
4. Set any of the following options to correct your image.
Adjust the Lens Correction preview and grid
Remove Distortion
Adjust the preview magnification and grid lines to better
Corrects lens barrel or pincushion distortion. Move the judge the necessary amount of correction.
slider to straighten horizontal and vertical lines that bend
either away from or toward the center of the image. You can • To change the image preview magnification, use the
Zoom tool or the zoom controls in the lower left side of
also use the Remove Distortion tool to make this the preview image.
correction. Drag toward the center of the image to correct
for barrel distortion and toward the edge of the image to
• To move the image in the preview window, select the
correct for pincushion distortion. To compensate for any Hand tool and drag in the image preview.
blank image edges that result, adjust the Edge option on • To use the grid, select Show Grid at the bottom of the
the Auto Correction tab. dialog box. Use the Size control to adjust the grid
Fix Fringe settings spacing and the Color control to change the color of the
grid. You can move the grid to line it up with your image
Compensate for fringing by adjusting the size of one color
channel relative to another. using the Move Grid tool .
Zoom in on the image preview to get a closer view of the
Reduce image noise and JPEG artifacts
fringing as you make the correction.
Image noise appears as random extraneous pixels that
Vignette Amount
aren't part of the image detail. Noise can be caused by
Sets the amount of lightening or darkening along the edges photographing with a high ISO setting on a digital camera,
of an image. Corrects images that have darkened corners underexposure, or shooting in a dark area with a long
caused by lens faults or improper lens shading. shutter speed. Low end consumer cameras usually exhibit
more image noise than high end cameras. Scanned
You can also apply vignetting for a creative effect.
images may have image noise caused by the scanning
Vignette Midpoint sensor. Often, the film's grain pattern appears in the
Specifies the width of area affected by the Amount slider. scanned image.
Specify a lower number to affect more of the image. Specify Image noise can appear in two forms: luminance (grayscale)
a higher number to restrict the effect to the edges of the noise, which makes an image look grainy or patchy, and
image. color noise, which is usually visible as colored artifacts in
Vertical Perspective the image.

Corrects image perspective caused by tilting the camera Luminance noise may be more pronounced in one channel
up or down. Makes vertical lines in an image parallel. of the image, usually the blue channel. You can adjust the
noise for each channel separately in Advanced mode.
Horizontal Perspective Before opening the filter, examine each channel in your
Corrects image perspective, making horizontal lines paral- image separately to see if noise is prevalent in one channel.
lel. You preserve more image detail by correcting one channel
rather than making an overall correction to all channels.
Angle
1. Choose Filter > Noise > Reduce Noise.
Rotates the image to correct for camera tilt or to make
adjustments after correcting perspective. You can also use 2. Zoom in on the preview image to get a better view of
image noise.
the Straighten tool to make this correction. Drag along
3. Set options:
a line in the image that you want to make vertical or
Strength
horizontal.
Controls the amount of luminance noise reduction applied
To avoid unintended scaling when adjusting per-
to all image channels.
spective or angle settings, deselect Auto Scale
Image on the Auto Correction tab.

56 IT&ITES : DTPO - Related Theory for Exercise 2.1.06

Preserve Details Remove JPEG Artifacts
Preserves edges and image details such as hair or texture Removes blocky image artifacts and halos caused by
objects. A value of 100 preserves the most image detail, but saving a image using a low JPEG quality setting.
reduces luminance noise the least. Balance the Strength
4. If luminance noise is more prevalent in one or two color
and Preserve Details controls to fine tune noise reduction.
channels, click the Advanced button and then choose
Reduce Color Noise the color channel from the Channel menu. Use the
Strength and Preserve Details controls to reduce noise
Removes random color pixels. A higher value reduces
in that channel.
more color noise.
Sharpen Details
Sharpens the image. Removing noise reduces image
sharpness. Use the sharpening control in the dialog box or
use one of the other Photoshop sharpening filters later to
restore sharpness.

IT&ITES : DTPO - Related Theory for Exercise 2.1.06 57

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.07
Drawing and painting
Objectives : At the end of this lesson you shall be able to
• understanding Shapes and Paths
• explain about drawing shapes
• painting Tools
• managing Paths
• editing paths.
Understanding shapes and paths Paths
Drawing in Adobe Photoshop involves creating vector Draws a work path on the current layer that you can then
shapes and paths. In Photoshop, you can draw with any of use to make a selection, create a vector mask, or fill and
the shape tools, the Pen tool, or the Freeform Pen tool. stroke with color to create raster graphics (much as you
Options for each tool are available in the options bar. would using a painting tool). A work path is temporary
Before you begin drawing in Photoshop, you must choose unless you save it. Paths appear in the Paths panel.
a drawing mode from the options bar. The mode you Fill Pixels
choose to draw in determines whether you create a vector
shape on its own layer, a work path on an existing layer, Paints directly on a layer-much as a painting tool does.
or a rasterized shape on an existing layer. When you work in this mode, you're creating raster
images-not vector graphics. You work with the shapes you
Vector shapes are lines and curves you draw using the paint just as you do with any raster image. Only the shape
shape or pen tools. Vector shapes are resolution-indepen- tools work in this mode.
dent-they maintain crisp edges when resized, printed to a
PostScript printer, saved in a PDF file, or imported into a
vector-based graphics application. You can create libraries
of custom shapes and edit a shape's outline (called a path)
and attributes (such as stroke, fill color, and style).
Paths are outlines that you can turn into selections, or fill
and stroke with color. You can easily change the shape of
a path by editing its anchor points.
A work path is a temporary path that appears in the Paths
panel and defines the outline of a shape.
You can use paths in several ways: Drawing options

• Use a path as a vector mask to hide areas of a layer. A. Shape Layers B. Paths C. Fill Pixels

• Convert a path to a selection.

Draw a wheel shape
• Fill or stroke a path with color.
You cut out a shape within an existing shape so that the
Designate a saved path as a clipping path to make part of
layers underneath show through. This procedure shows
an image transparent when exporting the image to a page-
you how to create a doughnut shape, but you can use this
layout or vector-editing application.
technique with any combination of the shape tools, includ-
Drawing modes ing custom shapes.
When you work with the shape or pen tools, you can draw Draw a custom shape
in three different modes. You choose a mode by selecting
an icon in the options bar when you have a shape or pen tool You can draw custom shapes by using shapes from the
selected. Custom Shape pop-up panel, or save a shape or path to use
as a custom shape.
Shape Layers
Create a rasterized shape
Creates a shape on a separate layer. You can use either
the shape tools or the pen tools to create shape layers. When you create a rasterized shape, you're drawing and
Because they are easily moved, resized, aligned, and rasterizing a shape and filling it with the foreground color.
distributed, shape layers are ideal for making graphics for You cannot edit a rasterized shape as a vector object.
web pages. You can choose to draw multiple shapes on a Raster shapes are created using the current foreground
layer. A shape layer consists of a fill layer that defines the color.
shape color and a linked vector mask that defines the
shape outline. The outline of a shape is a path, which
appears in the Paths panel.
58
Shape tool options Proportional
Each shape tool provides a unique subset of the options Renders a rectangle, rounded rectangle, or ellipse as a
below. To access these options, click the arrow to the right proportional shape based on the values you enter in the
of the row of shape buttons in the options bar. Width and Height text boxes.
Radius
For rounded rectangles, specifies the corner radius. For
polygons, specifies the distance from the center of a
polygon to the outer points.
Sides
Specifies the number of sides in a polygon.
Smooth Corners or Smooth Indents
Renders a polygon with smooth corners or indents.
Accessing shape tool options in the options bar (Line Snap To Pixels
options shown)
Snaps edges of a rectangle or rounded rectangle to the
Arrowheads Start And End pixel boundaries.

Adds arrowheads to a line. Select the Line tool and then Square
select Start to add an arrow to the beginning of the line; Constrains a rectangle or rounded rectangle to a square.
select End to add an arrow to the end of the line. Select both
options to add arrows to both ends. The shape options Unconstrained
appear in the pop-up dialog box. Enter values for Width and Lets you set the width and height of a rectangle, rounded
Length to specify the proportions of the arrowhead as a rectangle, ellipse, or custom shape by dragging.
percentage of the line width (10% to 1000% for Width, and
10% to 5000% for Length). Enter a value for the concavity Weight
of the arrowhead (from -50% to +50%). The concavity value Determines width, in pixels, for the Line tool.
defines the amount of curvature on the widest part of the
Edit shapes
arrowhead, where the arrowhead meets the line.
A shape is a fill layer linked to a vector mask. You can
You can also edit an arrowhead directly using the
easily change the fill to a different color, a gradient, or a
vector selection and drawing tools.
pattern by editing the shape's fill layer. You can also edit
Circle the shape's vector mask to modify the shape outline, and
Constrains an ellipse to a circle. apply a style to the layer.

Defined Proportions • To change the color of a shape, double-click the shape

layer's thumbnail in the Layers panel, and choose a
Renders a custom shape based on the proportions with different color using the Color Picker.
which it was created.
• To fill a shape with a pattern or gradient, select the
Defined Size
shape layer in the Layers panel and choose Layer >
Renders a custom shape based on the size at which it was Layer Style > Gradient Overlay.
created.
• To change stroke width, select the shape layer in the
Fixed Size Layers panel, and choose Layer >Layer Style > Stroke.
Renders a rectangle, rounded rectangle, ellipse, or custom
• To modify the outline of a shape, click the shape layer's
shape as a fixed shape based on the values you enter in the
vector mask thumbnail in the Layers panel or Paths
Width and Height text boxes.
panel. Then change the shape using the Direct Selec-
From Center tion and pen tools.
Renders a rectangle, rounded rectangle, ellipse, or custom • To move a shape without changing its size or propor-
shape from the center. tions, use the Move tool.
Indent Sides By About painting tools, presets, and options
Renders a polygon as a star. Enter a percentage in the text Adobe Photoshop provides several tools for painting and
box to specify the portion of the star's radius taken up by editing image color. The Brush tool and the Pencil tool work
the points. A 50% setting creates points that are half the like a traditional drawing tool applying color with brush
total radius of the star; a larger value creates sharper, strokes. Tools like the Eraser tool, Blur tool, and Smudge
thinner points; a smaller value creates fuller points. tool modify the existing colors in the image. In the options

IT&ITES : DTPO - Related Theory for Exercise 2.1.07 59

bar for each of these painting tools, you can set how color on the flow rate, up to the opacity setting. For example, if
is applied to an image and choose from preset brush tips. you set the opacity to 33% and the flow to 33%, each time
you move over an area, its color moves 33% toward the
Brush and tool presets
brush color. The total will not exceed 33% opacity unless
You can save a set of brush options as a preset so you can you release the mouse button and stroke over the area
quickly access brush characteristics you use frequently. again.
Photoshop includes several sample brush presets. You
Press a single number key to set a tool's opacity in
can start with these presets and modify them to produce
multiples of 10% (pressing 1 sets it to 10%; pressing 0 sets
new effects. Many original brush presets are available for
it to 100%). Press two number keys to set a specific
download on the web.
opacity. To set Flow, press Shift and number keys.
You can quickly choose presets from the Brush Preset
Airbrush
picker in the options bar, which lets you temporarily modify
the size and hardness of a brush preset.
Save tool presets when you want to store customized
brush tip characteristics along with settings from the Simulates painting with an airbrush. As you move the
options bar such as opacity, flow, and color. pointer over an area, paint builds up as you hold down the
Brush tip options mouse button. Brush hardness, opacity, and flow options
control how fast and how much the paint is applied. Click
Along with settings in the options bar, brush tip options the button to turn on or off this option.
control how color is applied. You can apply color gradually,
with soft edges, with large brush strokes, with various Auto erase
brush dynamics, with different blending properties, and (Pencil tool only) Paints the background color over areas
with brushes of different shapes. You can apply a texture containing the foreground color. Select the foreground
with your brush strokes to simulate painting on canvas or color you want to erase and the background color you want
art papers. You can also simulate spraying paint with an to change to.
airbrush. You use the Brush panel to set brush tip options.
Tablet pressure buttons
If you work with a drawing tablet, you can control how color
is applied using pen pressure, angle, rotation, or a stylus
wheel. You set options for drawing tablets in the Brush
panel and options bar. Use stylus pressure to override opacity and size settings
Paint with the Brush tool or Pencil tool in the Brush panel.
The Brush tool and the Pencil tool paint the current The Pen tools
foreground color on an image. The Brush tool creates soft Photoshop provides multiple Pen tools. The standard Pen
strokes of color. The Pencil tool creates hard-edged lines. tool draws with the greatest precision; the Freeform Pen
The Rotation tool rotates the canvas, which can tool draws paths as if you were drawing with pencil on
facilitate easier painting. paper, and the magnetic pen option lets you draw a path
that snaps to the edges of defined areas in your image. You
Paint tool options
can use the pen tools in conjunction with the shape tools
Set the following in the options bar. Options available vary to create complex shapes. When you use the standard
with each tool. Pen tool, the following options are available in the options
bar:
Mode
Sets the method for blending the color you paint with the • Auto Add/Delete, which lets you add an anchor point
underlying existing pixels. Available modes change with when you click a line segment or delete an anchor point
the currently selected tool. Paint modes are similar to layer when you click it.
blending modes. • Rubber Band, which lets you preview path segments as
Opacity you move the pointer between clicks. (To access this
option, click the pop-up menu to the right of the Custom
Sets the transparency of color you apply. As you paint over
Shape icon.)
an area, the opacity does not exceed the set level no matter
how many times you move the pointer over the area, until Paths panel overview
you release the mouse button. If you stroke over the area The Paths panel (Window > Paths) lists the name and a
again, you apply additional color, equivalent to the set thumbnail image of each saved path, the current work path,
opacity. Opacity of 100 percent is opaque. and the current vector mask. Turning thumbnails off can
Flow improve performance. To view a path, you must first select
it in the Paths panel.
Sets the rate at which color is applied as you move the
pointer over an area. As you paint over an area, keeping the
mouse button down, the amount of color builds up based
60 IT&ITES : DTPO - Related Theory for Exercise 2.1.07
 Exclude Overlapping Path Areas
Excludes the overlap area in the consolidated path.
Manage paths
When you use a pen or shape tool to create a work path,
the new path appears as the work path in the Paths panel.
The work path is temporary; you must save it to avoid losing
Paths panel its contents. If you deselect the work path without saving
A. Saved path B. Temporary work path C. Vector mask path it and start drawing again, a new path will replace the
(appears only when shape layer is selected) existing one.
When you use a pen or shape tool to create a new shape
Select a path
layer, the new path appears as a vector mask in the Paths
• Click the path name in the Paths panel. Only one path panel. Vector masks are linked to their parent layer; you
can be selected at a time. must select the parent layer in the Layers panel in order to
list the Vector mask in the Paths panel. You can remove
Deselect a path a Vector mask from a layer and convert a Vector mask to
• Click in a blank area of the Paths panel or press Esc. a rasterized mask.

Change the size of path thumbnails Paths saved with an image appear when you open it again.
In Windows, JPEG, JPEG 2000, DCS, EPS, PDF, and
Choose Panel Options from the Paths panel menu, and TIFF formats support paths in Photoshop. In Mac OS, all
select a size, or select None to turn off the display of available file formats support paths.
thumbnails.
Save a work path
Change a path's stacking order
• To save without renaming, drag the work path name to
• Select the path in the Paths panel, and drag the path up the New Path button at the bottom of the Paths panel.
or down. When the heavy black line appears in the
desired location, release the mouse button. • To save and rename, choose Save Path from the Paths
panel menu, enter a new path name in the Save Path
You cannot change the order of vector masks or
dialog box, and click OK.
working paths in the Paths panel.
Rename a saved path
Create a new path in the Paths panel
• Double-click the path name in the Paths panel, type a
• To create a path without naming it, click the Create New
new name, and press Enter (Windows)
Path button at the bottom of the Paths panel.
Path segments, components, and points
• To create and name a path, make sure no work path is A path consists of one or more straight or curved seg-
selected. Choose New Path from the Paths panel ments. Anchor points mark the end points of the path
menu, or Alt-click (Windows) the New Path button at segments. On curved segments, each selected anchor
the bottom of the panel. Enter a name for the path in the point displays one or two direction lines, ending in direction
New Path dialog box, and click OK. points. The positions of direction lines and points deter-
Create a new work path mine the size and shape of a curved segment. Moving
these elements reshapes the curves in a path.
1. Select a shape tool or a pen tool, and click the Paths
button in the options bar.

2. Set tool-specific options, and draw the path.

3. Draw additional path components if desired. You can
easily switch between drawing tools by clicking a tool
button in the options bar. Choose a path area option to
determine how overlapping path components intersect: A path

Add To Path Area A. Curved line segment B. Direction point C. Direction line
D. Selected anchor point E. Unselected anchor point
Adds the new area to overlapping path areas.
A path can be closed, with no beginning or end (for
Subtract From Path Area
example, a circle), or open, with distinct end points (for
Removes the new area from the overlapping path area. example, a wavy line).
Intersect Path Areas Smooth curves are connected by anchor points called
Restricts the path to the intersection of the new area and smooth points. Sharply curved paths are connected by
the existing area. corner points.
IT&ITES : DTPO - Related Theory for Exercise 2.1.07 61
 Smooth point and corner point

When you move a direction line on a smooth point, the

curved segments on both sides of the point are adjusted Drag a marquee to select segments
simultaneously. By comparison, when you move a direc-
tion line on a corner point, only the curve on the same side 2. To select additional path components or segments,
of the point as the direction line is adjusted. select the Path Selection tool or the Direct Selection
tool, and then hold down Shift while selecting additional
paths or segments.
Adjust path segments
You can edit a path segment at any time, but editing
existing segments is slightly different from drawing them.
Keep the following tips in mind when editing segments:
• If an anchor point connects two segments, moving that
Adjusting a smooth point and a corner point anchor point always changes both segments.
A path does not have to be one connected series of • When drawing with the Pen tool, you can temporarily
segments. It can contain more than one distinct and activate the Direct Selection tool so that you can adjust
separate path components. Each shape in a shape layer segments you've already drawn; press Ctrl (Windows)
is a path component, as described by the layer's clipping or Command (Mac OS) while drawing.
path. • When you initially draw a smooth point with the Pen
tool, dragging the direction point changes the length of
the direction line on both sides of the point. However,
when you edit an existing smooth point with the Direct
Selection tool, you change the length of the direction
line only on the side you're dragging.
Adjust the length or angle of straight segments
1. With the Direct Selection tool , select an anchor point
on the segment you want to adjust.
Separate path components selected 2. Drag the anchor point to the desired position. Shift-drag
to constrain the adjustment to multiples of 45°.
Select a path
Adjust the position or shape of curved segments
Selecting a path component or path segment displays all 1. With the Direct Selection tool ,, select a curved
of the anchor points on the selected portion, including any segment, or an anchor point on either end of the curved
direction lines and direction points if the selected segment segment. Direction lines appear, if any are present.
is curved. Direction handles appear as filled circles, se- (Some curved segments use just one direction line.)
lected anchor points as filled squares, and unselected
anchor points as hollow squares. 2. Do any of the following:
1. Do one of the following:
• To adjust the position of the segment, drag the
segment. Shift-drag to constrain the adjustment to
To select a path component (including a shape in a shape multiples of 45°.
layer), select the Path Selection tool , and click any-
where inside the path component. If a path consists of
several path components, only the path component under
the pointer is selected.
To select a path segment, select the Direct Selection tool

, and click one of the segment's anchor points, or drag

a marquee over part of the segment. Click to select the curve segment. Then drag to adjust

62 IT&ITES : DTPO - Related Theory for Exercise 2.1.07

• To adjust the shape of the segment on either side of a You can select and edit multiple paths simultaneously.
selected anchor point, drag the anchor point or the You can also reshape a path while adding anchor points by
direction point. Shift-drag to constrain movement to clicking and dragging as you add.
multiples of 45°. Don't use the Delete or Backspace keys or the
Edit > Cut or Edit > Clear commands to delete
anchor points. These keys and commands de-
lete the point and line segments that connect to
that point.
Fill paths with color
A path created with the Pen tool does not become an image
element until you stroke or fill it. The Fill Path command fills
a path with pixels using a specified color, a state of the
Drag the anchor point, or drag the direction point
image, a pattern, or a fill layer.

In Photoshop CC and CS6, adjusting a path

segment also adjusts the related segments,
letting you intuitively transform path shapes.
To only edit segments between the selected
anchor points, similar to earlier Photoshop
versions, select Constrain Path Dragging in the
options bar.
Path selected (left) and filled (right)
You can also apply a transformation, such as
scaling or rotating, to a segment or anchor When you fill a path, the color values appear
point. on the active layer. Make sure that a standard
or background layer is active before complet-
Delete a segment ing the steps below. (You cannot fill a path
1. (Optional) If you're creating an opening in a closed path, when a mask, text, fill, adjustment, or Smart
Object layer is active)
select the Add Anchor Point tool , and add two
Stroke paths with color
points where you want the cut to occur.
The Stroke Path command paints the border of a path. The
2. Select the Direct Selection tool , and select the Stroke Path command allows you to create a paint stroke
segment you want to delete. (using the current settings for your painting tools) that
3. Press Backspace (Windows) or Delete (Mac OS) to follows any path. This command is completely different
delete the selected segment. Pressing Backspace or from the Stroke layer effect, which doesn't mimic the effect
Delete again erases the rest of the path. of any of the painting tools.

Delete the direction line of an anchor point When you stroke a path, the color values ap-
pear on the active layer. Make sure that a
• Using the Convert Anchor Point Tool, click the anchor standard or background layer is active before
point of the direction line. completing the steps below. (You cannot stroke
a path when a mask, text, fill, adjustment, or
Add or delete anchor points
Smart Object layer is active)
Adding anchor points can give you more control over a path
or it can extend an open path. However, it's a good idea not
to add more points than necessary. A path with fewer
points is easier to edit, display, and print. You can reduce
the complexity of a path by deleting unnecessary points.
The toolbox contains three tools for adding or deleting
points: the Pen tool , the Add Anchor Point tool ,

and the Delete Anchor Point tool . Path selected (left) and stroked (right)

By default, the Pen tool changes to the Add Anchor Point

tool as you position it over a selected path, or to the Delete
Anchor Point tool as you position it over an anchor point.
You must select Auto Add/Delete in the options bar to
enable the Pen tool to automatically change to the Add
Anchor Point or Delete Anchor Point tool.

IT&ITES : DTPO - Related Theory for Exercise 2.1.07 63

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.08
Basics of layers
Objectives : At the end of this lesson you shall be able to
• explain Photoshop Layers
• explain about Managing Layers
• understanding about Selecting, grouping, and linking layers
• explain about using layers for vector images.
About Photoshop layers Video layers
Photoshop layers are like sheets of stacked acetate. You You can use video layers to add video to an image. After
can see through transparent areas of a layer to the layers importing a video clip into an image as a video layer, you
below. You move a layer to position the content on the can mask the layer, transform it, apply layer effects, paint
layer, like sliding a sheet of acetate in a stack. You can on individual frames, or rasterize an individual frame and
also change the opacity of a layer to make content partially convert it to a standard layer. Use the Timeline panel to play
transparent. the video within the image or to access individual frames.
Photoshop Layers panel overview
The Layers panel in Photoshop lists all layers, layer
groups, and layer effects in an image. You can use the
Layers panel to show and hide layers, create new layers,
and work with groups of layers. You can access additional
commands and options in the Layers panel menu.

Transparent areas on a layer let you see layers below

You use layers to perform tasks such as compositing

multiple images, adding text to an image, or adding vector
graphic shapes. You can apply a layer style to add a
special effect such as a drop shadow or a glow.
Organizing Photoshop layers
A new image has a single layer. The number of additional Photoshop Layers panel
layers, layer effects, and layer sets you can add to an
A. Layers panel menu B. Layer Group C. Layer D. Expand/Collapse
image is limited only by your computer's memory.
Layer effects E. Layer effect F. Layer thumbnail
You work with layers in the Layers panel. Layer groups help
you organize and manage layers. You can use groups to Display the Photoshop Layers panel
arrange your layers in a logical order and to reduce clutter
in the Layers panel. You can nest groups within other
• Choose Window > Layers.
groups. You can also use groups to apply attributes and Convert background and Photoshop layers
masks to multiple layers simultaneously.
When you create a new image with a white background or
Photoshop layers for non-destructive editing a colored background, the bottom most image in the
Sometimes layers don't contain any apparent content. For Layers panel is called Background. An image can have
example, an adjustment layer holds color or tonal adjust- only one background layer. You cannot change the stacking
ments that affect the layers below it. Rather than edit image order of a background layer, its blending mode, or its
pixels directly, you can edit an adjustment layer and leave opacity. However, you can convert a background into a
the underlying pixels unchanged. regular layer, and then change any of these attributes.

A special type of layer, called a Smart Object, contains one When you create a new image with transparent content,
or more layers of content. You can transform (scale, skew, the image does not have a background layer. The bottommost
or reshape) a Smart Object without directly editing image layer is not constrained like the background layer; you can
pixels. Or, you can edit the Smart Object as a separate move it anywhere in the Layers panel and change its
image even after placing it in a Photoshop image. Smart opacity and blending mode.
Objects can also contain smart filter effects, which allow
you to apply filters non-destructively to images so that you
can later tweak or remove the filter effect.
64
Generate image assets from layers Generating image assets from a PSD file is particularly
useful for multidevice web design.
You can generate JPEG, PNG, or GIF image assets from
the contents of a layer or layer group in a PSD file. Assets Generate image assets from layers or layer groups
are automatically generated when you append a supported
To understand the image asset generator better, consider
image format extension to a layer name or a layer group
a simple PSD file with the following layer hierarchy:
name. Optionally, you can also specify quality and size
parameters for the generated image assets.

The layer hierarchy for this file has two layer groups- ample, rename the layer groups, Rounded_rectangles
Rounded_rectangles and Ellipses. Each of these layer and Ellipses, as Rounded_rectangles.jpg and
groups contains five layers. Ellipses.png; and the layer, Ellipse_4 as Ellipse_4.gif.
Follow these steps to generate image assets from this The special characters : and * are not sup-
PSD file: ported in layer names.
1 With the PSD file open, select File > Generate > Image Photoshop generates the image assets and saves them in
Assets. a subfolder alongside the source PSD file. If the source
PSD file is not saved yet, Photoshop saves the generated
2 Append appropriate file format extensions (.jpg, .png,
assets in a new folder on your Desktop.
or .gif) to the names of the layers or layer groups from
which you want to generate image assets. For ex-

Work with Smart Objects you can also create Linked Smart Objects whose contents
are referenced from external image files. The contents of a
Understanding Smart Objects
Linked Smart Object are updated when its source image
Smart Objects are layers that contain image data from file changes.
raster or vector images, such as Photoshop or Illustrator
Linked Smart Objects are distinct from duplicated in-
files. Smart Objects preserve an image's source content
stances of a Smart Object within a Photoshop document.
with all its original characteristics, enabling you to perform
With Linked Smart Objects, you can use a shared source
non destructive editing to the layer.
file across multiple Photoshop documents.
In Photoshop CC and CS6, you can embed the contents of
Smart Object benefits
an image into a Photoshop document. In Photoshop CC,
With Smart Objects, you can:

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 65

• Perform nondestructive transforms. You can scale, Rasterize layers
rotate, skew, distort, perspective transform, or warp a You cannot use the painting tools or filters on layers that
layer without losing original image data or quality contain vector data (such as type layers, shape layers,
because the transforms don't affect the original data. vector masks, or Smart Objects) and generated data (such
• Work with vector data, such as vector artwork from as fill layers). However, you can rasterize these layers to
Illustrator, that otherwise would be rasterized in convert their contents into a flat, raster image.
Photoshop. • Select the layers you want to rasterize, choose Layer
• Perform nondestructive filtering. You can edit filters > Rasterize, and then choose an option from the
applied to Smart Objects at any time. submenu:
Type Rasterizes the type on a type layer. It does not
• Edit one Smart Object and automatically update all its rasterize any other vector data on the layer.
linked instances.
Shape Rasterizes a shape layer.
• Apply a layer mask that's either linked or unlinked to the
Smart Object layer. Fill Content Rasterizes the fill of a shape layer, leaving the
vector mask.
• Try various designs with low-resolution placeholder
Vector Mask Rasterizes the vector mask on a layer,
images that you later replace with final versions.
turning it into a layer mask.
You can't perform operations that alter pixel data-such as
Smart Object Converts a Smart Object into a raster layer.
painting, dodging, burning, or cloning-directly to a Smart
Object layer, unless it is first converted into a regular layer, Video Rasterizes the current video frame to an image
which will be rasterized. To perform operations that alter layer.
pixel data, you can edit the contents of a Smart Object, 3D (Extended only) Rasterizes the current view of 3D data
clone a new layer above the Smart Object layer, edit into a flat raster layer.
duplicates of the Smart Object, or create a new layer.
Layer Rasterizes all vector data on the selected layers.
When you transform a Smart Object that has a
Smart Filter applied to it, Photoshop turns off filter All Layers Rasterizes all layers that contain vector and
effects while the transform is being performed. generated data.
Filter effects are applied again after the transform To rasterize linked layers, select a linked layer,
is complete. choose Layer > Select Linked Layers, and then
Managing layers rasterize the selected layers.
Rename a layer or layer group Merging layers
As you add layers or layer groups to an image, it's helpful When you have finalized the content of layers, you can
to give them names that reflect their content. Descriptive merge them to reduce the size of your image files. When
names make layers easy to identify in the Layers panel. you merge layers, the data on the top layers replaces any
data it overlaps on the lower layers. The intersection of all
• Do one of the following: transparent areas in the merged layers remains transpar-
• Double-click the layer name or group name in the ent.
Layers panel and enter a new name. Press Enter You cannot use an adjustment or fill layer as the
(Windows) or Return (Mac OS). target layer for a merge.
• Select the layer/group and then follow these steps: In addition to merging layers, you can stamp them.
• Select Layer > Rename Layer or Layer > Rename Stamping allows you to merge the contents of more than
Group. one layer into a target layer while leaving the other layers
• Enter a new name for the layer/group in the Layers intact.
panel. When you save a merged document, you cannot
Press Enter (Windows) revert back to the unmerged state; the layers are
permanently merged.
Assign a color to a layer or group
Color coding layers and groups helps you locate related Flatten all layers
layers in the Layers panel. Flattening reduces file size by merging all visible layers into
• (CC, CS6) Right-click the layer or group and choose a the background and discarding hidden layers. Any trans-
color. parent areas that remain are filled with white. When you
save a flattened image, you cannot revert back to the
• (CS5) Select a layer or group, choose Layer Properties unflattened state; the layers are permanently merged.
or Group Properties from the Layers menu. Then
choose a color from the Color pop-up menu, and click
OK.
66 IT&ITES : DTPO - Related Theory for Exercise 2.1.08
 Converting an image between some color modes • In the options bar, select Auto Select, then choose
flattens the file. Save a copy of your file with all Group from the drop-down menu, and click in the
layers intact if you want to edit the original image document on the content you want to select. The top
after the conversion. group containing pixels under the cursor is selected. If
you click an ungrouped layer, it becomes selected.
Selecting, grouping, and linking layers
Select layers • o Right-click (Windows) in the image, and choose a
layer from the context menu. The context menu lists all
You can select one or more layers to work on them. For the layers that contain pixels under the current pointer
some activities, such as painting or making color and tonal location.
adjustments, you can work on only one layer at a time. A
single selected layer is called the active layer. The name Select a layer in a group
of the active layer appears in the title bar of the document 1 Click the group in the Layers panel.
window.
2 Click the triangle to the left of the folder icon .
For other activities, such as moving, aligning, transforming,
or applying styles from the Styles panel, you can select 3 Click the individual layer in the group.
and work on multiple layers at a time. You can select layers Group and ungroup layers
in the Layers panel or with the Move tool . 1 Select multiple layers in the Layers panel.
You can also link layers. Unlike multiple layers selected at 2 Do one of the following:
the same time, linked layers stay linked when you change
the selection in the Layers panel. • Choose Layer > Group Layers.
Select layers in the Layers panel • Alt-drag (Windows) layers to the folder icon at the
bottom of the Layers panel to group the layers.
Do one of the following:
3 To Ungroup the layers, select the group and choose
• Click a layer in the Layers panel. Layer > Ungroup Layers.
• To select multiple contiguous layers, click the first layer Add layers to a group
and then Shift-click the last layer.
Do one of the following:
• To select multiple noncontiguous layers, Ctrl-click
• Select the group in the Layers panel and click the
(Windows them in the Layers panel.
Create a New Layer button .
When selecting, Ctrl-click (Windows) or
Command-click (Mac OS) the area outside the • Drag a layer to the group folder.
layer thumbnail. Ctrlclicking or Command-
• Drag a group folder into another group folder. The group
clicking the layer thumbnail selects the non-
and all of its layers move.
transparent areas of the layer.
• To select all layers, choose Select > All Layers. • Drag an existing group to the New Group button .
Link and unlink layers
• To select all layers of a similar type (for example all type
layers), select one of the layers, and choose Select > You can link two or more layers or groups. Unlike multiple
Similar Layers. layers selected at the same time, linked layers retain their
relationship until you unlink them. You can move or apply
• To deselect a layer, Ctrl-click (Windows) the layer. transformations to linked layers.
• To have no layer selected, click in the Layers panel 1 Select the layers or groups in the Layers panel.
below the background or bottom layer, or choose 2 Click the link icon at the bottom of the Layers panel.
Select > Deselect Layers.
3 To unlink layers do one of the following:
Select layers in the document window 1
• Select a linked layer, and click the link icon.
Select the Move tool .
• To temporarily disable the linked layer, Shift-click
2 Do one of the following: the Link icon for the linked layer. A red X appears.
Shift-click the link icon to enable the link again.
• In the options bar, select Auto Select, then choose
Layer from the drop-down menu, and click in the • Select the linked layers and click the Link icon. To
document on the layer you want to select. The top layer select all linked layers, select one of the layers and
containing pixels under the cursor is selected. then choose Layer > Select Linked Layers.

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 67

Show layer edges and handles
Showing the boundary or edges of the content in a layer can
help you move and align the content. You can also display
the transform handles for selected layers and groups so
that you can resize or rotate them.

A Layer mask thumbnail B Vector mask thumbnail C Vector Mask

Link icon D Add Mask

You can edit a layer mask to add or subtract from the

masked region. A layer mask is a grayscale image, so
areas you paint in black are hidden, areas you paint in white
are visible, and areas you paint in shades of gray appear in
various levels of transparency.
Display the edges of content in a selected layer
Choose View > Show > Layer Edges.
Display transform handles in a selected layer 1

1 Select the Move tool .

2 From the options bar, select Show Transform Controls.

You can resize and rotate layer content using the transform A vector mask creates a sharp-edged shape on a layer and
handles is useful anytime you want to add a design element with
Masking layers clean, defined edges. After you create a layer with a vector
mask, you can apply one or more layer styles to it, edit
You can add a mask to a layer and use the mask to hide them if needed, and instantly have a usable button, panel,
portions of the layer and reveal the layers below. Masking or other web-design element.
layers is a valuable compositing technique for combining
multiple photos into a single image or for making local color The Properties panel (CC, CS6) or the Masks panel (CS5)
and tonal corrections. provide additional controls to adjust a mask. You can
change the opacity of mask to let more or less of the
About layer and vector masks masked content show through, invert the mask, or refine
You can use masks to hide portions of a layer and reveal the mask borders, as with a selection area.
portions of the layers below. You can create two types of
masks:
• Layer masks are resolution-dependent bitmap images
that are edited with the painting or selection tools.
• Vector masks are resolution independent and are
created with a pen or shape tool.
Layer and vector masks are nondestructive, which means
you can go back and re-edit the masks later without losing
the pixels they hide.
In the Layers panel, both the layer and vector masks
appear as an additional thumbnail to the right of the layer
thumbnail. For the layer mask, this thumbnail represents A Select the filter mask. B Add a pixel mask. C Add a vector mask.
D Panel menu. E Apply Mask F Layer mask G Vector mask
the grayscale channel that is created when you add the
layer mask. The vector mask thumbnail represents a path Disable or enable a layer mask
that clips out the contents of the layer.
Do one of the following:
To create a layer or vector mask on the Back-
ground layer, first convert it to a regular layer • Select the layer containing the layer mask you want to
(Layer > New > Layer from Background). disable or enable, and click the Disable/Enable Mask
button in the Properties panel (CC, CS6) or the
Masks panel (CS5).

68 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

• Shift-click the layer mask thumbnail in the Layers Disable or enable a layer mask
panel. Do one of the following:
• Select the layer containing the layer mask you want to • Select the layer containing the layer mask you want to
disable or enable, and choose Layer > Layer Mask > disable or enable, and click the Disable/Enable Mask
Disable or Layer > Layer Mask > Enable. button in the Properties panel (CC, CS6) or the
A red X appears over the mask thumbnail in the Layers Masks panel (CS5).
panel when the mask is disabled, and the layer's content
• Shift-click the layer mask thumbnail in the Layers
appears without masking effects.
panel.
Add layer masks
• Select the layer containing the layer mask you want to
When you add a layer mask, you can hide or show all of the disable or enable, and choose Layer > Layer Mask >
layer, or base the mask on a selection or transparency. Disable or Layer > Layer Mask > Enable.
Later, you'll paint on the mask to precisely hide portions of
the layer, revealing the layers beneath. A red X appears over the mask thumbnail in the Layers
panel when the mask is disabled, and the layer's content
Add a mask that shows or hides the entire layer appears without masking effects.
1 Make sure that no part of your image is selected. Revealing layers with clipping masks
Choose Select > Deselect.
A clipping mask lets you use the content of a layer to mask
2 In the Layers panel, select the layer or group. the layers above it. The masking is determined by the
3 Do one of the following: content of the bottom or base layer. The non-transparent
content of the base layer clips (reveals), the content of the
• To create a mask that reveals the entire layer, click layers above it in the clipping mask. All other content in the
the Add Layer Mask button in the Layers panel, clipped layers is masked out.
or choose Layer > Layer Mask > Reveal All.
• To create a mask that hides the entire layer, Alt-
click (Windows) or Option-click (Mac OS) the Add
Layer Mask button, or choose Layer > Layer Mask>
Hide All.
Create a mask from layer transparency
If you want to directly edit layer transparency, create a
mask from this data. This technique is helpful for video and
3D workflows. You can use multiple layers in a clipping mask, but they
1 In the Layers panel, select the layer. must be successive layers. The name of the base layer in
the mask is underlined, and the thumbnails for the overlying
2 Choose Layer > Layer Mask > From Transparency. layers are indented. The overlying layers display a clipping
Photoshop converts transparency into an opaque color, mask icon.
hidden by the newly created mask. The opaque color varies The Blend Clipped Layers As Group option in the Layer
greatly, depending upon the filters and other processing Style dialog box determines whether the blending mode of
previously applied to the layer. the base affects the whole group or just the base.
Unlinking layers and masks Specify overall and fill opacity for selected layers
By default, a layer or group is linked to its layer mask or A layer's overall opacity determines to what degree it
vector mask, as indicated by the link icon between the obscures or reveals the layer beneath it. A layer with 1%
thumbnails in the Layers panel. The layer and its mask opacity appears nearly transparent, whereas one with
move together in the image when you move either one with 100% opacity appears completely opaque.
the Move tool . Unlinking them lets you move them
In addition to overall opacity, which affects layer styles and
independently and shift the mask's boundaries separately blending modes applied to a layer, you can specify fill
from the layer. opacity. Fill opacity affects only pixels, shapes, or text on
a layer without affecting the opacity of layer effects such as
• To unlink a layer from its mask, click the link icon in the
drop shadows.
Layers panel.
You cannot change the opacity of a background layer or a
• To reestablish the link between a layer and its mask, locked layer. To convert a background layer into a regular
click between the layer and mask path thumbnails in layer that supports transparency,
the Layers panel.

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 69

1 In the Layers panel, select one or more layers or Layer styles
groups.
Transformation
2 Change the Opacity and Fill values. (If you selected a
Transforming scales, rotates, skews, stretches, or warps
group, only Opacity is available)
an image. Apply the transformations to a selection, an
Specify a blending mode for a layer or group entire layer, multiple layers, or a layer mask. Apply
transformations to a path, a vector shape, a vector mask,
A layer's blending mode determines how its pixels blend
a selection border, or an alpha channel. Transforming
with underlying pixels in the image. You can create a
affects image quality manipulates the pixels. To apply non-
variety of special effects using blending modes.
destructive transformations to raster images, use Smart
By default, the blending mode of a layer group is Pass Objects. Transforming a vector shape or path is always
Through, which means that the group has no blending non-destructive because changing the mathematical cal-
properties of its own. When you choose a different blending culations producing the object.
mode for a group, you effectively change the order in which
To make a transformation, first select an item to transform
the image components are put together. All of the layers in
and then choose a transformation command. If necessary,
the group are put together first. The composite group is
adjust the reference point before manipulating the transfor-
then treated as a single image and blended with the rest of
mation. You can perform several manipulations in succes-
the image using the selected blending mode. Thus, if you
sion before applying the cumulative transformation.
choose a blending mode other than Pass Through for the
group, none of the adjustment layers or layer blending Photoshop uses the interpolation method selected in the
modes inside the group will apply to layers outside the General area of the Preferences dialog box to calculate the
group. color values of pixels that are added or deleted during
transformations. This interpolation setting directly affects
Group blend effects
the speed and quality of the transformation the default, is
By default, layers in a clipping mask are blended with the slowest but yields the best results.
underlying layers using the blending mode of the bottom-
Define the layer scale and rotate
most layer in the group. However, you can choose to have
the blending mode of the bottommost layer apply only to Scale
that layer, allowing you to preserve the original blending
Scale simply changes the size, scale to create a bounding
appearance of the clipped layers.
box around the selected layer and then drag any one of the
You can also apply the blending mode of a layer to layer handles in any direction to make the selection bigger or
effects that modify opaque pixels, such as Inner Glow or smaller. Scale proportionally holds down the shift key while
Color Overlay, without changing layer effects that modify using one of the corner handles. This constrains the height
only transparent pixels, such as Outer Glow or Drop and width percentage and type a width and height percent-
Shadow. age in the appropriate boxes will create the transformation
as shown in Fig.1.
Exclude channels from blending
Rotate
You can restrict blending effects to a specified channel
when you blend a layer or group. By default, all channels Rotate option to straighten a photo, tilt a photo in a collage,
are included. When using an RGB image, for example, you angle text, or any number of things to create the image.
can choose to exclude the red channel from blending; in the Probably don't want to use this option to turn a photo that
composite image, only the information in the green and is lying on its site due to being taken by turning your
blue channels is affected. camera or scanning in a photo sideways. The Rotate
(1800, 900 CCW, 900 CW) Degrees option further down the
Specify a tonal range for blending layers
Transform sub menu are much faster.
The sliders in the Blending Options dialog box control
To rotate a selected layer, a bounding box is placed around
which pixels from the active layer and the underlying visible
the image and Click and drags your mouse to the left or to
layers appear in the final image. For example, you can drop
the right to freely rotate the image. To constrain the rotation
dark pixels out of the active layer or force bright pixels from
to 15-degree increments, hold down the shift key while you
the underlying layers to show through. You can also define
rotate. Option click the type a specific degree to rotate the
a range of partially blended pixels to produce a smooth
selection in the option bar as shown in Fig. 2.
transition between blended and unblended areas.

70 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

 Fig 1
Reference point location
Width and height percentages

Link to
constrain
proportions

Handle

To skew a selection, a bounding box is created, Pull on the

Fig 2
Rotaon Angle corners to transform them. Type a degree of skew in the
option bar. This constrains image to being skewed as a
whole rather than one corner at a time in order to skew just
one corner at a time, not only the skew degree, but the
relative position of the reference point changes as shown
in Fig.3.

Fig 3
Set skew

Define layer skew and distort

Skew
The Skew transformation allows moving the corner handles
independently of one another to pull or push the pixels in
that corner closer to or away from the reference point. This
transformation actually morphs the pixels in the area that
is being pushed or pulled by merging them or doubling them Distort
so it looks as if the image is still contained in its entirety Distorting an image works much like talking a printed
in the skewed shape. photograph and bending this way and that to make it look
Skewing text is more constrained. Rather than each corner different. Distorting in Photoshop works better, of course,
being moved independently, the sides move together to because you can make more dramatic distortions without
create a sheering effect. creating any wrinkles. The Distort option can make your
selection look angled, bubbled, or squished as shown in
Fig.4.

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 71

 Fig 4 Fig 6

Set Distort

Define layer perspective

Perspective
The perspective transformation widens either the top or the Vectors in photoshop
top or the base (or both) of image to correct perspectives The Shape Tools
that can be warped by fish - eye lenses or simply by the
Photoshop's various Shape tools are all nested together in
focal length of the image taken. The need for a perspective
the same spot in the Tools panel. By default, the Rectangle
created by the lens, the buildings actually looks as if they
Tool is the tool that's visible, but if you click on the tool's
are leaning toward one another. With a simple perspective
icon and hold your mouse button down, a fly-out menu will
transformation, the tilt of the building is corrected and the
appear listing the other Shape tools that are available. I'll
subject of the image becomes the focal point. Pulling on
choose the Ellipse Tool from the list, but everything we're
the side handles when using the perspective transforma-
about to learn applies to all of the Shape tools, not just the
tion skews it as shown in Fig.5.
Ellipse Tool: (Fig. 1)
Fig 5 Fig 1

Selecting the Ellipse Tool from the Shape tools fly-out

menu.
The Drawing Modes
Once we've chosen a Shape tool, we need to tell Photoshop
which type of shape - vector, path or pixels - we want to
draw, and we do that using the drawing mode options in
the Options Bar along the top of the screen.
Define warp Near the far left of the Options Bar is a set of three icons.
Each icon represents one of the three types of shapes we
Warp
can draw. The first icon (the one on the left) is the Shape
Warp is different from every other transformation. Instead Layers option, and it's the option we choose when we want
of a bounding box with handles, the wrap transformation to draw vector shapes. The second (middle) icon is the
creates a 3 x 3 grid across your image. This grid can be Paths option, which is what we choose when we want to
adjusted at each of its conjunction points to distort the draw paths. The third icon (the one on the right) is known
image. The area around the point used changes the most, as the Fill Pixels option. We choose it when we want to
with the surrounding areas being affected radiating out from draw pixel-based shapes. (Fig. 2)
the central point. Each corner of the grid also has two
control point handles that control the curve of the grid and,
therefore, the wrap as shown in Fig.6.

72 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

 Fig 2 Let's look at some of the things we can do with vector
shapes in Photoshop, and then we'll compare it with paths
and pixel shapes. To draw vector shapes, select the
Shape Layers option in the Options Bar. (Fig. 3)

From left to right - the Shape Layers, Paths, and Fill Pixels Fig 3
options.
Drawing Shape Layers (Vector Shapes)
Of the three types of drawing modes, the one we almost
always want to be working with is Shape layers (vector Clicking on the Shape Layers icon in the Options Bar.
shapes). When most people think of drawing shapes, Before I draw anything, let's take a quick look in my Layers
they're not thinking of paths or pixels. They're thinking of panel, where we see that currently my document is made
vector shapes, the same type of shapes we'd draw in up of nothing more than a single layer - the Background
Adobe Illustrator or most other drawing programs. layer - which is filled with solid white. (Fig. 4)
Photoshop itself is not really known as a drawing program.
Fig 4
It's primarily a photo editor, and photos (digital photos, at
least) are made up of pixels. When we draw a pixel-based
shape by choosing the Fill Pixels option in the Options
Bar, we're creating shapes out of the same type of pixels
that make up a digital photo, and pixels have major
limitations on what we can do with them. The biggest
drawback with pixel-based images or shapes is that they
don't scale very well, at least not when we need to make
them larger than their original size. Enlarge a pixel-based
image or shape too much and it will lose its sharpness,
becoming soft and dull. Enlarge it even more and the pixels
that make up the image or shape can become visible, The Layers panel showing the single Background layer.
resulting in a blocky appearance.
I'll choose a color for my vector shape by clicking on the
Pixel-based images and shapes also depend very heavily color swatch in the Options Bar. (Fig. 5)
on the resolution of your document if they're going to look
good when you print them. They may look great on your Fig 5
computer screen, but printing high quality images requires
much higher resolution than what your monitor displays,
and if your document doesn't have enough pixels to print it
at the size you need with a high enough resolution, it will
Clicking on the color swatch to choose a color for the vector
again look soft and dull.
shape.
Vectors, on the other hand, have nothing at all to do with
This opens Photoshop's Color Picker. I'll choose red from
pixels. They're actually made up of mathematical points,
the Color Picker, then I'll click OK to close out of it. (Fig.6)
with the points connected to each other by either straight
lines or curves. All of these points, lines and curves make Fig 6
up what we see as the shape! Don't worry about the
"mathematical" part of what I just said. Photoshop handles
all the math stuff behind the scenes so we can just focus
on drawing our shapes.
Since vector shapes are essentially drawn using math,
each time we make a change to the shape, either by
resizing or reshaping it in some way, Photoshop simply
redoes the math and redraws the shape! This means we
can resize a vector shape as many times as we like,
making it any size we need, without any loss of image
quality. Vector shapes retain their crisp, sharp edges no
matter how large we make them. And unlike pixels, vector
shapes are resolution-independent. They don't care what
the resolution of your document is because they always
print at the highest possible resolution of your printer.

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 73

Choosing a color for the vector shape from the Color Picker.
Fig 10
With the Ellipse Tool in hand, the Shape Layers option
selected in the Options Bar and red chosen from the Color
Picker, I'll click inside my document and drag out an
elliptical shape, holding the Shift key down as I drag to
force the shape into a perfect circle. (Fig. 7)

Fig 7

Two vector shapes, two Shape layers.

At the moment, both of my shapes are red, but we can
easily change the color of a vector shape at any time simply
by double-clicking on the shape's color swatch on the
Shape layer: I'll double-click on the second shape's color
swatch. (Fig. 11)
A circular shape drawn with the Ellipse Tool.
Photoshop places each new vector shape we draw on its Fig 11
own Shape layer, and if we look in my Layers panel, we see
the shape on a new layer named Shape 1 above the
Background layer. Shape layers are made up of two parts
- a color swatch on the left which displays the current color
of the shape and a vector mask thumbnail to the right of
the color swatch which shows us what the shape currently
looks like (the white area in the thumbnail represents the
shape). (Fig. 8)

Fig 8

Double-click on a vector shape's color swatch to change its

color.
This re-opens the Color Picker so we can select a different
color. I'll choose blue this time. (Fig. 12)

Every new vector shape is given its own Shape layer in the Fig 12
Layers panel.
With one shape drawn, I'll draw a second similar shape
slightly to the right of the first one. (Fig.9)
Fig 9

A second vector shape now overlaps the original.

Choosing blue as the new color of the second shape.
Photoshop places this second vector shape on its own
I'll click OK to close out of the Color Picker, and my second
separate Shape layer (named Shape 2) above the first one,
shape is instantly changed from red to blue. (Fig. 13)
complete with its own color swatch and vector mask
thumbnail. (Fig.10)

74 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

 Photoshop also selects the shape's layer for me in the
Fig 13
Layers panel (selected layers are highlighted in blue).
(Fig.17)

Fig 17

The second vector shape now appears blue.

The shape's color swatch on its Shape layer also updates
to the new color. (Fig. 14)

Fig 14

When a vector shape is selected in the document, its

Shape layer is highlighted in the Layers panel.
I'll click on the blue shape in the document with the Path
Selection Tool, and now the blue shape is selected.
(Fig.18)

Fig 18

The vector shape's color swatch now displays the new

color.
As vector shapes, I can select them in the document very
easily using the Path Selection Tool (also known as the
black arrow). I'll choose the Path Selection Tool from the Selecting the blue shape by clicking on it with the Path
Tools panel. It's located in the same section of the Tools Selection Tool.
panel as the Shape Tools. (Fig. 15)
And we see that Photoshop has also selected its Shape
Fig 15 layer. (Fig.19)

Fig 19

Selecting the Path Selection Tool.

With the Path Selection Tool in hand, if I click on the red
shape in the document, Photoshop automatically selects
it (a thin outline appears around the shape that's currently
selected). (Fig. 16)

Fig 16
The blue shape's layer is now selected.
With a vector shape selected, I could drag it around inside
the document with the Path Selection Tool to reposition it
but we can do much more interesting things with vector
shapes than simply moving them around. For example, we
can combine two or more shapes together to create
different shapes! or

The Path Selection Tool selects whichever vector shape Up to this point, Photoshop has been placing each new
you click on. Here, the red shape is selected by clicking on vector shape I draw on its own Shape layer, but where
it. things start to get interesting is when we combined two or

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 75

more shapes on the same Shape layer. Then, with the This series of icons controls how two shapes on the same
shape copied, I'll delete the shape's layer by dragging it Shape layer interact with each other.
down onto the Trash Bin at the bottom of the Layers panel.
Again, we'll look at combining vector shapes in more detail
(Fig.20)
in another tutorial, but at the moment, both shapes are
simply overlapping each other and creating the appearance
Fig 20
of a single larger shape. That's because the Add to Shape
Area option is currently selected. I'll click on the Subtract
from Shape Area option. (Fig. 24)
Fig 24

Selecting "Subtract from Shape Area".

Dragging the Shape 2 layer onto the Trash Bin to delete it.
With Subtract from Shape Area selected, the second
This leaves just the original shape in the document. I'll shape is no longer visible in the document. Instead,
press Ctrl+V (Win) / Command+V (Mac) on my keyboard Photoshop uses it to remove part of the original shape
to paste the copied shape into the original shape, and now where the two shapes overlap. (Fig.25)
both shapes are combined into one. (Fig.21)
Fig 25
Fig 21

The two shapes with the Subtract from Shape Area option
The two previously separate shapes are now combined into selected.
a single shape. If I choose the Intersect Shape Areas option in the
If we look at the vector mask thumbnail in the Layers panel, Options Bar. (Fig.26)
we see that both shapes are now part of the same Shape Fig 26
layer. (Fig.22)

Fig 22

Selecting "Intersect Shape Areas".

We get a different behavior. This time, only the area where
the two shapes overlap each other remains visible. (Fig.27)

Fig 27

The two shapes now share the same Shape layer.

Since they're both on the same Shape layer, I can change
how the shapes interact with each other by choosing
different behaviors from a series of options in the Options
Bar. From left to right, we have Add to Shape Area,
Subtract from Shape Area, Intersect Shape Areas, The shapes with the Intersect Shape Areas option se-
and Exclude Overlapping Shape Areas. (Fig. 23) lected.
And if I choose the Exclude Overlapping Shape Areas
Fig 23
option. (Fig.28)

76 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

 Fig 28 Fig 31

Selecting "Exclude Overlapping Shape Areas".

Again we get a different result. Both shapes are now visible
except for the area where they overlap. (Fig.29)

Fig 29 Selecting the Direct Selection Tool.

Reshaping vector shapes is a bit of an advanced topic
which I'll cover in much more detail in another tutorial, but
with the Direct Selection Tool selected, I'll click on the
outline around the shape, which displays the shape's
anchor points (the little squares). We can also see lines
with little circles on the ends extending out from some of
the anchor points. These are known as direction handles.
We can click and drag either the anchor points or the
The shapes in Exclude Overlapping Shape Areas mode. direction handles to change the look of the shape.
With the second shape (the shape on the right) still For example, I'll click on one of the anchor points with the
selected, if I decide I don't want it anymore, I can delete it Direct Selection Tool and drag it towards the left. (Fig.32)
by pressing Backspace (Win) / Delete (Mac) on my
keyboard, which removes it from the Shape layer and Fig 32
leaves me back where I started with just my original circular
shape. (Fig.30)

Fig 30

Click and drag any of the anchor points to change the

shape.
I'll release my mouse button to complete the edit. (Fig.33)

Fig 33

The second shape has been deleted, leaving only the

original shape.
One other important feature of vector shapes we should
look at quickly before moving on to paths and pixel-based
shapes is that we can easily reshape them! Earlier I
mentioned that vector shapes are made up of points
connected by lines or curves. We've already seen how to Photoshop fills the added area with color when I release my
select an entire shape at once using the Path Selection mouse button.
Tool, but we can also select the individual points, lines and
We can also drag the direction handles to edit the appear-
curves! For that, we need the Direct Selection Tool (also
ance of the line or curve between two anchor points. Here
known as the white arrow). By default, it's nested in behind
I'm dragging one of the direction handles that extends out
the Path Selection Tool in the Tools panel, so I'll click and
from the anchor point at the top of the shape. (Fig. 34)
hold on the Path Selection Tool until the fly-out menu
appears, then I'll select the Direct Selection Tool from the
list. (Fig.31)

IT&ITES : DTPO - Related Theory for Exercise 2.1.08 77

 Fig 34 Fig 35

Dragging a direction handle reshapes the line or curve

connecting two anchor points.
The shape now looks much different than it did originally.
And again, I'll release my mouse button to complete the
edit. Notice that even though I've made edits to the shape,
because it's a vector shape and vectors are based on math,
not pixels, it still retains its crisp, sharp edges. (Fig.35)

78 IT&ITES : DTPO - Related Theory for Exercise 2.1.08

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.09
Filters and effects
Objectives : At the end of this lesson you shall be able to
• explain artistic and Blur filters
• explain Brush Stroke and Distort filters
• explain Noise, Pixelate, Render and sharpen filters
• explain Sketch, Stylize, Texture, video, and Other filters.
Using filters • The following filters can be applied to 16-bit images:
You can use filters to clean up or retouch your photos, Liquify, Vanishing Point, Average Blur, Blur, Blur More,
apply special art effects that give your image the appear- Box Blur, Gaussian Blur, Lens Blur, Motion Blur, Radial
ance of a sketch or impressionistic painting, or create Blur, Surface Blur, Shape Blur, Lens Correction, Add
unique transformations using distortions and lighting ef- Noise,
fects. The filters provided by Adobe appear in the Filter Despeckle, Dust & Scratches, Median, Reduce Noise,
menu. Some filters provided by third-party developers are Fibers, Clouds, Difference Clouds, Lens Flare, Sharpen,
available as plug-ins. Once installed, these plug-in filters Sharpen Edges, Sharpen More, Smart Sharpen,
appear at the bottom of the Filter menu. Unsharp Mask, Emboss, Find Edges, Solarize, De-
Smart Filters, applied to Smart Objects, let you use filters Interlace, NTSC Colors, Custom, High Pass, Maxi-
non-destructively. Smart Filters are stored as layer effects mum, Minimum, and Offset.
in the Layers panel and can be readjusted at any time, • The following filters can be applied to 32-bit images:
working from the original image data contained in the Smart Average Blur, Box Blur, Gaussian Blur, Motion Blur,
Object. For more information on Smart Filter Effects and Radial Blur, Shape Blur, Surface Blur, Add Noise,
nondestructive editing, see Nondestructive editing. Clouds, Lens Flare, Smart Sharpen, Unsharp Mask,
To use a filter, choose the appropriate submenu command De-Interlace, NTSC Colors, Emboss, High Pass, Maxi-
from the Filter menu. These guidelines can help you in mum, Minimum, and Offset.
choosing filters: • Some filters are processed entirely in RAM. If you don't
• Filters are applied to the active, visible layer or a have enough available RAM to process a filter effect,
you may get an error message.
selection.
• For 8-bits-per-channel images, most filters can be Filter Gallery overview
applied cumulatively through the Filter Gallery. All The Filter Gallery provides a preview of many of the special
filters can be applied individually. effects filters. You can apply multiple filters, turn on or off
• Filters cannot be applied to Bitmap-mode or indexed- the effect of a filter, reset options for a filter, and change the
color images. order in which filters are applied. When you are satisfied
with the preview, you can then apply it to your image. Not
• Some filters work only on RGB images. all filters in the Filter menu are available in the Filter Gallery.
• All filters can be applied to 8-bit images.

79
 A B C D
E

H
J
I

A Preview B Filter category C Thumbnail of selected filter D Show/Hide filter thumbnails E Filters pop-up menu F Options for selected
filter G List of filter effects to apply or arrange H Filter effect selected but not applied I Filter effects applied cumulatively but not selected
J Hidden filter effect

List of filters supporting 16-bit/channel and 32-bit/channel Cutout Makes an image appear as though it were con-
documents structed from roughly cut pieces of colored paper. High-
The following filters support 16-bit/channel and 32-bit/ contrast images appear as if in silhouette, and colored
channel documents: images are built up from several layers of colored paper.
Film Grain Applies an even pattern to the shadow tones
• All Blur filters (except for Lens Blur and Smart Blur)
and midtones. A smoother, more saturated pattern is
• All Distort filters added to the lighter areas. This filter is useful for eliminating
• The Noise > Add Noise filter banding in blends and visually unifying elements from
• All Pixelate filters various sources.
• All Render filters (except for Lighting Effects) o All Fresco Paints an image in a coarse style using short,
Sharpen filters (except for Sharpen Edges) rounded, and hastily applied daubs.
• The following filters under Filter > Stylize:
Neon Glow Adds various types of glows to the objects in
• Diffuse an image. This filter is useful for colorizing an image while
• Emboss softening its look. To select a glow color, click the glow
• Trace Contour box, and select a color from the Color Picker.
• All Video filters Paint Daubs Lets you choose from various brush sizes
• All filters under Filter > Other (from 1 to 50) and types for a painterly effect. Brush types
include Simple, Light Rough, Dark Rough, Wide Sharp,
Artistic filters Wide Blurry, and Sparkle.
Filters from the Artistic submenu help you achieve paint- Palette Knife Reduces detail in an image to give the effect
erly and artistic effects for a fine arts or commercial project. of a thinly painted canvas that reveals the texture under-
For example, use the Cutout filter for collages or typogra- neath.
phy. These filters replicate natural or traditional media Plastic Wrap Coats the image in shiny plastic, accentu-
effects. All the Artistic filters can be applied through the ating the surface detail.
Filter Gallery.
Poster Edges Reduces the number of colors in an image
Colored Pencil Draws an image using colored pencils on (posterizes it) according to the posterization option you
a solid background. Edges are retained and given a rough set, and finds the edges of the image and draws black lines
crosshatch appearance; the solid background color shows on them. Large broad areas have simple shading, and fine
through the smoother areas. dark detail is distributed throughout the image.

80 IT&ITES : DTPO - Related Theory for Exercise 2.1.09

Rough Pastels Applies strokes of pastel chalk on a
When Gaussian Blur, Box Blur, Motion Blur, or
textured background. In areas of bright color, the chalk
Shape Blur are applied to a selected image area,
appears thick with little texture; in darker areas, the chalk
they will sometimes produce visually unexpected
appears scraped off to reveal the texture.
results near the edges of the selection. This is
Smudge Stick Softens an image using short diagonal because these blur filters will use image data
strokes to smudge or smear the darker areas. Lighter from outside the selected area to create the new,
areas become brighter and lose detail. blurred pixels inside the selected area. For ex-
ample, if the selection represents a background
Sponge Creates images with highly textured areas of
area that you want to blur while keeping the
contrasting color, simulating the effect of sponge painting.
foreground sharp, the edges of the blurred back-
Underpainting Paints the image on a textured back- ground area will be contaminated with colors
ground, and then paints the final image over it. from the foreground, producing a fuzzy, muddy-
Watercolor Paints the image in a watercolor style using looking outline around the foreground. To avoid
a medium brush loaded with water and color, simplifying this effect in such cases, you can use Smart Blur
details. Where significant tonal changes occur at the or Lens Blur
edges, the filter saturates the color. Lens Blur Adds blur to an image to give the effect of a
Blur filters narrower depth of field so that some objects in the image
stay in focus and others areas are blurred.
The Blur filters soften a selection or an entire image, and
are useful for retouching. They smooth transitions by Motion Blur Blurs in the specified direction (from -360º to
averaging the pixels next to the hard edges of defined lines +360º) and at a specified intensity (from 1 to 999). The
and shaded areas in an image. filter's effect is analogous to taking a picture of a moving
object with a fixed exposure time.
Radial Blur Simulates the blur of a zooming or rotating
camera to produce a soft blur. Choose Spin to blur along
concentric circular lines, and then specify a degree of
rotation. Choose Zoom to blur along radial lines, as if
zooming into or out of the image, and specify a value from
1 to 100. Blur quality ranges from Draft (for fast but grainy
results) or Good and Best for smoother results, which are
indistinguishable from each other except on a large selec-
tion. Specify the origin of the blur by dragging the pattern
in the Blur Center box.

To apply a Blur filter to the edges of a layer, Shape Blur Uses the specified kernel to create the blur.
deselect the Lock Transparent Pixel option in the Choose a kernel from the list of custom shape presets, and
Layers panel use the radius slider to adjust its size. You can load
different shape libraries by clicking the triangle and choos-
Average Finds the average color of an image or selection, ing from the list. Radius determines the size of the kernel;
and then fills the image or selection with the color to create the larger the kernel, the greater the blur.
a smooth look. For example, if you select an area of grass, Smart Blur Blurs an image with precision. You can specify
the filter changes the area into a homogeneous patch of a radius, a threshold, and a blur quality. The Radius value
green. determines the size of the area searched for dissimilar
Blur and Blur More Eliminate noise where significant pixels. The Threshold value determines how dissimilar the
color transitions occur in an image. Blur filters smooth pixels must be before they are affected. You also can set
transitions by averaging the pixels next to the hard edges a mode for the entire selection (Normal) or for the edges of
of defined lines and shaded areas. The effect of the Blur color transitions (Edge Only and Overlay Edge). Where
More filter is three or four times stronger than that of the Blur significant contrast occurs, Edge Only applies black-and-
filter. white edges, and Overlay Edge applies white.

Box Blur Blurs an image based on the average color value Surface Blur Blurs an image while preserving edges. This
of neighboring pixels. This filter is useful for creating special filter is useful for creating special effects and for removing
effects. You can adjust the size of the area used to noise or graininess. The Radius option specifies the size
calculate the average value for a given pixel; a larger radius of the area sampled for the blur. The Threshold option
results in greater blurring. controls how much the tonal values of neighboring pixels
must diverge from the center pixel value before being part
Gaussian Blur Quickly blurs a selection by an adjustable of the blur. Pixels with tonal value differences less than the
amount. Gaussian refers to the bell-shaped curve that is Threshold value are excluded from the blur.
generated when Photoshop applies a weighted average to
the pixels. The Gaussian Blur filter adds low-frequency
detail and can produce a hazy effect.
IT&ITES : DTPO - Related Theory for Exercise 2.1.09 81
Brush Stroke filters Pinch Squeezes a selection. A positive value up to 100%
shifts a selection toward its center; a negative value up to
Like the Artistic filters, the Brush Stroke filters give a
- 100% shifts a selection outward.
painterly or fine-arts look using different brush and ink
stroke effects. Some of the filters add grain, paint, noise, Polar Coordinates Converts a selection from its rectan-
edge detail, or texture. All the Brush Stroke filters can be gular to polar coordinates, and vice versa, according to a
applied through the Filter Gallery. selected option. You can use this filter to create a cylinder
anamorphosis-an art form popular in the 18th century-in
Accented Edges Accentuates the edges of an image.
which the distorted image appears normal when viewed in
When the edge brightness control is set to a high value, the
a mirrored cylinder.
accents resemble white chalk; when set to a low value, the
accents resemble black ink. Ripple Creates an undulating pattern on a selection, like
ripples on the surface of a pond. For greater control, use the
Angled Strokes Repaints an image using diagonal strokes,
Wave filter. Options include the number and size of ripples.
with lighter and darker areas painted in strokes going in
opposite directions. Shear Distorts an image along a curve. Specify the curve
by dragging the line in the box. You can adjust any point
Crosshatch Preserves the details and features of the
along the curve. Click Default to change the curve back to
original image while adding texture and roughening the
a straight line. In addition, you choose how to treat
edges of the colored areas with simulated pencil hatching.
undistorted areas.
The Strength option (with values from 1 to 3) determines the
number of hatching passes. Spherize Gives objects a 3D effect by wrapping a selec-
tion around a spherical shape, distorting the image and
Dark Strokes Paints dark areas with short, tight, dark
stretching it to fit the selected curve.
strokes, and lighter areas with long, white strokes.
Twirl Rotates a selection more sharply in the center than
Ink Outlines Redraws an image with fine narrow lines over
at the edges. Specifying an angle produces a twirl pattern.
the original details, in pen-and-ink style.
Wave Works much as the Ripple filter does, but with
Spatter Replicates the effect of a spatter airbrush. Increas-
greater control. Options include the number of wave gen-
ing the options simplifies the overall effect.
erators, wavelength (distance from one wave crest to the
Sprayed Strokes Repaints an image, using its dominant next), height of the wave, and wave type: Sine (rolling),
colors, with angled, sprayed strokes of color. Triangle, or Square. The Randomize option applies random
Sumi-e Paints an image in Japanese style, as if with a fully values. You can also define undistorted areas.
saturated brush applied to rice paper. Sumi-e creates soft, ZigZag Distorts a selection radially, depending on the
blurred edges with rich, inky blacks. radius of the pixels in your selection. The Ridges option
Distort filters sets the number of direction reversals of the zigzag from the
center of the selection to its edge. You also specify how to
The Distort filters geometrically distort an image, creating displace the pixels: Pond Ripples displaces pixels to the
3D or other reshaping effects. Note that these filters can be upper-left or lower right, Out From Center displaces pixels
very memory-intensive. The Diffuse Glow, Glass, and toward or away from the center of the selection, and Around
Ocean Ripple filters can be applied through the Filter Center rotates pixels around the center.
Gallery.
Noise filters
Diffuse Glow Renders an image as though it were viewed
The Noise filters add or remove noise, or pixels with
through a soft diffusion filter. The filter adds see-through
randomly distributed color levels. This helps to blend a
white noise, with the glow fading from the center of a
selection into the surrounding pixels. Noise filters can
selection.
create unusual textures or remove problem areas, such as
Displace Uses an image, called a displacement map, to dust and scratches.
determine how to distort a selection. For example, using a
Add Noise Applies random pixels to an image, simulating
parabola-shaped displacement map, you can create an
the effect of shooting pictures on high-speed film. You can
image that appears to be printed on a cloth held up by its
also use the Add Noise filter to reduce banding in feathered
corners.
selections or graduated fills or to give a more realistic look
Glass Makes an image appear as if it were being viewed to heavily retouched areas. Options for noise distribution
through different types of glass. You can choose a glass include Uniform and Gaussian. Uniform distributes color
effect or create your own glass surface as a Photoshop file values of noise using random numbers between 0 and plus
and apply it. You can adjust scaling, distortion, and or minus the specified value, creating a subtle effect.
smoothness settings. When using surface controls with a Gaussian distributes color values of noise along a bell-
file, follow the instructions for the Displace filter. shaped curve, creating a speckled effect. The Monochro-
Ocean Ripple Adds randomly spaced ripples to the matic option applies the filter to only the tonal elements in
surface of the image so that it appears to be underwater. the image without changing the colors.

82 IT&ITES : DTPO - Related Theory for Exercise 2.1.09

Despeckle Detects the edges in an image (areas where Clouds Generates a soft cloud pattern using random
significant color changes occur) and blurs all of the values that vary between the foreground and the back-
selection except those edges. This blurring removes noise ground colors. To generate a more stark cloud pattern, hold
while preserving detail. down Alt (Windows) or Option (Mac OS) as you choose
Filter > Render > Clouds. When you apply the Clouds filter,
Dust & Scratches Reduces noise by changing dissimilar
the image data on the active layer is replaced.
pixels. To achieve a balance between sharpening the
image and hiding defects, try various combinations of Difference Clouds Uses randomly generated values that
Radius and Threshold settings. Or apply the filter to vary between the foreground and background color to
selected areas in the image. produce a cloud pattern. The filter blends the cloud data
with the existing pixels in the same way the Difference
Median Reduces noise in an image by blending the
mode blends colors. The first time you choose this filter,
brightness of pixels within a selection. The filter searches
portions of the image are inverted in a cloud pattern.
the radius of a pixel selection for pixels of similar bright-
Applying the filter several times creates rib and vein
ness, discarding pixels that differ too much from adjacent
patterns that resemble a marble texture. When you apply
pixels, and replaces the center pixel with the median
the Difference Clouds filter, the image data on the active
brightness value of the searched pixels. This filter is useful
layer is replaced.
for eliminating or reducing the effect of motion on an image.
Fibers Creates the look of woven fibers using the fore-
Reduce Noise Reduces noise while preserving edges
ground and background colors. You use the Variance
based on user settings affecting the overall image or
slider to control how the colors vary (a low value produces
individual channels.
long streaks of color, and a high value results in very short
Pixelate filters fibers with more varied distribution of color). The Strength
The filters in the Pixelate submenu sharply define a slider controls how each fiber looks. A low setting produces
selection by clumping pixels of similar color values in cells. a loose weave, and a high setting produces short, stringy
fibers. Click the Randomize button to change how the
Color Halftone Simulates the effect of using an enlarged pattern looks; you can click the button a number of times
halftone screen on each channel of the image. For each until you find a pattern you like. When you apply the Fibers
channel, the filter divides the image into rectangles and filter, the image data on the active layer is replaced.
replaces each rectangle with a circle. The circle size is
proportional to the brightness of the rectangle. Lens Flare Simulates the refraction caused by shining a
bright light into a camera lens. Specify a location for the
Crystallize Clumps pixels into a solid color in a polygon center of the flare by clicking anywhere inside the image
shape. thumbnail or by dragging its cross hair.
Facet Clumps pixels of solid or similar colors into blocks Lighting Effects Lets you produce myriad lighting effects
of like-colored pixels. You can use this filter to make a on RGB images by varying 17 light styles, three light types,
scanned image look hand-painted or to make a realistic and four sets of light properties. You can also use textures
image resemble an abstract painting. from grayscale files (called bump maps) to produce 3D-like
Fragment Creates four copies of the pixels in the selec- effects and save your own styles for use in other images.
tion, averages them, and offsets them from each other. See

Mezzotint Converts an image to a random pattern of black- Sharpen filters

and-white areas or of fully saturated colors in a color image. The Sharpen filters focus blurred images by increasing the
To use the filter, choose a dot pattern from the Type menu contrast of adjacent pixels.
in the Mezzotint dialog box.
Sharpen and Sharpen More Focus a selection and
Mosaic Clumps pixels into square blocks. The pixels in a improve its clarity. The Sharpen More filter applies a
given block are the same color, and the colors of the blocks stronger sharpening effect than does the Sharpen filter.
represent the colors in the selection.
Sharpen Edges and Unsharp Mask Find the areas in the
Pointillize Breaks up the color in an image into randomly image where significant color changes occur and sharpen
placed dots, as in a pointillist painting, and uses the them. The Sharpen Edges filter sharpens only edges while
background color as a canvas area between the dots. preserving the overall smoothness of the image. Use this
Render filters filter to sharpen edges without specifying an amount. For
professional color correction, use the Unsharp Mask filter
The Render filters create 3D shapes, cloud patterns, to adjust the contrast of edge detail and produce a lighter
refraction patterns, and simulated light reflections in an and darker line on each side of the edge. This process
image. You can also manipulate objects in 3D space, emphasizes the edge and creates the illusion of a sharper
create 3D objects (cubes, spheres, and cylinders), and image.
create texture fills from grayscale files to produce 3D-like
effects for lighting.

IT&ITES : DTPO - Related Theory for Exercise 2.1.09 83

Smart Sharpen Sharpens an image by letting you set the lines. The charcoal is drawn in the foreground color; the
sharpening algorithm or control the amount of sharpening chalk, in the background color.
that occurs in shadows and highlights. This is the recom-
Charcoal Creates a posterized, smudged effect. Major
mended way to sharpen if you don't have a particular
edges are boldly drawn, and midtones are sketched using
sharpening filter in mind.
a diagonal stroke. Charcoal is the foreground color, and the
In Photoshop CC, the enhanced Smart Sharpen filter background is the color of the paper.
empowers you to produce high-quality results through
Chrome Renders the image as if it had a polished chrome
adaptive sharpening technology that minimizes noise and
surface. Highlights are high points, and shadows are low
halo effects. The streamlined UI design for this filter offers
points in the reflecting surface. After applying the filter, use
optimized controls for targeted sharpening. Use the sliders
the Levels dialog box to add more contrast to the image.
for quick adjustments and advanced controls to fine-tune
your results. Conté Crayon Replicates the texture of dense dark and
pure white Conté crayons on an image. The Conté Crayon
Smart sharpening in Photoshop CC supports CMYK.
filter uses the foreground color for dark areas and the
Additionally, you can sharpen arbitrary channels. For
background color for light areas. For a true effect, change
example, you can choose to sharpen just the blue channel,
the foreground color to one of the common Conté Crayon
green channel, or the alpha channel.
colors (black, sepia, or sanguine) before applying the filter.
For a muted effect, change the background color to white,
add some of the foreground color to the white background,
and then apply the filter.
Graphic Pen Uses fine, linear ink strokes to capture the
details in the original image. The effect is especially
striking with scanned images. The filter replaces color in
the original image, using the foreground color for ink and the
background color for paper.
Halftone Pattern Simulates the effect of a halftone screen
while maintaining the continuous range of tones.
Note Paper Creates an image that appears to be con-
Here is a recommended approach to sharpening images structed of handmade paper. This filter simplifies images
with Photoshop CC: and combines the effects of the Stylize > Emboss and
Texture > Grain filters. Dark areas of the image appear as
1 To begin, set Amount to a high value.
holes in the top layer of paper, revealing the background
2 Increase the Radius to a value that introduces a halo color.
effect.
Photocopy Simulates the effect of photocopying an im-
3 Decrease the Radius until the halo effect disappers. age. Large dark areas tend to be copied only around their
You've arrived at the optimal value for Radius. edges, and midtones fall away to either solid black or solid
white.
4 Now, decrease the value of Amount as necessary.
Plaster Molds an image from 3D plaster, and then colorizes
5 Adjust the Reduce Noise slider, such that the noise in
the result using the foreground and background color. Dark
the image looks similar to how it was before you began
areas are raised, and light areas are recessed.
sharpening the image. Too much noise reduction can
result in a plasticy look. Higher Amount values require Reticulation Simulates the controlled shrinking and dis-
greater noise reduction. tortion of film emulsion to create an image that appears
clumped in the shadows and lightly grained in the high-
Sketch filters
lights.
Filters in the Sketch submenu add texture to images, often
Stamp Simplifies the image so that it appears to be
for a 3D effect. The filters also are useful for creating a
created with a rubber or wood stamp. This filter is best used
finearts or hand-drawn look. Many of the Sketch filters use
with black-and-white images.
the foreground and background color as they redraw the
image. All the Sketch filters can be applied through the Torn Edges Reconstructs the image so that it appears
Filter Gallery. composed of ragged, torn pieces of paper, and then
colorizes the image using the foreground and background
Bas Relief Transforms an image so that it appears carved
colors. This filter is particularly useful for text or high-
in low relief and lit to accent the surface variations. Dark
contrast objects.
areas of the image take on the foreground color, and light
colors use the background color. Water Paper Uses blotchy daubs that appear painted
onto fibrous, damp paper, causing the colors to flow and
Chalk & Charcoal Redraws highlights and midtones with
blend.
a solid midtone gray background drawn in coarse chalk.
Shadow areas are replaced with black diagonal charcoal

84 IT&ITES : DTPO - Related Theory for Exercise 2.1.09

Stylize filters Craquelure Paints an image onto a high-relief plaster
surface, producing a fine network of cracks that follow the
The Stylize filters produce a painted or impressionistic
contours of the image. Use this filter to create an emboss-
effect on a selection by displacing pixels and by finding and
ing effect with images that contain a broad range of color
heightening contrast in an image. After using filters like
or grayscale values.
Find Edges and Trace Contour that highlight edges, you
can apply the Invert command to outline the edges of a Grain Adds texture to an image by simulating different
color image with colored lines or to outline the edges of a kinds of grain-Regular, Soft, Sprinkles, Clumped, Con-
grayscale image with white lines. trasty, Enlarged, Stippled, Horizontal, Vertical, and
Speckle, available from the Grain Type menu.
Diffuse Shuffles pixels in a selection to soften focus
according to the selected option: Normal moves pixels Mosaic Tiles Renders the image so that it appears to be
randomly (ignoring color values), Darken Only replaces made up of small chips or tiles and adds grout between the
light pixels with darker ones, and Lighten Only replaces tiles.
dark pixels with lighter ones. Anisotropic shuffles pixels in
(In contrast, the Pixelate > Mosaic filter breaks up an
the direction of the least change in color.
image into blocks of different-colored pixels.)
Emboss Makes a selection appear raised or stamped by
Patchwork Breaks up an image into squares filled with the
converting its fill color to gray and tracing the edges with the
predominant color in that area of the image. The filter
original fill color. Options include an embossing angle (from
randomly reduces or increases the tile depth to replicate
-360° to recess the surface, to +360° to raise the surface),
the highlights and shadows.
height, and a percentage (1% to 500%) for the amount of
color within the selection. To retain color and detail when Stained Glass Repaints an image as single-colored
embossing, use the Fade command after applying the adjacent cells outlined in the foreground color.
Emboss filter. Texturizer Applies a texture you select or create to an
Extrude Gives a 3D texture to a selection or layer. image.
Find Edges Identifies the areas of the image with signifi- Video filters
cant transitions and emphasizes the edges. Like the Trace The Video submenu contains the De-Interlace and NTSC
Counter filter, Find Edges outlines the edges of an image Colors filters.
with dark lines against a white background and is useful for
creating a border around an image. De-Interlace Smooths moving images captured on video
by removing either the odd or even interlaced lines in a video
Glowing Edges Identifies the edges of color and adds a image. You can choose to replace the discarded lines by
neon-like glow to them. This filter can be applied cumula- duplication or interpolation.
tively.
NTSC Colors Restricts the gamut of colors to those
Solarize Blends a negative and a positive image-similar to acceptable for television reproduction, to prevent oversatu-
exposing a photographic print briefly to light during devel- rated colors from bleeding across television scan lines.
opment.
Other filters
Tiles Breaks up an image into a series of tiles, creating an
offset between the selection and its original position. You Filters in the Other submenu let you create your own filters,
can choose one of the following to fill the area between the use filters to modify masks, offset a selection within an
tiles: the background color, the foreground color, a reverse image, and make quick color adjustments.
version of the image, or an unaltered version of the image, Custom Lets you design your own filter effect. With the
which puts the tiled version on top of the original and reveals Custom filter, you can change the brightness values of
part of the original image underneath the tiled edges. each pixel in the image according to a predefined math-
Trace Contour Finds the transitions of major brightness ematical operation known as convolution. Each pixel is
areas and thinly outlines them for each color channel, for reassigned a value based on the values of surrounding
an effect similar to the lines in a contour map. pixels. This operation is similar to the Add and Subtract
calculations for channels.
Wind Places tiny horizontal lines in the image to create a
windblown effect. Methods include Wind; Blast, for a more You can save the custom filters you create and use them
dramatic wind effect; and Stagger, which offsets the lines with other Photoshop images.
in the image. High Pass Retains edge details in the specified radius
Texture filters where sharp color transitions occur and suppresses the
rest of the image. (A radius of 0.1 pixel keeps only edge
Use the Texture filters to simulate the appearance of depth pixels.) The filter removes low-frequency detail from an
or substance, or to add an organic look. image and has an effect opposite to that of the Gaussian
Blur filter.

IT&ITES : DTPO - Related Theory for Exercise 2.1.09 85

It is helpful to apply the High Pass filter to a continuous-
tone image before using the Threshold command or con-
verting the image to Bitmap mode. The filter is useful for
extracting line art and large black-and-white areas from
scanned images.
Maximum and Minimum The Maximum and Minimum
filters are useful for modifying masks. The Maximum filter
has the effect of applying a spread (dilation)-spreading out
white areas and choking in black areas. The Minimum filter
has the effect of applying a choke (erosion)-shrinking white
areas and spreading out the black areas. Like the Median
filter, the Maximum and Minimum filters operate on se-
lected pixels. Within a specified radius, the Maximum and
Minimum filters replace the current pixel's brightness value
with the highest or lowest brightness value of the surround-
ing pixels.
These filters, especially with larger radii, tend to promote
either corners or curves in the image contours. In Photoshop Vanishing Point
CC, you can choose from the Preserve menu to favour
squareness or roundness as you specify the radius value. The Vanishing Point feature preserves correct perspective
in edits of images that contain perspective planes (for
Offset Moves a selection a specified horizontal or vertical instance, the sides of a building or any rectangular object).
amount, leaving an empty space at the selection's original
location. You can fill the empty area with the current
background color, with another part of the image, or with
your choice of fill if the selection is near the edge of an
image.

86 IT&ITES : DTPO - Related Theory for Exercise 2.1.09

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.10
use an action panel and saving files in graphics formats
Objectives : At the end of this lesson you shall be able to
• explain action and action panel
• explain save in TIFF, JPEG and PNG formats
• explain save in GIF, EPS, DCS and BMP formats.

About actions View actions by name only

An action is a series of tasks that you play back on a single Choose Button Mode from the Actions panel menu. Choose
file or a batch of files-menu commands, panel options, tool Button Mode again to return to list mode. Note: You can't
actions, and so on. For example, you can create an action view individual commands or sets in Button mode.
that changes the size of an image, applies an effect to the
Select actions in the Actions panel
image, and then saves the file in the desired format.
Click an action name. Shift-click action names to select
Actions can include steps that let you perform tasks that multiple, contiguous actions, and Ctrl-click (Windows)
cannot be recorded (for example, using a painting tool). action names to select multiple, discontiguous actions.
Actions can also include modal controls that let you enter
values in a dialog box while playing an action. Save in TIFF format
In Photoshop, actions are the basis for droplets, which are TIFF is a flexible raster (bitmap) image format supported by
small applications that automatically process all files that virtually all paint, image-editing, and page-layout applica-
are dragged onto their icon. tions.
Photoshop and Illustrator come with predefined actions Bit depth (32-bit only) Specifies the bit depth (16-, 24-, or
installed that help you perform common tasks. You can 32-bit) of the saved image.
use these actions as is, customize them to meet your Image Compression Specifies a method for compressing
needs, or create new actions. Actions are stored in sets to the composite image data. If you're saving a 32-bit TIFF file,
help you organize them. you can specify that the file be saved with predictor
You can record, edit, customize, and batch-process ac- compression, but you don't have the option to use JPEG
tions, and you can manage groups of actions by working compression. Predictor compression offers improved com-
with action sets. pression by rearranging floating point values, and works
with both LZW and ZIP compression.
Actions panel overview
JPEG compression is available only for opaque
You use the Actions panel (Window > Actions) to record, RGB and grayscale images that are 8-bits-per-
play, edit, and delete individual actions. This panel also lets channel and no more than 30,000 pixels wide or
you save and load action files. high.
Pixel Order Writes the TIFF file with the channels data
interleaved or organized by plane. Previously, Photoshop
always wrote TIFF files with the channel order interleaved.
Theoretically, the Planar order file can be read and written
faster, and offers a little better compression. Both channel
orders are backward compatible with earlier versions of
Photoshop.
Byte Order Selects the platform on which the file can be
A Action set B Action C Recorded commands D Included read. This option is useful when you don't know what
command E Modal control (toggles on or off) program the file may be opened in. Photoshop and most
recent applications can read files using either IBM PC or
Expand and collapse sets, actions, and commands Macintosh byte order.

• Click the triangle to the left of the set, action, or Save Image Pyramid Preserves multiresolution informa-
command in the Actions panel. Alt-click (Windows) the tion. Photoshop does not provide options for opening
triangle to expand or collapse all actions in a set or all multiresolution files; the image opens at the highest
commands in an action. resolution within the file. However, Adobe InDesign and
some image servers provide support for opening
multiresolution formats.

87
Save Transparency Preserves transparency as an addi-
You can also save an image as one or more PNG
tional alpha channel when the file is opened in another
files using the Save For Web & Devices com-
application. Transparency is always preserved when the
mand.
file is reopened in Photoshop.
Save in GIF format
Layer Compression Specifies a method for compressing
data for pixels in layers (as opposed to composite data). You can use the Save As command to save RGB, Indexed
Many applications cannot read layer data and skip over it Color, Grayscale, or Bitmap mode images directly in
when opening a TIFF file. Photoshop, however, can read CompuServe GIF (known as GIF) format. The image is
layer data in TIFF files. Although files that include layer automatically converted to Indexed Color mode.
data are larger than those that don't, saving layer data GIF is only available when the image is 8 Bits/
eliminates the need to save and manage a separate PSD Channel (it only supports 8 Bit/Channel).
file to hold the layer data. Choose Discard Layers And Save
A Copy if you want to flatten the image. Normal Displays the image in a browser only when down-
load is complete.
To have Photoshop prompt you before saving an
image with multiple layers, select Ask Before Interlaced Displays low-resolution versions of the image in
Saving Layered TIFF Files in the File Handling a browser as the file downloads. Interlacing makes down-
area of the Preferences dialog box. load time seem shorter, but it also increases file size.
Save in JPEG format You can also save an image as one or more GIF
files using the Save For Web & Devices com-
You can use the Save As command to save CMYK, RGB,
mand.
and grayscale images in JPEG (*.jpg) format. JPEG
compresses file size by selectively discarding data. You Save in Photoshop EPS format
can also save an image as one or more JPEG using the Virtually all page-layout, word-processing, and graphics
Save For Web & Devices command. applications accept imported or placed EPS (Encapsu-
JPEG supports only 8-bit images. If you save a 16-bit lated PostScript) files. To print EPS files, you should use
image to this format, Photoshop automatically lowers the a PostScript printer. Non-PostScript printers will print only
bit depth. the screen-resolution preview.
To quickly save a medium-quality JPEG, play the Save As 1 Choose File > Save As, and choose Photoshop EPS
JPEG Medium action on the file. You can access this from the Format menu.
action by choosing Production from the Actions panel 2 In the EPS Options dialog box, select the options you
menu. want, and click OK:
Matte Offers matte color choices to simulate the appear- Preview Creates a low-resolution image to view in the
ance of background transparency in images that contain destination application. Choose TIFF to share an EPS file
transparency. between Windows and Mac OS systems. An 8-bit preview
Image Options Specifies the image quality. Choose an is in color and a 1-bit preview is in black and white with a
option from the Quality menu, drag the Quality pop-up jagged appearance. An 8-bit preview creates a larger file
slider, or enter a value between 0 and 12 in the Quality text size than a 1-bit preview. See also Bit depth.
box. Encoding Determines the way image data is delivered to
Format Options Specifies the format of your JPEG file. a PostScript output device. Encoding options are de-
Baseline ("Standard") uses a format recognized by most scribed below.
web browsers. Baseline Optimized creates a file with Include Halftone Screen and Include Transfer Function
optimized color and a slightly smaller file size. Progressive Control print specifications for high-end commercial print
displays a series of increasingly detailed versions of the jobs. Consult your printer before selecting these options.
image (you specify how many) as it downloads. (Not all
web browsers support optimized and Progressive JPEG Transparent Whites Displays white areas as transparent.
images.) This option is available only for images in Bitmap mode.
Some applications may not be able to read a PostScript Color Management Converts file data to the
CMYK file saved in JPEG format. Likewise, if printer's color space. Do not select this option if you plan
you find that a Java application can't read a to place the image in another color-managed document.
JPEG file, try saving the file without a thumb- Only PostScript Level 3 printers support PostScript
nail preview. Color Management for CMYK images. To print a
Save in PNG format CMYK image using PostScript Color Management
on a Level 2 printer, convert the image to Lab
You can use the Save As command to save RGB, Indexed mode before saving in EPS format.
Color, Grayscale, and Bitmap mode images in PNG
format.

88 IT&ITES : DTPO - Related Theory for Exercise 2.1.10

Include Vector Data Preserves any vector graphics (such Save in Photoshop Raw format
as shapes and type) in the file. However, vector data in EPS
The Photoshop Raw format is a file format for transferring
and DCS files is available only to other applications; vector
images between applications and computer platforms. The
data is rasterized if you reopen the file in Photoshop. This
Photoshop Raw format is not the same as camera raw.
option is only available if your file contains vector data.
1 Choose File > Save As, and choose Photoshop Raw
Image Interpolation Applies bicubic interpolation to
from the Format menu.
smooth the low-resolution preview if printed.
2 In the Photoshop Raw Options dialog box, do the
Photoshop EPS encoding options
following:
ASCII or ASCII85 Encodes if you're printing from a
Windows system, or if you're experience printing errors or • (Mac OS) Specify values for File Type and File
other difficulties. Creator, or accept the default values.

Binary Produces a smaller file and leaves the original data • Specify a Header parameter.
intact. However, some page-layout applications and some
• Select whether to save the channels in an inter-
commercial print spooling and network printing software
leaved or non-interleaved order.
may not support binary Photoshop EPS files.
Save in BMP format
JPEG Compresses the file by discarding some image
data. You can choose the amount of JPEG compression The BMP format is an image format for the Windows
from very little (JPEG Maximum Quality) to a lot (JPEG Low operating system. The images can range from black-and-
Quality). Files with JPEG encoding can be printed only on white (1 bit per pixel) up to 24-bit color (16.7 million colors).
Level 2 (or later) PostScript printers and may not separate
Save in Cineon format (16-bit images only)
into individual plates.
RGB images that are 16 bits per channel can be saved in
Save in Photoshop DCS format
Cineon format for use in the Kodak Cineon Film System.
DCS (Desktop Color Separations) format is a version of
EPS that lets you save color separations of CMYK or • Choose File > Save As and choose Cineon from the
multichannel files. Format menu.

1 Choose File > Save As, and choose Photoshop DCS Save in Targa format
1.0 or Photoshop DCS 2.0 from the Format menu. The Targa (TGA) format supports bitmap and RGB images
2 In the DCS Format dialog box, select the options you with 8 Bits/Channel. It is designed for Truevision® hard-
want, and click OK. ware, but it is also used in other applications.

The dialog box includes all the options available for Photoshop 1 Choose File > Save As, and choose Targa from the
EPS files. Additionally, the DCS menu gives you the option Format menu.
of creating a 72-ppi composite file that can be placed in a 2 Specify a filename and location, and click Save.
page-layout application or used to proof the image:
3 In the Targa Options dialog box, select a resolution,
DCS 1.0 format Creates one file for each color channel in select the Compress (RLE) option if you want to
a CMYK image. You can also create a fifth file: a grayscale compress the file, and then click OK.
or color composite. To view the composite file, you must
keep all five files in the same folder.
DCS 2.0 format Retains spot color channels in the image.
You can save the color channels as multiple files (as for
DCS 1.0) or as a single file. The single-file option saves disk
space. You can also include a grayscale or color compos-
ite.

IT&ITES : DTPO - Related Theory for Exercise 2.1.10 89

IT & ITES
DTPO - Photoshop Related Theory for Exercise 2.1.11
Printing from photoshop
Objectives : At the end of this lesson you shall be able to
• explain about printing basics
• explain Printing with color Management
• explain Contact sheets and PDF presentation
• explain Printing spot colors
• explain Printing images to a commercial printing press
• explain print 3D objects.
Printing basics • If your image is in RGB mode, do not convert the
Whether you are printing an image to your desktop printer document to CMYK mode when printing to a desktop
or sending it to a prepress facility, knowing a few basics printer. Work entirely in RGB mode. As a rule, desktop
about printing makes the print job go more smoothly and printers are configured to accept RGB data and use
helps ensure that the finished image appears as intended. internal software to convert to CMYK. If you send CMYK
data, most desktop printers apply a conversion any-
Types of printing For many Photoshop users, printing a way, with unpredictable results.
file means sending the image to an inkjet printer. Photoshop
can send your image to a variety of devices to be printed • If you want to preview an image as printed to any device
directly onto paper or converted to a positive or negative for which you have a profile, use the Proof Colors
image on film. In the latter case, you can use the film to command.
create a master plate for printing by a mechanical press.
• To reproduce screen colors accurately on the printed
Types of images The simplest images, such as line art, page, you must incorporate color management into
use only one color in one level of gray. A more complex your workflow. Work with a monitor that is calibrated
image, such as a photograph, has varying color tones. This and characterized. Ideally, you should also create a
type of image is known as a continuous-tone image. custom profile specifically for your printer and the paper
Color separation Artwork intended for commercial repro- you print on, though the profile supplied with your printer
duction and containing more than one color must be printed can produce acceptable results.
on separate master plates, one for each color. This Position and scale images
process, called color separation, generally calls for the use
You can adjust the position and scale of an image using
of cyan, magenta, yellow, and black (CMYK) inks. In
options in the Print dialog box. The shaded border at the
Photoshop, you can adjust how the various plates are
edge of the paper represents the margins of the selected
generated.
paper; the printable area is white.
Quality of detail The detail in a printed image depends on
The base output size of an image is determined by the
image resolution (pixels per inch) and printer resolution
document size settings in the Image Size dialog box.
(dots per inch). Most PostScript laser printers have a
Scaling an image in the Print dialog box changes the size
resolution of 600 dpi, while PostScript imagesetters have
and resolution of the printed image only. For example, if
a resolution of 1200 dpi or higher. Inkjet printers produce a
you scale a 72-ppi image to 50% in the Print dialog box, the
microscopic spray of ink, not actual dots, resulting in an
image will print at 144 ppi; however, the document size
approximate resolution of 300 to 720 dpi.
settings in the Image Size dialog box will not change. In the
About desktop printing Print dialog box, the Print Resolution field at the bottom of
Unless you work in a commercial printing company or the Position And Size section shows the print resolution at
service bureau, you probably print images to a desktop the current scaling setting.
printer, such as an inkjet, dye sublimation, or laser printer, Many third-party printer drivers provide a scaling option in
not to an imagesetter. Photoshop lets you control how your the Print Settings dialog box. This scaling affects every-
image is printed. thing on the page, including the size of all page marks,
Monitors display images using light, whereas desktop such as crop marks and captions, whereas the scaling
printers reproduce images using inks, dyes, or pigments. percentage provided by the Print command affects only the
For this reason, a desktop printer can't reproduce all the size of the printed image (and not the size of page marks).
colors displayed on a monitor. However, by incorporating To avoid inaccurate scaling, specify scaling using
certain procedures (such as a color management system) the Print dialog box rather than the Print Settings
into your workflow, you can achieve predictable results dialog box; do not enter a scaling percentage in
when printing your images to a desktop printer. Keep these both dialog boxes.
considerations in mind when working with an image you
intend to print:

90
Print vector data contrast of your image. Off-white paper can also change
the overall color cast of the image, so yellows printed on
If an image includes vector graphics, such as shapes and
beige paper may appear more brown.
type, Photoshop can send the vector data to a PostScript
printer. When you choose to include vector data, Photoshop 7 Access the color management options for the printer
sends the printer a separate image for each type layer and driver from the Print Settings dialog box, which auto-
each vector shape layer. These additional images are matically appears after you click Print.
printed on top of the base image, and clipped using their
vector outline. Consequently, the edges of vector graphics • In Windows, click the Print Settings button to
print at the printer's full resolution, even though the content access the printer driver options.
of each layer is limited to the resolution of your image file. • In Mac OS, use the pop-up menu from the Print
Settings dialog box to access the printer driver
Some blending modes and layer effects required options.
rasterized vector data.
8 Turn off color management for the printer, so the printer
Photoshop determine printed colors profile settings won't override your profile settings.
If you have a custom color profile for a specific printer, ink, Every printer driver has different color management op-
and paper combination, letting Photoshop manage colors tions. If it's not clear how to turn off color management,
often produces better results than letting the printer man- consult your printer documentation.
age colors.
9 Click Print.
1 Choose File > Print.
Let printer determine printed colors
2 Expand the Color Management section at right.
If you don't have a custom profile for your printer and paper
3 For Color Handling, choose Photoshop Manages Col- type, you can let the printer driver handle the color
ors. conversion.
4 For Printer Profile, select the profile that best matches 1 Choose File > Print.
your output device and paper type. If there are any
profiles associated with the current printer, they are 2 Expand the Color Management section at right.
placed at the top of the menu, with the default profile The Document Profile entry shows the profile
selected. embedded in the image.
The more accurately the profile describes the behavior of 3 For Color Handling, choose Printer Manages Colors.
the output device and printing conditions (such as paper
type), the more accurately the color management system 4 (Optional) For Rendering Intent, specify how to convert
can translate the numeric values of the actual colors in a colors to the destination color space. A summary of
document. each option appears in the Description area at bottom.
5 (Optional) Set any of the following options: Many non-PostScript printer drivers ignore this option and
use the Perceptual rendering intent. (For more information,
Rendering Intent Specifies how Photoshop converts see About rendering intents)
colors to the destination color space.
5 Access the color management options for the printer
Black Point Compensation Preserves the shadow detail in driver from the Print Settings dialog box, which auto-
the image by simulating the full dynamic range of the output matically appears after you click Print:
device.
• In Windows, click Print Settings to access the
6 (Optional) Below the print preview, select any of the
printer driver options.
following:
• In Mac OS, use the pop-up menu from the Print
Match Print Colors Select to view image colors in the Settings dialog box to access the printer driver
preview area as they will actually print. options.
Gamut Warning Enabled when Match Print Colors is Every printer driver has different color management op-
selected. Select to highlight out-of-gamut colors in the tions. If it's not clear how to turn on color management,
image, as determined by the selected printer profile. A consult your printer documentation.
gamut is the range of colors that a color system can display
or print. A color that can be displayed in RGB may be out 6 Click Print.
of gamut for your current printer profile. Print a hard proof
Show Paper White Sets the color white in the preview to A hard proof (sometimes called a proof print or match print)
the color of the paper in the selected printer profile. This is a printed simulation of your final output on a printing
produces a more accurate print preview if you're printing on press. A hard proof is produced on an output device that's
off-white paper such as newsprint or art papers that are less expensive than a printing press. Some inkjet printers
more beige than white. Since absolute white and black have the resolution necessary to produce inexpensive
create contrast, less white in the paper will lower the overall prints that can be used as hard proofs.

IT&ITES : DTPO - Related Theory for Exercise 2.1.11 91

1 Choose View > Proof Setup, and select the output Creating a contact sheet
conditions you want to simulate. You can do this using
1 Do either of the following:
a preset or by creating a custom proof setup.
The view changes automatically according to the proof • (Photoshop) Choose File > Automate > Contact
you choose. Choose Custom to create custom proof SheetII.
settings, which you must save so you can select them • (Bridge) Select a folder of images or specific image
in the Proof Setup menu of the Print dialog box. files. From the Bridge menu, choose Tools >
2 After you select a proof, choose File > Print. Photoshop> Contact Sheet II. Unless you select
specific images, the contact sheet will include all
3 Expand the Color Management section at right. the images currently displayed in Adobe Bridge.
4 For Color Handling, choose Photoshop Manages Col- You can select a different images after the Contact
ors. Sheet II dialog box opens.
5 For Printer Profile, select the profile for your output 2 In the Contact Sheet II dialog box, specify the images
device. to include by choosing an option from the Use menu.
Note: If you select Bridge, all images currently in Bridge
6 From the menu above the Proof Setup menu or Render-
are used unless you selected images before choosing
ing Intent menu, select Hard Proofing.
the Contact Sheet II command. Images in subfolders
The Proofing Profile entry below should match the proof are not included.
setup you selected earlier.
3 In the Document area, specify the dimensions and color
7 (Optional) Set any of the following options. data for the contact sheet. Select Flatten All Layers to
create a contact sheet with all images and text on a
Proof Setup Choose any customized proofs that exist
single layer. Deselect Flatten All Layers to create a
locally on your hard drive.
contact sheet in which each image is on a separate
Simulate Paper Color Simulates what colors look like layer and each caption is on a separate text layer.
on the paper of the simulated device. Using this option
4 In the Thumbnails area, specify layout options for the
produces the most accurate proof, but it is not available
thumbnail previews.
for all profiles.
Simulate Black Ink Simulates the brightness of dark • For Place, choose whether to arrange thumbnails
colors for the simulated device. Using this option across first (from left to right, then top to bottom) or
results in more accurate proofs of dark colors, but it is down first (from top to bottom, then left to right).
not available for all profiles. • Enter the number of columns and rows that you want
per contact sheet.
8 Access the color management options for the printer
driver from the Print Settings dialog box, which auto-
• Select Use Auto-Spacing to let Photoshop auto-
matically appears after you click Print. matically space the thumbnails in the contact sheet.
If you deselect Use Auto-Spacing, you can specify
• In Windows, click the Preferences button to access the vertical and horizontal space around the thumb-
the printer driver options. nails.
• In Mac OS, use the pop-up menu from the Print • Select Rotate For Best Fit to rotate the images,
regardless of their orientation, so they fit efficiently
Settings dialog box to access the printer driver
on a contact sheet.
options.
5 Select Use Filename As Caption to label the thumb-
9 Turn off color management for the printer so that the
nails using their source image filenames. Use the menu
printer profile settings don't override your profile set-
to specify a caption font and font size.
tings.
6 Click OK.
Every printer driver has different color management op-
tions. If it's not clear how to turn off color management, Creating a PDF presentation
consult your printer documentation.
The PDF Presentation command lets you use a variety of
10 Click Print. images to create a multipage document or slide show
presentation.
Contact Sheets and PDF Presentations
1 Choose File > Automate > PDF Presentation.
Contact Sheet II and PDF Presentation plug-ins in
Photoshop CS6 and Photoshop CC are 64-bit compatible 2 In the PDF Presentation dialog box, click Browse and
for optimal performance on modern systems. navigate to add files to the PDF presentation. Select
Add Open Files to add files already open in Photoshop.

92 IT&ITES : DTPO - Related Theory for Exercise 2.1.11

 Drag files up or down to reorder them in the
presentation. If you want a file to appear more
than once, select the file and click Duplicate.
3 Set Output and Presentation options. Then click Save.
PDF presentations are saved as generic PDF files,
not Photoshop PDF files, and are rasterized when
you reopen them in Photoshop.
Place multiple photos into a picture package
To use the optional Picture Package plug-in described
below, first download it for Windows or Mac OS. You can
also create picture and custom packages in Photoshop
Lightroom, if you have it.
• Drag an image from the desktop or a folder into a
With the optional Picture Package plug-in, you can place placeholder.
multiple copies of an image on a single page, much as
portrait studios do with school photos. You can also place
different images on the same page. You can choose from
a variety of size and placement options to customize your
package layout.

You can change any image in the layout by clicking a

placeholder and browsing to select an image.
4 In the Document area of the Picture Package dialog
box, select page size, layout, resolution, and color
mode. A thumbnail of the chosen layout appears on the
right side of the dialog box.
1 Picture Package is an optional plug-in. Download and 5 Select Flatten All Layers to create a picture package
install it for Windows or Mac OS. with all images and label text on a single layer. Deselect
Run Photoshop in 32-bit mode (64-bit Mac OS only) . Flatten All Layers to create a picture package with
separate image layers and text layers (for labels). If you
2 Do one of the following: place each image and label on a separate layer, you
can update your picture package after it's been saved.
• (Photoshop) Choose File > Automate > Picture
However, the layers increase the file size of your picture
Package. If you have multiple images open, Picture
package.
Package uses the frontmost image.
6 In the Label area, choose the source for label text from
• (Bridge) Choose Tools > Photoshop > Picture Pack- the Content menu or choose None. If you choose
age. The Picture Package command uses the first Custom Text, enter the text for the label in the Custom
image listed in Bridge unless you select a specific Text field.
image before giving the Picture Package command.
7 Specify font, font size, color, opacity, position, and
If you're using only the frontmost image or a selected image rotation for the labels.
from Bridge, skip to step 3.
8 Click OK.
3 Add one or more images to the layout by doing one of
the following: Spot colors

• In the Source Images area of the Picture Package Spot colors are special premixed inks used instead of, or
in addition to, the process color (CMYK) inks. Each spot
dialog box, choose either File or Folder from the Use
color requires its own plate on the press. (Because a
menu and click Browse (Windows) or Choose (Mac
varnish requires a separate plate, it is considered a spot
OS). If you choose Folder, you can select Include All
color, too.)
Subfolders to include images inside any subfolders.
If you are planning to print an image with spot colors, you
• Click a placeholder in the preview layout and browse need to create spot channels to store the colors. To export
to select an image. spot channels, save the file in DCS 2.0 format or PDF.
IT&ITES : DTPO - Related Theory for Exercise 2.1.11 93
Note the following when working with spot colors: This option lets you simulate on-screen the density of the
printed spot color. A value of 100% simulates an ink that
• For spot color graphics that have crisp edges and knock completely covers the inks beneath (such as a metallic
out the underlying image, consider creating the addi- ink); 0% simulates a transparent ink that completely
tional artwork in a page layout or illustration application. reveals the inks beneath (such as a clear varnish). You can
• To apply spot color as a tint throughout an image, also use this option to see where an otherwise transparent
convert the image to Duotone mode and apply the spot spot color (such as a varnish) will appear.
color to one of the duotone plates. You can use up to
four spot colors, one per plate.
• The names of the spot colors are printed on the
separations.
• Spot colors are overprinted on top of the fully composited
image. Each spot color is printed in the order it appears
in the Channels panel, with the topmost channel print-
ing as the topmost spot color.
• You cannot move spot colors above a default channel
in the Channels panel except in Multichannel mode.
The Solidity and color choice options affect
• Spot colors cannot be applied to individual layers. only on-screen previews and composite prints.
They have no effect on printed separations.
• Printing an image with a spot color channel to a
composite color printer will print the spot color at an Preparing images for press
opacity indicated by the Solidity setting. From Photoshop, you can prepare image files for offset
lithography, digital printing, gravure, and other commercial
• You can merge spot channels with color channels, printing processes.
splitting the spot color into its color channel compo-
nents. Generally, your workflow depends on the capabilities of the
prepress facility. Before you begin a workflow for commer-
Create a new spot channel
cial printing, contact the prepress staff to learn their
You can create a new spot channel or convert an existing requirements. For example, they may not want you to
alpha channel to a spot channel. convert to CMYK at any point because they may need to
use prepress-specific settings. Here are some possible
1 Choose Window > Channels to display the Channels
scenarios for preparing your image files to achieve predict-
panel.
able printing results:
2 To fill a selected area with a spot color, make or load a
selection. • Work entirely in RGB mode and make sure that the
image file is tagged with the RGB working space profile.
3 Do one of the following to create a channel: If your printer or prepress staff use a color management
• Ctrl-click (Windows) or Command-click (Mac OS) system, they should be able to use your file's profile to
make an accurate conversion to CMYK before produc-
the New Channel button in the Channels panel.
ing the film and printing plates.
• Choose New Spot Channel from the Channels panel
• Work in RGB mode until you finish editing your image.
menu.
Then convert the image to CMYK mode and make any
If you made a selection, that area is filled with the currently additional color and tonal adjustments. Especially
specified spot color. check the highlights and shadows of the image. Use
In the New Spot Channel dialog box, click the Color box. Levels, Curves, or Hue/Saturation adjustment layers to
Then in the Color Picker, click Color Libraries to choose make corrections. These adjustments should be very
from a custom color system such as PANTONE or TOYO minor. Flatten the file if necessary, then send the
and choose a color. CMYK file to the professional printer.

4 Enter a name for the spot channel. If you choose a • Place your RGB or CMYK image in Adobe InDesign or
custom color, the channel automatically takes the Adobe Illustrator. In general, most images printed on a
name of that color. commercial press are not printed directly from
Photoshop but from a page-layout program like Adobe
Be sure to name spot colors so they'll be recognized by InDesign or an illustration program like Adobe Illustra-
other applications reading your file. Otherwise the file might tor. For more information on importing Photoshop files
not print. into Adobe InDesign or Adobe Illustrator, see Adobe
5 For Solidity, enter a value between 0% and 100%. InDesign Help or the Adobe Illustrator Help.

94 IT&ITES : DTPO - Related Theory for Exercise 2.1.11

Here are a few issues to keep in mind when you work on Registration Marks Prints registration marks on the
an image intended for commercial printing: image (including bull's-eyes and star targets). These
marks are used primarily for aligning color separations on
• If you know the characteristics of the press, you can PostScript printers.
specify the highlight and shadow output to preserve
certain details. Corner Crop Marks Prints crop marks where the page is
to be trimmed. You can print crop marks at the corners. On
• If you use a desktop printer to preview the appearance PostScript printers, selecting this option will also print star
of the final printed piece, keep in mind that a desktop targets.
printer cannot faithfully replicate the output of a com-
mercial printing press. A professional color proof gives Center Crop Marks Prints crop marks where the page is
a more accurate preview of the final printed piece. to be trimmed. You can print crop marks at the center of
each edge.
• If you have a profile from a commercial press, you can Description Prints any description text entered in the File
choose it with the Proof Setup command and then view Infodialog box, up to about 300 characters. Description text
a soft proof using the Proof Colors command. Use this is always printed in 9-point Helvetica plain type.
method to preview the final printed piece on your
monitor. Labels Prints the file name above the image. If printing
separations, the separation name is printed as part of the
Some printers may prefer to receive your docu- label.
ments in PDF format, especially if the docu-
ments need to conform to PDF/X standards. Emulsion Down Makes type readable when the emulsion
is down-that is, when the photosensitive layer on a piece
Set output options of film or photographic paper is facing away from you.
If you are preparing your images for commercial printing Normally, images printed on paper are printed with emul-
directly from Photoshop, you can select and preview a sion up, with type readable when the photosensitive layer
variety of page marks and other output options using the faces you. Images printed on film are often printed with
Print command. Generally, these output options should be emulsion down.
specified only by prepress professionals or people knowl- Negative Prints an inverted version of the entire output,
edgeable about the commercial printing process. including all masks and any background color. Unlike the
Invert command in the Image menu, the Negative option
converts the output, not the on-screen image, to a negative.
If you print separations directly to film, you probably want
a negative, although in many countries film positives are
common. Check with your print shop to determine which is
required. To determine the emulsion side, examine the film
under a bright light after it has been developed. The dull side
is the emulsion; the shiny side is the base. Check whether
your print shop requires film with positive emulsion up,
negative emulsion up, positive emulsion down, or negative
emulsion down.
Background Selects a background color to be printed on
the page outside the image area. For example, a black or
colored background may be desirable for slides printed to
a film recorder. To use this option, click Background, and
then select a color from the Color Picker. This is a printing
option only; it does not affect the image itself.
A Gradient tint bar B Label C Registration marks D Progressive Border Prints a black border around an image. Type a
color bar E Corner crop mark F Center crop mark G Description number and choose a unit value to specify the width of the
H Star target
border.
1 Choose File > Print. Bleed Prints crop marks inside rather than outside the
2 Choose Output from the pop-up menu. image. Use this option to trim the image within the graphic.
3 Set one or more of the following options: Type a number and choose a unit value to specify the width
Calibration Bars Prints an 11-step grayscale, a transition of the bleed.
in density from 0 to 100% in 10% increments. With a Interpolation Reduces the jagged appearance of a low-
CMYK color separation, a gradient tint bar is printed to the resolution image by automatically resampling up while
left of each CMYK plate, and a progressive color bar to the printing (on PostScript printers). Resampling may reduce
right. Note: Calibration bars, registration marks, crop the sharpness of the image quality.
marks, and labels are printed only if the paper is larger than
the printed image.

IT&ITES : DTPO - Related Theory for Exercise 2.1.11 95

Print separations from Photoshop Create a color trap
When preparing your image for prepress and working with A trap is an overlap that prevents tiny gaps in the printed
CMYK images or images with spot colors, you can print image caused by a slight misregistration on press. Contact
each color channel as a separate page. your service provider before you do any trapping. In most
Separations from CMYK, Duotone, or multi-chan- cases, your print shop determines whether trapping is
nel documents printed on non-PostScript printers needed. If so, the print shop staff will tell you what values
may not be identical to those printed on PostScript to enter in the Trap dialog box.
printers.

If you are printing an image from another appli- A Misregistration with no trap B Misregistration with trap
cation and want to print spot channels to spot
color plates, you must first save the file in DCS 2.0 Trapping is intended to correct the misalignment of solid
format. DCS 2.0 preserves spot channels. This colors. In general, you don't need traps for continuous-tone
format is supported by applications such as Adobe images such as photographs. Excessive trapping may
InDesign and QuarkXPress. produce an outline effect. These problems may not be
visible onscreen and might show up only in print. Photoshop
1 Make sure that your document is in CMYK Color, uses standard rules for trapping:
Multichannel, or Duotone mode, and then choose File>
Print. • All colors spread under black.
2 Choose Separations from the Color Handling drop- • Lighter colors spread under darker colors.
down menu. • Yellow spreads under cyan, magenta, and black.

Depending on the designated printer and printer

• Pure cyan and pure magenta spread under each other
drivers on your computer, these options may also equally.
appear in the Print Settings dialog box. In Win- Determine scan resolution for printing
dows, click the Properties button to access the
You can use a number of techniques to determine the
printer driver options; in Mac OS, use the pop-up
resolution at which to scan a photograph. If you are
menu in the Print Settings dialog box that ap-
scanning photos to be printed, and you know the exact size
pears.
and the printing screen frequency, you can use the
3 Click Print. Separations are printed for each of the following techniques to determine the scanning resolution.
colors in the image. Often it is easiest to scan at your scanner's maximum
optical resolution and then resize the image in Photoshop
Print separations from Photoshop
later.
When preparing your image for prepress and working
Print 3D objects
with CMYK images or images with spot colors, you can
print each color channel as a separate page. With Photoshop, you can print any compatible 3D model
without worrying about 3D printer limitations. In preparation
Separations from CMYK, Duotone, or multi-chan-
for printing, Photoshop automatically makes 3D models
nel documents printed on non-PostScript printers
watertight. Photoshop also generates the necessary sup-
may not be identical to those printed on PostScript
port structures-scaffolding and rafts-to ensure that your 3D
printers.
prints are successful.
If you are printing an image from another appli- Preparing to print 3D objects
cation and want to print spot channels to spot
1 Select Window > Workspace > 3D to switch to the 3D
color plates, you must first save the file in DCS 2.0
workspace.
format. DCS 2.0 preserves spot channels. This
2 Open the 3D model in Photoshop. If necessary, cus-
format is supported by applications such as Adobe
tomize the size of the 3D model while opening it.
InDesign and QuarkXPress.

96 IT&ITES : DTPO - Related Theory for Exercise 2.1.11

3 Select 3D > 3D Print Settings. • Adjust the Scene Volume dimensions to specify the
desired size of the printed 3D object. When you change
a value (X, Y, or Z), the other two values are scaled
proportionately. As you modify the Scene Volume
dimensions, notice that the print plate under the 3D
model scales in proportion.
1 Choose Scale To Print Volume if you want Photoshop
to auto-scale your 3D model, such that it fills up the
available print volume of the selected printer.
2 If the 3D model has normal maps, bump maps, or
opacity maps; you can choose to ignore one of more
types of these maps while printing the model. You'll
notice that the 3D model updates in real time when you
change these Surface Detail settings.
3 You may choose to not print the support structures
(scaffolds or rafts) required for the 3D object. Use this
option with caution, since the printing of the 3D model
may fail if you don't print a necessary support structure.
4 If your printer supports multiple materials, choose the
material that you want to use for printing the 3D object.
3D print utilities
Photoshop provides interactive wizard-based utilities that
you can use for configuring, calibrating, and maintaining
• In the 3D Print Settings panel, choose whether you your 3D printer. You can use these utilities only when the
want to print to a printer connected to your computer 3D printer is powered on and connected to your computer.
through a USB port (local printer) or use an online 3D
printing service, such as Shapeways.com or Sculpteo. 1 Select 3D > 3D Printer Utilities.
• Select a local printer or a Shapeways.com printer 2 Select the utility that you want to launch.
profile. Calibrate Print Plate Helps level the print plate. This
• Select a unit for the printer volume-inch, centimeter, utility performs the following broad steps:
millimeter, or pixel. The unit is reflected in the Printer
Volume dimensions as well as the print plate measure- • Prompts you to remove any leftover printing material
ments. from the 3D printer
• Initializes the print head
• Lets you adjust/finetune the gap between the print plate
and the print head for nine nozzle positions You can use
this utility in the wizard mode or in the manual mode.
Load Filament Helps load a filament into a fused deposi-
tion modeling (FDM) 3D printer. Photoshop initiates the
headheating process and the filament-loading mechanism
for easy filament loading.
Remove Filament Helps remove a filament from an FDM
3D printer. Photoshop initiates the head-heating process
and the filament-loading mechanism for easy filament
removal.
Change Filament Helps replace the filament of an FDM 3D
printer with a new filament. Photoshop initiates the
A 3D model B Print plate C Printer volume overlay headheating process and the filament-loading mechanism
for easy filament changing.
1 Select a Detail Level-Low, Medium, or High-for the 3D • Follow the onscreen instructions.
print. The time required to print the 3D object depends
on the detail level that you choose. Pack objects on the ground plane
At times, you may want to print multiple instances of the
2 If you don't want to see the 3D printer volume overlaid on
same object on the same build plate. Follow these steps:
the 3D model, deselect Show Printer Volume Overlay.
1 Select the required objects in the 3D Panel.
2 Select 3D > Pack Objects On Ground Plane.
3 Proceed with printing the objects.
IT&ITES : DTPO - Related Theory for Exercise 2.1.11 97
IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.01
Introduction to graphic design and Corel draw
Objectives: At the end of this lesson you shall be able to
• explain graphic design and elements of design
• explain features of the CorelDraw
• state the require configuration of CorelDraw to install in your PC
• explain the CorelDraw workspace tools
• state the options to create New documents.

Basic design proportion is important at the start, in planning the shape

of the page or any job. Good proportion can again be
Design is an organized plan for a definite purpose of
defined as a pleasing inequality in the parts of a whole
function. Designing is not mere drawing or use of pen
setting.
pencil in a drawing to show how something is to be made
pleasing to the eye. It is a mental activity to create an idea Contrast
for communication. Communication by vision is the scope
In many forms of communication some parts must be
of designing, particularly in printing. Graphic design is the
stressed more than the others. Contrast is a factor of
communication of idea visualized in the art of printing.
emphasis. It is the most potent tool for bringing the
The creative process underlying the fabrication of a essential into sharp focus. Contrast can be achieved by
satisfactory pattern in visualizing an idea is called a design. applying polarities. Polarities of shape, size, tone, texture
The object of design is to transfer the idea from one's mind and direction give contrast in size, tone, texture and
to that of the reader. To this end, he selects elements and direction.
arranges them in a structure. Thus, design is the process
Contrast is opposition, conflict or variety. It is the dynamic
of creating, evaluating, selecting and arranging the elements
essence that dramatizes and stimulates interest in a
which make up a printed page. It is an artful scheming of
printed matter. Contrast not only relieves the monotony,
ideas.
but also allows for inflection and stress to impart the proper
Design is a complex combination of many forces; the meaning in a matter. If there is no contrast, there would be
designer's taste, talent, experience and his knowledge. It no display, because the entire piece would be dry or
is creative and intuitive; and so it defies scientific analysis monotonous without contrast. Therefore we can say
and formulae. It is helpful to study the broad principles of contrast is display. Contrast also extends to other
design to form a frame of reference. It involves various dimensions such as tone, direction, size and shape.
principles and stages of work. When we know the
Contrast in tone: The dullness of a figure is brightened by
principles we can use them spontaneously and effectively.
tonal accent, giving greater contrast. For example contrast
Thus the design to be produced is presented in the form of
in texture, contrast in direction. The major aim in contrasting
a layout containing all the elements and the necessary
direction is to guide the readers eye through the message.
information, based on the various principles of proportion,
Horizontal, vertical, left oblique and right oblique are the
harmony, contrast, balance, rhythm, movements, etc.
contrast in direction applied in placing lines or masses of
Basic principles of design elements in a job.
Every job is different. Each job is made to fit its particular Contrast in values: Obtained when light colours are
requirements. Art and its principles should be adapted to placed by the side of a dark colour. Because value shows
the specific hob at hand. There are no absolute laws and how strongly a colour is coloured.
principles that govern the art of printing. Printing is an art
Contrast in chroma: It is a dull colour placed by the side
preservative of all arts. A till, for better judgment and
of a bright colour. Chroma is that property explaining the
effective reproduction the following principles provide an
brilliance or brightness of a colour.
approximate answer to the basic rules of typography for the
production of artistic ideas and their reproduction. Contrast in spreading effect: It is achieved when a colour
is placed against a black background or when a colour is
Application of general principles are essential in printing as
seen against a white background. Because colour is
in any form of art, like architecture, manufacturing etc. The
affected also by its immediate surrounding.
basic principles that govern a typographic design while
planning for a job, are proportion, harmony, contrast, Balance
balance, rhythm and movement. Balance exists when the elements are placed with a sense
Proportion of equilibrium. That is the weight of the elements
counteract, so that they are seen settled or pleasing
Proportion may be defined as the relation of width to length
wherever they are placed. Large elements, the other
or area to area as applied to typographic design. Good
factors being equal appear heavier. Irregular shapes give

98
greater weight than regular. Dark elements outweigh light improve the quality and maintain a unique identity. In
ones, though a small dark element can appear heavier than advertisement, repetition is a common principle for attracting
a large tint; heavier than a large but lighter mass. the viewer and to emphasize the main idea. In a book the
name is repeated on every page as running head for
Two distinct styles of balance
maintaining the identity. On packages and cartons also
Symmetrical and Asymmetrical balance the name of the firm or product is repeatedly used to attract
Symmetrical balance the readers and prospective buyers.

Early printers, until the past century displayed type matter Repeated request or vision definitely creates an impact on
by centering each line and each word to the measure. All the viewer. Thus the idea will remain longer in the mind and
units placed in equal balance of weight, shape, size and later prompt him to action, i.e. to buy a product or to follow
colour on either side of the vertical axis of a page. an idea or message.

Thus a perfectly symmetrical and classical effect is Movement

obtained. This is the style of the past. It is conventional, Every act of reading involves the sense of movement. The
static, formal, classical and traditional. In one way man's, eye moves from left to right and from top to bottom. The
orientation towards sense of balance is very much limited designer devotes a considerable time to individual part of
in this type of balance. his effort, but the reader tends to scan the total layout for
Asymmetrical balance: an overall impression. Still it is important to consider the
eye movement and tendencies of the reader as he scans
Unequal forces or elements are place at unequal distance a page, a spread of pages or advertisement. Intermingling
from the centre to get a asymmetrical balance. Vertical of units of varying shape, size, tone, colour etc., causes
axis, gives asymmetrical balance. It is obtained by movement of eye from one position to the other; and the
accentuating the display elements properly on either side important units striking the reader than the less important
of the vertical axis in unequal distances and unequal ones. It is up to the designer to place and position the units
forces. creating effective movements.
Unequal forces, elements, shapes and colours are To be able to judge the effectiveness of typographic
positioned and balanced aesthetically. It is informal designs in the light of conventional styles rules it is
dynamic and modern. This is the new typography. It is advisable to have atleast an elementary knowledge of the
beautifully simple, elegant and logical. It produces and principles of display.
impression of rhythm and movement.
This will enable one to judge where in his works conform or
A major difference between the two kinds of balance lies in fail to conform the accepted standards of design and art. It
the use of white space. Space in a symmetrical balance is only by such study, comparison, and experimentation
is a passive element. Here space on the page serves only that improvement is possible. During the actual work of
as a background against which type elements are placed. designing all these principles should arise to guide the
More importance is given to the elements or matter. Each mind and hand of the designer or typographer.
line is centered with equal amount of white space on either Elements of design
side.
Photographs
Space has a dominant role in asymmetrical balance. Here
Photography was invented in the early 19th century, and
there is a more interesting and unequal division of spaces
the photographic industry as such, began in 1870s. The
with contrasting shapes of elements. It is a speciality of
advent of practical photography provided two vital factors in
asymmetrical balancing to use excess white space
the field of graphic arts.
surrounding the matter. It will represent an object or
element clearly and boldly, with no object to detract from The ability to produce a factual image of subject matter and
it, or to divide the observers attention. It concentrates the
The ability to produce a printing plate-thereby eliminating
attention of the reader to the focal point.
the necessity for the artist to work directly on the printing
Space cannot be used at random. Proper, artistic and plate. When type and crude woodcuts were the only
balanced usage of space can create a marvelous effect on printing materials available words were of primary
the reader. importance. Then for a long time the primary visual
treatment was hand drawn illustrations. Gradually
Repetition
photography and its reproductive techniques advanced and
Repetition is a common technique used in typographic it began to assume a more important role.
design to improve the visual impact. Repetition of elements
or units show only difference in space, the matter being the Advantages:
same. Hence it can be monotonous. Photographs present the message in a codified form
Repetition is commonly used in printing as a background It gives a factual documentation of the subject
or tint. The name of a firm, product, or even tickets,
It helps all methods of graphic reproduction
currencies and bank notes generally use this principle to

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 99

Special effects can be brought about to convey a message clarity and sometimes introduce illusory dimension to the
more effectively drawing or illustration. But they should not be used merely
of confusion.
It makes design production quicker, simpler and economic
Photographs can vividly and directly translate the idea from Texture
picture to the mind of the viewer.
Texture or pattern can be created in different methods.
Enlargement, reduction, special effects, tinting etc. are Patterned pen or brush stokes, special shaded films or
made possible in design production. papers, pattern screens, etc. are some of the equipments
that have been designed to aid in the rendering of such
In modern printing photographs have helped the emergence tonality and texture. These are not used at random, but to
of the picture magazines and even picturesque daily create a desired, effect in the mind of reader for easy
newspapers. Thus the impact of photo-journalism and their communication. A texture or tone, for example, can be
influence changed the face of existing publication. The used to form transition between black and white areas in
revolution existing to almost every form of visual presentation line drawing.
such as advertising, book newspaper, direct mail, hoardings
and so on. Digital imaging has also brought in tremendous Photography
improvements in the use of photographs in graphic
reproduction. Photography and its techniques are widely used today in
design production along with text matter. The following are
Enlargement and reduction some of the common techniques that are employed today:

Computer adaptation in the printing industry has made Black and white conversion, conversion of a continuous
enlargement and reduction of any material instantaneous tones; also called posterization.
at the click of a mouse. Yet it is good to understand the
basic principles involved in the proportionate enlargement Line conversion
or reduction.
Usage of single line screen, vertical, horizontal or concentric
The proportionate enlargement or reduction of a photograph mezzo tint screen, creating a random grain pattern.
or illustration lies along its diagonal. Coarse dot screen
A photograph may be enlarged to any desired size by Due tone, two half tone plates are made for each colour at
drawing a diagonal line on the translucent cover sheet two different angles and printed.
placed over it. Extend the diagonal line from the left hand
top to the right-hand bottom of the sheet across the image. Fake due tone printing a colored tint behind a black
The diagonal will mark the point where the side edges of the halftone, the screen tint being uniform
enlargement or reduction intersect.
While using these aids care should be taken that the
Select the desired height or width and draw a straight line figures do not loose their identity. Modern computers
from one edge to the other; where this line meets the provide tools and operations for special effects in
diagonal line will mark the cross line of the other dimension. photographs.

Drawing

Drawing supplements the designers work in the illustrations.

Without drawing there cannot be design and printing.
Artists employ various equipments to get drawing with
special finish; pen, nip, air-brush etc. A drawing can be
continuous tone, fully line drawing and sometimes
combination of both line and continuous tone.

A continuous tone is the gradual flow of one tone into

another known as blending. This can be in black and white
or in colour. Pencil, pastel and wash drawing, oil painting
or acrylic paintings. All fall in this category. Full line work
is easy for reproduction, like cartoons, lettering, borders,
decorations etc. A combination drawing has both line and
tone elements. So it has to be printed partially as line and
partially as halftone.
Texture, photography, drawing "One picture is worth a thousand words," it is said.
Illustration explicitates and amplifies communication.
There are three technical aids that are used in design Illustrate people or people of low educational standards and
production to acquire special effects and to communicate even those who cannot follow a particular language is able
the idea more realistically and effectively. They improve
100 IT&ITES: DTPO - Related Theory for Exercise 2.2.01
to understand easily the idea or message intended from an Illustration
illustration. An illustration makes the design effective, self
Appropriate use of illustration can amplify the communication
explanatory and free from doubt. Illustration has an instant
and convey the message quickly. Illustration makes the
impact and lasting effect than a mere type matter. Hence
type matter fully comprehensible and useful. But the
children's books are illustrated in multi-colours. It can
problem lies in the technique of arranging the text and
explain things which cannot be described by words. Strip
picture as a flowing and continuous story. This requires
cartoon is a very good example of effective use of illustration,
great care and an aesthetic mind. It is not enough that the
used even to communicate serious messages.
picture agrees with the type matter as far as its message
Illustrations in modern advertisements and posters are is concerned. An illustration should agree with the text in
effective selling agents. Attractive illustrations of models its tone, texture, balance and style.
and objects make the advertisement vivid and
Decorations
communication quicker. A pictorial element on a poster
allows far greater latitude for conveying the idea than does Ornaments and borders are decorative elements. They
the lettering alone. Sometimes pictures may represent have useful purpose in typographic design, though they are
something old or fantastic or even absurd; such as a little only secondary or supplementary elements. They can
mouse chasing a lion, a lion smoking a cigar etc, with an attract attention, catch the eye of the reader and can unify
element of surprise. If anything that is primarily for a "quick individual unites into a whole. Decoration apart from the
look" audience, it must be designed with the aid of above function can also stand for a particular time, period
illustration to arrest the attention by sheer visual impact. and history.
Illustration in design Decoration for the sake of decoration will mar the beauty
instead of making it. A decoration should be used only if
Picture is assuming more meaning and has become
it adds to the effectiveness of the printed message. Modern
inseparable from words. Illustrations form part of the text
use of decoration is limited to simple rules, lines and light
and indeed it is a close companion of printed word, we can
borders. Simplicity is the style of the day.
say. From the history of typography itself there was an
evolution of the typographic methods of illustration from Only a skilled and imaginative designer can use types,
woodcut to lithography, form lithography to planography illustration and decorative elements in perfect harmony to
and to the digital graphic reproduction methods. Today the deliver the message of the piece and to interpret the them
modern lithographic aided printing stands a boon to the to suit the aim of the printed item. Type should be chosen
abundant use of illustrations in multi colours to convey the to suit the purpose of the other two items, illustration and
message in the most effective manner. decoration. And they should be in sympathy with the type
matter too.
Type, illustration and decoration and their relationship
Decorative elements
Type, illustration and decoration are the three basic
components of any printed matter. Types translate the Text composition is designed for sustained for reading and
communication from idea to a visible form: illustration display composition for reading at a glance. The selection
makes it vivid, while ornaments stand as secondary and arrangement of type for display differs in function, and
elements to beautify the printed matter. Each one has its for mechanical reasons the technique of display composition
role to play. But it requires great ingenuity and care to is often different from that of text design. The very term
achieve maximum effect out of each, by using them in 'display' suggests an element of show, or of decoration.
harmony and mutual agreement. The best display work is that which fulfills the primary
object of all typography, communication and in addition is
Type
touched (but not too heavily) with creative originality. So
Typography has grown so much that it can translate any decorative elements are common in display works.
idea into type. The characters displayed today in everything,
Decorative material is of several kinds. Rules of several
from hand bills to bill boards, reveal the extraordinary
varieties such as thick, thin, diamond, hyphen, wavy,
versatility of letter forms. They are available in so many
dotted or even other fancy rules, borders and ornaments
varieties, degrees and combinations of spirit, timeliness
can be used to obtain special effects.
and even sex. Some are easy to read and convey the
message meaning with its peculiar look and form. Others Rules are strips which print a straight line, and which may
are strikingly different and ornamental. Some depict bold be cast or cut to any length without affecting the design.
and manly characters, while the others are tender, delicate Plain rules, which print a single, uninterrupted straight line,
and feminine. They are designed to achieve all sorts of may be almost of any thickness. A few rules are of hair-
effects. The great variety and versatility of typography line thickness. Next in thickness is a column-face rule,
demands a real knowledge about it and its appropriate use normally used to separate columns of text when two or
in agreements with the rest of the elements with the rest of more stand side by side. A medium rule is a point across
the elements in the matter, considering the subject, scope, the printing surface, and thereafter rules are quite closely
the readers, their age group, the time of publication etc. graduated in size. The body of a rule is usually not less
than 1.5 point, so that rules set side by side have some
space between them.

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 101

A border is a repeated decorative design. The origin of Features
some of these designs are centuries old. Others which are Supported Platforms
all too rarely used, have a genuinely modern appearance.
Border units tend to be unimpressive when seen singly in CorelDRAW was originally developed for Microsoft Win-
a specimen book; but the most astonishing patterns can dows 3 and currently runs on Windows XP, Windows Vista,
result from an imaginative use of them. and Windows 7.[26] The current version, X6, was released
on 20 March 2012.
The most neglected source of decoration for books is the
skill and invention of the graphic artist. Display lines can Versions for Mac OS and Mac OS X were at one time
be written by a calligrapher; border, and rules drawn by available, but due to poor sales these were discontinued.
hand by an artist with a talent for decoration or from a The last port for Linux was version 9 (released in 2000, it
computer task bar. didn't run natively; instead, it used a modified version of
Wine to run) and the last version for OS X was version 11
Decorative elements can serve many useful purpose if they (released in 2001). Also, up until version 5, CorelDRAW
are used effectively. was developed for Windows 3.1x, CTOSand OS/2.
They attract the attention, giving the other elements Problems installing or running older versions of Corel Draw
together to deliver the message well. under Windows 7 may be overcome by using Microsoft's
"Troubleshoot Compatibility" - right-click on the setup.exe
Give unity and individuality to a type composition, for
file on the installation disk to select this facility (tested on
example, a border acts as a frame around the display and
version 12 with Windows 7, where previous attempts
brings the scattered elements into the picture.
without Microsoft "Troubleshoot Compatibility" failed).
They have a decorative and illustrative value.
Characteristic features
They can create an atmosphere and mood peculiar to Several innovations to vector-based illustration originated
them. with CorelDRAW: a node-edit tool that operates differently
They can illustrate a period and historical or periodic on different objects, fit text-to-path, stroke-before-fill, quick
motifs. fill/stroke color selection palettes, perspective projections,
mesh fills and complex gradient fills.
They balance and counter balance in the placement of
various elements in a layout. CorelDRAW differentiates itself from its competitors in a
number of ways:
Computer Graphics
The first is its positioning as a graphics suite, rather than
Computer Graphics are classified into three types Vector just a vector graphics program. A full range of editing tools
Graphics, Raster Graphics and Encapsulated Post Script allow the user to adjust contrast, color balance, change the
Files. In Vector Graphics Illustrations are formed using format from RGBto CMYK, add special effects such as
geometric shapes or mathematical expressions. The illus- vignettes and special borders to bitmaps. Bitmaps can
trations in Vector Graphics are also known as Drawings, also be edited more extensively using Corel PhotoPaint,
Objects or Line arts. opening the bitmap directly from CorelDRAW and returning
CorelDraw to the program after saving. It also allows a laser to cut out
any drawings.
CorelDRAW is a vector graphics editor developed and
marketed by Corel Corporation,Canada. It is also the name CorelDRAW is capable of handling multiple pages along
of Corel's Graphics Suite, which bundles CorelDraw with a with multiple master layers. Multipage documents are
bitmap image editor, Corel PhotoPaint, and other graphics- easy to create and edit and the Corel print engine allows for
related programs. The latest version is designated X6 booklet and other imposition so even simple printers can be
(equivalent to version 16), and was released in March 2012. used for producing finished documents. One of the useful
features for single and multi-page documents is the ability
History
to create linked text boxes across documents that can be
In 1987, Corel hired software engineers Michel Bouillon and resized and moved while the text itself resets and flows
Pat Beirne to develop a vector-based illustration program to through the boxes. Useful for creating and editing multi-
bundle with their desktop publishing systems. That pro- article newsletters etc.
gram, CorelDRAW, was initially released in 1989.
Smaller items, like business cards, invitations etc., can be
CorelDRAW 1.x and 2.x runs under Windows 2.x and 3.0.
designed to their final page size and imposed to the
CorelDRAW 3.0 came into its own with Microsoft's release
printer's sheet size for cost-effective printing. An additional
of Windows 3.1. The inclusion of TrueType in Windows 3.1
print-merge feature (using a spreadsheet or text merge file)
transformed CorelDRAW into a serious illustration pro-
allows full personalization for many things like numbered
gram capable of using system-installed outline fonts with-
raffle tickets, individual invitations, membership cards and
out requiring third-party software such as Adobe Type
more.
Manager; paired with a photo editing program (PhotoPaint),
a font manager and several other pieces of software, it was CorelDRAW's competitors include Adobe Illustrator and
also part of the first all-in-one graphics suite. Xara Photo & Graphic Designer. Although all of these are
vector-based illustration programs, the user experience
differs greatly between them. While these programs will

102 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

read their native file types and vice versa, the translation is In 2007, Microsoft blocked CDR file format in Microsoft
rarely perfect. CorelDRAW can open Adobe PDF files: Office 2003 with the release of Service Pack 3 for Office
Adobe PageMaker, Microsoft Publisher and Word, and 2003. Microsoft later apologized for inaccurately blaming
other programs can print documents to PDF using the the CDR file format and other formats for security problems
Adobe PDFWriter printer driver, which CorelDRAW can in Microsoft Office and released some tools for solving this
then open and edit every aspect of the original layout and problem.
design. CorelDRAW can also open PowerPoint Presenta- In 2012 the joint LibreOffice/re-lab team implemented
tions and other Microsoft Office formats with little or no libcdr, a library for reading CDR files from v1 to the currently
problem. latest X6 version and CMX files. The library has extensive
CorelDraw Graphic Suite support for shapes and their properties, including support
Over time, additional components were developed or ac- for color management and spot colors, and has a basic
quired and bundled with CorelDRAW. The list of bundled support for text. The library provides a built-in converter to
packages usually changes somewhat from one release to SVG, and a converter to OpenDocument is provided by
the next, though there are several mainstays that have writerperfect package. The libcdr library is expected to be
remained in the package for many releases now, including used in LibreOffice 3.6, and thanks to public API it can be
PowerTRACE (a bitmap to vector graphic converter), PHOTO- freely used by other applications.
PAINT (a bitmap graphic editor), and CAPTURE (a screen Support in other applications
capture utility). CDR file format import is partially or fully supported in
The current version of CorelDRAW Graphics Suite X6 following applications:
(version 16), contains the following packages:
• Adobe Illustrator
• CorelDRAW X6, an intuitive vector-illustration and page-
• CorelDraw 5, 6, 7, 8, 9, 10
layout application
• Corel PHOTO-PAINT X6, an image-editing application • Corel PaintShop Photo Pro
• Corel PowerTRACE X6, a utility to convert bitmaps into • Corel WordPerfect Office
editable vector graphics • Inkscape with UniConvertor installed; partial support
• Corel CONNECT, a full-screen browser to search the • LibreOffice with libcdr installed - CorelDraw 1 to X6
suite's digital content
• Macromedia Freehand - CorelDraw 7, 8
• Corel CAPTURE X6, a screen capture utility
• Microsoft Visio 2002 - CorelDRAW! Drawing File ver-
• Corel Website Creator X6, new website creation soft- sions 3.0, 4.0, 5.0, 6.0 and 7.0 (.cdr),
ware
• Corel Clipart (.cmx)
CDR file Format
• sK1 - partial support
CDR file format is a proprietary file format developed by
Corel Corporation and primarily used for vector graphic • Xara Designer Pro and Xara Photo & Graphic Designer
drawings. There is no publicly available CDR file format - early versions of CorelDRAW CDR and CMX
specification.
The pre-requisite to install Corel Draw
Other CorelDRAW file formats include CorelDRAW Com-
CorelDRAW is an intuitive and versatile graphics applica-
pressed (CDX), CorelDRAW Template (CDT) and Corel
tion for creating high-quality vector illustrations, logo de-
Presentation Exchange (CMX).
signs, and page layouts.
In December 2006 the sK1 open source project team
System Requirements
started to reverse-engineer the CDR format. The results
and the first working snapshot of the CDR importer were Microsoft® Windows® 7, Windows Vista®, Windows®
presented at the Libre Graphics Meeting 2007 conference XP, with latest service packs installed (32-bit or 64-bit
taking place in May 2007 in Montreal (Canada). Later on editions)
the team parsed the structure of other Corel formats with Intel® Pentium® 4, AMD Athlon™ 64 or AMD Opteron™
the help of the open source CDR Explorer. As of 2008, the
512 MB RAM (1 GB recommended)
sK1 project claims to have the best import support for
CorelDRAW file formats among open source software 750 MB hard disk space (1 GB for typical installation
programs. The sK1 project developed also the UniConvertor, without content). Up to 6GB needed to install extra content
a command line open source tool which supports conver- Mouse or tablet
sion from CorelDRAW ver.7-X4 formats (CDR/CDT/CCX/
1024 x 768 screen resolution (768 x 1024 on a Tablet PC)
CDRX/CMX) to other formats. UniConvertor is also used in
Inkscape and Scribus open source projects as an external DVD drive
tool for CorelDRAW files importing. Microsoft® Internet Explorer® 7 or higher

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 103

Installing CorelDRAW Graphics Suite applications vides you with timely access to the latest product updates,
The installation wizard makes it easy to install CorelDRAW valuable information about product releases, and access to
Graphics Suite applications and components. You can free downloads, articles, tips and tricks, and special offers.
choose a typical installation to quickly install the suite, or You can register in one of the following ways:
you can customize the installation by choosing different
options. online - If you are connected to the Internet, you can start
online registration when you start the Corel graphics
MODIFY the current installation by adding or deleting application. You can also register online at a later date by
components clicking Help Registration. If no Internet connection is
REPAIR the current installation by reinstalling all applica- detected, a list of options appears in a dialog box.
tion features Updating Corel products
UNINSTALLCorelDRAW Graphics Suite During product installation, you can choose the option to
Repairing an installation is helpful when you encounter download product updates and service packs. After install-
problems in using the application, or when you suspect ing the product, you can view information about product
that the installation is corrupt. Before repairing an installa- updates by clicking Help Updates.
tion, try resetting the current workspace to the default By default, you are automatically notified when product
settings by holding down F8 while starting the application. updates and news become available. In addition, the
Changing startup settings application automatically downloads new product updates
and asks you for permission to install them. However, you
You can specify the startup settings for CorelDRAW, can change the update settings at any time.
which control how the application appears when it's opened.
For example, you can start the application with the Explain the CorelDraw workspace window
Welcome screen open or a new blank document. CorelDRAW terms
Registering Corel products Before you get started with CorelDRAW, you should be
Registering Corel products is important. Registration pro- familiar with the following terms.

Term Description

Object An element in a drawing such as an image, shape, line, text, curve, symbol, or layer
Drawing The work you create in CorelDRAW; for example, custom artwork, logos, posters, and
newsletters
Vector graphic An image generated from mathematical descriptions that determine the position, length, and
direction in which lines are drawn
Bitmap An image composed of grids of pixels or dots
Docker A window that contains available commands and settings relevant to a specific tool or task
Flyout A button that opens a group of related tools or menu items
List box A list of options that drops down when a user clicks the down arrow button
Artistic text A type of text to which you can apply special effects, such as shadows
Paragraph text A type of text to which you can apply formatting options, and which can be edited in large blocks

Application window The CorelDRAW application window appears below.

When you launch CorelDRAW, the application window Circled numbers correspond to the numbers in the follow-
opens containing a drawing window. Although more than ing table, which describes the main components of the
one drawing window can be opened, you can apply application window.
commands to the active drawing window only.

104 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

 Fig 2

Part Description

1. Toolbox A docked bar with tools for creating, filling, and modifying objects in the drawing
2. Title bar The area displaying the title of the currently open drawing
3. Menu bar The area containing pull-down menu options
4. Toolbar A detachable bar that contains shortcuts to menu and other commands
5. Drawing window The area outside the drawing page bordered by the scroll bars and application
controls
6. Property bar A detachable bar with commands that relate to the active tool or object. For example,
when the text tool is active, the text property bar displays commands that create and
edit text.
7. Docker A window containing available commands and settings relevant to a specific tool or
task
8. Rulers Horizontal and vertical borders that are used to determine the size and position of
objects in a drawing
9. Document navigator The area at the bottom left of the application window that contains controls for moving
between pages and adding pages
10. Drawing page The rectangular area inside the drawing window. It is the printable area of your work
area.
11. Status bar An area at the bottom of the application window that contains information about object
properties such as type, size, colour, fill, and resolution. The status bar also shows
the current cursor position.
12. Navigator A button at the lower-right corner that opens a smaller display to help you move
around a drawing
13. Colour palette A dockable bar that contains colour swatches
The CorelDraw workspace tools You can customize many of these workspace tools to suit
Workspace tools your needs.

Application commands are accessible through the menu The standard toolbar, which appears by default, contains
bar, toolbars, toolbox, property bar, and dockers. The buttons and controls that are shortcuts to many of the
property bar and dockers provide access to commands menu commands.
that relate to the active tool or current task. The property
bar, dockers, toolbars, and toolbox can be opened, closed,
and moved around your screen at any time.
IT&ITES: DTPO - Related Theory for Exercise 2.2.01 105
 Click this To Click this To
button button

Export a drawing
Start a new drawing

Open a drawing Start Corel applications

Save a drawing
Open the Welcome screen
Print a drawing

Cut selected objects to the Clipboard

Set a zoom level
Copy selected objects to the Clipboard
Enable or disable automatic
Paste the Clipboard contents into a
drawing alignment for the grid, guidelines,
objects, and dynamic guides
Undo an action
Open the Options dialog box
Restore an action that was undone

Import a drawing
The following table describes toolbars other than the
standard toolbar.
More about toolbars
In addition to the standard toolbar, CorelDRAW has toolbars
for specific kinds of tasks. For example, the Text toolbar
contains commands relevant to using the Text tool. If you
use a toolbar frequently, you can display it in the workspace
at all times.

Toolbar Description
Text Contains commands for formatting and aligning text
Zoom Contains commands for zooming in and out of a drawing page by specifying percentage of
original view, clicking the Zoom tool, and selecting a page view
Internet Contains commands for Web-related tools for creating rollovers and publishing to the Internet
Print merge Contains commands for print merge items that combine text with a drawing such as creating
and loading data files, creating data fields for variable text, and inserting print merge fields
Transform Contains commands for skewing, rotating, and mirroring objects
Macros Contains commands for editing, testing, and running macros

Exploring the toolbox

Fig 3
The toolbox contains tools for drawing and editing images.
Some of the tools are visible by default, while others are
grouped in fly-outs. Fly-outs open to display a set of related
CorelDRAW tools. A small fly-out arrow in the lower-right
corner of a toolbox button indicates a fly-out. You can
access the tools in a fly-out by clicking the fly-out arrow.
After you open a fly-out, you can easily scan the contents
of other fly-outs by hovering over any of the toolbox buttons In the default workspace, clicking the fly-out arrow on the
which have fly-out arrows. Fly-outs function like toolbars Shape tool opens the Shape edit fly-out.
when you drag them away from the toolbox. This lets you
view all the related tools while you work.

106 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

Pick tool

The Pick tool lets you select, size, skew, and rotate objects.

Shape edit tools

The Shape tool lets you edit the shape of objects.

The Smudge brush tool lets you distort a vector object by dragging along
its outline.

The Roughen brush tool lets you distort the outline of a vector object by
dragging along the outline.

The Transform tool lets you transform an object by using the Free rotation,
Freeangle reflection, Free scale, and Free skew tools.

Crop tools

The Crop tool lets you remove unwanted areas in objects.

The Knife tool lets you cut through objects.

The Eraser tool lets you remove areas of your drawing.

The Virtual segment delete tool lets you delete portions of objects that
are between intersections.

Zoom tools

The Zoom tool lets you change the magnification level in the drawing window.

The Pan tool lets you control which part of the drawing is visible in the drawing
window.

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 107

Curve tools

The Freehand tool lets you draw single line segments and curves.

The 2-point line tool lets you draw a straight two-point line segment.

The Bézier tool lets you draw curves one segment at a time.

The Artistic media tool provides access to the Brush, Sprayer, Calligraphic,
and Pressure tools.

The Pen tool lets you draw curves one segment at a time.

The B-spline tool lets you draw curved lines by setting control points that shape
the curve without breaking it into segments.

The Polyline tool lets you draw lines and curves in preview mode.

The 3-point curve tool lets you draw a curve by defining the start, end, and
center points.

Smart tools

The Smart fill tool lets you create objects from enclosed areas and then apply
a fill to those objects.

The Smart drawing tool converts your freehand strokes to basic shapes and
smoothed curves.

Rectangle tools

The Rectangle tool lets you draw rectangles and squares.

The 3-point rectangle tool lets you draw rectangles at an angle.

Ellipse tools

The Ellipse tool lets you draw ellipses and circles.

The 3-point ellipse tool lets you draw ellipses at an angle.

108 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

Object tools

The Polygon tool lets you draw symmetrical polygons and stars.

The Star tool lets you draw perfect stars.

The Complex star tool lets you draw complex stars that have intersecting
sides.

The Graph paper tool lets you draw a grid of lines similar to that on graph
paper.

The Spiral tool lets you draw symmetrical and logarithmic spirals.

Basic Shapes tools

The Basic shapes tool lets you choose from a full set of shapes, including
hexagram, a smiley face, and a right-angle triangle.

The Arrow shapes tool lets you draw arrows of various shape, direction, and
number of heads.

The Flowchart shapes tool lets you draw flowchart symbols.

The Banner shapes tool lets you draw ribbon objects and explosion shapes.

The Callout shapes tool lets you draw callouts and labels.

Text tool

The Text tool lets you type words directly on the screen as artistic or paragraph
text.

Table tool

The Table tool lets you draw and edit tables.

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 109

Dimension tools

The Parallel dimension tool lets you draw slanted dimension lines.

The Horizontal or vertical dimension tool lets you draw horizontal or vertical
dimension lines.

The Angular dimension tool lets you draw angular dimension lines.

The Segment dimension tool lets you display the distance between end
nodes in single or multiple segments.

The 3-point callout tool lets you draw a callout with a three-segment leader
line.

Connector tools

The Straight-line connector tool lets you draw a straight connector line.

The Right-angle connector tool lets you draw a right angle connector line.

The Right-angle round connector tool lets you draw a right-angle connector
line with curved corners.

The Edit anchor tool lets you modify connector line anchor points.

Interactive tools

The Blend tool lets you blend two objects.

The Contour tool lets you apply a contour to an object.

The Distort tool lets you apply a Push or Pull distortion, a Zipper distortion, or
a Twister distortion to an object.

The Drop shadow tool lets you apply a drop shadow to an object.

The Envelope tool lets you shape an object by dragging the nodes of the
envelope.

110 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

 The Extrude tool lets you apply the illusion of depth to objects.

The Transparency tool lets you apply transparencies to objects.

Eyedropper tools

The Color eyedropper tool lets you select and copy a color from an object on the
drawing window or the desktop.

The Attributes eyedropper tool lets you select and copy object properties, such
as line thickness, size and effects, from an object on the drawing window.

Outline tool

The Outline tool opens a flyout that gives you quick access to items such as the
Outline pen dialog box and Outline color dialog box.

Fill tool

The Fill tool opens a flyout that gives you quick access to items such as the fill
dialog boxes.

Interactive fill tools

The Interactive fill tool lets you apply various fills.

The Mesh fill tool lets you apply a mesh grid to an object.

Property bar
The property bar displays the most commonly used For example, when you click the Text tool in the toolbox,
functions that are relevant to the active tool or to the task the property bar displays text-related commands. In the
you're performing. Although it looks like a toolbar, the example below, the property bar displays text, formatting,
property bar content changes depending on the tool or alignment, and editing tools.
task.

Dockers
Dockers display the same types of controls as a dialog
box, such as command buttons, options, and list boxes.
Unlike most dialog boxes, you can keep dockers open
while working on a document, so you can readily access
the commands to experiment with different effects. Dock-
ers have features similar to palettes in other graphics
programs. To access a docker, click Window Dockers,
and click a docker.

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 111

An example is the Object properties docker. When this
docker is open, you can click an object in the drawing
window and view formatting, dimensions, and other proper-
ties of the object
Dockers can be either docked or floating. Docking a docker
attaches it to the edge of the application window. Undock-
ing a docker detaches it from other parts of the workspace,
so it can be easily moved around. You can also collapse
dockers to save screen space.
If you open several dockers, they usually appear nested,
with only one docker fully displayed. You can quickly Use a template for drawing designs that you want to reuse.
display a docker hidden from view by clicking the docker's You can use the default template or choose one from a wide
tab. variety of preset templates available in the application.
starting new drawings
When starting a new drawing, CorelDRAW lets you specify
page, document, and colour management settings. You
can choose from a list of preset settings, which are based
on how you intend to use the drawing. For example, you
can choose the Web option if you are creating a drawing for
the Internet or the Default CMYK option if you are creating
a document destined for commercial printing. However, if
the preset settings are not suitable for the drawing that you
want to create, you can also customize the settings and
save them for future use.
Working with lines, outlines, and brushstrokes
CorelDRAW lets you add lines and brushstrokes by using
a variety of techniques and tools. After you draw lines or
Left: Docked and nested dockers. Right: A floating docker. apply brushstrokes to lines, you can format them. You can
To dock a floating docker, click the docker's title bar, and also format the outlines that surround objects.
drag to position the pointer on the edge of the drawing CorelDRAW provides preset objects that you can spray
window. To close a docker, click the X button at the top along a line. You can also create flow and dimension lines
corner; to collapse or expand a docker, click the arrow in drawings. You can also draw lines by using shape
button at the top corner. recognition.
Status bar Drawing lines
The status bar displays information about selected objects A line is a path between two points. Lines can consist of
(such as color, fill type, and outline, cursor position, and multiple segments, and the line segments can be curved
relevant commands). It also displays document color or straight. The line segments are connected by nodes,
information, such as the document color profile and color which are depicted as small squares. CorelDRAW pro-
proofing status. vides various drawing tools that let you draw curved and
straight lines, and lines containing both curved and straight
segments.
Freehand and Polyline tools
State the option to create New document
Starting and opening drawings The Freehand and Polyline tools let you draw
freehand lines as if you were sketching on a sketchpad. If
CorelDRAW lets you start a new drawing from a blank you make a mistake while drawing freehand curves, you
page, a template, or an existing drawing. A blank page can erase the unwanted part immediately and continue
gives you the freedom to specify every aspect of a drawing. drawing. When drawing straight lines or segments, you
A template provides you with a starting point and leaves the can constrain them to straight vertical or horizontal lines.
amount of customization up to you.
Working with templates The Freehand tool lets you control the smoothness
of the curved line you are drawing as well as add segments
A template is a collection of styles and page layout
settings that govern the layout and appearance of a to an existing line. However, the Polyline tool is
drawing. Templates are sometimes referred to as "tem- easier to use for quickly drawing a complex line that
plets." consists of alternating curved and straight segments.

112 IT&ITES: DTPO - Related Theory for Exercise 2.2.01

You can choose settings to control how the Freehand When you are exporting a file, the original file is left open
in the drawing window in its existing format.
and Bézier tools behave. For example, you can
You can use the File → Save as command to save files to
change the default smoothness of a curved line that you've
created with these tools. various vector formats. After you save a file to a different
format, the saved file is displayed immediately in the
State the option to saving the document drawing window. It is recommended that you first save the
Saving drawings file as a CorelDRAW (CDR) file because some file formats
do not support all of the features found in a CorelDRAW file.
By default, drawings are saved to the CorelDRAW file
format (CDR) and are compatible with the latest version of When you save a drawing, CorelDRAW lets you add
the application. You can also save a drawing that is reference information so that you can easily find and
compatible with an earlier version of CorelDRAW Graphics organize drawings later on. On Windows 7 and Windows
Suite. Vista, you can attach tags (also known as properties) such
as title, subject, and rating. On Windows XP, you can
You can save a drawing to other vector file formats as well. assign notes and keywords to a drawing.
If you want to use a drawing in another application, you
must save it to a file format that is supported by that If your drawing will be viewed on a system that does not
application. have all of the fonts used in the drawing, you can embed all
fonts to ensure that text will appear as originally created.
Exporting files
You can also save selected objects in a drawing. For large
You can use the File → Export command to export files to drawings, saving only the selected objects reduces the file
a variety of bitmap and vector file formats that can be used size, which can decrease the time it takes to load the
in other applications. For example, you can export a file to drawing.
the Adobe Illustrator (AI) or GIF format. You can also export
When saving a file, you can use advanced options to
a file so that it is optimized for use with a suite of office
control how bitmaps, textures, and vector effects, such as
productivity applications, such as Microsoft Word or Corel
blends and extrusions, are saved with the drawing.
WordPerfect Office.
You can also save a drawing as a template, which lets you
create other drawings with the same properties.
You can also
Save only selected objects With objects selected, click File Save as, and enable the Selected only
check box. Locate the folder where you want to save the file, type a filename
in the File name list box, and click Save.

Add reference information Do any the following:

(Windows 7 and Windows Vista) • Type a title, subject, tag, comment, author, or
revision number in the corresponding box.
• Assign a rating to the file.
• Add copyright information.
Save notes or keywords with Type notes or keywords in the corresponding box.
the file (Windows XP)
Embed fonts in a drawing Enable the Embed fonts using TrueDoc check box.

IT&ITES: DTPO - Related Theory for Exercise 2.2.01 113

IT & ITES
DTPO - Coral Draw Related Theory for Exercise 2.2.02
Opening and editing the existing drawing in CorelDraw
Objectives : At the end of this lesson you shall be able to
• opening and editing the existing drawing
• explain the editing tools in the CorelDraw workspace window
• explain the printing options.

Opening existing drawings AutoCAD Drawing Database (DWG) and AutoCAD Draw-
ing Interchange Format (DXF)
Basing a new drawing on an existing drawing lets you reuse
objects and page settings. CorelDRAW lets you open Encapsulated PostScript (EPS)
existing drawings saved to the CorelDRAW (CDR) format PostScript (PS or PRN)
as well as drawings and projects saved to various file GIF
formats such as Corel DESIGNER (DSF or DES), Adobe
JPEG (JPG)
Illustrator (AI), Adobe Portable Document Format (PDF),
Encapsulated PostScript (EPS), and Computer Graphics JPEG 2000 (JP2)
Metafile (CGM). However, you may not be able to open Kodak Photo CD Image (PCD)
certain files, depending on their file type and contents. In PICT (PCT)
such cases, you can try importing the files as objects in an Paint Brush (PCX)
open drawing.
Adobe Portable Document Format (PDF)
Supported file formats HPGL Plotter File (PLT)
A file format defines how an application stores information Portable Network Graphics (PNG)
in a file. If you want to use a file created in a different Adobe Photoshop (PSD)
application than the one you are currently using, you must
import that file. Conversely, if you create a file in one Corel Painter (RIF)
application and want to use it in another application, you Scalable Vector Graphics (SVG)
must export the file to a different file format. Macromedia Flash (SWF)
When you name a file, an application automatically ap- TARGA (TGA)
pends a filename extension, usually three characters in TIFF
length (for example, .cdr, .bmp, .tif, and .eps). This Corel Paint Shop Pro (PSP)
filename extension helps you and the computer differenti-
ate between files of different formats. TrueType Font (TTF)
WordPerfect Document (WPD)
The following list includes all file formats used in this
application. Note that not all file format filters are installed WordPerfect Graphic (WPG)
by default. If you cannot export or import a file from the list, RAW camera file formats
you need to update your installation of CorelDRAW Graph- Wavelet Compressed Bitmap (WI)
ics Suite X5. Windows Metafile Format (WMF)
Adobe Illustrator (AI) Additional file formats
Adobe Type 1 Font (PFB) Recommended formats for importing graphics
Windows Bitmap (BMP) Recommended formats for exporting graphics
OS/2 Bitmap (BMP) General notes on importing text files
Computer Graphics Metafile (CGM) If you are using Windows 7 or Windows Vista, you can
Visio (VSD search for drawings by different criteria, such as filename,
CorelDRAW (CDR) title, subject, author, keyword, comment, text within the
Corel Presentation Exchange (CMX) file, and other properties attached to the file. For more
information about searching for files with Windows 7 or
Corel PHOTO-PAINT (CPT) Windows Vista, see the Windows Help. If your operating
Corel Symbol Library (CSL) system is Windows XP, you can use Windows Desktop
Cursor Resource (CUR) Search to find files. For more information CorelDRAW Help
Cursor Resource (CUR) line Menu
Microsoft Word (DOC, DOCX, or RTF) You can also display previous versions of a drawing.
Microsoft Publisher (PUB)
Corel DESIGNER (DES, DSF, DS4, or DRW)

114
Explain the editing tools in the CorelDraw workspace Select a hidden object in a group
window
Hold down Ctrl + Alt, click the Pick tool, and then click the
Pick tool topmost object one or more times, until a selection box
appears around the hidden object.
The Pick tool lets you select, resize, skew, and rotate
object You can also select one or more objects by
clicking the Pick tool and then dragging around
Selecting Object
the object or objects. This method is known as
Before you can change an object, you must select it. You marquee selecting.
can select visible objects, objects that are hidden from view
To deselect objects
by other objects, and a single object in a group or a nested
group. In addition, you can select objects in the order in Deselect all objects
which they were created, select all objects at once, and
Click the Pick tool, and click a blank space in the drawing
deselect objects.
window.
Deselect a single object among multiple selected
objects
Hold down Shift, click the Pick tool, and then click the
object.
A bounding box appears around a selected object, and an
"X" appears at its center. Transforming objects
To select objects You can change the appearance of objects in the drawing
Select an object window by using the following transformations.
Click the Pick tool, and then click an object. Transformation
Select multiple objects Sizing the object
Click the Pick tool, hold down Shift, and click each object Lets you change the width and height of an object
that you want to select.
Select an object while reviewing objects in the order
of their creation, starting with the first object created
Click the Pick tool, and then press Shift + Tab one or more
times, until a selection box appears around the object that
you want to select.
Select an object while reviewing objects in the order
of their creation, starting with the last object created
Click the Pick tool , and then press Tab one or more times,
until a selection box appears around the object that you
want to select. Scaling the object
Select all objects Lets you size an object to a percentage of its original size.

Click Pick tool → Edit → Select all → Objects.

Select an object in a group
Hold down Ctrl, click the Pick tool, and then click an object
in a group.
Select an object in a nested group
Hold down Ctrl, click the Pick tool, and then click an object
one or more times, until a selection box appears around it.
Select an object hidden from view by other objects
Hold down Alt, click the Pick tool, and then click the
topmost object one or more times, until a selection box
appears around the hidden object. Skewing the object
Select multiple hidden objects Lets you slant an object to one side.
Hold down Shift + Alt, click the Pick tool, and then click the
topmost object one or more times, until a selection box
appears around the hidden objects.
IT&ITES: DTPO - Related Theory for Exercise 2.2.02 115
Stretching the object
Lets you change the height and width of an object
nonproportionally. Transforming objects interactively
You can transform an object interactively by using the
mouse and the Pick tool. This method is the quickest, but
it is not recommended if you want to transform an object
with precision.
Other methods for transforming objects
You can transform an object in any of the following ways:
• For more precise results, you can select an object with
the Pick tool and adjust settings on the property bar.
For example, you can specify a precise rotation angle
or specify the size of an object.
• The Transformation docker lets you transform objects
with precision and apply the transformation to the
duplicate of an object, which is created automatically.
This feature lets you experiment with transformations
without affecting the original object. You can access
Rotating the object the Transformation docker by clicking Arrange Trans-
formations and clicking a command.
Lets you turn an object around its center axis or a point
relative to its position. • The Transform toolbar also lets you transform objects
with precision. You can access the Transform toolbar
by clicking Windows Toolbars Transform.
Each of these methods lets you apply transformations to
a single object or to multiple objects simultaneously.
Clearing and redoing transformations
All transformations can be simultaneously cleared at any
time.
Define Group
A set of objects that behaves as one unit. Operations you
perform on a group apply equally to each of its objects.
Grouping objects
When you group two or more objects, they are treated as
a single unit but retain their individual attributes. Grouping
Mirroring lets you create a horizontal or vertical mirror
lets you apply the same formatting, properties, and other
image of an object.
changes to all the objects within the group at the same
time. In addition, grouping helps prevent accidental changes
to the position of an object in relation to other objects. You
can also create nested groups by grouping together
existing groups.

116 IT&ITES: DTPO - Related Theory for Exercise 2.2.02

 smoothed. Objects and curves drawn with shape recogni-
tion are editable. You can set the level at which CorelDRAW
recognizes shapes and converts them to objects. You can
also specify the amount of smoothing applied to curves.
You can set the amount of time to elapse between making
a pen stroke and the implementation of shape recognition.
For example, if the timer is set to one second and you draw
a circle, shape recognition takes effect one second after
you draw the circle.
You can make corrections as you draw. You can also
change the thickness and line style of a shape that was
drawn by using shape recognition.

Single objects retain their attributes when they are

grouped.
You can add objects to or remove objects from a group, and
you can delete objects that are members of a group. You
can also edit a single object in a group without ungrouping
the objects. If you want to edit multiple objects in a group
at the same time, you must first ungroup the objects. If a Shapes created with the Smart drawing tool are recog-
group contains nested groups, you can ungroup all objects nized and smoothed.
in the nested groups simultaneously. The Smart drawing tool property bar is displayed
You can create a nested group by selecting two or more only when the Smart drawing tool is selected.
groups of objects and clicking Arrange → Group. When you overlap lines drawn with the Smart
You can also group objects by clicking Window → drawing tool, the outline thickness is determined
by the average.
Dockers → Object manager and dragging the name of
an object in the Object manager docker over the name Printing your work
of another object
Using CorelDRAW, you can print one or more copies of the
You can also ungroup objects by clicking the Un-group same drawing. You can also specify the page type and the
button on the property bar. page range that you want to print.
You can also ungroup all nested groups within a group
Before printing a drawing, you can specify printer proper-
by clicking the Ungroup all button on the property bar.
ties, including paper size and device options. For example,
Smart Drawing Tool you can specify that the printer features such as duplexing
stapling.
The Smart drawing tool converts your freehand strokes to
basic shapes and smoothed curves. Certain printers support the automatic matching of
page size and orientation. To enable this option,
you need to modify the driver compatibility set-
tings for the printer by clicking Tools Options. In the
list of categories, double-clicking Global, Printing,
clicking Driver compatibility, and enabling the
Printer can match document page sizes check
box. In the Print dialog box, you can then choose
Match orientation and size from the Page list box.
Laying out print jobs
You can lay out a print job by specifying the size, position,
and scale. Tiling a print job prints portions of each page on
separate sheets of paper that you can assemble into one
Drawing by using shape recognition sheet. You would, for example, tile a print job that is larger
You can use the Smart drawing tool to draw freehand than your printer paper.
strokes that can be recognized and converted to basic Previewing print jobs
shapes. Rectangles and ellipses are translated to native
CorelDRAW objects; trapezoids and parallelograms are You can preview your work to show how the position and
translated to Perfect Shapes objects; lines, triangles, size of the print job will appear on paper. For a detailed view,
squares, diamonds, circles, and arrows are translated to you can zoom in on an area. You can view how the
curve objects. If an object is not converted to a shape, it is individual color separations will appear when printed.
IT&ITES: DTPO - Related Theory for Exercise 2.2.02 117
Before printing your work, you can view a summary of Printing to a PostScript printer
issues for a print job to find potential printing problems. For
PostScript is a page-description language that sends
example, you can check the current print job for print
printing instructions to a PostScript device. All the ele-
errors, possible print problems, and suggestions for resolv-
ments in a print job (for example, curves and text) are
ing issues.
represented by lines of PostScript code that the printing
Applying print styles device uses to produce the document. For improved
compatibility you can choose a device independent
A print style is a set of saved printing options. Each print
PostScript device. You can also select a PostScript
style is a separate file. This lets you move a print style from
Printer Description (PPD) file. A PostScript Printer De-
one computer to another, back up a print style, and keep
scription file describes the capabilities and features of your
document-specific styles in the same directory as the
PostScript printer and is available from your printer's
document file.
manufacturer.
You can select an existing print style, create a new print
You can automatically increase the fountain steps in a
style, or edit a print style and save the changes. You can
fountain fill to decrease banding. To ensure that your print
also delete print styles.
jobs print properly, you can also reduce curve complexity
Fine-tuning print jobs by increasing flatness. Curve flatness determines how
You can fine-tune print jobs before to ensure printing smooth a curve appears when printed.
quality. Because problems sometimes occur when you are A print job that contains too many fonts may not print
printing text to a non-PostScript printing device (GDI properly, and a print job that contains too many spot colors
printer), you can decrease printing time by specifying driver increases file size. You can set the PostScript options to
compatibility for non-PostScript printing devices. warn you when a print job contains more than a set number
If a printing device has difficulty processing large bitmaps, of fonts or spot colors.
you can divide a bitmap into smaller, more manageable By default, the printing device driver downloads Type 1
chunks by setting an output threshold. If any lines appear fonts to the printing device. You can disable the Download
when the printing device prints the chunks, you can set an Type 1 Fonts option so that fonts are printed as graphics
overlap value to produce a seamless image. (either curves or bitmaps). This may be useful when the file
On occasion, you may experience difficulties with printing contains many fonts that would take an unacceptably long
complex files. To print complex files, you may need to time to download or would fail to download because of their
spend a considerable amount of time fixing and correcting file size. Bitmap versions of TrueType fonts look better in
the files. Another option is to convert a page to a bitmap, small print and print faster than regular fonts. You can
which is also known as rasterizing, which can allow you to choose the maximum number of bitmap fonts that a print
print complex files. job can contain.

To reduce file size, you can downsample bitmaps. Be- Working with imposition layouts
cause bitmaps are made up of pixels, when you downsample Working with imposition layouts lets you print more than
a bitmap, the number of pixels per line decreases, which one page of a document on each sheet of paper. You can
decreases the file size. choose a preset imposition layout to create documents
Printing colors accurately such as magazines and books to print on a commercial
printing press; produce documents that involve cutting or
CorelDRAW allows you to manage colors when printing to folding, such as mailing labels, business cards, pam-
help you ensure accurate color reproduction. You can print phlets, or greeting cards; or print multiple thumbnails of a
the document with the document colors settings applied or document on one page. You can also edit a preset
you can choose alternate color settings only for printing. imposition layout to create your own layout.
You can also print a document using the color proofing
settings that you previously specified in the Color proof You can select a binding method by choosing from three
settings docker. preset binding methods, or you can customize a binding
method. When you choose a preset binding method, all but
In addition, you can choose a rendering intent to effectively the first signature are automatically arranged.
interpret the out-of-gamut colors when printing. The render-
You can arrange pages on a signature manually or auto-
ing intent that you choose depends on the graphical
matically. When you arrange the pages automatically, you
content of the document.
can choose the angle of the image. If you have more than
Notes for GDI printers one page across or down, you can specify the size of
GDI printers support only two color spaces: RGB and gutters between pages; for example, you can choose the
Grayscale. If your document contains colors from multiple automatic gutter spacing option, which sizes gutters so
color spaces, for example RGB, CMYK, and spot colors, that the document's pages fill the entire available space in
you must convert all of the colors to RGB or Grayscale the layout.
before printing.

118 IT&ITES: DTPO - Related Theory for Exercise 2.2.02

When printing on a desktop printer, you can adjust the Printing presses produce color using either process color
margins to accommodate the non-printable area of a page. or spot color, or both. You can convert the spot colors to
If the margin is smaller than the non-printable area, the process colors at printing time.
edges of some pages or some printers' marks may be
When setting halftone screens to print color separations,
clipped by your printer.
we recommend that you use default settings; otherwise,
Printing printers' marks screens can be improperly set and result in undesirable
moiré patterns and poor color reproduction. However, if you
Printing printers' marks lets you display information on a
are using an image-setter, the screen technology should
page about how a document should be printed. You can
be set to match the type of image-setter the print service
specify the position of the printers' marks on the page.
provider uses. Before customizing a halftone screen,
The available printers' marks are as follows: consult the print service provider to determine the correct
• Crop/fold marks - represent the size of the paper and setting.
print at the corners of the page. You can print crop/fold If you have overprinted areas, you can choose how you
marks to use as guides to trim the paper. If you print want those areas to print.
multiple pages per sheet (for example, two rows by two
Working with color trapping and overprinting
columns), you can choose to print the crop/fold marks
on the outside edge of the page so that all crop/fold When colors are trapped, they are intentionally overlapped
marks are removed after the cropping process, or you so that misalignments of print separations are not notice-
can choose to add crop marks around each row and able. In manual trapping, one color must overprint the other.
column. Crop/fold marks ensure that marks appear on Overprinting is achieved by printing one color over another.
each plate of a separated CMYK file. Overprint trapping works best when the top color is much
darker than the underlying color; otherwise, an undesirable
• Bleed limit - determines how far an image can extend
third color may result (for example, cyan over yellow results
beyond the crop marks. When you use a bleed to
in a green object). In some cases, you might actually want
extend the print job to the edge of the page, you must
to create a third color; for example, you can overprint two
set a bleed limit. A bleed requires that the paper you are
spot colors to create a third color.
printing on is larger than the size of paper you ultimately
want, and the print job must extend beyond the edge of How overprinted colors mix depends on the type of colors
the final paper size. and ink you are mixing and the types of objects you are
overprinting. For example, an object that uses a CMYK
• Registration marks - are required to line up film for
color overprints differently from an object that uses a spot
proofing or printing plates on a color press. They print
color. Bitmaps also overprint differently from vector ob-
on each sheet of a color separation.
jects. You can preview a simulation of how overprinted
• Color calibration bars - are color scales that print on colors will mix by using the Enhanced with overprints
each sheet of a color separation and ensure accurate viewing mode. Some variation between the preview and the
color reproduction. To see calibration bars, the page printed version may occur, depending on the printer you
size of the print job must be larger than the page size use.
of the work you are printing.
When you are ready to print, you can choose to preserve
• Densitometer scale - is a series of gray boxes ranging overprint settings if you want to trap objects in a document,
from light to dark. These boxes are required to test the or if you want to mix the overlapping colors for effect. You
density of halftone images. You can position the den- can also choose to knock out the overprinted areas so that
sitometer scale anywhere on the page. You can also only the top color is visible. If you want to print a proof
customize the levels of gray that appear in each of the version of the file, you can simulate overprints. Simulating
seven squares on the densitometer scale. overprints rasterizes the file, and it prints using process
• Page numbers - helps you collate pages of an image colors only.
that do not include any page numbers or do not contain You can set a group of objects to overprint. You can
page numbers that correspond to the actual number of overprint bitmaps; or each vector object's fill, or outline, or
pages both. You can also overprint specific color separations and
• File information - prints file information, such as, the specify in which order they will print, as well as whether you
color profile; halftone settings; name, date, and time the want to overprint graphics, or text, or both.
image was created; plate number; and job name The two methods for color trapping automatically are
always overprinting black and auto-spreading. Always
Printing colour separations
overprinting black creates a color trap by causing any
When you send color work to a print service provider or object that contains 95% black or more to overprint any
printing shop, either you or the print service provider must underlying objects. This option is useful for artwork con-
create color separations. Color separations are necessary taining a lot of black text, but it should be used with caution
because a typical printing press applies only one color of on artwork with a high graphics content. You can adjust the
ink at a time to a sheet of paper. You can specify the color threshold, if the print service provider recommends a black
separations to print, including the order in which they print. threshold value other than 95%.

IT&ITES: DTPO - Related Theory for Exercise 2.2.02 119

Auto-spreading creates color trapping by assigning an Printing to film
outline to an object that is the same color as the object's
You can set up a print job to produce negative images. An
fill and having it overprint underlying objects. Auto-spread-
image-setter produces images on film that may need to be
ing is created for all objects in the file that meet three
produced as negatives depending on which printing device
conditions: they do not already have an outline, are filled
you are using. Consult your print service provider to
with a uniform fill, and have not already been designated to
determine whether you can produce images on film.
overprint.
You can specify to print with the emulsion down. Printing
with the emulsion down produces a backward image on
desktop printers.

120 IT&ITES: DTPO - Related Theory for Exercise 2.2.02

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.03
Usage of guides and drawing tools in CorelDraw
Objectives : At the end of this lesson you shall be able to
• explain the Guideline, Grid and uses
• state the Freehand tool and Polyline tool
• uses of Bézier Tool and the Pen Tool
• explain the 2-point tool and Artistic media tool
• use of B-spline tool.
Explain the Guideline, Grid and uses two types of preset guidelines: Corel presets and user-
Guidelines defined presets. Examples of Corel presets include guide-
lines that appear at 1-inch margins and guidelines that
Guidelines are lines that can be placed anywhere in the appear at newsletter column borders. User-defined presets
drawing window to aid in object placement. In some are guidelines whose location you specify. For example,
applications, guidelines are known as guides. you can add preset guidelines that display margins at a
There are three types of guidelines: horizontal, vertical, and distance you specify or that define a column layout or grid.
slanted. By default, the application displays guidelines After you add a guideline, you can select it, move it, rotate
that you can add to the drawing window, but you can hide it, lock it in place, or delete it.
them at any time. You can also use objects as guides. You can have objects snap to the guidelines, so that when
You can set guidelines for individual pages or you can set an object is moved near a guideline, it can only be centered
guidelines for the entire document. on the guideline or lined up on either side of the guideline.
You can add a guideline wherever you need one; however, Guidelines use the unit of measure specified for rulers.
you can also choose to add preset guidelines. There are

Guidelines can be placed in the drawing window to aid in options are based on the unit of measure for the ruler. For
object placement. example, if the ruler unit of measure is set to inches, the
spacing options are based on inches.
Grid
If the ruler unit of measure is set to pixels, or if you enabled
A series of evenly spaced horizontal and vertical dots that the Pixel preview, you can specify the color and opacity of
are used to help draw and arrange objects. the pixel grid.
Setting up the grid You can also have objects snap to the grid or pixel grid so
The grid is a series of non-printing intersecting lines that that when you move the objects, they jump between grid
you can display in the drawing window. You can use the lines.
grid to precisely align and position objects. Curve Tools
You can customize the look of the grid by changing the grid If you want to create a your own unique shapes, you can
display and grid spacing. The grid display allows you to use one of the curve tools. Using these tools, you can draw
view the grid as lines or as dots. The spacing allows you to an almost unlimited variety of shapes
set the distance between the grid lines. The spacing
121
Drawing lines
A line is a path between two points. Lines can consist of
multiple segments, and the line segments can be curved
or straight. The line segments are connected by nodes,
which are depicted as small squares. CorelDRAW pro-
vides various drawing tools that let you draw curved and
straight lines, and lines containing both curved and straight
segments.
Freehand and Polyline Tools
The Freehand and Polyline tools share a common function,
giving you the freedom to draw as if you were sketching by
freehand on a physical sketch pad, but the tools work in
slightly different ways. Sketched lines can create a single Using the Bézier and Pen Tools
open or closed vector path. Both tools are located in the
The Bézier Tool and the Pen Tool are variations on the
Toolbox grouped with other line-creation tools, as shown
same theme of drawing connected curves and straight
here:
segments (unlike the 3-Point Curve Tool), through the
action of first clicking to set a path point, and then by either
dragging to define a curve behind the click point or by
clicking (not dragging) to define a straight path segment
behind the click point.
One of the less obvious differences between the two tools
is that the Pen Tool offers a "look ahead" point when you
draw with it; before you click or click-drag a point, the
proposed path between the point before you click and the
previous (already defined) point on the path is shown in light
blue. When you're just beginning with CorelDRAW, the
choice between these tools should be based on the
following:
The Pen Tool provides intuitive results when you want a
path that has both straight segments and curves. The
Bézier Tool excels at creating curved segments that are
joined smoothly, and straight segments are not your
design goal
Freehand Tool and Polyline Tool
2-point line tool
Using either of these tools, you have control over the
smoothness of path shapes drawn using click-drag actions You can draw straight lines by using the 2-point line tool.
by adjusting the Freehand Smoothing option in the Prop- This tool also allows you to create straight lines that are
erty Bar before drawing your path. You can control smooth- perpendicular or tangent to objects.
ness after drawing a path by selecting nodes with the
Artistic Media Tools
Shape Tool and then using the Reduce Nodes spin box.
Reduce Nodes has a range between 0 and 100 percent; The Artistic Media tools in CorelDraw lets, you choose from
lower values apply less smoothing, and higher values apply a wide variety of new, sophisticated preset brush styles.
more smoothing. You can draw vector shapes, brushstrokes, Sprayed
images, calligraphic strokes and pressure sensitive strokes.
3-Point Curve Tool
For each stroke type that is available with the Artistic
The 3-Point Curve Tool is used to build perfectly smooth media tool, you can set preference for the level of smooth-
arcing line segments, with complete control over the ing, the stroke width and other properties.
direction and steepness of the curve between two points.
Drawing calligraphic
You can draw a curved line by specifying its width (left), and
CorelDRAW lets you simulate the effect of a calligraphic
then specifying its height and clicking the page (right).
pen when you draw lines. Calligraphic lines vary in thick-
ness according to the direction of the line and the angle of
the pen nib. By default, calligraphic lines appear as closed
shapes drawn with a pencil. You can control the thickness
of a calligraphic line by changing the angle of the line you
draw in relation to the calligraphic angle you choose. For
example, when the line you draw is perpendicular to the

122 IT&ITES: DTPO - Related Theory for Exercise 2.2.03

calligraphic angle, the line is at the maximum thickness
specified by the pen width. Lines drawn at the calligraphic
angle, however, have little or no thickness.

Pressure-sensitive
CorelDRAW lets you create pressure-sensitive lines which
vary in thickness. You can create this effect using the
mouse or a pressure-sensitive pen and graphics tablet.
Both methods result in lines with curved edges and varying
widths along a path. For information about using a pres-
sure-sensitive pen on a graphics tablet, see the
manufacturer's instructions.

Preset lines Brushstrokes

CorelDRAW provides preset lines that let you create thick CorelDRAW lets you apply a variety of preset brushstrokes,
strokes in a variety of shapes. After you draw a calligraphic ranging from strokes with arrowheads to ones that are filled
or preset line, you can apply a fill to it as you would to any with rainbow patterns. When you draw a preset brushstroke,
other object. you can specify some of its attributes. For example, you
can change the width of a brushstroke and specify its
smoothness.

IT&ITES: DTPO - Related Theory for Exercise 2.2.03 123

You can also create custom brushstrokes by using an
object or a group of vector objects. When you create a
custom brushstroke, you can save it as a preset.
Spraying objects along a line.
CorelDRAW lets you spray a series of objects in a line.
Besides graphic and text objects, you can import bitmaps
and symbols to spray along a line.

You can control how a sprayed line appears by adjusting stretching and moving the stroke on the page, and by
the spacing between objects, so they are closer or farther applying the outline and fill to the stroke.
apart from each other. You can also vary the order of
objects in the line. For example, if you are spraying a series
of objects that includes a star, a triangle, and a square, you
can change the spray order so that the square appears
first, followed by the triangle and then the star. CorelDRAW
also lets you shift the position of objects in a sprayed line
by rotating them along the path or offsetting them in one of
four different directions: alternating, left, random, or right.
For example, you can choose a left offset direction to align
the objects you spray to the left of the path. B-spline tool
By using control points, you can easily shape a curved line
and draw B-splines, which are typically smooth, continu-
ous curved lines. B-splines touch the first and last control
points and are pulled by the points in between. However,
unlike the nodes on Bézier curves, control points don't let
you specify the points through which a curve passes when
you want to align a curve with other drawing elements.
The control points that touch the line are referred to as
"clamped". Clamped control points function as anchors.
The control points that pull the line but do not touch it are
referred to as "floating". The first and last control points are
always clamped on open-ended B-splines. The points in
between float by default, but you can clamp points if you
want to create cusps or straight lines within the B-spline.
You can edit completed B-splines by using the control
points.
Objects sprayed along a curved line (left). The objects and
line were edited after the objects were sprayed (right).
Preset mode
Using the preset mode of the Artistic media tool is perfect
when you want to create a basic stroke that can be edited.
Preset stroke vary in width and shape, and you can edit
them by applying a different preset stroke shape, by

124 IT&ITES: DTPO - Related Theory for Exercise 2.2.03

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.04
Creating Ellipses, Circles, Rectangles and Squares
Objectives : At the end of this lesson you shall be able to
• explain the ellipse, circle, rectangle, and square tools
• polygon, star and complex star tools
• state the spiral and graph paper tools
• explain the shape edit tools.
Ellipses, circles, rectangle and square
Ellipse and circle
Draw an ellipse or circle by dragging diagonally with the
Ellipse tool, or draw an ellipse by using the 3-point ellipse
tool to specify its width and height. The 3-point ellipse tool
quickly create an ellipse at an angle, eliminating the need
to rotate the ellipse.

Using the 3-point ellipse tool, to draw an ellipse by first

drawing its centerline and then drawing its height. This
method to draw ellipses at an angle
To draw an ellipse or a circle from its center
outward by holding down Shift as and drag.
Arcs, and Pie
Using the Ellipse tool, draw a new arc or pie shape, or draw
an ellipse or circle and then change it to an arc or a pie
shape. Change the default properties of new objects that
are drawn with the Ellipse tool. For example, to set the
default properties so that all new shapes to draw are arcs
or pie shapes.

125
To use the Shape tool to create a pie shape, drag the node
of the ellipse (left) to the inside of the ellipse (center). To
create an arc, drag the node to the outside of the ellipse
(right).
To draw an arc, the ellipse or circle must have
an outline From left to right, to see the radius of a rounded corner and
Rectangle and square shapes the radius of a scalloped corner

Draw a rectangle or square by dragging diagonally with the The size value for chamfering a corner represents the
Rectangle tool or by specifying the width and height with distance to set where the chamfer will begin in relation to
the 3-point rectangle tool. The 3-point rectangle tool lets the original corner. Higher corner size values produce a
you quickly draw rectangles at an angle. longer chamfered edge.

To draw a rectangle from its center outward by

holding down Shift as you drag. Draw also a
square from its center outward by holding
down Shift + Ctrl as you drag.
Create a 3-point rectangle by first drawing its baseline and Draw a rectangle that covers the drawing page by double-
then drawing its height. The resulting rectangle is angled. clicking the Rectangle tool.
Polygon, star and complex star tools
Draw polygons and two types of stars: perfect and com-
plex. Perfect stars are traditional-looking stars and can
have a fill applied to the entire star shape. Complex stars
have intersecting sides and produce original results with a
fill applied.

Property bar of the Rectangle tool

Draw a rectangle or square with rounded, scalloped or
chamfered corners. To modify each corner individually or
apply the changes to all corners. In addition, to specify that
all corners scale relative to the object. To also specify the
default corner size for drawing rectangles and squares.
Understanding rounded, scalloped, and chamfered
corners
Rounding produces a curved corner, scalloping replaces
the corner with an edge that has a curved notch, and
chamfering replaces the corner with a straight edge, also
known as a bevel.

Left to right: Polygon, perfect star, and complex star,

each with a fountain fill applied
To modify polygons and stars. For example, change the
number of sides on a polygon or the number of points on a
From left to right, to see standard corners with no changes, star, and sharpen the points of a star. Also to use the
rounded corners, scalloped corners, and chamfered cor- Shape tool to reshape polygons and complex stars, just as
ners. too with any other curve object. Perfect stars can also be
reshaped, but with some restrictions.
To draw rectangles or squares with rounded, scalloped, or
chamfered corners, need to specify the corner size. For
rounding or scalloping a corner, the corner size determines
the corner radius. The radius is measured from the curve's
center to its perimeter. Higher corner size values produce
more rounded corners or deep scalloped corners.
126 IT&ITES: DTPO - Related Theory for Exercise 2.2.04
 Left to right: The Shape tool was used to change a
polygon into a star that can be shaped as a curve object.
The line segments of the star were then converted to curves
and adjusted to produce the starfish shape.
Spiral Tool
Draw two types of spirals: symmetrical and logarithmic.
Symmetrical spirals expand evenly so that the distance
between each revolution is equal. Logarithmic spirals
expand with increasingly larger distances between revolu-
tions. You can set the rate by which a logarithmic spiral
expands outward.

A symmetrical spiral (left) and a logarithmic spiral (right) Also draw a spiral with even horizontal and vertical dimen-
sions by holding down Ctrl as you drag.
Draw a spiral from its center outward by hold-
ing down Shift as you drag. Graph paper tool
Draw a grid and set the number of rows and columns. A grid
is a grouped set of rectangles that you can break apart.

You can also break apart a grid by clicking the shape, including a straight or curved line. An object's nodes
Ungroup button on the property bar are the small squares that appear along the object's
outline. The line between two nodes is called a segment.
Curve objects Segments can be curved or straight. Each node has a
A curve object has nodes and control handles, which is use control handle for each curved segment connected to it.
to change the object's shape. A curve object can be any Control handles help to adjust the curve of a segment.
IT&ITES: DTPO - Related Theory for Exercise 2.2.04 127
The components of a curve: control handles, segments, To change the direction of a curve object by reversing the
and nodes position of its start and end nodes. The effect is apparent
Curve objects created in CorelDRAW follow a path that only when the ends of a curve object are different. For
gives them their defining shape. A path can be open (for example, when an arrowhead is applied to the end node of
example, a line) or closed (for example, an ellipse) and can a curve object, changing the direction results in moving the
sometimes include subpaths. arrowhead to the start node.

Most objects that are added to a drawing are not curve

objects, with the exception of spirals, freehand lines, and
Bézier lines. Therefore, if you want to customize the shape
of an object or text object, it is recommended that you
convert it to a curve object.
You can also convert an object to a curve object
by selecting the object and clicking the Convert
to curves button on the property bar.
Selecting and moving nodes
Changing the direction of a curve
Select individual, multiple, or all of the object's nodes.
Adding, removing, joining, and aligning nodes
Selecting multiple nodes toshape different parts of an
object simultaneously. The marquee select nodes by Add nodes, to increase the number of segments and,
enclosing them with a rectangular marquee box, or by therefore, the amount of control you have over the shape of
enclosing them with an irregularly shaped marquee box. the object. To delete selected nodes to simplify an object's
Freehand marquee selection is useful when you want to shape.
select specific nodes in complex curves.
When curve objects contain many nodes, it is difficult to
When a node is selected on curved segments, control edit and output them to devices such as vinyl cutters,
handles are displayed. You can adjust the shape of the plotters, and rotary engravers. You can have the number of
curved segments by moving the nodes and control handles. nodes in a curve object reduced automatically. Reducing
the number of nodes removes overlapping nodes and can
smooth a curve object. This feature is especially useful for
reducing the number of nodes in objects imported from
other applications.

Usually, a control handle is displayed as a solid blue

arrowhead (left). When a control handle overlaps with a
node, it is displayed as an unfilled blue arrowhead beside
the node (right).
The Shape tool is the standard tool for moving nodes. Also Reducing the number of nodes to smooth a curve object
set an option to use the Pick and Bézier tools for selecting
To join the start and end nodes of an open path such as a
and moving nodes.
line to create a closed object. This feature is useful for filling
Manipulating segments an object with color because you can apply fills only to the
inside of closed objects.
To move curved segments to change an object's shape.
Also control the smoothness of curved segments.
128 IT&ITES: DTPO - Related Theory for Exercise 2.2.04
To align the nodes of a curve object horizontally or vertically

Using node types

To change the nodes on a curve object to one of four types:
cusp, smooth, symmetrical, or line. The control handles of
each node type behave differently.
Cusp nodes to create sharp transitions, such as corners or Stretching nodes
sharp angles, in a curve object. To move the control
handles in a cusp node independently of one another, Breaking the path of curve objects
changing only the line on one side of the node. Paths
With smooth nodes, the lines passing through the node Paths outline an object's shape and are often visible as one
take on the shape of a curve, producing smooth transitions or more line or curve segments. To disconnect line seg-
between line segments. The control handles of a smooth ments from one another to create subpaths. Even though
node are always directly opposite one another, but they they are not connected, subpaths are still part of the
may be at different distances from the node. defining path of the original object; however, to extract a
Symmetrical nodes are similar to smooth nodes. They subpath to create two separate objects: the extracted
create a smooth transition between line segments, but subpath and the object it was extracted from.
they also to give lines on both sides of a node the same Subpaths
curve appearance. The control handles of symmetrical
nodes are directly opposite each other and at an equal Subpaths are the basic curves and shapes from which a
distance from the node. single curve object is constructed. For example, a single
curve object with subpaths is often created when text is
Line nodes to shape curve objects by changing the shape converted to curves. The letter "O," for instance, is com-
of their segments. To make a curved segment straight or posed of two ellipses: the outside ellipse that defines the
a straight segment curved. Making a straight segment letter's shape and the inside ellipse that defines the "hole."
curved does not noticeably change the segment's appear- The ellipses are subpaths that compose the single curve
ance, but it displays control handles that to move to change object, "O." One of the basic reasons for creating an object
the segment's shape. with subpaths is that can produce objects with holes in
them. In the following example, to see objects underneath
the center of the letter "O."

Left to right: Cusp, smooth, symmetrical, and line nodes

Transforming nodes
Shape objects by stretching, scaling, rotating, and skew-
ing their nodes. For example, to scale the corner nodes of
a curve object to enlarge the curve object proportionally.
Also, a curve object or parts of a curve object can be rotated
1) The letter "O" is converted to curves. 2) The resulting
in a counterclockwise or clockwise direction.
subpaths are the outside ellipse that defines the shape of
the letter and the inside ellipse that defines the hole. 3) In
comparison, the black ellipse consists of a single path and
cannot contain a "hole."

IT&ITES: DTPO - Related Theory for Exercise 2.2.04 129

Mirroring changes in curve objects Stretching an object horizontally
To change mirror in curve objects, to edit nodes and have Smudging objects
the same edits take place in reverse on corresponding
Smudging is to distort an object by dragging its outline.
nodes. For example, to move a node to the right, and its
When applying smudging to an object, you can control the
corresponding node moves the same distance to the left.
extent and shape of the distortion whether to activate the
To mirror changes, select two curve objects one of which controls for the graphics tablet stylus or use the settings
was created by mirroring the other, or a symmetrical that apply to a mouse.
object. Next, need to choose whether to mirror changes
horizontally (along a vertical line of symmetry) or vertically
(along a horizontal line of symmetry). Finally, need to
select the appropriate corresponding nodes so that editing
changes are mirrored across the selected objects.

The smudging effect responds to both the angle of rotation

- or bearing - and the tilt angle of a graphics tablet stylus.
Rotating the stylus changes the angle of the smudging
effect and tilting the stylus flattens the brush tip and
changes the shape of the smudging. If using a mouse, you
can simulate the bearing and tilt of the stylus by specifying
values. Increasing the bearing angle from 0 - 359° changes
Left: Two corresponding nodes are selected in mirrored the angle of the brushstroke. As to decrease the tilt angle
curve objects. Right: When the blue control handles are from 90° - 15°, to change the smudging shape by flattening
moved, the change is reflected in the corresponding control the brush tip.
handles (in red).
Smudging can respond to the pressure of a stylus on a
Skewing and stretching objects tablet where the smudging widens with more pressure and
skew and stretch objects in CorelDRAW. Change to skew narrows with less. If using a mouse or want to override
an object, to specify the degree by which you want to slant stylus pressure, enter real values to simulate the pressure
the object. Stretching changes an object's vertical and of a stylus on a graphics tablet. Negative values to -10
horizontal dimensions non- proportionally. create a narrowing distortion, 0 maintains an even stroke
width, and positive values to 10 create an expanding
CorelDRAW also to change the skew and sizing anchor distortion.
point of an object from its default center position.

Objects placed in the foreground and background have

Skewing an object horizontally been shaped by outside smudging (sun's rays and blades
of grass) and inside smudging (clouds).
Whether to using a stylus or a mouse, must specify the nib
size. The nib size determines the width of the smudging
applied to an object.
To apply the smudging effect to the inside and outside of
an object
Smudging cannot apply to Internet or embed-
ded objects, linked images, grids, masks, mesh-
filled objects, or objects with blend and con-
tour effects.

130 IT&ITES: DTPO - Related Theory for Exercise 2.2.04

Roughening objects Push and pull
The roughening effect to apply a jagged or spiked edge to Drag to push the edges of an object in or pull the edges of
objects, including lines, curves, and text. To control the an object out.
size, angle, direction, and number of the indentations
Zipper
whether you activate the graphics tablet stylus or apply
settings to a mouse. Apply to saw tooth effect to the edges of the object. To
Nib
adjust the amplitude and frequency of the effect.
Twister
To rotate an object to create a swirl effect. Choose the
direction of the swirl, as well as the origin, degree, and
amount of rotation.

The roughening effect is determined either by movements

of a graphics tablet stylus, by fixed settings, or by
automatically applying perpendicular spikes to the line.
Tilting the stylus toward and away from the tablet's surface
increases and decreases the size of the spikes. When
using a mouse, to specify the tilt angle from 0 - 90°. From left to right: Original image; Zipper and Twister
Determine the direction of the spikes by changing the angle distortions applied; Pull distortion applied
of rotation (or bearing) of the stylus as to apply the
roughening effect to an object. When using a mouse, to set After apply distort an object, to change the effect by altering
the bearing angle from 0 - 359°. Also increase or decrease the center of distortion. This point is identified by a
the number of spikes that are applied as the drag. diamond-shaped handle, around which a distortion ap-
pears. It is similar to a mathematical compass, where the
The roughening effect also responds to the pressure of the pencil moves around a stationary point. Place the center of
stylus on the tablet. The more pressure to apply, the more distortion anywhere in the drawing window, or choose to
spikes are created in the roughened area. Using a mouse, center it in the middle of an object so that the distortion is
you can specify values to simulate the stylus pressure. distributed evenly and the shape of the object changes in
To change the brush nib size relation to its center.
To create an even more dramatic effect by applying a new
distortion to an already distorted object. Don't lose the
effect of the original distortion if, for example, to apply a
zipper distortion on top of a twister distortion. The
CorelDRAW application also to remove and copy distortion
effects.
Center a distortion by clicking the Center distortion button
on the property bar.

Roughening allows you to apply jags or spikes to part of an

outline or path.
To make the tilt angle and bearing angle
responsive to the graphics tablet stylus, right-
click the roughened object, and select a com-
mand from the submenu.
To get the minimum and maximum values for
Use the interactive vector controls to edit a distortion effect.
the roughening controls, right-click the control
Upper left: Zipper effect applied to circle. Upper right: Zipper
on the property bar, and click Settings
effects with higher frequency (more spikes) applied. Bot-
Distortion effects tom: Results of applying zipper effects.
To apply three types of distortion effects to shape objects.
Distortion effect Description

IT&ITES: DTPO - Related Theory for Exercise 2.2.04 131

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.05
Shaping objects
Objectives : At the end of this lesson you shall be able to
• state shaping object by use envelope effects
• explain the extrude and bevel effects
• state the Lens effects
• describe the blending and contour effects
• explain the perspective effects.
Shaping objects by use envelopes effects change the shape of the object. To apply a basic envelope
CorelDRAW apply to shape objects, including lines, that conforms to the shape of an object, or to apply also a
artistic text, and paragraph text frames by applying enve- preset envelope. After you apply an envelope, to edit it or
lopes to them. Envelopes are made of multiple nodes that add a new envelope to continue changing the object's
you can move to shape the envelope and, as a result, shape. CorelDRAW also to copy and remove envelopes.

Edit an envelope by adding and positioning its nodes. Bevels

Adding nodes gives more control over the shape of the
object contained in the envelope. CorelDRAW also to Another way in which give an object a three-dimensional
delete nodes, move multiple nodes simultaneously, change appearance is by applying a beveled edge to an extrusion.
nodes from one type to another, and change a segment of A bevel creates the illusion that an object's extruded edges
an envelope to a line or curve. are cut on an angle. To specify the angle and depth values
of the bevel to control the effect.
To change the mapping mode of an envelope to specify how
the object fits to the envelope. For example, stretch an Create a bevel effect without extruding an object.
object to fit the basic dimensions of the envelope, and then Extruded fills
apply the horizontal mapping mode to compress it horizon-
tally so that it fits the shape of the envelope. To apply fills to an entire extrusion or only to the extruded
surfaces. Cover each surface individually with the fill, or
Extrude effect drape the fill so that it blankets the entire object with no
To make objects appear three-dimensional by creating breaks to the pattern or texture.
extrusions. Create extrusions by projecting points from an
object and joining them to create an illusion of three
dimensions. CorelDRAW also to apply a vector extrusion
to an object in a group.
After to create an extrusion, copy or clone its attributes to
a selected object. Cloning and copying transfer the extru-
sion attributes of an extruded object to another. However,
the cloned extrusion settings cannot be edited indepen-
dently from the master. Left to right: A simple shape, the shape with an extruded
Change an extruded form by rotating it and rounding its fill of solid color, the shape with an extruded gradient fill and
corners. a rotation applied.
CorelDRAW also to remove a vector extrusion.

132
Lighting Extrusions with the same vanishing point
Enhance extrusions by applying light sources. Add up to Also to give two extrusions different vanishing points.
three light sources to project toward the extruded object
with varying intensity. No longer need light sources, you
can remove them.
Vanishing points
Create a vector extrusion in which the lines of the extrusion
converge at a vanishing point. The vanishing point of a
vector extrusion can be copied to another object so that
both objects appear to recede toward the same point.

Extrusions with different vanishing points

Lens effect
Lenses change how the object area beneath the lens
appears, not the actual properties and attributes of the
objects. To apply lenses to any vector object, such as a
rectangle, ellipse, closed path, or polygon. You can also
change the appearance of artistic text and bitmaps. When
to apply a lens over a vector object, the lens itself becomes
a vector image. Likewise, if the lens is placed over a bitmap,
the lens also becomes a bitmap.
After you apply a lens, copy it and use it with another object

The lens types applied to the original (far left): (left to right)
Heat map, Magnify, and a Custom color map
The following are the types of lenses apply to objects.

Lens Description
Brighten To brighten and darken object areas and set the rate of the brightness and darkness

Color add Simulate an additive light model. The colors of the objects beneath the lens are added to the color of the
lens as if you were mixing colors of light. Choose the color and the amount of color you want to add.

Color limit To view an object area with only black and the lens color showing through. For example, if place a green
color limit lens over a bitmap, all colors except green and black are filtered out in the lens area.

Custom color Change all the colors of the object area beneath the lens to a color ranging between two colors you
map specify. You can choose the range's start and end colors and the progression between the two colors.
The progression can follow a direct, forward, or reverse route through the color spectrum.

Fish eye To apply distort, magnify, or shrink the objects beneath the lens, according to the percentage value you
specify

IT&ITES: DTPO - Related Theory for Exercise 2.2.05 133

 Heat map Create the effect of an infrared image by mimicking the heat levels of colors in object areas beneath the
lens

Invert Change the colors beneath the lens to their complementary CMYK colors. Complementary colors are
colors that are opposite one another on the color wheel.

Magnify Magnify an area on an object by an amount that you specify. The magnify lens overrides the original
object's fill, making the object look transparent.

Tinted Change the colors of object areas beneath the lens to their grayscale equivalents. Tinted
grayscale grayscale lenses are particularly effective for creating sepia-tone effects.

Transparency To make an object look like a piece of tinted film or colored glass

Wireframe To display the object area beneath the lens with the outline or fill color you choose. For example, set
red for the outline and blue for the fill, all areas beneath the lens appear to have red outlines and blue
fills.

Blending objects Can fit objects along part or all of a path's shape, and add
one or more objects to a blend to create a compound blend.
CorelDRAW lets to create blends, such as straight-line
blends, blends along a path, and compound blends.
Blends are often used for creating realistic shadows and
highlights in objects.

The straight-line blend (top) is fitted to a curved path

(bottom).
Change the appearance of a blend by adjusting the number
and spacing of its intermediate objects, the blend's color
progression, the nodes the blends map to, the blend's path,
and the start and end objects. Fuse the components of a
The highlights and shadows in the object on the right were split or compound blend to create a single object.
created by using blends.
This compound blend consists of three blends.
A straight-line blend shows a progression in shape and
size from one object to another. The outline and fill colors To split and remove a blend
of the intermediate objects progress along a straight-line
path across the color spectrum. The outlines of intermedi-
ate objects show a gradual progression in thickness and
shape.
After to create a blend, copy or clone its settings to other
objects. Copy a blend, the object takes on all the blend-
related settings, except for their outline and fill attributes.
Clone a blend, changes to make to the original blend (also
called the master) are applied to the clone. By mapping nodes, control the appearance of a blend. Two
nodes on the polygon are mapped to two nodes of a star
shape, showing a more gradual transition (bottom).
To set object and color acceleration rates by
clicking the Object and color acceleration but-
ton on the property bar and moving the corre-
sponding slider.
Contour
An effect created by adding evenly spaced concentric
shapes inside or outside the borders of an object. This
effect can also be used for creating cuttable outlines for
Straight-line blends can be used to create graphics with a devices, such as plotters, engraving machines, and vinyl
glass-like appearance. The rollover button (left) contains a cutters
blend of tightly overlapped blended objects.
134 IT&ITES: DTPO - Related Theory for Exercise 2.2.05
Contouring objects Perspective to objects
contour an object to create a series of concentric lines that Create a perspective effect by shortening one or two sides
progress to the inside or outside of the object. CorelDRAW of an object. This effect gives an object the appearance of
also to set the number and distance of the contour lines. receding in one or two directions, thereby creating a one-
point perspective or a two-point perspective.
In addition to creating interesting 3D effects, to use
contours to create cuttable outlines for output to devices, Perspective effects can be added to objects or grouped
such as plotters, engraving machines, and vinyl cutters. objects. Also to add a perspective effect to linked groups,
such as contours, blends, extrusions, and objects created
After contouring an object, copy or clone its contour
with the Artistic media tool. You can't add perspective
settings to another object. Change the colors of the fill
effects to paragraph text, bitmaps, or symbols.
between the contour lines and the contour outlines them-
selves. Set a color progression in the contour effect, where The original graphic (left) with one-point (middle) and two-
one color blends into another. The color progression can point (right) perspective applied to it.
follow a straight, clockwise, or counterclockwise path
through the color range of your choice.
Separate an object from its contour lines.

IT&ITES: DTPO - Related Theory for Exercise 2.2.05 135

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.06
Fills effects
Objectives : At the end of this lesson you shall be able to
• define colours, types of colour and features of colors
• sate Uniform fills and fountain fills
• explain the Pattern fills and Texture fills
• state the Postscript fills and mesh fills
• explain the area fills
• describe the colors.
Filling objects Adjust the print and display quality of the fountain fill by
specifying the number of fountain steps. By default, the
To add colored, patterned, textured, and other fills to the
fountain step setting is locked so that the print quality of the
inside of objects or other enclosed areas. Customize a fill
fountain fill is determined by the value specified in the print
and set it as a default, so that each object you draw has the
settings and the display quality is determined by the
same fill.
default value you set. However, Unlock the fountain steps
Uniform fills setting when you apply a fountain fill and specify a value
that applies to both the print and view quality of the fill.
Apply a uniform fill to objects. Uniform fills are solid colors
that choose or create by using color models and color Pattern fills
palettes.
Fill objects with two-color, full-color, or bitmap pattern fills.
To apply a uniform fill by using the Uniform fill tool in the
toolbox. Also apply a uniform fill by clicking the Interactive
fill tool in the toolbox, and choosing Uniform fill from the Fill
type list box on the property bar.
Fountain fills
A fountain fill is a smooth progression of two or more colors
that adds depth to an object. Fountain fills are also known
as gradient fills.
There are four types of fountain fills: linear, radial,
conical, and square. A linear fountain fill flows in a straight Examples of bitmap pattern fills
line across the object, a conical fountain fill creates the
illusion of light hitting a cone, a radial fountain fill radiates A two-color pattern fill is composed of only the two colors
from the center of the object, and a square fountain fill is that you choose. A full-color pattern fill is a more complex
dispersed in concentric squares from the center of the vector graphic that can be composed of lines and fills. A
object. bitmap pattern fill is a bitmap image whose complexity is
determined by its size, image resolution, and bit depth.
CorelDRAW provides preset pattern fills that to apply to
objects; however, to create your own pattern fills. For
example, create pattern fills from objects that you draw or
images that you import.
Change the tile size of pattern fills. To specify exactly
where these fills begin by setting the tile origin. CorelDRAW
also to set offset tiles in a fill. Adjusting the horizontal or
vertical position of the first pattern, relative to the top of the
There four types of fountain fills (left to right): linear, radial, object, affects the rest of the fill.
conical, and square. How the pattern fill appears by specifying whether to mirror
To apply preset fountain fills, two-color fountain fills, and the fill so that alternating tiles are the reflections of one
custom fountain fills to objects. Custom fountain fills can another. If want a pattern fill to change according to actions
contain two or more colors, which you can position you perform on the filled object, to specify that to want it to
anywhere in the fill's progression. After you create a transform with the object. For example, if enlarge an object
custom fountain fill, save it as a preset. filled with a pattern that transforms, the pattern becomes
larger while the number of tiles is not increased.
When apply a fountain fill, to specify attributes for the fill
type you choose; for example, the direction of a fill's color
blend, the fill's angle, center point, midpoint, and edge pad.
136
To apply a pattern of two colors or many colors to an object. a mesh fill, to specify the number of columns and rows in
the grid, and specify the grid's intersecting points. After
Texture fills
have created a mesh object, edit the mesh fill grid by adding
A texture fill is a randomly generated fill that use to give and removing nodes or intersections. Also remove the
objects a natural appearance. CorelDRAW provides preset mesh.
textures, and each texture has a set of options that
change. Use colors from any color model or palette to
customize texture fills. Texture fills can hold only RGB
colors; however, other color models and palettes can be
used as a reference to select colors.
Change the tile size of texture fills. Increasing the resolu-
tion of a texture tile increases the accuracy of the fill. To
specify exactly where these fills begin by setting the tile
origin. CorelDRAW also offset tiles in a fill. Adjusting the
horizontal or vertical position of the first tile, relative to the
top of the object, affects the rest of the fill. Mesh fills were applied to the original drawing (left) to give
PostScript texture fills it a realistic look (right).

To apply PostScript texture fills to objects. A PostScript A mesh fill can be applied only to closed objects or a single
texture fill is created in the PostScript language. Some path. Ifwant to apply a mesh fill to a complex object, first
textures are very complex, and large objects that contain create a mesh-filled object and combine it with the complex
PostScript texture fills may take time to print or to update object to form a PowerClip object.
on the screen. Depending on the view mode are using, the To add color to a patch of a mesh fill and to the individual
letters "PS" - rather than the fill - may appear. intersection nodes. To also choose to mix colors for a more
To apply a PostScript texture fill, change several param- blended appearance.
eters, such as the size, line width, and the amount of gray
that appears in the texture's foreground and background.
To rotate, skew, adjust the tile size, and change the center
of the texture to create a custom fill.
If want a texture fill to change according to the actions
perform on the filled object, to specify that to want the fill
to transform with the object. For example, if enlarge an
object filled with a texture that transforms, the texture Left: Adding a color to a mesh fill. Right: Moving an
becomes larger instead of increasing the number of tiles. intersection node in a mesh fill lets you adjust the progres-
Texture fills are powerful features that can enhance a sion of colors.
drawing. However, they also increase the size of a file and In addition, can smooth the color in a mesh fill to reduce the
the time it takes to print, may want to use them in appearance of hard edges. Also reveal objects underneath
moderation. a selected area by applying transparency to the mesh fill.
Mesh fills Fills to areas
When fill an object with a mesh fill, create unique effects. To apply fills to any enclosed area by using the Smart fill
For example, to create smooth color transitions in any tool. Unlike other fill tools, which fill only objects, the Smart
direction without having to create blends or contours. Apply fill tool detects the edges of an area and creates a closed
path so that the area can be filled. For example, if draw a
IT&ITES: DTPO - Related Theory for Exercise 2.2.06 137
freehand line that crosses over itself to create loops, the Example of a document workflow
Smart fill tool can detect the edges of the loops and fill
In other words, when defining and interpreting color, each
them. As long as the paths of one or more objects
tool speaks a unique language. Consider a color in the
completely enclose an area, it can be filled.
color space of your digital camera: a vivid blue RGB color

with the values Red = 0, Green = 0, and Blue =255. This

In the example above, the original spiral object is dupli- color may appear as a different color in the color space of
cated and offset, resulting in enclosed areas that can be your monitor. In addition, the color space of the printer may
filled by using the Smart fill tool. not contain a match for this color. As a result,when
document moves through the workflow, this vivid blue color
gets lost in the translation and is not accurately repro-
duced. A color management system is designed to im-
prove the communication of color in the workflow so that the
color of the output matches your intended color.
Colors are defined by their color space. 1. Lab color space.
2. sRGB color space, displayed against the Lab color
Using the Smart fill tool to fill enclosed areas space. 3. U.S. Web Coated (SWOP) v2 color space. 4.
Because the Smart fill tool creates a path around the area, ProPhotoRGB color space.
it essentially creates a new object that can be filled, moved,
copied, or edited. This means the tool can be used in one
of two ways: to fill an area or to create a new object from
an area.

Although primarily used to fill areas, the Smart fill tool can
also be used to create new objects. In the example above,
the original objects - the two spirals (left) - are deleted
(right), but the fill remains because each filled area is
actually an object.
What is color management?
Fills
Color management is a process that to predict and control
There are a number of tasks that are common to all types color reproduction, regardless of the source or destination
of fills. You can choose a default fill color so that every of the document. It ensures a more accurate color repre-
object you add to a drawing has the same fill. To also sentation when a document is viewed, modified, shared,
remove any fill, copy it to another object, or use it to fill an exported to another format, or printed.
area surrounded by an open curve
A color management system, also known as a color
Understanding color management engine, uses color profiles to translate the color values from
Different tools are used during the process of creating and one source to another. For example, it translates the colors
sharing a document. For example, to may start with a file that are displayed on the monitor into the colors that a
that was created in another application or import an image printer can reproduce. Color profiles define the color space
that was captured by a digital camera or scanner. After of monitors, scanners, digital cameras, printers, and the
completing the document, to print it or e-mail it to a applications that you use to create or edit documents.
colleague for review. Each of the tools that you use in your Why do I need color management?
workflow has a different way of interpreting color. In
addition, each tool has its own range of available colors, If the document requires accurate color representation,
called a color space, which is a set of numbers that define want to learn more about color management. The complex-
how each color is represented. ity of your workflow and the ultimate destination of the

138 IT&ITES: DTPO - Related Theory for Exercise 2.2.06

documents are also important considerations. If the docu- • preview (or "soft-proof") colors before they are sent to
ments are destined only for online viewing, color manage- their final destination, such as a printing press, a
ment may not be as important. However, if plan to open desktop printer, or the Web
documents in another application or if the creating docu-
ments for print or multiple types of output, then proper color • reduce the need to adjust and correct documents when
management is essential. sending them to different destinations
Color management lets you do the following: A color management system does not offer identical color
matching, but it greatly improves color accuracy.
• reproduce colors consistently across your workflow,
especially when opening documents that were created
in other applications
• reproduce colors consistently when sharing files with
others

IT&ITES: DTPO - Related Theory for Exercise 2.2.06 139

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.07
Aligning and arranging the objects
Objectives : At the end of this lesson you shall be able to
• explain the copy, duplicate, and delete the objects
• explain the align and distribute the object
• state the combining and locking the object
• describe finding and replacing the object
• describe the barcode and symbols
• preparation of graphic design and layout.
Copy, duplicate, and delete objects Aligning and distributing objects
CorelDRAW provides you with several ways to copy CorelDRAW lets you precisely align and distribute objects
objects. When you no longer need an object, you can in a drawing. Align objects with each other and with parts
delete it. of the drawing page, such as the center, edges, and grid.
Cutting, copying, and pasting When align objects with objects, line them up by their
centers or by their edges.
To cut or copy an object to place it on the Clipboard and
paste it into a drawing or another application. Cutting an Align multiple objects horizontally or vertically with the
object places it on the Clipboard and removes it from the center of the drawing page. Single or multiple objects can
drawing. Copying an object places it on the Clipboard but also be arranged along the edge of the page and to the
keeps the original in the drawing. nearest point on a grid.

Duplicating
Duplicating an object places a copy directly in the drawing
window and does not use the Clipboard. Duplicating is
faster than copying and pasting. Also, when duplicating an
object, to specify the distance between the duplicate and
the original object along the x and y axis. This distance is
known as the offset.

Distributing objects automatically adds spacing between

them based on their width, height, and center points.
Distribute objects so that their center points or selected
edges (for example, top or right) appear at equal intervals.
Also distribute objects so that there is equal space
between them. To distribute objects over the extent of the
bounding box surrounding them or over the entire drawing
To apply a transformation, such as rotating, sizing, or page.
skewing, to the duplicate of an object while keeping the
original object intact. If need decide that to keep the original
object, to delete the duplicate.
Copying objects at a specified position
To create multiple copies of objects simultaneously, while
specifying their position, without using the Clipboard. For
example, to distribute object copies horizontally, to the left
or right of the original object; or you can distribute copies
of objects vertically, below or above the original object.
Specify the spacing between copies of objects, or you can
specify the offset at which copies of objects are created in
relation to each other.
Align an object with another object
Copying objects quickly
Select the objects one at a time, the last object selected
Use other methods to create copies of objects quickly,
is the reference point for aligning the other objects. If the
without using the Clipboard. To use the plus sign (+) on the
marquee select the objects before you align them, the
numeric keypad to place a copy of an object on top of the
object that is positioned in the upper-left corner of the
original object, or create copies instantly by pressing the
selection is used.
Spacebar or right-clicking while dragging an object.

140
• To align objects along the vertical axis, enable the Left, • Top - evenly spaces the top edges of the objects
Center, or Right check box.
• Center - evenly spaces the center points of the objects
• To align objects along the horizontal axis, enable the
Top, Center, or Bottom check box. • Spacing - places equal intervals between the selected
objects
Aligning text objects, choose one of the following from the
For text source objects use list box: • Bottom - evenly spaces the bottom edges of the objects
• First line baseline - uses the baseline of the first line of • To indicate the area over which the objects are distrib-
text as a reference point uted, enable one of the following options:

• Last line baseline - uses the baseline of the last line of • Extent of selection - distributes the objects over the
text as a reference point area of the bounding box surrounding them

• Bounding box - uses the bounding box of a text object • Extent of page - distributes the objects over the drawing
as a reference point page
To align objects with another object quickly, Combining objects
without using the Align and distribute dialog Combining two or more objects creates a single object with
box, by clicking Arrange Align and distribute common fill and outline attributes. To combine rectangles,
and clicking any of the first six alignment ellipses, polygons, stars, spirals, graphs, or text so that
commands. The letter next to a command they are converted to a single curve object. If need to modify
name indicates the keyboard shortcut that you the attributes of an object that has been combined from
can use to align objects. For example, the separate objects, to break apart the combined object.
letter L next to the Align left command shows Extract a subpath from a combined object to create two
that can press L to align objects with the separate objects. Weld two or more objects to create a
leftmost point of the object that is used as a single object.
reference point.
The two objects (left) are combined to create a single object
Align objects by selecting them and clicking (right). The new object has the fill and outline properties of
the Align and distribute button on the property the last object selected.
bar.
Align an object with the page center
• Center to page - aligns all objects with the page center,
both vertically and horizontally
• Center to page vertically - aligns objects with the page
center along a vertical axis
• Center to page horizontally - aligns objects with the
The two objects (left) are combined to create a single
page center along a horizontal axis
object (right). The new object has the fill and outline
Also align all objects with the page center, vertically and properties of the last object selected.
horizontally, by pressing P.
Break apart a combined object that contains artistic text,
Align objects by selecting them and clicking the Align and the text breaks apart into lines first, and then into words.
distribute button on the property bar. Paragraph text breaks into separate paragraphs.
Align an object with the grid by choosing Grid from the Align Locking objects
objects to list box.
Locking an object prevents from accidentally moving,
Distribute objects sizing, transforming, filling, or otherwise changing it. Lock
single, multiple, or grouped objects. To change a locked
To distribute the objects horizontally, enable one of the
object, need to unlock it first. Unlock one object at a time,
following options from the top-right row:
or all locked objects at the same time.
• Left - evenly spaces the left edges of the objects Cannot lock linked objects, such as blends, contours, or
• Center - evenly spaces the center points of the objects text inside an object. And also cannot lock objects within
groups or linked groups
• Spacing - places equal intervals between the selected
Finding and replacing objects
objects
Using search criteria that you specify, the Find wizard
• Right - evenly spaces the right edges of the objects guides you step-by-step when you need to find and select
• To distribute the objects vertically, enable one of the objects in a drawing. The search criteria can include object
following options from the column on the left: type and its related properties, fill and outline properties,
IT&ITES: DTPO - Related Theory for Exercise 2.2.07 141
vector effects applied to objects, or the name of an object
or style. For example, can search for and select all
rectangles with rounded corners and without fill, or all text
on a path. Can also search for objects that contain the
same properties as a selected object. Change the search
criteria in the middle of a search. To also save search
criteria for later use.
The Replace wizard guides to through the process of
finding objects that contain the properties specify and then
replacing those properties with others. For example, can
replace all object fills of a certain color with fills of a different
color. Also replace color models and palettes, outline
properties, and text attributes, such as font and font size.
Also search for specific words and replace them with other
words.
Inserting bar codes Using symbols for objects that appear many times helps
to reduce file size.
The Barcode wizard in CorelDRAW lets to add bar codes
to drawings. A bar code is a group of bars, spaces, and Using symbols in drawings
sometimes numbers that is designed to be scanned and
Insert a symbol into a drawing, which creates a symbol
read into computer memory. Bar codes are most com-
instance. To modify certain properties of a symbol in-
monly used to identify merchandise, inventory, and docu-
stance, such as size and position, without affecting the
ments.
symbol definition stored in the library. To revert a symbol
The Barcode wizard guides through the process of insert- instance to an object or objects while preserving its
ing a bar code. properties. To delete a symbol instance.
symbol Managing collections and libraries
A reusable object or group of objects. A symbol is defined When create symbols, to store them in library files that are
once and can be referenced many times in a drawing. grouped into collections. To store symbols in a local
library, so that they are only available in the current
symbols
drawing, or export symbols to a network library that can be
The CorelDRAW application lets to create objects and shared between drawings.
save them as symbols. Symbols are defined once and can
The Symbol manager docker always displays libraries and
be referenced many times in a drawing. Each time to insert
collections that are in the local Symbols folder. To add
a symbol into a drawing, create an instance of the symbol.
collections and libraries in the Symbols folder from else-
Symbol definitions, as well as information about instances,
where on the network. When insert a local or external
are stored in a symbol manager, which is part of the
symbol into a drawing, a copy of the symbol definition is
CorelDRAW (CDR) file. Using symbols for objects that
added to the document, but it remains linked to the source
appear many times in a drawing helps to reduce file size.
symbol.
Creating, editing, and deleting symbols
Sharing symbols between drawings
Symbols are objects that are defined once and can be
In CorelDRAW, each drawing has its own library of sym-
referenced many times in a drawing. Multiple instances of
bols, which is part of the CorelDRAW (CDR) file. Share
a symbol in a drawing with little impact on file size.
symbols between drawings by copying and pasting. Copy-
Symbols make editing a drawing quicker and easier, as
ing symbols to the Clipboard leaves the originals in the
changes made to a symbol are automatically inherited by
library.
all instances.
To copy and paste instances of a symbol to and from the
Symbols are created from objects. When convert an object
Clipboard. Pasting a symbol instance places the symbol
to a symbol, the new symbol is added to the Symbol
in the library and also places an instance of the symbol in
manager, and the selected object becomes an instance.
the drawing. Subsequent pasting will place another in-
Create a symbol from multiple objects. To edit a symbol;
stance of the symbol in the drawing without adding to the
any changes to make affect all instances in a drawing. The
library. If a modified symbol instance is pasted into a
selection handles for symbols differ from those for objects.
drawing, the new instance maintains the properties of the
Selection handles for symbols are blue; selection handles
original instance, and the new symbol definition in the
for objects are black. To delete a symbol instance and
library maintains the properties of the original symbol.
purge unused symbol definitions. Purging removes all
Symbol instances are copied and pasted in the same way
symbol definitions that are not instanced in a drawing.
other objects are.

142 IT&ITES: DTPO - Related Theory for Exercise 2.2.07

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.08
Shaping object
Objectives : At the end of this lesson you shall be able to
• state the curve object and explain the use of nodes
• explain the smudging objects
• state the roughening objects
• distortion effects
• explain the weld, trim, interest and simplify the object
• describe powerclip object.
Curve objects The components of a curve: control handles, segments,
and nodes
A curve object has nodes and control handles, which is use
to change the object's shape. A curve object can be any Curve objects created in CorelDRAW follow a path that
shape, including a straight or curved line. An object's nodes gives them their defining shape. A path can be open (for
are the small squares that appear along the object's example, a line) or closed (for example, an ellipse) and can
outline. The line between two nodes is called a segment. sometimes include subpaths.
Segments can be curved or straight. Each node has a
Most objects that are added to a drawing are not curve
control handle for each curved segment connected to it.
objects, with the exception of spirals, freehand lines, and
Control handles help to adjust the curve of a segment.
Bézier lines. Therefore, if you want to customize the shape
of an object or text object, it is recommended that you
convert it to a curve object.
You can also convert an object to a curve object
by selecting the object and clicking the Convert
to curves button on the property bar.

Selecting and moving nodes

Select individual, multiple, or all of the object's nodes.
Selecting multiple nodes toshape different parts of an
object simultaneously. The marquee select nodes by
enclosing them with a rectangular marquee box, or by
enclosing them with an irregularly shaped marquee box.
Freehand marquee selection is useful when you want to
select specific nodes in complex curves.
When a node is selected on curved segments, control Usually, a control handle is displayed as a solid blue
handles are displayed. You can adjust the shape of the arrowhead (left). When a control handle overlaps with a
curved segments by moving the nodes and control handles. node, it is displayed as an unfilled blue arrowhead beside
the node (right).

143
The Shape tool is the standard tool for moving nodes. Also
set an option to use the Pick and Bézier tools for selecting
and moving nodes.
Manipulating segments
To move curved segments to change an object's shape.
Also control the smoothness of curved segments.
To change the direction of a curve object by reversing the
position of its start and end nodes. The effect is apparent
only when the ends of a curve object are different. For Using node types
example, when an arrowhead is applied to the end node of To change the nodes on a curve object to one of four types:
a curve object, changing the direction results in moving the cusp, smooth, symmetrical, or line. The control handles of
arrowhead to the start node. each node type behave differently.
Cusp nodes to create sharp transitions, such as corners or
sharp angles, in a curve object. To move the control
handles in a cusp node independently of one another,
changing only the line on one side of the node.
With smooth nodes, the lines passing through the node
take on the shape of a curve, producing smooth transitions
between line segments. The control handles of a smooth
node are always directly opposite one another, but they
may be at different distances from the node.
Symmetrical nodes are similar to smooth nodes. They
Changing the direction of a curve
create a smooth transition between line segments, but
Adding, removing, joining, and aligning nodes they also to give lines on both sides of a node the same
curve appearance. The control handles of symmetrical
Add nodes, to increase the number of segments and,
nodes are directly opposite each other and at an equal
therefore, the amount of control you have over the shape of
distance from the node.
the object. To delete selected nodes to simplify an object's
shape. Line nodes to shape curve objects by changing the shape
of their segments. To make a curved segment straight or
When curve objects contain many nodes, it is difficult to
a straight segment curved. Making a straight segment
edit and output them to devices such as vinyl cutters,
curved does not noticeably change the segment's appear-
plotters, and rotary engravers. You can have the number of
ance, but it displays control handles that to move to change
nodes in a curve object reduced automatically. Reducing
the segment's shape.
the number of nodes removes overlapping nodes and can
smooth a curve object. This feature is especially useful for
reducing the number of nodes in objects imported from
other applications.

Left to right: Cusp, smooth, symmetrical, and line nodes

Transforming nodes
Shape objects by stretching, scaling, rotating, and skew-
ing their nodes. For example, to scale the corner nodes of
a curve object to enlarge the curve object proportionally.
Also, a curve object or parts of a curve object can be rotated
Reducing the number of nodes to smooth a curve object in a counterclockwise or clockwise direction.
To join the start and end nodes of an open path such as a
line to create a closed object. This feature is useful for filling
an object with color because you can apply fills only to the
inside of closed objects.

144 IT&ITES: DTPO - Related Theory for Exercise 2.2.08

Stretching nodes Left: Two corresponding nodes are selected in mirrored
curve objects. Right: When the blue control handles are
Breaking the path of curve objects
moved, the change is reflected in the corresponding control
Paths handles (in red).
Paths outline an object's shape and are often visible as one Skewing and stretching objects
or more line or curve segments. To disconnect line seg-
skew and stretch objects in CorelDRAW. Change to skew
ments from one another to create subpaths. Even though
an object, to specify the degree by which you want to slant
they are not connected, subpaths are still part of the
the object. Stretching changes an object's vertical and
defining path of the original object; however, to extract a
horizontal dimensions non- proportionally.
subpath to create two separate objects: the extracted
subpath and the object it was extracted from. CorelDRAW also to change the skew and sizing anchor
point of an object from its default center position.
Subpaths
Subpaths are the basic curves and shapes from which a
single curve object is constructed. For example, a single
curve object with subpaths is often created when text is
converted to curves. The letter "O," for instance, is com-
posed of two ellipses: the outside ellipse that defines the
letter's shape and the inside ellipse that defines the "hole."
The ellipses are subpaths that compose the single curve
object, "O." One of the basic reasons for creating an object
with subpaths is that can produce objects with holes in
them. In the following example, tosee objects underneath
the center of the letter "O." Skewing an object horizontally

1) The letter "O" is converted to curves. 2) The resulting

subpaths are the outside ellipse that defines the shape of
Stretching an object horizontally
the letter and the inside ellipse that defines the hole. 3) In
comparison, the black ellipse consists of a single path and Smudging objects
cannot contain a "hole."
Smudging is to distort an object by dragging its outline.
Mirroring changes in curve objects When applying smudging to an object, you can control the
extent and shape of the distortion whether to activate the
To change mirror in curve objects, to edit nodes and have
controls for the graphics tablet stylus or use the settings
the same edits take place in reverse on corresponding
that apply to a mouse.
nodes. For example, to move a node to the right, and its
corresponding node moves the same distance to the left.
To mirror changes, select two curve objects one of which
was created by mirroring the other, or a symmetrical
object. Next, need to choose whether to mirror changes
horizontally (along a vertical line of symmetry) or vertically
(along a horizontal line of symmetry). Finally, need to
select the appropriate corresponding nodes so that editing
changes are mirrored across the selected objects.

The smudging effect responds to both the angle of rotation

- or bearing - and the tilt angle of a graphics tablet stylus.
Rotating the stylus changes the angle of the smudging
effect and tilting the stylus flattens the brush tip and
changes the shape of the smudging. If using a mouse, you
can simulate the bearing and tilt of the stylus by specifying
values. Increasing the bearing angle from 0 - 359° changes
IT&ITES: DTPO - Related Theory for Exercise 2.2.08 145
the angle of the brushstroke. As to decrease the tilt angle the bearing angle from 0 - 359°. Also increase or decrease
from 90° - 15°, to change the smudging shape by flattening the number of spikes that are applied as the drag.
the brush tip.
The roughening effect also responds to the pressure of the
Smudging can respond to the pressure of a stylus on a stylus on the tablet. The more pressure to apply, the more
tablet where the smudging widens with more pressure and spikes are created in the roughened area. Using a mouse,
narrows with less. If using a mouse or want to override you can specify values to simulate the stylus pressure.
stylus pressure, enter real values to simulate the pressure
To change the brush nib size.
of a stylus on a graphics tablet. Negative values to -10
create a narrowing distortion, 0 maintains an even stroke
width, and positive values to 10 create an expanding
distortion.

Roughening allows you to apply jags or spikes to part of an

outline or path.
To make the tilt angle and bearing angle responsive to the
Objects placed in the foreground and background have graphics tablet stylus, right-click the roughened object,
been shaped by outside smudging (sun's rays and blades and select a command from the submenu.
of grass) and inside smudging (clouds). To get the minimum and maximum values for the roughen-
Whether to using a stylus or a mouse, must specify the nib ing controls, right-click the control on the property bar, and
size. The nib size determines the width of the smudging click Settings
applied to an object. Distortion effects
To apply the smudging effect to the inside and outside of To apply three types of distortion effects to shape objects.
an object
Distortion effect Description
Smudging cannot apply to Internet or embed-
ded objects, linked images, grids, masks, mesh- Push and pull
filled objects, or objects with blend and con- Drag to push the edges of an object in or pull the edges of
tour effects. an object out.
Roughening objects Zipper
The roughening effect to apply a jagged or spiked edge to Apply a to saw tooth effect to the edges of the object. To
objects, including lines, curves, and text. To control the adjust the amplitude and frequency of the effect.
size, angle, direction, and number of the indentations
whether you activate the graphics tablet stylus or apply Twister
settings to a mouse. To rotate an object to create a swirl effect. Choose the
direction of the swirl, as well as the origin, degree, and
amount of rotation.

The roughening effect is determined either by movements

From left to right: Original image; Zipper and Twister
of a graphics tablet stylus, by fixed settings, or by
distortions applied; Pull distortion applied
automatically applying perpendicular spikes to the line.
Tilting the stylus toward and away from the tablet's surface After apply distort an object, to change the effect by altering
increases and decreases the size of the spikes. When the center of distortion. This point is identified by a
using a mouse, to specify the tilt angle from 0 - 90°. diamond-shaped handle, around which a distortion ap-
Determine the direction of the spikes by changing the angle pears. It is similar to a mathematical compass, where the
of rotation (or bearing) of the stylus as to apply the pencil moves around a stationary point. Place the center of
roughening effect to an object. When using a mouse, to set distortion anywhere in the drawing window, or choose to

146 IT&ITES: DTPO - Related Theory for Exercise 2.2.08

center it in the middle of an object so that the distortion is Intersecting creates an object from the area where two or
distributed evenly and the shape of the object changes in more objects overlap. The shape of this new object can be
relation to its center. simple or complex, depending on the shapes you inter-
sect. The new object's fill and outline attributes depend on
To create an even more dramatic effect by applying a new
the object you define as the target object.
distortion to an already distorted object. Don't lose the
effect of the original distortion if, for example, to apply a PowerClip object
zipper distortion on top of a twister distortion. The
An object created by placing objects (contents objects)
CorelDRAW application also to remove and copy distortion
inside other objects (container objects). If the contents
effects.
object is larger than the container object, the contents
Center a distortion by clicking the Center distortion button object is automatically cropped. Only the contents that fit
on the property bar. inside the container object are visible.
CorelDRAW to place vector objects and bitmaps, such as
photos, inside other objects, or containers. A container
can be any object, for example artistic text or a rectangle.
Place an object into a container that is larger than the
container, the object, called the content, is cropped to fit
the form of the container. This creates a PowerClip object.

Use the interactive vector controls to edit a distortion effect.

Upper left: Zipper effect applied to circle. Upper right: Zipper
effects with higher frequency (more spikes) applied. Bot-
tom: Results of applying zipper effects.
Welding and intersecting objects
To create irregular shapes by welding and intersecting
objects. Weld or intersect almost any object, including
clones, objects on different layers, and single objects with
intersecting lines. However, to cannot weld or intersect Objects before becoming a PowerClip object: artistic text
paragraph text, dimension lines, or masters of clones. and a bitmap
Weld objects to create one object with a single outline. The To create more complex PowerClip objects by placing one
new object uses the welded objects' perimeter as its PowerClip object inside another PowerClip object to pro-
outline and adopts the fill and outline properties of the target duce a nested PowerClip object. Also to copy the contents
object. All intersecting lines disappear. of one PowerClip object to another PowerClip object.
Weld objects regardless of whether they overlap each
other. If weld objects that do not overlap, they form a weld
group that acts as a single object. In both cases, the
welded object takes on the fill and outline attributes of the
target object.
Weld single objects with intersecting lines so that the
object breaks into several subpaths, but its appearance
remains the same
In the PowerClip object, the artistic text is the container,
and the bitmap forms the contents. The bitmap is shaped
to the letters of the artistic text.
After create a PowerClip object can modify the content and
the container. For example, to lock the content, so that
when you move the container, the content moves with it.
CorelDRAW also to extract the content from a PowerClip
object, so that to delete the content or modify it without
affecting the container.

IT&ITES: DTPO - Related Theory for Exercise 2.2.08 147

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.09 &10
Adding and formatting text
Objectives : At the end of this lesson you shall be able to
• sate the Anatomy of a Font
• explain the adding and formatting text
• state the fitting text to a path
• explain the formatting paragraph and wrapping the text
• embedding graphics and adding special characters.
The Anatomy of a Font X-height
When looking for a font that seems appropriate for a The measurement of a lowercase character, traditionally
specific design, the shape of theindividual characters measured bythe letter x in the font.
might or might not work out the way you intend; you want
Baseline
the spacingbetween lines of text (called leading) to be
extremely tight, but the ascender on certaincharacters is An imaginary line where all the characters should rest. In
too high and juts into the preceding line of text. What's an other words, baseline is a hypothetical line connecting
ascender? The vertical strokes in characters have names lower case English alphabets which do not have de-
typographers use and you should, too, whendescribing an scender.
ideal font or when seeking one.
Artistic text
Character height Used to describe the overall height, which
A type of text created with the Text tool. Use artistic text
includes not only thecharacter but also the space above
to add short lines of text, such as titles, or to apply graphic
the character, this is usually coded in by theperson
effects, such as fitting text to a path, creating extrusions
designing the typeface. Character height determines how
and blends, and creating all other special effects. An
much interlinespacing you'll need to make more than one
artistic text object can contain up to 32,000 characters.
line of text.
Adding paragraph text
Cap height
A text type that allows you to apply formatting options and
This isthe height of a capital letter in a typeface, which is
directly edit large blocks of text.
usually notthe same as character height, nor is it neces-
sarily the height of all characters (whichis called the Adding text
ascender).
Add two types of text to drawings - artistic text and
Ascender paragraph text. Add short lines of artistic text and then
apply a wide range of effects, such as drop shadows or a
This is the height of the tallest character in a font; usually
contour, to the text. Paragraph text, also known as "block
it's the’ f’, then ‘h’ or a swash if the font contains this
text," can be used for larger bodies of text that have greater
embellishment.
formatting requirements. To add both paragraph and artis-
Descender tic text directly in the drawing window.
This is the part of body of an alphabet which falls below the Add artistic text along an open or closed path. Also to fit
baseline. This is the lowest part of a character; usually a existing artistic and paragraph text to a path.
g or y, except when a font has swashes.

148
When adding paragraph text, first create a text frame. By Also can expand and shrink text frames automatically
default, paragraph text frames remain the same size type, so that the text fits perfectly in the text frame.
regardless of how much text to add them. Any text that
To insert a paragraph text frame inside a graphic object.
continues past the lower-right border of the text frame is
Use the object as a container for text and, and it increases
hidden and becomes red until either enlarge the text frame
the number of different shapes that use as text frames. Also
or link it to another text frame. Fit text to a text frame by
to separate text from an object, so that each can be moved
automatically adjusting the point size so that the text fits
or modified independently and the text retains its shape.
perfectly.

Paragraph text placed inside an object. You can make the paragraph text. For example, change the font type and
object invisible by removing its outline. size, or change the text to bold or italic.
When import or paste text, to maintain formatting, maintain Finding, editing, and converting text
fonts and formatting, or discard fonts and formatting.
Find text in a drawing and replace it automatically. Also find
Maintaining fonts ensures that imported or pasted text
special characters, such as an em dash or optional
retains its original font type. Maintaining formatting pre-
hyphen. Edit text directly in the drawing window or in a
serves information such as bullets, columns, and bold or
dialog box.
italic formatting. Preserve the text color or import black text
as CMYK black. Choose to discard fonts and formatting, Additional formatting options are available for paragraph
the properties of the selected text are applied to the text. Apply these formatting options to artistic text by first
imported or pasted text. If no text is selected, the default converting the text to paragraph text. Likewise, to apply
font and formatting properties are applied to the imported special effects to paragraph text by converting the text to
or pasted text. artistic text.
Selecting text Can also convert both paragraph and artistic text to curves.
By transforming characters into single lines or curve
To modify text, you must first select it. Choose to select
objects, to add, delete, or move the nodes of individual
either entire text objects or only specific characters.
characters to alter their shape.
Encoding text
Convert text to curves, the appearance of the text is
After opening or importing a drawing that contains text in preserved, including font, style, character position and
a language different from the language of your operating rotation, spacing, and any other text settings and effects.
system, to find that the text is not displayed correctly. To Any linked text objects are also converted to curves. If to
display text correctly,change the encoding. Encoding convert paragraph text in a fixed-sized text frame to curves,
determines the character set of text. any text that overflows the text frame is deleted.
Encoding settings do not affect the display of text outside Change the text format to subscript or superscript, which
the drawing window, such as keywords, filenames, and is useful if a drawing contains scientific notation. Also add
text entries in the Object manager and Object data underlines, strikethrough lines, and overlines to text. In
manager dockers. For these types of text, use code page addition, change the thickness of these lines and change
settings in the Open or Import dialog boxes to set the the distance between the lines and the text.
proper characters.
Change text to lowercase or uppercase without deleting or
Changing the basic properties of text replacing letters. Also increase or decrease font size by a
specified increment. By default, the unit of measure is
Enhance both artistic text and paragraph text by modifying
points. Change this setting for the active drawing and all
the character properties. Change the default text style, so
subsequent drawings that you create, so that the new unit
that the same properties are applied to all new artistic or
of measure is used in all font settings.
IT&ITES: DTPO - Related Theory for Exercise 2.2.09 & 10 149
If need to increase the redraw speed for text that is smaller If select the objects one at a time, the last object selected
than a specific font size, use lines to represent the text. is the reference point for aligning the other objects. If
This method, called "greeking" text, is useful for creating marquee select the objects before you align them, the
prototypes of documents or drawings. Make text readable object that is positioned in the upper-left corner of the
again by reducing the greeking value or by zooming in on selection is used.
the text.
If have applied a linear transformation, such as rotation, to
Aligning text the text and are aligning objects with a baseline, the
objects align with the baseline point of the starting edge of
To align both paragraph text and artistic text horizontally.
the text object.
Align paragraph text, the text is positioned in relation to the
paragraph text frame. Horizontally align all paragraphs, or Spacing text
only selected paragraphs, in a paragraph text frame.
The space between lines of text. This spacing is known as
Alternatively, vertically align all paragraphs in a paragraph
"leading" or "interline spacing." Changing the leading for
text frame or align text with another object.
artistic text applies the spacing to lines of text that are
Artistic text can be aligned horizontally, but not vertically. separated by a hard return. For paragraph text, leading
Align artistic text, the entire text object is aligned in relation applies only to lines of text within the same paragraph. To
to the bounding box. If characters have not been shifted change the spacing before and after paragraphs in para-
horizontally, applying no alignment produces the same graph text.
result as applying left alignment.

To change character spacing and word spacing in selected

paragraphs, or in an entire paragraph text frame or artistic
text object. Changing the spacing between characters is
also known as "tracking" or "letter spacing." You can
change the spacing between characters in an entire block
of text or in a small group of characters.

Shifting and rotating text

Artistic and paragraph text can be shifted vertically or
horizontally, or rotated, to create interesting effects.
Straighten text into its original position, and you can return
vertically shifted characters to the baseline. Also to change
mirror artistic and paragraph text.
To change kern pairs of selected characters. Kerning refers
to the repositioning of two characters to balance the optical
space between them. For example, kerning is often used
to decrease the space in character pairs such as AW, WA,
VA, or TA. Such character pairs are known as "kerning
pairs." Kerning increases readability and makes letters
appear balanced and proportional, especially at larger font
sizes.
Fitting text to a path
To add artistic text along the path of an open object (for
example, a line) or a closed object (for example, a square).
To also fit existing text to a path. Paragraph text can be
fitted to open paths only.
With CorelDRAW, space text by using the Paragraph
formatting and Character formatting dockers, or by using After fit text to a path, to adjust the text position relative to
the Shape tool. that path. For example, an mirror the text horizontally,

150 IT&ITES: DTPO - Related Theory for Exercise 2.2.09 & 10

vertically, or both. Using tick spacing, you can specify an When adding drop caps, bullets, tab stops, and columns,
exact distance between the text and the path. save time by previewing all the changes make before
committing to them. When preview the changes, they are
CorelDRAW treats text fitted to a path as one object;
temporarily applied directly to the text in the drawing
however, separate the text from the object if you no longer
window. Exactly how the new settings would affect your
want it to be part of the path. When the separate text from
drawing if they were applied.
a curved or closed path, the text retains the shape of the
object to which it was fitted. Indenting changes the space between a paragraph text
frame and the text that it contains. To add and remove
The text reverts to its original appearance straighten it.
indents without deleting or retyping text. Indent an entire
paragraph, the first line of a paragraph, or all lines of a
paragraph except the first line (a hanging indent). To set
indent from the right side of the text frame.
change the formatting of selected paragraph text frames,
or of selected text frames plus the text frames with which
they are currently linked.
Combining and linking paragraph text frames
To apply combine paragraph text frames. Also to break
paragraph text frames apart into subcomponents - col-
Formatting paragraph text umns, paragraphs, bullets, lines, words, and characters.
CorelDRAW offers various formatting options for paragraph Every time to break apart a text frame, the subcomponents
text. For example, add to fit text to a paragraph text frame. are placed into separate paragraph text frames.
Fitting text to a text frame increases or decreases the point Linking paragraph text frames directs the flow of text from
size of text so that it fits the text frame exactly. Use one text frame to another if the amount of text exceeds the
columns to lay out text-intensive projects, such as news- size of the first text frame. If shrink or enlarge a linked
letters, magazines, and newspapers. You can create paragraph text frame, or change the size of the text, the
columns of equal or varying widths and gutters. amount of text in the next text frame is automatically
Applying drop caps to paragraphs enlarges the initial letter adjusted. Link paragraph text frames before or after to type
and insets it into the body of text. To customize a drop cap text.
by changing its settings. For example, to change the To cannot link artistic text. However, link a paragraph text
distance between the drop cap and the body of text, or frame to an open or closed object. The link a paragraph text
specify the number of lines of text that you want to appear frame to an open object, such as a line, the text flows along
next to the drop cap. You can remove the drop cap at any the path of the line. Linking a text frame to a closed object,
point, without deleting the letter. such as a rectangle, inserts a paragraph text frame and
Use bulleted lists to format information. text wrap around directs the flow of text inside the object. If text exceeds the
bullets, or offset a bullet from text to create a hanging open or closed path, to link the text to another text frame
indent. CorelDRAW lets you customize bullets by chang- or object. And also link to paragraph text frames and
ing their size, position, and distance from text. To change objects across pages.
the spacing between items in a bulleted list. After linking paragraph text frames, to redirect the flow from
After you add a bullet, you can remove it without deleting one object or text frame to another. When to select the text
the text. frame or object, a blue arrow indicates the direction of the
text flow.
To add tab stops to indent paragraph text, remove tab
stops, and change the alignment of tab stops. Also set tab
stops with trailing leader characters, so that dots automati-
cally precede the tab stops.

IT&ITES: DTPO - Related Theory for Exercise 2.2.09 & 10 151

To remove links between multiple paragraph text frames, Wrapping paragraph text around objects, artistic text, and
and between paragraph text frames and objects. When y text frames
only the two linked paragraph text frames and to remove the To change the shape of text by wrapping paragraph text
link, the text flows into the remaining paragraph text frame. around an object, artistic text, or a paragraph text frame.
Removing a link between paragraph text frames with a To apply wrap text by using contour or square wrapping
series of links redirects the flow of text into the next styles. The contour wrapping styles follow the curve of the
paragraph text frame or object. object. The square wrapping styles follow the bounding box
By default, paragraph formatting, such as columns, drop of the object. You can also adjust the amount of space
caps, and bullets, is applied to the selected paragraph text between paragraph text and the object or text, and to
frames only. However, to change your settings so that remove any previously applied wrapping style.
formatting is applied to all linked text frames, or to all
selected and subsequently linked text frames. For ex-
ample, if apply columns to the text in one text frame,
choose whether to apply columns to the text in all the
linked text frames.

152 IT&ITES: DTPO - Related Theory for Exercise 2.2.09 & 10

Embedding graphics and adding special characters Displaying nonprinting characters
Embed a graphic object or bitmap in text. The graphic To display nonprinting characters, such as spaces, tabs,
object or bitmap is treated as a text character. As a result, and formatting codes. For example, when the display
to apply formatting options according to the type of text in nonprinting characters, a space appears as a tiny black
which is to embed the graphic object. To remove an dot, a nonbreaking space appears as a circle, and an em
embedded object from text, after which the object returns space appears as a line. When enabled, nonprinting
to its original state. characters are displayed only when you add or edit text.
Add special characters to text as text objects or as graphic Click→Text→Show nonprinting characters
objects. When add special characters as text, format the
characters as to do the text. When the add special
characters as graphic objects, the characters are curves.
Consequently, to edit them as you would other graphic
objects.

IT&ITES: DTPO - Related Theory for Exercise 2.2.09 & 10 153

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.11
Adding and formatting the table
Objectives : At the end of this lesson you shall be able to
• explain the table format and their uses
• state the resizing table cells, rows and columns
• explain the adding text and graphics.
Tables A table to create a structured layout for text and graphic
A table provides a structured layout that lets you present elements.
text or images within a drawing. Draw a table, or create a Selecting, moving, and navigating table components
table from paragraph text. Easily change the look of a table
by modifying the table properties and formatting. In addi- select a table, table rows, table columns, or table cells
tion, because tables are objects, manipulate them in before you insert rows or columns, change the table border
various ways. And also import existing tables from a text properties, add a background fill color, or edit other table
file or a spreadsheet. properties. Move the selected rows and columns to a new
location in a table. And copy or cut a row or column from
one table and paste it in another table. In addition, to move
from one table cell to another when editing the table cell
text, and set the direction in which the Tab key lets you
move around a table.

154
Resizing table cells, rows, and columns previously changed the sizes of some rows or columns,
redistribute all rows or all columns so that they are the
After create a table to resize table cells, rows, and columns
same size.
for the use of table tool and table menu. In addition, for

Formatting tables and cells Text in tables

Change the look of a table by modifying both table and cell To add text to table cells, and modify this text as would any
borders. For example, to change the table border width or other paragraph text. For example,change the font, add
color. bullets, or add indents to table text. Change the text
properties of a single table cell, or of multiple table cells
simultaneously. In addition, add tab stops to table cells so
that text is shifted away from the cell margins.
Whentype text in a new table, choose to automatically
adjust the size of table cells.
Converting tables to text
If you no longer want table text to appear in a table, convert
the table text to paragraph text.
Merging and splitting tables and cells
Change how a table is configured by merging adjacent
cells, rows, and columns. Merge table cells, the formatting
of the upper-left cell is applied to all merged cells. Alterna-
To change the table cell margins and cell border spacing. tively, unmerge cells that were previously merged. Also
The cell margins to increase the space between the cell split table cells, rows, or columns. Splitting to create new
borders and the text in the cell. By default, table cell cells, rows, or columns without changing the size of the
borders overlap to form a grid. However, increase the cell table.
border spacing to move the borders away from each other. Adding images, graphics, and backgrounds to tables
As a result, the cells do not form a grid, but appear as
individual boxes (also known as "separated borders"). If need to arrange bitmap images or vector graphics in an
orderly way, add them to tables. Also change the look of
a table by adding a background color using the property bar
and table menu.
Insert a graphic or an image by holding down the right
mouse button over the image, dragging the image to a cell,
releasing the right mouse button, and then clicking Place
inside cell.

IT&ITES: DTPO - Related Theory for Exercise 2.2.11 155

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.12
Adding and formatting the Bitmap
Objectives : At the end of this lesson you shall be able to
• explain the bitmap image and formatting the bitmap images
• explain the method of changing bitmaps to the paletted color mode
• define special effects in bitmaps
• describe convert Bitmaps to black-and-white images
• explain the bitmap due tone.
Define bitmaps When to export a file to a bitmap file format, such as TIFF,
An image composed of grids of pixels or dots. To convert JPEG, CPT, or PSD, the same bitmap conversion options
a vector graphic to a bitmap and also import and crop are available.
bitmaps in CorelDRAW. Add color masks, watermarks, Converting vector graphics to bitmaps
special effects, and change the color and tone of the
images. Converting a vector graphic or object to a bitmap lets to
apply special effects to the object with CorelDRAW. The
Importing files process of converting a vector graphic to a bitmap is also
To import files created in other applications. For example, known as "rasterizing."
import a Portable Document Format (PDF), JPEG, or Convert the vector graphic, to select the color mode of the
Adobe Illustrator (AI) file. To import a file and place it in the bitmap. A color mode determines the number and kind of
active application window as an object. And can also resize colors that make up the bitmap, so the file size is also
and center a file as you import it. The imported file becomes affected.
part of the active file. To import a bitmap as an externally
linked image. Link to an external file, edits to the original Changing the color mode of bitmaps
file are automatically updated in the imported file. The colors of the images with in CorelDRAW are based on
While importing a bitmap, resample it to reduce the file color modes. Color modes define the color characteristics
size, or crop it to eliminate unused areas of the photo. And of images and are described by their component colors.
can also crop a bitmap to select only the exact area and The CMYK color mode is composed of cyan, magenta,
size of the image you want to import. yellow, and black values; the RGB color mode is com-
posed of red, green, and blue values.
To import a file from an earlier version of CorelDRAW that
contains text in a language different from the language of Although may not be able to see the difference between an
your operating system, you can use code page settings to image in the CMYK color mode and an image in the RGB
ensure that object names, keywords, and notes saved with color mode on screen, the images are quite different. For
the file are displayed correctly. the same image dimensions, an RGB image has a smaller
file size than a CMYK image and the RGB color space, or
Exporting files gamut, can display more colors. Therefore, images in-
Use the File Export command to export files to a variety of tended for the Web or desktop printers, which require
bitmap and vector file formats that can be used in other accurate color fidelity, are generally in RGB mode. Where
applications. For example, to export a file to the Adobe accurate print reproduction is needed, such as on a
Illustrator (AI) or GIF format. And also export a file so that commercial printing press, images are generally created in
it is optimized for use with a suite of office productivity CMYK mode. Paletted color images attempt to preserve
applications, such as Microsoft Word or Corel WordPerfect color fidelity while reducing the file size, making them ideal
Office. for on-screen uses.

When to exporting a file, the original file is left open in the Each time to convert an image, may lose color information.
drawing window in its existing format. For this reason, should save an edited image before you
change it to a different color mode.
And also can use the File Save as command to save files
to various vector formats. After save a file to a different CorelDRAW supports the following color modes:
format, the saved file is displayed immediately in the o Black and White (1-bit)
drawing window. It is recommended that to first save the file o Duotone (8-bit)
as a CorelDRAW (CDR) file because some file formats do
not support all of the features found in a CorelDRAW file. o Grayscale (8-bit)
o Paletted (8-bit)
Specify settings for such controls as dithering, anti-
aliasing, overprinting black, background transparency, and o RGB Color (24-bit)
color profile. o Lab Color (24-bit)
o CMYK Color (32-bit)

156
Introduction to Crop the bitmap image The Ordered dithering option applies more quickly than the
To cut unwanted areas of an image without affecting the error diffusion options (Jarvis, Stucki, and Floyd-Steinberg)
resolution of the part that remains. but is less accurate.

Cropping objects or bitmap images Specifying a range-sensitivity color

Cropping means to quickly remove unwanted areas in Change an image to the paletted color mode and specify
objects and imported graphics, eliminating the need to a focus color and a range sensitivity for the focus color, so
ungroup objects, break linked groups apart, or convert that the focus color and colors that fall within the range
objects to curves. Can also crop vector objects and settings are included in the processed color palette. To
bitmaps. specify how much emphasis to place on the range sensi-
tivity. Because the palette has a maximum of 256 colors,
When cropping objects, to define a rectangular area
emphasizing a focus color reduces the number of colors
(cropping area) that to want keep. Object portions outside
that fall outside the range sensitivity.
the cropping area are removed. To specify the exact
position and size of the cropping area, and to rotate and Special effects in bitmaps
resize it. And also remove the cropping area.
You can apply a wide range of special effects to bitmaps,
To crop only selected objects without affecting other such as three-dimensional (3D) and artistic effects.
objects in a drawing, or crop all objects on the drawing
Special effect category
page. In either case, the affected text and shape objects
are automatically converted to curves. 3D Effects
Changing bitmaps to the paletted color mode To create the illusion of depth. Effects include Emboss,
Page Curl, and Perspective.
The paletted color mode, also called indexed color mode,
is sometimes used for images on the World Wide Web. Art Strokes
When convert an image to the paletted color mode, a fixed To apply hand-painted techniques. Effects include Crayon,
color value is assigned to each pixel. These values are Impressionist, Pastels, Watercolor, and Pen & Ink.
stored in a compact color table, or palette containing up to
256 colors. As a result, the paletted color mode image Blur
contains less data than a 24 bit color mode image, and it To blur an image to simulate movement, speckling, or
has a smaller file size. Conversion to paletted color mode gradual change. Effects include Gaussian Blur, Motion
works best on images that have a limited range of colors. Blur, and Zoom.
Choosing, editing, and saving a color palette Camera
To change an image to the paletted color mode, to use a To simulate the effect produced by a diffusion lens
predefined palette, or to customize a color palette by
replacing individual colors. Color Transform
Saving conversion settings Create photographic illusions by using color reduction and
replacements. Effects include Halftone, Psychedelic, and
After choose a color palette and set the dithering and range Solarize.
sensitivity for changing an image to the paletted color
mode, can save the settings as a conversion preset that to Contour
use with other images. Add as many conversion presets as To highlight and enhance the edges of an image. Effects
you want. include Edge Detect and Trace Contour.
The color palette you use is called the processed color Creative
palette. It can be saved for use with other images.
To apply various textures and shapes to an image. Effects
Dithering include Fabric, Glass Block, Crystallize, Vortex, and
Changing images to the paletted color mode to use Stained Glass.
dithering to enhance color information. Dithering places Distort Lets you distort image surfaces. Effects include
pixels with specific colors or values relative to other pixels Ripple, Blocks, Swirl, and Tile.
of a specific color. The relationship of one colored pixel to
another creates the appearance of additional colors that do Noise
not exist in the color palette. To modify the graininess of an image. Effects include Add
Types of dithering Noise, Remove Moire, and Remove Noise.

Ordered dithering and error diffusion. Ordered dithering Sharpen

approximates color blends using fixed dot patterns; as a Add a sharpening effect to focus and enhance edges.
result, solid colors are emphasized and edges appear Effects include Adaptive Unsharp, High Pass, and Unsharp
harder. Error diffusion scatters pixels irregularly, making Mask.
edges and colors softer. Jarvis, Stucki, and Floyd-Steinberg
are conversion options that provide error diffusion.
IT&ITES: DTPO - Related Theory for Exercise 2.2.12 157
Plug-ins The following four variations of the color mode correspond
to the number of additional inks:
Use a third-party filter to apply effects to bitmaps in
CorelDRAW.An installed plug-in appears at the bottom of Monotone
the Bitmaps menu.
A grayscale image colored with a single tone
Adding plug-in filters to CorelDRAW provides additional
Duotone
features and effects that can use to edit images. To add
plug-in filters, and to remove them when you no longer need A grayscale image colored with two tones. In most cases,
them. one is black and the other is colored.
Convert Bitmaps to black-and-white images Tritone
To change any image to a black-and-white image. In A grayscale image colored with three tones. In most
addition to conversion settings such as threshold, screen cases, one is black and the other two are colored.
type, and intensity, there are seven conversion options that Quadtone
affect how the converted images will look.
A grayscale image colored with four tones. In most cases,
Line art one is black and the other three are colored.
Produces a high-contrast, black-and-white image. Colors Adjust tone curves
with a grayscale value lower than the threshold value that
you set change to black, while colors with a grayscale To change an image to a duotone, a tone curve grid that
value higher than the threshold value change to white. represents the dynamic tone curves that are used through-
out the conversion is displayed. The horizontal plane (x-
Ordered
axis) displays the 256 possible shades of gray in a
Organizes the gray levels into repeating geometric pat- grayscale image (0 is black; 255 is white). The vertical
terns of black and white pixels. Solid colors are empha- plane (y-axis) indicates the intensity of a color (from 0 to
sized and image edges are hard. This option is best suited 100 percent) that is applied to the corresponding grayscale
for uniform colors. values. For example, a grayscale pixel with a color value of
25 is printed with a 25-percent tint of the color. By adjusting
Halftone
the tone curves, to control the color and intensity of the tone
Creates different shades of gray by varying the pattern of that is added to an image.
black and white pixels in an image. Choose the screen
Saving and loading inks
type, angle for the halftone, lines per unit, and the unit of
measure. You can save an adjusted duotone tone curve and ink
settings and then load them for use with other bitmaps.
Cardinality-Distribution
Specifying how overprint colors display
Creates a textured look by applying a calculation and
distributing the result to the screen. To change an image to a duotone, specify the colors to
overprint when to print an image. Overprint colors are used
Jarvis
to preserve color integrity when inks overlap. When display
Applies the Jarvis algorithm to the screen. This form of error the image, each color is applied on the screen in sequence,
diffusion is suitable for photographic images. creating a layered effect.
Stucki View all instances in which the colors to choose for the
duotone conversion overlap. Associated with each in-
Applies the Stucki algorithm to the screen. This form of
stance is the color that is produced by the overlap. And also
error diffusion is suitable for photographic images.
choose new overprint colors to see how they overlap.
Floyd-Steinberg
Duotones will hold their color ink information when saving
Applies the Floyd-Steinberg algorithm to the screen. This to Encapsulated PostScript (EPS), Portable Document
form of error diffusion is suitable for photographic images. Format (PDF) and CorelDRAW (CDR) file formats. Other
Change bitmaps to duotones file formats don't support duotone images.

To convert an image to a duotone, change a bitmap to the

grayscale color mode and enhance it using one to four
additional colors, giving the image greater tonal depth.

158 IT&ITES: DTPO - Related Theory for Exercise 2.2.12

IT & ITES
DTPO - Corel Draw Related Theory for Exercise 2.2.13
Printing and printer properties in CorelDraw
Objectives : At the end of this lesson you shall be able to
• describe about printing the art work
• explain the imposition layout
• explain about the Printer's Mark's
• describe the printing color separation
• explain the color trapping and overprinting.
Printing the work Print styles
Print command is used to produce hard copy of documents A print style is a set of saved printing options. Each print
or produce pdf files.To print one or more copies of the same style is a separate file. This lets to move a print style from
drawing using Corel Draw,Specify the page type and the one computer to another, back up a print style, and keep
page range that you want to print. document-specific styles in the same directory as the
Before printing a drawing, to specify printer properties, document file.
including paper size and device options. For example, Select an existing print style, create a new print style, or
specify that the printer features such as duplexing stapling. edit a print style and save the changes. And also delete
Certain printers support the automatic matching of page print styles.
size and orientation. To enable this option, need to modify Fine-tuning print jobs
the driver compatibility settings for the printer by clicking
Tools Options. In the list of categories, double-clicking Fine-tune print jobs before to ensure printing quality.
Global, Printing, clicking Driver compatibility, and enabling Because problems sometimes occur the printing text to a
the Printer can match document page sizes check box. In non-PostScript printing device (GDI printer), decrease is
the Print dialog box, choose Match orientation and size printing time by specifying driver compatibility for non-
from the Page list box. PostScript printing devices.

Layout print jobs If a printing device has difficulty processing large bitmaps,
can divide a bitmap into smaller, more manageable chunks
Layout a print job by specifying the size, position, and by setting an output threshold. If any lines appear when the
scale. Tiling a print job prints portions of each page on printing device prints the chunks, set an overlap value to
separate sheets of paper that can assemble into one produce a seamless image.
sheet. For example, tile a print job that is larger than your
printer paper. On occasion, may experience difficulties with printing
complex files. Print complex files, to spend a considerable
Image position and size area, enable one of the following amount of time fixing and correcting the files. Another
options: option is to convert a page to a bitmap, which is also known
• As in document - maintains the image size as it is in the as rasterizing, which can allow to print complex files.
document To reduce file size, can down sample bitmaps. Because
bitmaps are made up of pixels, when down sample a
• Fit to page - sizes and positions the print job to fit to a bitmap, the number of pixels per line decreases, which
printed page decreases the file size.
• Reposition images to - lets you reposition the print job Printing colors accurately
by choosing a position from the list box
CorelDRAW allows to manage colors when printing to help
Enabling the Reposition images to option to specify size, ensure accurate color reproduction. Print the document
position, and scale in the corresponding boxes. with the document colors settings applied or choose
Previewing print jobs alternate color settings only for printing. Also print a
document using the color proofing settings that previously
Preview finished work to show how the position and size of specified in the Color proof settings docker.
the print job will appear on paper. For a detailed view, zoom
in on an area. To view how the individual color separations In addition, to choose a rendering intent to effectively
will appear when printed. interpret the out-of-gamut colors when printing. The render-
ing intent that choose depends on the graphical content of
Before printing your work, view a summary of issues for a the document.
print job to find potential printing problems. For example,
you can check the current print job for print errors, possible Notes for GDI printers
print problems, and suggestions for resolving issues. GDI printers support only two color spaces: RGB and
Grayscale. If the document contains colors from multiple

159
color spaces, for example RGB, CMYK, and spot colors, Bleed limit
must convert all of the colors to RGB or Grayscale before
Determines how far an image can extend beyond the crop
printing.
marks. When to use a bleed to extend the print job to the
Printing to a PostScript printer edge of the page, must set a bleed limit. A bleed requires
that the paper printing on is larger than the size of paper to
PostScript is a page-description language that sends
ultimately want, and the print job must extend beyond the
printing instructions to a PostScript device. All the elements
edge of the final paper size.
in a print job (for example, curves and text) are represented
by lines of PostScript code that the printing device uses to Registration marks
produce the document. For improved compatibility choose
Required to line up film for proofing or printing plates on a
a device independent PostScript device. To select a
color press. They print on each sheet of a color separation.
PostScript Printer Description (PPD) file. A PostScript
Printer Description file describes the capabilities and Color calibration bars
features of PostScript printer and is available from the Color scales that print on each sheet of a color separation
printer's manufacturer. and ensure accurate color reproduction. To see calibration
Imposition layouts bars, the page size of the print job must be larger than the
page size of the work on the printing.
Impositionlayouts to print more than one page of a document
on each sheet of paper. Choose a preset imposition layout Densitometer scale
to create documents such as magazines and books to Densitometer is a series of gray boxes ranging from light
print on a commercial printing press; produce documents to dark. These boxes are required to test the density of
that involve cutting or folding, such as mailing labels, halftone images. Position the densitometer scale anywhere
business cards, pamphlets, or greeting cards; or print on the page. Customize the levels of gray that appear in
multiple thumbnails of a document on one page. And also each of the seven squares on the densitometer scale.
edit a preset imposition layout to create your own layout.
Page numbers
To select a binding method by choosing from three preset
binding methods, or customize a binding method. Choose Page numbers helps you collate pages of an image that do
a preset binding method, all but the first signature are not include any page numbers or do not contain page
automatically arranged. numbers that correspond to the actual number of pages
Arrange pages on a signature manually or automatically. File information
The arrange the pages automatically, choose the angle of Prints file information, such as, the color profile; halftone
the image. If have more than one page across or down, settings; name, date, and time the image was created;
specify the size of gutters between pages; for example, plate number; and job name
choose the automatic gutter spacing option, which sizes
gutters so that the document's pages fill the entire available Maintain OPI links
space in the layout. Open Prepress Interface (OPI) lets to use low-resolution
When printing on a desktop printer, adjust the margins to images as placeholders for the high-resolution images that
accommodate the non-printable area of a page. If the appear in your final work. When a print service provider
margin is smaller than the non-printable area, the edges of receives the file, the OPI server substitutes the high-
some pages or some printers' marks may be clipped by the resolution images for the low-resolution placeholders.
printer. The Maintain OPI links option is available for PostScript
Printing printers' marks devices only.
Printing printers' marks to display information on a page Printing color separations
about how a document should be printed. To specify the Printing color separations to send color work to a print
position of the printers' marks on the page. service provider or printing shop, either or the print service
The available printers' marks are as follows: provider must create color separations. Color separations
are necessary because a typical printing press applies
Crop/fold marks only one color of ink at a time to a sheet of paper. Specify
Represent the size of the paper and print at the corners of the color separations to print, including the order in which
the page. Print crop/fold marks to use as guides to trim the they print.
paper. If the print multiple pages per sheet (for example, Printing presses produce color using either process color
two rows by two columns), to choose to print the crop/fold or spot color, or both. Convert the spot colors to process
marks on the outside edge of the page so that all crop/fold colors at printing time.
marks are removed after the cropping process, or choose
to add crop marks around each row and column. Crop/fold When setting halftone screens to print color separations,
marks ensure that marks appear on each plate of a we recommend that to use default settings; otherwise,
separated CMYK file.

160 IT&ITES: DTPO - Related Theory for Exercise 2.2.13

screens can be improperly set and result in undesirable Auto-spreading creates color trapping by assigning an
moiré patterns and poor color reproduction. However, if outline to an object that is the same color as the object's
using an imagesetter, the screen technology should be set fill and having it overprint underlying objects. Auto-spread-
to match the type of imagesetter the print service provider ing is created for all objects in the file that meet three
uses. Before customizing a halftone screen, consult the conditions: they do not already have an outline, are filled
print service provider to determine the correct setting. with a uniform fill, and have not already been designated to
overprint.
If have overprinted areas, to choose how you want those
areas to print. Specifying In-RIP trapping settings
Change the order in which color separations print, by In-RIP trapping allows you to specify advanced trapping
enabling the Use advanced settings check box in the settings. Before selecting In-RIP trapping, ensure that your
Options area. In the separations list at the bottom of the PostScript 3 printer supports In-RIP trapping options.
dialog box, click in the Order column next to the color
Select a trap width - the amount that one color spreads into
separation that to want change. Chose a new order value
another. Specify image trap placement, which determines
from the list box.
where the trap occurs. For example, specify whether the
If want to print separations using a color profile that is trap is a choke or a spread, depending upon the neutral
different than the document color profile, click the Color densities of adjacent colors. Neutral density indicates the
tab, and choose a color profile from the Correct colors using lightness or darkness of a color and helps determine how
color profile list box. adjacent colors spread into one another.
Color trapping and overprinting Specify a threshold at which a trap is created by specifying
a step trap limit. If trap colors are of similar neutral
When colors are trapped, they are intentionally overlapped
densities, the trap placement adjusts accordingly. The
so that misalignments of print separations are not notice-
step trap limit specifies a threshold at which a trap adjusts.
able. In manual trapping, one color must overprint the other.
Overprinting is achieved by printing one color over another. Before trapping, to set the inks; for example, set an ink to
Overprint trapping works best when the top color is much opaque, as in the case of a metallic ink, so that nothing
darker than the underlying color; otherwise, an undesirable shows through it. To reduce the visibility of a trap, decrease
third color may result (for example, cyan over yellow results the amount of ink color in a trap. This is especially helpful
in a green object). In some cases, might actually want to in the case of pastel colors, contrasting colors, and colors
create a third color; for example, overprint two spot colors with similar neutral densities.
to create a third color.
Print to film
How overprinted colors mix depends on the type of colors To set up a print job to produce negative images. An
and ink are mixing and the types of objects are overprinting. imagesetter produces images on film that may need to be
For example, an object that uses a CMYK color overprints produced as negatives depending on which printing device
differently from an object that uses a spot color. Bitmaps are using. Consult the print service provider to determine
also overprint differently from vector objects. That can whether the produce images on film.
preview a simulation of how overprinted colors will mix by
using the Enhanced with overprints viewing mode. Specify to print with the emulsion down. Printing with the
emulsion down produces a backward image on desktop
When ready to print, choose to preserve overprint settings printers.
if you want to trap objects in a document, or if want to mix
Print service provider
the overlapping colors for effect. Choose to knock out the
overprinted areas so that only the top color is visible. If want When send a file to a print service provider, the provider
to print a proof version of the file, can simulate overprints. takes your file and converts it directly to film or to plates.
Simulating overprints rasterizes the file, and it prints using
When prepare a print job for printing, which can send
process colors only.
camera-ready paper output or the work on disk. If send the
To set a group of objects to overprint. The overprint bitmaps; work on disk, the print service provider needs either a
or each vector object's fill, or outline, or both. And also PostScript file or a native file from the application that to
overprint specific color separations and specify in which use. Creating a file to send to an imagesetter or a plate-
order they will print, as well as whether want to overprint setter, speak with the print service provider about the best
graphics, or text, or both. file format and printing device settings to use. Always
provide a final printout of the work to the print service
The two methods for color trapping automatically are
provider, even if it is only a black-and-white representation.
always overprinting black and auto-spreading. Always
This helps the print service provider to identify and assess
overprinting black creates a color trap by causing any
any potential problems.
object that contains 95% black or more to overprint any
underlying objects. This option is useful for artwork con- Before printing a drawing, choose and properly configure
taining a lot of black text, but it should be used with caution the appropriate printing device driver. Consult the printing
on artwork with a high graphics content. To adjust the device manufacturer instructions, or the print service pro-
threshold, if the print service provider recommends a black vider or printing shop that to use to print the work, to find out
threshold value other than 95%. the best way to set up the printing device driver.
IT&ITES: DTPO - Related Theory for Exercise 2.2.13 161
IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.01

Creating a document and column set up for a variety of publications

Objectives : At the end of this lesson you shall be able to
• learning about new document options
• learning about new print document in multiple column layout
• understanding new book work layout.
Introduction Start Page #
Adobe InDesign is a desktop publishing software applica- Specify which number the document starts on. If you
tion produced by Adobe Systems. InDesign is a page specify an even number (such as 2) with Facing Pages
layout application in which graphics (created elsewhere) selected, the first spread in the document begins with a
and text are combined to create layouts and prepare them two-page spread.
for printing. Graphics can be used to create works such as Facing Pages
posters, flyers, brochures, magazines, newspapers and
books. InDesign can also publish content suitable for tablet Select this option to make left and right pages face each
devices in conjunction with Adobe Digital Publishing Suite. other in a double-page spread, such as for books and
magazines. Deselect this option to let each page stand
Graphic designers and production artists are the principal alone, such as when you're printing flyers or posters or
users, reating adn laying out periodical publications, post- when you want objects to bleed in the binding.
ers, and print media. It also supports export to EPUB and
SWF formats to create e-books and digigtal publications, After you've created a document, you can use the Pages
including digital magazines, and content suitable for con- panel to create spreads with more than two pages or force
sumption on tablet computers. The Adobe InCopy word the first two pages to open as a spread.
processor uses the same formatting engine as InDesign. Master Text Frame
InDesign is the successor to Adobe PageMaker, which CS5.5 and earlier: Select this option to create a text frame
was acquired with the purchase of Aldus in late 1994. the size of the area within the margin guides, matching the
Actually Indesign is Adobe’s replacemetn of PageMaker. column settings you specified. The master text frame is
In 2002, InDesign was the first Mac OS X-native desktop added to the A Master.
publishing software. In version 3 (InDesign CS) it received
a boost in distribution by being bundled with Photoshop, The Master Text Frame option is available only when you've
Illustrator, and Acrobat in the Creative Suite. chosen File > New > Document.

InDesign exports documents in Adobe’s Portable Docu- Primary Text Frame

ment (PDF) format and has multilingual support. It was the CS6 and later: select this option to add a primary text
first DTP application to support Unicode for text process- frame on the master page. When you apply a new master
ing, advanced typography with OpenType fonts, advanced page, the story in the primary text frame automatically
transparency features, layout styles, optical margin align- flows into the primary text frame of the new master page.
ment and cross-platform scripting using JavaScript.
Page Size
Intent
Choose a page size from the menu, or type values for Width
If you are creating a document to be output to PDF or SWF and Height. Page size represents the final size you want
for the web, choosing the Web option changes several after bleeds or other marks outside the page are trimmed.
options in the dialog box, such as turning off Facing Pages,
changing the orientation from portrait to landscape, and Orientation
using a page size based on monitor resolution. You can Click Portrait (tall) or Landscape (wide). These
edit any of these settings after the document is created.
icons interact dynamically with the dimensions you enter
CS6 and later: Digital publishing intent has been added for in Page Size. When Height is the larger value, the portrait
publications aimed for the Digital Publishing Suite. You icon is selected. When Width is the larger value, the
can also change the intent of the document after it is landscape icon is selected. Clicking the deselected icon
created. switches the Height and Width values.
Number of pages Tip: To specify the dimensions of the bleed and slug areas,
click the Arrow button before the Bleed and Slug label in the
Specify the number of pages to create in the new docu-
New Document dialog box. To make the bleed or slug areas
ment.
extend evenly on all sides, click the Make All Settings The
Same icon .

162
Bleed Document window notes
The Bleed area allows you to print objects that are arranged Lines of other colors are ruler guides which, when present,
at the outer edge of the defined page size. For a page of the appear in the layer color when selected.
required dimensions, if an object is positioned at its edge,
Column guides appear in front of margin guides. When a
some white may appear at the edge of the printed area due
column guide is exactly in front of a margin guide, it hides
to slight misalignment during printing or trimming. For this
the margin guide.
reason, you should position an object that is at the edge of
the page of the required dimensions a little beyond the Create custom page sizes
edge, and trim after printing. Bleed area is shown by a red You can create custom page sizes that appear in the Page
line on the document. You can set bleed area settings from Size menu in the New Document dialog box.
Bleed in the Print dialog box.
1. Choose File > New > Document.
Slug
2. Choose Custom Page Size from the Page Size menu.
The slug area is discarded when the document is trimmed
to its final page size. The slug area holds printing informa- 3. Type a name for the page size, specify page size
tion, customized color bar information, or displays other settings, and then click Add.
instructions and descriptions for other information in the The New Doc Sizes.txt file that lets you create custom
document. Objects (including text frames) positioned in page sizes in previous version of InDesign is not available
the slug area are printed but will disappear when the in InDesign CS5 or later.
document is trimmed to its final page size.
Define document presets
Objects outside the bleed or slug area (whichever extends
farther) do not print. You can save document settings for page size, columns,
margins, and bleed and slug areas in a preset to save time
Preview and ensure consistency when creating similar documents.
(Only in InDesign CC) Select this checkbox to see how 1. Choose File > Document Presets > Define.
your new document will look like. Make necessary changes 2. Click New in the dialog box that appears.
to the options if the preview is not as desired. 3. Specify a name for the preset and select basic layout
You can also click the Save Document Preset options in the New Document Preset dialog box.
icon to save document settings for future use 4. Click OK twice.
Document window overview You can save a document preset to a separate file and
distribute it to other users. To save and load document
Each page or spread in your document has its own
preset files, use the Save and Load buttons in the Docu-
pasteboard and guides, which are visible in Normal View
ment Presets dialog box.
mode. (To switch to Normal View, choose View > Screen
Mode > Normal.) The pasteboard is replaced with a gray Change document setup, margins, and columns
background when the document is viewed using one of the After you create a document, you may change your mind
Preview modes. You can change the color of this preview about how you want it set up. For example, you may want
background and guides in Guides & Pasteboard prefer- single pages instead of facing pages, or you may want to
ences. change the page size or margin settings.
Change document setup
Changing options in the Document Setup dialog box
affects every page in the document. If you change page
size or orientation after objects have been added to pages,
you can use the Layout Adjustment feature to minimize the
amount of time needed for arranging existing objects.
1. Choose File > Document Setup.
2. Specify the document options, and then click OK.
Change page margin and column settings
You can change column and margin settings for pages and
Document and guides in Normal View Mode spreads. When you change the column and margin set-
tings on a master page, you change the setting for all pages
A. Spread (black lines) B. Page (black lines) C. Margin to which the master is applied. Changing the columns and
guides (magenta lines) D. Column guides (violet lines) E. margins of regular pages affects only those pages selected
Bleed area (red lines) F. Slug area (blue lines) in the Pages panel.

IT&ITES: DTPO - Related Theory for Exercise 2.3.01 163

 Columns
The Margins and Columns dialog box doesn't
alter columns inside text frames. Text frame Specify the number of columns.
columns exist only within individual text frames, Select Horizontal or Vertical to specify the column direc-
not on the page itself. You can set up columns tion. This also sets the writing direction of the document
within individual text frames by using the Text baseline grid.
Frame Options dialog box. Text frame columns
can also be affected by the Layout Adjustment Create unequal column widths
feature. When you have more than one column on a page, the
Do one of the following: column guides in the middle appear in pairs. When you
drag one column guide, the pair moves. The space between
1. To change margin and column settings for one spread the column guides is the gutter value you specified; the pair
or page, go to the spread you want to change, or select moves together to maintain that value.
one spread or page in the Pages panel.
You cannot create unequal column widths for
2. To change margin and column settings for multiple
columns in a text frame. Instead, created
pages, select those pages in the Pages panel, or select
threaded, side-by-side text frames with differ-
a master that controls the pages you want to change.
ent column widths.
3. Choose Layout > Margins And Columns, specify the
following options, and then click OK. 1. Go to the master or spread you want to change.

Margins 2. If column guides are locked, choose View > Grids&

Guides > Lock Column Guides to deselect it.
Type values to specify the distance between margin guides
and each edge of the page. If Facing Pages is selected in 3. Using the Selection tool , drag a column guide. You
the New Document or Document Setup dialog box, the Left can't drag it past an adjacent column guide or beyond
and Right margin option names change to Inside and the edge of the page.
Outside, so that you can specify additional inside margin
space to accommodate binding.

Dragging a column guide to create unequal column

widths
To create columns with unequal gutters, create evenly
spaced ruler guides and then drag individual guides to the
desired location.

164 IT&ITES: DTPO - Related Theory for Exercise 2.3.01

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.02

Identification and use of tools, rulers, guides and snap-to-guides

Objectives : At the end of this lesson you shall be able to
• learn and use of tools, rulers, guides and snap-to guides
• learn and use of transformation, modification and navigation tools
• learn about layers, rulers guide and use of smart guides
• learn and use of grids adn snapping object to grids.
Toolbox overview
Some tools in the toolbox are for selecting, editing, and
creating page elements. Other tools are for choosing type,
shapes, lines, and gradients. You can change the overall
layout of the toolbox to fit your preferred window and panel
layout. By default, the toolbox appears as a single vertical
column of tools. You can also set it up as a double vertical
column or as one horizontal row. However, you can't
rearrange the positions of individual tools in the toolbox.
You can drag the top of the toolbox to move it.
Select a tool from the default toolbox by clicking it. The
toolbox also contains several hidden tools related to the
visible tools. Hidden tools are indicated by arrows to the
right of the tool icons. Select a hidden tool by clicking and
holding the current tool in the toolbox and then selecting
the tool that you want.
The name of the tool and its keyboard shortcut appear
when you hold the pointer over the tool-this text is called the
tool tip. You can turn off tool tips by choosing None from the
Tool Tips menu in Interface preferences.
Open the Tool Hints panel (choose Window > Utilities >
Tool Hints) to see which shortcut and modifier keys work
with the selected tool.

Content Collector and Content Placer tools are

not available in CS5.5 or earlier.

Gallery of selection tools

165
Gallery of drawing and type tools

166 IT&ITES: DTPO - Related Theory for Exercise 2.3.02

Gallery of transformation tools

IT&ITES: DTPO - Related Theory for Exercise 2.3.02 167

Gallery of modification and navigation tools

About layers Create layers

Each document includes at least one named layer. By You can add layers at any time using the New Layer
using multiple layers, you can create and edit specific command on the Layers panel menu or the New Layer
areas or kinds of content in your document without affect- button at the bottom of the Layers panel. The number of
ing other areas or kinds of content. For example, if your layers a document can have is limited only by the RAM
document prints slowly because it contains many large available to InDesign.
graphics, you can use one layer for just the text in your
Specify layer options
document; then, when it's time to proofread the text, you
can hide all other layers and quickly print the text layer 1. Choose New Layer in the Layers panel menu, or double-
only. You can also use layers to display alternate design click an existing layer.
ideas for the same layout, or versions of advertisements for
2. Specify the layer options, and then click OK.
different regions.

168 IT&ITES: DTPO - Related Theory for Exercise 2.3.02

Color multiple-page spread. You can drag any ruler guide to the
pasteboard. A ruler guide is displayed or hidden with the
Assign a color to identify the objects on that layer.
layer on which it was created.
Show Layer
New ruler guides always appear on the target spread. For
Select this option to make a layer visible. Selecting this example, if several spreads are visible in the document
option is the same as making the eye icon visible in the window and you drag a new guide into the window, the new
Layers panel. guide becomes visible only on the target spread.
Show Guides
Select this option to make the guides on the layer visible.
When this option is not selected for a layer, the guides
cannot be made visible, even by selecting View > Show
Guides for the document.
Lock Layer
Select this option to prevent changes to any objects on the
layer. Selecting this option is the same as making the
crossed-out pencil icon visible in the Layers panel.
Lock Guides Guides in the document window

Select this option to prevent changes to all ruler guides on A. Spread guide B. Page guide
the layer.
Work with ruler guides
Print Layer
You can change the attributes of individual ruler guides,
Select this option to allow the layer to be prevented from and you can move, cut, copy, paste, or delete multiple ruler
printing. When printing or exporting to PDF, you can guides simultaneously. Cut or copied ruler guides can be
determine whether to print hidden and nonprinting layers. pasted to other pages or documents, but not to other
Suppress Text Wrap When Layer Is Hidden programs. To change attributes of specific guides, you
must select the guides you want to change. When no
Select this option if you want text on other layers to flow guides are selected, the Ruler Guides command sets the
normally when the layer is hidden and it contains objects defaults for new guides only.
with text wrap applied.
Select ruler guides
Assign a layer color
Unselected ruler guides appear light blue by default.
Assigning a color to a layer makes it easier to distinguish Selected ruler guides are highlighted in their layer color.
the layers of different selected objects. For each layer that When a guide is selected, the Reference Point icon in the
contains a selected object, the Layers panel displays a dot Control panel changes to or , representing the
in the layer's color. On the page, each object displays the selected guide.
color of its layer in its selection handles, bounding box, text
ports, text wrap boundary (if used), frame edges (including To select a single ruler guide, use the Selection tool or
the X displayed by an empty graphics frame), and hidden the Direct Selection tool and click the guide to highlight
characters. it in its layer color.
Merge layers in a document If you can't select a ruler guide and the View > Grids &
You can reduce the number of layers in a document without Guides > Lock Guides command is already deselected,
deleting any objects by merging layers. When you merge the guide might be on that page's master, or on a layer
layers, objects from all selected layers are moved to the where guides are locked.
target layer. Of the layers you merge, only the target layer To select multiple ruler guides, hold down Shift as you click
remains in the document; the other selected layers are guides using the Selection or Direct Selection tool. You
deleted. You can also flatten a document by merging all can also drag over multiple guides, as long as the selection
layers. marquee doesn't touch or enclose any other object.
If you merge layers containing a mix of page To select all ruler guides on the target spread, press
objects and master items, the master items Ctrl+Alt+G (Windows) or Command+Option+G (Mac OS).
move to the back of the resulting merged layer.
Snap objects to guides and grids
Create ruler guides
To precisely align objects to guides, use the Snap To
Ruler guides are different from grids in that they can be Guides and Snap To Document Grid commands. Object
positioned freely on a page or on a pasteboard. You can edges will snap to (be pulled toward) the nearest grid
create two kinds of ruler guides: page guides, which appear intersection or guide when you draw, move, or resize the
only on the page on which you create them, or spread objects.
guides, which span all pages and the pasteboard of a
IT&ITES: DTPO - Related Theory for Exercise 2.3.02 169
The exact range within which an object snaps to guides is Smart Spacing
called the snap-to zone, which you can adjust. When you
Smart spacing lets you quickly arrange page items with the
select both the Snap To Guides and the Snap To Document
help of temporary guides that indicate when the spacing
Grid commands, the grid takes precedence.
between objects is even.
Keep the following guidelines in mind as you align objects
Smart Cursors
to guides and grids:
Smart cursor feedback appears in a gray box as X and Y
• To snap an object to a guide, drag an object toward a values when you're moving or resizing object or as a
guide until one or more of the object's edges is within the measurement when you're rotating values. The Show
guide's snap-to zone. Transformation Values option in Interface preferences lets
• Guides must be visible for objects to snap to them. you turn smart cursors on and off.
However, objects can snap to the document and baseline Use grids
grids whether the grids are visible or not.
Two kinds of nonprinting grids are available: a baseline grid
• Objects on one layer snap to ruler guides visible on any for aligning columns of text, and a document grid for
other layer. If you don't want objects to snap to guides aligning objects. On the screen, a baseline grid resembles
on a certain layer, hide that layer's guides. ruled notebook paper, and a document grid resembles
graph paper. You can customize both kinds of grids.
• To snap the text baseline to the baseline grid, choose
Grid Alignment > Roman Baseline from the Control
panel menu or Paragraph panel menu. Alternatively, set
Grid Alignment to Roman Baseline from the column
style Grid Settings.
• For the baselines of text to snap to the baseline grid,
press the Align to Baseline Grid button for individual
paragraphs or paragraph styles.
Use smart guides
The Smart Guides feature makes it easy to snap objects
to items in your layout. As you drag or create an object, Baseline grid (left) and document grid (right)
temporary guides appear, indicating that the object is
aligned with an edge or center of the page or with another When a grid is visible, you can observe the following
page item. characteristics:
By default, the Smart Guides feature is selected. You can • The baseline grid covers entire spreads, but the docu-
turn off smart guides, or you can turn off any of the smart ment grid covers the entire pasteboard.
guide categories:
• Baseline grids and document grids appear on every
Smart Object Alignment spread and cannot be assigned to any master.
Smart object alignment allows for easy snapping to page • The document grid can appear in front of or behind all
item centers or edges. In addition to snapping, smart
guides, layers, and objects, but cannot be assigned to
guides dynamically draw to indicate which object is being
any layer.
snapped to.
Snapping objects to grids
Smart Dimensions
When snapping is enabled, moving an object within the
Smart dimension feedback appears when you're resizing,
snap zone of a grid location will cause the object to snap
creating, or rotating page items. For example, if you rotate
to that location.
one object on your page 24 degrees, a rotation icon
appears as you rotate another object close to 24 degrees.
This hint lets you snap the object to the same rotation angle
of the adjacent object. Similarly, as you resize an object
next to another object, a line segment with arrows at each
end lets you snap the object to the same width or height as
the adjacent object.

170 IT&ITES: DTPO - Related Theory for Exercise 2.3.02

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.03

Formatting text and page

Objectives : At the end of this lesson you shall be able to
• explain the text, text frame and formatting the text
• explain about add text to a document and formatting the paragraph
• define Tabs and Indents
• learn the thread text frame, flow text to the text frame
• define Master, and spread and format the pages.

Create text frames When text is pasted, a plain text frame is automatically
created. You can also create an empty plain text frame
Text in InDesign resides inside containers called text
manually and input text.
frames. (A text frame is similar to a text box in QuarkXPress
and a text block in Adobe PageMaker.) • Do any of the following:
There are two types of text frames: frame grids and plain
Select the Type tool , and then drag to define the width
text frames. Frame grids are the kind of text frames specific
to Asian-language composition in which character emboxes and height of a new text frame. Hold down Shift as you drag
and spacing are displayed as grids. Empty text frames in to constrain the frame to a square. When you release the
which no grid is displayed are plain text frames. mouse button, a text insertion point appears in the frame.

Like graphics frames, text frames can be moved, resized,

and changed. The tool with which you select a text frame
determines the kind of changes you can make:
• Use the Type tool to enter or edit text in a frame.

• Use the Selection tool for general layout tasks such

as positioning and sizing a frame.
• Use the Direct Selection tool to alter a frame's shape.
Dragging to create new text frame
• Use the Horizontal Grid tool or the Vertical Grid tool
to create a frame grid. Using the Selection tool, click the in port or out port of
another text frame, and then click or drag to create another
Use the Type tool to create a plain text frame for
frame.
horizontal text, and the Vertical Type tool to create a
Use the Place command to place a text file.
plain text frame for vertical text. Use the same tools to edit
existing text in a frame. Using the Type tool , click inside any empty frame. If the
Text frames can also be connected to other text frames so Type Tool Converts Frames To Text Frames option is
that the text in one frame can flow into another frame. selected in Type preferences, the empty frame is converted
Frames that are connected in this way are threaded. Text to a text frame.
that flows through one or more threaded frames is called a Using text frames on master pages
story. When you place (import) a word-processing file, it
comes into your document as a single story, regardless of When you start a new document, you can select the
the number of frames it may occupy. Master Text Frame option so that an empty text frame is
placed on the document's default master page. This frame
Text frames can have multiple columns. Text frames can has the column and margin attributes specified in the New
be based on, yet independent of, page columns. In other Document dialog box.
words, a two-column text frame can sit on a four-column
page. Text frames can also be placed on master pages and Follow these guidelines for using text frames on master
still receive text on document pages. pages:

If you use the same type of text frame repeatedly, you can • Set master text frames when you want each page in
create an object style that includes text frame formatting your document to contain a page-sized text frame into
such as stroke and fill colors, text frame options, and text which you can flow or type your text. If your document
wrap and transparency effects. requires more variation, such as pages with different
numbers of frames or frames of different lengths, leave
When you place or paste text, you don't need to create a
the Master Text Frame option deselected, and use the
text frame; InDesign automatically adds frames based on
Type tool to create text frames on masters.
the page's column settings.
171
• Whether or not you select the Master Text Frame • If you change the page margins, text frames adjust to
option, you can add text frames to a master page to act the new margins only if the Enable Layout Adjustment
as placeholders. You can thread these empty place- option is selected.
holder frames together to establish a flow.
• Selecting the Master Text Frame option does not affect
• Flow text into master text frames using the same whether new pages are added when you autoflow text.
procedures you would use with frames created on
Change text frame properties
document pages.
Use Text Frame Options to change settings such as the
• If you need to type text in a master text frame on a number of columns in the frame, the vertical alignment of
document page, hold down Ctrl+Shift as you click the text within the frame, or the inset spacing, which is the
text frame on the document page. Then click in the distance of the margins between the text and the frame.
frame using the Type tool and begin typing.
• You can use Smart Text Reflow to add or remove pages
automatically as you type and edit text. By default,
when you type text at the end of a threaded text frame
based on a master page, a new page is added, allowing
you to continue typing in the new text frame. You can
edit Smart Text Reflow settings.

Before (left) and after (right) setting inset and creating two columns in a text frame
If you need to use the same text frame properties for X Height
multiple text frames, create an object style that you can
The height of the "x" character in the font falls below the top
apply to your text frames.
inset of the frame.
First baseline offset options
Fixed
To change the first baseline options of a selected text
Specify the distance between the baseline of the first line
frame, choose Object > Text Frame Options, and click the
of text and the top inset of the frame.
Baseline Options tab. The following options appear in the
Offset menu under First Baseline: Min
Ascent Select a minimum value for the baseline offset. For ex-
ample, if Leading is selected and you specify a minimum
The height of the "d" character in the font falls below the top
value of 1p, InDesign uses the leading value only when it's
inset of the text frame.
greater than 1 pica.
Cap Height
If you want to snap the top of the text frame to a grid, choose
The top of uppercase letters touch the top inset of the text either Leading or Fixed so that you can control the location
frame. of the first baseline of text in text frames.
Leading
Use the text's leading value as the distance between the
baseline of the first line of text and the top inset of the frame.
172 IT&ITES: DTPO - Related Theory for Exercise 2.3.03
Add text to a document Formatting characters
Add text to a document by typing or by pasting or placing Apply baseline shift
text from a word-processing application. If your word-
Use Baseline Shift to move a selected character up or down
processing application supports drag-and-drop, you can
relative to the baseline of the surrounding text. This option
also drag text into InDesign frames. For large blocks of
is especially useful when you're hand-setting fractions or
text, the Place command is an efficient, versatile way to
adjusting the position of inline graphics.
add text to your document. InDesign supports a variety of
word-processing, spreadsheet, and text file formats.
When you place or paste text, you do not need to create
a text frame first; InDesign will create one for you automati-
cally.
When you place text, you can select Show Import Options
Change underline or strikethrough options
to determine whether the imported text maintains its styles
and formatting. Before you paste text, you can select All Creating custom underlining is especially useful when you
Information or Text Only under Clipboard Handling Prefer- want to create an even underline below characters of
ences to determine whether the pasted text includes different sizes, or for creating special effects, such as
additional information such as swatches and styles. background highlighting.
If the text you import into your document includes pink,
green, or another color of highlighting, you likely have one
or more composition preference options turned on. Open
the Composition section of the Preferences dialog box, and
notice which options are turned on under Highlight. For
example, if the pasted text is formatted with fonts not
available, the text is highlighted in pink.
Paste text
If the insertion point is not inside a text frame when you
paste text into InDesign, a new plain text frame will be
created. If the insertion point is inside a text frame, the text Before and after adjusting underlines
will be pasted inside that frame. If you have text selected
when you paste, the pasted text will overwrite the selected Apply ligatures to letter pairs
text.
InDesign can automatically insert ligatures, which are
About import filters typographic replacement characters for certain letter pairs,
InDesign imports most character and paragraph formatting such as "fi" and "fl," when they are available in a given font.
attributes from text files but ignores most page-layout The characters that InDesign uses when the Ligature
information, such as margin and column settings (which option is selected appear and print as ligatures, but are fully
you can set in InDesign). Note the following: editable, and do not cause the spell checker to flag a word
erroneously.
• InDesign generally imports all formatting information
specified in the word-processing application, except
information forward-processing features not available in
InDesign.
• InDesign can add imported styles to its list of styles for
the document. A disk icon appears next to imported
styles.
• The import options appear when you select Show
Import Options in the Place dialog box, or when you
import an Excel file. If Show Import Options is dese- Individual characters (top) and ligature combinations
lected, InDesign uses the import options last used for (bottom)
a similar document type. The options you set remain in
effect until you change them. With OpenType fonts, when you choose Ligatures from the
• If InDesign cannot find a filter that recognizes a file by Character panel menu or Control panel menu, InDesign
either its file type or file extension, an alert message produces any standard ligature defined in the font, as
appears. For best results in Windows, use the standard determined by the font designer. However, some fonts
extension (such as .doc, .docx, .txt, .rtf, .xls, or .xlsx) include more ornate, optional ligatures, which can be
for the type of file you're importing. You may need to produced when you choose the Discretionary Ligatures
open the file in its original application and save it in a command.
different format, such as RTF or text-only.
IT&ITES: DTPO - Related Theory for Exercise 2.3.03 173
About kerning and tracking
Kerning is the process of adding or subtracting space
between specific pairs of characters. Tracking is the
process of loosening or tightening a block of text.
Values for kerning and tracking affect Japa-
nese text but normally these options are used
to adjust the aki between roman characters.
Types of kerning
Kerning and tracking
You can automatically kern type using metrics kerning or
optical kerning. Metrics kerning uses kern pairs, which are A. Original B. Kerning applied between "W" and "a" C.
included with most fonts. Kern pairs contain information Tracking applied
about the spacing of specific pairs of letters. Some of these
are: LA, P., To, Tr, Ta, Tu, Te, Ty, Wa, WA, We, Wo, Ya, How kerning and tracking are measured
and Yo. You can apply kerning, tracking, or both to selected text.
InDesign uses metrics kerning by default so that specific Tracking and kerning are both measured in 1/1000 em, a
pairs are automatically kerned when you import or type unit of measure that is relative to the current type size. In
text. To disable metrics kerning, select "0". a 6 point font, 1 em equals 6 points; in a 10 point font, 1 em
equals 10 points. Kerning and tracking are strictly propor-
Optical kerning adjusts the spacing between adjacent tional to the current type size.
characters based on their shapes. Some fonts include
robust kern-pair specifications. However, when a font Tracking and manual kerning are cumulative, so you can
includes only minimal built-in kerning or none at all, or if you first adjust individual pairs of letters, and then tighten or
use two different typefaces or sizes in one or more words loosen a block of text without affecting the relative kerning
on a line, you may want to use the optical kerning option. of the letter pairs.

Optical kerning adjusts the spacing between adjacent When you click to place the insertion point between two
characters based on their shapes, and is optimized for use letters, InDesign displays kerning values in the Character
with Roman glyphs. Some fonts include robust kern-pair panel and the Control panel. Metrics and optical kerning
specifications. However, when a font includes only minimal values (or defined kern pairs) appear in parentheses.
built-in kerning or none at all, or if you use two different Similarly, if you select a word or a range of text, InDesign
typefaces or sizes in one or more words on a line, you may displays the tracking values in the Character panel and
want to use the optical kerning option for the Roman text Control panel.
in your document. Change the color, gradient, or stroke of text
You can apply colors, gradients, and strokes to characters
and continue to edit the text. Use the Swatches panel and
Stroke panel to apply colors, gradients, and strokes to
text, or change Character Color settings when creating or
editing a style.

Before applying the optical kerning option to

the "W" and "a" pair (top), and after (bottom)

You can also use manual kerning, which is ideal for

adjusting the space between two letters. Tracking and
manual kerning are cumulative, so you can first adjust
individual pairs of letters, and then tighten or loosen a block
of text without affecting the relative kerning of the letter
pairs.
Word kerning isn't the same as the Word Spacing option
in the Justification dialog box; word kerning changes the
kerning value only between a specific word's first character
and the word space preceding that character.

Swatches

174 IT&ITES: DTPO - Related Theory for Exercise 2.3.03

A. Swatch affects fill or stroke B. Swatch affects container A. Unscaled type B. Unscaled type in condensed font C.
or text C. Tint percentage Scaled type in condensed font
Change the case of type Adjust paragraph spacing
The All Caps or Small Caps commands change the You can control the amount of space between paragraphs.
appearance of text, but not the text itself. Conversely, the If a paragraph begins at the top of a column or frame,
Change Case command changes the case setting of InDesign does not honor the Space Before value. In such
selected text. This distinction is important when searching a case, you can increase the leading of the first line of the
or spell-checking text. For example, suppose you type paragraph or increase the top inset of the text frame in
"spiders" in your document and apply All Caps to the word. InDesign.
Using Find/Change (with Case Sensitive selected) to
Use drop caps
search for "SPIDERS" will not find the instance of "spiders"
to which All Caps was applied. To improve search and You can add drop caps to one or more paragraphs at a time.
spell-check results, use the Change Case command The drop cap's baseline sits one or more lines below the
rather than All Caps. baseline of the first line of a paragraph.
Change text to All Caps or Small Caps You can also create a character style that can be applied
to the drop cap characters. For example, you can create
InDesign can automatically change the case of selected
a tall cap (also called a raised cap) by specifying a 1 line,
text. When you format text as small caps, InDesign
1 character drop cap and applying a character style that
automatically uses the small-cap characters designed as
increases the size of the first letter.
part of the font, if available. Otherwise, InDesign synthe-
sizes the small caps using scaled-down versions of the
regular capital letters. The size of synthesized small caps
is set in the Type Preferences dialog box.

One-character, three-line drop cap (left), and

five-character, two-line drop cap (right)

Before (top) and after (bottom) setting BC and AD in Add rules (lines) above or below paragraphs
small caps to complement old-style numerals and
Rules are paragraph attributes that move and are resized
surrounding text
along with the paragraph on the page. If you're using a rule
Scale type with headings in your document, you may want to make the
You can specify the proportion between the height and rule part of a paragraph style definition. The width of the rule
width of the type, relative to the original width and height of is determined by the column width.
the characters. Unscaled characters have a value of 100%. The offset for a rule above a paragraph is measured from the
Some type families include a true expanded font, which is baseline of the top line of text to the bottom of the rule. The
designed with a larger horizontal spread than the plain type offset for a rule below a paragraph is measured from the
style. Scaling distorts the type, so it is generally preferable baseline of the last line of text to the top of the rule.
to use a font that is designed as condensed or expanded,
if one is available.

Placement of rules
Scaling fonts horizontally
IT&ITES: DTPO - Related Theory for Exercise 2.3.03 175
A. Rule above paragraph B. Rule below paragraph Optical Margin Alignment controls whether punctuation
marks (such as periods, commas, quotation marks, and
Ways to control paragraph breaks
dashes) and edges of letters (such as W and A) hang
You can eliminate orphans and widows, words or single outside the text margins, so that the type looks aligned.
lines of text that become separated from the other lines in
a paragraph. Orphans fall at the bottom of a column or
page, and widows fall at the top of a column or page.
Another typographic problem to avoid is a heading that
stands alone on a page with the following paragraph on the
next page. You have several options for fixing widows,
orphans, short exit lines, and other paragraph break
problems:
Discretionary hyphens
A discretionary hyphen (Type > Insert Special Character > Before (left) and after (right) applying Optical Margin
Hyphens And Dashes > Discretionary Hyphen) appears Alignment
only if the word breaks. This option prevents the common
typographic problem of hyphenated words, such as "care- Tabs dialog box overview
giver," appearing in the middle of a line after text reflows.
Similarly, you can also add a discretionary line break Tabs position text at specific horizontal locations in a
character. frame. The default tab settings depend on the Horizontal
ruler units setting in the Units & Increments preferences
No Break dialog box.
Choose No Break from the Character panel menu to Tabs apply to an entire paragraph. The first tab you set
prevent selected text from breaking across a line. deletes all default tab stops to its left. Subsequent tabs
Nonbreaking spaces delete all default tabs between the tabs you set. You can
set left, center, right, and decimal or special-character
Insert a nonbreaking space (Type > Insert White Space > tabs.
[nonbreaking space]) between words you want to keep
together. You set tabs using the Tabs dialog box.

Keep Options
Choose Keep Options from the Paragraph panel menu to
specify how many lines in the following paragraph remain
with the current paragraph.
Start Paragraph
Tabs dialog box
Use Start Paragraph in the Keep Options dialog box to
force a paragraph (usually a title or heading) to appear at A. Tab alignment buttons B. Tab position C. Tab Leader
the top of a page, column, or section. This option works box D. Align On box E. Tab ruler F. Snap above frame
especially well as part of a heading paragraph style.
When you do this in a vertical text frame, the Tabs dialog
Hyphenation Settings box also becomes vertical. When the Tabs dialog box
Choose Hyphenation from the Paragraph panel menu to direction is not consistent with the text frame direction,
change hyphenation settings. click on the magnet icon to snap the rulers to the current
text frame.
Edit text
Add tab leaders
Editing text may not be an option depending on the kind of
document you work with. If you have license to rewrite, then A tab leader is a repeated pattern of characters, such as
subtle rewording can often create a better line break. a series of dots or dashes, between a tab and the following
text.
Use a different composer
1. In the Tabs panel, select a tab stop on the ruler.
In general, use Adobe Paragraph Composer to let InDesign
compose paragraphs automatically. If a paragraph isn't 2. Type a pattern of as many as eight characters in the
composed the way you'd like, choose Adobe Single-line Leader box, and then press Enter or Return. The
Composer from the Paragraph panel menu or Control panel characters you entered repeat across the width of the
menu and adjust selected lines individually. tab.
Create hanging punctuation 3. To change the font or other formatting of the tab leader,
select the tab character in the text frame, and use the
Punctuation marks and letters such as "W" can make the
Character panel or Type menu to apply formatting.
left or right edges of a column appear to be misaligned.

176 IT&ITES: DTPO - Related Theory for Exercise 2.3.03

Insert right indent tabs About masters, stacking order, and layers
In one step, you can add a right-aligned tab at the right A master is like a background that you can quickly apply
indent, making it easier to prepare tabular text that spans to many pages. Objects on a master appear on all pages
an entire column. Right indent tabs are slightly different with that master applied. Master items that appear on
from regular tabs. A right indent tab: document pages are surrounded by a dotted border.
Changes you make to a master are automatically applied
• Aligns all subsequent text to the right edge of the text to associated pages. Masters commonly contain repeat-
frame. If the same paragraph includes any tabs after the ing logos, page numbers, headers, and footers. They can
right indent tab, those tabs and their text are pushed to also contain empty text or graphic frames that serve as
the next line. placeholders on document pages. A master item cannot
• Is a special character located in the text, not in the Tabs be selected on a document page unless the master item
dialog box. You add a right indent tab using a context is overridden.
menu, not the Tabs dialog box. As a result, a right Masters can have multiple layers, just like pages in your
indent tab can't be part of a paragraph style. document. Objects on a single layer have their own
stacking order within that layer. Objects on a master page
• Is different from the Right Indent value in the Paragraph
layer appear behind objects assigned to the same layer in
panel. The Right Indent value keeps the entire right edge
the document page.
of the paragraph away from the right edge of the text
frame. If you want a master item to appear in front of objects on the
document page, assign a higher layer to the object on the
• Can be used with a tab leader. Right indent tabs use the master. A master item on a higher layer appears in front of
tab leader of the first tab stop past the right margin, or, all objects on lower layers. Merging all layers will move
if there isn't one, the last tab stop before the right master items behind document page objects.
margin.
Set indents
Indents move text inward from the right and left edges of the
frame. In general, use first line indents, not spaces or tabs,
to indent the first line of a paragraph.
A first-line indent is positioned relative to the left-margin
indent. For example, if a paragraph's left edge is indented
one pica, setting the first-line indent to one pica indents the
first line of the paragraph two picas from the left edge of the
frame or inset.
Master items (top left) appear behind page objects on the
You can set indents using the Tabs dialog box, the
same layer (bottom left); moving a master item to a higher
Paragraph panel, or the Control panel. You can also set
layer (top right) moves it in front of all objects on lower layers
indents when you create bulleted or numbered lists.
(bottom right).
When setting CJK characters, you can use the mojikumi
Create masters
setting to specify the indent for the first line. However, for
text in which the first line indent was specified in the By default, any document you create has a master page.
Paragraph panel, if you specify indents in mojikumi set- You can create additional masters from scratch or from an
tings, you can make the text indent the sum value of both existing master page or document page. After you apply
indents. master pages to other pages, any changes made to the
source master carry forward to the masters and document
Hanging indent
pages that are based on it. With careful planning, this
In a hanging indent, all the lines in a paragraph are indented provides an easy way to make layout changes to multiple
except for the first line. Hanging indents are especially pages across your document.
useful when you want to add inline graphics at the begin-
Base one master on another
ning of the paragraph.
You can create a master variation that is based on and
updates with another master (called the parent master)
within the same document. The master spreads based on
the parent master are called child masters. For example,
if your document has ten chapters that use master spreads
that vary only slightly, base all of them on a master spread
that contains the layout and objects common to all ten.
This way, a change to the basic design requires editing just
the parent master instead of editing all ten separately. Vary
No indent (left) and hanging indent (right)
the formatting on your child masters. You can override

IT&ITES: DTPO - Related Theory for Exercise 2.3.03 177

parent master items on a child master to create variations
Master items on a document page have a
on a master, just as you can override master items on
dotted border. If you cannot view master items
document pages. This is a powerful way to keep a
on a document page, the master item may be
consistent yet varied design up to date.
hidden on a lower layer or the master items
may be hidden. Choose Show Master Items
from the Pages panel menu.
Move, duplicate, and delete pages and spreads
You can use the Pages panel to freely arrange, duplicate,
and recombine pages and spreads. Keep the following
guidelines in mind when adding, arranging, duplicating, or
removing pages within a document:

Original parent and child masters (left); when the • InDesign preserves the threads between text frames.
parent master is modified, the child masters are
automatically updated (right) • InDesign redistributes pages according to how the
Allow Document Pages To Shuffle command is set.
To base one master on another, in the Masters section of
the Pages panel, do either of the following: • An object that spans multiple pages stays with the
page on which the object's bounding box covers the
• Select a master spread, and choose Master Options for most area.
[master spread name] in the Pages panel menu. For
Control spread pagination
Based On Master, choose a different master, and click
OK. Most documents use two-page spreads exclusively. When
you add or remove pages before a spread, the pages shuffle
• Select the name of the master spread you want to use by default. However, you may want to keep certain pages
as the base and drag it onto the name of another master in a spread together. For example, you can create gatefold
to apply it. or accordion foldouts by creating a multiple-page spread
(also called an island spread) and adding pages to it. By not
allowing pages to shuffle, you can ensure that pages are
kept in the same spread.

B-Master based on A-Master

Apply master pages

Pages panel
If your document contains custom spreads (such as a 3-
or 4 page foldout in a magazine), any master you apply A. One-page spread B. Four-page spread, identified by
should contain the same number of pages. brackets around page numbers C. Entire two-page spread
If your master page has a different page size than the layout selected
page, applying the master page changes the size of the Rotate the spread view
layout page. If the layout page has a custom page size, you
can specify whether to keep the custom layout page size In some instances, you need to edit rotated content.
or apply the size of the master page. Instead of turning your head sideways to look at the rotated
content, you can rotate the spread view. This option is
especially useful for working on rotated calendars and
tables.
Rotating the spread view does not affect printing or output.

178 IT&ITES: DTPO - Related Theory for Exercise 2.3.03

 Rotating the spread

A. Before rotating spread B. Rotated spread view C. Rotate

icon in Pages panel
Use multiple page sizes
You can define different page sizes for pages within a single
document. This feature is especially useful when you want
to manage related designs in one file. For example, you
can include business card, postcard, letterhead, and
envelope pages in the same document. Using multiple
page sizes is also useful for creating gate-fold layouts in
magazines.

Multiple page sizes in same document

A. Magazine page B. Gate-fold page C. Spine page

IT&ITES: DTPO - Related Theory for Exercise 2.3.03 179

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.04

Placing and editing graphics

Objectives : At the end of this lesson you shall be able to
• explain Place and control the graphics
• reusing graphics and text
• use Content Collector and Managing graphics links
• wrapping text around objects.

Place (import) graphics Also select this option when you import EPS files contain-
ing OPI comments that are not part of a proxy-based
The Place command is the primary method used to insert
workflow. For example, if you import an EPS file containing
graphics into InDesign because it provides the highest level
OPI comments for an omitted TIFF or bitmap image, you'll
of support for resolution, file formats, multipage PDF and
want to select this option so that InDesign can access the
INDD files, and color. To place graphics is also referred to
TIFF information when you output the file.
as import images and insert pictures.
Apply Photoshop Clipping Path - Regardless of whether
If you're creating a document in which those characteris-
this option is selected, a placed EPS file includes a
tics aren't critical, you can copy and paste to import
clipping path in InDesign. However, deselecting this option
graphics InDesign. Pasting, however, embeds a graphic in
may result in a different bounding box size.
a document; the link to the original graphic file is broken
and doesn't appear in the Links panel, and you can't update Proxy Generation - This creates a low-resolution bitmap
the graphic from the original file. However, pasting Illustra- representation of an image when drawing the file to the
tor graphics allows you to edit paths in InDesign screen. The following settings control how the proxy will be
generated:
The options available to you when you place a graphics file
depend on the type of graphic. These options appear when Use TIFF Or PICT Preview - Some EPS images contain
you select Show Import Options in the Place dialog box. If an embedded preview. Select this option to generate the
you don't select Show Import Options, InDesign applies the proxy image of the existing preview. If a preview does not
default settings or the last settings used in placing a exist, the proxy will be generated by rasterizing the EPS
graphics file of that type. to an offscreen bitmap.
The names of graphics you've placed (imported) appear in Rasterize The PostScript - Select this option to ignore
the Links panel the embedded preview. This option is typically slower but
provides the highestquality results.
If you place or drag a graphic from a removable
media, such as a CD, the link will break when When you import more than one single file into
you remove that media from your system. the same document, all instances share the
proxy setting of the first instance of the im-
Import options for graphics
ported file.
When you place an EPS graphic (or a file saved with
Bitmap import options
Illustrator 8.0 or earlier) and select Show Import Options in
the Place dialog box, you'll see a dialog box containing You can apply color-management options to individual
these options: imported graphics when using color-management tools
with a document. You can also import a clipping path or an
Read Embedded OPI Image Links - This option tells
alpha channel saved with an image created in Photoshop.
InDesign to read links from OPI comments for images
Doing so lets you directly select an image and modify its
included (or nested) in the graphic.
path without changing the graphics frame.
Deselect this option if you're using a proxy-based workflow
When you place a PSD, TIFF, GIF, JPEG, or BMP file and
and plan to have your service providers perform the image
select Show Import Options in the Place dialog box, you'll
replacement using their OPI software. When this option is
see a dialog box containing these options:
deselected, InDesign preserves the OPI links but does not
read them. When you print or export, the proxy and the Apply Photoshop Clipping Path If this option isn't
links are passed on to the output file. Select this option if available, the image wasn't saved with a clipping path, or
you're using a proxy-based workflow and you want InDesign, the file format doesn't support clipping paths. If the bitmap
instead of your service provider, to perform image replace- image doesn't have a clipping path, you can create one in
ment when you output the final file. When you select this InDesign.
option, the OPI links appear in the Links panel. Alpha channel Select an alpha channel to import the area
of the image saved as an alpha channel in Photoshop.

180
InDesign uses the alphachannel to create a transparent When you place a PDF (or a file saved with Illustrator 9.0
mask on the image. This option is available only for images or later) and select Show Import Options in the Place dialog
that contain at least one alpha channel. box, you'll see a dialog box containing the following
options:
Portable Network Graphics (.png) import options
Show Preview Preview a page in the PDF before you
When you place a PNG image and select Show Import
place it. If you're placing a page from a PDF that contains
Options in the Place dialog box, you'll see a dialog box with
multiple pages, click the arrows, or type a page number
three sections of import settings. Two sections contain the
under the preview image to preview a specific page.
same options available for other bitmap image formats. The
other section, PNG Settings, contains the following set- Pages Specify the pages you want to place: the page
tings: displayed in the preview, all pages, or a range of pages. For
Illustrator files, you can specify which artboard to place.
Use Transparency Information This option is enabled by
default when a PNG graphic includes transparency. If an If you specify multiple pages, hold down Alt (Windows) or
imported PNG file contains transparency, the graphic Option (Mac OS) while placing the file to place them all at
interacts only where the background is transparent. the same time, overlapping each other.
White Background If a PNG graphic does not contain a Crop To Specify how much of the PDF page to place:
file-defined background color, this option will be selected
Bounding Box Places the PDF page's bounding box, or the
by default. However, it is only enabled if Use Transparency
minimum area that encloses the objects on the page,
Information is activated. If this option is selected, white is
including page marks. The Bounding Box (Visible Layers
used as the background color when applying transparency
Only) option uses the bounding box only of the visible
information.
layers of the PDF file. The Bounding Box (All Layers) option
File Defined Background Color If a PNG graphic was places the bounding box of the entire layer area of the PDF
saved with a non-white background color, and Use Trans- file, even if layers are hidden.
parency Information is selected, this option is selected by
Art Places the PDF only in the area defined by a rectangle
default. If you don't want to use the default background
that the author created as a placeable artwork (for ex-
color, click White Background to import the graphic with a
ample, clip art).
white background, or deselect Use Transparency Informa-
tion to import the graphic without any transparency (dis- Crop Places the PDF only in the area that is displayed or
playing areas of the graphic that are currently transparent). printed by Adobe Acrobat.
Some image-editing programs can't specify a non-white Trim Identifies the place where the final produced page will
background color for PNG graphics. be physically cut in the production process, if trim marks
Apply Gamma Correction Select this option to adjust the are present.
gamma (midtone) values of a PNG graphic as you place it. Bleed Places only the area that represents where all page
This option lets you match image gamma to the gamma of content should be clipped, if a bleed area is present. This
the device you will use to print or display the graphic (such information is useful if the page is being output in a
as a low-resolution or non-PostScript printer or computer production environment. Note that the printed page may
monitor). Deselect this option to place the image without include page marks that fall outside the bleed area.
applying any gamma correction. By default, this option is
selected if the PNG graphic was saved with a gamma value. Media Places the area that represents the physical paper
size of the original PDF document (for example, the
Gamma Value This option, available only if Apply Gamma dimensions of an A4 sheet of paper), including page marks.
Correction is selected, displays the gamma value that was
saved with the graphic. To change the value, type a positive Transparent Background Select this option to reveal text
number from 0.01 to 3.0. When PNG files are imported, the or graphics that fall beneath the PDF page in the InDesign
settings in the Image Import Options dialog box are always layout. Deselect this option to place the PDF page with an
based on the selected file, not on the default or lastused opaque white background.
settings. If you make the background transparent in a frame contain-
Acrobat (.pdf) and Illustrator (.ai) import options ing a PDF graphic, you can make it opaque later by adding
a fill to the frame.
The layout, graphics, and typography in a placed PDF are
preserved. As with other placed graphics, you cannot edit InDesign (.indd) import options
a placed PDF page within InDesign. You can control the InDesign preserves the layout, graphics, and typography in
visibility of layers in a layered PDF. You can also place a placed INDD file. However, the file is treated as an object,
more than one page of a multipage PDF. and you can't edit it, although you can control the visibility
When you place a PDF that was saved with passwords, of layers and choose which pages of a multi-page INDD file
you'll be prompted to enter the required passwords. If the to import.
PDF file was saved with usage restrictions (for example, no When you place an InDesign file and select Show Import
editing or printing), but no passwords, you can place the Options in the Place dialog box, you'll see a dialog box
file. containing the following options:
IT&ITES: DTPO - Related Theory for Exercise 2.3.04 181
Show preview Preview a page before you place it. You After dragging and dropping a file from any location other
can type a page number or click the arrows to preview a than Illustrator, it appears in the Links panel in InDesign.
page in a multi-page document. Using the Links panel, you can control versions and update
as necessary.
Pages Specify the pages you want to place: the page
displayed in the preview, all pages, or a range of pages. Pasting Illustrator graphics into InDesign
Crop to Specify how much of the page or pages to place, When you paste a graphic from Illustrator 8.0 or later into
the page itself or the bleed or slug areas on the pasteboard. an InDesign document, the artwork appears in InDesign as
a grouped collection of editable objects. For example, if
Control layer visibility in imported images
you paste an Illustrator drawing of a soccer ball with
When you import Photoshop PSD files, layered PDFs, and individually created patches into InDesign, the patches are
INDD files, you can control the visibility of top-level layers. pasted as a group, which can be ungrouped and edited
Adjusting layer visibility in InDesign lets you vary an using tools in InDesign. You cannot change the visibility of
illustration depending on context. For example, in a layers within the illustration.
multilanguage publication, you can create a single illustra-
tion that includes one text layer for each language.
You can adjust layer visibility either when you place a file
or by using the Object Layer Options dialog box. In
addition, if the Photoshop file contains layer comps, you
can display the desired comp.
Paste or drag graphics
Illustration of soccer ball in Illustrator (left) and same
When you copy and paste or drag a graphic into an
illustration pasted into InDesign (right)
InDesign document, some attributes of the original object
may be lost, depending on the limitations of the operating
system and the range of data types the other application Before pasting a graphic, make sure that Illus-
makes available for transfer, and the InDesign Clipboard trator is configured to copy as AICB (see Illus-
preferences. Pasting or dragging Illustrator graphics lets trator Help). In InDesign, make sure that Prefer
you select and edit paths within the graphic. PDF When Pasting isn't selected in the Clip-
board Handling preferences. If these options
Copying and pasting or dragging between two InDesign
aren't set properly, the Illustrator graphic can-
documents, or within a single document, however, pre-
not be edited in InDesign.
serves all of the graphics attributes that were imported or
applied. For example, if you copy a graphic from one Issues you may encounter when pasting or dragging
InDesign document and paste it into another, the new copy art from Illustrator to InDesign
will be an exact duplicate of the original, even including the Color
original's link information, so that you can update the
graphic when the file on disk changes. Illustrator supports the Grayscale, RGB, HSB, CMYK, and
Web Safe RGB color models. InDesign supports LAB,
Copy and paste graphics CMYK and RGB. When you paste or drag artwork from
When copying and pasting a graphic from another docu- Illustrator into InDesign, RGB and CMYK colors convert in
ment into an InDesign document, InDesign does not create the expected color model. Grayscale colors are converted
a link to the graphic in the Links panel. The graphic may be to the appropriate K value in a CMYK color in InDesign.
converted by the system clipboard during the transfer, so HSB and Web Safe RGB objects are converted to RGB
both image quality and print quality may be lower in color in InDesign. Colors in smooth shades and gradients
InDesign than in the graphic's original application. can be edited in InDesign.
Drag and drop graphics Gradients
The drag-and-drop method works like the Place command, Linear or radial gradients created in Illustrator can be
with images appearing in the Links panel after they're modified using the Gradient tool or Gradient panel in
imported. You cannot set import options for the files you InDesign. Gradients with multiple spot colors or complex
drag and drop; however, you can drag and drop multiple patterns may appear as non editable items in InDesign. If
files at once (the files are loaded in the graphics icon when your illustration contains complex gradients, import it
you drag and drop more than one). using the Place command instead.
Select a graphic from Adobe Illustrator, Adobe Bridge, Transparency
Explorer (Windows), the Finder (Mac OS), or your desktop, Transparency is flattened when Illustrator art is pasted or
and drag it into InDesign. The image must be in a format dragged into InDesign.
that InDesign can import.
Graphic styles
Illustrator Graphic Styles don't become InDesign Object
Styles when art is pasted or dragged into InDesign.
182 IT&ITES: DTPO - Related Theory for Exercise 2.3.04
Patterns color with the correct color values, and then alias the PSD
color to this new spot color. The graphic will then print
Illustrator objects filled or stroked with patterns become
correctly as composite and display correctly on screen
embedded EPS images when pasted or dragged into
when Overprint Previewis turned on (choose View > Over-
InDesign.
print Preview). Be sure to remove the alias before printing
Text separations, so that the image prints on the plate you
If you drag text from Illustrator into InDesign, it's converted expect.
to outlines and isn't editable with the Text tool. If you select Importing PDF pages
text using the Text tool in Illustrator, and then copy it into
Using the Place command, you can specify which pages
a text frame in InDesign, the text loses its formatting but is
you want to import from a multipage PDF or an Illustrator
editable. If you drag the text into InDesign without a frame
file with multiple artboards. You can place a single page,
selected, the text loses all formatting and isn't editable.
a range of pages, or all pages. Multipage PDF files let
When you paste text from Illustrator, the text is imported designers combine illustrations for a publication into a
as one or more objects that can be transformed and single file.
colorized in InDesign, but not edited. For example, if you
The page range options appear when you select Show
create text on a path in Illustrator and paste it into InDesign,
Import Optionsin the Place dialog box. The dialog box
the text can be colorized, rotated, and scaled, but it cannot
includes a preview, so you can view a thumbnail of the
be edited using the Type tool. If you want to edit the text,
pages before you place them. If you place multiple pages,
use the Type tool and paste it into a text frame.
InDesign reloads the graphics icon with the next page,
Artwork letting you place the pages one after the next. InDesign
Artwork copied from Illustrator and pasted into InDesign is doesn't import movies, sound, links, or buttons when you
embedded in the InDesign document. No link to the original place a PDF file.
Illustrator file is created. Importing InDesign (.indd) pages
Importing Adobe Photoshop (.PSD) files Using the Place command, you can import pages from one
You can place graphics created in Adobe Photoshop 4.0 InDesign document into another. You can import a page,
and later directly into an InDesign layout. a page range, or all of the pages in the document. The
pages are imported as objects (much the same way that
Layers and layer comps PDFs are imported).
You can adjust the visibility of the top-level layers in Add pages in your document to hold the pages you want
InDesign, as well as view different layer comps. Changing to import. After you choose File > Place and select an INDD
layer visibility or layer comps in InDesign does not alter the file, you can choose Show Import Options and then choose
original Photoshop file. which pages to import, which layers to make visible, and
Paths, masks, or alpha channels how to crop the imported pages. You can scroll in the
Preview window to examine the thumbnail pages closely.
If you save paths, masks, or alpha channels in a Photoshop The page or pages you select are loaded in the graphics
file, InDesign can use them to remove backgrounds, or to icon. If you place multiple pages, InDesign loads the
wrap text around graphics. Graphics that contain paths, graphics icon with the following page so you can import
masks, or alpha channels act as transparent objects when pages one after the other.
imported.
The Links panel lists the names of each page you
ICC color management profile imported. If a page you imported contains a
If you place a Photoshop image with an embedded ICC graphic or other item that was imported into it,
color management profile, InDesign reads the embedded this item is listed as well in the Links panel. The
profile, provided that color management is active. You can names of these secondary imported items are
override the embedded profile for the image using the listed under a disclosure triangle in the Links
Import Options dialog box or assign a different color profile panel to distinguish them from imported pages.
to the graphic in InDesign. Overriding the color profile in Importing other graphics formats
InDesign will not remove or alter the profile embedded in the
Photoshop image. InDesign supports a variety of graphics formats, including
bitmap formats such as TIFF, GIF, JPEG, and BMP, and
Spot-color channels vector formats such as EPS. Other supported formats
Spot-color channels in Adobe Photoshop PSD or TIFF files include DCS, PICT, WMF, EMF, PCX, PNG, and Scitex CT
appear in InDesign as spot colors in the Swatches panel. (.sct). You can import an SWF file as a movie file.
If the image uses a spot color that InDesign does not TIFF (.tif) files
recognize, the spot color may appear gray in the InDesign
document and print incorrectly as a composite. (The image TIFF is a flexible bitmap image format supported by virtually
will print correctly on color separations, however.) To all painting, image-editing, and page-layout applications.
simulate the graphic as a composite, you can create a spot Also, virtually all desktop scanners can produce TIFF
images.
IT&ITES: DTPO - Related Theory for Exercise 2.3.04 183
The TIFF format supports CMYK, RGB, grayscale, Lab, some web browsers. BMP graphics can provide accept-
indexed-color, and bitmap files with alpha and spot-color able quality when printed on low-resolution or non-PostScript
channels. You can select an alpha channel when you place printers.
a TIFF file. Spot-color channels appear in InDesign as spot
Encapsulated PostScript (.eps) files
colors in the Swatches panel.
The Encapsulated PostScript (EPS) file format is used to
You can use an image-editing program such as Photoshop
transfer PostScript language artwork between applica-
to create a clipping path to create a transparent back-
tions, and is supported by most illustration and page-
ground for a TIFF image. InDesign supports clipping paths
layout programs. Typically, EPS files represent single
in TIFF images and recognizes encoded OPI comments.
illustrations or tables that are placed into your layout, but
Graphics Interchange Format (.gif) files an EPS file can also represent a complete page.
Graphics Interchange Format (GIF) is a standard for Because they are based on the PostScript language, EPS
displaying graphics on the World Wide Web and other files can contain text, vector, and bitmap graphics. Since
online services. Because it compresses image data with- PostScript cannot normally be displayed on screen,
out losing detail, its compression method is called lossless. InDesign creates a bitmap preview for an EPS file for on
Such compression works well with graphics that use a screen display. InDesign recognizes clipping paths in
limited number of solid colors such as logos and charts; Photoshop-created EPS files.
however, GIF cannot display more than 256 colors. For this
When you import an EPS file, any spot colors it contains
reason it is less effective for displaying photographs online
are added to the Swatches panel in InDesign. EPS allows
(use JPEG instead) and is not recommended for commer-
for prepress-quality resolution, precision, and color. This
cial printing. If an imported GIF file contains transparency,
format includes all of the color and image data required to
the graphic interacts only where the background is trans-
color-separate DCS images embedded in the EPS graphic.
parent.
EPS isn't ideal for online publishing in HTML, but it works
JPEG (.jpg) files well for online publishing in PDF.
The Joint Photographic Experts Group (JPEG) format is EPS files can contain Open Prepress Interface (OPI)
commonly used to display photographs and other continu- comments, which let you use fast, low resolution versions
ous-tone images in HTML files over the web and in other (proxies) of images for positioning on a page. For final
online media. The JPEG format supports CMYK, RGB, and output, either InDesign or your prepress service provider
grayscale color modes. Unlike GIF, JPEG retains all of the can automatically replace the proxies with high-resolution
color information in an RGB image. versions.
JPEG uses an adjustable, lossy compression scheme Desktop Color Separations (.dcs) files
that effectively reduces file size by identifying and discard-
Desktop Color Separations (DCS), developed by Quark, is
ing extra data not essential to the display of the image. A
a version of the standard EPS format. The DCS 2.0 format
higher level of compression results in lower image quality;
supports multichannel CMYK files with multiple spot
a lower level of compression results in better image quality,
channels. (These spot channels appear as spot colors in
but a larger file size. In most cases, compressing an image
the Swatches panel in InDesign.) The DCS 1.0 format
using the Maximum quality option produces a result that is
supports CMYK files without spot channels. InDesign
indistinguishable from the original. Opening a JPEG image
recognizes clipping paths in Photoshop-created DCS 1.0
automatically decompresses it.
and DCS 2.0 files.
JPEG encoding, which can be performed on an
DCS files are intended to be used in a preseparated, host-
EPS or DCS file in an image-editing application
based workflow. In most cases, color separations files
such as Photoshop, does not create a JPEG file.
associated with a DCS image are excluded when you
Instead, it compresses the file using the JPEG
export or print a composite to a PDF, EPS, or PostScript
compression scheme explained above.
file. (The sole exception is made for 8 bit DCS files that were
JPEG works well for photographs, but solid-color JPEG created in Photoshop and that do not contain vector
images (images that contain large expanses of one color) graphics)
tend to lose sharpness. InDesign recognizes and supports
InDesign can rebuild a composite image from DCS 2.0 or
clipping paths in JPEG files created in Photoshop. JPEG
1.0 separations files, if the files were created in Photoshop.
can be used for both online and commercially printed
For best results, do not include DCS 1.0 files or DCS 2.0
documents; work with your prepress service provider to
files created in programs other than Photoshop when you
preserve JPEG quality in printing.
are creating high-resolution color composite proofs or
Bitmap (.bmp) files separating a document in RIP or from a composite file.
BMP is the standard Windows bitmap image format on Macintosh PICT (.pict) files
DOS and Windows-compatible computers. However, BMP
The Macintosh PICT (or Picture) format is used for Mac OS
does not support CMYK, and its color support is limited to
graphics and page-layout applications, and for transferring
1, 4, 8, or 24 bits. It is less than ideal for commercially
files between applications. The PICT format compresses
printed or online documents, and it is not supported by
images that contain large areas of solid color. InDesign can
184 IT&ITES: DTPO - Related Theory for Exercise 2.3.04
import PICT files created from Mac OS screenshots and a Check the display settings
variety of other applications, including clip art collections.
To display graphics in high resolution, choose View Dis-
However, PICT files are not recommended for high-resolu-
play Performance High Quality Display. For more details
tion commercial printing.
on changing these display performance settings, see
InDesign supports RGB PICT images with variable resolu- Control graphics' display performance.
tions and embedded QuickTime images. PICT graphics do
Use Place instead of Paste
not support color separations, are device-dependent, and
are not recommended for high-resolution commercial print- The image may still be low resolution even though you
ing. The PICT format can provide acceptable quality only changed the display performance settings. For these
when printed on low-resolution or non-PostScript printers. images, make sure that you use the Place command to
Windows Metafile Format (.wmf) and Enhanced Metafile insert the image into InDesign. In some instances, pasting
Format (.emf) files an image from another application may result in the preview
image being inserted instead of the original file.
Windows Metafile Format (WMF) and Windows Enhanced
Metafile Format (EMF) are native Windows formats used Check your print settings
primarily for vector graphics, such as clip art, shared If your image appears in low resolution in print, check your
between Windows applications. Metafiles may contain print settings to make sure graphics are printing properly.
raster image information; InDesign recognizes the vector In the Graphics section of the Print dialog box, choose
information and provides limited support for raster opera- Send Data All.
tions. Color support is limited to 16 bit RGB, and neither
format supports color separations. As a general rule, avoid Avoid transformations in images of borderline quality
using Metafile formats for commercially printed docu- In addition, scaling or rotating an image could reduce its
ments. quality. You may want to choose Clear Transformations
PCX (.pcx) files from the Control panel menu.

The PCX format is commonly used in Windows systems. Improve the image resolution
Most Windows software supports version 5 of the PCX In some cases, such as with an image copied from a web
format. page, you may need to replace a low-resolution image with
The PCX format supports RGB, indexed-color, grayscale, a high-resolution image.
and bitmap color modes, as well as the RLE compression Control graphics' display performance
method, which is lossless. It does not support alpha
channels. Images can have a bit depth of 1, 4, 8, or 24 bits. You can control the resolution of graphics placed in your
However, PCX is not ideal for commercially printed or online document. You can change the display settings for the
documents. PCX graphics can provide acceptable quality entire document or for individual graphics. You can also
only when printed on low-resolution or non-PostScript change a setting that either allows or overrides the display
printers. settings for individual documents.
Portable Network Graphics (.png) files Change a document's display performance
The Portable Network Graphics (PNG) format uses adjust- A document always opens using the default Display
able, lossless compression to display 24 bit photographs Performance preferences. You can change the display
or solid-color images on the World Wide Web and in other performance of a document while it is open, but the setting
online media. PNG was developed as a patent-free alterna- won't be saved with the document.
tive to the GIF file format. It supports transparency in an If you've set the display performance of any images
alpha channel or a designated color. PNG is best used for separately, you can override the settings so all objects use
online documents. Color PNG graphics placed in an the same settings.
InDesign document are RGB bitmap images.
1. Choose View > Display Performance, and select an
Scitex CT (.sct) files
option from the submenu.
The Scitex Continuous Tone (CT) format is used for high-
2. To force objects that you have set individually to display
end image processing on Scitex computers. Scitex CT
using the document setting, deselect View > Display
files often come from Scitex scanners, which produce high-
Performance > Allow Object-Level Display Settings. (A
quality scans for commercial printing. The Scitex CT
check mark indicates it is selected)
format supports CMYK, RGB, and grayscale files, but
does not support alpha channels. Contact Scitex to obtain Ways to reuse graphics and text
utilities for transferring files saved in the Scitex CT format
InDesign offers several different ways to repurpose graph-
to a Scitex system.
ics and text.
Fixing low-resolution images
Snippets A snippet is a file that contains objects and
Graphics you place in your document may appear pixelated describes their location relative to one another on a page
or fuzzy or grainy. In most cases, it's because InDesign or spread.
displays images in low resolution by default to improve
performance.
IT&ITES: DTPO - Related Theory for Exercise 2.3.04 185
Object libraries An object library provides a convenient When you add a page element, such as a graphic, to an
place to store items such as logos, sidebars, pull-quotes, object library, InDesign preserves all attributes that were
and other repeating items. imported or applied. For example, if you add a graphic from
an InDesign document to a library, the library copy will
Templates A template is a document that includes
duplicate the original, including the original's link informa-
placeholder text and graphics.
tion, so that you can update the graphic when the file on
Use snippets disk changes.
A snippet is a file that holds objects and describes their If you delete the object from the InDesign document, the
location relative to one another on a page or page spread. object's thumbnail will still appear in the Library panel, and
Use snippets to conveniently reuse and position page all of the link information will remain intact. If you move or
objects. Create a snippet by saving objects in a snippet file, delete the original object, a missing link icon will appear
which has the .IDMS extension. (Previous InDesign ver- next to the object's name in the Links panel the next time
sions use the .INDS extension.) When you place the you place it in your document from the Library panel.
snippet file in InDesign, you can determine whether the
Within each object library, you can identify and search for
objects land in their original positions or where you click.
an item by title, by the date it was added to the library, or
You can store snippets in the Object library and in Adobe
by keywords. You can also simplify the view of an object
Bridge as well as on your hard disk.
library by sorting the library items and displaying their
Snippets contents retain their layer associations when you subsets. For example, you can hide all items except EPS
place them. When a snippet contains resource definitions files.
and these definitions are also present in the document to
Linked Content
which it is copied, the snippet uses the resource definitions
in the document. Replicating content across various pages is no easy task;
copy-pasting can be cumbersome and time consuming.
Snippets you create in InDesign CS5 can be opened in
Use linked content features to manage multiple versions of
InDesign CS4 but not in any other previous version of
content. You can place and link content within the same
InDesign.
document or even across different documents. Linked
Choose how to place snippets content makes it easier to support emerging workflows,
Rather than place snippet objects according to where you where for example, you design for vertical and horizontal
click on a page, you can place them in their original layouts. Linked content also works well for traditional print
locations. For example, a text frame that appeared in the and publishing workflows, where you synchronize boilerplate
middle of a page when it was made part of a snippet can text on different pages or documents.
appear in the same location when you place it as a snippet. Linked content behaves similar to traditional links. You can
In File Handling preferences, choose Original Location designate an object as parent, and then place it at other
from the Position At menu to preserve objects' original places as child objects. Whenever you update the parent
locations in snippets. Choose Cursor Location from the object, the child objects are flagged and you can update
Position At menu to place snippets according to where you them to synchronize with the parent.
click a page. You can place and link objects using either the Content
You can press Alt (Windows) or Option (Mac) to override Collector tools, or choose Edit Place and Link menu
the Position setting you selected for handling snippets. For command.
example, if you selected Position at Cursor Location but The icon displays on the upper-left corner of linked object.
you want to place snippet objects in their original locations, The item is displayed as linked object in the Links panel.
hold down the Alt/Option key when you click the loaded
Content Collector tools
snippet cursor on the page.
Content Collector and Placer tools let you duplicate page
Use object libraries
items and place them on open InDesign documents. As
Object libraries help you organize the graphics, text, and content is collected, it is displayed in the Content Con-
pages you use most often. You can also add ruler guides, veyor. Use Content Conveyor to easily and quickly place
grids, drawn shapes, and grouped images to a library. You and link multiple page items within and across open
can create as many libraries as you need-for example, you documents.
can create different object libraries for varied projects or
Click in the toolbox to open the Content Conveyor.
clients.
Use Content Collector tool to select an object and add it to
During a work session, you can open as many libraries as
the conveyor
system memory will allow. Object libraries can be shared
across servers, and across platforms, but only one person Use Content Placer to place page object on a page
can have the library open at a time. If an object library
Press B to toggle between Content Collector and Content
includes text files, make sure that the file's fonts are
Placer tool.
available and active on all systems that will access the
library.

186 IT&ITES: DTPO - Related Theory for Exercise 2.3.04

Content Collector All: Use this option to load items from all pages and
pasteboard
Use the Content Collector to add page items to the Content
Conveyor. Enable Create Single set to group all the items in a single
set.
Content Placer
You can collect individual page items, or collect related
Use the Content Placer to place the items from the Content items as "sets." In some cases InDesign automatically
Conveyor to the document. When you select this tool, the creates sets to preserve the relational integrity of the page
current item is added to the place gun. items.
Create Link The following are a few method of collecting items as sets,
Enable Create Link to link the placed item to the original some manual and some automatic:
location of the collected item. You can manage the links Marquee select a number of items Use the Load Conveyor
using the Links panel. option and then select range of pages or all document
Map Styles content or selected items and items will be accordingly
collected in a set.
Map paragraph, character, table, or cell styles, between
the original and placed items. By default, style names are Collect an item that has related content such as a part of
used for mapping an interactive button that has other items and states
associated with it, it will collect all related items in a set
Edit Custom Style Mapping (this set will always drop in one gesture)
Define custom style mapping between the original and Collect a text box with threaded text spanning into other
placed items. Map the styles to automatically replace objects and 'collect All Threaded Text Frames' checkbox
original styles in the placed item. is checked on the conveyor, it will pick all threaded text
Place Options boxes into a set.
Specify the Conveyor options while placing items. Link options
Remove items from the conveyor after you place them Preserve Local Edits while Updating Object Links Select
from the available categories to preserve local edits while
Place the current item multiple times. The item remains updating links.
loaded in the place gun.
Appearance
Place the item and move to the next item. The item is
however kept in the conveyor Object style attributes such as Stroke, Fill, Effects. This
excludes any text or text frame related attributes, such as
Browse overprinting, non-printing settings etc
Navigate through the items in the Content Conveyor. Size and Shape
Collect All Threaded Frames Height, width, transforms, text frame attributes, and other
Enable this option to collect all threaded frames. The story column size attributes
and all frames are collected. If this option is disabled, the Interactivity
story is collected in a single frame.
Animation, object States, button actions
Load Conveyor
Frame Content
Use to load the conveyor with items.
Image, video, content placed or pasted into frames, and
Selection: Use this option to load all selected items effects and settings applied directly to such objects.
Pages: Use this option to load all items on the specified
pages
IT&ITES: DTPO - Related Theory for Exercise 2.3.04 187
Others
Attributes excluded from other categories, such as text
wrap on frames, object export options; text frame attributes
such as , baseline options, auto-size options, vertical
justification and so on.
About links and embedded graphics
When you place a graphic, you see a screen-resolution
version of the file in the layout so that you can view and
position it. However, the actual graphic file may be either
linked or embedded.
Linked artwork is connected to, but remains independent
of, the document, resulting in a smaller document. You can
modify linked artwork using transformation tools and ef-
fects; however, you cannot select and edit individual
components in the artwork. You can use the linked graphic Links panel
many times without significantly increasing the size of the
A. Category columns B. Show/Hide Link Information
document; you can also update all links at once. When you
C. Modified icon D. Missing-link icon E. Embedded-link
export or print, the original graphic is retrieved, creating the
icon
final output from the full resolution of the originals.
When the same graphic appears several times in the
Embedded artwork is copied into the document at full
document, the links are combined under a disclosure
resolution, resulting in a larger document. You can control
triangle in the Links panel. When a linked EPS graphic or
versions and update the file whenever you like; as long as
InDesign document contains links, the links are also
the artwork is embedded, your document is self-sufficient.
combined under a disclosure triangle.
To determine if artwork is linked or embedded, or change
A linked file can appear in the Links panel in any of the
its status from one to the other, use the Links panel.
following ways:
If the bitmap image you place is 48K or smaller, InDesign
Up to Date
automatically embeds the full resolution image instead of
the screen-resolution version in your layout. InDesign An up-to-date file is blank in the Status column.
displays these images in the Links panel, so that you can
Modified
control versions and update the file whenever you like;
however, the link is not necessary for optimal output. This icon means that the version of the file on disk is more
recent than the version in your document. For example,
If you move a document to another folder or
this icon appears if you import a Photoshop graphic into
disk (for example, if you take it to a service
InDesign, and then you or someone else edits and saves
provider), be sure that you also move the linked
the original graphic in Photoshop.
graphics files; they are not stored inside the
document. You can copy all related files auto- A slightly different version of the Modified icon appears
matically, using the Preflight and Package when a graphic is modified and one or more instances are
updated while others are not.
Links panel overview
Missing
All files placed in a document are listed in the Links panel.
These include both local (on disk) files and assets that are The graphic is no longer in the location from which it was
managed on a server. However, files that are pasted from imported, although it may still exist somewhere. Missing
a website in Internet Explorer do not display in this panel. links can happen if someone deletes the original file or
moves it to a different folder or server after it's been
In InCopy, the Links panel also displays linked stories.
imported. You can't know whether a missing file is up to
When you select a linked story in the Links panel, the Link
date until its original is located. If you print or export a
Info section displays information such as the number of
document when this icon is displayed, the file may not print
notes, the managed status, and the status of tracked
or export at full resolution.
changes.
Embedded
Embedding the contents of a linked file suspends manage-
ment operations for that link. If the selected link is currently
in an "edit in place" operation, this option is not enabled.
Unembedding the file restores management operations to
the link.

188 IT&ITES: DTPO - Related Theory for Exercise 2.3.04

If a linked object does not appear on a specific document You can wrap text around any object, including text
page, the following codes indicate where the object ap- frames, imported images, and objects you draw in InDesign.
pears: PB (pasteboard), MP (master page), OV (overset When you apply a text wrap to an object, InDesign creates
text), and HT (hidden text). a boundary around the object that repels text. The object
that text wraps around is called the wrap object. Text wrap
Update, restore, and replace links
is also referred to as runaround text.
Use the Links panel to check the status of any link, or to
Keep in mind that text wrap options apply to the object
replace files with updated or alternate files.
being wrapped, not the text itself. Any change to the wrap
When you update or reestablish (relink) a link to a file, any boundary will remain if you move the wrap object near a
transformations performed in InDesign are preserved (if you different text frame.
choose Relink Preserved Dimensions in the File Handling
Wrap Around Bounding Box
preferences). For example, if you import a square graphic
and rotate it 30°, and then you relink it to an unrotated Creates a rectangular wrap whose width and height are
graphic, InDesign rotates it 30° to match the layout of the determined by the bounding box of the selected object,
graphic it's replacing. including any offset distances you specify.
Placed EPS files may contain OPI links, which Wrap Around Object Shape
appear in the Links panel. Don't relink OPI links
Also known as contour wrapping, creates a text wrap
to files other than those originally intended by
boundary that is the same shape as the frame you've
the creator of the EPS file; doing so can cause
selected (plus or minus any offset distances you specify).
problems with font downloading and color
separations Jump Object
Relink to a different folder Keeps text from appearing in any available space to the
right or left of the frame.
When you use the Relink To Folder command, you can
point to a folder that contains files with the same names as Jump To Next Column
your out-of-date links. For example, if your current links Forces the surrounding paragraph to the top of the next
point to low-resolution images, you can specify a different column or text frame
folder that contains high-resolution images.
Wrap text around imported images
Edit original artwork
To wrap text around an imported image, save the clipping
The Edit Original command lets you open most graphics in
path in the application where you created the image, if
the application in which you created them so that you can
possible. When you place the image in InDesign, select
modify them as necessary. Once you save the original file,
the Apply Photoshop Clipping Path option in the Image
the document in which you linked it is updated with the new
Import Options dialog box.
version.
In InDesign, if you check out and select a
managed graphics frame (one that has been
exported to InCopy), rather than the graphic
itself, the graphic opens in InCopy.
Wrap text around objects

Bounding Box

A. No text wrap B. Wrap around bounding box C. Wrap Wraps text to the rectangle formed by the image's height
around object shape D. Jump object E. Jump to next and width.
column F. Panel menu
IT&ITES: DTPO - Related Theory for Exercise 2.3.04 189
Detect Edges This option is available only when an object on a master
page is selected and has a wrap applied to it.
Generates the boundary using automatic edge detection.
(To adjust edge detection, select the object and choose Wrapping text around anchored objects
Object Clipping Path Options.)
If you apply text wrap to an anchored object, the wrap
Alpha Channel affects the lines of text in the story that follow the anchor
marker. However, the wrap doesn't affect the line of text that
Generates the boundary from an alpha channel saved with
includes the anchor marker or any lines before it. When you
the image. If this option isn't available, no alpha channels
paste an object as an inline object, its text wrap boundaries
were saved with the image. InDesign recognizes the default
are preserved.
transparency in Adobe Photoshop (the checkerboard pat-
tern) as an alpha channel; you must otherwise use Suppress text wrap on hidden layers
Photoshop to delete the background or create and save
When you hide a layer that contains a wrap object, the text
one or more alpha channels with the image.
frames on other layers wrap around the object, unless you
Photoshop Path select the Suppress Text Wrap When Layer Is Hidden
option in the Layer Options dialog box. If this option is
Generates the boundary from a path saved with the image.
selected, hiding a layer can cause text on other layers to
Choose Photoshop Path, and then choose a path from the
be recomposed.
Path menu. If the Photoshop Path option isn't available, no
named paths were saved with the image. 1. In the Layers panel, double-click the layer that contains
the wrap object.
Graphic Frame
2. Select Suppress Text Wrap When Layer Is Hidden.
Generates the boundary from the container frame.
Justify text next to wrap objects
Same As Clipping
When you specify how text is justified next to wrap objects,
Generates the boundary from the imported image's clip- the change applies to the entire document.
ping path.
1. Choose Edit→Preferences→Composition.
Apply text wrap on master page items
2. Select one of the following options, and click OK:
If the Apply To Master Page Only option is selected, you
Justify Text Next To An Object
must override a master page item on a document page to
wrap text around it. If this option is deselected, text on both Justifies text next to wrap objects that separate a column
master pages and document pages can wrap around the of text. This setting takes effect only when the text wrap
master page items without the master page items being completely interrupts lines of text so that each line is
overridden. divided into two or more parts.
1. Select the object on the master page. Text adjacent to an object is aligned to the left
or top of the object when set to Align Left, to the
2. From the Text Wrap panel menu, select or deselect
right or bottom of the object when set to Align
Apply To Master Page Only.
Right, or evenly aligned to both edges when set
to Full Justify.

190 IT&ITES: DTPO - Related Theory for Exercise 2.3.04

Skip By Leading Text Wrap only Affects Text Beneath
Moves wrapped text to the next available leading increment Text stacked above the wrapped object isn't affected by the
below a text-wrapped object. If this option isn't selected, text wrap. Stacking order is determined by layer position
lines of text may jump below an object in a way that in the Layers panel and by the stacking order of objects on
prevents text from lining up with text in neighboring col- a layer.
umns or text frames. Selecting this option is especially
useful when you want to make sure that the text aligns to
the baseline grid.

IT&ITES: DTPO - Related Theory for Exercise 2.3.04 191

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.05

Drawing and painting objects

Objectives : At the end of this lesson you shall be able to
• understanding paths and shapes
• explain drawing with the line or shape tools
• understand about to Drawing with the Pencil tool
• drawing with the Pen tool
• editing paths
• applying line (stroke) settings
• change corner appearance
• compound paths and shapes.
Types of paths and shapes
You can create paths and combine them in a variety of
ways in InDesign. InDesign creates the following types of
paths and shapes:
Simple paths
Simple paths are the basic building blocks of compound
paths and shapes. They consist of one open or closed
path, which may be self-intersecting.
Compound paths and shapes
About paths
Types of paths and shapes
As you draw, you create a line called a path. A path is made
You can create paths and combine them in a variety of up of one or more straight or curved segments. The
ways in InDesign. InDesign creates the following types of beginning and end of each segment are marked by anchor
paths and shapes: points, which work like pins holding a wire in place. A path
Simple paths can be closed (for example, a circle), or open, with distinct
endpoints (for example, a wavy line).
Simple paths are the basic building blocks of compound
paths and shapes. They consist of one open or closed You change the shape of a path by dragging its anchor
path, which may be self-intersecting. points, the direction points at the end of direction lines that
appear at anchor points, or the path segment itself.
Compound paths
Compound paths consist of two or more simple paths that
interact with or intercept each other. They are more basic
than compound shapes and are recognized by all PostScript-
compliant applications. Paths combined in a compound
path act as one object and share attributes (such as colors
or stroke styles).
Compound shapes
Compound shapes consist of two or more paths, com-
pound paths, groups, blends, text outlines, text frames, or
A. Selected (solid) endpoint B. Selected anchor point C.
other shapes that interact with and intercept one another
Unselected anchor point D. Curved path segment E.
to create new, editable shapes. Some compound shapes
Direction line F. Direction point
appear as compound paths, but their component paths can
be edited on a path-by-path basis and do not need to share Paths can have two kinds of anchor points: corner points
attributes. and smooth points. At a corner point, a path abruptly
changes direction. At a smooth point, path segments are
connected as a continuous curve. You can draw a path
using any combination of corner and smooth points. If you
draw the wrong kind of point, you can always change it.

192
 After selecting an anchor point (left), direction lines appear
on any curved segments connected by the anchor point
(right).
A smooth point always has two direction lines, which move
together as a single, straight unit. When you move a
direction line on a smooth point, the curved segments on
both sides of the point are adjusted simultaneously,
maintaining a continuous curve at that anchor point.
In comparison, a corner point can have two, one, or no
direction lines, depending on whether it joins two, one, or
A. Four corner points B. Four smooth points C. Combina- no curved segments, respectively. Corner point direction
tion of corner and smooth points lines maintain the corner by using different angles. When
A corner point can connect any two straight or curved you move a direction line on a corner point, only the curve
segments, while a smooth point always connects two on the same side of the point as that direction line is
curved segments. adjusted.

Don't confuse corner and smooth points with Adjusting direction lines on a smooth point (left) and a
straight and curved segments. corner point (right)
A path's outline is called a stroke. A color or gradient Direction lines are always tangent to (perpendicular to the
applied to an open or closed path's interior area is called a radius of) the curve at the anchor points. The angle of each
fill. A stroke can have weight (thickness), color, and a dash direction line determines the slope of the curve, and the
pattern (Illustrator and InDesign) or a stylized line pattern length of each direction line determines the height, or
(InDesign). After you create a path or shape, you can depth, of the curve.
change the characteristics of its stroke and fill.
In InDesign, each path also displays a center point, which
marks the center of the shape but is not part of the actual
path. You can use this point to drag the path, to align the
path with other elements, or to select all anchor points on
the path. The center point is always visible; it can't be
hidden or deleted.
About direction lines and direction points
When you select an anchor point that connects curved
segments (or select the segment itself), the anchor points
of the connecting segments display direction handles, In Illustrator, you can show or hide anchor
which consist of direction lines that end in direction points. points, direction lines, and direction points by
The angle and length of the direction lines determine the choosing View > Show Edges or View > Hide
shape and size of the curved segments. Moving the Edges.
direction points reshapes the curves. Direction lines don't
Draw with the Pencil tool
appear in the final output.
The Pencil tool works primarily the same way in Adobe
Illustrator and InDesign. It lets you draw open and closed
paths as if you were drawing with a pencil on paper. It is
most useful for fast sketching or creating a hand-drawn
look. Once you draw a path, you can immediately change
it if needed.
Anchor points are set down as you draw with the Pencil
tool; you do not determine where they are positioned.
However, you can adjust them once the path is complete.

IT&ITES: DTPO - Related Theory for Exercise 2.3.05 193

The number of anchor points set down is determined by the Draw curves with the Pen tool
length and complexity of the path and by tolerance settings
You create a curve by adding an anchor point where a curve
in the Pencil Tool Preferences dialog box. These settings
changes direction, and dragging the direction lines that
control how sensitive the Pencil tool is to the movement of
shape the curve. The length and slope of the direction lines
your mouse or graphics-tablet stylus.
determine the shape of the curve.
Pencil tool options
Curves are easier to edit and your system can display and
Double-click the Pencil tool to set any of the following print them faster if you draw them using as few anchor
options: points as possible. Using too many points can also
introduce unwanted bumps in a curve. Instead, draw widely
Fidelity
spaced anchor points, and practice shaping curves by
Controls how far you have to move your mouse or stylus adjusting the length and angles of the direction lines.
before a new anchor point is added to the path. The higher
Editing paths
the value, the smoother and less complex the path. The
lower the value, the more the curves will match the pointer's Select paths, segments, and anchor points
movement, resulting in sharper angles. Fidelity can range
Before you can reshape or edit a path, you need to select
from 0.5 to 20 pixels.
the path's anchor points, segments, or a combination of
Smoothness both.
Controls the amount of smoothing applied when you use Select anchor points
the tool. Smoothness can range from 0% to 100%. The
If you can see the points, you can click them with the Direct
higher the value, the smoother the path. The lower the
Selection tool to select them. Shift-click to select multiple
value, the more anchor points are created, and the more the
points.
line's irregularities are preserved.
Select the Direct Selection tool and drag a boundary
Fill New Pencil Strokes
around the anchor points. Shift-drag around additional
(Illustrator only) Applies a fill to pencil strokes you draw anchor points to select them.
after selecting this option, but not to existing pencil
You can select anchor points from selected or unselected
strokes. Remember to select a fill before you draw the
paths. Move the Direct Selection tool over the anchor point
pencil strokes.
until the pointer displays a hollow square for unselected
Keep Selected and filled square for selected paths in a magnified state,
and then click the anchor point. Shift-click additional
Determines whether to keep the path selected after you
anchor points to select them.
draw it. This option is selected by default.
(Illustrator only) Select the Lasso tool, and drag around the
Edit Selected Paths
anchor points. Shift-drag around additional anchor points
Determines whether or not you can change or merge a to select them.
selected path when you are within a certain distance of it
Adjust path segments
(specified with the next option).
You can edit a path segment at any time, but editing
Within: _ pixels
existing segments is slightly different from drawing them.
Determines how close your mouse or stylus must be to an Keep the following tips in mind when editing segments:
existing path in order to edit the path with the Pencil tool.
If an anchor point connects two segments, moving that
This option is only available when the Edit Selected Paths
anchor point always s changes both segments.
option is selected.
When drawing with the Pen tool, you can temporarily
Draw straight line segments with the Pen tool
activate the Direct Selection tool (InDesign and Photoshop)
The simplest path you can draw with the Pen tool is a so that you can adjust segments you've already drawn;
straight line, made by clicking the Pen tool to create two press Ctrl (Windows) or Command (Mac OS) while draw-
anchor points. By continuing to click, you create a path ing. In Illustrator, pressing Ctrl or Command while drawing
made of straight line segments connected by corner activates the last-used selection tool.
points.
When you initially draw a smooth point with the Pen tool,
dragging the direction point changes the length of the
direction line on both sides of the point. However, when you
edit an existing smooth point with the Direct Selection tool,
you change the length of the direction line only on the side
you're dragging.
Add or delete anchor points

Clicking Pen tool creates straight segments Adding anchor points can give you more control over a path
or it can extend an open path. However, it's a good idea not

194 IT&ITES: DTPO - Related Theory for Exercise 2.3.05

to add more points than necessary. A path with fewer You can include only one line of type on a path, so any type
points is easier to edit, display, and print. You can reduce that won't fit on the path will be overset (hidden), unless
the complexity of a path by deleting unnecessary points. you've threaded it to another path or text frame. You can
add inline or above line anchored objects to type on a path.
The toolbox contains three tools for adding or deleting
You can't create type on a path using compound paths,
points: the Pen tool , the Add Anchor Point tool , and the
such as those that result from using the Create Outlines
Delete Anchor Point tool .
command.
By default, the Pen tool changes to the Add Anchor Point
tool as you position it over a selected path, or to the Delete
Anchor Point tool as you position it over an anchor point.
(In Photoshop, you must select Auto Add/Delete in the
options bar to enable the Pen tool to automatically change
to the Add Anchor Point or Delete Anchor Point tool.)
You can select and edit multiple paths simultaneously in
Photoshop and InDesign; however, you can add or delete
points to only one path at a time in Illustrator. In Photoshop
and InDesign, you can reshape a path while adding anchor Type on a path
points by clicking and dragging as you add.
A. Start bracket B. In port C. Center bracket D. End bracket
Don't use the Delete, Backspace, and Clear E. Out port indicating threaded text
keys or the Edit > Cut or Edit > Clear commands
Edit or delete type on a path
to delete anchor points: these keys and com-
mands delete the point and the line segments You can apply character and paragraph options to type on
that connect to that point. a path. However, paragraph rules and paragraph spacing
options have no effect on type on a path. The alignment
Convert between smooth points and corner points
setting in the Paragraph panel controls the alignment of
Paths can have two kinds of anchor points-corner points type on a path.
and smooth points. At a corner point, a path abruptly
Tighten character spacing around sharp turns and acute
changes direction. At a smooth point, path segments are
angles
connected as a continuous curve. The Convert Direction
Point tool . lets you change an anchor point from a corner 1. Using the Selection tool or the Type tool, select the type
point to a smooth point or visa versa. on a path.
Split a path 2. Choose Type > Type on a Path > Options, or double-
click the Type On A Path tool.
You can split a path, graphics frame, or empty text frame
at any anchor point or along any segment. When you split 3. For Spacing, type a value in points. Higher values
a path, keep the following in mind: remove the extra space from between characters posi-
tioned on sharp curves or angles.
If you want to split a closed path into two open paths, you
must slice in two places along the path. If you slice a closed
path only once, you get a single path with a gap in it.
Any paths resulting from a split inherit the path settings of
the original path, such as stroke weight and fill color. You
may need to reset stroke alignment from inside to outside.
Set strokes
You can apply strokes, or line settings, to paths, shapes,
text frames, and text outlines. The Stroke panel provides
control over the weight and appearance of the stroke,
including how segments join, start and end shapes, and Type on a path before (left) and after (right) applying
options for corners. You can also select stroke settings in spacing adjustment
the Control panel when a path or frame is selected.
The Spacing value compensates for the way
Create type on a path characters fan out around a curve or sharp
You can format text to flow along the edge of an open or angle. It has no effect on characters positioned
closed path of any shape. Apply options and effects to type on straight segments. To change spacing of
on a path: Slide it along the path, flip it over to the other side characters anywhere along the path, select
of the path, or use the shape of the path to distort the them, and then apply kerning or tracking.
characters. Type on a path has an in port and an out port Adjust the type on a path position
just like other text frames, so you can thread text to and
from it. You can change the start or end position of type on a path,
slide type, and change the path position in other ways.
IT&ITES: DTPO - Related Theory for Exercise 2.3.05 195
Change the start or end position of type on a path 2. Choose Type > Type on a Path > Options, or double-
click the Type On A Path tool.
1. Using the Selection tool , select the type on a path.
3. Choose one of the following in the Effect menu, and then
2. Position the pointer over the path type's start or end click OK.
bracket until a small icon appears next to the pointer
. Do not position it over the bracket's in port or out • To keep the center of each character's baseline
port. parallel to the path's tangent, choose Rainbow. This
is the default setting.
Zoom in on the path to more easily select the bracket.
3. Drag the start or end bracket along the path.

Position the pointer on start or end bracket, and then

drag to reposition boundary of type on a path.

If you apply a paragraph indent value, it's

measured from the start and end brackets. Type on a path effects

Flip type on a path

A. Rainbow effect B. Skew effect C. 3D Ribbon effect D.
1. Click the Selection tool , and select the type on a path. Stair Step effect E. Gravity effect
2. Position the pointer over the type's center bracket until • To keep characters' vertical edges perfectly vertical
a center bracket icon appears next to the pointer . regardless of the path shape, while letting characters'
3. Drag the center bracket across the path. horizontal edges follow the path, choose Skew. The
resulting horizontal distortion is useful for text that
appears to follow waves or go around a cylinder, as on
a beverage can label.
• To keep characters' horizontal edges perfectly horizon-
tal regardless of the path shape, while keeping each
character's vertical edge perpendicular to the path,
choose 3D Ribbon.
• To keep the left edge of each character's baseline on the
path without rotating any characters, choose Stair
Step.
• To keep the center of each character's baseline on the
path while keeping each vertical edge in line with the
Position pointer on center bracket, and then drag across path's center point, choose Gravity. You can control
path to flip type.
this option's perspective effect by adjusting the arc of
the text's path.
You can also flip type on a path using a dialog box. Using
the Selection tool or the Type tool, select the type on a Stroke panel options
path. Choose Type > Type on a Path > Options. Select the Miter Limit
Flip option, and then click OK.
Specifies the limit of point length to stroke width before a
Apply an effect to type on a path mitered join becomes a beveled square join. For example,
1. Using the Selection tool or the Type tool, select the type a value of 9 requires the point length to be 9 times the stroke
on a path. width before the point becomes beveled. Type a value
(between 1 and 500) and press Enter or Return. The Miter
Limit does not apply to a round join.
196 IT&ITES: DTPO - Related Theory for Exercise 2.3.05
You can include miter limit and stroke alignment settings Gap Color
in a paragraph or character style. Click the Character Color
Specify a color to appear in the space between dashes,
section, and then click the stroke icon to make the options
dots, or multiple lines in a patterned stroke.
available.
Gap Tint
Cap
Specify a tint (when a gap color is specified).
Select a cap style to specify the appearance of both ends
of an open path: Although you can define dashed strokes in the Stroke
panel, it's easier to create a dashed stroke using a custom
Butt cap
stroke style.
Creates squared ends that abut (stop at) the endpoints.
Add start and end shapes
Round cap
Keep the following guidelines in mind as you work with start
Creates semicircular ends that extend half the stroke and end shapes:
width beyond the endpoints.
You can't edit the available start and end shapes, but if
Projecting cap you've obtained plug in software that adds more options,
the Start and End menus in the Stroke panel can include
Creates squared ends that extend half the stroke width
additional shapes.
beyond the endpoints. This option makes the stroke weight
extend evenly in all directions around the path. Start and end shapes are sized in proportion to the stroke
weight. However, adding a start or end shape does not
You can specify a cap option for a closed path,
change the length of the path.
but the cap will not be visible unless the path is
opened (for example, by cutting with the Scis- Start and end shapes automatically rotate to match the
sors tool). Also, cap styles are easier to see at angle of an endpoint's direction line.
thicker stroke weights.
Start and end shapes appear at endpoints of open paths
Join only; they won't appear on individual dashes of a dashed
stroke.
Specify the appearance of the stroke at corner points:
If you apply start and end shapes to a compound path that
Miter join
includes open subpaths, each open subpath will use the
Creates pointed corners that extend beyond the endpoint same start and end shapes.
when the miter's length is within the miter limit.
You can apply start and end shapes to a closed path, but
Round join they won't be visible unless you open the path.
Creates rounded corners that extend half the stroke
width beyond the endpoints.
Bevel join
Creates squared corners that abut the endpoints.
You can specify miter options for a path that
doesn't use corner points, but the miter options
will not apply until you create corner points by
adding them or by converting smooth points.
Also, miters are easier to see at thicker stroke
weights.
Align Stroke Sample start and end shapes

Click an icon to specify the position of the stroke relative

to its path. Define custom stroke styles

Type You can create a custom stroke style using the Stroke
panel. A custom stroke style can be dashed, dotted, or
Choose a stroke type in the menu. If you choose Dashed, striped; in the style, you can define the stroke's pattern,
a new set of options appears. cap, and corner attributes. You specify other stroke
Start attributes, such as weight, gap color, and start and end
shapes, after the custom stroke style has been applied to
Choose for the beginning of the path. an object.
End
Choose for the end of the path.

IT&ITES: DTPO - Related Theory for Exercise 2.3.05 197

 In a compound path, any effect that is positioned relative to
a path's bounding box-such as a gradient, or an image
pasted inside-is actually positioned relative to the bound-
ing box of the entire compound path (that is, the path that
encloses all of the subpaths).
Custom stroke styles Create compound shapes
A. Dashed B. Dotted C. Striped If you make a compound path, then change its properties
and release it, using the Release command, the released
Change corner appearance
paths inherit the compound path's properties; they don't
You can use the Corner Options command to quickly apply regain their original properties.
corner effects to any path. Available corner effects range
If your document contains compound paths with many
from simple, rounded corners to fancy ornamentation.
smooth points, some output devices may have problems
printing them. If so, simplify or eliminate the compound
paths, or convert them to bitmap images using a program
such as Adobe Photoshop.
If you apply a fill to a compound path, holes sometimes
don't appear where you expect them to. For a simple path
like a rectangle, the inside, or the area you can fill, is easy
to see-it's the area within the enclosed path. However, with
a compound path, InDesign must determine whether the
intersections created by a compound path's subpaths are
inside (filled areas) or outside (holes). The direction of each
Effects of different line weights on corner shapes
subpath-the order in which its points were created-deter-
A. Fancy corner effect with no stroke B. Same effect with mines whether the area it defines is inside or outside. If a
1-point stroke C. Same effect with 4- point stroke subpath is filled when you want it to be a hole, or vice versa,
click Reverse Path in the Pathfinder panel to reverse the
Compound paths and shapes direction of that subpath.
About compound paths
You can combine several paths into a single object, called
a compound path. Create a compound path when you want
to do any of the following:
Add transparent holes to a path.
Preserve the transparent holes within some text charac-
ters, such as o and e, when you convert characters to
editable letterforms using the Create Outlines command.
Using the Create Outlines command always results in the
creation of compound paths. Compound path containing two subpaths with same path
directions (left) and opposite path directions (right)
Apply a gradient, or add contents that span multiple paths.
Although you can also apply a gradient across multiple Create compound shapes
objects using the Gradient tool, applying a gradient to a
compound path is often a better method because you can You create compound shapes using the Pathfinder panel
later edit the entire gradient by selecting any of the (Window > Object & Layout > Pathfinder). Compound
subpaths. With the Gradient tool, later editing requires shapes can be made up of simple or compound paths, text
selecting all of the paths you originally selected. frames, text outlines, or other shapes. The appearance of
the compound shape depends on which Pathfinder button
Best practices for editing compound paths you choose.
Keep the following guidelines in mind as you edit com-
pound paths:
Changes to path attributes (such as stroke and fill) always
alter all subpaths in a composite path-it doesn't matter
which selection tool you use, or how many subpaths you
select. To preserve the individual stroke and fill attributes
of the paths you want to combine, group them instead.

198 IT&ITES: DTPO - Related Theory for Exercise 2.3.05

 Create paths from text outlines
Use the Create Outlines command to convert selected text
characters into a set of compound paths that you can edit
and manipulate as you would any other path. The Create
Outlines command is useful for creating effects in large
display type, but it is rarely useful for body text or other
smaller-size type.
If you simply want to apply a color stroke, or a gradient fill
or stroke to text characters, you don't need to convert the
text to outlines. You can use the toolbox and the Swatches,
Color, or Gradient panels to apply colors and gradients
directly to the strokes or fills of selected characters.
The Create Outlines command gets its font outline informa-
tion from the actual Type 1, TrueType, or OpenType files.
When you create outlines, characters are converted in their
current positions, retaining all graphics formatting, such as
stroke and fill.
Some font manufacturers block the informa-
tion needed to create outlines. If you select
such a protected font and choose Type > Create
Outlines, a message will explain that the font
A. Original objects B. Add C. Subtract D. Intersect cannot be converted
E. Exclude Overlap F. Minus Back
When you convert type to outlines, the type loses its hints-
Add Traces the outline of all objects to create a single instructions built into outline fonts for adjusting their
shape. shapes, so that your system displays or prints them
Subtract Objects in the front "punch holes" in the backmost optimally at small sizes. Therefore, type converted to
object. outlines may not display as well when rendered in small
sizes or at low resolutions.
Intersect Creates a shape from overlapping areas.
After converting type to outlines, you can do any of the
Exclude Overlap Creates a shape from areas that do not following:
overlap.
Alter the letterforms by dragging individual anchor points
Minus Back Objects in the back "punch holes" in the using the Direct Selection tool.
frontmost object.
Copy the outlines and use the Edit > Paste Into command
In most cases, the resulting shape adopts the attributes to mask an image by pasting it into the converted outlines.
(fill, stroke, transparency, layer, and so on) of the frontmost
object. When you subtract shapes, however, objects in the Use the converted outlines as text frames, so that you can
front are deleted. The resulting shape takes on the at- type or place text in them.
tributes of the backmost object instead. Change the stroke attributes of letterforms.
When you include a text frame in a compound shape, the Use text outlines to create compound shapes.
shape of the text frame changes, but the text itself stays
the same. To alter the text itself, create a compound path
using text outlines.

A. Type character before conversion to text outline B. Text

Compound shape used as a text frame (left) compared to
one created from a text outline (right) outline with image pasted into it C. Text outline used as a
text frame

IT&ITES: DTPO - Related Theory for Exercise 2.3.05 199

Because converted text outlines become sets of com- To show or hide additional panel options, choose Show
pound paths, you can edit individual subpaths of converted Options or Hide Options from the panel menu.
outlines by using the Direct Selection tool. You can also 3. From the menu at the bottom of the panel, specify
break the character outlines into independent paths by whether you want to align or distribute objects based on
releasing them from the compound path. the selection, margins, page, or spread.
Align panel overview 4. Do one of the following:
You use the Align panel (Window > Object & Layout >
• To align objects, click the button for the type of
Align) to align or distribute objects horizontally or vertically
alignment you want.
along the selection, margins, page, or spread. Consider
the following when working with the Align panel: • To distribute objects, click the button for the type of
distribution you want. For example, if you click the
• The Align panel doesn't affect objects to which you've
Distribute Left Edges button when Align To Selec-
applied the Lock Position command, and doesn't change
tion is turned on, InDesign makes sure that there is
the alignment of text paragraphs within their frames.
an equal amount of space from left edge to left edge
• Text alignment is not affected by the Align Objects of each selected object.
optionsYou can use the Keyboard Shortcuts dialog box
(Edit > Keyboard Shortcuts) to create custom align and
distribute shortcuts. (Under Product Area, select Ob-
ject Editing.)

Align panel

A. Vertical alignment buttons B. Vertical distribution but-

tons C. Use Spacing distribution D. Horizontal alignment
buttons E. Horizontal distribution buttons F. Alignment Using the Distribute Horizontal Centers option for
location options even spacing

Align or distribute objects A. Creates even spacing between the centers of each
You can use the Align panel to align or space selected object B. Keeps the overall width the same as before the
objects horizontally or vertically to the selection, margins, transformation
page, or spread. • To set the space between objects, either center to
center or edge to matching edge, select Use Spacing
under Distribute Objects, and then type the amount of
space you want to apply. Click a button to distribute the
selected objects along their horizontal or vertical axis.

Objects distributed horizontally to selection (top) and to

margins (bottom)

1. Select the objects to align or distribute.

2. Choose Window > Object & Layout > Align to display Using the Distribute Horizontal Centers option and
the Align panel. adding a value for Use Spacing

200 IT&ITES: DTPO - Related Theory for Exercise 2.3.05

A. Spaces the objects evenly from their centers by a Align objects using the Gap tool
specified value B. Changes the overall width of the objects
The Gap tool provides a quick way to adjust the size of a
as a whole
gap between two or more objects. It also lets you resize
• To set the space between objects (facing edge to facing several objects that have commonly aligned edges simul-
edge), under Distribute Spacing, select Use Spacing taneously, while keeping the gaps between them fixed. It's
and type the amount of space you want between the a one-step way to adjust your layout by directly manipulat-
objects. (If Distribute Spacing is not visible, choose ing the space between objects.
Show Options in the Align Panel menu.) Then, click the The Gap tool ignores locked objects and master page
Distribute Spacing button to distribute the objects items.
along their horizontal or vertical axis.
1 Select the Gap tool .
2 Move the pointer between two objects, and do any of the
following actions:
• Drag to move the gap and resize all objects aligned
along the gap.
• Shift-drag to move the gap between only the two
nearest objects.
• Ctrl-drag (Windows) or Command-drag (Mac OS) to
resize the gap instead of moving it. Adding the Shift
key resizes the gap between only the two nearest
objects.
• Alt-drag (Windows) or Option-drag (Mac OS) to
move the gap and objects in the same direction.
Using the Distribute Horizontal Space option and adding a Adding the Shift key moves only the two nearest
value for Use Spacing objects.

A. Creates spaces of a specified value between each • Ctrl+Alt-drag (Windows) or Command+Option-drag

object B. Changes the overall width of the objects as a (Mac OS) to resize the gap and move the objects.
whole Adding the Shift key to resize the gap and move only
the two nearest objects.
When you use spacing with vertical distribution, selected
objects are spaced from top to bottom, starting with the To view hints on using the Gap tool, select the Gap tool and
top-most object. When you use spacing with horizontal open the Tool Hints panel (Window > Utilities > Tool Hints).
distribution, selected objects are spaced from left to right,
starting from the left-most object.
You can also use the Smart Spacing feature to align or
distribute objects while moving them. For example, if two
vertical objects are 12 points apart, moving a third object 12
points below the second object causes temporary guides
to appear, allowing you to snap the object into alignment.

IT&ITES: DTPO - Related Theory for Exercise 2.3.05 201

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.06

Creating and formatting tables

Objectives : At the end of this exercise you shall be able to
• create and edit the table
• select and Edit tables
• formatting the tables
• tables strokes and fills
• table and cell styles.
Creating tables Placing Text And Spreadsheet Files option in File Han-
dling preference settings.
A table consists of rows and columns of cells. A cell is like
a text frame in which you can add text, anchored frames, You can also copy and paste tabbed text across a
or other tables. Create tables in Adobe InDesign CS5 or selection of table cells. This technique is a great way to
export them from other applications. replace content while preserving formatting. For example,
suppose you want to update the content of a formatting
Create tables
table in a monthly magazine. One possibility is to link to
A table consists of rows and columns of cells. A cell is like an Excel spreadsheet. However, if your content comes
a text frame in which you can add text, inline graphics, or from a different source, you can copy the tabbed text
other tables. You can create tables from scratch or by containing the new content, select the range of cells in the
converting them from existing text. You can also embed a formatted InDesign table, and paste.
table within a table.
Add text to a table
When you create a table, the new table fills the width of the
You can add text, anchored objects, XML tags, and other
container text frame. A table is inserted on the same line
tables to table cells. The height of a table row expands to
when the insertion point is at the beginning of the line, or
accommodate additional lines of text, unless you set a
on the next line, when the insertion point is in the middle
fixed row height. You cannot add footnotes to tables.
of a line.
Tables flow with surrounding text just as inline graphics do. Using the Type tool , do any of the following:
For example, a table moves through threaded frames when Position the insertion point in a cell, and type text. Press
the text above it changes in point size or when text is added Enter or Return to create a new paragraph in the same cell.
or deleted. However, a table cannot appear on a text-on- Press Tab to move forward through cells (pressing Tab in
path frame. the last cell inserts a new row). Press Shift+Tab to move
Importing tables from other applications backwards through cells.
When you use the Place command to import a Microsoft Copy text, position the insertion point in a cell, and then
Word document that includes tables, or a Microsoft Excel choose Edit > Paste.
spreadsheet, imported data is an editable table. You can Position the insertion point in a cell where you want to add
use the Import Options dialog box to control the formatting. text, choose File > Place, and then double-click a text file.
You can also paste data from an Excel spreadsheet or a Add graphics to a table
Word table into an InDesign or InCopy document. The
Clipboard Handling preference settings determine how text Do any of the following:
pasted from another application is formatted. If Text Only Position the insertion point where you want the graphic,
is selected, the information appears as unformatted tabbed choose File > Place, and then double-click the graphic's
text, which you can then convert to a table. If All Information filename.
is selected, the pasted text appears in a formatted table.
Position the insertion point where you want the graphic,
If you're pasting text from another application into an choose Object > Anchored Object > Insert, and then
existing table, insert enough rows and columns to accom- specify settings. You can later add a graphic to the
modate the pasted text, select the Text Only option in anchored object.
Clipboard Handling preferences, and make sure that at
least one cell is selected (unless you want to embed the Copy a graphic or a frame, position the insertion point, and
pasted table into a cell). then choose Edit > Paste.

If you want more control over formatting the imported table, When you add a graphic that is larger than the cell, the cell
or if you want to maintain spreadsheet formatting, use the height expands to accommodate the graphic, but the width
Place command to import the table. If you want to maintain of the cell doesn't change-the graphic may extend beyond
a link to the spreadsheet, select the Create Links When the right side of the cell. If the row in which the graphic is
placed is set to a fixed height, a graphic that is taller than

202
the row height causes the cell to be overset. Use the Table panel, the Control panel, or the context menu
to format the table structure. Select one or more cells and
To avoid an overset cell, place the image outside the table,
then right-click (Windows) or Control-click (Mac OS) to
resize the image, and then paste it into the table cell.
display a context menu with table options.
Add table headers and footers
Resize the entire table
When you create a long table, the table can span more than
one column, frame, or page. You can use headers or Using the Type tool , position the pointer over the lower-
footers to repeat the information at the top or bottom of each right corner of the table so that the pointer becomes an
divided portion of the table. arrow shape , and then drag to increase or decrease the
table size. Hold down Shift to maintain the table's height
You can add header and footer rows when you create the and width proportions.
table. You can also use the Table Options dialog box to add
header and footer rows and change how they appear in the If the table spans more than one frame in a
table. You can convert body rows to header or footer rows. story, you cannot use the pointer to resize the
entire table.
Break tables across frames
Use Keep options to determine how many rows should
remain together, or to specify where a row breaks, such as
at the top of a column or frame.
When you create a table that is taller than the frame in
Header rows repeated once per frame which it resides, the frame is overset. If you thread the
frame to another frame, the table continues in that frame.
To number tables sequentially, such as Table 1A, Table Rows move into threaded frames one at a time-you can't
1B, add a variable to the table header or footer. break a single row across multiple frames. Specify header
Select table cells, rows, and columns or footer rows to repeat information in the new frame.

When you select part or all of the text in a cell, that Add text before a table
selection has the same appearance as would text selected A table is anchored to the paragraphs that immediately
outside a table. However, if the selection spans more than precede and follow it. If you insert a table at the beginning
one cell, the cells and their contents are both selected. of the text frame, you can't click above the table to place
If a table spans more than one frame, holding the mouse an insertion point. Instead, use the arrow keys to move the
pointer over any header or footer row that is not the first insertion point before the table.
header or footer row causes a lock icon to appear, Work with overset cells
indicating that you cannot select text or cells in that row.
To select cells in a header or footer row, go to the beginning In most cases, a table cell will expand vertically to
of the table. accommodate new text and graphics being added. How-
ever, if you set a fixed row height and add text or graphics
Insert a row or column by dragging that are too large for the cell, a small red dot appears in the
When adding columns, if you drag more than one and one- lower-right corner of the cell, indicating that the cell is
half times the width of the column being dragged, new overset.
columns are added that have the same width as the original You cannot flow overset text into another cell. Instead, edit
column. If you drag to insert only one column, that column or resize the contents, or expand the cell or the text frame
can have a narrower or wider width than the column from in which the table appears.
where you dragged. The same behavior is true of rows,
unless the Row Height for the row being dragged is set to In the case of inline graphics or text with fixed leading, it is
At Least. In this case, if you drag to create only one row, possible for the cell contents to extend beyond cell edges.
InDesign will resize the new row, if necessary, so that it's You can select the Clip Contents To Cell option, so that any
tall enough to contain text. text or inline graphics that otherwise extend beyond any
cell edge are clipped to the cell boundary. However, when
Formatting tables inline graphics are overset to extend beyond cell bottom
Use the Control panel or Character panel to format text edges (Horizontal), this does not apply.
within a table-just like formatting text outside a table. In Display the contents of an overset cell
addition, two main dialog boxes help you format the table
itself: Table Options and Cell Options. Use these dialog Do one of the following:
boxes to change the number of rows and columns, to Increase the size of the cell.
change the appearance of the table border and fill, to
determine the spacing above and below the table, to edit Change the text formatting. To select the cell's contents,
header and footer rows, and to add other table formatting. click in the overset cell, press Esc, and then use the
Control panel to format the text.

IT&ITES: DTPO - Related Theory for Exercise 2.3.06 203

About table strokes and fills footer rows. However, alternating strokes and fills in col-
umns does affect header and footer rows.
You can add strokes and fills to your tables in a number of
ways. Use the Table Options dialog box to change the Alternating stroke and fill settings override cell stroke
stroke of the table border, and to add alternating strokes formatting, unless you select the Preserve Local Format-
and fills to columns and rows. To change the strokes and ting option in the Table Options dialog box.
fills of individual cells or header/footer cells, use the Cell If you want to apply a fill or stroke to every body cell in the
Options dialog box, or use the Swatches, Stroke, and table, and not just alternating patterns, you can still use the
Color panels. alternating stroke and fill settings to create such non-
By default, the formatting you select using the Table alternating patterns. To create such an effect, specify 0 for
Options dialog box overrides any corresponding formatting Next in the second pattern.
previously applied to table cells. However, if you select the
Preserve Local Formatting option in the Table Options
dialog box, the strokes and fills applied to individual cells
are not overridden.
If you use the same formatting repeatedly for tables or
cells, create and apply table styles or cell styles.
Add stroke and fill using Cell Options
You can determine which cell lines are formatted with a Before (left) and after (right) alternating fills in a table
stroke or fill by selecting or deselecting lines in the Preview
proxy. If you want to change the appearance of all rows or About table and cell styles
columns in the table, use an alternating stroke or fill pattern
Just as you use text styles to format text, you can use table
in which the second pattern is set to 0.
and cell styles to format tables. A table style is a collection
Table stroke and fill options of table formatting attributes, such as table borders and row
When selecting strokes and fills for the table or cells, use and column strokes, that can be applied in a single step.
the following options: A cell style includes formatting such as cell insets,
paragraph styles, and strokes and fills. When you edit a
Weight style, all tables or cells to which the style is applied are
Specifies the line thickness for the table or cell border. updated automatically.

Type Basic [Table] and [None] styles

Specifies the line style, such as Thick - Thin. By default, each new document contains a [Basic Table]
style that can be applied to tables you create and a [None]
Color style that can be used to remove cell styles applied to cells.
Specifies the color of the table or cell border. The choices You can edit the [Basic Table] style, but you can't rename
listed are those available in the Swatches panel. or delete either [Basic Table] or [None].

Tint Using cell styles in table styles

Specifies the percentage of ink of the specified color to be When you create a table style, you can specify which cell
applied to the stroke or fill. styles are applied to different regions of the table: header
and footer rows, left and right columns, and body rows. For
Gap Color example, for the header row, you can assign a cell style
Applies a color to the areas between the dashes, dots, or that applies a paragraph style, and for the left and right
lines. This option is not available if Solid is selected for columns, you can assign different cell styles that apply
Type. shaded backgrounds.

Gap Tint
Applies tint to the areas between the dashes, dots, or lines.
This option is not available if Solid is selected for Type.
Overprint
When selected, causes the ink specified in the Color drop-
down list to be applied over any underlying colors, rather
than knocking out those inks.
Alternate strokes and fills in a table Cell styles applied to regions in table style

You can alternate strokes and fills to enhance readability A. Header row formatted with cell style that includes
or improve the appearance of your table. Alternating paragraph style B. Left column C. Body cells D. Right
strokes and fills in table rows does not affect header and column
204 IT&ITES: DTPO - Related Theory for Exercise 2.3.06
Cell style attributes Open the Table Styles or Cell Styles panel
Cell styles do not necessarily include all the formatting Choose Window > Styles, and choose Table Styles or Cell
attributes of a selected cell. When you create a cell style, Styles.
you can determine which attributes are included. That way,
Change how styles are listed in the panel
applying the cell style changes only the desired attributes,
such as cell fill color, and ignores all other cell attributes. Select Small Panel Rows to display a condensed version
of the styles.
Formatting precedence in styles
Drag the style to a different position. You can also drag
If a conflict occurs in formatting applied to a table cell, the
styles to groups that you create.
following order of precedence determines which formatting
is used: Choose Sort By Name from the panel menu to list the
styles alphabetically.
Cell style precedence
Load (import) table styles from other documents
1. Header/Footer 2. Left column/Right column 3. Body
rows. For example, if a cell appears in both the header and You can import table and cell styles from another InDesign
the left column, the formatting from the header cell style is document into the active document. During import, you can
used. determine which styles are loaded and what should occur
if a loaded style has the same name as a style in the current
Table style precedence
document. You can also import styles from an InCopy
1. Cell overrides 2. Cell style 3. Cell styles applied from a document.
table style 4. Table overrides 5. Table styles. For example,
Apply table and cell styles
if you apply one fill using the Cell Options dialog box and
another fill using the cell style, the fill from the Cell Options Unlike paragraph and character styles, table and cell
dialog box is used. styles do not share attributes, so applying a table style
does not override cell formatting, and applying a cell style
Table/Cell Styles panels overview
does not override table formatting. By default, applying a
Use the Table Styles panel (Window > Styles >Table cell style removes formatting applied by any previous cell
Styles) to create and name table styles, and to apply the style, but does not remove local cell formatting. Similarly,
styles to existing tables or tables you create or import. Use applying a table style removes formatting applied by any
the Cell Styles panel (Window > Styles > Cell Styles) to previous table style, but does not remove overrides made
create and name cell styles, and to apply the styles to table using the Table Options dialog box.
cells. Styles are saved with a document and appear in the
In the Styles panel, a plus sign (+) appears next to the
panel each time you open that document. You can save
current cell or table style if the selected cell or table has
table and cell styles in groups for easier management.
additional formatting that isn't part of the applied style.
When you position the insertion point in a cell or table, any Such additional formatting is called an override.
style that is applied is highlighted in either of the panels.
The name of any cell style that is applied through a table
style appears in the lower left corner of the Cell Styles area.
If you select a range of cells that contains multiple styles,
no style is highlighted and the Cell Styles panel displays
"(Mixed)."

IT&ITES: DTPO - Related Theory for Exercise 2.3.06 205

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.07

Using the color, color libraries and color separation

Objectives : At the end of this lesson you shall be able to
• about spot and process colors
• applying the color
• blending colors
• working with swatches
• managing color
• preparing to print color separation.
About spot and process colors You can use a spot color printing plate to apply a varnish
over areas of a process color job. In this case, your print job
You can designate colors as either spot or process color
would use a total of five inks-four process inks and one spot
types, which correspond to the two main ink types used in
varnish.
commercial printing. In the Swatches panel, you can
identify the color type of a color using icons that appear About process colors
next to the name of the color. When applying color to paths A process color is printed using a combination of the four
and frames, keep in mind the final medium in which the standard process inks: cyan, magenta, yellow, and black
artwork will be published, so that you apply color using the (CMYK). Use process colors when a job requires so many
most appropriate color mode. colors that using individual spot inks would be expensive or
About spot colors impractical, as when printing color photographs.
A spot color is a special premixed ink that is used instead Keep the following guidelines in mind when specifying a
of, or in addition to, process inks, and that requires its own process color:
printing plate on a printing press. Use spot color when few For best results in a high-quality printed document, specify
colors are specified and color accuracy is critical. Spot process colors using CMYK values printed in process color
color inks can accurately reproduce colors that are outside reference charts, such as those available from a commer-
the gamut of process colors. However, the exact appear- cial printer.
ance of the printed spot color is determined by the
combination of the ink as mixed by the commercial printer The final color values of a process color are its values in
and the paper it's printed on, not by color values you specify CMYK, so if you specify a process color using RGB (or
or by color management. When you specify spot color LAB, in InDesign), those color values will be converted to
values, you're describing the simulated appearance of the CMYK when you print color separations. These conver-
color for your monitor and composite printer only (subject sions differ based on your color-management settings and
to the gamut limitations of those devices). document profile.

Keep the following guidelines in mind when specify- Don't specify a process color based on how it looks on your
ing a spot color: monitor, unless you are sure you have set up a color-
management system properly, and you understand its
For best results in printed documents, specify a spot color limitations for previewing color.
from a color-matching system supported by your commer-
cial printer. Several color-matching system libraries are Avoid using process colors in documents intended for
included with the software. online viewing only, because CMYK has a smaller color
gamut than that of a typical monitor.
Minimize the number of spot colors you use. Each spot
Illustrator and InDesign let you specify a process color as
color you create will generate an additional spot color
either global or non-global. In Illustrator, global process
printing plate for a printing press, increasing your printing
colors remain linked to a swatch in the Swatches panel, so
costs. If you think you might require more than four colors,
that if you modify the swatch of a global process color, all
consider printing your document using process colors.
objects using that color are updated. Non-global process
If an object contains spot colors and overlaps another colors do not automatically update throughout the docu-
object containing transparency, undesirable results may ment when the color is edited. Process colors are non-
occur whenexporting to EPS format, when converting spot global by default. In InDesign, when you apply a swatch to
colors to process colors using the Print dialog box, or when objects, the swatch is automatically applied as a global
creating color separations in an application other than process color. Non-global swatches are unnamed colors,
Illustrator or InDesign. For best results, use the Flattener which you can edit in the Color panel.
Preview or the Separations Preview to soft proof the effects
Global and non-global process colors only affect
of flattening transparency before printing. In addition, you
how a particular color is applied to objects, never
can convert the spot colors to process colors by using the
how colors separate or behave when you move
Ink Manager in InDesign before printing or exporting.
them between applications.

206
Using spot and process colors together If the blend color (light source) is lighter than 50% gray, the
artwork is lightened, as if it were screened. This is useful
Sometimes it's practical to use process and spot inks in
for adding highlights to artwork. If the blend color is darker
the same job. For example, you might use one spot ink to
than 50% gray, the artwork is darkened, as if it were
print the exact color of a company logo on the same pages
multiplied. This is useful for adding shadows to artwork.
of an annual report where photographs are reproduced
Painting with pure black or white results in pure black or
using process color. You can also use a spot color printing
white.
plate to apply a varnish over areas of a process color job.
In both cases, your print job would use a total of five inks- Color Dodge
four process inks and one spot ink or varnish.
Brightens the base color to reflect the blend color. Blending
In InDesign, you can mix process and spot colors together with black produces no change.
to create mixed ink colors.
Color Burn
Blending mode options
Darkens the base color to reflect the blend color. Blending
The blending modes control how the base color, the with white produces no change.
underlying color in the artwork, interacts with the blend
Darken
color, the color of the selected object or group of objects.
The resulting color is the color resulting from the blend. Selects the base or blend color-whichever is darker-as the
resulting color. Areas lighter than the blend color are
Normal
replaced, and areas darker than the blend color do not
Colors the selection with the blend color, without interac- change.
tion with the base color. This is the default mode.
Lighten
Multiply
Selects the base or blend color-whichever is lighter-as the
Multiplies the base color by the blend color. The resulting resulting color. Areas darker than the blend color are
color is always a darker color. Multiplying any color with replaced, and areas lighter than the blend color do not
black produces black. Multiplying any color with white change.
leaves the color unchanged. The effect is similar to drawing
Difference
on a page with multiple magic markers.
Subtracts either the blend color from the base color or the
Screen
base color from the blend color, depending on which has
Multiplies the inverse of the blend and base colors. The the greater brightness value. Blending with white inverts the
resulting color is always a lighter color. Screening with base color values; blending with black produces no change.
black leaves the color unchanged. Screening with white
Exclusion
produces white. The effect is similar to projecting multiple
slide images on top of each other. Creates an effect similar to, but lower in contrast than, the
Difference mode. Blending with white inverts the base color
Overlay
components. Blending with black produces no change.
Multiplies or screens the colors, depending on the base
Hue
color. Patterns or colors overlay the existing artwork,
preserving the highlights and shadows of the base color Creates a color with the luminance and saturation of the
while mixing in the blend color to reflect the lightness or base color and the hue of the blend color.
darkness of the original color. Saturation
Soft Light Creates a color with the luminance and hue of the base
Darkens or lightens the colors, depending on the blend color and the saturation of the blend color. Painting with
color. The effect is similar to shining a diffused spotlight on this mode in an area with no saturation (gray) produces no
the artwork. change.
If the blend color (light source) is lighter than 50% gray, the Color
artwork is lightened, as if it were dodged. If the blend color Creates a color with the luminance of the base color and the
is darker than 50% gray, the artwork is darkened, as if it hue and saturation of the blend color. This preserves the
were burned in. Painting with pure black or white produces gray levels in the artwork, and is useful for coloring
a distinctly darker or lighter area, but does not result in pure monochrome artwork and for tinting color artwork.
black or white.
Luminosity
Hard Light
Creates a color with the hue and saturation of the base
Multiplies or screens the colors, depending on the blend color and the luminance of the blend color. This mode
color. The effect is similar to shining a harsh spotlight on creates an inverse effect from that of the Color mode.
the artwork.

IT&ITES: DTPO - Related Theory for Exercise 2.3.07 207

Isolate blending modes The blending space is applied only to those spreads that
contain transparency.
When you apply a blending mode to an object, its colors
blend with all objects beneath it. If you want to limit the Choose Edit > Transparency Blend Space, and then
blending to specific objects, you can group those objects choose one of the document's color spaces.
and then apply the Isolate Blending option to the group. The
For a typical print workflow, choose the Docu-
Isolate Blending option confines the blending to within the
ment CMYK color space.
group, preventing objects beneath the group from being
affected. (It is useful for objects that have a blending mode Swatches panel overview
other than Normal applied to them.)
The Swatches panel (Window > Color > Swatches) lets
you create and name colors, gradients, or tints, and
quickly apply them to your document. Swatches are
similar to paragraph and character styles; any change you
make to a swatch affects all objects to which the swatch
is applied. Swatches make it easier to modify color
schemes without having to locate and adjust each indi-
vidual object.
Group (star and circle) with Isolate Blending option dese- When the fill or stroke of selected text or an object contains
lected (left) compared to selected (right) a color or gradient applied from the Swatches panel, the
applied swatch is highlighted in the Swatches panel.
It is important to understand that you apply the blending Swatches you create are associated only with the current
modes to the individual objects, but apply the Isolate document. Each document can have a different set of
Blending option to the group. The option isolates blending swatches stored in its Swatches panel.
interactions within the group. It doesn't affect blending
modes applied directly to the group itself. When working with a prepress service provider, swatches
let you clearly identify spot colors. You can also specify
Knock out objects within a group color settings in a preflight profile to determine which color
You use the Knockout Group option in the Effects panel to settings work with your printer.
make the opacity and blending attributes of every object in Six CMYK-defined colors appear in the default Swatches
the selected group knock out-that is, visually block out- panel: cyan, magenta, yellow, red, green, and blue.
underlying objects in the group. Only objects within the
selected group are knocked out. Objects beneath the Swatch types
selected group are still affected by the blending or opacity The Swatches panel stores the following types of swatches:
that you apply to objects within the group.
Colors
It is important to understand that you apply the blending
modes and opacity to the individual objects, but apply the Icons on the Swatches panel identify the spot and
Knockout Group option to the group. process color types, and LAB , RGB , CMYK ,
and Mixed Ink color modes.
Tints
A percentage value next to a swatch in the Swatches panel
indicates a tint of a spot or process color.
Gradients
An icon on the Swatches panel indicates whether a
Group with Knockout Group option deselected (left)
gradient is radial or linear .
compared to selected (right)
None
Specify a color space for blending transparent ob- The None swatch removes the stroke or fill from an object.
jects You can't edit or remove this swatch.
To blend the colors of transparent objects on a spread, Paper
InDesign converts the colors of all objects to a common
Paper is a built in swatch that simulates the paper color on
color space using either the CMYK or RGB color profile for
which you're printing. Objects behind a paper-colored
the document. This blending space enables objects of
object won't print where the paper-colored object overlaps
multiple color spaces to blend when interacting transpar-
them. Instead, the color of the paper on which you print
ently. To avoid color mismatches between different areas
shows through. You can edit the Paper color to match your
of the objects on screen and in print, the blending space is
paper stock by double-clicking it in the Swatches panel.
applied for screen and in the flattener.
Use the Paper color for previewing only-it will not be printed
on a composite printer or in color separations. You can't

208 IT&ITES: DTPO - Related Theory for Exercise 2.3.07

remove this swatch. Do not apply the Paper swatch to Duplicate a swatch
remove color from an object. Use the None swatch instead.
Duplicating swatches can be useful when you want to
If the Paper color is not working as described, and create a warmer or cooler variation of an existing color.
you are printing to a non-PostScript printer, try Note that duplicating a spot color will result in an additional
switching your printer driver to Raster Graphics spot color printing plate.
mode
Do one of the following:
Black
Select a swatch, and choose Duplicate Swatch in the
Black is a built in, 100% process color black defined using Swatches panel menu.
the CMYK color model. You can't edit or remove this
Select a swatch, and click the New Swatch button at the
swatch. By default, all occurrences of Black overprint (print
bottom of the panel.
on top of) underlying inks, including text characters at any
size. You can disable this behavior. Drag a swatch to the New Swatch button at the bottom of
the panel.
Registration
Control swatch names
Registration is a built in swatch that causes objects to
print on every separation from a PostScript printer. For By default, the name of a process color swatch is derived
example, registration marks use the Registration color, so from the values of the color's components. For example, if
that printing plates can be aligned precisely on a press. you create a red process color using 10% cyan, 75%
You cannot edit or remove this swatch. magenta, 100% yellow, and 0% black, its swatch will be
named C=10 M=75 Y=100 K=0 by default. This makes it
You can also add colors from any color library to the
easier to identify the composition of process colors.
Swatches panel so that they are saved with your docu-
ment. By default, the name of a process color swatch automati-
cally updates when you change its CMYK values; you can
Create color swatches
switch this option off or on for individual swatches as
Swatches can include spot or process colors, mixed inks needed. As with any swatch you define, you can change
(process colors mixed with one or more spot colors), RGB the name of a process color swatch at any time.
or Lab colors, gradients, or tints.
1. Double-click a process color in the Swatches panel.
When you place an image that contains spot colors, the
2. Do one of the following, and click OK:
colors are automatically added as swatches to the Swatches
panel. You can apply these swatches to objects in your To let InDesign rename the swatch when you adjust its
document, but you cannot redefine or delete the swatches. CMYK percentages, make sure that the Name With Color
Value option is selected.
Before you create swatches, learn which settings are
appropriate for your printer service provider. You can To rename a swatch when you adjust its CMYK values,
specify color settings in a preflight profile to highlight color make sure that the Name With Color Value option is
settings that don't work with your printer. deselected.
Add unnamed colors to the Swatches panel The new swatch is automatically renamed
New ColorSwatch (this has a number following
While you can create colors using the Color panel or Color
it if more than one New ColorSwatch exists)
Picker, unnamed colors are more difficult to edit later and
when this option is deselected. You can change
to use consistently. Use the Add Unnamed Colors option
this name manually.
to search for unnamed colors applied to objects within the
document, and then add them to the Swatches panel. Import swatches
Colors are automatically named according to their CMYK, You can import colors and gradients from other docu-
RGB, or Lab components. ments, adding either all or some of the swatches to the
In the Swatches panel, choose Add Unnamed Colors. Swatches panel. You can load swatches from InDesign
files (.indd), InDesign templates (.indt), Illustrator files (.ai
Manage swatches
or .eps), and Adobe Swatch Exchange files (.ase) created
You can edit, duplicate, and delete swatches in the by InDesign, Illustrator, or Photoshop. Adobe Swatch
Swatches panel. Exchange files contain swatches saved in the Adobe
Swatch Exchange format.
Edit the default colors in the Swatches panel
InDesign also includes color libraries from other color
You can change the swatches that appear by default in new
systems, such as the PANTONE Process Color Sys-
documents.
tem®.
1. Close all open documents.
Spot colors used by imported EPS, PDF, TIFF,
2. Edit the swatches you want to change in the Swatches and Adobe Photoshop (PSD) files are also
panel. added to the Swatches panel.

IT&ITES: DTPO - Related Theory for Exercise 2.3.07 209

Copy swatches between InDesign documents ensure accurate visualization of the printed result and
better on-press control.
You can copy or drag a swatch (or objects with a swatch
applied) from one document to another. When you do so, You can print a solid PANTONE Color in CMYK. To
the swatch is added to the destination document's Swatches compare a solid PANTONE Color to its closest process
panel. If you want to copy the swatch's tints and gradients color match, use the PANTONE solid to process guide.
as well, you need to copy the original object, not just the The CMYK screen tint percentages are printed under each
swatch. color. The guide is now printed on a brighter coated stock
and includes comparisons of the 147 new solid colors to
Do one of the following:
CMYK.
Copy an object into the current document using drag-and-
PANTONE process guides let you choose from over 3,000
drop or copy-and-paste.
process combinations now printed on coated and un-
Select the swatches you want to copy and drag them from coated stocks. Displayed in chromatic order in fan-guide
the Swatches panel to the document window of another format, it's easy to select colors and specify CMYK screen
InDesign document. values.
If you drag a swatch that has an identical name System (Windows)
as an existing swatch (including capitalization)
Includes 256 colors of the Windows default 8 bit panel,
but has different color values, InDesign re-
which is based on a uniform sampling of RGB colors.
names the swatch "[original swatch name] 2."
System (Mac OS)
Color libraries installed with InDesign
Includes 256 colors of the Mac OS default 8 bit panel, which
InDesign installs color libraries for the color matching is based on a uniform sampling of RGB colors.
systems described below. You can install additional color
libraries and load swatches from them in InDesign. Toyo Color Finder

ANPA Color Includes 1050 colors based on the most common printing
inks used in Japan. You can use the Toyo 94 Color Finder
Consists of 300 colors selected by ANPA (American or the newer Toyo Color Finder. Consult the color guide that
Newspaper Publishers Association). Colors in this library illustrates printed samples of Toyo Ink. This color guide is
are primarily used as spot colors in newspapers. available at print publishers and graphic arts supply stores.
DIC Color For more information, contact Toyo Ink Manufacturing Co.,
Ltd., in Tokyo, Japan.
Provides 1280 CMYK spot colors from the DIC Process
Color Note. Colors may be matched against the DIC Color Trumatch
Guide, published by Dainippon Ink & Chemicals, Inc. For Provides predictable CMYK color matching with over 2000
more information, contact Dainippon Ink & Chemicals, achievable, computer-generated colors. Trumatch colors
Inc., in Tokyo, Japan. cover the visible spectrum of the CMYK gamut in even
Focoltone steps. The Trumatch Color Finder displays up to 40 tints
and shades of each hue, each originally created in four-
Consists of 763 CMYK colors. You can use Focoltone color process and each reproducible in four colors on
colors to help avoid prepress trapping and registration electronic imagesetters. In addition, four-color grays using
problems by viewing the Focoltone charts that show the different hues are included. For more information, contact
overprints that make up the colors. Trumatch Inc., in New York, New York, U.S.A.
A swatch book with specifications for process and spot Web
colors, overprint charts, and a chip book for marking up
layouts are available from Focoltone. For more information, Includes the 216 RGB web safe colors most often used by
contact Focoltone International, Ltd., in Stafford, United web browsers to display 8 bit images. This library helps you
Kingdom. create artwork for the web using colors that display
consistently across Windows and Macintosh systems.
HKS
Use color management when printing
Use when your job specifies colors from the HKS color
When you print a color-managed document, you can
system, which is used in Europe.
specify additional color management options to keep color
PANTONE® consistent in the printer output. For example, suppose that
your document currently contains a profile tailored for
PANTONE® Colors are the worldwide standards for spot
prepress output, but you want to proof the document colors
color reproduction. In 2000, a major revision was made to
on a desktop printer. In the Print dialog box, you can
the PANTONE MATCHING SYSTEM® Color guides. 147
convert the document's colors to the color space of the
new solid colors and seven additional metallic colors have
desktop printer; the printer profile will be used instead of the
been added to the System to now include a total of 1,114
current document profile. If you select the Proof color
colors. PANTONE Color guides and chip books are now
space and target an RGB printer, InDesign converts color
printed on coated, uncoated, and matte paper stocks to
data to RGB values using the selected color profiles.

210 IT&ITES: DTPO - Related Theory for Exercise 2.3.07

When printing to a PostScript printer, you also have the without making separations. (This option is available only
option of using PostScript color management. In this for PostScript printers.)
instance, InDesign sends the document's color data in a
Separations
calibrated version of its original color space, along with the
document profile, directly to the PostScript printer and lets Creates PostScript information for each of the separations
the printer convert the document to the printer color space. required for the document, and sends that information to
The printer's color space is stored at the device as a color the output device. (This option is available only for PostScript
rendering dictionary (CRD); this makes device-indepen- printers.)
dent output possible. CRDs are PostScript equivalents of In-RIP Separations
color profiles. The exact results of the color conversion can
vary among printers. To use PostScript color manage- Sends separation information to the output device's RIP.
ment, you must have a printer that uses PostScript Level (This option is available only for PostScript printers.)
2 or higher; it is not necessary to install an ICC profile for Text As Black
the printer on your system.
Select this option to print all text created in InDesign in
While working on a color-managed document, black, unless it has the color None or Paper or a color value
you can use the Preflight panel to make sure that that equals white. This option is useful when you're creating
your colors conform to the guidelines you specify. content for both print and PDF distribution. For example, if
Color output options for composites hyperlinks were blue in the PDF version, they would print
black on a grayscale printer, rather than in halftone
In the Output area of the Print dialog box, you can patterns that would be difficult to read.
determine how composite color in the document is sent to
the printer. When color management is enabled (the About halftone dots and printer dots
default), the Color setting defaults result in calibrated color Most printers simulate gray by using halftone dots printed
output. Spot color information is preserved during color on a grid; the grid cells are called halftone cells, and the grid
conversion; only the process color equivalents convert to rows are called lines or line screens. Each halftone dot is
the designated color space. If you're not sure which color made up of printer dots. As the halftone cell fills up with
choice to use, consult your prepress service provider. printer dots, the halftone dot gets larger, resulting in a
Composite modes only affect rasterized images and ob- darker shade of gray.
jects created using InDesign; placed graphics (such as Printer resolution determines the number of dots available
EPS and Adobe PDF files) are not affected unless they to create the halftone dot. A printer with smaller dots can
overlap transparent objects. produce a wider variety of halftone dot sizes, allowing more
Note: The options available for non-PostScript printing shades of gray. Screen frequency also plays a role: As
depend on the color model the printer uses, which is screen frequency increases, the halftone cell gets smaller,
usually RGB. and so can hold fewer printer dots, resulting in fewer
possible shades of gray. As a result, there is a trade-off
When you print as composite, automatic trapping is between the number of possible gray levels and image
disabled; however, you can select the Simulate Overprint coarseness.
option to proof overprinting for text, strokes, or fills.
The Output area in the Print dialog box includes the
following Color options. Additional options may also be
available, depending on your printer.
Composite Leave Unchanged
Sends a full-color version of specified pages to the printer,
preserving all color values in the original document. When
this option is selected, Simulate Overprint is disabled.
Composite Gray
Sends grayscale versions of specified pages to the printer
when, for example, you are printing to a monochrome Simulating continuous tone with printer dots
printer without making separations.
A. Continuous tone simulated by line screen B. Line
Composite RGB screen consisting of halftone dots in rows C. Halftone dots
consisting of printer dots
Sends a full-color version of specified pages to the printer
when, for example, you are printing to an RGB color printer Creating separations
without making separations.
To reproduce color and continuous-tone images, printers
Composite CMYK usually separate artwork into four plates-one plate for each
of the cyan (C), yellow (Y), magenta (M), and black (K)
Sends a full-color version of specified pages to the printer
portions of the image. When inked with the appropriate
when, for example, you are printing to a CMYK color printer
IT&ITES: DTPO - Related Theory for Exercise 2.3.07 211
color and printed in register with one another, these colors Print an object on all color plates
combine to reproduce the original artwork. The process of
If you want an object to print on all plates in the printing
dividing the image into two or more colors is called color
process, including spot color plates, you can apply regis-
separating, and the films from which the plates are created
tration color to the object. Registration color is used for
are called the separations.
crop marks and trim marks. For composite output, objects
with registration color applied will print as C 100, M 100, Y
100, and K 100. For separations, these objects will print as
100% on each plate.
1. Select the objects to which you want to apply registra-
tion color.
2. Choose Window > Swatches.
3. In the Swatches panel, click the Registration color
swatch .

Composite (left) and separations (right) Printing gradients as separations

Consider the following when producing separations for
Separation workflows documents with gradients:
Adobe InDesign CS4 supports two common PostScript A gradient created in InDesign that contains a combination
workflows; the main difference is where separations are of spot and process colors will be separated onto both the
created-at the host computer (the system using InDesign process and spot plates.
and the printer driver), or at the output device's RIP (raster
image processor). Another alternative is a PDF workflow. A gradient that contains process colors will be separated
onto the process plates.
Host-based separations
A gradient that contains two tints of the same spot color will
In the traditional host-based, preseparated workflow, be separated onto a single spot color plate.
InDesign creates PostScript information for each of the
separations required for the document, and sends that To create a gradient that separates on one piece of film
information to the output device. between a spot color and white, create a gradient fill
between the spot color and the Paper swatch in the
In RIP separations Swatches panel.
In the newer RIP-based workflow, a new generation of If you create a gradient between two spot colors, you
PostScript RIPs performs color separations, trapping, and should assign different screen angles to those spot colors.
even color management at the RIP, leaving the host If two spot colors have the same screen angle, they will
computer free to perform other tasks. This approach takes overprint each other. If you're not sure what the angles
less time for InDesign to generate the file, and minimizes should be, consult with your prepress service provider.
the amount of data transmitted for any given print job. For
example, instead of sending PostScript information for four Printing a composite
or more pages to print host-based color separations, You can print a color or grayscale composite proof to check
InDesign sends the PostScript information for a single colors in your document. A composite image can help you
composite PostScript file for processing in the RIP. design and proof your layout before you print final (and
Outputting spot colors costly) separations.
You can use custom inks, called spot colors, in addition to, When InDesign prints a composite, it prints all of the colors
or in place of, process colors. For example, instead of used in the file on one plate, regardless of whether any
using the four process colors to reproduce artwork consist- individual colors are selected.
ing of black text and bluish-green line drawings, you could Consider the following issues when printing composites:
use two spot colors-one of black, and one representing the
exact shade of green. You can also use spot color inks to While no proof will give you an exact representation of your
produce colors not reproducible by CMYK inks, such as final output, you can greatly improve its accuracy by
varnishes or fluorescent and metallic colors. In addition, calibrating all the devices you use to create a document
you can mix two or more spot colors together or mix spot (such as scanners, monitors, and printers). If the devices
colors with process colors to create mixed inks. are calibrated, the color management system can help you
get predictable and consistent color.
You can color artwork with process colors, spot colors, or
a combination of both. When printing separations, you can Any overprinting options that you've selected in the docu-
convert spot colors to their process color equivalents so ment will print correctly on a printer that supports overprint-
that they will be printed on the CMYK plates. ing. Since most desktop printers don't support overprinting,
you can simulate the effects of overprinting by selecting
Simulate Overprint in the Output section of the Print dialog
box.

212 IT&ITES: DTPO - Related Theory for Exercise 2.3.07

 Selecting Simulate Overprint will convert spot Rich black
colors to process colors for printing. If you Previewing separations lets you identify areas that will print
intend to use a file for separations on a RIP, or as rich black, or process black (K) ink mixed with color inks
for final output, do not select this option. for increased opacity and richer color.
When you print to a black-and-white printer, InDesign Ink coverage
produces a grayscale composite version of the pages. If the
document contains color, InDesign prints visually correct Too much ink on the paper can cause drying problems. Ask
grays to simulate that color. For example, the gray that your commercial printer for the maximum ink coverage of
simulates a 20% tint of yellow is lighter than a 20% tint of the press you will be printing on. You can then preview the
black, since yellow is visually lighter than black. document to identify areas where ink coverage exceeds
the press's limit.
When you print a book with chapters containing conflicting
spot inks or trap styles, you can instruct InDesign to Overprinting
synchronize settings with the master document. You can preview how blending, transparency, and over-
If you're using color management with the Book feature, printing will appear in color-separated output.
make sure that each document in the book uses the same You can also see overprinting effects when you
color management settings in the Color Settings dialog output to a composite printing device. This is
box. useful for proofing color separations.
Remember that, like monitors, color printers While previewing separations on your monitor can help you
vary greatly in color reproduction quality; thus, detect problems without the expense of printing separa-
proofs from your service provider are the best tions, it does not let you preview trapping, emulsion
way to verify how the finished piece will look. options, printer's marks, and halftone screens and resolu-
Preview color separations tion. Work with your commercial printer to verify these
settings using integral or overlay proofs.
You can preview color separations, ink coverage limits, and
overprinting using the Separations Preview panel. Preview- Objects on hidden layers are not included in an
ing separations on your monitor lets you check the on screen preview.
following:
Varnishes and other coatings
Since varnishes are transparent, they can be difficult to
preview on screen. When you preview a varnish separation
by itself, the varnished areas appear in black.

IT&ITES: DTPO - Related Theory for Exercise 2.3.07 213

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.08

Creating books with styles & layers

Objectives : At the end of this lesson you shall be able to
• understanding about character, paragraph styles, drop cap and nested styles, and object styles
• learning about Table of content of a book
• learning about an Index of a book
• learning about numbering pages, chapters and sections.

About character and paragraph styles After you've typed a paragraph styled with "heading 1,"
pressing Enter or Return starts a new paragraph styled with
A character style is a collection of character formatting
"body text."
attributes that can be applied to text in a single step. A
paragraph style includes both character and paragraph If you use the context menu when applying a style to two
formatting attributes, and can be applied to a paragraph or or more paragraphs, you can cause the parent style to be
range of paragraphs. Paragraph styles and character applied to the first paragraph and the Next Style to be
styles are found on separate panels. Paragraph and applied to the additional paragraphs.
characters styles are sometimes called text styles.
Styles panel overview
A named grid format can be applied to a frame grid in the
Use the Character Styles panel to create, name, and apply
Frame Grid format settings. (See Named Grids panel
character styles to text within a paragraph; use the
overview.) You can also use create an object style with grid
Paragraph Styles panel to create, name, and apply para-
characteristics.
graph styles to entire paragraphs. Styles are saved with a
When you change the formatting of a style, all text to which document and display in the panel each time you open that
the style has been applied will be updated with the new document.
format.
When you select text or position the insertion point, any
You can create, edit, and delete styles in stand-alone style that has been applied to that text is highlighted in
Adobe InCopy documents or in InCopy content that is either of the Styles panels, unless the style is in a
linked to an Adobe InDesign CS4 document. When the collapsed style group. If you select a range of text that
contents are updated in InDesign, new styles are added to contains multiple styles, no style is highlighted in the
the InDesign document, but any style modifications made Styles panel. If you select a range of text to which multiple
in InCopy will be overridden by the InDesign style. For styles are applied, the Styles panel displays "(Mixed)."
linked content, it is usually best to manage your styles in
Add paragraph and character styles
InDesign.
If the styles you want already exist in another InDesign,
[Basic Paragraph] styles
InCopy, or word-processing document, you can import
By default, each new document contains a [Basic Para- those styles for use in your current document. If you are
graph] style that is applied to text you type. You can edit working with a stand-alone story, you can also define
this style, but you can't rename or delete it. You can character and paragraph styles in InCopy.
rename and delete styles that you create. You can also
Base one paragraph or character style on another
select a different default style to apply to text.
Many document designs feature hierarchies of styles
Character style attributes
sharing certain attributes. The headings and subheads, for
Unlike paragraph styles, character styles do not include all example, often use the same font. You can easily create
the formatting attributes of selected text. Instead, when links between similar styles by creating a base, or parent,
you create a character style, InDesign makes only those style. When you edit the parent style, the child styles will
attributes that are different from the formatting of the change as well. You can then edit the child styles to
selected text part of the style. That way, you can create a distinguish them from the parent style.
character style that, when applied to text, changes only
Import styles from other documents
some attributes, such as the font family and size, ignoring
all other character attributes. If you want other attributes to You can import paragraph and character styles from
be part of the style, add them when editing the style. another InDesign document (any version) into the active
document. During import, you can determine which styles
Next Style
are loaded and what should occur if a loaded style has the
You can automatically apply styles as you type text. If, for same name as a style in the current document. You can
example, your document's design calls for the style "body also import styles from an InCopy document.
text" to follow a heading style named "heading 1," you can
set the Next Style option for "heading 1" to "body text."

214
You can import paragraph styles and character styles from 3. Select Customized Style Import, and then click Style
an InDesign or InCopy document into a stand-alone InCopy Mapping.
document or InCopy content that is linked to InDesign. You
4. In the Style Mapping dialog box, select the Word style,
can determine which styles are loaded, and what should
and then select an option from the menu under InDesign
occur if a loaded style has the same name as a style in the
style. You can choose the following options:
current document.
• If there is no style name conflict, choose New
If you import styles into linked content, new styles
Paragraph Style, New Character Style, or choose
are added to the InDesign document when the
an existing InDesign style.
content is updated, and any style with a name
conflict is overridden by the InDesign style with • If there is a style name conflict, choose Redefine
the same name. InDesign Style to format the imported style text with
the Word style. Choose an existing InDesign style
1. In the Character Styles or Paragraph Styles panel, do
to format the imported style text with the InDesign
one of the following:
style. Choose Auto Rename to rename the Word
• Choose Load Character Styles or Load Paragraph style.
Styles in the Styles panel menu.
5. Click OK to close the Style Mapping dialog box, and
• Choose Load All Text Styles in the Styles panel then click OK to import the document.
menu to load both character and paragraph styles.
Apply sequential styles to multiple paragraphs
2. Double-click the InDesign document containing the
The Next Style option specifies which style will be auto-
styles you want to import.
matically applied when you press Enter or Return after
3. In the Load Styles dialog box, make sure that a check applying a particular style. It also lets you apply different
mark appears next to the styles you want to import. If styles to multiple paragraphs in a single action.
any existing style has the same name as one of the
For example, suppose you have three styles for formatting
imported styles, choose one of the following options
a newspaper column: Title, Byline, and Body. Title uses
under Conflict With Existing Style, and then click OK:
Byline for Next Style, Byline uses Body for Next Style, and
Use Incoming Style Definition Body uses [Same Style] for Next Style. If you select an
entire article, including the title, the author's byline, and the
Overwrites the existing style with the loaded style and
paragraphs in the article, and then apply the Title style
applies its new attributes to all text in the current document
using the special "Next Style" command in the context
that used the old style. The definitions of the incoming and
menu, the article's first paragraph will be formatted with the
existing styles are displayed at the bottom of the Load
Title style, the second paragraph will be formatted with the
Styles dialog box so that you can view a comparison.
Byline style, and all other paragraphs will be formatted with
Auto-Rename the Body style.
Renames the loaded style. For example, if both docu- Override character and paragraph styles
ments have a Subheading style, the loaded style is
When you apply a paragraph style, character styles and
renamed "Subheading copy" in the current document.
other previous formatting remain intact. After you apply a
You can also use the Books feature to share styles. style, you can override any of its settings by applying
formatting that's not part of the style. When formatting that
Convert Word styles to InDesign styles
is not part of a style is applied to text with that style applied,
While importing a Microsoft Word document into InDesign it is called an override or local formatting. When you select
or InCopy, you can map each style used in Word to a text with an override, a plus sign (+) appears next to the
corresponding style in InDesign or InCopy. By doing so, style name. In character styles, an override is displayed
you specify which styles format the imported text. A disk only if the applied attribute is part of the style. For example,
icon appears next to each imported Word style until you if a character style only changes text color, applying a
edit the style in InDesign or InCopy. different font size to the text does not appear as an override.
1. Do one of the following: You can clear character styles and formatting overrides
• To add the Word document to existing text in when you apply a style. You can also clear overrides from
InDesign or InCopy, choose File > Place. Select a paragraph to which a style has been applied.
Show Import Options, and then double-click the If a style has a plus sign (+) next to it, hold the mouse
Word document. pointer over the style to view a description of the override
• To open the Word document in a stand-alone attributes.
InCopy document, start InCopy, choose File > Preserve or remove overrides when applying paragraph
Open, and then double-click the Word file. styles
2. Select Preserve Styles And Formatting From Text And
Tables.

IT&ITES: DTPO - Related Theory for Exercise 2.3.08 215

• To apply a paragraph style and preserve character italics. If both set conflicting settings of the same attribute,
styles, but remove overrides, hold down Alt (Windows) such as red and blue, the nested style takes precedence
or Option (Mac OS) as you click the name of the style over the nested line style.
in the Paragraph Styles panel. Loop through nested styles
• To apply a paragraph style and remove both character You can repeat a series of two or more nested styles
styles and overrides, hold down Alt+Shift (Windows) or throughout a paragraph. A simple example would be to
Option+Shift (Mac OS) as you click the name of the alternate red and green words in a paragraph. Or, in nested
style in the Paragraph Styles panel. line styles you could alternate red and green lines in a
Right-click the style in the Paragraph Styles panel, and paragraph. The repeating pattern remains intact even if you
then choose an option from the context menu. You can add or remove words in the paragraph.
then clear overrides, character styles, or both while apply- Nested style character style options
ing the style.
To determine how a nested character style ends, select
Convert style bullets and numbering to text any of the following:
When you create a style that adds bullets or numbering to If you don't want the character to be included in the nested
paragraphs, these bullets and numbers may be lost if the style formatted, choose Up To instead of Through when you
text is copied or exported to a different application. To avoid define the nested style.
this problem, convert the style bullets or numbering to text.
Sentences
Apply a character style to a drop cap
Periods, question marks, and exclamation points indicate
You can apply a character style to the drop-cap character the end of a sentence. If a quotation mark follows the
or characters in a paragraph. For example, if you want a punctuation, it is included as part of the sentence.
drop-cap character to have a different color and font than
Words
the rest of the paragraph, you can define a character style
that has these attributes. Then you can either apply the Any space or white space character indicates the end of a
character style directly to a paragraph, or you can nest the word.
character style in a paragraph style.
Characters
Any character other than zero-width markers (for anchors,
index markers, XML tags and so on) is included.
If you select Characters, you can also type a
character, such as a colon or a period, to end
the nested style. If you type multiple charac-
ters, any of those characters will end the style.
For example, if your run-in headings end with
a hyphen, colon, or question mark, you can
Create nested styles type -:? to end the nested style where any of
You can specify character-level formatting for one or more these characters appears.
ranges of text within a paragraph or line. You can also set Letters
up two or more nested styles to work together, one taking
Any character that does not include punctuation, white
over where the previous one ends. For paragraphs with
space, digits, and symbols.
repetitive and predictable formatting, you can even loop
back to the first style in the sequence. Digits
Nested styles are especially useful for run-in headings. For The Arabic numerals 0-9 are included.
example, you can apply one character style to the first End Nested Style Character
letter in a paragraph and another character style that takes
effect through the first colon (:). For each nested style, you Extends the nested style up to or through the appearance
can define a character that ends the style, such as a tab of the End Nested Style character you insert. To insert this
character or the end of a word. character, choose Type > Insert Special Character > Other
> End Nested Style Here.
Create nested line styles
Tab Characters
You can apply a character style to a specified number of
lines in a paragraph. As with nested styles, you can set up Extends the nested style up to or through the tab character
two or more nested line styles to work together, and you (not the tab setting).
can create a repeating sequence. Forced Line Break
Attributes applied by nested line styles can co-exist with Extends the nested style up to or through the forced line
attributes applied by nested styles. For example, a nested break. (Choose Type > Insert Break Character > Forced
line style can apply a color while a nested style can apply Line Break.)

216 IT&ITES: DTPO - Related Theory for Exercise 2.3.08

Indent To Here Character open that document. The Text Frame icon marks the
default style for text frames; the Graphics Frame icon
Extends the nested style up to or through the Indent To
marks the default style for graphics frames and drawn
Here character. (Choose Type > Insert Special Character
shapes.
> Other > Indent To Here.)
Use the Object Styles panel to create, name, and apply
Em Spaces, En Spaces, or Non-breaking Spaces
object styles. For each new document, the panel initially
Extends the nested style up to or through the space lists a default set of object styles. Object styles are saved
character. (Choose Type > Insert White Space > [space with a document and display in the panel each time you
character].) open that document. The Text Frame icon marks the
Anchored Object Marker default style for text frames; the Graphics Frame icon
marks the default style for graphic frames; the Grid icon
Extends the nested style up to or through an inline graphic marks the default style for frame grids.
marker, which appears where an inline graphic is inserted.
Object style categories
Auto Page Number / Section Marker
If you want the style to apply only certain attributes, leaving
Extends the nested style up to or through the page number any other settings untouched, make sure that the catego-
or section name marker. ries you want the style to control are in the appropriate
Create GREP styles state. You can use any of three states for each category:
turned on, turned off, or ignored. For example, checking the
GREP is an advanced, pattern-based search technique. Drop Shadow box will include drop shadow formatting in the
You can use GREP styles to apply a character style to text object style. Deselecting the Drop Shadow box will indi-
that conforms to the GREP expression you specify. For cate that drop shadow is turned off as part of the style - any
example, suppose you want to apply a character style to drop shadow applied to an object appears as an override.
all the phone numbers in text. When you create a GREP Setting the Drop Shadow box to "ignore" (a small box in
style, you select the character style and specify the GREP Windows or a hyphen in Mac OS) will leave drop shadow
expression. All paragraph text that matches the GREP out of the style, so any drop shadow applied to the style
expression is formatted with the character style. does not appear as an override.
About object styles
Just as you use paragraph and character styles to quickly
format text, you can use object styles to quickly format
graphics and frames. Object styles include settings for
stroke, color, transparency, drop shadows, paragraph
styles, text wrap, and more. You can assign different
transparency effects for the object, fill, stroke, and text.
You can apply object styles to objects, groups, and frames
(including text frames). A style can either clear and replace
all object settings or it can replace only specific settings,
leaving other settings unchanged. You control which set-
Object style categories
tings the style affects by including or excluding a category
of settings in the definition. A. Turned on B. Ignored C. Turned off
You can also apply object styles to frame grids. By default, Categories in which the settings can be turned on
any frame grid you create uses the [Basic Grid] object or off individually, such as Fill, Stroke, and Trans-
style. You can edit the [Basic Grid] style or you can apply parency, have only two states. They can either be
other object styles to the grid. When you create or edit an turned on or ignored.
object style for a frame grid, use the Story Options section
to specify writing direction, frame type, and named grid. The Paragraph Styles category is ignored by default, even
if you're creating a text frame. This category is applicable
When creating styles, you might find that several styles only if the object is an unthreaded text frame.
share some of the same characteristics. Rather than
setting those characteristics each time you define the next Apply object styles
style, you can base one object style on another. When you If you apply an object style to a group of objects, the object
change the base style, any shared attributes that appear style is applied to each object in the group. To apply an
in the "parent" style change in the "child" style as well. object style to a group of objects, nest the objects within
Object Styles panel overview a frame. (The Edit > Paste Into command is one way to
paste an object into a frame.)
Use the Object Styles panel to create, edit, and apply
object styles. For each new document, the panel initially Clear object style overrides
lists a default set of object styles. Object styles are saved When formatting is applied to an object that differs from part
with a document and display in the panel each time you of the style definition applied to that object, it is called an

IT&ITES: DTPO - Related Theory for Exercise 2.3.08 217

override. When you select an object with an override, a plus Before you create a table of contents, verify that the book
sign (+) appears next to the style name. list is complete, that all documents are listed in the correct
order, and that all headings have been formatted with the
Use the Clear Overrides command to override any format-
appropriate paragraph styles.
ting that is either turned on or off in the object style; use the
Clear Attributes Not Defined By Style to clear ignored Be sure to use paragraph styles consistently throughout
attributes. the book. Avoid creating documents with styles that have
identical names but different definitions. If multiple styles
About tables of contents
have the same name but different style definitions, InDesign
A table of contents (TOC) can list the contents of a book, uses the style definition in the current document (if a
magazine, or other publication; display a list of illustra- definition exists there), or the first occurrence of the style
tions, advertisers, or photo credits; or include other infor- in the book.
mation to help readers find information in a document or
If the necessary styles do not appear in the pop up menus
book file. One document may contain multiple tables of
in the Table of Contents dialog box, you may need to
contents-for example, a list of chapters and a list of
synchronize the book so that the styles are copied to the
illustrations.
document containing the table of contents.
Each table of contents is a separate story consisting of a
If you want number prefixes (such as 1-1, 1-3, and so on)
heading and a list of entries sorted either by page number
to appear in your table of contents, use section numbering
or alphabetically. Entries, including page numbers, are
rather than chapter numbering. Section number prefixes
pulled directly from content in your document and can be
can be included in a table of contents.
updated at any time-even across multiple documents in a
book file. Generate a table of contents
The process for creating a table of contents requires three Before you generate a table of contents, decide which
main steps. First, create and apply the paragraph styles paragraphs should be included (such as chapter titles and
you'll use as the basis for the TOC. Second, specify which section headings), and then define paragraph styles for
styles are used in the TOC and how the TOC is formatted. each. Make sure that these styles are applied to all
Third, flow the TOC into your document. appropriate paragraphs in the document or booked docu-
ments.
Table of contents entries can be automatically added to the
Bookmarks panel for use in documents exported as Adobe When you generate the table of contents, you can also use
PDF. paragraph and character styles to format the table of
contents.
Tips for planning a table of contents
Consider the following when planning a table of contents:
Some tables of contents are built from content that does
not actually appear in the published document, such as a
list of advertisers in a magazine. To do this in InDesign,
enter content on a hidden layer and include it when
generating a TOC.
You can load TOC styles from other documents or books
Table of contents without paragraph styles (left) and with
to build new tables of contents with the same settings and paragraph styles applied to entries (right)
formatting. (You might need to edit an imported TOC style
if the names of paragraph styles in the document do not If paragraphs that are to be included in the table of contents
match those in the source document.) appear in different stories on the same page, their order in
You can create paragraph styles for the table of contents' the TOC is determined by their position on the page.
title and entries, including tab stops and leaders, if desired. Create TOC styles for multiple lists
You can then apply these paragraph styles when you
generate the table of contents. Use TOC styles if you need to create different tables of
contents in your document or book. For example, you can
You can create character styles to format the page use one TOC style for a list of contents and another for a
numbers and the characters separating them from the list of advertisers, illustrations, or photo credits. Create a
entries. For example, if you want the page numbers to be TOC style for each type of list.
in bold, create a character style that includes the bold
attribute, and then select that character style when you Creating TOC styles are also useful if you want to use the
create the table of contents. same TOC formatting in another document.
Creating tables of contents in books
For best results, be sure to do the following before creating
a table of contents for a book:

218 IT&ITES: DTPO - Related Theory for Exercise 2.3.08

 Don't confuse TOC styles with paragraph styles Between Entry And Number Specify which characters you
that have a "TOC" prefix. TOC-prefixed para- want between the table of contents entry and its page
graph styles (for example "TOC title") are used to number. The default is ^t, which tells InDesign to insert a
format the table of contents entries themselves. In tab. You can choose other special characters, such as
contrast, a TOC style is a collection of settings Right Indent Tab or Em Space, in the pop up list.
used to automatically create a table of contents. Select the existing text in the box before you choose a
Options for formatting a table of contents different special character, to make sure that you don't
include both characters.
When generating or editing a table of contents, use these
options to determine the appearance of the generated table You might want to create a character style that formats the
of contents text. Some of these options are available only space between the entry and the page number. You can
when you click More Options in the dialog box. then select this style in the Style pop up list to the right of
Between Entry And Number.
The settings in the Style section apply only to the
style currently selected under Include Paragraph If the entry's paragraph style includes a tab leader setting,
Styles. You can specify different formatting op- and if the tab character (^t) is selected, a tab leader appears
tions for each style. in the generated table of contents.

Entry Style Editing a table of contents

For each style in Include Paragraph Styles, choose a If your table of contents requires editing, edit the actual
paragraph style to apply to the associated table of contents paragraphs in the document-not the table of contents
entries. story-and then generate a new table of contents. If you edit
the table of contents story, you'll lose your revisions when
Page Number you generate a new table of contents. For the same reason,
You might want to create a character style that formats the you should edit the styles used to format the table of
page number. You can then select this style in the Style contents entries, rather than formatting the table of con-
pop up list to the right of Page Number. tents directly.

You can specify a character that separates an entry and The sort order for a table of contents is deter-
page number, as well as a style to apply to a character. mined by the document's default language set-
Sort Entries in Alphabetical Order ting. To change the default language setting,
make sure nothing is selected and then choose a
Select this option to sort table of contents entries in the
language from the Language menu in the Char-
selected style alphabetically. This option is useful for
acter panel.
creating simple lists, such as lists of advertisers. Nested
entries (Level 2 or 3) sort alphabetically within their group
(Level 1 or 2, respectively).

IT&ITES: DTPO - Related Theory for Exercise 2.3.08 219

Level
By default, each item added to the Include Paragraph
Styles box is set one level lower than the item immediately
above it. You can change this hierarchy by specifying a
new level number for the selected paragraph style. This
option adjusts only the display in the dialog box. It has no
effect on the final table of contents unless the list is
alphabetized, in which case the entries are sorted by level.
Parts of an index
Create PDF Bookmarks
Select this option if you want the table of contents entries A. Title B. Section heading C. Index entry D. Subentry E.
to appear in the Bookmarks panel of Adobe Acrobat or Topic F. Page reference G. Cross-reference
Adobe Reader® when the document is exported to PDF. Tips for creating an index
Run-in Creating a well-planned and complete index can help make
Select this option if you want all TOC entries to be run into the information in your document immediately accessible
a single paragraph. A semicolon followed by a space (;) to your readers. Here are a few guidelines to consider:
separates the entries. Think about how you want your index to look. How many
Include Text On Hidden Layers topic levels will it have? Will it refer the reader to other
related topics? Will a simple keyword index suffice, or do
Select this option only if you want the paragraphs on hidden you want a more complex index with cross-references to
layers to be included in your table of contents. This is useful related topics and a well researched list of equivalent
when creating a list of advertisers or illustrations that may terms?
not appear as visible text in the document itself. Deselect
this option when you've used layers to store various Anticipate the variety of ways by which your readers might
versions or translations of the same text. look up information. For instance, one reader may search
for information on animals by looking under beasts; another
Numbered Paragraphs may look for wildlife or fauna.
If your table of contents includes a paragraph style that Add index entries when the content of your document is
uses numbering, specify whether the TOC entry includes fairly stable. If you delete large portions of your text later,
the full paragraph (both number and text), only the num- you may lose some of your indexing work.
bers, or only the paragraph.
A well-planned index presents topics consistently. Com-
Frame Orientation mon indexing problems include mixing uppercase and
Specify the writing direction for the text frame you will use lowercase (cats and Cats) and singular and plural forms
to create a table of contents. (cat and cats). Use a topic list to keep terms consistent.

About indexing Review your index several times before you generate the
final index. Look for duplicate entries, weak subject areas,
You can create a simple keyword index or a comprehen- misspellings, and inconsistencies in capitalization and
sive, detailed guide to the information in your book. You can wording; for example, InDesign treats Cheetah, cheetah,
create only one index for a document or book. To create an and cheetahs as separate entries.
index, you first place index markers in the text. You
Workflow for creating an index
associate each index marker with the word, called a topic,
that you want to appear in the index. To create an index, follow these basic steps:
When you generate the index, each topic is listed, along 1. Create a topic list (optional)
with the page on which it was found. The topics are sorted A topic list helps you maintain consistency in your
alphabetically, typically under section headings (A, B, C, index entries
and so on). An index entry consists of a topic (the term
readers look up) paired with either a page reference (page 2. Add index markers.
number or range) or a cross-reference. A cross-reference, Add index markers on the pages in your document that
preceded by "See" or "See also," points the reader to other you want the index entries to refer to.
entries in the index, rather than to a page number.
3. Generate the index.
Generating the index creates a set of entries for
markers and their accompanying page numbers.
4. Flow the index story.
Use the loaded text cursor to flow the index into a text
frame. In most cases, you'll want the index to start on
a new page. After you flow the index, you can format the
pages and index.

220 IT&ITES: DTPO - Related Theory for Exercise 2.3.08

You'll likely repeat these steps several times as you refine You create and edit a topic list using the Index panel in
your index prior to publication. Topic mode. Note that Topic mode displays topics only; to
preview index entries, with their associated page numbers
Index panel overview
and cross-references, use Reference mode instead.
You create, edit, and preview the index using the Index
panel (Window > Type & Tables > Index). The panel
includes two modes: Reference and Topic. In Reference
mode, the preview area displays complete index entries for
the current document or book. In Topic mode, the preview
area displays only topics, not page numbers or cross-
references. Topic mode is used primarily for creating the
index structure, whereas Reference mode is where you
add your index entries.
In Reference mode, index entries are alphabetized and
divided into sections by letter. Triangles next to entries let
you expand or collapse the entry to view subentries, page
numbers, and cross-references.
The following codes appear in place of page references to Index panel in Reference mode (left) and Topic
indicate index entries that may not be included in the mode (right)
generated index. You may need to choose Update Preview
in the Index panel to view the codes. Topics in the topic list appear in the New Page Reference
dialog box as well. To create an index entry, simply select
PB a topic and then associate it with a page or cross-
Indicates index entries on the pasteboard. These entries reference. Unused topics (those without page or cross-
will not appear in the generated index. references) are excluded when you generate an index.

HL Creating a topic list before you add index entries is

optional. Each time you create an index entry, its topic is
Indicates index entries on a hidden layer. When you automatically added to the topic list for future use.
generate the index, you have the option of including index
entries on a hidden layer. By default, topics you add to the Topics list do not appear
in the Reference list, which displays only the topics that
HT have been associated with a page. However, to display the
Indicates index entries in a hidden condition. Index entries topics in the Reference list, you can choose Show Unused
in hidden conditions are not included in the index. Topics from the Index panel menu in Reference mode.

PN Page range options in indexes

Indicates index entries in overset text. When you include You can create index entries that include a page range
these entries in the generated index, they appear without (such as cats 82-87) instead of a single page number. The
page numbers. Type pop up menu in the New Page Reference dialog box
includes the following page-range options:
Master
Current Page
Indicates index entries on a master page. These entries will
not appear in the generated index. The page range does not extend beyond the current page.

Click a triangle to expand or collapse an individual entry. To Next Style Change

Alt-click (Windows) or Option-click (Mac OS) a triangle to The page range extends from the index marker to the next
expand or collapse all subentries under an entry. Ctrl-click change of paragraph style.
(Windows) or Command-click (Mac OS) a triangle to
expand or collapse all entries. To Next Use Of Style

Choose Update Preview in the Index panel menu to update The page range extends from the index marker to the page
the preview area. This option is especially useful if you've where the next occurrence of the paragraph style specified
edited your document extensively or moved index markers in the adjacent paragraph style pop up menu appears.
in the document window. To End Of Story
Create a list of topics for an index The page range extends from the index marker to the end
You can create or import a list of topics to use as a starting of the current thread of text frames that contain text.
point when creating index entries. Later, when you add To End Of Document
entries to the index, you can select topics from the topic
list (instead of typing them each time) to ensure that The page range extends from the index marker to the end
information is indexed consistently throughout your docu- of the document.
ment or book.
IT&ITES: DTPO - Related Theory for Exercise 2.3.08 221
To End Of Section Include Index Section Headings
The page range extends from the index marker to the end Select this option to generate section headings consisting
of the current section as defined in the Pages panel. of alphabet characters (A, B, C, and so on) representing the
section that follows.
For Next # Of Paragraphs
Include Empty Index Sections
The page range extends from the index marker to the end
of the number of paragraphs specified in the adjacent box, Select this option to generate section headings for all
or to the end of as many paragraphs as exist. letters of the alphabet, even if the index lacks any first-level
entries that begin with a particular letter.
For Next # Of Pages
Level Style
The page range extends from the index marker to the end
of the number of pages specified in the adjacent box, or to For each index level, choose a paragraph style to be
the end of as many pages as exist. applied to each level of index entries. You can edit these
styles in the Paragraph Styles panel after you generate the
Generate an index
index.
Once you've added index entries and previewed them in the
Section Heading
Index panel, you're ready to generate an index story to
place in your document for publication. Select the paragraph style that determines the appearance
of the section headings (A, B, C, and so on) in the
An index story can appear as a separate document or in an
generated index.
existing document. When you generate an index story,
InDesign compiles index entries and updates page num- Page Number
bers across your document or book. If you add or delete
Select the character style that determines the appearance
index entries or update numbering in your document,
of the page numbers in the generated index. This setting
however, you'll need to regenerate the index to update it.
does not affect index entries you formatted using the
Index formatting options Number Style Override option.
When you click More Options in the Generate Index dialog Cross-reference
box, formatting options appear that let you determine the
Select the character style that determines the appearance
style and appearance of the generated index. InDesign
of cross reference prefixes (such as See and See also) in
includes a number of built in paragraph and character
the generated index.
styles that you can select to format the generated index,
or you can create and select your own styles. After you Cross-referenced Topic
generate the index, you can edit these styles in the
Select the character style that determines the appearance
Paragraph Styles and Character Styles panels.
of the topic being referred to (such as beasts in See also
beasts) in the generated index.
Following Topic
Type or select a special character to separate the entry
from the page number (such as Animals 38). The default
is two spaces. Determine formatting for this character by
editing the corresponding Level Style, or by selecting
another.
Index with nested entries Between Page Numbers
Type or select a special character to separate one page
A. Title B. Section heading C. Level 1 entry D. Level 2
number or range from another. The default is a comma
subentry E. Topic F. Cross reference
followed by an en space.
To replace the entry separators (such as the values for
Between Entries
Following Topic or Between Entries), select the existing
separator and then type or choose a replacement charac- If Run-in is selected, type or select a special character to
ter. determine how entries and subentries are separated. If
Nested is selected, this setting determines how two cross-
Nested or Run-in
references under a single entry are to be separated.
Select Nested if you want the index formatted in the default
Before Cross-reference
style, with subentries nested under an entry as separate
indented paragraphs. Select Run-in if you want all levels of Type or select a special character that appears between a
an entry to appear in a single paragraph. The Between reference and a cross-reference, as in Animals. See also
Entries option determines which character separates the beasts. The default is a period followed by a space.
entries. Determine formatting for this character by switching or
editing the corresponding level style.

222 IT&ITES: DTPO - Related Theory for Exercise 2.3.08

Page Range Add basic page numbering
Type or select a special character to separate the first and You can add a current page number marker to your pages
last numbers in a page range (such as Animals 38-43). The to specify where a page number sits on a page and how it
default is an en dash. Determine formatting for this charac- will look. Because a page number marker updates auto-
ter by switching or editing the Page Number style. matically, the page number it displays is always correct-
even as you add, remove, or rearrange pages in the
Entry End
document. Page number markers can be formatted and
Type or select a special character to appear at the end of styled as text.
entries. If Run-in is selected, the specified character
Change the page numbering style
appears at the end of the last cross-reference. The default
is no character. By default, pages are numbered using Arabic numerals (1,
2, 3...); however, you can number pages using upper or
Create a book file
lowercase Roman (i, ii, iii...) or alphanumeric (a, b, c...)
A book file is a collection of documents that can share numbering. You can also number pages using preceding
styles, swatches, master pages, and other items. You can zeros. Each part of the document that uses a different
sequentially number pages in booked documents, print numbering style is called a section.
selected documents in a book, or export them to PDF. One
In Japanese, Chinese, or Korean versions, by default,
document can belong to multiple book files.
Arabic numerals are used for page numbers. However, if
One of the documents added to a book file is the style you use the Numbering & Section Options command, you
source. By default, the style source is the first document can specify the style of numbering, such as Roman
in the book, but you can select a new style source at any numerals, Arabic numerals, Kanji, and so on. The Style
time. When you synchronize documents in a book, the option allows you to select the number of digits in the page
specified styles and swatches from the style source number, for example, 001 or 0001. Each part of the
replace those in other booked documents. document that uses a different numbering style is called a
Manage book files section.

Each open book file appears on its own tab in the Book Use the Numbering & Section Options dialog box to
panel. If multiple books are open at the same time, click a change the page numbering style to use a different format.
tab to bring that book to the front and access its panel You can also use this dialog box to restart page numbering
menu. or to start page numbering at a number you specify

Icons in the Book panel indicate a document's current Number pages, chapters, and paragraphs in a book
status, such as open , missing (the document was You can determine how pages, chapters, and paragraphs
moved, renamed, or deleted), modified (the document are numbered in a book. In a book file, the numbering styles
was edited or its page or section numbers changed while and starting numbers for pages and chapters are deter-
the book was closed), or in use (if someone else has the mined by each document's settings in the Numbering &
document open in a managed workflow). No icon appears Section Options dialog box or the Document Numbering
next to closed documents. Options dialog box. You can open one of these dialog
To view the pathname of any document in a book, hold the
mouse pointer over the document name until a tooltip
appears. Or, choose Document Information from the Book
panel menu.
Save a book file
Book files are separate from document files. For example,
when you choose the Save Book command, InDesign
saves the changes to the book, not the documents in the
book.
To save a book under a new name, choose Save Book As
in the Book panel menu, specify a location and filename,
and click Save.
To save an existing book under the same name, choose
Save Book in the Book panel menu, or click the Save button
at the bottom of the Book panel.
If you are sharing book files over a server,
make sure that you have a file management
system in place so that you don't save over
each other's changes accidentally.

IT&ITES: DTPO - Related Theory for Exercise 2.3.08 223

boxes by choosing Layout > Numbering & Section Options If the book is updated and the numbering seems incorrect,
in the document or by choosing Document Numbering the problem may be that absolute numbers are displayed
Options in the Book panel menu. instead of section numbers in General preferences.
For numbered paragraphs (such as lists of figures), num- If a document is missing or cannot be opened, the page
bering is determined by the numbered list style definition range is shown as "?" from the place where the missing
contained by the paragraph style. document should be to the end of the book, indicating that
the true page range is unknown. Remove or replace the
The page range appears beside each document name in
missing document before you update numbering. If the In
the Book panel. By default, InDesign updates page and
Use icon appears, someone using a different computer
section numbering in the Book panel when you add or
has opened the document in a managed workflow; the
remove pages in booked documents, or when you make
person must close the document before you can update
changes to the book file, such as reordering, adding, or
numbering.
removing documents. If you turn off the setting to automati-
cally update page and section numbers, you can update
numbering in a book manually.

224 IT&ITES: DTPO - Related Theory for Exercise 2.3.08

IT & ITES
DTPO - InDesign Related Theory for Exercise 2.3.09

Printing solutions and PPD’s and PDF’s generation

Objectives : At the end of this lesson you shall be able to
• understanding about print document
• learning about set ink, separations and screen frequency
• learning about postscript and EPS file.
About printing Transparent objects
Whether you are providing a multicolored document to an If the artwork contains objects with transparency features
outside service provider, or just sending a quick draft of a that you added using the Effects panel or the Drop Shadow
document to an inkjet or laser printer, knowing a few basics or Feather commands, the transparent artwork will be
about printing will make the print job go more smoothly, and flattened according to settings in the flattener preset you
help to ensure that the finished document appears as choose. You can affect the ratio of rasterized images to
intended. vector images in the printed artwork.
Types of printing Page printing options
When you print a file, Adobe InDesign sends it to a printing You can print all pages, even or odd pages only, a series
device-either to be printed directly on paper or to a digital of individual pages, or a contiguous range.
printing press, or to be converted to a positive or negative
Range
image on film. In the latter case, the film can then be used
to create a master plate for printing by a commercial press. Specifies the range of pages to print in the current docu-
ment. Indicate numbers in a range by using a hyphen, and
Types of images
indicate multiple pages or ranges by using commas or
The simplest types of images, such as text, use only one spaces.
color in one level of gray. A more complex image is one with
If the document includes pages with different page sizes,
color tones that vary within the image. This type of image
you can use the options above the Range field to select all
is known as a continuous-tone image. A photograph is an
pages of the same size.
example of a continuous-tone image.
Sequence
Halftoning
Choose All Pages to print all pages of a document. Choose
To create the illusion of continuous tone, images are
Even Pages Only or Odd Pages Only to print only those
broken down into a series of dots. This process is called
pages within the specified range. These options are un-
halftoning. Varying the sizes and densities of the dots in a
available when you are using the Spreads or Print Master
halftone screen creates the optical illusion of variations of
Pages options.
gray or continuous color in the printed image.
Spreads
Color separation
Prints pages together, as if they were bound, or printed on
Artwork that will be commercially reproduced and that
the same sheet. You can print only one spread per sheet.
contains more than a single color must be printed on
If the new page is larger than the currently selected paper
separate master plates, one for each color. This process
size, InDesign prints as much as it can, but won't automati-
is called color separation.
cally scale the page to fit the imageable area, unless you
Getting detail select Scale To Fit in the Setup area of the Print dialog box.
You may also want to specify landscape orientation.
The detail in a printed image results from a combination of
resolution and screen frequency. The higher an output If different trapping styles are applied to pages
device's resolution, the finer (higher) the screen frequency in the spread, InDesign resolves the differ-
you can use. ences.
Duplex printing Print Master Pages
Printer-specific features such as duplex printing are avail- Prints all master pages, rather than document pages.
able when you click the Printer button in the Print dialog Selecting this option makes the Ranges option unavail-
box. Duplex printing is available only if the printer supports able.
it. For information on duplex printing, see your printer
documentation.

225
Examples of page ranges
Page range Pages printed

11- Page 11 to the last page of the document.

-11 All pages up to and including page 11.
+11 Page 11 only.
-+11 All pages up to and including page 11.
+11- All pages from the eleventh page to the end of document.
1, 3-8 Page 1, plus pages 3 to 8.
+1, +3-+8 Page 1, plus pages 3 to 8.
Sec1 All pages in section labeled "Sec1".
Sec2:7 Page numbered 7 (not necessarily the seventh page of that section)
in section labeled "Sec2."
PartB:7- Page numbered 7 in section labeled "PartB" to last page of section.
Chap2:7-Chap3 Page 7 in section labeled "Chap2" to end of section labeled "Chap3".
Sec4:3-Sec4:6, Sec3:7 Pages 3-6 in "Sec4" and page 7 in "Sec3".

Options for printing objects for PostScript printing support custom paper sizes, you'll
see a Custom option in the Paper Size menu.
The General area of the Print dialog box contains options
for printing elements usually visible only on-screen, such Most imagesetters can accommodate regular paper sizes,
as grids and guides. Choose from the following options: such as letter and tabloid, as well as transverse orienta-
tion, where the regular page size is rotated 90° when
Print Layers
printed. The transverse orientation is often a more efficient
Determine which layers are printed. use of imagesetter media.
Print Non-printing Objects
Prints all objects, regardless of your settings to selectively
prevent individual objects from printing.
Print Blank Pages
Prints all pages in the specified page range, even if no text
or objects appear on a page. This option is unavailable
when you are printing separations. If you are using Print
Booklet for composite printing, use the Print Blank Printer
Spreads option to print blank spreads added to fill out
composite signatures.
Page size and orientations for imagesetters
Print Visible Guides and Baseline Grids
Prints visible guides and grids in the same color as shown A. Letter (tall orientation) B. Custom page size (tall
in the document. You can control which guides and grids orientation) C. Letter (transverse orientation)
are visible in the View menu. This option is unavailable Paper sizes are listed by familiar names (such as Letter).
when you are printing separations. The dimensions define the limits of the imageable area-the
Specify paper size and page orientation total paper size, less any unprintable border used by the
printer or imagesetter. Most laser printers cannot print to
It's important to distinguish between page size (as defined the exact edge of a page.
in the Document Setup dialog box for your document) and
paper size (the sheet of paper, piece of film, or area of the If you select a different paper size (for example, if you
printing plate you'll print on). Your page size might be US change from Letter to Legal), the document is rescaled in
Letter (8.5-by-11 inches), but you might need to print on a the preview window. The preview window displays the
larger piece of paper or film to accommodate any printer's entire imageable area of the selected page; when the
marks or the bleed and slug areas. preview size is changed, the preview window automatically
rescales to include the imageable area.
The list of paper sizes available to InDesign comes from the
PPD (PostScript printers) or from the printer driver (non-
PostScript printers). If the printer and PPD you've chosen

226 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

 The imageable area will vary by PPD file, even
for the same paper size (for example, Letter),
because different printers and imagesetters
define the sizes of their imageable areas differ-
ently.

Comparison of printing a letter-size page on Letter,

Letter.extra, or Tabloid paper

The preview in the lower-left area of the Print

dialog box indicates whether you have enough
space to include all printer's marks and the bleed
and slug areas.
Four different page-fit settings in Standard view
Printing to non-PostScript language printers
You can print a document on a non-PostScript language A. Default B. Spreads C. Orientation D. 2-by-2 Thumbnails
printer. However, because PostScript is the standard Text view
page-description language for professional publishing, many
high-end color and graphics features, such as screen Lists the numerical values for certain print settings.
frequencies or color separations, cannot be reproduced on Custom page/Cut sheet views
non-PostScript printers. Most imported graphics file for-
Displays the effects of different print settings, depending on
mats print acceptably. In general, a document printed to a
your page size. For custom page sizes, the preview shows
non-PostScript printer should look the way it appears on-
how the media fits on the custom output device; the
screen when you view the document using Preview Mode.
maximum supported media dimensions of the output
Some vendors sell software programs that add PostScript- device; and the settings for offset, gap, and transverse. For
language capability to a non-PostScript language printer. cut sheets, such as Letter and Tabloid, the preview shows
Check with your software reseller for availability and the relationship of the imageable area to the media size.
compatibility.
In both the custom page and cut sheet views, the preview
Preview documents also indicates the output mode using an icon: Separations
You can view how the document's pages fit on the chosen , Composite Grayscale , Composite CMYK , or
paper size before you print to a PostScript printer. A Composite RGB .
preview in the lower-left area of the Print dialog box shows
whether your paper and orientation settings will work for
your page size. When you select different options in the
Print dialog box, the preview updates dynamically with the
combined effects of your print settings.
1. Choose File > Print.
2. Click the preview image in the lower-left area of the Print
dialog box.
The preview has three views:
Standard view
Displays the relationship of a document page to the media.
It shows the effects of various options such as paper size
to imageable area, bleed and slug areas, and page marks,
as well as the effects of tiling and thumbnails. Custom page view (left) and cut sheet view (right)

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 227

A. Direction of media travel B. Transverse deselected C.
Paper size D. Media E. Imageable area F. Media
Select a PPD file
A PPD file (PostScript Printer Description file) customizes
the behavior of the driver for your specific PostScript printer.
It contains information about the output device, including
printer-resident fonts, available media sizes and orienta-
tion, optimized screen frequencies, screen angles, resolu-
tion, and color output capabilities. It's important to set up
the correct PPD before you print. Selecting the PPD that
corresponds to your PostScript printer or imagesetter
populates the Print dialog box with the available settings for
the output device. You can switch to a different one to suit
your needs. Applications use the information in the PPD
file to determine which PostScript information to send to Ink Manager
the printer when printing a document.
A. Process ink B. Aliased Spot ink C. Spot ink
For best printing results, Adobe recommends that you
obtain the latest version of the PPD file for your output Open the Ink Manager
device from the manufacturer. Many print service providers Do one of the following:
and commercial printers have PPDs for the imagesetters
they use. Be sure to store PPDs in the location specified From the Separations Preview panel menu (Window >
by the operating system. For details, consult the docu- Output > Separations Preview), choose Ink Manager.
mentation for your operating system. Choose File > Print, and click Output. In the Output
In Windows and in Mac OS, you select a PPD file in the section, click Ink Manager.
same way you add a printer. The steps for selecting a PPD Display or output spot colors using Lab values
file are different for each platform. See your operating
system documentation for details. Some predefined spot colors, such as colors from the
TOYO, PANTONE, DIC, and HKS libraries, are defined
Ink Manager overview using Lab values. For backward compatibility with previous
The Ink Manager provides control over inks at output time. versions of InDesign, colors from these libraries also
Changes you make using the Ink Manager affect the include CMYK definitions. Lab values, when used in
output, not how the colors are defined in the document. conjunction with the correct device profiles, give you the
most accurate output across all devices. If color manage-
Ink Manager options are especially useful for print service ment is critical to your project, you might prefer to display,
providers. For example, if a process job includes a spot export, and print spot colors using their Lab values. The Ink
color, a service provider can open the document and Manager option Use Standard Lab Values For Spots lets
change the spot color to the equivalent CMYK process you control which color mode InDesign uses for these
color. If a document contains two similar spot colors when predefined spot colors: Lab or CMYK. If you need the
only one is required, or if the same spot color has two output to match earlier versions of InDesign, you should
different names, a service provider can map the two to a use the CMYK equivalent values.
single alias.
To improve on screen accuracy, InDesign uses
In a trapping workflow, the Ink Manager lets you set the ink the Lab values automatically if Overprint Pre-
density for controlling when trapping takes place, and it lets view is on. It also uses Lab values when print-
you set the correct number and sequence of inks. ing or exporting if you've selected Simulate
InDesign and Acrobat share the same Ink Man- Overprint in the Output area of either the Print
ager technology. However, only InDesign has or Export Adobe PDF dialog box.
the Use Standard Lab Values For Spots option. 1. Choose Ink Manager in the Separations Preview panel
menu.
2. Do one of the following:
• For Lab values, select Use Standard Lab Values For
Spots.
• For CMYK values, deselect Use Standard Lab
Values For Spots.

228 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

About halftone screen frequency Before creating your own halftone screens,
In commercial printing, continuous tone is simulated by check with your service provider for the pre-
dots (called halftone dots) printed in rows (called lines or ferred frequencies and angles. Also, be aware
line screens). Lines are printed at different angles to make that some output devices override the default
the rows less noticeable. The Screening menu in the frequencies and angles.
Output section of the Print dialog box displays the recom- About emulsion and image exposure
mended sets of line screens in lines per inch (lpi), and
resolution in dots per inch (dpi), based on the currently Depending on the type of printing press used and how
selected PPD. As you select inks in the ink list, the values information is transferred from the film to the printing plates,
in the Frequency and Angle boxes change, showing you you may need to give your service provider film negatives
the halftone screen frequency and angle for that ink. or positives, with emulsion side up or down. Emulsion
refers to the photosensitive layer on a piece of film or paper.
A high line-screen ruling (for example, 150 lpi) spaces the
Typically, print service providers require negative film in the
dots closely together to create a finely rendered image on
United States and positive film in Europe and Japan. Check
the press; a low line-screen ruling (60 lpi to 85 lpi) spaces
with your service provider to determine which emulsion
the dots farther apart to create a coarser image. The size
direction they prefer.
of the dots is also determined by the line screen. A high
line-screen ruling uses small dots; a low line-screen ruling To tell whether you are looking at the emulsion side or the
uses large dots. The most important factor in choosing a nonemulsion side (also referred to as the base), examine
line-screen ruling is the type of printing press your job will the final film under a good light. One side appears shinier
use. Ask your service provider how fine a line screen its than the other. The dull side is the emulsion side; the shiny
press can hold, and make your choices accordingly. side is the base.

Emulsion options

A. Positive image B. Negative C. Negative with emulsion

side down
The emulsion and image exposure settings in
the Print dialog box override any conflicting
Line screens
settings in the printer driver. Always specify
A. 65 lpi: Coarse screen for printing newsletters and print settings using the Print dialog box.
grocery coupons B. 85 lpi: Average screen for printing
Proofing color separations
newspapers C. 133 lpi: High-quality screen for printing four-
color magazines D. 177 lpi: Very fine screen for printing Create a hard proof to verify that colors will print on the
annual reports and images in art books correct separations, or a soft proof to preview how your
The PPD files for high-resolution imagesetters offer a wide document's colors will look when reproduced on a particu-
range of possible screen frequencies, paired with various lar output device.
imagesetter resolutions. The PPD files for low-resolution While no proof will give you an exact represen-
printers typically have only a few choices for line screens, tation of your final output, you can greatly im-
usually coarser screens of between 53 lpi and 85 lpi. The prove its accuracy by calibrating all the devices
coarser screens, however, give optimum results on low you use to create a document (such as scanners,
resolution printers. Using a finer screen of 100 lpi, for monitors, and printers). If the devices are cali-
example, actually decreases the quality of your image brated, the color management system can help
when you use a low-resolution printer for final output. you get predictable and consistent color.
Specify a halftone screen frequency and resolution The hard proof represents your expectation of the way the
• In the Output section of the Print dialog box, choose one final separations will appear, and helps the service provider
to verify that the output is correct. Be sure to print proofs
of the following options:
on a PostScript printer; you cannot reliably proof color
o To select one of the preset screen frequencies and
separations printed from a non-PostScript printer.
printer resolution combinations, choose an option in
the Screening menu. For assurance that the file will print correctly, consider
o To specify a custom halftone screen frequency, saving the separations as a PostScript file, converting the
select the plate to be customized, and then enter PostScript file to Acrobat 8 PDF using Acrobat Distiller,
the lpi value in the Frequency text box and a screen and then viewing the PDF document in Acrobat. By viewing
angle value in the Angle text box.
IT&ITES: DTPO - Related Theory for Exercise 2.3.09 229
the PDF document in Acrobat, you can inspect high- • It can be trapped by InDesign (either by using Applica-
quality PostScript output on screen at a high level of detail. tion Built-In or Adobe In-RIP Trapping).
Producing in RIP separations • It can be printed directly to the device, or to file.
To produce in RIP separations, you need the following A device- and driver-dependent PostScript file is ideally
software and hardware: suited for proofing (by the designer) to desktop PostScript
A PPD file that supports in RIP separations. printers. It can also be used by service providers who don't
plan to do any prepress tasks to the job outside of InDesign
Any PostScript 3 output device, or a PostScript Level 2
or the RIP system. In other words, if trapping is done, it
device whose RIP supports in RIP separations. If the
happens in InDesign or at the RIP.
document contains duotones from Photoshop 5.0 or later,
a PostScript 3 device is required to generate in RIP Create a device-independent PostScript file
separations. Select PostScript File in the Printer menu, and select
Depending on the prepress software available, a Device Independent in the PPD menu. A device-indepen-
service provider may be able to perform such dent PostScript file has the following characteristics:
prepress activities as trapping, imposition, sepa-
rating, and OPI replacement at the output device's
• It is 100% DSC-compliant, making it ideal for such post-
RIP. Therefore, your service provider may prefer processing tasks as trapping and imposition.
to receive a composite PostScript file of the • All device and driver dependencies are removed, so that
document optimized for in RIP separations, rather the file will print to almost any output device. However,
than a preseparated PostScript file. special printer features found in PPD files, such as
Creating PostScript or EPS files image exposure, available media sizes, and optimized
screen frequencies, aren't available in device-indepen-
As an alternative to printing a document to a printer, you dent output.
can save a PostScript-language description of the docu-
ment as a .PS file for printing on remote printers-for • The color output is always composite CMYK, but it also
example, by a prepress service provider. A service provider includes spot colors. As a result, it has to be separated
can send a .PS file directly to the imagesetter. The size of in post-processing software, or at the RIP using in-RIP
a PostScript file is usually larger than the original InDesign separations.
document, because the graphics and fonts are embedded.
• It cannot be trapped by InDesign; trapping must occur
You can also export a document page or spread to an EPS at the RIP, or in post-processing software.
(Encapsulated PostScript) file and place it in other applica-
tions. • It can only be printed to file (not directly to a device or
application) from InDesign.
About device- and driver-dependent PostScript files
Select a printer and a supported driver in the Printer menu.
• A device-independent PostScript file is ideal for com-
A device- and driver-dependent PostScript file has the posite prepress workflows, where the file will be trapped
following characteristics: and separated later in the production process, such as
during imposition, trapping, or at the RIP (if the output
• It is driver-dependent. The PostScript file will contain device supports in-RIP separations).
code generated by InDesign and by the driver. The Export pages in EPS format
InDesign code is primarily responsible for the page
content, including font downloading, and for setting Use the Export command to export InDesign pages in EPS
basic device information, such as media size, resolu- format, which you can import into another program. If you
tion, and screening. The driver is primarily responsible export multiple pages, each page is exported as a separate
for setting special driver features, such as watermarks, file with a number appended to the end of the filename. For
and for enabling or controlling special device features. example, if you export pages 3, 6, and 12, and specify the
Since InDesign doesn't have complete control over filename News.eps, InDesign will create three files named
creating the PostScript file, the level of DSC compli- News_3.eps, News_6.eps, and News_12.eps.
ance isn't quite as high as it is with driver independent When you export to EPS, you can specify the following
PostScript files. The level of DSC compliance, and options:
therefore the PostScript file's suitability for prepress
tasks, depends on the printer driver used. PostScript®

• It is device-dependent. It contains code for enabling and Specifies a level of compatibility with the interpreters in
controlling specific device features, making it less PostScript output devices. Level 2 will often improve the
compatible with devices other than the target device. printing speed and output quality of graphics printed only
on a PostScript Level 2 or greater output device. Level 3
• It can be composite or separated (all of the color output provides the best speed and output quality, but requires a
methods that InDesign supports are available). PostScript 3 device.

230 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

Color Subset
Specifies how color is represented in the exported file. The Downloads only the characters (glyphs) used in the docu-
options below are similar to the Color settings in the Print ment.
dialog box.
Data Format
Leave Unchanged
Specifies how InDesign sends the image data from your
Leaves each image in its original color space. For example, computer to a printer: as ASCII or Binary data.
if the document contains three RGB images and four
Images
CMYK images, the resulting EPS file will contain the same
RGB and CMYK images. Specifies how much image data in placed bitmap images
to include in the exported file.
CMYK
All
Creates a separable file by representing all color values
using the gamut of cyan, magenta, yellow, and black Includes all available high-resolution image data in the
process color inks. exported file and requires the most disk space. Choose
this option if the file will be printed on a high-resolution
Gray
output device.
Converts all color values to high-quality black-and-white
Proxy
images. The gray levels (shades) of the converted objects
represent the luminosity of the original objects. Includes only screen-resolution versions (72 dpi) of placed
bitmap images in the exported file. Choose this option in
RGB
conjunction with the OPI Image Replacement option, or if
Represents all color values using the red, green, and blue the resulting PDF file will be viewed on-screen.
color space. An EPS file with RGB color definitions is
OPI Image Replacement
better suited for on-screen viewing.
Enables InDesign to replace low-resolution EPS proxies of
PostScript®Color Management
graphics with high-resolution graphics at output time.
Uses the document's color data in a calibrated version of
Omit For OPI
its original color space.
Selectively omits imported graphics when sending image
Preview
data to a printer or file, leaving only the OPI links (com-
Determines the characteristics of the preview image that is ments) for later handling by an OPI server.
saved in the file. The preview image is displayed in
Transparency Flattener
applications that cannot display EPS artwork directly. If
you don't want to create a preview image, choose None in Select a flattener preset in the Preset menu to specify how
the format menu. transparent objects appear in the exported file. This option
is the same as the Transparency Flattener option that
Embed Fonts
appears in the Advanced area of the Print dialog box.
Specifies how to include fonts used in the pages you
Ink Manager
export.
Corrects any ink options without changing the design of the
None
document.
Includes a reference to the font in the PostScript file that
tells the RIP or a post processor where the font should be
included.
Complete
Downloads all fonts required for the document at the
beginning of the print job. All glyphs and characters in a font
are downloaded even if they don't appear in the document.
InDesign automatically subsets fonts that contain more
than the maximum number of glyphs (characters) specified
in the Preferences dialog box.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 231

Costing and Estimating itable or especially costly to the business. Cost estimating
empowers the sales staff with knowledge about where they
Current pricing practices
can be aggressive and where they need to hold the line on
As a mature industry, today's print market place has price.
clearly - defined price ceilings. There is slight pricing
For low-margin work, cost estimating takes on an increas-
latitude, but higher prices must be intensely justified to
ingly important role. In most situations, companies should
customers. For this reason, it is vital that pricing be based
not price work below their costs. However, without a cost
on actively researched competitive information. A well-
estimate, that break - even point is not known until after
defined pricing strategy, combined with aggressive cost
production. Further, it is quite useful to know that the
reduction plans, is critical for supporting reasonable profit
marketplace simply will not support the cost associated
margins in commercial printing.
with performing certain processes. For example, if the
Growth for traditional commercial color printing has been market rate for perfect binding is extremely competitive, it
stagnant and margins have generally been poor in recent may make sense to outsource these functions to low-cost
years. In 2005, the average lithographer made just 2.5 trade binders instead of trying to keep the operations in-
percent returns on sales2. This number is projected to be house. The cost estimate helps to expose those cost
3 percent for 2006. Price premiums, when justified, help to prohibitive operations.
increase profit margins on individual jobs and lead to
What about digital printing? Is cost estimating still relevant
greater profitability as a whole. Value - added services -
when dealing with digital printing? Why not simply price
services beyond core printing products that provide unique
estimate, using simplified formulas with built-in profit to
significance to the customer - are generally perceived as
calculate price? In some cases, the customer can price the
the means for increasing price, market share, and profit
work directly by consulting a pricing matrix. For printing
margins. Successful commercial printers intimately know
that is highly uniform, price estimating makes sense.
their customer's business, are properly equipped to offer
Digital printing often produces standard sizes, on standard
unique solutions for their customer's problems, and focus
paper, with standard inks and toners. When simple, low-
on services and products that provide distinct, substantial,
complexity work is produced, pricing tables make sense,
and well - documented value to their customers - a
whether published or private. When complicated, valued-
challenging feat in a competitive market.
added processes are involved, however, cost estimating is
Cost estimating helpful in managing the pricing and production functions.3
Commercial printers have been cost estimating for many What are these complicating factors that necessitate an
years. Estimating costs prior to producing a job provides estimate? When simply running standard paper through a
multiple benefits. Primarily, a cost estimate can be the print engine-print-on-demand (POD) or short-run color
basis for pricing decisions. When a client requests a price printing the cost is fairly uniform and can be easily
quotation, a customized cost estimate is prepared using predicted. However, when variable data, digital asset
the specifications provided. This information is forwarded to management, digital coatings, variable finishing, or other
sales management who analyzes the anticipated produc- non-standard processes are involved, the complexity and
tion costs against competitive pricing information to derive unpredictability of the job increases. A customized cost
a price quotation. In ideal scenarios, the cost estimate and estimate is necessary.
price quotation have a wide margin for profit. However, in
How is cost estimating performed?
competitive markets, pricing may be determined indepen-
dently from the cost estimate. The estimating process
It could be argued that cost estimating is no longer Cost estimating follows a well-defined workflow. The pro-
necessary for pricing. Since pricing is substantially cess begins with the request for estimate, provided to the
market - driven, then why is it necessary to estimate? Why estimator by a sales representative or the customer
not simply use a price matrix or competitive pricing? Any directly. When completed thoroughly, the request for
managerial accounting system will accurately track rev- estimate form contains the specifications to accurately
enues and expenses. Yearly profit and loss statements estimate the cost of production. An alternate to a request
can be developed without a job estimating system. Even for estimate form is a web portal, where the customer or
if cost estimating is never performed, accurate projections sales representative completes the necessary fields for the
and reports can be generated related to expenses and estimate. Most web portals are integrated with estimating
revenues. software, facilitating easy transfer of specifications directly
to the software. The web has also ushered the era of the
The response to that argument is that knowing anticipated
unknown customer. Today, it is common to estimate jobs
costs prior to negotiating price is extremely helpful. It
for businesses where no established relationship previ-
provides key information to the printing sales representa-
ously exists.
tive to know the break - even point on production - the price
point at which there is both zero profit and zero loss. After the estimator receives the request for estimate, he or
Further, this detail provides useful information about pro- she begins the estimating process. To estimate correctly,
duction processes or operations that are particularly prof- the job's production must be accurately planned. Produc-
tion planning involves mapping the production steps and

232 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

materials needed to complete a project. The estimator Publishers often refer to books as folio and quarto editions.
breaks down the production planning by cost center. A A folio edition commonly means an oversized book that is
cost center is an area of production, such as digital larger than a quarto which is in turn larger than an 8vo.
prepress, which has defined costs associated with it
Books are produced in signatures collections of pages
including equipment, labour, supplies, and facilities. One
sewn or glued together in the binding. The arrangement of
or more operations may be performed in a cost center. For
the signature pages is known as the imposition. The
example, digital prepress may include operations such as
imposition of a 32 page signature is that page 32 faces
preflighting, image manipulation, color correction, imposi-
page 1. page 31 faces page 2. page 30 faces page 3. and
tion or proofing, and might have an hourly cost rate of $85
so on. An easy way to remember imposition is to remem-
per hour.
ber that the sum of the facing pages will be one greater than
more work involved in establishing an ABC estimating the total number of pages in the signature. (N+1) The best
system and completing the estimate. Most commercial way to certain about an imposition is to create a dummy,
MIS or accounting systems are not easily adaptable to an a set of pages folded and numbered in exactly the same
Activity Based Costing system. way as the signature. After the dummy, one can make
certain of the imposition.
Job costing
Rules of book composition
Cost estimating is performed prior to printing a job. In
commercial lithography, it is completed prior to the price The typographer should decide whether a book should be
quotation. Job costing, on the other hand, is the function of set justified or ragged right, choose the appropriate type
tracking and applying actual costs to a job after production. face, select type size and line space, determine the width
Its purpose is two-fold: compare actual cost to estimated of the measure. These decisions form the crux (criticism)
cost; and ensure all change-orders are applied and cor- of book design.
rectly billed to the customer. Job costing usually requires
The basic rules of book composition
all customer changes to be initiated in written form,
ensuring a paper trail for billing purposes. Line length
Commercial printers may link job costing to their payroll Research decided optimum line lengths. The 2½ rules
system. This requires employees to accurately track their suggests that 10 pt type is most legible on a measure 25
time against a job in order to get paid. Consumables must picas long. If the book is large a two column format should
also be tracked to give accurate results. Most commercial be considered.
printers put some emphasis on their job costing efforts, Typesize
largely because change-orders can go unbilled unless an
effort is made to track all costs associated with each job. A common sense rule is to use sizes that are large enough
Job costing also reveals trends that can help identify to be read. The most popular type sizes are 10 pt and 12
ongoing production problems. pt. Chapter heads should not overpower the body type. If
10pt / 12pt type is specified for the main body 8 pt should
One very important benefit of accurate job costing is be used for foot notes.
continuous improvement. The estimating process needs
feedback in order to ensure the most accurate outcomes, Book composition
which means that production standards must be continu- The golden section/progressive margins
ally monitored. Improved production efficiencies, if not
reflected in the estimate, will result in fewer print contracts The book typographer's first job is to prepare a layout for
awarded than possible. Alternatively, an optimistic esti- two facing pages. The typographer works with two bits of
mate that doesn't reflect actual production may secure a knowledge the size of the book and the nature of the book.
job, but result in lost revenues when production takes Keeping this points he/she must create an overall concept
longer than expected. presents and complements the author's ideas.
When the estimating manager gets repeated feedback One of the first significant design decision is the width of the
from the job cost report that a particular process is margins. Margins serve four functions they frame the text,
outperforming or underperforming expectations, he or she provide a space for illustrations and folios, enable the
can refine the production standards and consumables reader to hold the book without hiding the text and allow for
used. This refinement is an ongoing process, and when trimming. The typographer should specify margins that are
diligently preformed, results in a very accurate estimating at the very least 3/8" of an inch wide.
system. Different books require different margins. Mass market
paperbacks have narrow margins to reduce the number of
Book design (Stages)
pages and keys cost low. Quality books tend to have wider
Typographers refer to books that are 6" by 9" and 81/2" by margins for elegant appearance. The typographer should
11"- two popular sizes. Popular book sizes have become discuss general economic considerations with the pub-
identified with the terms quarto and octavo because book lisher before beginning to design the work.
paper is manufactured in standard sizes.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 233

There are several classical theories. The oldest is known Line space
as the Golden Section. Jan tschichold, one of the most
Normally use 1 or 2pts for leading. Line that are "aired out"
innovative book designers discovered that the inner. outer.
more than 2 pts may appear disjoined. Whereas less than
head and foot margins were determined according to the
1 pt of lead may result in an extremely black and illegible
formula 2:3:4:6. The inner margin was 2". the head was 3",
page.
the outer margin was 4" and the foot was 6". According to
the golden section, the width of the page should be Typeface
proportional to its depth by ratio of 2:3, meaning that a 6 by Common sense and good taste are the two rules for
9" book conforms perfectly with this proportion. The ratio selecting typeface. In general, regular type versions are
of text to page area is also 2:3, so the text area of a 6 by more legible than variations, italics and bold should be
9" book that is 4"-24 picas wide should be 6"-36 picas used only for emphasis, serifs tend to be more legible than
deep. The final rule of the golden section is that the text sanserifs.
should be as deep as the sheet is wide.
Designing books
The golden section proportions determine then the text
dimensions of a 6 by 9" book will be 24 picas wide and 36 The shape of a book
picas deep. Jan Tschichold-one of the greatest typographers, defines
A newer theory is the idea of program margins. Progressive the proportions of the pages rational and irrational page
margins become larger beginning with the inner margin and proportions. Irrational page proportions of 1:1,618 (Golden
working counter-clock-wise on verso pages and rule), 1: root2. 1:root3, 1:root 5, 1:1.538 and rational page
anticlockwise on recto pages. Classic difference between proportions 1:2, 2:3, 3:4, 5:8, and 5:9. These are clearly
the golden section and progressive margins is the absence intended and defined. All others are unclear and arbitrary.
of a uniform proportion. Proportions for book pages
Book production There are two factors to decide area devoted to type on the
The grid theory pages. The type area proportions will vary. Very fine books
have the type cover only one half the area of the page. A
Grid theory is the most valuable frame work for production good general rule is to set the type so that it measures 0.71
of a book. The typographer first examines the text and of the width and depth of the page. The type area is figured
illustration and their shapes and sizes. Then dimensions y multiplying the width and depth by 0.71.
of the grid cell decided. The size of the cell is determined.
Every textual element, folios, running heads, captions, width 36 by 0.71 = 25.56 or 26 picas.
body copy and chapter heads must be specified to fit into deep 54 by 0.71 = 38.34 or 38 picas.
the cellular pattern.
The type will be set to a measure of 26 by 38 picas.
The grid is a structure providing a proportional relationship.
The typographer designs the pattern to fit the demands of Selecting and using type
the project. This is the greatest advantages of the grid Common
theory.
The selection of the type for a job requires the serious
After typographic decisions are made the typeset pages attention of the graphic designer. There are some ideas the
are checked for errors while the typographer prepares the designer uses in selecting type.
layout. The complete layout of each page the dummy is the
neat step. Each page is dummied on an individual sheet, 1 Pick a type face to match with the mood of the design.
which is usually printed in non-reproducible blue ink. The A thin light face gives a different image than a thick bold
layout sheets should be imprinted with two pages to allow face.
for the design of facing pages spread. 2 Headlines are the major captions set above a newspa-
Book composition per or magazine articles. Headlines in colour should be
a little larger than those in black.
Rules and theories
3 Variety is obtained by changes in type size and
There are some basic rules for legible typesetting of a book: blackness. The use of condensed and expanded types
Line length also gives variety. Italics are used for interest.
Research suggests the 21/2 rule, which means that 10 pt 4 A talented designer can mix typefaces-one for head-
type is most legible on a measure 25 picas long. If the book lines and another for the body.
is large a two-column format should be selected. 5 Type mixing is a matter of taste. Old roman and modern
Type size roman do not go together well.
A common sense rule is to use sizes that are large enough 6 San serif are a neutral type. They go well with almost
to be read. The most popular type sizes are 10pt or 12pt. any other type.
Chapter heads should not overpower the body type. For 7 Old English should be combined only with roman faces.
10pt or 12pt body type. 8pt should be used for footnotes.

234 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

8 Type spaces selected should be readable. valuable frame work used in the layout of a book is the grid
theory.
9 Words made/set from caps and lower case letters are
more readable than all capitals.
Type running from left to right is more readable than in
vertical/diagonal rows.
10 Extra spaces between the lines of the body will improve
readability-1pt leading is common.
11 The size of the type affects the width of the body
columns. The bigger the type, the wider the column
needed. A general rule is the width of the column is
equal to 39 lower case characters.
12 Display types are those larger than 14pt sizes. They are
used for newspaper, magazines, headlines, posters
requiring a large attention getting face. Display type can
be crowded, standard, or positioned any way to be The grid is universal today, the typographer first examines
effective. the text and illustration requirements, taking note of the
13 Spacing between words and letters is vital typographic sizes and shapes of any photographs, logos, etc. The
design. The spacing should be decided by a designer dimensions of the grid cell are then decided. The cell is a
rather than a printer. carefully formalized vertical and horizontal unit. After the
size of the cell is determined the typographer makes
Book composition tangible grid and uses in laying out the pages.
Books represent the oldest form of the graphic art. Books Every textual element, including folios running heads,
become the most valued one because of their permanence. captions, body copy and chapter heads must be specified
Books have been the major vehicle for the shaping of to fit into the cellular pattern. As the typographer lays out
education, culture, the recording of history and the inter- the book, the parts of the page will inevitably align into a
change of information. Books have convenience, authority, unified design.
economy, intimacy when comparing will electronic media.
The grid governs both the position and the size of all design
Books require a length production time. The book has long elements. If the typographer has determined that the grid
been appreciated as an art form by serious collectors. cell of an 8.5 x 11 inches book will be 1" wide and 1/2" high,
Book design can be categorized into various specializa- the measure used to set every part of the copy must be a
tion. Designers of scientific text books are more concerned variable of 6 picas (1"). Text type can be set 12 picas (2
with the legible design of characters, graphs than the cells), 18 picas (three cells), or 24 picas (four cells) wide,
designer of navels. but it must not be set 16 picas wide, illustrations are sized
according to the grid. All photographs will be reproduced
Format in variations of 1 x 1 ½". A photograph may be scaled to 6
The size, shape and general appearance of a printed piece x 4 ½". but a 6 x 4 1/8" photograph would isolate the
constitutes its "format'. The format is decided by the integrity of the grid.
author. The grid is a structure providing a proportional relationship.
Publisher and the designer. Choice of format depends on The grid theory does not constrain the typographer to a
objectives of the place and on customary format for each given pattern as golden section. Rather, the typographer
information. For example a poster is the customary format designs the pattern to fit the demands of the project. This
for announcing an arts, fair and the one for which people will is the greatest advantage of grid theory. The grid system
look. is at the same time quite adaptable, unifying a variety of
unequal (desperate) elements. After the initial typographic
Another influence for format is ease of use. A form must be decisions are made, the typography of the book is common
convenient to fill out, to file, and to refer to later. A self- place (explained later). The typeset pages are checked for
mailing catalogue must meet postal requirements. errors while the typographer prepares the layout. A com-
Donot gues how a printed piece will be used or assume that plete layout of each page called dummy, is the next step.
its principal use is its only use. Each page is dummied on an individual sheet usually
printed in non-reproducible blue ink. The layout sheets
The way a printed piece reaching its audience is another
should be imprinted with two pages to allow for the design
factor to be considered when deciding on format.
of facing pages a spread.
Page design
Margins
The pages of a book should be a coherent whole. Designer
Margins are white spaces around the printed matter on a
should apply a consistent formula so that the design of
page. Each margin has specific name according to its
each page appears to have been inevitable. By far most
position on the sheet; as back, head, fore-edge and tail.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 235

The back margin is the space between two adjacent pages Margins are necessary for the following reasons
of type or illustration. This produces the white space at the
inner edge of the printed leaf. The head margin is the space • for binding, sewing, and stitching purposes.
at the top of the printed page. Fore-edge is the space at the • to provide the trimming allowance and gripper allow-
outer edge of the printed page which is the opposite to the ance during printing on the machine.
back. The tail is the space at the bottom of the printed
page. • for printing the signature, headings, notes etc.
Among the different margins, the back margin has the least • to form a frame around printed matter to ease the strain
and the tail the highest margin, the head a little more than on the eyes.
the back and the fore-edge a little less than the tail, but • to protect the printed matter while handling and turning
more than the head. If the back margin is one unit then the the pages.
head margin can be one and a half unit, the fore edge two
units and the tail two and a half units. Normally the back • for trimming during rebinding.
and the fore-edge margins are allotted in the ratio of 2:3 in
• wider margins are allotted sometimes in books of
the available space. The same ratio is followed for the head
research and studies for the purpose of taking notes.
and tail margins in the available space.
Golden section is the most pleasing proportion between
• white space around the matter is also a decoration.
the text and the blank space. Progressive margins use Golden section
more white space.
According to the golden section the width of the page
Planning for margins should be proportional to its depth by a ratio of 2:3, meaning
that a 6 x 9" book conforms with this proportion. The ratio
of text to page area is also 2:3. The final rule of the golden
section is that the text should be as deep as the sheets
wide. The typographer has to work with two bits of knowl-
edge: the size of the book and what the book is about, with
this information typographer should, create an overall
concept that presents and complements the author's
ideas.
First significant design decision is the width of the margins.
Margins serve at least four functions. They frame the text;
provide a space for illustrations and folios; enable the
reader to hold the book without hiding the text; and allow
for trimming.
Different books require different margins. Mass market
paper backs have narrow margins to reduce the number of
pages and keep costs low. Quality books tend to have
wider margins, which result in a more elegant appearance
and higher production costs.
Allotting margins depends upon the class of work (whether
cheap, moderate or deluxe), type of binding etc. The There are several classic theories as to how margins
margin are allotted as wide or narrow depending on the should be designed. The oldest is known as the Golden
nature of the publication such as, cheap, moderate or section. JAN TSCHICHOLD discovered that many medi-
costly edition and the purpose of publication. For cheap eval manuscripts and INCUNABULA shared a uniform
works very narrow margins will be sufficient so that the proportion. The inner, outer, head and foot margins were
printing area may be increased to reduce the cost of determined according to the formula 2:3:4:6 if the inner
production by bringing down the number of pages and margin was 2", the head was 3", the outer margin 4", and
quantity of paper. For deluxe and costlier editions the the foot 6".
printing area is made lesser, allowing a wider margin These golden section proportions determine that the text
around. dimensions of a 6 x 9 inch book will be 24 picas wide and
The smaller the size and more solid the page, the smaller 36 picas deep. There will be a 2 inch margin at the foot. 1
the margin may be while large, widely-spaced setting 3/8" at the outer margin. 1 inch at the head, and 5/8 of an
requires liberal margins. The margin may also be deter- inch at the inner margin.
mined by the necessity for getting a large quantity of text
into comparatively few pages, then the margin must
obviously be as limited as possible.

236 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

 Depth
"Depth" is howlong a column of type will be, if depth has
been estimated as 10 inches then add extra space
between paragraphs or additional lines to compensate for
anticipated changes after type is set.
Headlines and subheads
A "headline" or "head" identifies the subject of an accom-
panying article or block of copy. It is usually larger than the
body type and often of a different weighter type style. A
"subhead" is smaller than headline and appears as further
introduction to the text/within the text to break into sec-
tions.
Book typeface selection
Type the voice of the printed page, should be legible and
fascinating. Book-lover loves readability and legibility. A
A newer, closely related theory is the idea of progressive
esthetic considerations are the dominant factors to prefer
margins. Progressive margins become larger beginning
a classic types for printing a book. The choice of type is
with the inner margin and working counter clockwise on
dependent on practical considerations as the kind of book,
verso page and clockwise on recto pages. The proportions
public, its length, its size, type area, the type size and
can vary. For example, if the inner margin is 1 inch, the
leading, paper is another primary factor to decide type.
head margin could be 2 inches, the outer margin 3 inches,
Monotype book laces have high degree of legibility and
and the bottom margin 4 inches. The basic difference
grace of their letterforms. Leading has the optical effect of
between golden section and progressive margins is the
altering the colour values of the type on the printed page.
absence of a uniform proportion.
The colour value (weight) of type is effected by the kind/
Advantages of margins colour of paper used. Types like Casion, Garamond and
perpetua attain their flowering in their larger sizes whilst
Margins help the eye to focus of the type area. There should
fournier, plantain and imprint are most successful in
be more margins at the bottom of a page than at the top
smaller sizes.
otherwise the type has the appearance of falling out of the
page. Book-typography
The inner margins should be less than the outer margins. Book design continuous to be vital part of the printing
Enough space should be left on the side margins for easy industry. Typography is important to the book in three
handling without obscuring type matters. The bottom distinct areas, the cover and jacket design, the text and the
margin should be large enough for the comfortable placing illustrative material.
of the reader's thumb when the last lines of the page are
Text face in chosen far less for it emotional impact than for
being read, Good margins are an aid to legibility. The larger
simple legibility. The typographer selects a type face the
amount of margin on sides, head, and tail allows for
best reflects what the book is about, charts, tables, and
subsequent cutting and rebinding without injury to the type
graphs are exempt.
idea. Ample margins also give room to the reader for
annotation. From any debate regarding emotional appeal. Typeset
illustration material is designed to present information that
Body type size and leadings
can be interpreted. A well designed graphic an convey
"Body type" is normally no larger than 12 pt. used for the statistical information.
text or main part of a printed piece. "Leading" is the space
Book typography must be emotive, legible and informative
between lines of type. Type may be "set solid" with no extra
as the situation demands. These three functions offer a
space or air between lines, making compact, or set spaced
constant into which all typography must fit. Design strat-
apart. Thus both size and leading affect the length of a
egies an discussed and executed either by in-house
column of type. If for example specified, it means that body
graphic personnel or by free-lance designers.
type is 9 pt 10 pts of space, allowing 1 pt of leading lines.
Book Jacket
Column width
Book jacket is an extraneous to the book. It demand the
Column width is specified in picas. "pica' is a common unit
most careful, injenious treatment.
of measure in the printing industry and equivalent to 1/6 of
an inch. 6 picas make 1 inch. "Column" is a vertical block Book jacket is the loose paper wrapper placed round the
of type made of two lines all set to the same width. binding case after the book is bound.
The original purpose is to protect the case before sale
against handling and exposure to light and atmosphere.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 237

The jacket is still referred to as the dust-wrapper. Accord- Wrapping in the reverse of inserting: here the pages go
ing to Rosner, "jacket is a poster wrapped round a around the outside of the text signature, mechanically the
commodity". Jacket is a sales device. operation same as inserting.
The book jacket should appeal to prospective buyers at a Case binding
first impression when they see from 8 -10" distance and 3'
This is the conventional method of making a book. Where
high. The excellence of a jacket will play a competitive.
by the signatures are enclosed in a rigid cover to the inside
Jacket must have a recognizable style to invite the buyers. of which they are attached by pasting the endpapers or the
The best jacket designs are to be planned and executed by first and last pages (self-lining). There are several variations
illustrators and art editors. in case binding. The pages may be held together.
A By sewing the signatures together.
B By use of wire stables or
C By adhesives (perfect binding)
There are two sewing methods:
Smyth sewing
The most common method used for trade books. If the book
has only one signature and the stitching goes through the
gutter. It is called saddle-stitching.
Side sewing
The thread is passed through the entire book about 1/8"
from the back. For books over ¾" bulk machine sewing is
used.
Wite stitching or stabling
This is a cheaper method of holding pages together when
there is just one signature. Two or three wire stables are
passed through the gutter as in a pamphlet. Side wire
stitching is smaller to side sewing.
Perfect-binding (adhesive binding)
This process consists of trimming off the folds at the back
Types for jacket design of the book and applying an adhesive to hold the pages
together. A more sophisticated type of perfect-binding is
one of the following typefaces can be selected for jacket done by electronically welding the molecules of paper
printing. together. The perfect binding is commonly used on direc-
Suggested faces tories. Catalogues and large reports and now-a-days
costly text books of limited pages. A soft cover-weight-
Chisel, fat face, shaded ultra Bodoni, ultra bodoni con- paper is used to a hard cover.
densed condensed-Roman, Times heavy titling, Gillsans
bold sanserifs shadow and camco ruled. A type of perfect binding may be done by office equipment
or a bindery.
Binding styles
Preliminary matter
The term "binding" means conventional book binding.
A book consists of three basic parts:
There are basically three kinds of binding. (a) case or hard
binding, or hard cover, (b) paper or paper back or soft cover. A Front matter
and (c) mechanical including "spiral" binding. B Body and
Tipping, wrapping & inserting: C Back matter
Signature are bundled and sent to the gathering, depart- The cover/jacket of a book is an exterior which includes
ment where they are assembled into books. Before they endpapers and spine.
are gathered the end papers are tipped onto the first and The preliminary matter is otherwise called as front matter
last signatures and any illustrations are upped, inserted, or or prelims. Preliminary matter consists of all or a combi-
wrapped at the proper place. nation of the following.
Tipping means pasting onto a page with about 1/8" of 1 Half-title (bastard title)
pasted along the inside or gutter, edge. 2 Announcement (fact title) or frontispiece
Inserting into a signature means placing four or more pages 3 Title page
in the middle or elsewhere. 4 Copy right page

238 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

5 Dedication The publisher's place of business and the date of publica-
6 Table of contents tion merit the smallest type size -10, 12 pt is adequate. The
typographer must not commit one mistake setting the word
7 Preface
by in the same size as the author's name and thereby
8 Forewords calling undue attention to an insignificant proposition.
9 List of illustrations There are possible solutions cite the author's name without
10 Acknowledgements the use of word; Set the word by on a separate line in a
smaller size, de-emposize the word in the same line by
Half-title page setting a lower case 'b', or combine the last two sugges-
The Half-title page is the first page to contain type. Always tions and a set by in smaller type on its own line.
a recto, it features only the title of the book. This should The title page design should not exceed the dimensions of
appear on the upper fourth of the page. Half title type should the text type specified for the body and should reflect the
be below 18pt often it is the same size as the type used for typography of the book as the whole. If illustrations are
chapter openings. important part of the book, an illustration might be used on
Announcement the title page.
Appears opposite the title page. The announcement, fact Type selected for title should reflect the relative importance
title or card is a list of books previously written by the of the title page elements. The optical center and upper
author. This element is a new member of the front matter, third of the page with the author's name below but still in the
replacing the frontispiece, a photograph that is related to top off.
the topic of the book. Announcement type should be set Wide white space should be left between the author's name
same size as the text type used in the body. the publishers name and emblem.
Title page The last line on the title page should be in the bottom
The title page includes the full title of the book; the authors margin of the book and should align with the last line of type
name, the publisher's name, place of business and logo or on text page. When possible, the title should align with the
emblem. This page is always a recto. top line of a text page.
Typographically, the title page sets the tone and artistic Today's title pages may contain a single hairline rule to
style for the entire book. The important point is that the demarcate the publishers imprint. Any additional decora-
entire books have been devoted to the design of this page tion-borders, rules, is probably a poor choice.
alone. Copy right page
DTPO The copy right page is located on the reverse-opposite of
the title page (verso). Copy right contains the following
2nd Semester information: a copy right notice, the date of publication, the
name and address of the publisher; the edition number, a
TRADE THEORY copyright warning, cataloging in publication (CIP) data, and
the books FS ISBN International Standard Book Number.
SECTOR : IT & ITES Dedication
Appears either on the copyright page or directly opposite
on its own page. If a full page is allotted to the dedication,
the page should be a recto.
The type should be same size used for the announcement
and text. Dedication should be placed at the head of the
page or in the optical center. If it will be set on several lines,
the first line should align with the top of a text page.
Table of contents
GOVERNMENT OF INDIA
MINISTRY OF LABOUR & EMPLOYMENT
DIRECTORATE GENERAL OF EMPLOYMENT & TRAINING
The contents page is a numbered recto. The table must
show the relationships between the various parts of the
text castly and quickly. The contents should be displayed
in a text size (10-12pt). The header-Table of contents, list
NATIONAL INSTRUCTIONAL
MEDIA INSTITUTE, CHENNAI
of contents, should be in the same size as the chapter
opening heads.
Post Box No. 3142, CTI Campus, Guindy, Chennai - 600 032

Chapter number should be displayed at the left, followed by

The type sizes to be used must be selected with the
the chapter title. If there are more than nine chapters an en
importance of the various elements in mind. The title should
space should be set before the number in chapters 1
be set in the largest size on the page. The names of the
(through 9, so that single digit numerals will align with the
author and publishers should be less prominent. They are
second digit numerals 10 and above.
often set in the same size.
IT&ITES: DTPO - Related Theory for Exercise 2.3.09 239
Chapter titles must be absolutely accurate. The page The body
numbers are set after the mechanicals for the book are
For 350 years all typography was book typography and
completed. Only there will be the exact sequence of pages
most book typography concerned body text. The typogra-
be known. The page number of each chapter should be
pher is concerned with several problems in designing the
checked and rechecked. The chapter numbers, chapter
book proper the introduction, part-title pages. chapter
titles and page numbers can be visually connected in many
openings, headers and footers, folios, heads and sub-
ways. Popular methods include the use of leaders, extra
heads, Captions, and footnotes. If the book is to be
leading between chapter titles and bold faces.
aesthetically successful, all elements must be treated
The typography of the table of contents should not over- uniformly and coherently.
power the text.
Introduction and part-title pages
Foreword
The introduction is treated exactly like a chapter. The
The foreword is the written by an authority on the subject introduction opening should be designed in the same way
matter, who explains why the book is an important contri- as a chapter opening.
bution and appraises the author's standing in his/her field.
Part-title pages separate sections consisting of several
The foreword should be designed to be consistent with chapters within a book. Part title pages usually feature the
chapter opening pages. The first foreword page is usually same display type used on the title page and in chapter
a recto, but this decision may depend on the length of the openings and may contain a decorative emblera or
foreword. illustration that ties in with the overall design or theme of the
work.
Preface
Chapter openings
There is much confusion among the words the preface the
foreword and the introduction. In general, the preface is a Chapter openings should form a consistent pattern to
short preamble that may serve to acknowledge the help of secure the parts of the book together into a visual whole.
other individuals/organizations/may summarize the meth- Recto chapter openings were obligatory at one time, recto
ods used to collect information. Most important the pages are noticed first by those leafing through a book and
preface should give the reader an idea of the book's a verso chapter opening was avoided at all costs. The
purpose. typographer should try to manipulate his/her design so that
chapters regularly open on right hand pages.
The design of the preface should echo the foreword and the
chapter openings. The section should open an a recto. After the title page, the chapter head is the one constant
display element in all books, the only part of the body that
List of illustrations
is set in display type. It should typographically define the
A list of illustrations tends to be added at the editor's beginning of the chapter.
discretion, believing that it will assist the reader. I should
The typeface selected for the chapter number and title
briefly identify the book's illustrations and include the page
usually belongs to the same family as that chosen for the
number on which each illustration appears. If an illustration
text. The type should be set in a size at least twice as large
appears on an unnumbered page. It should be identified by
as the text type-bold face is rarely necessary. The title and
the number of the page that it faces/follows as facing page
chapter number are often placed in the optical center of the
124 or following page 124. If plate numbers or figs are used
chapter opening page.
in the text they should be included in the list of illustrations.
The typographer must decide how to design the text
This section directly follows the table of contents either on
opening. The first letter/words of each chapter may receive
a verso or recto. The typographic style should closely
special treatment so that they will be visually emphasized.
follow that of the contents page.
For example, a raised initial simply involves setting the first
Acknowledgements letter in a type size larger than that used for the rest of the
text. The more complicated hung initial involves indenting
Acknowledgements are made to persons and organiza-
upto four lines of text. Finally, the first two words of the
tions helpful to the authors in preparing the manuscript. In
chapter may be set in small caps for an understated effect.
a work discussing art or photography. Acknowledgements
will also be made to museums and individuals who permit- Heads and subheads
ted the author to reproduce art work.
Captions that introduce sections of material within a
Other possible front matter include list of abbreviations chapter are called headings or heads. Subheads corre-
(may be included as back matter), lists of contributors spond to divisions within each main section. All heads and
(short bio graphics), lists of symbols and errata. The errata subheads should be separated from the text by the use of
is a list of all mistakes made in the book. white space and by a distinct treatment of type. There
When designing the front matter, the typographer should should be more white space above heads and subheads
not include more than one section on a single page. than below. If equal space is used, it will be more difficult
Acknowledgements should be either included in the pref- to discern the organization of the chapter.
ace or set as an acknowledgements page.

240 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

Heads may be set as much as two to three points larger The folio on the chapter opening page receives special
than the text type size. They may also be set in boldface, attention. Folios demand well-considered treatment be-
italics, or all caps, the main heads and various levels of cause they are very important to the text.
subheads must all be distinct from one another. If a main
After determining the position of the page the designer
head is set in boldface type two points larger than the text
must consider whether to use old style/lining figures. If the
size, the first subhead may be set in upper and lowercase
folio is part of a running head set in small caps, an old style
boldface that is the same size as the text and a second
figure should be used. In general, old type figures have
subhead may be set with identical specifications in roman.
more serious tone and are less conspicuous than lining
The typographer should specify heads to be set in the
figures. It catches the eye prominent.
same family as the face used for the body.
Captions
Running heads
Captions describe/identify illustrations. They can also
A running head is set along the top of each text page to
serve as a credit line that acknowledges the supplier of
identify basic information about the book. The three most
illustrative material. Caption typography should be inter-
common varieties of running heads include the book title on
nally consistent. They typographer should decide upon
every page, the book title on the verso and the chapter title
one measure for all captions. If that measure is less than
on the recto and the chapter title on the verso and an
a dozen picas the captions should be set ragged right. The
indication of the pages contents on the recto. In a volume
ragged right lines will be much less noticeable than the
of poetry, the repetition of the book's title throughout is
CHOPPY lines created by a too-short justified measure. A
perfectly appropriate, whereas in a technical reference
caption should never be set longer than the width of the
work, the reader expects some help in locating specific
illustration.
pages.
Captions should be set at least two points size smaller
Running heads not only aid the reader in finding particular
than the text, but the type should be no larger than 8 point.
parts of a book, but they also form a visual bond between
If the illustration is a full bleed, place the caption on the
two facing pages. A book without running heads will appear
opposite page, if the illustration takes up two facing pages
typographically disjointed.
place the caption on the next page. A MORTISE (a hole)
The running head is sometimes placed along the outside or white box cutout the illustration with type dropped in, is
margin or at the front of the page, whenever its location, it unsightly, and should be avoided. The standard location of
must be separated from the text either by some decorative caption is below the illustration, flush left.
device (a rule is common) or by white space. Page
There are a few situations in which captions (in maga-
numbers can be incorporated into the running head in a
zines), legends (in books), and cutlines (in news paper) are
variety of ways. When placed at the bottom of the page,
unnecessary.
the running head becomes footer and the page number
becomes a drop folio. Captions should do more than just describe what the
picture shows or give the name of the person in it, because
If white space is used to separate the heads from the text,
readers look at illustrations first, before they start to read
a minimum of six points should be specified. Running
the page. Their interest is aroused by images which ought,
heads should be set in small caps/italics to distinguish
therefore, to be utilized as hooks to pull the readers into the
them from the text. The type face should be from the same
story.
family as the text type. Overall, the running head should
be a visual, strong enough to be easily seen the more The caption should be closely attached to the picture so
important elements of the book. they are perceived together. Alignment and closeness are
the two obvious techniques to make them appear that way.
Folios
Quotations
Folios, or page numbers, are often designed in conjunction
with the running head. The folio is usually placed on the Quotations are either set as an integral part of the text or
outer edge of verso and recta page. Folios should never be separated from the text by white space and an indent. The
placed in the gutter adjacent to the spine, because the decision of when to segregate quotation is a matter of
reader will have difficulty in finding them there. publishing house style. A general rule is that if the
quotation is longer than fine text lines, it should be
Folios are set in regular/italic type, boldface variations are
indented. Extracts may be set in a smaller size/italic.
rarely used. Like the running head the folio should be
Extracts should be line spaced at least on a full text line
apparent when needed. If the folio is not part of the running
before and after the quotation and indented two to four picas
head, it may be placed.
from both margins.
• In the outer margin at the approximate optical center. Footnotes and endnotes
• At the foot of the book in the outer margin , or Notes should be set atleast two points smaller than the text
but no larger than 8 points. Footnotes are necessary only
• At the foot of the book, centered wherever the folio is in scholarly we should be grouped either at the ends of as
placed, it should be clearly discernible from the main back matter.
body.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 241

Long footnotes may dominate the page. pographically, it Textual references should be clearly distinguished from
would be better to eliminate foot-notes altogether but that references to illustrations. A good strategy is to set textual
would require readers to flip back and forth as they were references in regular type and illustrations reference either
reading, endnotes are the better typographic choice. in italic or bold.
If notes appear in the back matter, they should be listed The footnotes, glossary, bibliography and index are de-
according to chapters as well as pages for easy cross- signed as a whole and often only after the remainder of the
reference. Several different systems are used to identify book has been set. At that point, the publishing house and
footnotes-a series of asterisks and daggers on each page, the typographer know how many printed pages must be
sequential numbering in each chapter and sequential allotted for the front matter, body, and appendices. Often
numbering throughout the text. If sequential numbering is the remaining back matter is then "assigned" a specific
used, one small error may mean that the entire book will number of pages.
have to be reset.
Colophon
Back matter
Colophon is appearing on either the copyright page or the
The back matter consists of reference material helpful to last page of the book, the colophon includes the names of
the reader, including appendices, endnotes, glossary, the designer, illustrator, printer, and binder, along with
bibliography, contributor's list index and colophon. such information as the typeface, typesize, and paper
used and other production details.
Appendix
Tabular composition
An appendix contains information helping some readers.
Explanations of research methods, text is of documents, Tables vary greatly in their nature and their relationship to
tables of technical data are some examples. Typographi- the text and the ways of setting them vary accordingly. In
cally, the appendix is treated exactly as a chapter. If general, they are set 2 or 3 sizes smaller than the text.
chapter opening pages are rectos, appendices should When tables are set on slug-machines the use of horizon-
open on the recto. Type sizes should be the same as in tal rules usually presents no problems, but vertical rules
the body copy. may be vary expensive if it is necessary to cut slugs. In
simple tables, each column can be set on its own measure,
Glossary
with vertical rules dropped in between. Complicated table
The glossary defines technical terms used in the text with which require both horizontal and vertical rules can be more
which the reader may be unfamiliar. economically set by photocomposition. It may be neces-
Glossaries are often set in type that is one or two points sary to turn tables the other way of the page (side turn) if
smaller than the type used in the main body of the book. there are too many columns for the width.
It is permissible to set the glossary in two columns. The Illustrations
glossary should be arranged in alphabetical order. If it is
Book production of a hundred years ago was capable of
quite long the typographer should consider marking the
much memorable, but the purposes and methods of
beginning of each letter in the alphabet. This will break the
illustration were more limited and formal in those days than
monotony of uninteresting pages and it will help the readers
they are now. Today's pictures look different, describe
to locate a word in the list.
different subject and appears in greater variety than in the
Bibliography past.
The bibliography opening page should be consistent with As a conspicuous element of the book's appearance,
the opening page of the glossary adn index. The type size illustration deserves the designer's skill. Knowledge of
may be one or two points smaller than the body copy size. reproduction methods and ability to adopt and manage
The use of boldface and italics depends on the guidelines pictures for presentation in book form are essential to
provided in the publisher's house style manual. success. Much illustrate is textual in purpose rather than
Index decorative the decision of having more illustration is re-
served by author or editor.
The index is the last portion of the book to be designed and
prepared. The index can we prepared only after the book Position
is completely set and pasted upto pages. The position of illustration is relation to each other to the
The typography of the index with depend entirely upon how text to the page, and to the rest of the book is regulated by
many pages the typographer has to devote to this portion the designer in every illustrator opening of a book. Illustra-
of the book. Indexes may be set in four columns of 6 pt type tions area a conspicuous part of the book and their
or in two columns of 10 pt type if many back matter pages arrangement is conspicuous part of the book and their
remain. It is the responsibility of the typographer to design arrangement is conspicuous part of design. The position of
the index before it is done. each is a subeditorial matter which is best decided in terms
of book design. The appearance of illustrated opening
The alphabetical divisions of the index should be made
benefits from vertical/horizontal alignment between the
explicit with an initial letter or with whites pace less than
various illustrations and other elements printed on it.
twice the linespace being used. A regular type face,
Illustrate can be sized to align at one edge, with each other
smaller than the text, should be used in index citations.
242 IT&ITES: DTPO - Related Theory for Exercise 2.3.09
and with the text area. At the other side drawings can be Informative
scattered across page or opening.
Illustration which explains or depicts facts circumstances
Illustrations of irregular outline need to be in balance rather characters, things and places. The realistic, drawings
than in alignment. commonly used in teenage fictions the photographs,
drawings, diagrams found in many technical and fiction
A rectangular squared-up half-tone, is placed with one/
books.
more of its edges in exact alignment with other elements
of the opening. The hard straight edges then seem to have Suggestive
been arranged with indent, parallel with edges of illustra-
Suggestive illustration included all graphic elements de-
tions or text. Of halftones tones are two close to each other
signed to establish or enhance mood or atmosphere.
or to text, the leader may name difficulty in identifying as
depart items. They may even appear to blend into a single Decorative
picture from the text distract the reader or every picture is These graphic element are meant simply to ornament the
improved by a frame of white space and when text and page.
illustration approach within a pica of each other, technical
problem of page assembly may begin to appear. When Representative
halftone or solids are placed back-to-back on the same These are works of art, used the purpose of producing
leaf, there is a risk that each will show through the paper pleasure of seeing the original.
to confuse the other. The printer may be cautious with his
inking, too thick a film of ink causes set off on the printed Illustration Captions
sheet. Captions are elements of page design as pictures/text. If
When illustration are printed as sections of plates they are captions consist of a line/two they may be used to contrast
usually backed, and when they are printed in the text, a with a large block of text/picture.
textually appropriate position is usually to be prepared. Captions must be readable but must contrast with the text
If text is to be divided by an illustration in mid page, the act sufficiently to avoid confusion. They may be set 1.2 or 3
of reading will be favoured by placing the illustration sizes smaller than text and still be readable. It helps to set
between two paragraphs, rather than in mid sentence them in italics/in another face. In crowded layouts/texts,
within a paragraph. The division a paragraph into two parts there is often a need to set captions in narrow measures.
on one page. Above and below an illustration, is now When placing captions above and below illustrations
custom but dividing a word immediately before and after remember that there are usually more ascenders and caps
and illustration is clumsy. than descenders. There optically more space below a line
When a typographic reference to a half page illustration than above necessary to specify a little more space 2pts)
appears in the lower half of a recto page, the illustration ill between pictures and captions place than those placed
have to be placed in the next opening. Text reference to above.
illustration as appearing above or below are likely to need Legends
amendment after makeup. Above and below books have to
mean further back and further on. Marginal illustration Legend is a name given for the descriptive matter printed
tends to reduce the measure throughout the book. Placing below an illustration. The custom of printing and publishing
illustrations in the margin has the advantage that through- establishments is to prefer the term caption.
out the book a number of a small or at least narrow pictures Caption or legends belongs under picture to which it refers.
can be placed beside the actual reference to each, without To put it in some other position above or besides the picture
extending the text or interrupting the reader. A recto pages is to force the reader to search for it and perhaps to loose
are often preferred for full page illustration when they are interest.
few.
The size of the caption is frequently determined not by the
As a rule, lettering on any illustration should start from the extent of the ideas to be exposed. but by the space
top and read downwards, unless it is horizontal. Any allocated to a picture text to it or in a similar position on the
lettering which reads upwards on the illustration will be same or facing page. Pictures occupying adjacent/related
printed up side down if the illustration is turned. Illustration positions are usually given identical space for captions.
should not, as a rule be printed on endpaper papers can be
made tinted paper and printed a colour other than black, Captions/legends that accompany photographs, charts,
and they are always easy for the reader to find. cartoons, and art work should be written carefully with a
view to their purpose and the space available. Writing an
Kinds of illustration effective caption takes more time and thought than its
There is a wide range of visual material included in length would indicate caption must have some punch and
illustration. The illustration are divided by function. be the proper length to fit the space limitations.

There are four kinds: The caption writer is responsible for the line giving credit to
the photographer/source of the chart/art work reproduced.
(a) Informative, (b) Suggestive, (c) Decorative and This credit line may appear immediately below the picture,
d) Representative. i.e. above the caption itself or as a final pharase in the last
IT&ITES: DTPO - Related Theory for Exercise 2.3.09 243
line of the caption. separately. Add additional line spacing above and below
special settings.
Casting off copy
There is no accurate method for counting variably spaced
Estimating the number of columns or pages a manuscript
copy apart from counting, every character individually.
will make when set in type is defined as "Casting off".
There are several different styles of character count tables;
"Casting off" in copy fitting, is considering or counting every
the most common is a character per- pica scale.
letter, numeral, punctuation mark, word space as a char-
acter. Word processing system makes cast off simple. This chart indicates that 11 pt. perpetua sets at 2.81
There are two kinds of cast off justified and unjustified. characters per pica. This works for metal/phototypesetting
systems. It will not work for digital systems:
Justified
The final step is to compute the vertical space and the
To make a justified castoff, use revised gallery proofs if
depth of the type. Formula is depth of line X number of lines
possible. Unrevised proofs may be used if the corrections
= depth of type.
are minor and the master proofs are at hand, so that the
effect of the text changes can be taken into account. A Cast - off- problems
difference of a line/two and a word/two may have a serious
The treatment of space, breaks, run- in chapter titles, and
effect when number of pages is very close to the limit.
subheads that fall at the bottom of pages are major problem
In a justified cast off, the pages should come out exactly of the castoff.
as in the makeup, which means that all problems must be
Copy fitting principles
solved in detail.
Copy fittings or copy casting means calculating the area
The problems include: a) linal determination of the space
that copy will take up when it is converted into type.
to be used for illustrations. (b) Disposition of odd amounts
of space resulting from matter set in lines of various depths. There are several methods, some more, precise than
c) Provisions for widows and d) disposition of the various others. The shorter the copy, the more, accurate the
problems caused by running breaks that fall at the ends of calculations must be
pages.
There are three common steps in copy fitting to proceed:
Unjustified castoff
1 Casting off/computing the number of chargeters on the
This is simply a linear measurement without allowance for original copy.
alignment of short/long pages due to widows/other make 2 Calculating the number of lines of type represented by
up problems. An unlucky sequence of widows can throw the castoff.
a chapter over to another pages by adding several lines and
3 Calculating the depth of the text block.
this can affect the overall length. For this reason, an
unjustified east off has limited value. Copy fitting determines how much space body type will
consume after it is typeset. This information is necessary
The quick-and-dirty method, used for longer manuscripts,
when the typographer works with large amounts of type
is to find the average length of type written line by sampling
because the typeface, typesize, line space and line length
several pages and multiplying the result by the number of
selections have a significant impact upon the ultimate
lines in the copy.
length of the printed work.
A more precise method involves several steps. The decisions of the typographer are most often based on
First find the shortest full line on each page ignoring short two considerations: Space and Cost in the first case,
end of paragraph lines. Then draw a vertical line through the Particularly in advertising typography, copy fitting will
copy. determine what parameter may be specified to fit a given
number of characters successfully in a given space. In
Count the number of characters in the short line and
second case, manuscript set in 8 pt type will take up less
multiply the result by the number of lines in the page. Next,
space than the same pages set in 12 pt. The selection of
count "leftover" characters to the right of the cut off line and
typographic parameters will be significantly influenced by
add that total to the first total. Add a character to every line
the publisher's decision as to how many pages should be
ending with a complete word. If we forget to account for the
promoted. Copyfitting in the only way in which the
"invisible" word spaces. The count will be off by about 25
typographer can be certain the chosen book length will be
characters per page. Ignore end-of-line hyphens, because
realised.
this is not to be hyphenated again.
Every typographer must know how to copyfit. Designers
The quickest and safest way to count characters is to
and art directors often write the notation set to fit, meaning
make a character-gauge by typing a row of numerals along
that the type setter should fit the copy into the block that
the edge of a sheet of paper.
has been created.
Haber rule has gauges for elite and pica type and gauges
Before determining space for typesetting, one must as-
for common text type sizes. It is an invaluable tool for the
sess how long type written manuscripts is. To do this, we
type designer.
must count the characters in the manuscript. Usually the
Special setting-lists, indented quotations, must be cast off copy has been typed consistently in one of the two
244 IT&ITES: DTPO - Related Theory for Exercise 2.3.09
standard typewriter styles: Pica and Elite, pica type has the number of puted typeset lines. But there are more
ten characters to the inch; Elite typewriting is slightly steps to round out the job.
smaller there are twelve characters to the inch.
First, remember that the linespace has been specified as
Counting one line 11 pts. To make certain that the type will fit the layout, we
must compute the total depth of the typesetting. If oneline
The first step in copyfitting is to count the number of
takes up 11pts, multiply the number of typeset lines
characters in a single line. We can do this either by
determined in step four to compute the total depth is points.
counting the number of characters in one inch and multiply-
It is difficult to visualize what a depth of 351 points means.
ing the figure by the number of inches in the line, or simply
For better comprehension, the copyfitter should convert
by counting each character.
depth in points into depth in picas. Since there are 12
Pick a line of average length. The character count points in a pica, the conversion is quite simple; divide the
computing is an average. A very short very long line will depth is points by 12. If it is necessary convert the measure
skew the average either high/low. Remember also that in to inches by dividing the depth is picas by 6.
when counting characters for copy fitting, count letters,
Copy fitting prevents the page from designing itself. The
figures, punctuation marks, and spaces between words.
type should not consume whatever space it happens to
When finished counting oneline, write down the number.
require. The typographer control the page.
The page count
Copyfitting
After counted the number of characters in one line, it is
Here is a roundup of the copyfitting steps:
easy to compute the number of characters on one page.
Count the number of lines on the page, ignoring very short 1 Count the number of characters in an average line of
lines. Multiply that number by the character count deter- type writing.
mined in step one. This is the page character count. If the
2 Count the number of lines in the manuscript.
manuscript has more than a single page, the page charac-
ter count is first computed as outlined above. Then 3 Multiply the number of characters in one the number of
determine the number of full pages of manuscript. Pages lines. That is the total typewritten characters.
will one/two lines may be ignored; if two characters each 4 After specifying type, consult a copy fitting chart. Find
end with a half page, the two half pages are counted as a the per pica value for type face and type size chosen.
single page. After determining the number of full pages,
multiply the page character count by the number of full 5 Multiply the character per pica value by the measure
pages to obtain the manuscript character count, the specified. This is the number of characters in one
number of characters in the complete manuscript. typeset line.
Copy fitting charts 6 Divide the number of characters in one typeset line by
the total number of typewritten characters in the manu-
Before going further in copy fitting, the typesetting speci- script. This is the number of typeset lines.
fications must be established. Assume that the type is to
be set in 10pt Helvetica with an 11 pt line space on a 20 pica 7 Multiply the number of typeset lines by the line space.
measure. This is total depth in points.
the copy fitting chart-the character for 10pt type is 2.68. 8 Convert depth in points in to depth in picas by dividing
write this down. by 12. If necessary convert depth in picas in to depth in
inches by dividing by 6.
If the measure is 20 picas, how many type characters will
be in one line of type? As you know there are 2.68 Points and picas
characters in every pica and there are 20 picas. Multiply Points and picas are the printer's until of measure, and this
the character-per-pica value by the measure. The result measure is used with all typesetting systems for practical
will be the number of characters that will appear in each line purpose note that;
of typesetting.
Six picas make one inch.
Number of typeset lines
One pica makes 12 points.
To determine the number of lines, divide the number of
typeset characters one line into the total page character The standard typewriter produces six single spaced lines
count. Remember that we are concerned with typeset per inch, hence each line is a pica.
characters. Use the value determined in step three using It is simple to convert any number of pica lines to points.
the copyfitting chart. As a simple example, if a document For instance six inches equal to 36 picas and 36 picas
has 100 characters and there are 20 typeset characters in equal to 432 points. If you were going to set type in nine
each line, the typeset job will have five lines. Refer this with point solid you need only divide 432 by nine, and you would
copy and copy fitted text (chart). get a result of 48.(432/9) Thus 48 lines of nine point type
Vertical depth would fit into 36 picas.
After determining the number of typeset line the copy fitting
exercise is basically complete layout artist could now draw
IT&ITES: DTPO - Related Theory for Exercise 2.3.09 245
To save time, a line guage, will visually indicate the number
Number of words in manuscript
of lines in a given amount of space. = Number of square
Number of words in 1 square inch
Method of copyfitting
inches job will make for example
To determine how many lines of type will be set from a
manuscript, you should have knowledge of some system
40,000 words in manuscript
of quick and simple. Let's examine a system called the = 2000 square inch of
Character Count Method: 20 words per square inch
Every size and style of type will have a character count compositio n
which refers to the average number of characters that will
fit into one pica. This count is referred to as "Character per To find the number of square inches you merely multiply the
pica" or "CPP". (REFER XEROX COPY) length times the width. If the type area is 4" by 5" then the
number of square inches would be 20.
There are 26 letters in the alphabet, let us add 2.5 more
characters for punctuation marks we have figure 26+2.5 = They balance and counter balance in the placement of
28.5 - we can call "K" (Constant). various elements in a layout.
Simple formula for character per pica for the modern type Whatever be the advantages of the decorations they are
style: never as important as the type; and the designer should not
allow their beauty or importance to die with the message
K(constant ) for the sake of attention. A precaution in the use of
= CPP decoration is, "Decorate constructions; do not construct
lower case alphbet length in picas
decorations." Decoration for the sake of decoration can
The measurement of modern typeface lower case line is spoil the beauty of the design, instead of creating it. Any
14.25 picas. exclamation from the reader relating to the beauty of the
decorative elements is sure proof that they are interfering
To figure the character per pica for modern type, with the effectiveness of the message. Remove all rules,
borders and ornaments then if you feel that something is
28.5 wanting, then use them.
= 2 CPP
14.25 Excessive ornaments may interfere with the legibility of the
To determine the characters per picas, first measure the letters. For this reason designers tend to prefer those
lower case line from the left of the 'A' to the right of the 'Z', ornamental series which in their fundamental form are
use picas scale for accuracy for greatest accuracy a point- close to the conventional proportions of the roman or italic
scale should be used. printed letters. The only kind of ornamental letter which has
no place in book is that which is ambiguous or difficult to
Let us assume a manuscript contains 30,000 characters. recognize at a glance.
It is to be set in eight point type, 12 picas wide. The
character count is 2.5 CPP for our type style. Remember that simplicity is the style of modern typogra-
phy. It is not a must that we fill every blank space with some
If our type is to be set 12 picas wide, we can multiply 12 by decoration or ornaments. Modern typography considers
2.5 which tells us that one line will require 30 characters. that, white space is the bes decoration.
12 picas by 2.5 CPP = 30 characters in one line. 30,000
character manuscripts will require 1000 lines of type.
Lines in manuscript 19
Average characters per manuscript 65
Characters in manuscript 12.35
Type character per pica 2.5
Type line width in picas 17
Characters in one line 45.9
The square inch method
Square inch method is another method of estimating copy
fit which is not as accurate as the character count method.
It can be convenient for quick estimating.
Determine the number of words in the manuscript. Deter-
mine the number of words of type to be set in one inch.
Divide as:

246 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

Preparation of originals Copy preparation
Any matter to be reproduced graphically can be called an The copy for setting and reproduction should be typed in
original. It includes a wide variety of items such as, double spacing, with ample margins. Space for illustra-
manuscript, art pulls of types, india ink drawings, painting, tions is marked up. Clear instructions regarding the size,
photographs slides, transparencies etc. Great care and face, line measure, page depth, indention, notes, captions
accuracy is required in the preparation of the originals to etc., are also given specially. Copy preparation also
ensure precision and good result in reproduction. includes the careful checking of house style and consis-
tency in English usage, such as capitalization, italiciza-
Adhering to suggested ground rules, for good preparation
tion, the treatment of affixes, punctuation, indention etc.
of the original, may prevent costly mistakes:
The illustration and photographs to be reproduced also are
• Use clean, white, standard size paper to prepare supplied along with the type script. While the type-script
original according to the nature of the work. is clear and well spaced the photographs also should be
devoid of defects such as, folds, crease, pin marks,
• If manuscript, it should be legible. Typing should be scratches etc.
double-spaced, clean and on one side of the paper
alone and wide margins should be used. A copy prepare should edit the manuscript so thoroughly
that changes will be kept to an absolute minimum. Fre-
• Corrections should be neatly made, using standard quent changes, corrections or resetting can be time
proof reader's marks to prevent misunderstandings. consuming and costly.
• Sheet should be numbered consecutively. If any addi- The following are points to be borne in mind while preparing
tion or removal is done, proper notation should be made a copy:
on the preceding and succeeding page. • Correcting all misspelled words.
• Illustrations should be neatly drawn in india ink on white • Copy preparer should be proficient in spelling and
drawing paper. An art work in black and white should possess a good dictionary.
not be rolled, folded, pinned or clipped as these marks
• Use consistent capitalization according to a set style.
will appear in the reproduction. An over-flap or flap of thin
paper is pasted over for protection from dirt and dust. • Correcting faulty punctuations.
• Glossy photographs are more suitable for reproduction • Compounding of words correctly and consistently
and scanning as they reflect light better. Matt prints • Watch for coordination between reference in the text
reproduce badly. Special care is needed to be keep and corresponding footnotes.
them devoid of pin arks, finger prints, scratches etc.
This applies also to transparencies. • Maintain uniformity and consistency throughout the
text.
• Squaring up, adding register marks, centre marks, trim
• Checking the correct numerical order of figures and
marks etc., are also essential steps in the preparation
alphabetical order of letters.
of the original for reproduction.
• See to illustrations to make sure that they are properly
• All originals should be prepared in a size proportionate placed, all accounted for and identified correctly.
to that of the reproduction.
• Observe rules on the use of number, whether they are
A particular process may require great contrast and tone to be shown as figures or spelled out.
values of the original, while others may not demand so
much. In certain cases excess enlargement or reduction • Indicate styles of type, indention, length of line and
may take away the details of the original. Very small other markings.
original when unduly enlarged, will show graininees and
other defects magnified. So size and nature of the original
is also important. All these points must be taken into
consideration in assessing the suitability of originals for
reproduction.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 247

Preparation of Master Press proofs can show how the color of the actual printing
paper will alter the ink colors and how the paper's texture
Master paper is a polyester plate for sheet-fed small offset
will affect the "feel" of the printed product. They also reflect
printing. It can be imaged on both sides directly through a
actual dot gain as well as show the true color of a duotone
laser printer or copier and does not require any exposing or
(since digital proofing devices only simulate PMS colors
processing. Just mount the plate on the press and print.
with 4-color process inks or toners).
Master paper or poly master is ideally suitable for long run
print applications such as Newsletters, Book Publication, Prepress
Forms and Literatures.
Prepress is the term to describe all of the processes that
Features & Benefits occur before printing and finishing. Since many publica-
tions nowadays are published both in print and electroni-
• Double sided plate to facilitate imaging & printing on cally, many refer to the shared processes as premedia
either side
services instead.
• Inventive surface coating to give long run-length upto Prepress Overview
10,000 impressions from each side of the plate
The prepress processes that are listed below may take
• scum-free background during start-up and press stop- place at one single location, such as a large publishing and
pages
printing company, or at a variety of places. Usually some
• Innovative AntiGrease layer safeguards the surface tasks happen at a publisher while others take place at a
from finger prints or marks printer or a dedicated prepress company (which are some-
times referred to as service bureaus or trade shops).
• User-friendly QuicK cleaning treatment that ensures
that the plate fits closely around the cylinder, facilitating Design: Since the advent of desktop publishing, many
quick make readies people in the printing industry no longer consider design to
be a prepress task. The design process includes:
• Universally compatible with most laser printers and
photo copiers# • Preparing data, which includes copyediting and prod-
uct photography, such as for a mail order catalog.
Conventional v/s CtPoli Laser System
• Creating the layout is done using one of the leading
Poly master
design application such as Adobe InDesign or
QuarkXPress. People outside the graphic arts commu-
nity may use tools like Microsoft Office or Publisher.
There is also a wide range of specialized applications
for tasks like database publishing.
• The correction cycle includes processes such as proof
reading and image retouching, for which Adobe
Photoshop is the leading application.
Preflighting: Before finished pages go through the re-
maining processes, a validation is done to check if all the
data meet the necessary production requirements.
Proofing: During the design phase there are already page
proofs being created. Proofs are usually also made by the
company that is responsible for the printing. This can be
done for internal checks of the impositioning (imposition
proofs) as well as for their customer who needs to sign off
the proofs for approval. More and more such proofs are soft
proofs that are evaluated on a monitor. Hardcopy proof-
ing remains popular when there is sufficient time for it and
for color critical or expensive jobs.
Imposition: Depending on the final output device a number
Press Proofs of pages will be combined into signatures.
Press proofs are the most accurate proofs, since they Output to the final output device such as a digital press,
simulate the final printed product using the actual ink and filmsetter or CtP device. To output data, pages or complete
paper stock you have selected for your job. They are flats have to be ripped or rendered. This process usually
produced with actual plates mounted on a proofing press. also includes:
The two other options, digital off-press proofs and analog • transparency flattening: transparency effects such
off-press proofs, either are produced with products other as drop shadows behind text need to be resolved.
than printing ink--such as films or powders (for analog
proofs such as Matchprints and Cromalins) or dyes, • color separation
toners, or ink-jet inks (for digital proofs). Furthermore, they • color management
are usually printed on paper stocks that differ in color or
surface texture from that used for the final product. • trapping
• screening

248 IT&ITES: DTPO - Related Theory for Exercise 2.3.09

Some people prefer to delay the above destination specific • Job related data such as the job ID or run length are
conversions to the very last moment. This is commonly exchanged between systems such as an MIS (Man-
referred to as late binding. Once a job is printed, its data agement Information System), a prepress workflow,
usually go into an archive. press control system and finishing equipment. Proto-
cols such as JDF allow systems from different vendors
Many of the above steps are nowadays heavily automated,
to exchange the necessary data.
by either stand-alone applications or prepress workflow
systems. The automation also allows for more elaborate • Many projects nowadays are published using other
communication processes: media besides print as well. The content of a magazine
may also be published on the web while the content of
• Exchanging data such as the final layout may still a book is repurposed for e-books. There are special
happen using a physical carrier such as a DVD. In the
tools and protocols such as XML to facilitate cross
past people usually submitted the native data, meaning
media publishing.
the original layout file(s) and all associated images,
fonts and other data. Nowadays PDF files are often
used instead.
• Increasingly the internet is used for submitting jobs.
This is referred to as web-to-print.
• When the data exchange focuses purely on page
content, solutions range from using an FTP server or
e-mail system to using file sharing tools such as
DropBox or YouSendIt. A more sophisticated web
portal can add functions such as preflighting and
page approval.
• A digital storefront enables a printer to not just
capture page content but also order related informa-
tion. Such a system can also facilitate reorders and
allow print buyers to customize documents on-line.

IT&ITES: DTPO - Related Theory for Exercise 2.3.09 249

IT-ITES
DTPO - Bi-Lingual Software Related Theory for Exercise 2.4.01

Installation of Multilingual Software

Objectives: At the end of this lesson you shall be able to
• practice installing Multilingual Sofware for Windows O/S
• practice Configuring for a particular script.

India is a unique country in the world having 22 scheduled developed several True Type Fonts (TTFs) and Open Font
languages besides heritage languages and over one Format for various Indian Languages. For UNICODE support
hundred widely used languages with different scripts. in various applications, it has developed Open Type Fonts
Despite a very impressive growth of computers and the for various scripts in all 22 official languages. Over 8000
Internet over the past few decades, most of the content on fonts consisting of True Type, Open Type and Bitmap have
the Internet and most of the ICT based solutions in India been produced so far.
are still available only in English. This is in stark contrast
to hardly 10% of Indians who can use English as a Indian Language Tools
language for communication. It is realized long ago that For printing most of the Indian scripts, one needs hundreds
penetration of IT to masses is possible in India only if we of shapes, which may need to overlapped with each other.
develop tools and technologies to overcome this language The Matras can be attached on the top, bottom, left or right
barrier. Hence, for the last 25 years, it has been pursuing of a character. It is possible to create all this variety easily
pioneering research in Language Technology and Heritage by hand. How easy would this be through a keyboard?
Computing. Technology Development for Indian Languages
(TDIL) Programme initiated by the Department of An English typewriter keyboard just had to provide for 26
Electronics & Information Technology (DeitY), Govt. India keys for accommodating the lower-case and upper-case
has the objective to develop information processing tools alphabet, and a few more for punctuations, numerals and
to facilitate human machine interaction in Indian languages special characters. A computer keyboard provides 47
and to develop technologies to access multilingual keys for accommodating these English characters. Is it
knowledge resources. Department of Information possible to provide an overlay on these keys, for typing
Technology launched another major initiative called National characters in Indian scripts?
Rollout Plan to aggregate these software tools and to If a different overlay is required for each Indian script, how
make these available through a web based Indian Language will a person be able to learn different overlays for typing
Data Centre (ILDC). This activity is being executed in the different scripts which he knows. Wouldn’t this create
close coordination with CDAC, GIST, Pune, Maharashtra. a barrier in the use of different Indian scripts-hindering
Under this user friendly software tools and fonts are being national integration itself? Although we have declared
made available free for public through language CDs and Hindi as our national language, it has not been accepted
web downloads for the benefit of masses. as a functional language in several states.
Most of us require a lot of typing in regional language The In-script keyboard overlay has achieved, what was
scripts, for printing and emailing. Although there are earlier thought as not possible. It allows all the Indian
different methods for inputting Regional Language Script in scripts, to be typed in a uniform manner. This means that
computer, the most widely used and favourite is undoubtedly a person knowing how to type in one script can immediately
ISM, which is created by the C-DAC. It has to be said here typing any other, since the keystrokes remain the same.
that the current Regional Language script typing standard The inscript overlay always generation of hundreds or
is UNICODE Fonts. thousands of character combination which may exist in a
The availability of these software tools, fonts and resources script, by typing just the basic alphabet which gets easily
in local languages at no cost is intended to motivate accommodated on an English keyboard.
general public to use ICT tools and technology in their day The inscript overlay could achieve this miracle, by making
to day work like Word Processing, Presentation use of the fact that there are less than 70 basic letters in
preparation, Spread Sheets preparation, Web Page Surfing any Indian script. Although the exact number of letters
& Designing, Messaging etc. in local languages. Further, may vary in each script, they are all similar, since they
the consolidated availability of linguistic resources and originated from the same ancient script Brahmi. Brahmi
tools at one place will help researchers to carry out their letters, had the vowels and consonants, categorized on a
research in a smooth and efficient manner. Establishing scientific and phonetic basis.
standards such as ISCII, Unicode, ISFOC, etc. for Indian
To enable development of Indian language applications
language applications on computers and electronic media.
with greater ease, there are several tools
It is also working for standardization of W3C (Languages
on Web), Internationalized Domain names, Governance,
linguistics formats, storage, input, display fonts, etc.

250
 • Intelligent Script Manager (ISM) for 19 Indian
Languages
• Sree Lipi for 12 Indian Languages
• Font Suvitha Professional for many Indian
Languages
• PATRIKA for many Indian Languages
• iLEAP for many Indian Languages
Unicode is intended to address the need for a workable,
• LEAP Office for many Indian Languages reliable world text encoding. Unicode could be roughly
• ISM Office for many Indian Languages described as “wide-body ASCII” that has been stretched to
16 bits to encompass the characters of all the world’s living
• ISM Publisher for many Indian Languages languages. In a properly engineered design, 16 bits per
• ISM Soft for many Indian Languages character are more than sufficient for this purpose.
• INDICA for many Indian Languages Unicode provides a unique number for every character,
• ELANGO for Tamil • no matter what the platform
• PONMOZHI for Tamil • no matter what the program
• VANAVIL for Tamil • no matter what the language
• BARAHA for many Indian Languages The Unicode Consortium was founded to develop, extend
and promote use of the Unicode Standard, which specifies
• THOOLIKA for Malayalam the representation of text in modern software products and
• LEKHINI for Telugu standards. The Consortium is a non-profit, charitable
As per e-Governance standards of character encoding for organization.
Indian-languages, all government web applications should Notable addition to Unicode include Arabic, Armenian,
be in Unicode. Standardization is one of the baselines to Cyrillic, Devanagari, Georgian, Greek, Gujarati, Gurumukhi,
be followed in localization. Standardization means to Hebrew, Kannada, Latin, Malayalam, Oriya, Tamil, Telugu,
follow certain universally accepted standards so that the Thai, Tibetan etc.
developers from any part of the globe could interact
through the application. The worldwide encoding standard ISM Publisher V6
“Unicode” provides code points to every alphabet of the The latest ISM V6 is completely UNICODE compliant
world. which offers support for Open Type fonts. ISM V6 will cater
All the major operating systems, browsers, editors, word to diverse user requirements from word processing,
processors and applications and tools are supporting database applications, web-based applications, publishing
Unicode so it is necessary to use Indian languages and and even custom built software, said a press release.
scripts in the Unicode environment, which will resolve the The ISM V6 is UNICODE compliant and comprises of ISM
compatibility issue. Office, ISM Publisher and ISM Soft and supports 19 Indian
Laclisation is the process of adapting software for a languages such as Assamese, Bengali, Gujarati, Hindi,
particular country or region. For example, software must Kannada, Marathi, Malayalam, Oriya, Punjabi, Sanskrit,
support the character set of local language and must be Tamil, Telegu, Manipuri, Nepali, Konkani, Bodo, Santhali,
configured to numbers and other values in local format. Maithili, Dogri besides English. It also has a rich collection
Localising a word processor or DTP software might of designs and clip arts. It also include an enhanced
require adding new spell checker that recognizes the spellchecker for Open Office and MS Word macros like
words in local language scripts. Find-replace, keyboard shortcut, convert macro,
spellchecker, synonym dictionary and Official language
With the mandate given by the Government of India for the dictionary available for documents in open type font.
Rupee sign, now ISM introduced Rupee sign in both
Inscript and QWERT keybaord overlays for all 20 Indian Most ISM utilities now have Bilingual font implementation.
official languages This means that the same font contains both English and
Indian language capability. It is not necessary to select a
Unicode different font for English and Indian scripts. The Script
It is an international encoding standard for use with toggle key will automatically switch between the two. This
different languages and scripts, by which each letter, facility is particularly useful in applications such as
digit, or symbol is assigned a unique numeric value that Spread Sheet and Database programs that allow only one
applies across different platforms and programs. font to be selected at a time and where bi-lingual data is
to be displayed.

IT&ITES: DTPO - Related Theory for Exercise 2.4.01 251

The ISM is supplied with Dongles. A dongle is a piece of Installing the ISM software
hardware that attaches to a computer and allows a piece
It is recommended that you close all other programs while
of secured software to run. The device does not contain the
running the ISM V6 Installer. To install the software, insert
software in its entirety, but rather is an electronic key that
the ISM V6 CD in the CD-ROM drive.Most of the systems
unlocks the program on a computer. In most cases, it is
are enabled for CD autorun. This will initiate the installation
used as an anti-piracy measure, since making a copy of
process automatically. However if the installation does not
the hardware is much more difficult than copying the
start automatically, run setup.exe.
program itself.
The Installation program is interactive. It will prompt you for
the requred information and guide you through the entire
installation.
Most of the utilities and fonts in your ISM V6 distribution
CD-ROM are in encrypted and compressed form. During
installation the ISM V6 installer will automatically decrypt
and uncompress these files while copying them to your
hard disk.
The following table lists utilities and fonts that get installed
with ISM V6.
• Clip Art Viewer
• Configurable Keyboard
• Font Previewer
• ISM and HTML Converter
• Data Migration System
• Official Language Dictionary
• Name Trans
• ISM api Help
• Kbd api Help
• ISM Editor
• MS Office Macros
• Star Office 6.0 Macros
• Open Office Macros
• Fonts
Before beginning to install ISM V6, set the macros
security settings in MS Word to set 'low'. ISM V6 comes
with a collection of utilities that can be used with MS Word
and MS Excel. True Type Default fonts of all languages
along with two Open Type Fonts also installed.
Font Types in ISM
1. Open Type (OT) Fonts
ISM V6 works with USB based Dongle. These are Open Type fonts support UNICODE data. You require
especially useful in modern-day systems and laptops. Windows OS and Language Pack installed in your system
ISM V6 can also be alternatively used with a hardware lock in-order to use Open Type Fonts. An Indian language
which can be connected to your computer's parallel port Open Type font can be used in various applications which
for using the ISM V6 package. Your printer cable can be support UNICODE for complex scripts such as those by
connected after this dongle. This does not affect the Indian Languages. These are 16 bit fonts and so require
normal functioning or performance of any of your system's the latest OS and applications to work.
hardware or software. If you have two parallel ports, you
can install the dongle in any one of them and the other can 2. TrueType Fonts
be used to install the printer's cable. Do not remove or
These are single files using the extension .TTF. You can
attach the dongle when your computer is switched on.
use a TrueType font on any computer running Windows.
Also make sure that your printer port is configured for a
An Indian language True Type font file consists of information
"Centronics" parallel port.
about character shapes, also known as glyphs. One or
more glyphs from the true type font file are used to form
Indian language characters.

252 IT&ITES: DTPO - Related Theory for Exercise 2.4.01

2. ISFOC Fonts 2.1.8 The Metrics File (.PFM)

The aesthetic quality of the displayed text output depends The metrics file contains measurement information for the
on the number of unique shapes available with the font. font. Always keep these two files together so that the font
Fonts cater to a heterogeneous range of applications. For prints and displays properly.
e.g. the publishing industry requires very high quality
display, but does not need support for English characters, ISM Conventions (ISFOC Script Mnemonic)
where as a data entry software would require bilingual
support from a single font. Web data poses other specific Each script is given a two letter mnemonic in ISM V6,
requirements on fonts. With these considerations in mind, which are the first two characters of all the ISFOC fonts.
ISM V6 supports 6 font types.
The ISFOC Script Mnemonics are:
2.1.1. ISFOC Bilingual Web
Mnemonics Language
This font is similar to the bilingual font. In addition, it is AS Assamese
optimized for web applications. This font type is especially BN Bengali
useful for developing Indian language applications and DV Devanagari
static or dynamic web pages. The Monolingual and Bilingual EN English
web fonts can be used in web as well as non-web GJ Gujarati
application areas with equal effectiveness. KN Kannada
ML Malayalam
2.1.2 ISFOC Bilingual OR Oriya
PN Punjabi
A bilingual font is one, which has glyphs for one Indian SD Sanskrit
language script along with glyphs for English. With this TM Tamil
font you can create content that contains Indian language TL Telugu
as well as English text without having to change the font. BRXOT Bodo
DGROT Dogri
2.1.3 ISFOC Monolingual Web KONOT Konkani
MAIOT Maithili
This font is similar to the monolingual font. This font is NEPOT Nepali
additionally optimized for web applications. It is recommend SATOT Santhali
Desktop Publishers, web content creators, who don’t
ISFOC Font Naming Convention
require bilingual text, but require high quality monolingual
text, to use this font type.
ISM V6 comes with two types of fonts, namely True Type
2.1.4 ISFOC Monolingual and open type. An ISFOC font file name can have 8
characters. The first two characters in the font file name
A monolingual font has glyphs for only one script. This constitute the script and font type mnemonic. For example,
allows the font to have a large number of unique glyphs for here DV indicates Devanagari, similarly KN indicates
a particular script. This font type produces high quality Kannada.
output and should be used for DTP applications.
Mnemonic Script Font Type
2.1.5 ISO Bilingual DV Devanagari Monolingual
DVB Devanagari Bilingual
ISO Bilingual fonts are recommended for use where DVW Devanagari Monolingual Web
Bilingual support is required in special applications such DVBW Devanagari Bilingual Web
as Oracle Forms, .Net, etc. Note that all languages are not DVOT Devanagari Unicode
supported under ISO Bilingual. TM Tamil ISFOC Monolingual
TMB Tamil ISFOC Bilingual
2.1.6 ISO Monolingual TMW Tamil ISFOC Monolingual Web
TMBW Tamil ISFOC Bilingual Web
ISO Monolingual fonts are recommended for use where
TMOT Tamil UNICODE Unicode
Monolingual support is required in special applications
such as Oracle Forms, .Net, etc. Note that all languages
are not supported under ISO Monolingual.

2.1.7 Printer Outline (.PFB)

The printer outline contains the information for printing a

smooth font of any size. Adobe Type Manager (ATM) also
uses the printer outline to create smooth fonts on the
screen of all sizes.

IT&ITES: DTPO - Related Theory for Exercise 2.4.01 253

 Without the need to create a plate, digital printing has
Windows explorer will display the font file as
brought about fast turnaround times and printing on
DVYG0NTT.TTF, whereas the application menu
demand. Instead of having to print large, pre-determined
will display the font as DV-TT Yogesh.
runs, requests can be made for as little as one print. While
Introduction to Digital Printing offset printing still often results in slightly better quality
prints, digital methods are being worked on at a fast rate
Digital printing refers to methods of printing from a digital- to improve quality and lower costs. In other words, it is
based image directly to a variety of media. It usually refers printing without a printing press, without printing plates.
to professional printing where small run jobs from desktop
publishing and other digital sources are printed using large Offset, or conventional printing, has changed little since
format and/or high volume laser or inkjet printers. Digital the original steam powered offset press was first developed
printing has a higher cost per page than more traditional in 1906. It involves a mechanical process of applying
offset printing methods, but this price is usually offset by layers of ink to paper with a series of rollers. Each roller
avoiding the cost of all the technical steps required to has its own specified ink – Cyan, Magenta, Yellow and
make printing plates. It also allows for on-demand printing, Black — or CMYK. As each of these rollers pass over the
short turn around time, and even a modification of the page, they transfer ink and build layers of colors, resulting
image used for each impression. The savings in labour and in complete images and text on the page. Additionally,
the ever increasing capability of digital presses means specialized colors called Pantones or PMS colors can be
that digital printing is reaching the point where it can added to the layout if very specific colors are needed, for
match or supersede offset printing technology's ability to instance in a logo.
produce larger print runs of several thousand sheets at a
Digital printing eliminates the numerous steps involved in
low price.
the offset printing process, such as creating films and
The process plates for ink rollers. Most digital presses today apply ink
in a single pass from a single ink head, similar to common
The greatest difference between digital printing and other inkjet printers found in homes and offices.
methods such as letterpress, lithography, flexography or
gravure is that there is no need to replace printing plates Examples of Digital Presses are:
in digital printing, whereas in analog printing the plates are ¨ Technova Pamex
repeatedly replaced. This results in quicker turnaround ¨ Konica Minolta Bizhub Presses
time and lower cost when using digital printing, but ¨ Kodak Prosper
typically a loss of some fine-image detail by most
¨ Xerox iGen4
commercial digital printing processes.
¨ Xerox Nuvera
In digital printing, an image is sent directly to the printer ¨ DocuTech
using digital files such as PDFs and those from graphics
software such as Illustrator and InDesign.

254 IT&ITES: DTPO - Related Theory for Exercise 2.4.01

IT-ITES
DTPO - Bi-Lingual Software Related Theory for Exercise 2.4.02

Working with multilingual software

Objectives: At the end of this lesson you shall be able to
• practice working with multilingual software with application software
• practice working with multi scripts in the same page.

To begin using ISM with any application software, for structure allows ease in learning. Most modern operating
example with Adobe PageMaker 6.5 or 7.0, First we can systems come with Inbuilt support for INSCRIPT layout.
load the application software, here it is Adobe PageMaker.
And create a new file by using File --> New command.
Later goto ISM and choose script you want to enter,
Keyboard overlay to be used, selection of Toggle key and
Font type as shown below. Then select the Font from the
Adobe PageMaker. Switch on the toggle key to begin
typing. When there is a need to enter any English scripts
in between, proceed clicking on Toggle key to switch over
to English.

Phonetic English
This keyboard overlay, has the Indian script alphabets
phonetically assigned to that of English alphabets on the
IBM-PC QWERTY overlay. This keyboard is useful for
people who are acquainted with the language
Typewriter
Typewriter keyboard overlay functions in the same manner
Keyboards in ISM V6 as the manual typewriter. Users accustomed to working
with a typewriter can use this facility with minimal learning
ISM V6 allows you to type with keyboards of your choice. and training time.
The keyboards supported by ISM V6 are INSCRIPT,
Phonetic, Easy Phonetic and numerous other popular Easy Phonetic English
typewriters. ISM V6 also allows you to configure your own This is special Keyboard Layout designed by
keyboard. C-DAC, same as Phonetic English Typing for Indian
languages. This makes Typing in Indian languages very
But it is recommended to use any one of the Keyboard simple for anyone who know english Typing.
overlay to expertise in Regional Language Script entry.
Indian Language Scripts or Indian Language
INSCRIPT Alphabets can be divided into Vowels,
Consonants, Conjucts, Vowel Diacritics
The INSCRIPT (Indian Script) keyboard overlay was (Matras), Halents etc.
standardized by Department of Electronics (DOE) in 1986
with a subsequent revision in 1998. This keyboard overlay Custom Keyboard
is phonetic in nature and has a common layout for all the Besides a wide range of keyboards to choose from, ISM
scripts provided with this software. The INSCRIPT overlay V6 additionally provides users with a facility to create fully
contains characters required for all the Indian scripts, as customized keyboards.
defined by the ISCII character set. The Indian script
alphabet (ISCII) has a logical structure derived from the Language & Scripts in India
phonetic properties of the Indian scripts. The INSCRIPT Hindi is spoken as a mother tongue of majority of the
overlay mirrors this logical structure. Due to the phonetic population, mainly in the area known as the Hindi belt
nature of the keyboard, a person who knows typing in one comprising Bihar, Madhya Pradesh, Rajasthan,
Indian script can type in any other Indian script. The logical Chhattisgarh, Uttarakhand, Uttar Pradesh, Haryana
255
Jharkhand, Arunachal Pradesh and Himachal Pradesh. It Sindhi is spoken by a great number of people in the
is the official language of the Indian Union and the above Northwest frontier of the Indian sub-continent comprising
states. Hindi is also spoken in Nepal. Devanagari is the parts of India and Pakistan. In Pakistan, the language is
script used to write Hindi, Nepali, Marathi, Konkani, Bodo written in the Perso-Arabic script, while in India in the
and Maithili and some other languages and dialects of Devanagri script.
India.
Tamil, an ancient Dravidian language is at least 2,000
Assamese is the state language of Assam and is spoken years old. It is the state language of Tamil Nadu, Puducherry
by nearly 65 to 70% of the State’s population. The origin and Andaman Nicobar Islands and is spoken by at least
of this language dates back to the 13th century and also 165 million people around the globe. Tamil is also spoken
spoken in Arunachal Pradesh. This is written in Assamese in Sri Lanka, Malaysia, Singapore and Mauritius and
script which is similar to Bangla script. written in Tamil script.
Bengali (Bangla) is spoken by nearly 200 million people in Telugu is also a Dravidian language and is the spoken by
the world. It includes in West Bengal, Tripura, Assam, the people of Andhra Pradesh, Telangana and parts of
Andaman & Nicobar Islands, Jharkhand, Bihar and in Puducherry. Telugu is written in Telugu script.
Bangladesh. It developed as a language in the 13th
Urdu is the state language of Jammu and Kashmir and it
century and is the official state language of the eastern
evolved with Hindi in the capital of India, Delhi. Urdu is also
state of West Bengal and Tripura. This is written in Bengali
spoken in Pakisthan and Middle East. Urdu is written in
script.
the Persio-Arabic script and contains many words from
Gujarati is the state language of Gujarat and is spoken by the Persian language.
70% of the State’s population. It is Indic in origin and
English is also spoken in most of states of Indian Union
branched out from the Indo-European group of languages.
and used as the Languages for Inter state communication.
Kannada is the State language of Karnataka and is English is the officail state language of Mekhalaya,
spoken by 70% of the State’s population. Kannada is Nagaland, Manipur, Andaman & Nicobar Islands,
written in Kannada script. Chandigarh, Dadra & Nagar Haveli and Lakshadweep and
is spoken by 5% of the Indian population. But 28% to 30%
Kashmiri is a language written in both Persio-Arabic and
of the Indian population deals with English scripts.
Devanagri script and is spoken by 55% of the population
of Jammu and Kashmir. Feature of ISM V6
Konkani, principally based on classical Sanskrit, belongs • Macros for Open Office and MS-Word, find-replace for
to the south western branch of Indo-Aryan languages. It is regional scripts, keyboard shortcuts, script converters,
spoken in the Konkan region covering Goa and parts of the spellcheckers, synonym dictionary, official language
coastal regions of Karnataka, Kerala and Maharashtra. dictionary etc. are available. The mail merge feature is
But it does not have its own script. now also available in UNICODE also.
Malayalam is a Dravidian language, spoken by the people • UNICODE sorting of data in Excel, Calc through
of Kerala, Lakshdweep and parts of Puducherry. It is an macros
ancient language and is thousands years old and written • Enhanced spellcheckers in Hindi, Gujarati, Bengali &
in Malayalam script. Malayalam is also spoken in Bahrain, Malayalam are available.
Fiji, Israel, Malaysia, Qatar, Singapore, UAE and Saudi
• Features like insert date & time facility, number to
Arabia.
word conversion etc.
Marathi is an Indic language dating back to the 13th • Easy phonetic keyboard.
century. It is the official language of the western state of
• Apart from BIS standardized INSCRIPT keyboard
Maharashtra and also spoken in Goa. This is also written
support for popular keyboard layouts like typewriter as
in Devanagari script.
well as custom designed layouts available.
Oriya, the state language of Orissa is spoken by nearly • On screen keyboards to expedite content creation and
90% of its population and written in Oriya script. facilitate learning etc.
Punjabi is an Indic language and is spoken in the state of • Range of aesthetic assortment of True Type fonts,
Punjab. Although based on the Devanagri script, it is symbols, borders and cliparts.
written in the 16th century script called Gurumukhi,
• Publish content on the web using applications like MS
created by the Sikh Guru, Angad.
Front Page, Flash, Dreamweaver etc.
Sanskrit is one of the oldest languages of the world and • Supports popular publishing software such as
also the language of classical India. All the classical CorelDraw, PhotoShop, Adobe Illustrator etc.
literature and the Indian epics are written in this language.
• Indian languages in mailing through ISM-Mail.
Sankrit is also written in Devanagari script with slight
variations.

256 IT&ITES: DTPO - Related Theory for Exercise 2.4.02

IT-ITES
DTPO - Bi-Lingual Software Related Theory for Exercise 2.4.03

Working with advanced tools & settings of ISM

Objectives: At the end of this lesson you shall be able to
• practice creating conjects in regional language scripts
• inserting special characters.

Historically, India has been a multilingual country. Today, For example

the India Constitution officially recognizes 18 languages
and ten different scripts used in different states / regions The default dictionary of nTrans will give the English
spread across the country. conversion for the name as "jagdish". However
you may prefer the converted output to be "jagadish" or
Despite the plurality of languages and scripts, the "jagdeesh".
underlying grammar is largely similar across languages
with a common vocabulary of 40 to 80 percent. Hence Please note that the utility will take a longer time to do
translation from one script to English and English to conversion as the custom dictionary increases in size.
regional language script is necessitted. The total number of words that users can add to the
Personal dictionary is about 4000 words. By default the
C-DAC provided the solution to us by introducing nTrans. personal dictionary is empty. Personal Dictionary does
nTRANS Software not accept duplicate entries; new entry will replace old
entry. Commonly used acronym such as Dr., Mr., Mrs. are
nTrans can be used for converting English names to Indian
available as an inbuilt feature.
language in ISCII and vice versa.
Figures to Words Conversions
It is possible to convert either a single name at a time or
an entire file of data from either English to ISCII or from This utility allows users to convert numbers, date and time
ISCII to English. All names in a file must be either in into words in Indian language and transfer the converted
English or in ISCII. data on to UNICODE enabled documents or editors. The
data gets converted to the language that has been specified
The utility also allows the user to build and update a
in Language on the ISM V6 user interface. The font type for
Personal Dictionary where the user can store preferred
data transfer is as specified by user on the ISM V6 user
conversions.
interface. Various formats for Date and Time are also
If the source file contains data in English, two ouput files supported.
with data converted to ISCII and ISFOC respectively are
Font Previewer
generated.
ISM V6 is packaged with a plethora of aesthetic TT and OT
While, if the source file contains names in ISCII, the output
fonts and symbols. To save disk space, the installation
file generated will contain data in English.
program installs two most commonly used fonts for each
The utility appends "_Isc.txt" to the output file with ISCII language by default. Additional TT fonts are located at
data and "_Isfoc.txt" to the output file with ISFOC data.
CD Root:\Fonts\Language\TTFonts.
"_Eng.txt" is appended to the output file containing English
data (in case of ISCII to English conversion.). Using the Font Previewer tool, users can install/uninstall
additional fonts. The Font Previewer also provides facility
To view the converted data, click on View English Output
to preview a font before installing it.
if your source file is in ISCII. Click on View ISCII Output or
View ISFOC Output if your source file contains names in Font Previewer can be accessed from the ISM V6 user
English. interface or from Windows Start menu, through Tools in
ISM V6 Publisher.
nTrans uses its default dictionary to convert names from
ISCII to English and vice versa. To bring the accuracy of The Font Previewer can be used to install or uninstall only
nTrans closer to your requirements, you can store preferred True Type fonts and Open Type fonts.
conversions or customized conversions for specific names Monolingual and Bilingual data is not supported under
in the Personal Dictionary. The utility will then use the Windows Vista Operating System. For Windows Vista, it
preferred conversions or customised conversions whenever is recommend using Web fonts or Open Type fonts
it encounters the specified names. (wherever supported).
Uninstalling Fonts
Type Face Name on Remove Fonts page displays fonts
installed on the system. Select the fonts you want to
uninstall and click on Remove Fonts button. A preview of
the selected font will be displayed in the preview pane.
257
ISM V6 comes with a plethora of fonts and symbols. The Floating Keyboard
installation program installs two most commonly used
fonts for each language, by default, for all types of The Floating Keyboard is a handy typing tool developed
installations. especially for users who are not comfortable with the
keyboard overlay. The Floating Keyboard is also useful for
These fonts do not get installed automatically through the keyboards that do not have a printed overlay. The Floating
installation program. The user can install extra fonts in Keyboard facilitates typing by displaying on the screen,
from the Control Panel. the layout of the selected keyboard (INSCRIPT, Phonetic,
Clip Art Viewer Typewriter or Customized) for the selected language and
font type.
Lists various available categories of clip-art. Select a Clip-
Art Category to view a list of available cliparts in the Clip- The Floating Keyboard resides on top of all applications
Arts list. running on the system. Floating keyboard is placed in
This lists various clip-arts within each category. You can system tray when minimized.
select a clip-art from this list to display it in the preview When toggling between applications you need to click on
window. Clip-arts are available as .jpg format files. Clip the active application each time before you can use the
Arts Viewer permit us to browse, open, copy, save, Floating Keyboard.
changing attributes etc.
To type a character key that is located in the Shift position,
press down the Shift key of the physical keyboard or the
floating keyboard.

258 IT&ITES: DTPO - Related Theory for Exercise 2.4.03

IT & ITES
DTPO - Printing and publishing Related Theory for Exercise 2.5.01
Classification of Printers
Objectives : At the end of this lesson you shall be able to
• explain impact and non-impact printer
• determine the importance non-impact printers
• illustrate with diagram thermal printer.
Printers can be categorized as:
• Impact printers
• Non impact printers

• LASER - Light Amplification Stimulated Emulsion By a) A RIP

Radiation
b) A buffer
• LCD - Liquefied Crystal Diode
• LED - Light Emitting Diode c) A marking engine
a) A RIP:- A raster image processor to convert the image
IMPACT PRINTER - In an impact printer printing heads
into a bitmap suitable for the printer.
strikes and imaged on a paper. In impact printer printing
heads marks the sheet (paper) by impact against a ribbon b) A buffer:- A buffer that holds the rasterized image in
as in Tele type printer, Line printer, Dot matrix printer, memory ready for printing.
Daisy wheel printer.
c) A marking engine :- A marking engine that transfers
NON - IMPACT PRINTER - We divided non impact colorant to the substrate.
systems into inkjet printer and eletronic printer (laser
The RIP may be located within the printing device itself, or
printer) used as an output to work in D.T.P.
externally in a separate hardware RIP or in the host
Non-impact printer - There are countless methods of computer (Main computer that attached directly to the
actually transferring a rasterized image to paper. The printer). In some cases, the printing speed of the marking
contending technologies can be broadly grouped into non- engine can be as high as that of a small conventional
impact systems and conventional process that have been printing press, but in practice, the speed may be limited by
modified to accept direct digital imaging of the printing the capabilities by the RIP and the page buffer.
surface (the term "non-impact" was originally coined to
Inkject printer
describe computer printers that did not employ printing
heads that marked sheets by impact against a ribbon, as Inkjet printers generate ink droplets, either by forcing a
do Tele type printer, Dot matrix printer and Daisy wheel continuous stream of ink through a nozzle (with the
printer) for convenience, we have divided the non-impact unwanted droplets deflected electro-statically to a waste
systems into inkjet (where a liquid ink is propelled onto the gutter) or by dropellng droplets on demand according to the
paper); electrostatic ( where a wax or dye colorant is image requirements. Drop-on-demand desktop inkjet print-
transferred to the paper by heat).Further we can add a ers propel ink by thermal or piezoelectric methods.
thermal technology for broad scenario. The classification is
Thermal inkjet (or bubble jets) printer heat a tiny amount of
something of a simplification, and many devices do not fit
ink until it vapourizes, its expansion forcing liquid ink
neatly into one or other of the categories proposed.
through an aperture (setting a shape) at a high speed, while
All non-impact printers (system) have three basic compo- piezoelectric (or phase change) systems rely on the
nents:- properties of quartz and ceramic material (used to give
shape image) to change shape when a charge is applied,

259
mechanically forcing ink out through an oppening/ The image is formed on the drum by the first applying a
nozzle.Most systems are effectively binary-droplets tha charge to the whole drum.A high-intensity light source
cannot vary in size but some continuous inkjet printer have scans across the surface, switching on and off according
the ability to send several droplets to the same location on to the image requirementsand the charge dissipated wher-
the paper, resulting in the droplets merging and spreading ever light falls on it. In a photocopier, the light is reflected
as they arrive at the paper surface.The number of droplets from an original resting a platen through a lens on to the
that can be sent to the same spot determines the number drum, while, in a laser-printer, the light sources are laser or
of gray levels that the process can achieve. LED or LCD devices driven by digital image data which is
sent by computer system.
Most desktop inkjet printers can produce resolutions
comparable to low-end laser printers, at around 300 dpi. At
this resolution, working at upto 20,000 cycles per second,
a twelve jet array takes a minute or show to print a single
page. The lower resolutions and faster droplet generation
of pres-mounted continuous ink inkjet allow them to print
at the full production speed of the press, which may be as
much as 70,000 copies per hour.
Inkjet devices can print on most papers, although drying is
slow on stocls with low absorbency, and wicking (an ink
which is spread into the fibres inside) can occur on highly
absorbent materials newsprint.

Schematic of a laser printer

Inkjet printer diagram

Basic laser printer components
Desktop color inkjet printers produce color documents and
visualization proofs, but higher resolutions are needed for Laser printers usually have resolutions of 600 dpi,although
approval proofs, and even these can not reproduce the 4800 dpi now technically feasible.
halftone screen exactly as it will appear in the final printed Toner particles size around 10 microns and the resolving
job.With some color inkjet devices, the the ink used is solid powder of the transferred drum set the ultimate upper limit
at room temperature and briefly liquifies as it is heated prior of the possible resolution.High microns of toner particles
to printing.It then re-solidifies immediately upon reaching having less dpi and low microns of toner particles have
the paper, providing a sharper image and stronger color more/high dpi.High resolution electrostatic system using
since the paper does not absorb this ink at as it would any liquid toner(instead of solid particles) produce high quality
normal liquid ink. color print but they are more expensive than solid toner
Electrostatic printer system.Toner particles size (aroun 2 microns) is smaller
than solid toner.
Electostatic printers, covers photocopiers, laser printers,
LED printers , LCD printers and other printing devices that Laser printer
employ the Xerography principle of using an electrical A typical laser printer that utilize a laser beam to produce
charge to attract the image areas.A pattern of charged an image on a drum.The light of the laser attracts the
areas corresponding to the image that is to be printed is electrical charge on the drum whenever it hits.The drum is
created on a dielectric drum (OPC-Organic Photo then roll through a reservoir of toner which is picked up by
Conductor).Toner with an opposite charge charge is brused the charged portion of the drum.Finally,the toner is trans-
over the drum,where it adheres only to the image areas and ferred to the paper through a combination of heat or
is then transferred to the paper. pressure.

260 IT & ITES : DTPO - Related Theory for Exercise 2.5.01

LED
The difference is only the method of the light distribution in
LED printers.LED printers function by the beam of an array
of LED builts into the cover of the printer that usually more
than 2500 covering the entire width of the drum which
creates an image when shinning down at 90°. The number
of dpi depends upon the number of LED. If the printer prints
600 dpi than the printers have 600 LED per square inch.
LCD
LCD printers using a similar principles only differences is
the light source. Liquid crystal panels is used as a light
source in place of laser on LED matrices.
Thermal printer
The 'Thermal printer' covers a very wide variety of different
techniques but the following two are of particular impor-
tance:
a) Thermal transfer
b) Dye sublimation
Both type use semi-conductor resistor to heat the colorant
so that it can be transferred to the paper.
a) Thermal transfer - In the thermal transfer, the colorant
is effectively melted onto the paper,like a miniature version
of wax sealing.
b) Dye sublimation - The dye sublimation printing,the
colorant is vapourized before transfer to the paper.
Thermal system that produces binary images does not
have adequate resolution (dpi) to form halftone screens and
instead uses coarse dither patterns to reproduce continu-
ous - tone images.
By applying a variable voltage to the resistors in a dye-
sublimation printer, different densities of colorant can be
transferred to give a gray scale instead of binary image.
The dye of three primary colors (black is often unnecessary
due to high density of the CMY solid overprint) combines,
resulting in a continuous-tone image very similar to the
photographic point. Dye-sublimation systems of this sort
do not simulate a halftone dot when used for proofing, and
because a continuous-tone image is produced a resolution
of around 300 dpi is adequate.
Dye-sublimation printers produce brilliant, saturated col-
ors. The slow down speed of output makes them suitable
mainly for one-off print such as color proofs, print from
digital cameras, and presentation materials. Special pa-
pers are required for most systems.
For longer runs, electrostatic systems are currently the
most successful technologies, with speeds that approach
conventional lithographic printing. In the future it is possible
that inkjet may emerge as the most viable digital printing Digital color presses are faster to set up than conventional
technology, but at present the difficulty in achieving ac- presses since there is no need to adjust position or inking
ceptable resolution at high production speeds excluding levels. The current thermal electrostatic printing technolo-
inkjet from color printing at speed. gies includes-
i. Dry Electro Photography - With pigmented toner pow-
der as the printing media.

IT & ITES : DTPO - Related Theory for Exercise 2.5.01 261

ii. Liquid Electro Photography - With pigment particles for saving books for as long a period as possible. The main
suspended in a liquid. purpose of the binding is to hold pages of a book together
iii. Phase-Change Electro Photography - With pigment and protect them.
suspended in a waxy solid that is briefly liquefied during Sheets of paper are bound together in several pages by
image transfer. different ways. Methods of binding are important to use and
Some important notes like of the book. Some are designed for low cost and short
life. Others for long life and hard use. Methods of binding are
a. Inkjet Printer - Both speed and dpi low.
classified into five types. They are:
b. Thermal Printer - Speed low and dpi high.
Mechanical binding
c. Electrostatic Printer - Both dpi and speed high.
In this type of binding some mechanical devices are used.
• Sublimation - Direct from solid to gas state is called Three common mechanical binding methods are spiral
sublimation. binding, comb binding, and wire 'O' binding. In these
binding method, holes are punched by the punching
Merits of inkjet printer machine to accommodate the consumable such as spiral,
• Colour printing is possible comb, wire etc. These are mainly mainly used for short life
publication such as business reports, meeting reports etc.
• Print quality is good
• Noiseless Examples

• Printing speed is high • Spril binding

• Most models are relatively light weight and compact so
• Comb binding
they don't take up too much space on the desk • Wire 'O' binding
Loose leaf binding
De-merits merits of inkjet printer
This binding method permits ease in add and removing
• Not be the printer of choice for everyone, Due to the cost sheets. Three common loose - leaf binding are ring binder,
of ink, running an inkjet printer over time is a more post binder and friction binder. The ring binders and post
expensive than a laser printer. binders are widely used in accounting filed. Friction binding
• Prints emerge from the printer slightly wet and may is a plastic 'U' shape strip clamping the paper edges.
need time to dry. Booklets of few pages are suitable for this binding method.
• Printing is slower and therefore inkjets aren't designed Examples
for high volume printing. Ink cartridges spill out tiny
droplets of ink to print, the resolution is lower than that
• Ring Binder
of laser toners • Post Binder
Merit of laser printer • Friction Binder
• High quality printouts - better than ink-jet or dot-matrix Wire staple binding
• Fast printouts - faster than ink-jet or dot-matrix Two common wire staple binding are saddle wire binding
and side wire binding. Saddle wire method is used to bind
• Prints very quietly - quieter than ink-jet or dot-matrix
periodicals and small booklets. Side wire binding is used
• Cost per page is low - cheaper than ink-jet or dot-matrix for thicker magazines and book.
De-merit of laser printer Examples
• Most expensive printer type to buy, especially colour Saddle wire binding
lasers. Side wire binding
• Toner is more Expensive than inkjet printer. Perfect Binding
• Expensive to repair -lots of complex equipment inside. This binding does not require sewing. Sheets of paper are
held together by flexible and heat sensitive adhesive. PUR
• Larger in size than inkjet printer. (Poly Urethane Adhesives) is relatively new adhesive used
Binding in perfect binding. Pocket size books are usually bound in
Book are repositories of knowledge and wisdom. They are this manner.
mirrors of our culture and civilization. Books are records of Sewn Binding
our history and have been treasured and preserved from
time immemorial. If binding is not done adequately and Sewn binding is the most permanent and durable way to
securely, in the required style and strength, the whole hold sheets of paper together. Strong thread is placed
labour in designing and publishing a book may go waste, through binding edges securely holds all sheets. There are
the product will not last long. The shape of book gave rise two types of sewn binding - Thread stitch, Section sewn.
to the need of binding. Binding, therefore was and is needed The section sewn are more expansive book binding but
most the dureable.
262 IT & ITES : DTPO - Related Theory for Exercise 2.5.01