CDU VOL58 OCT09 - coreldownunder.org.au · 17 Tutorial Eight: Christmas Card Ideas 18 Correct Files...

CORELUNDERCORELUNDERmagazinemagazine No: 58 RRP $5 OCTOBER 2009 No: 58 RRP $5 OCTOBER 2009

This month’s cover : By Lance Fishman

Photo is a composite of two that I took during Julie ’s and my trip to N.T. in 2007

The kids jumping into the swimming hole was taken at Litchfield National Park.

Committee Meets:1st Tuesday of the month Februaryto November.

Time:7.00 pm

Place:25 Belinda Crescent,Wheelers Hill 3150,

FEBRUARY2005No:34

Bi-monthlyPublicationofCorelDownUnderInc.Reg.No.A00289993V

No: 58 October 2009

CDU Meetings 2009

Tuesday – October 20th

Tuesday – November 17th (AGM)

Time:6.30 (for 7.00 pm start)to 9.30 pm

Cost: (Including supper)

Members: free

Non-members: $5.00

VENUE: Melb PCChadstone PlacePrinces Hwy/Dandenong Rd Chadstone,Meeting room 2

Contents

4 CDU 2009 Competition

5 Tutorial Five: Creating withMesh Tool in CorelDRAW

8 Tutorial Six: Kerning inCorelDRAW

13 Review from our CDU Library

14-15 Members Gallery

16 Tutorial Seven: Power Clippingin CorelDRAW

17 Tutorial Eight: Christmas CardIdeas

18 Correct Files for Printing

22 CDR Keyboard Shortcuts

Corel Down Under ,

PO Box 833, Ringwood Vic 3134

Corel Ventura used for magazine editing and Layout.Printing: The Print Manager, 68 Great Ryrie Street, Heathmont Vic 3135

2. Corelunder, No 58, October 2009

Committee ofManagement:

President:David [email protected]) 9758 3073

Vice President:Jan [email protected]) 9560 6777

Secretary:Julie [email protected] 122 780

Treasurer:Geoff [email protected]) 9720 2913

Library:Fred [email protected]) 9548 2555 or 0418 382 965

Membership:

Lance Fishman

[email protected]

CorelunderEditor:

Jenette Youngman

[email protected]

03) 9893 1029

Members:Richard [email protected]) 9729 5419

Darryl [email protected]) 9876 9161

The croc jumping out of the water was taken during a boat trip on the EastAlligator River

Process:: See Page 16

Postal Address:

Phone: 0432 931 241

Corelunder, No 58, October 20093

Report

President’s

Important Dates:

20-10-09: October Corel Down Under Meeting.

This meeting is very important for two reasons. Firstly, our friends at Corel, Richard Dodd and Gavin Watson,will be presenting a new software release - Corel Digital Studio 2010. This is a consumer level package to helppeople organise, edit, create and share digital media including photos, music and video. The details are currentlyavailable on the main Corel web site if you want to get a sneak preview before the meeting. I believe that Corelwill also demonstrate their new Portable Office Suite on the night as well.

However, this meeting is also very important for another reason. As the guys from Corel will be present, it givesus a unique chance to discuss with them one-on-one some of the difficulties we are facing as a group, possible ideasand directions for the future, possible restructuring of certain aspects of our group, and to discuss ways we canbetter integrate our assistance to Corel users in Australia together. Your participation and contributions are veryimportant and we encourage everyone to come along to this meeting to enjoy the Corel presentation and to addyour voice, concerns or gripes, suggestions and ideas to the open forum which will follow the Corel Presentation.Please come along and help your group in these testing times.

Lastly, this meeting will host the final presentation in our Christmas Card Design series of tutorials with apresentation by Geoff George on Power Clipping.

17-11-09: Corel Down Under AGM.

Our AGM is always an important date within our calendar as it gives members a chance to elect and run forcommittee positions. The committee is an essential core decision-making body within the group as well asorganising day-to-day matters such as meeting and publication content and structure. This year, in addition to theregular election process, it is highly likely that several important constitutional amendments and grouprestructuring decisions will be made at the AGM, as a result of discussions at our October meeting with Corelpersonnel and from committee decisions at the intervening November committee meeting.

This is a critically important meeting for all members and we urge you to attend and add your voice andconsideration of all decisions made for the group as a whole. Like many similar groups, we are facing challenges inthe coming years and we need to be prepared to make adjustments as social and financial climates change so we cancontinue to deliver the kind of friendship, services, support and social networking structure we have successfullydelivered to our members for many years now. This is YOUR group and your active participation is essential.Please keep this in mind always.

The final meeting for 2009 will also be the Judgement Day for the Christmas Card Design Competition and wehave organised some nice prizes for the winner/s. We will also present the winning entries on our web site and inthe first magazine we publish in 2010. Good Luck. I ’m really looking forward to seeing some brilliantcontributions from the ranks of our very talented membership.

- David Mutch. October 2009


This is the final in the rewarding series of graphicsdesign tutorials that we have held throughout theyear and we hope that we ’ll see many creativeentries in the Xmas Card Design Competition, ahighlight of our November meeting. So don ’tforget to get your creative engines running, utilizeall the great knowledge you have gained from thetutorials, and start creating your design now inreadiness for presentation in November. Pleaserefer to the Rules above and information belowfor important details on how to enter your design

The winning entry will be selected at theNovember 2009 CDU meeting. We have somegreat prizes for the winner. Entries brought alongto the November meeting must be in both printed(up to A3) and digital form and can be created

using any Corel product of your choosing. If youare unable to attend the November meeting inperson, entries may be sent by post (PO Box 833,Ringwood 3134) or by email [email protected] and both postal andemail entries must be received by 10th November.Otherwise, bring your entry to the November meetingin person.

Postal entries may be hard copy only and email entriesmay be submitted as a digital Corel product file (5MBmax please) and PDF. The winner will be notified byemail if they are not present at the November meeting.

Produce a Christmas card or similar with one compulsoryelement with Judging to take place at the November meeting.

October Training

* Power Clipping

Rules

* The judges’decision is final. The judging is by the attendees in the Novembermeeting.

* b. Entries by post (PO Box 833, Ringwood 3134) or email([email protected]) must be received by 10th November.Entries may also be brought in person to the November meeting.

* c. Entries to be submitted as hard copy and a Corel product file.

* d. Winner will be notified by email if unable to attend meeting.


Creating withthe

Mesh Toolin CorelDRAW

The Mesh tool is located down the tool bar as seen in Fig 1. this isa very flexible creative tool, that can be used to great effect, itdoes need a bit of time to be able to create your precise effect.

For a vector drawing program this is very neat, you can see in theGum Nut (Fig 1) that there is a degrees of shading created using theMesh tool. The amount of detail is dependant on the time you spendon the project.

To start the project draw a shape using the FreeHand tool or theBezier tool, to rough out the shape as seen below. The rough shapeon the left is the base, from here you use the Shape Tool to changethe lines to curves, with the options to have Cusp (sharp change ofdirection), Smooth, and Symmetrical (as these names imply). Note if

the lines change direction sharply the Outline Tool should be used. Withthe Mitre Limit to change the corners to curve not a point.

Lastly fill the shape with a base colour, The top (inside) of the gum nut isfilled with an off set radial fill.

Next is to apply the Mesh Fill Tool. There is an option to change thenumber of points that the mesh applies. Like the Graph Paper Tool, thenumber of nodes can be increased to provide more colour detailing. Themore points, the more details can be added. As you can see in Fig 5 therea set of nodes to which colour can be applied, as well ad directions of thenodes. All that is needed now is to apply the range of different colourswhere you think would work the best for the subject. It is possibly agood idea to set up a colour palette for the object so that you have justthe range of colours that you prefer to use on the subject you areworking with, just like an artist would.

Fig 2 Fig 3 Fig 4

Fig 5

Fig 1

withRichard Crompton

Tutorial Five

Page6


When applying the mesh it is a good idea to have theobject in the best orientation to apply the mesh

In Fig 6 you can see what can be done with colouringvarious nodes of the mesh applied to the Gum Nut.

There is another example in the leaves as seem in Fig 7

To make the Mesh fill more realistic there is the need for more work as is seen in the Figs 8 – 10. We can apply themesh fill to a whole leaf at once, but that would make the fill more difficult to handle, and less precise. If yousubdivide each leaf into smaller sectors, you can achieve better results

Fig 7

Fig 6

Adding ColoursYou can easily add colours to different patches of themesh fill by dragging a colour from the colour palette.But how can we add a colour if it is not on the colourpalette? The long, hard way is to select a colour withtheEyedroppertool (choose Sample colour from thelist box on the property bar), and apply it to an objectwith the Paint bucket tool. Then, you can go to theUniform Fill dialogue box (Shift + F11 ) and click theAdd to colour palette button.

Here is a better way to add colours: Select a node withtheMesh fill tool or the Shapetool (F10), and holddown the Ctrl key while you click a colour on thecolour palette to add 10% of the selected colour.

If you want a lighter tone, simply hold down Ctrl, andclick the white colour. However, if you want a darkertone, using CMYK Black is not the best option.

Fig 8. A single mesh fill is not realistic and is difficult to edit.

Fig 9. It is easier to manage small sections than a large piece.

Page5–– Creating with the Mesh Tool in CorelDRAW


When you add a colour with the Ctrl key, one colourdecreases while the other increases. If you add black tothe green colour, the green decreases but the black doesnot increase proportionately, so the midtones remaingray and without intensity. You can get much betterresults if you hold down Ctrl and click on the colournamed 100C100M100Y100K , at the very end of the

CorelDRAW CMYK palette. The difference betweenthe two methods can be seen in Figure 10.

Also, you can hold down Ctrl and click another colour,but remember that if you have a cyan colour and clickmagenta, the cyan decreases while the magentaincreases. If you want to add magenta withoutdecreasing the cyan, you must hold down Ctrl and clickthe Blue (cyan + magenta) (Figure 11).

Fig 11. CMYK Magenta is added (left image). Blue (C100, M100, Y0, K0) is added (right image).

There is another option:-Import a photograph set on to a white background, thisallows the use of the Bitmap Colour Mask, to removethe white background. (do not include a drop shadowwith the importing photo, as CorelDRAW dose notmask these very well). You can add a drop shadowwithin CorelDRAW.

As can be seem in Fig 12

Fig 12. Drop shadow placed in by CorelDRAW.

With Richard CromptonWith extracts from a Corel Tutorial byAriel Garaza Díaz

Fig 10. CMYK Black is added (left image). Colour 100c 100M 100K is added (right image)


Tutorial Six

By changing the spacing of Artistic of text andParagraph text, you can enhance the text and make itmore readable.

You can change the spacing between characters, words,and lines. When you space characters manually, youcan change default settings to display or hide characteroutlines. You can also align Artistic text horizontally.

You can change the space between all characters, allwords, or characters and words proportionately. Youcan also kern specific characters. Kerning balances theoptical space with other letters in a word or line.Kerning differs from spacing in that if affects only thewhite space between the specified characters.

Changing the line spacing for Artistic text applies thespacing to lines of text with a carriage return betweenthem. For Paragraph text, the space applies to lines oftext within the same paragraph. You can also changethe spacing before and after paragraphs for Artistic textand Paragraph text.

Options available for specifying text spacing depend onthe tool you use to select the text. Selecting with the

Text tool or the Pick tool lets you adjust spacingbetween characters, words, lines, and paragraphs.

Selecting with the Text tool also let you adjust kerningbetween a range of characters. Selecting with the Shapetool lets you specify horizontal and vertical spacingwith precise values using the Property Bar

You can change the spacing of all characters in aParagraph text frame, or selected paragraphs. Tochange spacing in the entire frame, select the frame withthe Pick tool. To change specific paragraphs only,select the paragraphs with the Text tool.

You can also change the spacing of selected charactersby ding down CTRL and dragging character nodes withthe Shape tool.

You can also use the Pick tool for Paragraph text.

with Janice Edgar


LEADING (an old printers term) changes the

space between all lines.

In Paragraph text frames, you can adjust the spacingbefore and after paragraphs.

When you change line spacing for Artistic text, thespacing applies to lines of text with a carriage returnbetween them. For Paragraph text, the space applies tolines of text within the same paragraph.

Shifting and Rotatingcharacters

Shifting individual and multiple Artistic text andParagraph text objects vertically and horizontally canadd an interesting effect to text. You can also rotatecharacters.

You can return characters you 've shifted horizontallyto the baseline and maintain a vertical shift or rotation.You can also remove vertical shifts and rotations.

You can also shift characters with the Shape tool bytyping values in the Horizontal Shift box and VerticalShift box on the Property Bar.

Formating Paragraph text

Formatting Paragraph text make it more readable andeffective. You can add columns, tabs, indents. bulletand drop caps. You can also change the vertical andhorizontal alignment and automatically hyphenate text.

Sizing Paragraph text frames - You can size a Paragraphtext frame independently of its text, or you can size aframe and its text together.

To increase or decrease the frame size - independentlyof its text, use the Pick tool, click anywhere in or onthe border of the frame and drag any selection handleoutward to increase or inward to decrease the size of theframe.

To size Paragraph text and its frame, click anywhere inor on the border of the Paragraph text frame with thePick tool. Hold down ALT, and drag one of the cornerselection handles, this resizes the frame and the textsimultaneously and maintains the shape of the originalfont, but the font size changes.

For changes to column widths, drag the side handles.

Font: Rage Italic

-5% Character spacing

5% Character spacing

0% Character spacing

Nodes for last 3characters move inward

Final adjusted

Page10


50%Linespace(leading)

Differenttypefontsgiveadifferentfeeltothewords!andtheylayouttoocanmakewordsandfontslookandfeeldifferent!

100%Linespace(leading)

Fontused-RageItalicLET

imagine

imagineimagine

Humanst521

Humanst777-20%Chara%

Humanst777

imagineimagineimagine

FuturaMed

FuturaMedCharacterspacing-20%

FuturaLight-Characterspacing-20%

Differentfontshave

different"a"and"g"

stylesandsomeare

betterinsomeare

moreappealingthan

others,oftenif

personaltaste,

orwhatisinfashion!

Whatisbeingused

byothersinadsand

magazines.

Page9– Kerning in CorelDRAW


Page12

impacimpac

Swiss721ExBT

Swiss721ExBTandSwiss721BlkExBT

impac FuturaMedandFuturaXBlkBT

Differentfontweightswithinafontstylecanbeveryeffectiveforlogos!Checkfontheightsandoneoftenhastodecreasetogetbacktoallthesameheight.

impacimpac

Illegal

Luminarium

Luminarium

Luminarium

Luminarium

Illegal

Illegal

Illegal

luminariumluminarium

Arial

Arial

ArialBold 5%

ArialNarrow 5%

-5%

Times

Garamond

Tahoma

TimesNew Roman

Swiss721ExBT


Page11– Kerning in CorelDRAW

TactilesTactiles

TactilesSentinelSentinel

SENTINEL

SENTINEL

Alltheabovephonenumbersarethesamefontsize! Thechoiceoffontstyleisveryimportant-whenyouseewhatcanhappenwithsomefrontstylesandcertainnumerals.

Original

Original

Original

Original

Manualcharacterspacingdone




Swiss721BlkExtBTHandelGotDBol

GaramondCond

Arial

Usingthiscrazyfontgivessomechallenges-

Enlargingthecap"V"inthisfontlookstooureyemuchmorebalanced

Subtledifferencesincharacterkerningwiththeseabovewordsmakeabigdifference-especiallyiftheywillbeuselargeatsometime!

Font: JointbyPizzaDude


Reviews from ourCDU Library

with Julie Adams…

Corel Painter Official Magazine

Issue 27

We were talking at the October meeting about who usedCorel products. When I read this issue of the magazine,there was an interview with an illustrator, Greg Banning,who said “I continue to use Corel Painter because itreally is the only application that can emulate realmedia.“ Greg continued his interview by saying that hehadn’t updated his computer since 1998 and has nowrealised that he can paint on multiple layers and eraseout from them.

The Painter tutorials this issue are:-

How to customise the image hose – learn howto create your own Image Hose nozzles bydrawing with Painter ’s pens.

Create a stunning landscape – discover how toclone and adapt a photo to create a beautifulpainting.

Paint like Baroque – enrich your portraitswith the techniques of this opulent style.

Art Studies : Minerals – essential advice forcapturing the characteristics of metal andgems.

Make a mosaic – explore Roman-style art with Painter ’s Make Mosaic tool.

The feature focus this month is the canvas menu. The article explains the commands youneed to control, modify and adjust your canvas. Most are very basic but if you do not usethem all the time, you may have difficulties.

On the accompanying disc you receive more than 40 minutes of video tuition, over 100stock photos and textures, plus tutorial source files and Painter X trial.

For further information can be found at their website: www.paintermagazine.co.uk .

Another interesting website is: www.imagineshop.co.uk . It has a great selection of Corelproducts – books and magazines. Enjoy.


Showcase this month: Lance Fishman – using Nik plugin

software, won at a CDU meeting earlier this year toframe eachimage.

CDU Members' Galleries


Working with

Powerclipin CorelDRAW

When you PowerClip objects, you put one object inside another object orgroup of objects. One object becomes the contents, while the otherbecomes the container. You can create a container from any object youcreate using CorelDRAW, including shapes, lines, curves, Artistic text, andgroups. A contents object can be any object you create using CorelDRAWor import from another program.

After you create a PowerClip object, you can edit it to changethe way the contents and container objects interact.

1. Using the Pick tool, select the object you want to use asthe contents.

2. Click Effects, PowerClip, Place Inside Container.

3. Using the horizontal pointer that appears, select theobject you want to use as the container.

The contents object is placed inside the container object.The contents and container now become a single unit.

©) Corel Corporation. All rights reserved.

Tutorial Seven

with Geoff George

Front Cover Process – Lance FishmanThe croc photo was imported into the Litchfield photoand its background removed using the eraser tool with aslight feathered edge.

The transparency of the eraser was increased to about90% to leave some of the splashing water effects at thebase of the croc.

Dodge and burn tools were used to increase contrastbetween the croc and the background.

The children were a bit blurred (photographed withtelephoto lens whilst in mid jump) so they were maskedand sharpened.

The images were combined and converted to a singleobject.

Image Adjustment Lab was used to increase saturationand contrast, decrease lightness and darken shadows.

A new document was created at 300 dpi and the size ofmagazine cover and object imported.

The object was manipulated with pick tools until itfilled the new page as required then the crop tool wasused to remove the excess area of the object no longerrequired.

The object was combined with the background andsaved as the final object.


CHR I S T M A

E

SG R

ET I NGS

ChristmasGreetings

135mm

100mm

100mm

10

0m

m1

00

mm

Tutorial EightChristmasCard Ideas with

JaniceEdgarSmallersquarecards

canbecutfromandA4sheet-100mmx100mmoranothersizecouldbe135mmx100mm,andenvelopesareavailableforthesesizes.

Smalltypefontsshouldbeselectedforthesesmallercards.Suggestedcolourpanelinsideorontheback.


File Problems & Solutions

Correct filesfor Printing!

with Darryl Howmanfrom The Print Managers

Presenting Files Correctly!

How should you present your files to your printer so that they print the way you expect?

You may have worked on producing a fantastic project, maybe even this Christmas cardproject, which you now want to have printed professionally.

What often happens is that it looks fantastic on your screen, prints correctly on yournon-postscript ink jet printer, but when you receive it back from the printer somethinghas gone wrong. It is very important to think about how you create your files forprinting!

How is it going to be printed?

The first question you have to ask yourself is how isthis project going to be printed?

You need to know this well before you give your file toa printer.

By this I mean is it going to be printed 4 colour processon an offset press?

Or maybe only two spot colours on an offset press.

Or maybe it will be printed on a digital printer or evenscreen printed.

Each different process has to be looked at differently.

Digital Printer!

The most common way today for very short runs, is tohave your job printed on a digital printer. This is themost economical way in jobs of 1 to 1,000 copies.

A digital printer is far more ‘forgiving’ than offset. Thisis because digital printers will print files in any mode,RGB, CMYK or spot colour. The press will convert thefiles to CMYK and print it without too many problems.This is partly because these printers are software drivenand don’t rely on printing plates.

Offset Press

If you are having your project printed offset, (or screenprinted), there are a lot more things that you need to beaware of.

An offset press relies on printing plates to create animage on paper. Therefore, how you have your file setup in the first place becomes very important. If your fileis set up as 4 colour process but you have also put in 1or 2 spot colours, you could easily find that what youthought was a simple colour job has now become a 5 or6 colour job on the press.

Now let’s look at some of the various issues which weas printers have to deal with regularly.

Fonts

Probably the biggest issue we as printers have is withfonts. Most files we receive nowadays are highresolution pdf ’s. If we are printing directly from thepdf, then usually there won ’t be a font issue.

However, what most people don ’t realise is that allprinters take in a file and then set it up for their press torun in the most economical way. If your job is an A4for instance, most printers are going to run that as atwo up image on an A3 or larger sheet.


This means that the pdf is going to have to be importedinto a software package such as Corel Draw, so that itcan be duplicated and crop marks inserted.

This is where printers run into problems if the fi le has notbeen set up correctly.

There are two ways to avoid font problems!

Thefirst and best way is to simply to convert all yourfonts in the job to curves. This is known as outliningyour fonts for Illustrator users. Often your printer willask you to ‘outline’ your fonts before giving them yourfile. Changing your fonts to curves is exactly the samething, just different terminology.

Thesecondthing you can do to avoid font problems isto include all the fonts you have used in your job withthe file. The advantage with this is that if there is a typoin the job, your printer is able to fix it without getting anew file from you.

The disadvantage is that very often people either forgetto include the fonts or they miss one.

To avoid all font problems try and get into the habit ofalways converting your fonts to curves. This is by farthe ‘safer’ option!

Bleed

Bleed, or lack of, after font issues is probably the biggestproblem that we as printers have.

When designing something on your computer, mostpeople forget about the practical issues of having itprinted. This can often even be a problem with jobscoming from professional designers.

If you have a colour which is going to run off the page,then always allow for bleed. This means that youshould allow the background colour to go off the pageby a minimum of two millimetres or more. This so thatwhen it is guillotined down to size after printing, thatthe colour then goes over the edge of the paper. If itstops right at the edge it becomes a huge problem incutting it so that a white line doesn ’t appear down theside. What it normally means is that the printer has tocut inside, which means your final print is going to be abit smaller than what you had planned. Also there isthen the danger of type being cut off.

This brings me to the second issue with bleed. Neverallow any essential type or image to be closer than twoor three millimetres to the edge of the paper. This is tostop it from being cut off when the job is beingguillotined.

If the job is double sided I ’d strongly advice you alloweven more, as not all printers are going to back up100%. The back can sometimes move by 3 or 4millimetres, particularly with heavier board, so alwaysallow for that in your design.

Finally, regarding bleed, if you are going to presentyour job as a pdf to the printer, remember to print yourpdf allowing for all trim marks. Often people willdesign their job with lots of bleed but then print thefinal pdf to the exact size of the document, hence backto no bleed.

Resolution

If you are importing logos or images remember to keepthe resolution up for printing. Most printing processesneed 300 dpi.

This often becomes a problem when people import animage from the web. All images from the web are set at72 dpi, which is fine for viewing on your computerscreen but very disappointing when it is printed.

The other trap to be aware of is in resizing an image.You may import an image as 300 dpi, but the momentyou stretch it to make it larger, the resolution falls.

Always remember, you can make an image smaller andyour resolution is going to improve but make it largerand it is going to get worst.

If using images from the web, you always need to makethem smaller to get close to 300 dpi.

Colour

If you are importing from the web, don ’t forget that theimage is going to be in RGB. Fine if you ’re printing toan inkjet, maybe ok to a digital printer but definitelyNO if printing offset.

RGB stands for Red, Green and Blue. This is the colourmode for all computer screens and many inkjets. RGBwill be converted to CMYK by most digital printers

Bleed, or lack of, after font issues is probably thebiggest problem that we as printers have.

Page 20


and apart from sometimes changing in colour, willusually print ‘ok’. Some RGB colours cannot beconverted to CMYK and this is where you may runinto colour issues.

CMYK stands for Cyan, Magenta, Yellow and Black.This is the standard full colour that is used on all offsetmachines and most digital printers. Whenever you pickup a colour magazine, those colour photos are made upof just these four colours.

CMYK will print just about any colour but not allcolours. This is why many jobs have a fifth or sixthcolour added to them.

For instance, CMYK is not very good at printing goldor any metallic colour and it cannot print fluorescentcolours.

All these colours must be printed in ‘spot’ colours.These are colours specifically made and mixed toproduce just the one colour. All the spot colours can befound in the pantone pallet and are known in theindustry as PMS colours. This stands for ‘PantoneMatching System ’ and is the international standard usedfor all spot colours used in the printing industry.

So, if you decide that you want to have a strikingmetallic gold on your print job, it is going to have to beprinted offset, so you may decide to reduce the coloursin your job to only two or three spot colours to savemoney.

Don’t let this scare you off. Just working in spotcolours can produce some very striking jobs.

Overprinting

One problem that often crops up for us is colours thathave been overprinted when they shouldn ’t have been.Or not overprinted when they should have been.

If you’re printing to digital, you probably won ’t needto worry too much about overprinting. However, ifyour job is going to be printed offset, there are timesthat it must have elements overprinted.

The whole idea of overprinting is too avoid knockoutsof colour underneath. An example would be when youare using black type on a red background. You wouldnormally set the black type to overprint so that whennegatives or plates are made, the type doesn ’t knock outof the red. If it’s not set to overprint, the separations

will leave a white knockout in the solid colour, whichmeans the printer has to then try and register the twocolours ‘exactly’, so that the black type fits perfectlyinto the white knockout. This is very difficult andusually the job will show some white on one side oranother. Hence, always set your type to overprint, if itis being printed onto a solid lighter colour.

However, a problem occurs when you set white typeon a solid background to overprint. The typedisappears. It’s there on your screen, and probably thereon your non-postscript printer, but it will disappear onany postscript device, which is almost all digital printersand ALL plate makers and negative printers.

The way this problem usually occurs, is when youchange your design. Often you have decided on a blacktype over an object, but later on to make it white. Ifyou have already set the black to overprint, and forgetto take it off when you change it back to white, thenyou have a problem. Every printer falls for this oneevery now and again.

Proofs

One way to avoid the overprinting problem, as well aslots of other problems is to always make sure that youinclude a proof with your job. It is wise to give apostscript colour proof of actual size wherever possible.

If your job is being printed offset and you only have anon postscript printer, then spend the extra money andget a digital proof before having the job printed.

One last thing, always get someone else to go over theproof for you. It ’s amazing how, if you have made atyping error, you can proof read the document a dozentimes and not pick up the mistake, while anotherperson will see it straight away. The same goes for otherproblems like type disappearing due to overprinting, orfonts changing.

A fresh set of eyes is always a good thing. The trouble iswe become too close to the project and often miss theobvious.

Darryl Howman

Page19– Correct files for Printing


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Pleaseindicatehowyoumightliketoassistthegroupeg.Assistordemonstrateordemonstrateatmeeting,articlesforpublication,etc

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$ Onapplication-Copyofcurrentdocumentationrequired.Couple $60.00 Twoconcessionalmembers(conditionsapply)

3personsmaybenominatedCorporate: $130.00

Individual+Additionaladult&childrenunder18yrsFamily: $80.00

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CDR Keyboard Shortcuts

Super Nudge Up Shift+UpArrow Nudges the object upward by the Super Nudge factor

Symbol Manager Ctrl+F3 Symbol Manager Docker

Text F8 Adds text; click on the page to add Artistic Text; click anddrag to add Paragraph Text

To Back Of Layer Shift+PgDn To Back Of Layer

To Back Of Page Ctrl+End To Back Of Page

To Front Of Layer Shift+PgUp To Front Of Layer

To Front Of Page Ctrl+Home To Front Of Page

Toggle Pick State Ctrl+Space Toggles between the current tool and the Pick tool

Toggle View Shift+F9 Toggles between the last two used view qualities

Undo Ctrl+Z Reverses the last operation

Undo Alt+Backspace Reverses the last operation

Ungroup Ctrl+U Ungroups the selected objects or group of objects

Uniform Fill Shift+F11 Applies uniform color fills to objects

Use bullets Ctrl+M Show/Hide Bullet

Vertical Text Ctrl+. Changes the text to vertical

View Manager Ctrl+F2 Opens the View Manager Docker Window

What’s This? Shift+F1 What’s This? Help

Zoom Z Zoom Tool

Zoom One-Shot F2

Zoom Out F3 Zoom Out

Zoom To Fit F4 Zoom To All Objects

Zoom To Page Shift+F4 Zoom To Page

Zoom To Selection Shift+F2 Zoom To Selected


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