FreeGetMoney

Transform function as units in Macromedia Freehand

freegetmoney — Fri, 11 Jun 2010 09:09:02 +0000

Ever have one mold? due to unexpectedly result is not as expected?
There are examples of cases: at the time I made a box filled with dark to light gradations of color from top to bottom. Apparently at the time of printing the results of color gradations of light to dark from top to bottom (upside down). Remarkable result was shocked because the machine had printed several sets of packaging. Try to find out what was wrong.

This issue is very confusing because the computer display as desired but why does the output differ from the one expected the film. Having learned the reality I forget to do the playing object (box last) without first to a check box on the Transform function as units.

PANEL functions have on Object and Document and the check box will come out after we did the merger object (GROUP) and an object in an active state.

Our design should print first,
then we overlay on top of the film print out the design.

In Line Conflict

freegetmoney — Mon, 23 Feb 2009 11:09:11 +0000

Even the best original can be spoiled on press by conflicts with other parts of the layout.

That’s because in offset printing, the plates pick up ink once per revolution. They lay it down on th paper as the paper is pulled through the press. Subject in line with each other all affected by the amount of ink on the rollers. If one subject in line needs a less, a conflict develops that cannot be resolved on press. Such problems can only be avoided in prepress.

Screened Back Illustrations

freegetmoney — Mon, 23 Feb 2009 11:08:23 +0000

Another solution to the problem of screen tints is to print a screened back illustrations or photo in the background.

Instead of a flat screen, readers see a subtle pattern that breaks up the colors and masks minor color variations. When screening back four color separations, make sure that the deepest shadows are no more than 20 percent. Anything darker will make the type hard to read.

Photographed Backgrounds

freegetmoney — Mon, 23 Feb 2009 11:07:26 +0000

For a neutral background without the headaches, try photography.

At first glance, this background looks like a flat tint, but it’s really a professionally shot photo. Readers perceive this subliminally and, thus, forgive minor variations in inking.

Neutral Tints

freegetmoney — Mon, 23 Feb 2009 11:06:38 +0000

Neutral tints made from more than two process colors are the hardest to control on press, because the least inconsistency in dot gain shifts the entire color to a new hue.

You might get away with such a tint if you color-balance the four color subjects thouroughly, though i wouldn’t like to try it. Problems multiply if you have to deal with crossovers. You can help yourself by laying out such a crossover in the center spread, where at least you won’t have to contend with extraneous in-line conflict.

Flat Screen Tints

freegetmoney — Mon, 23 Feb 2009 11:05:52 +0000

Another time to consider using custom ink is when your design calls for broad areas of flat screen colors.

Offset presses feed ink onto moving rolles through individual ink fountain spaced across the width of a press unit.
Each fountain can be controlled independently and each behaves a little independently too. Variations in dot gain are the invitable result, especially if the design employs screened tints rather than solids.
Usually, such variations are masked by the busyness of a given design. But when the design is mostly flat color across a full page, variations show up clearly. In such cases, you’re better off using a custom ink at 100 percent.

Logo Colors

freegetmoney — Mon, 23 Feb 2009 11:05:03 +0000

Logos are another subject where consistency of color is important.
Four color process inks cannot produce consistent screen colors. Even on the same paper, different presses experience different levels of dot gain, different papers accept ink more or less on the surface, even humidity plays a role.

Color Consistency

freegetmoney — Mon, 23 Feb 2009 11:04:03 +0000

If consistency of color is important as it almost always is in a full blown campaign then consider specifying custom inks.

Custom inks are easier to deal with on press because you don’t have built up screens that would experience variable dot gain on different presses. Even so, you need to pay attention to how paper affects color. Notice how different paper surfaces affect the colors of this campaign.

Flourescent Ink

freegetmoney — Mon, 23 Feb 2009 11:03:19 +0000

If you can add a fifth unit on press, you can beef up process yellow by using flourescent yellow ink.

It is opaque and richly tinted and can be added as a touch plate to a normal separation. Or you can ask your printer to mix some flourescent ink into the process ink fountain.

A Better Yellow

freegetmoney — Mon, 23 Feb 2009 11:02:27 +0000

Dense yellow without a red cast is almost impossible to reproduce on a four color press.
Even at 100 percent, yellow ink is nearly transparent. To make yellow show up, try adding a hint of magenta.

Flat Silhouettes

freegetmoney — Mon, 23 Feb 2009 11:01:28 +0000

Silhouettes with no detail can be effective, too.
They loo a bit flat, but they do produce dramatic shapes. When you scan these types of silhouettes, make sure any detail that does appear in the photo is eliminated.

Silhouettes with Detail

freegetmoney — Mon, 23 Feb 2009 11:00:15 +0000

When you print silhouettes or back-lit subjects, pay attention to how much detail you want in the deep shadow.
A little detail, enhanced perhaps on your desktop, can give a silhoutte contour.

Blackest Black

freegetmoney — Mon, 23 Feb 2009 10:59:19 +0000

Black Subject are almost as though to reproduce as white ones. Black subject must retain density, as well as neutrality an detail.

Ask your photographer to shoot with Fujichrome or Ektachrome film, both of which preserve detail in blacks. Then separate using undercolor removal, maximizing details in the deep shadows.

Cleans Snow

freegetmoney — Mon, 23 Feb 2009 10:58:29 +0000

Be careful of excessive color casts when you work with whites.

If your original has a color cast, try substituting a little black for cyan and magenta. Too much black can make whites look dirty.

Whiter Whites

freegetmoney — Mon, 23 Feb 2009 10:57:42 +0000

Some subjects require special attention during prepress, white is such a subject.

In offset printing, whitesare printed by using four color inks, which sounds impossible. To create the illusion of pure white, you must rely on subtle halftones of four color, made up of tiny dots that the eye can compare to more colorful or darker areas.