Food…but Fancy.

Moodboard

I really liked the way I worked during this project. What made a huge difference was using the transferring technique and working with type on transparency sheets. It was like composing on the computer, but in real life.  I learned a bunch of new tricks and techniques with this project.

For example:

Top: transfer using blending marker. Bottom: Transfer using nail polish remover plus marker on edges. Using a combination of both got me a well saturated image (polish remover) as well as with crisp details (marker)

 

I also experimented with scanning, and how different options when scanning can result in very different results. I ended using the regular 24-bit scans, because of the details and richness in colors:

24-bit color (what I used)

color smoothing

24-bit color

color smoothing

24-bit color

color smoothing

grayscale – halftone

black and white

Not only did this project help me practise working with my hands again, but my choice of topic was very fun for me. Creating a persona that I related to helped make a lot of my design choices. It also opened me up to shifting my topic, by thinking about what someone like me would be interested in seeing and doing. I tried out making jelly spheres/strawberry and banana caviar/ as a side experiment:


They were surprisingly successful, but ended up not making it into my zine. The reasoning behind this was also related to my persona. I thought about students like me, and how making simple foods for us/me is difficult or took time. That made my zine shift from an information book, to a mixture of entertaining foods, as well as the useful recipes part.

printed on transparency

transferred type

Finally, the composition of the final piece was very similar to working on inDesign. I had to test different typefaces and effects as always. What I found hard/inconvenient was having to keep on print different sizes of images, to test how it would look on the page. While working, resizing the image would be faster, easier on screen. But this way, it was better to be able to see the actual way the images would look, instead of having to test print.

This project didn’t really make me lean towards one way of working over the other. Both have their pros and cons. What I realised is that a balance of both would work for me better. Maybe collaging by hand, but resizing and composing on screen. Test prints are something that have to be done during both ways. It most likely would depend on project to project.

What was difficult was the alignment of crossovers by hand, since I really wanted to align some type across a spread. I ended up testing out registrations and stapling a certain way, to have the type be slightly off, but not so much that it’s illegible. What was also good to know—even though it was subconscious initially—was that I had kept a sense of narrative throughout the zine, despite it never being explicitly discussed (it should be obvious from the course’s name, but still).

Magazine Insert: How to…

Edit Compound Paths

The Slice_Logo file is a compound path
select layer > object > compound path > release > make


Adjust Brightness and Contrast

  • open – image
  • leave in RGB
  • cmd shift U – desaturate
  • check channels > will be in rgb
  • DO NOT use brightness/contrast
  • use levels and curves
  • cmd L cmd M
  • start with levels:

Levels:

  • set darkest point and lightest point – mid to set the mid range

Curves:

  • evenly distributes tone

Convert to CMYK

  • image – mode – grayscale NOT cmyk (for Black and White) 
  • grayscale is smaller than cmyk, tells machine only using 2 or 1 colors > black]

check changes in channels


Create Clipping Path

  • Use pen tool to make selection
  • select inverse
  • path:
  • make work path from selection
  • Save Path – name it
  • Paths:
  • clipping path – select path 
  • flatness [ 8 ] device pixels
  • word will get bold
  • white reveals, black conceals
  • delete background
  • Layer Flatten
  • save as tiff

Resize
check the scale X percentage in Indesign > in Photoshop

  • > Image > Image Size > units to percent > use exact percentage

Crop
check the new dimensions [width and height] in Indesign > in Photoshop

  • > Image > Canvas Size

Rotate
check the rotation angle in Indesign > in Photoshop >

  • > Edit > Free Transform > Set Rotation >  use exact angle [if there is a path. rotate the path as well]

OR

  • > Image > Image Rotation > Arbitrary > use exact angle

Screenshot a Window (for Disc Catalog)

  • Screen shot package folder (in second view) cmd shift 4 and spacebar, so >>>
  •  cmd shift 4 spacebar

Package an Indesign File

  • File
  • Package
  • Links and Images
  • Colors and Inks – should only have ONE colour = K if working in Black and White = White should be knocked out.
  • click package
  • FILL everything in the contact information
  • ok

 

Magazine Insert: Steps to Remember

Steps to Check through and keep in mind when working:

Document Setup

  • BLEED – MAXIMUM bleed can be is 5mm or .5cm or .25 inches [always ask print vendor what bleed setting they need]
  • color mode – design in rgb, convert to CMYK (for print)
  • raster effect – 300 ppi

In Illustrator artboards (individual files in one file, NOT pagination) are different from InDesign‘s pages


Working with Colors

  • Check in Label bar on top (color space)
    [in illustrator] once you FINISH working – go to COLOR, options and CHANGE to cmyk
  • CMYK – CHANGE the DECIMAL fractions – round to whole or .5
  • rounding decimals limits problems or potential problems by deleting unnecessary information

Swatches

  • necessary when using color.
  • delete all colors.
  • [always start with empty swatch, only b/w]
  • leave swatch name as is. [cmyk form, e.g C=0 M=0 Y=0 K=100]
  • can save swatch library as ASE or Illustrator
  • check if it’s cmyk by looking at the small icon to the right of the names in swatches (4 triangle divisions means cmyk) (3 lines means rgb)
  • TEST with File>Document color mode>CMYK

Gradients
[good for 1 color and 2 color jobs]

Registration[lining] – K black
Black –
CMYK (100) –

  • black is either dark blue or brown
  • cool black and warm black
  • not the same as rich black
  • Black on different paper makes it different from grey on white paper.

CHECK CMYK set up in several places:

  • +File > color mode > CMYK
  • +Colors window> grayscale
  • +swatches > new swatch > k 100 > process color > grayscale > make swatch > click swatch > Swatch options > check
  • +color space – grayscale

In Indesign

  • when working: color mode rgb 8 bit
  • in INDESIGN work with CMYK 
  • color setting – CMYK (REGION BASED) [ask vendor]
  • use european pre-press 3
  • blend space – CMYK
  • swatchesCMYK
  • remember to DELETE swatch

in INDESIGN work with CMYK  

  • bleeds [tab W a couple of times]
    image needs to go to the RED EDGE

In Photoshop

  • Color settings: europe prepress 3
  • RGB-adobe rgb 1998
  • cmyk -coated fogra39

Swatches

  • delete everything (hold down alt key and click through all)
  • turn OFF show recent colors
  • EMPTY palette
  • make swatch – 100% k
  • make white – white
  • export > save as B+W

Styles

  • OFF (DELETE)

Transparency

  • “these do not work well. Only place it can be used is PHOTOSHOP, and needs to be flattened. Can use transparency to test something.”
  • “ink is transparent. can’t translate transparency/light with printers”

“It’s like speaking potato…with ape”


Links
do not put rasterized images into illustrator.”
use photoshop [compresses photos]
or InDesign

  • don’t drag and drop files in
  • File > place [links between folder and software file] << Do this
  • [don’t embed rasterized images in illustrator]

In Indesign

[indesign doesn’t keep anything native in the file. everything is linked to

  • always check link palette
  • refresh links

Layers

  • Always LABEL layers

 

In Indesign

  • Put all file types on their own layer

Have a NAMING SYSTEM for Files

Working Files:
Rgb, layers, mess
Naming Convention:
Slice.YY/MM/DD.ai

Finished Files:
CMYK, flattened
Naming Convention:
Slice.YY/MM/DD.ƒ.ai


InDesign

Document setup

  • gutter 5mm
  • margins (15)

BLEED and SLUG:

  • minimum and maximum of bleed is 5mm or .25 inch
  • bleed of 5 all the way around (use if design going to edge)

SLUG:

  • shows in files, doesn’t print, for communication with printer. Notes to self and vendor
  • typically at the bottom of 15mm

Sizes Info

  • size – 10 mb
  • actual ppi – 300 <<<<<< should always be 300
  • effective ppi – should fall between 290-310
  • Use white arrow to check
  • Check at the top – scale of shrinkage (only down to 95 or up to 105%) (290 or 310)
  • ideally it should be 300 effective ppi and 100% scale

Photoshop

Document setup

  • document type – international paper
  • when working: color mode rgb 8 bit
  • resolution – 300 (or 72) pixels/inch dpi
  • color profile – adobe rgb 1998
  • square pixels [image]
  • [interpolation] > doesn’t work.
  • Color settings: europe prepress 3
  • RGB-adobe rgb 1998
  • cmyk -coated fogra39

Working mode:
working in RGB

Production mode:
flatten, convert to cmyk


File Save As:

  • TIFF – uncompressed
  • image compression – NONE
  • save image pyramid ON
  • interweaved
  • Macintosh
  • save

InDesign

  • CHECK GREEN AT BOTTOM NO ERRORS. check preflight
  • LOCK layers when you send to the print vendor