Kaj Johansson,
K Johansson,
Peter Lundberg,
Robert Ryberg
e.a.
John Wiley & Sons
3e druk, 2011
9780470907924
A Guide to Graphic Print Production 3e
Specificaties
Gebonden, 400 blz.
|
Engels
John Wiley & Sons |
3e druk, 2011
ISBN13: 9780470907924
Rubricering
Verwachte levertijd ongeveer 16 werkdagen
Samenvatting
Print production requires designers be familiar with graphic design, typography, illustration, editing, workflow management, materials, proofing, mechanical and photographic outputs, prepress processing, paper, color, manufacturing, and distribution.
A Guide to Graphic Print Production covers all steps in the print production process with detailed explanations supported by informative sidebars and full–color illustrations. The new
Third Edition is fully updated to reflect all aspects of digital printing and the most current technologies. New and improved information covered includes variable data printing, sustainability, large/wide format printing, inks, and color management.
Specificaties
ISBN13:9780470907924
Taal:Engels
Bindwijze:gebonden
Aantal pagina's:400
Uitgever:John Wiley & Sons
Druk:3
Inhoudsopgave
<p>01. graphic print production</p>
<p>8 The Graphic Print Production Flow</p>
<p>16 What Affects Costs?</p>
<p>23 Choosing a Service provider</p>
<p>25 Planning Graphic Print Production</p>
<p>02. the computer</p>
<p>30 The Computer</p>
<p>31 What Makes a Computer Fast?</p>
<p>33 The Monitor</p>
<p>36 Software</p>
<p>38 Storage Media</p>
<p>42 Communication</p>
<p>43 Network</p>
<p>47 The Internet</p>
<p>49 Transferring Files</p>
<p>03. color management</p>
<p>53 What is Color?</p>
<p>54 The Eye and Color</p>
<p>54 RGB: Additive Color Mixing</p>
<p>56 CMYK: Subtractive Color Mixing</p>
<p>58 Pantone and HKS: Two Spot Color Systems</p>
<p>61 Why Are the Colors Never Right?</p>
<p>61 CIE: A Device Independent Color System</p>
<p>62 RGB Color Standards</p>
<p>67 Color Management Systems</p>
<p>68 How the ICC Profile Works</p>
<p>73 Creating Effective Color Management</p>
<p>74 Color Management in Practice</p>
<p>75 Color Conversion</p>
<p>80 Problems with Color Management</p>
<p>04. digital images</p>
<p>84 Object Graphics</p>
<p>86 Pixel Graphics</p>
<p>86 Color Modes</p>
<p>92 Resolution</p>
<p>93 File Formats</p>
<p>100 Compression</p>
<p>103 Digital Cameras</p>
<p>110 Digital Photography</p>
<p>113 Scanners</p>
<p>119 Scanning Images</p>
<p>05. image editing</p>
<p>128 What is a Good Image?</p>
<p>129 Discussing Image Quality and Images</p>
<p>130 Proofing Images</p>
<p>140 Adjusting Images</p>
<p>156 Retouch and Photoshop Tools</p>
<p>165 Naming and Tagging</p>
<p>166 Adjusting the Image for Printing and the Web</p>
<p>168 Editing Images Effectively</p>
<p>06. layout</p>
<p>174 Layout Work</p>
<p>176 Text Manuscript</p>
<p>177 Mounting Text</p>
<p>180 Typefaces, Fonts, and Typography</p>
<p>184 Font File Formats and Functions</p>
<p>187 Pitfalls with Fonts</p>
<p>189 Images in Layout</p>
<p>190 Mounting Images</p>
<p>193 Color in Layout</p>
<p>197 Pitfalls in Managing Colors</p>
<p>199 Pitfalls in the Layout Work</p>
<p>203 Proofing</p>
<p>207 Proofs</p>
<p>209 Sending Documents to Print</p>
<p>211 Structuring and Archiving a guide to graphic print production | 5</p>
<p>07. prepress</p>
<p>216 Postscript</p>
<p>219 PDF</p>
<p>227 JDF: Job Definition Format</p>
<p>230 Adjusting for Printing</p>
<p>239 Proofing and Contract Proofs</p>
<p>246 Imposition</p>
<p>250 Halftone Screening</p>
<p>08. paper</p>
<p>266 Coated or Uncoated</p>
<p>266 Matte/Silk or Glossy</p>
<p>267 Wood–free pulp and Wood–pulp</p>
<p>267 Paper or Cardboard</p>
<p>267 Plastics and Foils</p>
<p>268 Paper Format</p>
<p>270 Basis/Substance Weight</p>
<p>270 Density and Bulk</p>
<p>271 Surface Smoothness and Formation</p>
<p>271 Brightness and Whiteness</p>
<p>271 Opacity</p>
<p>272 Grain Direction</p>
<p>273 Dimensional Stability</p>
<p>273 Strength</p>
<p>274 Age–Resistant and Archival Paper</p>
<p>274 Choosing a Paper</p>
<p>279 Paper and the Environment</p>
<p>282 Handling of the Paper</p>
<p>284 What Paper is Made Of</p>
<p>09. printing</p>
<p>292 Different Printing Techniques</p>
<p>292 Xerography</p>
<p>298 Inkjet</p>
<p>301 Sublimation</p>
<p>303 Offset</p>
<p>318 Letterpress</p>
<p>320 Screen Printing</p>
<p>322 Gravure Printing</p>
<p>325 Flexographic Printing</p>
<p>329 Print Makeready</p>
<p>330 Checking Prints</p>
<p>336 Printing Inks and Environmental Issues</p>
<p>10. finishing and binding</p>
<p>342 Different Types of Finishing and Binding</p>
<p>342 Before Finishing and Binding</p>
<p>344 Varnishing</p>
<p>344 Lamination</p>
<p>345 Foiling</p>
<p>345 Embossing</p>
<p>345 Cropping</p>
<p>346 Die–cutting</p>
<p>347 Punching</p>
<p>347 Folding</p>
<p>349 Creasing</p>
<p>350 Signatures and Sheet Order</p>
<p>351 Metal Stitching</p>
<p>352 Spiral Bindings</p>
<p>353 Glue Binding</p>
<p>353 Thread Sewing</p>
<p>354 Thread Sealing</p>
<p>354 Covering</p>
<p>356 Casing in</p>
<p>11. glossary</p>
<p>359 A</p>
<p>361 B</p>
<p>362 C</p>
<p>367 D</p>
<p>370 E</p>
<p>371 F</p>
<p>373 G</p>
<p>374 H</p>
<p>375 I</p>
<p>378 J</p>
<p>378 K</p>
<p>378 L</p>
<p>380 M</p>
<p>381 N</p>
<p>382 O</p>
<p>383 P</p>
<p>388 Q</p>
<p>388 R</p>
<p>390 S</p>
<p>395 T</p>
<p>397 U</p>
<p>398 V</p>
<p>398 W</p>
<p>399 X</p>
<p>399 Z</p>
<p>8 The Graphic Print Production Flow</p>
<p>16 What Affects Costs?</p>
<p>23 Choosing a Service provider</p>
<p>25 Planning Graphic Print Production</p>
<p>02. the computer</p>
<p>30 The Computer</p>
<p>31 What Makes a Computer Fast?</p>
<p>33 The Monitor</p>
<p>36 Software</p>
<p>38 Storage Media</p>
<p>42 Communication</p>
<p>43 Network</p>
<p>47 The Internet</p>
<p>49 Transferring Files</p>
<p>03. color management</p>
<p>53 What is Color?</p>
<p>54 The Eye and Color</p>
<p>54 RGB: Additive Color Mixing</p>
<p>56 CMYK: Subtractive Color Mixing</p>
<p>58 Pantone and HKS: Two Spot Color Systems</p>
<p>61 Why Are the Colors Never Right?</p>
<p>61 CIE: A Device Independent Color System</p>
<p>62 RGB Color Standards</p>
<p>67 Color Management Systems</p>
<p>68 How the ICC Profile Works</p>
<p>73 Creating Effective Color Management</p>
<p>74 Color Management in Practice</p>
<p>75 Color Conversion</p>
<p>80 Problems with Color Management</p>
<p>04. digital images</p>
<p>84 Object Graphics</p>
<p>86 Pixel Graphics</p>
<p>86 Color Modes</p>
<p>92 Resolution</p>
<p>93 File Formats</p>
<p>100 Compression</p>
<p>103 Digital Cameras</p>
<p>110 Digital Photography</p>
<p>113 Scanners</p>
<p>119 Scanning Images</p>
<p>05. image editing</p>
<p>128 What is a Good Image?</p>
<p>129 Discussing Image Quality and Images</p>
<p>130 Proofing Images</p>
<p>140 Adjusting Images</p>
<p>156 Retouch and Photoshop Tools</p>
<p>165 Naming and Tagging</p>
<p>166 Adjusting the Image for Printing and the Web</p>
<p>168 Editing Images Effectively</p>
<p>06. layout</p>
<p>174 Layout Work</p>
<p>176 Text Manuscript</p>
<p>177 Mounting Text</p>
<p>180 Typefaces, Fonts, and Typography</p>
<p>184 Font File Formats and Functions</p>
<p>187 Pitfalls with Fonts</p>
<p>189 Images in Layout</p>
<p>190 Mounting Images</p>
<p>193 Color in Layout</p>
<p>197 Pitfalls in Managing Colors</p>
<p>199 Pitfalls in the Layout Work</p>
<p>203 Proofing</p>
<p>207 Proofs</p>
<p>209 Sending Documents to Print</p>
<p>211 Structuring and Archiving a guide to graphic print production | 5</p>
<p>07. prepress</p>
<p>216 Postscript</p>
<p>219 PDF</p>
<p>227 JDF: Job Definition Format</p>
<p>230 Adjusting for Printing</p>
<p>239 Proofing and Contract Proofs</p>
<p>246 Imposition</p>
<p>250 Halftone Screening</p>
<p>08. paper</p>
<p>266 Coated or Uncoated</p>
<p>266 Matte/Silk or Glossy</p>
<p>267 Wood–free pulp and Wood–pulp</p>
<p>267 Paper or Cardboard</p>
<p>267 Plastics and Foils</p>
<p>268 Paper Format</p>
<p>270 Basis/Substance Weight</p>
<p>270 Density and Bulk</p>
<p>271 Surface Smoothness and Formation</p>
<p>271 Brightness and Whiteness</p>
<p>271 Opacity</p>
<p>272 Grain Direction</p>
<p>273 Dimensional Stability</p>
<p>273 Strength</p>
<p>274 Age–Resistant and Archival Paper</p>
<p>274 Choosing a Paper</p>
<p>279 Paper and the Environment</p>
<p>282 Handling of the Paper</p>
<p>284 What Paper is Made Of</p>
<p>09. printing</p>
<p>292 Different Printing Techniques</p>
<p>292 Xerography</p>
<p>298 Inkjet</p>
<p>301 Sublimation</p>
<p>303 Offset</p>
<p>318 Letterpress</p>
<p>320 Screen Printing</p>
<p>322 Gravure Printing</p>
<p>325 Flexographic Printing</p>
<p>329 Print Makeready</p>
<p>330 Checking Prints</p>
<p>336 Printing Inks and Environmental Issues</p>
<p>10. finishing and binding</p>
<p>342 Different Types of Finishing and Binding</p>
<p>342 Before Finishing and Binding</p>
<p>344 Varnishing</p>
<p>344 Lamination</p>
<p>345 Foiling</p>
<p>345 Embossing</p>
<p>345 Cropping</p>
<p>346 Die–cutting</p>
<p>347 Punching</p>
<p>347 Folding</p>
<p>349 Creasing</p>
<p>350 Signatures and Sheet Order</p>
<p>351 Metal Stitching</p>
<p>352 Spiral Bindings</p>
<p>353 Glue Binding</p>
<p>353 Thread Sewing</p>
<p>354 Thread Sealing</p>
<p>354 Covering</p>
<p>356 Casing in</p>
<p>11. glossary</p>
<p>359 A</p>
<p>361 B</p>
<p>362 C</p>
<p>367 D</p>
<p>370 E</p>
<p>371 F</p>
<p>373 G</p>
<p>374 H</p>
<p>375 I</p>
<p>378 J</p>
<p>378 K</p>
<p>378 L</p>
<p>380 M</p>
<p>381 N</p>
<p>382 O</p>
<p>383 P</p>
<p>388 Q</p>
<p>388 R</p>
<p>390 S</p>
<p>395 T</p>
<p>397 U</p>
<p>398 V</p>
<p>398 W</p>
<p>399 X</p>
<p>399 Z</p>