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Image size

get to grip with image size and you;ll know in an instant how many pixels you need to
end up with, whatever you output medium.

understanding image size is a conundrum that puzzles most designers when they're
starting out, Just what is the difference between dots per inch and line per inch, and
how do either relate to the megapixel size quoted by the manufacture of digital
cameras? what resolution is required when working for print?

image size is measured in dot per inch (dpi), even if you're accustomed to working in
centimeters, You can, of course, work in dots per centimeters, but we'll stick to dpi
here to be in tune with the convention.

Computer monitors typically display image at 72dpi. this means 72 pixels across and
72 down, which amounts to 5184 physical pixels in each square inch of screen
space. this is the resolution you should work at when you view an image at '100%',
you're seeing it at 72dpi; in other words, each pixel in the image precisely matches
on the screen. viewing images at a smaller size -say, 50%- entails each pixel on the
screen displaying an average of the colour of four pixel in the original document. If
you zoom in you can see each pixel with much greater clarity; they will clearly
appear as squares.

How colour is displayed depends on the medium on which it appears, and the
mechanism that gets in there. On a computer screen, each pixel is a discrete colour.
You'll generally work in '8-bit' mode in Photoshop and other imaging applications:
this means 2 to the power of 8 (which is 256) shades of each colour. 256 red x 256
green x 256 blues = 16,777,216 colours in total.

commercial printing uses only for basic colours: cyan, magenta, yellow, and black.
All other colours are simulated by overprinting these four. The bigger the printed dot,
the more of that colour is seen; so if in one religion there are equal size cyan dan
yellow dots, you'll see green. If the cyan dots are twice the size of the yellow, the
rseult will be turquoise. Clearly, these dots need to be tiny if we're not going to notice
them; and the smoother the paper, the smaller the dot can be. Newspapers print at
around 100dpi; glossy magazine at around 250dpi, occasionally more.

when printing on an inkjet printer, however, the colour is made up fro, arrays of tiny
dots of equal size. the more dots that are clustered together, the stronger the density
of that colour. Inkjet printer typically print at 1200dpi, which produces a smooth tonal
range with a dot that barely perceptible.

when working for commercial printing, you need to ensure that the number of dots in
your document exceeds the number of dots with which the fine will be printed by a
factory of around 1.5. So when working for a newspaper, creating you image at
150dpi will generally suffice; for glossy magazine printing, working at 357dpi is
standard.
digital cameras capture pixels on a CCD chip; the better the camera, the more pixels
on the chip, and so the higher the resolution at which the image can be recorded. If a
camera is quoted as having an image size of 3.2 megapixel, it will produce image
that measure 2408 pixel wide by 1536 pixel high. Multiplying these values together
-the total number of pixels in the image- produces 3,145,728 pixel overall; and that's
what the 3.2 mega pixel name refers to.

If printed in a newspaper, 3.2 megapixel camera could produce a high quality image
at up to about 10 x 8 inches. The same image in glossy magazine could be used at
up to around half an A4 page; if printed any large that this, the pixels in the image
would be large than the printed dot size, and we'd start to see ungainly pixellation in
the finished result. When shown on a web page, however, the same image would
easily fill the entire area of an Apple 30in Cinema Display screen.

A lot of designers are confused when producing work for billboard posters, which
may run to 10ft hight by 20ft wide. How on earth do we work at a resolution suitable
for that huge size? The answer lies in the fact that these posters are generally see
from a resolution required for magazine work. In practice, the posters trend to be
printed at less than 25dpi. This means that our 3.2 megapixel image could be printed
at nearly 7ft wide on a poster. When creating poster artwork, it's standard practice to
work on an A3 sized document at 300dpi, which will created a high enough
resolution for good quality result.

the software that accompanies most flatbed scanners tends, confusingly, to offer the
ability to adjust both the size and the resolution of scans. In fact, these both amount
to the same thing; it;s the number of pixels captured in total that counts, not the
relative dimension. The easy solution is to scan an image at the size you're going to
want to use it, at a resolution appropriate for the medium on which it's going to end
up -in a newspaper, a magazine, or on the screen. Err on the hight side: you can
always reduce an image's size in Photoshop, but you can't increase it without loss of
quality.

the Image Size dialog box has the ability to resample image to any size and
resolution you choose, but if you uncheck the 'Resample Image' button, it will adjust
the size and resolution together. This is a useful method for turning, say, digital
camera capture - which typically have a resolution of 180dpi - into print - ready file
with a resolution of 300dpi. When the resulting image is placed on the page, you
know you can always reduce or crop it , but you can't expand it without losing quality.

Preparing Images For Print


selection the right colour setting in Creative Suits can be tracky. setp-by-step guide
show you how to ensure what you send to print matches you original version

being sure that what you back from print company matches what you see on screen
is a bugbear of most graphic designer and digital artists. Whether you're production
artwork or page layout, follow our guide to make sure that what you send to your
printer comes back looking exactly the same.

before we begin, it almost goes without saying that a precisely calibration monitor is
the first step towards making certain that the images you are preparing for print are
as accurate as possible. A monitor calibrator, such as Patone's ColorMungki or Data
Color's Spyder3Elite is a must for this.

Right, let;s get started. The basis of these tips is tat the final artwork is to be supplied
in CMYK format for a conventional for colour CMYK print process.

In creative suite
TIP 1: Set your Preferences
In adobe Colour Preferences (Edit > Color Setting) in Photoshop, Illustrator and
inDesign, set your RGB and CMYK working colour space to Coated FOGRA39.

adobe RGB is most practical starting point for the preparation of image for print, as it
encompasses the full range CMYK printing colour, FOGRA27 and FOGRA39 are
agreed standars that print companies configure their printed to match, factoring in
the exact colour of the primary inks, amount of pressure, absorption and paper color.

selection the Europe Prepress 3 present in CS5 apps will pre-configure these
accordingly. If you use CS4, selection Europe Prepress 2. This will Configure based
on the older Coated FOGRA27 CMYK profile, which should be sufficient. This can
also be replaced with Coated FOGRA39 by manually selecting it if you have access
to it.

one trick to ensure your color space are mathed - and to save a bit of time - is to set
this Adobe Bridge. Select Edit . Creative Suite Colour Settings, and you can
synchronise all your Adobe applications so that the use the same colour setting.

in Photoshop
TIP 2: Always Selection Preserve Embedded Profiles
if you receive an image that uses the sRGB colour space (rather than Adobe RGB),
leave it in sRGB mode until the point of converting to CMYK - unless you need the
scope to increase the saturation of colours from the sRGB to Adobe RGB range. in
this case, you'll need to convert the image to adobe RGB

TIP 3: Stay In RGB as Long As Possible


when you prepare image in Photoshop, it;s always best to stay in RGB mode while
you're colour-correcting the image. to ensure the image remains optimised during
CMYK print process, the last step should be conversion to the appropriated CMYK
profile.

in Illustrator
Tip 6: CMYK Matching
if you need to include logos and corporate graphic matched to specific CMYK value,
work in CMYK mode from the start. When you select other CMYK colours for other
elements alongside them, ensure that combined percentage of CMYK does not
exceed the maximum allowed by the print process the artwork is intended for. the
Coated FOGRA39 profile set this limit at 330%

TIPS 7: RGB first, CMYK last


another approach is to create your most of your design or artwork in the Adobe RGB
colour space, using placeholders for elements with specified CMYK element. When
your artwork is complete, convert it to CMYK and drop in your specified element.

TIP 8; Proof It
if you're working in RGB, Illustrator has the same Proof Colors and Proof Setup
function as Photoshop (see tip 4)

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