InDesign Session: 13th Oct

Today was our third week with Mike in the computer suite. Previously we have explored Illustrator and Photoshop, meaning this week was the turn of InDesign. This particular programme is one of my least favourites so I was quite intrigued as to what I could learn, and if it would sway my preferences. Below are a few scans from my notebook in reference to key actions and processes which are essential to optimising use.

After learning about the initial set up menu and how to effectively create a new document we then went on to swatches. We have been taught about these in both other programmes and I guess now it was the turn of InDesign. Below is a screen shot showing the box that appears when you choose to add a new colour swatch from the drop down menu.

This image shows the options you will be faced with if you want to add a new tint swatch. This is one process that differs quite significantly to its photoshop or illustrator counterpart.

The image below just shows the effect of what duplicating an object can do. We were taught a handy little key board short cut that I found most useful: Apple, Alt & 4. This will copy your chosen object in exactly the same position that the one before it did. For example directly to the right or below, just like the image depicts.

Another useful process that we were taught today was how to separate the CMYK colours and in turn create four images that could be used for screen printing. Apparently this is also how it works in the commercial printing business. Below is the box that appears to help you see how much of each ink is required. In the image all the layers are selected, evident by the eye symbol, however by clicking a single line you can view a single colour. The box below also includes an additional colour, PANTONE Orange 021 U, which in this case is a spot colour.

This last image is of another useful skill in InDesign. It displays something called 'overprint' which means that when two colours are overlapped they reveal a third colour in the middle section. This proves useful when working with a limited colour palette and again is similar in style to screen printing.

Photoshop Session

Design for Print: Illustrator

I have to admit that I went into this session a bit skeptical. I thought that I knew pretty much everything there was to know about Illustrator. After practicing on it for the entire first year it seemed as though I had come on leaps and bounds with the programme. However sitting through this first tutorial taught me that there is still a large amount to learn. We were told how to create personalised swatch palettes for any future design work. I have come to realise that it will be incredibly useful in the future and will really come in handy when I am juggling more than one brief at a time. It will allow me to open my desired colour palette and get on with my work. I took notes throughout the tutorial and followed along with the process at the same time. I jotted down some things that I thought were particularly important and could come in handy when communicating with printers in the future.

A few key terms are below:

• Registration Swatch: only use for crop and alignment marks, never use to colour artwork. The main reason for this is because it is a mix of 100% cyan, 100% magenta, 100% yellow and 100% key black. There will be far too much ink on the page.
• Global: This is a small tick box that is found when adding a new swatch. When selected it's as if all the objects using the same colour are connected and therefore universally update.
• Spot Colour: A mix of other colours; when each individual colour has its own printing plate. Advantages include better accuracy, cheaper costs and creating colours that are not available in CMYK mode.
• Pantone: A library of colours found within the 'colour books' section of the swatch palette drop down menu. Available to pick a variety of coated, uncoated, matte etc. and move to specialised swatch palette.

Above is a screen shot of what I learnt in this first lesson. The box on the left demonstrates the variety of different attributes found in a customised swatch palette. In the box there are CMYK colours, Pantone selections and the different tints of particular colours. Also shown at the top are the four essentials for a swatch palette: (X), registration, white and black. The box on the right shows what a Pantone colour book looks like in Illustrator, this one shows 'pantone solid uncoated' specifically. By clicking one of the many colours on show it is automatically added to the box on the left. Another feature that is also visible in the above screen shot is the 'find field' which allows the designer to find the colour of their choice in the quickest way possible.

Todays session was incredibly useful in hindsight as it allows me to use Illustrator in the most optimum way. And isn't that what this whole design thing is about? Being thorough and creative, yet as efficient as possible at the same time? I sure hope so.

The Printing Ink Company

Mission Statement: 'Intelligent, caring ink manufacturing by industry specialists, pigment mixing, milling and packaging in a quality-driven environment guaranteeing production of industry-superior ink formulation. The Printing Ink Company, Rycoline Inc., is a Canadian, family-owned printing ink manufacturer and supplier of pressroom products. Our mission is to satisfy the printer’s demand for prompt, personal service, highest quality products and effective technical guidance, all at a competitive price.'


Environmentally Friendly:
Rycoline Inc. is committed to sustainable development by implementing sound environmentally friendly practices, such as:

• manufacturing of printing inks that contain reduced levels of heavy metals and Volatile Organic Compounds (VOCs)
• using recyclable packaging

Our environmental claims are based on three pillars:

• a well-informed awareness of what specific environmental concerns are important to clients
• a sound scientific and technical understanding of the potential environmental impacts and trade-offs
• the use of relevant, defensible and “greenwashing-free” language, supported by a third party verification

Environmental Testimonials:

• “Being the largest independent sheet fed printer in Quebec, we support sound environmental practices, which was proven by our Chain of Custody certification from the Forest Stewardship Council (FSC). As another testament of our environmental commitment, we use eco-friendly inks with low VOC, such as EMERALD Series Ink by The Printing Ink Company (Rycoline). EMERALD Series ink combines high performance parameters with eco-friendly features, and we greatly appreciate Rycoline’s continuous product innovation and customer support.”

Michael Maassen, Director of Printing Technologies and Quality Control
PDI Group of Montreal (a printing company, based in Kirkland, Quebec)

• “We would like to acknowledge the important role that The Printing Ink Company (Rycoline) plays in our environmental management system. As a quality offset printing company, we are fully committed to environmentally responsible and sustainable business practices and operations. In partnership with Rycoline we have successfully beta tested their new Diamond Ink process. This new environmental formulation has reduced two key components (VOC’s Volatile Organic Compounds by 70% and the use of ink driers by over 25%) over their already environmentally and ECO sensitive Premium 2000 Series which we have adopted over five years ago. Peter Welfare, (B.Sc.H. & ATSC, a Head Chemist at The Printing Ink Company) has spent over three years developing this new formulation. Scientifically tested against other printing inks the Diamond series (formulated in Canada) sets the new environmental benchmark for all to aspire.”

Dean Baxendale, President and CEO
J.F. Moore Communications (a printing company, based in Toronto, ON)

Below are a few images of the machines that play a pivotal role in making these incredibly vivid inks.