Wednesday, August 5, 2015
Thursday, September 11, 2014
Booklets and catalogs are a little more complex to design than single sheet pieces.
Here are rules to follow when creating your multipage booklet:
- Page counts start on the cover as page 1, inside cover as page 2 and so on.
- Total bleed is .25” and total Safety is .5”. For example, an 8.5×11 booklet with bleed should be 8.75×11.25 total. This allows us to set up your crossovers properly.
- Only single pages will be accepted. NO readers OR printers spreads.
- We prefer a multipage PDF but single page files are also ok.
Typically page counts for booklets start on the cover as page 1, inside cover as page 2 and so on.
Crossovers are common in booklets and require extra attention. A Crossover is an image, text or other graphic element that goes from one page to another.
Below you can see a good example of how to create crossovers:
Designers must pay close attention to the crossover design and make sure it is as seamless as possible on the finished piece. Also, do not use text or thin lines as crossovers. Big pictures work best.
Due to the nature of saddle stitch binding, crossovers may not line up 100% on the final booklet.
Artwork done in Indesign or other layout software as spreads or facing pages must be saved out as single page pdfs. When creating your design, keep this in mind especially when doing crossovers. The easiest way is to create the bleed is when creating your document. Below are instructions on how to create your document in Indesign.
When creating your document, make your page size the cut size and your margin size .25” for safety for a .5” total:
Then, click the More Options button on the right. It will reveal Bleed and Slug settings below. Enter .125” as the bleed for a total of .25”:
Your Indesign document is now ready for proper booklet layout. You should see proper bleed and safety guidelines:
When your ready to export your booklet as PDF, make sure to Use Document Bleed Settings in the Marks and Bleeds menu:
After submitting your booklet, we review artwork for proper set up, so please include a few extra days in your plan for review, production and delivery.
I’ve been to Photoshop World 26 times, and I have a really great job there. As a conference moderator, I get to introduce speakers and watch the classes. It’s long hours, and I have to do some paperwork and respond when a problem pops up. But along the way, I get to chat with lots of friendly people and learn lots of cool stuff about Photoshop, Lightroom, photography and lighting.
Last week was the 30th
Photoshop World. Here are my top three tips from the week.
Duotone Presets Using Gradient Map
From Richard Harrington’s
class Color Correcting Video In Photoshop, Photoshop has some nice presets for changing the tones and color values of an image. And these presets are hidden away.
- Add a Gradient Map adjustment layer by clicking the adjustment layer button on the layers palette and choosing Gradient Map.
- On the properties pallet, click the triangle next to the gradient.
- Click the settings icon (the little gear).
- Choose Photographic Toning. (This will load more gradients to pick from.)
- Click either Append to add the new gradients or OK to replace your current set of gradients.
- Select one of the newly loaded gradients to apply it to your image.
Noise Reduction in Low Light Images
This one is from Alan Hess
‘s class on Photoshop processing of low-light images.
When processing images with Adobe Camera Raw, you can use the Masking slider (on the Detail tab) to mask the sharpening so it applies to edges only but not to areas of gradients and solid colors where noise is most noticeable. That way you don’t sharpen and accentuate the noise.
Here’s Alan’s cool tip.
Hold the Alt key when you click and drag the Masking slider to see the mask. It’s like magic…when you hold the Alt key and click the Masking slider the preview displays the mask in black and white.
And some good advice from Alan’s low-light class: Only other photographers see noise the same way we do. Photographers are more sensitive to technical imperfections than non-photographers. For most purposes, we can back off the noise reduction a little.
Copy-Paste Vector Graphic From Illustrator to Photoshop
From Dave Cross
‘ class Using Photoshop, Illustrator and InDesign.
You can copy vector objects in Illustrator and paste them into Photoshop as scalable Smart Objects. You can also paste them as vector shapes or pixels, but Smart Objects have an advantage—you can double click them in Photoshop to edit them in Illustrator, save them and automatically update the Smart Object in Photoshop.
- In Illustrator, select the vector objects you want to use in Photoshop.
- Type Ctrl-C (Cmd-C on a Mac) to copy the objects.
- Go to Photoshop
- Type Ctrl-V (Cmd-V on a Mac) to paste the copied objects.
- Select Smart Object in the Paste dialog box.
That’s it. You now have a Photoshop Smart Object layer that contains your Illustrator vector graphics. To edit it, double click the thumbnail in the Photoshop layers panel. It opens in Illustrator where you can edit it and save it. Once saved, you can return to Photoshop where you’ll see the updated graphic.
Technically, this isn’t a new tip. I learned this from Dave Cross’ class years ago and saw it again last week. I use it regularly. It’s a great tip.