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Prepress Survival Guide

We were made to believe that our screens are WYSIWYG. But graphic artists who send their work to a printing press soon find out--painfully--that What You See Is NOT What You Get. There is so much translation to be done between monitor and press.

Are your 300-ppi images pixelated on press? Are transparent backgrounds printing solid white? Is there a color cast in your CMYK monochrome images? Are highlights losing detail? Are your grayscale photos too dark? Are dark photos printing too much ink than necessary? Does your 1- bit line art look jagged on press?

This three-day class equips the student, even those--or especially those--who are well-versed in Photoshop and InDesign or Illustrator. New terms and principles will be explained, from color, resizing, resolution, screen ruling, halftone screening, to margin and bleed requirements, and more.

Hands-on exercises will help implant in the mind of the student these principles so you can use your graphic applications intelligently, rather than depend completely on the tools.

This hands-on class on digital prepress will show you proven remedies and preventive measures for producing publications that look the way you want them and eliminate or reduce problems at press time.

What will be covered
  • How to prepare images with the correct resolution and tonal settings appropriate for various papers, press conditions, and halftone screen rulings
  • How to avoid plugged shadows and blown highlights
  • How to avoid fuzzy edges in line art created in Photoshop
  • How to prepare 300-ppi images that won’t pixelate on press
  • How to sharpen correctly for a particular output device
  • How, when—and why!—to control the amount of CMYK ink in your files, not on press
  • How to use Pantone (spot) colors correctly in a four-color workflow
  • How to ensure that transparent images print correctly, even if your monitor doesn’t show a problem
  • How to keep reverse text sharp on rich black backgrounds
  • How to correctly set up pages and margins for press, not just for monitor
  • How to size and prepare multifold panels correctly without a calculator or ruler
  • How to prepare art for tarpaulin printing, digital printing, silkscreen printing, and flexographic press (packaging)
  • How to override InDesign settings that can lead to errors in production
Who will benefit
  • Graphic artists, desktop publishers, layout artists, art directors
  • Silkscreeners and artists submitting art to silkscreeners
  • Prepress artists and supervisors of printing houses
Prerequisite
  • Working knowledge of InDesign and Photoshop primarily. Illustrator and CorelDRAW can take the place of InDesign in some exercises.
The instructor

Edward Yap is a graphic artist and writer with extensive, real-world exposure to print production, from the time he worked in advertising and graphic design studios, including his own. When the press industry took its first steps in digital production, Ed kept abreast by learning the digital workflow equivalent of the traditional, cut-and-paste process. Many techniques he demonstrates in the class are actual problems and solutions he encountered as editor/art-director of three nationally distributed magazines and as creative director of his own design studio.

 

DATE(S):
  • Apr 13–15 (Mon to Wed)
TIME:

9 AM to 5 PM

INSTRUCTOR(S):
FEE:

PhP 8,950 (USD 200)

Includes materials, lunch and snacks.

Be sure to read the Registration Info before registering.

Register

Note: Your seat is not confirmed until we receive a 50 percent down payment.

Course Date(s)
Payment

Deposit payment at your nearest Rizal Commercial Banking Corporation (RCBC) branch, in the name of Philippine Center for Creative Imaging, S/A 1-249-91545-5. Fax deposit slip to 892-5281 with your name and class details. Surrender deposit slip on first day of class to get official receipt.

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