Digital Art Guidelines

Introduction

Introduction

The Sheridan Group welcomes the submission of digital art les for incorration into pages for electronically composed publications. Our objective is to use submitted art les whenever possible and to reproduce les as true as possible to the originators intended appearance. Unfortunately, however, not all submitted digital art has been prepared in a fashion that permits les to be usedof these, some can be converted and amended; others cannot. At issue, primarily, are technical limitations (e.g., digital le format incompatibility with composition software) and aesthetic considerations (e.g., insufficient image resolution for acceptable appearance in print). Also, for those les that, as supplied, may not meet criteria but can be converted, modications may be laborious and costly. These guidelines are intended to improve awareness of successful digital art le preparation methods and to convey optimal characteristics for submitted digital art les. As a consequence of observing recommended specications, a greater opportunity to use original submitted digital art les can be expected. As well, the ability to render art in print may satisfy more favorably the expectations of the author/creator.

Guidelines Information Tables Glossary

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Digital Art: General Guidelines

Color
Black and white raster images should be submitted as bitmap (1-bit) mode for monochrome, and grayscale mode for tones or combination tones. Color images should be submitted as CMYK color mode. Files should not be supplied as RGB color mode or as other than bitmap, grayscale or CMYK color. Files should be free of color functions, including PostScript color management, transfer curves, halftone screen assignments, and black generation functions. Files should not include references to ICC proles. Total Area Coverage (TAC) for black or dark elements or for black areas within color images should not exceed 300%. For color images, black text and lines should be specied to overprint.

Introduction Guidelines

Image Resolution

Raster (scanned) image les should adhere to resolution guidelines specied for the publication in which they will appear. Typical recommended image resolution specications are as follows: q 900ppi-1200ppi for monochrome (1-bit) images q 300ppi for tones (either grayscale or color) q 500ppi-900ppi for combination tones (either grayscale or color) Digital art les should be cropped to remove non-printing borders. Art should be created or scaled to the size intended for print. Image orientation should be the same as intended for print.

Image size/crop File Format

Information

Digital art les should be saved as TIFF or EPS format. Submission as native le formats, or submission as any format other than TIFF or EPS is not recommended. Images should be attened prior to submission; that is, les should not contain layers and/or transparent objects.

Text/Lines

For vector EPS les, fonts should be embedded or converted to outlines. Lines or rules should not be dened as hairline width. Recommended minimum line width is 1/4 point (i.e., 0.0035 inches).

Tables

For digital art les not supplied same as print size, the effect of scaling reduction should be considered for small text and for thin rules or lines.

Proofs

A clean proof same size as the digital art should accompany le submissionfor color images, the supplied proof should be color. To ensure color match, the accompanying proof should be generated using a SWOP-certied (Specications Web Offset Publications) proong system and should be produced in accordance with the SWOP ADS (Application Data Sheet). In case that the digital art le cannot be used as provided, or the le cannot be converted/modied, the supplied proof will serve as original art for scanning.

Glossary

Submission

Raster images may be compressed using LZW method for TIFF format. Digital art les may be compressed as archive format using WinZIP or PKZip for PC or Aladdin StuffIt for Mac. File submission can be accomplished using standard removable storage media (e.g., high-density oppy disk, Iomega ZIP , or CD-R), or as e-mail attachment or FTP by arrangement.

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Digital Art: Information

Color
CMYK vs. RGB color mode: Computer monitors emit color as RGB (red, green, blue) light. Although all colors of the visible spectrum can be produced by merging red, green and blue light, monitors are capable of displaying only a limited gamut (i.e., range) of the visible spectrum. Whereas monitors emit light, inked paper absorbs or reects specic wavelengths. Cyan, magenta and yellow pigments serve as lters, subtracting varying degrees of red, green and blue from white light to produce a selective gamut of spectral colors. Like monitors, printing inks also produce a color gamut that is only a subset of the visible spectrum, although the range is not the same for both. Consequently, the same art displayed on a computer monitor may not match to that printed in a publication. Also, because printing processes such as offset lithography use CMYK (cyan, magenta, yellow, black) inks, digital art must be created as CMYK color or must be converted from RGB color to enable use.

Introduction Guidelines

green

monitor
CMYK PANTONE

yellow cyan

red magenta

Spot colors: Digital art that is comprised of spot colors (e.g., special colors: any colors that are not CMYK process colors), generally require conversion to the CMYK color space to enable le use. Because color gamuts for spot color libraries, such as those associated with the PANTONE MATCHING SYSTEM, usually extend beyond the ranges of the CMYK color gamut, some spot colors may not be represented effectively using CMYK process inks.

Information

blue

visible spectrum

color gamut comparison

Tables

Halftoning: In offset lithography, the density of CMYK inks can not be varied in continuous fashion across an image, so a range is produced by means of halftoning. In halftoning, translucent CMYK ink dots of variable size are printed in overlapping grids. Grids are placed at different angles for each of the ink colors. Smaller halftone dots absorb less light; thus, as a result of an increase in the amount of reected light, apparent density is decreased and the object appears lighter.

halftoning screen angles (133lpi 40% screen enlarged)

15

75

90

45

Glossary

cyan (C)

magenta (M)

yellow (Y)

black (K)

CMYK

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Digital Art: Information

Total Area Coverage: Because process color ink pigments are imperfect, pure black cannot be achieved by overprinting CMY inks. Consequently, black (K) ink is introduced in addition to, or in substitution for, CMY inks. The combined value of all CMYK inks for a particular area or object cannot exceed a specied amount, however, or ink may not transfer effectively and printed sheets may not dry properly. This specied amount, referred to as Total Area Coverage (TAC), typically is limited to 300% for offset lithography using coated paper. Compensation for TAC limitation is accomplished during the separation process, by which RGB color is converted to CMYK, by means of UCR (undercolor removal) or GCR (gray component replacement). CMY

Introduction Guidelines

color separations (UCR employed to accomplish 300% TAC)

CMYK

cyan (C)

magenta (M)

yellow (Y)

black (K)

Information

Proong

For some of the same reasons that printed digital art may not match the same art viewed on a color computer monitor, digital art printed to a dektop inkjet printer or another printing device may not match when compared to the same art printed using CMYK lithographic processes---for example, color gamuts may vary for each. Consequently, to ensure that color gamuts are comparable, proofs should be produced in accordance with SWOP (Specications Web Offset Publications) guidelines. For contract color proong (i.e., proofs that serve as a contract between the provider and the printer that an acceptable reproduction can be achieved), since the proof is expected to serve as a predictor of CMYK offset lithographic press output, the proong system used must have been SWOP-certied, and proofs must have been produced in accordance with the SWOP ADS (Application Data Sheet). Color management: Because proong devices can vary signicantly relative to color reproduction, due to toner/pigment and paper/substrate differences, and because signicant variations exist for monitor to proof, and for proof to press, color management techniques have been developed. However, in order to reconcile the differences between input and output device color gamuts, chosen devices must be capable of consistencyafter having been qualied as reliable, each device is calibrated to the dened standard. Devices are subsequently characterized by comparing device output against a standard color gamut, the outcome of which is an ICC (International Color Consortium) prole or tag that serves as a color space description for the device. Conversion is achieved when variations between the input device prole and the output device prole are reconciled by means of a CMM (Color Management Module). Currently, assignment of ICC proles to digital art image les is not recommended, in part because proles created using different color management systems may not convert satisfactorily.

Tables Glossary

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Digital Art: Information

File Sources
For preparing digital art intended for print, The Sheridan Group recommends using professional graphics applications (e.g., Adobe Photoshop and/or Illustrator). Word processors and spreadsheet or presentation applications, although suitable for creating les for office or internet use, are not recommended for creating digtial art for print. Microsoft Office applications are included in this group. In some cases, however, such les may be converted so as to enable use.

Introduction

Image Types

Digital images generally can be classied as one of two types: vector or raster. Vector graphics typically are generated using drawing or illustration programs (e.g., Adobe Illustrator) and are composed of mathematically-dened geometric shapeslines, objects and lls. Since vectors entail both magnitude and direction, vector elements thus are comprised of line segments whose length represents magnitude and whose orientation in space represents direction. Vector graphics usually are easily modied within the creating application and generally are not affected detrimentally by scaling (enlarging or reducing their size). Because vector elements are mathematically-defined, scaling simply requires modication of their mathematical locations. However, vector les do not support photographic imagery well and often can be problematic for cross-platform exchange. Vector graphics typically are saved as EPS format. Raster images are produced by digital image capture devices: digital scanners or digital cameras, or by pixel editing programs (e.g., Adobe Photoshop). Raster images are composed of a matrix (grid) or bitmap of digital picture elements (pixels). Pixels are squares or rectangles described as black, white, gray or color. Raster images typically are saved as TIFF format, but can be saved as EPS as well. Whereas conversion from vector to raster is easily accomplished, raster conversion to vector is much more difficult (and often is not possible). Raster images typically are easily shared across various platforms, but can be more difficult than vector graphics to modify. As well, raster graphics are impacted by scaling.

Guidelines Information Tables Glossary

Vector

Raster

Screened original art: Images scanned from screened original art (i.e., scanned from halftone lm, or scanned from a previously-printed publication or from art produced using a device that employs halftoning or another pattern method of applying toner/dyes to a substrate) can be reproduced by either copydot scan or descreen scan methods. The objective of copydot scanning is to preserve existing halftone dots, whereas the objective of descreen scanning is to remove dots or other structure and subsequently apply halftone screens prior to print.

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Digital Art: Information

Raster File Types
Raster images can be classied as either monochrome, tone, or combination tone. Monochrome (1-bit) images, typically scanned from line art and/or text originals, are comprised of a single bit of data. Since each bit (binary digit) can be represented only as either a zero or a one, pixels within a monochrome image can have only two states: black or white. Monochrome images generally require higher resolution (more pixels per inch) than tone images in order to prevent aliasing (stairstepped appearance) of diagonal lines. Tones, typically captured from continuous-tone photographs, are comprised of 8-bit data (represented as 256 different levels for grayscale images). Color tones contain eight bits of data per channel (i.e., per color); thus, a CMYK tone contains 32 bits of information (and 256 levels each for cyan, magenta, yellow, and black). Combination tones contain both tone and text/line art elements. Consequently, like tones, combination tones are comprised of 8-bits of data per color channel. Thus, combination tones are saved as either grayscale or CMYK color mode. Because combination tones contain text/line art elements, however, the level of resolution employed must be compromised to address aliasing versus physical le size.

Introduction Guidelines

scan (raster) image le types

le type monochrome

le format TIFF

mode bitmap

suggested resolution

Information

head gutter face

900-1200ppi

figure 1

tone

TIFF

grayscale or CMYK

300ppi

Tables Glossary

head gutter face

combination tone

TIFF

grayscale or CMYK

500-900ppi

figure 1

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Digital Art: Information

Image Resolution
Vector graphics are resolution-independentthus, their resolution is determined only by the output device. Because vector elements are mathematically-dened, scaling (enlarging or reducing their size) simply requires modication of their component mathematical descriptions. Whereas vector graphics are resolution-independent, raster images are resolutiondependentthe number of pixels that occupy a given space must be dened. Consequently, raster image resolution is specied in pixels per inch (ppi). However, although the term is not effective, image resolution commonly is referred to in dots per inch (dpi)dpi more appropriately is attributed to device resolution or output resolution, where the number of dots an output device is able to produce within an inch represents the resolution of the device. Division of the number of pixels in the height and in the width of a raster or bitmap by its resolution determines the physical size of the imagee.g., a 300ppi raster image that is 900 pixels wide and 600 pixels high is 3 inches by 2 inches in size: 900 pixels 300ppi = 3 inches wide 600 pixels 300ppi = 2 inches high
3 inches 300 pixels 300 pixels 300 pixels 300 pixels

Introduction Guidelines

2 inches

Information

Monochrome (1-bit) image resolution for images intended for lithographic print is 900-1200ppi. In general, monochrome image resolution should be equivalent to the resolution of the intended output device. Output resolution for computer-toplate devices (i.e., platesetters) typically is about 2400dpi; however, because no signicant visible improvement is realized when 2400ppi and 1200ppi monochrome images are compared, the range for monochrome image resolution is suggested as 900-1200ppi. Tone image resolution is recommended as 300ppi. This recommended resolution, as well as ranges suggested for other le types, assumes that images have been scanned at the same size intended for print (e.g., the typical image width is approximately 20 picas , or 3 1/3 inches, for a single-column image that will appear in a double-column standard size publication).

300 pixels

Tables

effect of insufficient resolution for combination tone image (simulated)

Glossary

high resolution

low resolution
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Digital Art: Information

Combination tone image resolution is recommended as 500-900ppi. Because of text and/or line art components, sufficient resolution is required for combination tones to counter the effect of aliasing (i.e., stairstepped appearance or jaggies); however, higher resolution equates to larger physical le size. Consequently, for combination tones, a compromise is achieved that balances the issues of aliasing and physical le size.

Introduction

Quality (halftoning) factor: During the process of halftoning, series of pixels are translated to halftone dots of varying sizes and position. Improved results are achieved when more than a single pixel is available to describe the density of a given halftone dot. Consequently, a quality factor can be assumed to enable determination of the suggested resolution for tone images. For tone images that will be halftoned at 133lpi (lines per inch) or higher, a quality factor of 1.5x is applied. For images that contain geometric objects: lines, repeating patterns, diagonals, etc., a quality factor of 2x the halftone linescreen is benecial. Below 133lpi, a quality factor of 2x is recommended, since halftone conversion to proper densities is less accurate for lower linescreen rulings. Because halftone linescreen usually is not known at the time of scanning, 300ppi is assumed to be a reasonable guideline for grayscale or color tone image resolution. images that have been created or modied for internet display, typically 72ppi, do not possess sufficient resolution to enable effective print. Employing the quality factor and subsequently adhering to image resolution recommendations ensures an appropriate balance between print quality and physical le size.

Guidelines Information

Image size/crop

Since raster images have a specic resolution (i.e., a specic number of pixels per inch), scaling a raster image involves the distribution of available pixels across the designated space. Image resolution subsequent to scaling is referred to as effective resolution. If an image is enlarged, unless additional pixels have been added by means of interpolation (resampling), then accordingly the size of each pixel must be increasedconsequently, the enlarged image will have fewer pixels per inch (lower resolution). Conversely, if an image is reduced, unless existing pixels have been discarded (downsampling), the size of each pixel must be decreased (higher resolution). Although scaling reduction generally is less problematic regarding visible defects, unnecessary resolution can contribute to excessive physical le size. Cropping the scanned image to the size intended for print also will benet toward the reduction of physical le size. If an image will require scaling, scanning resolution should be adjusted accordingly.

Tables

effect of scaling for raster tone images

image scaled 200%

(effect exagerated for display)

Glossary

image at 100% size

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Digital Art: Information

File Formats
TIFF or EPS le formats only are recommended for submission of digital art les intended for high-resolution print. A primary issue concerns compatibility with composition software, for which imported image le format often is restricted to TIFF (tagged image le format) or EPS (encapsulated PostScript). Internet graphics (e.g., GIF or JPEG formats), clip art, screen captures, and les generated from office applications typically are not suitable for use, unless les have been converted to TIFF or EPS format and can be modied to accommodate recommended digital art le specications and to satisfy aesthetic requirements. PDF (Portable Document Format), although the de facto standard le format for page le submission for prepress and print, is not suitable for digital art image le submission. Image les as PDF format should be converted to TIFF or EPS to enable compatibility with composition software. Application le formats may be effective within the environment of the authoring application; however, recipients of native le formats must have the same version of software as the creator, plus must have access to graphics and utilized fonts. As well, same platform, operating system and associated utilities may be required to enable accurate le replication. Consequently, conversion by the le originator to recommended le formats is necessary, if possible, to ensure proper digital art reproduction. Because modern prepress systems utilize composite page workows, digital art les should not be saved for submission as separated or multi-channel formats, such as DCS (Desktop Color Separations). As well, although DCS is a version of the standard EPS format, color and other detail may be lost due to composition software incompatibility. Transparency and/or layers must be attened prior to image le submission, since most print devices, including RIP devices (raster image processors), and Adobe PDF prior to version 1.4 (associated with Adobe Acrobat 5), are not able to accommodate native transparency data. File compression techniques can be utilized to reduce physical le size for raster image data, and thereby reduce storage space requirements. Compression methods are classied as either lossless, for which image detail is not removed, or lossy, for which detail and color information, if applicable, are removed. Image detail and/or color information discarded (i.e.,lost) using lossy compression techniques cannot be restored.
Common raster image data compression techniques include LZW (Lemple-ZivWelch): a lossless method typically used for compressing images containing large at areas of image information, and JPEG (Joint Photographic Experts Group): a lossy method used for compressing continuous-tone images (e.g., photographic images).

Introduction Guidelines Information Tables

image type comparison

image type vector raster source drawing/ illustration appl. scan/pixel edit application characteristic mathematicallydened pixel-based resolution independent dependent le format eps tiff/eps

Glossary

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Digital Art: Tables

Introduction
Note: Enter data into blue text elds. Result will appear as red text. Note: Enter data into blue text elds. Result will appear as red text.

units of measurement conversion table

point
1.00

resolution qualier
image width (picas) actual
20.00

pica
0.083

inch
0.014

mm
0.353

desired
20.00

% scale
1.00

point pica inch mm

1.00

12.000
72.000

1.00
6.000

0.167
1.00

4.233
25.400

100.0%
1.00

Guidelines

image resolution (ppi) actual

300

1.00

2.835

0.236

0.039

1.00

desired
300

effective
300

picas decimal conversion to picas/points

picas decimal picas/points
1

picas/points conversion to points

picas/points points
1 0

RESET VIEW
image width:

CLEAR FORM

12

actual = measured width in pica units of original digital art image desired = target width in pica units of nal digital art image (default is 20 picas, typical width of one column for a standard double-column publication) % scale = desired image width divided by actual measured width image resolution: actual = measured resolution in pixels per inch (ppi) of original digital art image

Information

RESET VIEW

CLEAR FORM

Tables

desired = target resolution of nal digital art image (default is 300ppi, typical recommended resolution for tone images) effective = actual image resolution multiplied by % scale---compare against desired resolution

Glossary

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Digital Art: Glossary

aliasing Also referred to as jaggies or stairstepping. Visible steps along angled lines, objects or edges of text, more noticeable at lower resolutions. Attributed to harsh tonal contrasts between juxtaposed pixels. application le Native le associated with a particular computer program, usually not transportable to other applications. binary The base-two counting system, employed by computers to process data, using only the digits 0 and 1. bit Binary digit. The smallest unit of measurement in computer terms; either on or off. copydot A method by which existing dots (usually halftone) can be maintained during the process of digital scanning. Copydot scan les are usually comprised of 1-bit data for each of the required color plates. DCS Desktop Color Separation. A version of the standard EPS le format; enables the saving of multichannel les or of process color separations. DCS is not a composite le format, in that color plate information must be reconciled by printing to separations from the page layout application. Usually includes a low-resolution color preview. descreen A method by which dots or other pattern data (such as that applied during the printing or proong process) is removed or blended during the scanning process. downsampling The removal of pixel data from an image, thus lowering its resolution and resulting in less image detail dpi Dots per inch. The unit of measurement for output resolution; a square function of the number of dots measured both vertically and horizontally.

Introduction Guidelines

bitmap A digital image that has been mapped into a raster (grid) of pixels, each having been dened by a specic number of bits. CMM Color Management Module. Interprets the ICC proles describing the color spaces used in a color management system. Enables color space conversion from source device to destination device.

Information

CMYK Cyan, Magenta, Yellow, Black. The base colors used in lithographic printing processes. CMY are the subtractive primary colors used in combination with K to effectively create a multitude of other colors. color gamut A physical plot of mathematical equivalencies of perceived color, the range of which is associated with a particular device or ink/pigment set. color management A system by which color can be managed across different devices, whether input or output, each of which may have a unique color gamut. combination tone A raster image le type comprised of both tone (photographic) elements and text/line art. composite A digital le that contains all required high-resolution color plate information. contract proof A proof created in accordance with an agreed upon set of standards or specications. The proof may serve as a contract between the provider and the printer that an acceptable reproduction can be achieved.

effective resolution A calculated value that takes into account the actual resolution of an image and any scaling. Enlarging an image will result in decreased effective resolution EPS Encapsulated PostScript. An electronic le format used to transfer PostScript image information from one program to another. Includes PostScript data and a low-resolution preview of the image for display. File Transfer Protocol. A standard means of transmitting digital information from one computer to another via modem or highspeed lines.

Tables

FTP

GCR Gray Component Replacement. Derived from UCR. A method by which black can be generated for print. GCR is used to replace portions of CMY with K in areas of color as well as in neutral areas. GIF Graphic Interchange Format. A standard le format for displaying internet graphics. Usually low-resolution RGB or indexed color, not suitable for print.

Glossary

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Digital Art: Glossary

grayscale The palette ranging from black to white. A grayscale image is composed of various levels or shades of gray, 256 levels of which are available for an 8-bit image. hairline rule A specied rule that will image at the nest resolution of an output device (e.g., 1/300 inch for a 300dpi device, 1/2400 inch for a 2400dpi device) halftoning The reproduction of continuous tone artwork, such as a photograph, through a screen. A halftone simulates continuous tones by using black or overlapped colored dots of various sizes and positions. ICC prole International Color Consortium format. A color space description for a particular input or output device, used in the management of color between devices. interpolation Increase of image resolution by the addition of new pixels, the color of which is based on neighboring pixels. JPEG Joint Photographic Experts Group. Format used to display continuous tone images for the internet. Unlike GIF format, all color information is retained. Selectively discards data to achieve le compression. lossy Any compression technique (e.g., JPEG) that removes portions of data to reduce le size. lpi Lines Per Inch. Units of measurement for screen ruling (halftoning). raster Grid. A bitmap or raster image is composed of a grid of pixels. resolution The number of pixels assigned per unit (usually per inch) of a raster image or associated with a device. A high resolution image contains more pixels per inch (ppi). RGB Red, Green, Blue. The primary additive colors of the visible spectrum. Used for display by color monitors. scaling Alteration of an images size by enlarging or reducing. Scaling of a raster image involves redistribution of pixels within a specied space. spot color A special color; any color other than CMYK or a CMYK process combination. SWOP Specications Web Offset Publications. A specication employed for offset printing. SWOP ADS SWOP Application Data Sheet. Presents proofer manufacturers recommendations for best match to SWOP specications for density, dot gain, substrate, etc. TAC Total Area Coverage. Specied as 300% for SWOP CMYK process printing. The total combined value of CMYK for the darkest area of an image or page. TIFF Tagged-Image File Format. A exible image le format for transferring pixel images across platforms and applications.

Introduction Guidelines Information

LZW Lempel-Ziv-Welch. A lossless compression technique that can be applied to images. Works best for monochrome images with repeating patterns. monochrome A 1-bit black and white raster image, typically scanned from line art and/or text originals, saved as bitmap mode. PDF Portable Document Format. Cross-platform object-based le format from PostScript; can contain all image and font data. pixel Picture Element. Each pixel is assigned a color and location value, a grid of which composes a bitmap or raster image. quality (halftoning) factor A multiplication factor applied to halftone screen ruling to determine optimum scan resolution.

tone Typically captured from photographic originals, a raster le type comprised of 8-bits of data per color. transparency An option that enables saving a le as layers instead of with a dened color background. Primarily for displaying overlapping objects for the web. Transparent objects must be attened for print. UCR Undercolor Removal. A method by which black can be generated for print. Black is used to replace CMY in neutral areas, resulting in less ink and greater depth in shadows. vector Resolution-independent mathematically-dened geometric shapes (lines, objects and lls), entailing both magnitude and direction. visible spectrum Portion of the electromagnetic spectrum visible to the human eye. DIGITAL ART GUIDELINES

Tables Glossary

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