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34 views18 pagesKipphan Odabrana Poglavlja
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/ 18
1 Fundamentals
rotogravure presses are also used for magazines with a
very high circulation.
1.1.1.3 Newspapers .
The newspaper is still one of the most significant mass
media today. The first newspapers appeared at the start
of the seventeenth century. Pamphlets in the sixteenth
century were the precursor of the newspaper. Most
duced daily and have a high circu
apers even appear a few times per
day, to ensure that their content is very up-to-date
The two most important categories of newspapers are
daily papers (dailies) and weekly papers.
‘The external appearance of newspapers differs con-
siderably from that of magazines. Newspapers. nor-
mally consist of large-size loose sheets, Several of
these loose sheets are combined during production
and form an individual section of the paper. A news-
paper consists of several sections/parts with varying
content called “newspaper books.”
Generally, newspapers are produced on special mews-
paper printing presses. These presses are highly pro-
ductive web presses, which can print on uncoated pa-
per, at low cost. The traditional newspaper used to be
black and white. Modern printing presses are able to
print in color economically, This has created the op-
portunity to adapt the newspaper's appearance to to-
day's expectations (color photographs, color TV), but
also to conform to the wish of many advertising cus-
tomers that their advertisements be published in color.
‘The production of a newspaper is mainly financed by
advertising inserts and advertisements. For this reason
the ultimate consumer price for a newspaper is rela-
tively low.
1.1.1.4 Brochures
Along with advertising inserts, which we come across
every day in newspapers and magazines, there is a
large market for leaflets and product descriptions.
Such printed matter is referred to as brochures, Unlike
magazines and newspapers, they are not published
periodically, Brochures are commercial print work.
Another significant difference from newspapers or
magazines is the usually low print volume of
brochures.
‘Today, brochures are generally printed in color and
are available either as folded individual sheets or
bound copies. They are of better quality than news-
papers. Brochures are mainly used to describe some-
thing particular (e.g., company, product). Brochures
are mostly used for advertising; therefore production
costs are normally borne by the advertiser and not by
the reader.
1.4.4.5 Other Printed Media
Packaging represents another important group of
printed products, It can be made of very different
materials such as paper, cardboard, plastic, metal,
glass, and so on. In the first place, packaging is used to
protect the actual goods inside, but it also makes for
an attractive presentation. At the same time packaging
is also printed on to provide information about the
package content. All the major printing technologies
are used for printing packaging — often in a combina-
tion of several technologies.
1.1.2 Electronic Media
Electronic media were developed in the twentieth cen-
tury and together with printed products (print media)
became important for communicating information.
This trend continues today and is characterized partic-
ularly by the use of computers and the Internet. In
addition to the latest developments in the Internet and
World Wide Web, electronic media also include the
more conventional radio and television along with the
corresponding forms of storage such as video and
audio recordings on CD-ROM and DVD-ROM as well
as animations.
Electronic media, as is the case with print media, al-
so involve a chain of creation and transmission which
depends on the specific form of the media. As a rule,
the first stage in this process consists in generating the
contents, for instance, for recordings onto audio oF
video tape. In some cases, information is converted
from one medium to another, such as from conven-
tional film to video. In the case of web pages though;
content can also be computer-generated, thus allowing
for the use of content from both the real and the vir~
tual worlds,
Animations may describe scenes and “tracking
shots”; in the end, running an animation results in @
chronological sequence of pixel images, that is
almost a video flow. The description of an animation
can be considerably more compact and efficient than
the transmission of the video sequence. Therefore:
the actual animation may only be executed on a final
‘output device such as a powerful presentation com-
puter. In the preliminary phase, scripts are usually com-
piled (at least in a professional environment) as we
know them from traditional film. In the case of elec~
tronic media products, the specific demands on the
presentation must already be taken into account in the
design stage. The reasons for this include the low local
resolution (in comparison to print products) and the
restriction of the output format (c.g. the size of the
monitors or even windows within the overall monitor
display)
Distribution may be ina saved form on data media
(CD-ROM, video tape/audio tape, and storage medi-
um for sound) or be live, for instance, for transmis
sion of a concert or sports event, In both cases; an
attempt is made to restrict the volume of data because
of the limited capacity of the storage media or because
of the limited bandwidth of communication chan-
nels. Compression techniques play an important role
here. They permit the reduction of data without a
noticeable loss of quality. The underlying transmis-
sion technologies may be varied, ranging from Inter-
net connections via dedicated switched connections,
such as satellite routes, or high-speed links via cable
or glass fiber, to private or company networks, also
with various technology (company television, In-
tranets).
The presentation systems, for instance, computer
monitors, television screens, projector devices, audio
reproduction systems (loudspeakers, headphones) are
generally at the end of the transmission chain, Before
these systems can respond though, codings and com-
pression processes might have to be reversed with cor-
responding components (software and hardware) to
represent the transmitted data. In the place of presen-
tation systems, memory can also be found there that
records the data transmitted, for instance, to reproduce
itat another time.
The use and dissemination of electronic media can
be regulated with protection rights which are, however,
relatively easily infringed; this applies particularly to
digital data where the copy is just as good as the origt-
nal. Modern procedures deal with protective mecha-
nisms against unauthorized copying both in the
+ cryptography field, that is, encoding data to prevent
unauthorized use
as well as
in the digital watermarking field, that is, importing
information into the digital data stream which is
not visible to the normal observer, but which can
1.1 Communication Technologies
be detected in order to determine the location at
which the data was made available.
Inabroader sense, electronic mediaalso include in par-
tleular interactive applications: media which appear dif-
ferently depending on user intervention. These include
compister games, interactive simulations, or virtual re-
ality applications. This leads directly on to multimedia
concepts which are described in the following section.
Please refer to chapter 11 for more details.
11.3 Multimedia
‘The term “multimedia” is closely connected with to-
day’s computers and output devices such as monitors,
loudspeakers, and printers and their capacity for re-
producing various types of information (text images,
found, animation, etc), Multimedia systems do not
just output these different types of information; these
systems make it possible to simultaneously create
jnultimedia information and interact with other
multimedia documents (data files on data storage
units, such as a server and CD-ROM).
Although the term “multimedia” is relatively mew,
what lies behind it is not (see also sec. 11.7). Multime-
dia means nothing more than making use of several
types of information (text, images, graphics, anima-
tion, video and audio sequences) inone publication. As
illustrated in figure 11-3, this also includes print media
(e.g CD-ROM in a book)
Human communication is multimedial as humans
transmit information, for instance in a conversation, by
talking and gesticulating simultaneously. The technical
application of using several media simultaneously to re~
produce content is not new either. Thus, for example,
television can simultaneously transmit information us-
ing text, image, and sound. The addressing of several
sensory organs combined with the advantages of using
individual media has synergetic effects making the mul-
timedia product an attractive option.
The success of the multimedia concept becomes
clear with television and the so-called “new electronic
media” such as the Internet or CD-ROM publications.
CD-ROM publications are not multimedia documents
as such. A CD-ROM is merely a medium on which var-
ious types of information (such as text, sound, video,
etc.) can be stored. Only if, for example, text, sound,
and animation are combined on aCD-ROM, could one
speak of a multimedia CD-ROM. Types of information | 1 Fundamentals
TT i
| C_ Hleetronic Media > Manele
ee ne
\ | Equipment to
oe | make data visible
Premed 5 iy I
| z B bof internet, et
é rr CD-ROM, ete. Electronic | \ y
é es UY aa information + | | 8
= : Management i|3
= Layout Ht a 2
8 i ils
a Digital Printing System ind |p|
Pou |
Originals,
Data Prepress
Finish Dis |
a ey
Printing
(conventional)/
Press
/
/
Multimedia
Fig. 1.1-3 Structure for producing electronic media, print media, and multimedia documents
(text, sound, image, video) must not be confused with
medium (data-carrier, . 8. paper, CD-ROM, disk, etc,).
The same applies to Internet publications; here too,
different types of information have to be linked with
one another before you have a multimedia presenta-
tion. Hypertext as an additional type of information is
in itself not a multimedia document; only when hy-
perlinks point to multimedial contents does a hyper-
text become a multimedial hyperlink document.
“The play-back devices (computer, television, etc.) for
electronically stored information are not even close to
addressing all the sensory organs of a human being. To-
day's multimedia products are not yet able to invoke
the senses of smell and touch. A medium which can be
used to pass on a fragrance to consumers, o to call on
the sense of touch by certain surface properties in ad-
dition to transmitting text and visual information is,
for example, paper. One might therefore say that paper
is a multimedial product. However, printed informa-
tion lacks dynamism and interaction. With play-back
devices for electronically stored information there isal-
so a potential for appealing to the senses of touch and
‘smell in the future (e.g., transmission of vibrations/os-
cillations and temperature via operating elements).
1.1.4 Distribution and Market Volume
The printing industry is a sector consisting predomi-
nantly of small and medium-sized companies. Around
90% of all printing companies worldwide employ less
than twenty people (fig. 12-4).
‘The growth of the printing industry is influenced es-
sentially by macroeconomic factors such as economic
development and consumer demand. Worldwide, the
printing industry contributes 1296 to the grossadded
value of the processing industry.
In the industrial countries the production volume of
the printing industry has a share of 0.54% in the gross
domestic product (GDP). In emerging markets this
share may even amount to 20% of the gross domestic
product. In the USA the printing industry is the sixth
largest industrial sector and has therefore a clear eo
nomic significance for the country. ;
In 2000 the 430000 printing companies worldwide
will achieve a turnover in the range of 430-460 billion
US dollars. Figure 1.1-5 shows the distribution of this
volume according to individual product segments. The
areas of advertising and commercial printing as wells
packaging and label printing make up the most Im" and equipment, and for efficient, high-quality, and
economic production.
Figure 1.2-1 shows that the content, layout, and form
of the printed product are based on information in the
form of originals and also particularly on data. Figure
1.2-1 also depicts how the printed product is delivered
via the distribution system to the end-user/consumer;
here, too, organization and distribution benefit from
the data technology.
‘The production chain of prepress, press, and post-
press is logistically interlinked through storage areas
for the materials needed for the production as well as
by storage areas for the semi-finished and end products
of the printing job. The use of efficient production
‘management and archive systems for data to link and
support all the manufacturing stages in the creation of
printed products is becoming increasingly the state of
the art.
The individual stages and areas involved in the pro-
duction of printed matter are explained below. Full de-
scriptions with numerous details will be found in later
sections of the book.
The quality of a printed product is ultimately deter-
mined by its content, effect, and benefit to. the
client/consumer. The visual quality is obviously affect-
ed by high-grade processes and procedures for pro-
ducing the print media, However, itis to a large extent
determined by the conception of the print mediurn in
text, graphics, and pictures, the representational form
of the contents, that is, by layout, typography, and
graphic design.
Before going into the actual production process—the
economical and high quality duplication of informa-
tion through printing tailored to the customersand the
market — we will describe the rudiments of design.
1.21 Layout, Typography, Graphic Design
The development of type, typography, and graphic de-
sign is an important part of the history of culture as a
whole. Although knowledge of other spheres of culture
such as painting, music, and literature is much more
widespread, itis the symbols constituting language that
make communication and the dissemination of
knowledge throughout the world possible, These three
areas are inextricably linked: type is an essential ele-
ment of typography and typography is (besides illus-
tration and photography) an essential part of graphic
design. Each of these means of communication and de-
12 Production of Print Media|
sign has its own subtly different historical develop-
ment, which can provide detailed insights into the
whole of human development from a historical, tech-
nical, and aesthetic perspective,
1.2.1.1 Type
Origin of Type
‘Type first developed over the course of time as a mag-
ical feat on man's journey out of the unknown. [t was
a pictographic system of type that probably grew out of
the human craving for knowledge and communica-
tion. These pictographic symbols lacked accuracy and
precision, they were ciphers in need of interpretation.
‘As human understanding grew deeper and more re-
fined, s0 too did the need to design and set down clear-
er, more universal and accessible codes.
Pictographic system was followed by logograms,
which were derived from the sound of the spoken word
(fig. 12-2), Each word had its own symbol, and the
more distinctive and developed a spoken language was,
the greater the number of symbols it had. There were
well developed writing systems in China, India, Egypt,
Mesopotamia and some other countries.
Around 3000 BC the Sumerians developed cuneiform
script, a syllabic writing system made up of about six
hundred characters. The next decisive step was the de-
ha RAP
Pe RY AT
Fig. 1.2-2 Minoan hieroglyphs (abovel, Minoan linear type (below)
4 QVATVIH@LAL4 1 FOMMPI WX
ABPOFRE@IKLMNOPPETYOY |
ADGATHIKIMMOPOGSTVX
Fig. 12-3
‘Alphabets (Phoenicia, Greece, Rome; sixth to third centuries BC)
5 6
| 1 Fundamentals
yelopment of the consonantalphaber by the Phoenicians
Jround 1400 BC. This alphabet consisted of twenty-two
letters It was derived as a simplified version of Egypt-
jan hieroglyphs and Babylonian cuneiform script The
Phoenician alphabet (fig. .2-3) formed the basis ofall
European writing systems. .
Around 1000 BC the Greeks adopted Phoenician
script and introduced the symbols a, i, 0,and w. The
Roman alphabet was based on this development by the
Greeks. The Roman capital script “Gapitalis monu-
mentalis” was developed (fig. 12-4), the increasing use
‘of which led to the formation of the first lower case type.
‘These early centuries AD also saw the move away from
scrolls to the form of books still in use today.
SENATVS POPVLVSQVE-ROMANVS |)
MP: CAESARI: DIVI*NERVAE: FN.
_TRAIANO-AVG:GERM :DACICOPO
MAXIMO*TRIB-POTXVIFIMPVE-COS|
ADDECLARANDVM:QVANTABALTITVDIN
IS-ETLOCVS:‘TAN IBVS*SITEGES
Fig. 12-4
Roman capitals “Capitalis monumentalis”, alphabet on the plinth of
Trajan's column in Rome (AD 113)
Fig. 1.2-5 Types
a Roman types: Antiqua and Cursive;
b Broken types: Frektur and Gothic
a) Roman typefaces
Antiqua
| jurcbleucbeigiftcr grofiinectriger Xhmig gene t
‘Sale frre geoff
on
Tedogetela lsd: semana
tet ‘grin tear,
utanmeyaCoeeeee Mique onda ¥ er ml, Pawn pede, Dryader
cketainameconscaipeluine Degiteduensewtngodl pan Nunereuefea ‘apron fee
eee ee antidote
“The Middle Ages (fourth to fifteenth centuries) was
atime of extensive writing and design. The carriers of
written characters and text were clay, stone, wood, silk,
papyrus, and then parchment. In the 7th century pa.
per from China reached the Middle East, and from
there Spain and the rest of Europe. The invention of
dluplicable printing first in China (c. 670), then in Ko.
rea with movable metal type (c.1403), and finally Guten.
berg’s technical developments in letterpress printing
(ce. 1440) heralded a new era of communication, re.
placing the hitherto handwritten one-off texts which
required rewriting in order to be passed on.
While at first old types were simply molded in lead
for the new technology, new typefaces soon developed
which have retained their formal elegance and charac-
ter as model typefaces to this day: important designs
originate from Claude Garamond (1480-1561), Nicolas
Jenson (1420-1480), and Aldus Manutius (1459-3515),
Soon after Gutenberg’s invention two distinct techni-
cal concepts regarding typeface co-existed in parallel:
the Roman types Antiqua and Cursive, and the broken
types Fraktur, Gothic,and ‘Schwabacher (fig.1.2-5). From
these basic forms, which were derived from the hand-
written script, thousands of different typefaces were
developed that had slight but important differences be-
tween them, Technical innovations as well as the quest
for aesthetic improvements each led to yet more vari
ants.
HOEBOIN QVELHORAMANAN 3 it perce aplbus quanteexperienta por,
‘vereclarfimamand
dso rt
soulijimcenteachelatemeini ai,
a Sapewenerctetnae |
pee a inesacas
Cursive |
ieee doriieamcany seeps ncaa mete |
tay :
cerca ta
tine Da
einen aienn ida ei Diral
st eet
ii
ln
| Fraktur
tm ger sea
naar Sr
Broken typefaces:
a jubeatbas €. St.
a a rr
wiab€.Mtpflig fs
‘ri alo mc ae
8 igo 1
sl
Season i nein ie
cae im |
Gothic | ‘pentyl cor in a
Finsbernlemder ine lose
‘evelopment wl day ere one the
cena. |
nc tt tice |
teresa cuentas
SSricpeetront cna one ine
‘ca cots ol pte wae
Arinueelpraibere ed tht
nora Seca 16 Une
ec nha lide lesor
saelichyabotend tetanic |
So Typen coat aon el
powsiowciadchteincntsec_ |
rt Se 186 Una
Seen cde inte felt ce
(vce and ob arse oe
far seins of bec noah
Fields ews wh |
Py Se FE Le bb
i kl jie ad
cin ewetee peace ope
Le a iain an nak
a a apantenr coe ote
“Bimini ae Ene |
Dee aber ee ic of tae ee
ect nt say fer eto ee
“Seto rptees maa ie
{itperot havent wi tees
Fig.1.26
Classification of typefaces (examples from DIN 16518, engl version
svailable}
Fig.1.27
Construction of letters and naming of
elements
12 Production of Print Media | 17
Classification of Typefaces
‘The classification of typefaces formulated in 1964 (DIN
16518) allows the technical differences of all typefaces
to be grouped into eleven distinct styles (see also ex-
amples of type in fig. 1.2-6):
1, Venetian Renaissance-Antiqua (Venitian)
2, French Renaissance-Antiqua (Old Face)
3. Baroque-Antiqua (Transitional)
4. Classical-Antiqua (Modern Face)
5. Serif-pointed Linear Antiqua (Slab Serif)
6, Sans Serif Linear Antiqua
7. Roman Variants (Decorative and Display)
8. Script
49, Handwritten Antiqua (Handwriting)
10, Broken types
11, Foreign types (non-Latin, non-Roman).
Even the latest typefaces may be technically under-
stood and classified using these groups. At present
there isa new amended DIN classification in prepara-
tion, the content of which is, however, still under dis-
cussion,
The basic construction of letters with their corre-
sponding descriptions is shown in figure 12-7. The
construction of letters in digital form is explained in
section 3.1.13 and figure 3-2,
Design of Typefaces
Despite the numerous alphabets in existence, surpris-
‘ng new typefaces continue to be invented whose form
‘best fits the spirit of their age, Some of the most im-
portant designers of the past were Anton Janson
AXeight 6 Cap lineheight 1 Serif |
B Ascender -H Type height 2 Bowl |
C Ascender |. Leading 3 Connection stroke |
O Xheight —_K Type spacing 4 Stem |
E Descender 5 Ear |
F Base ine
8 Counter | 1 Fundamentals
(1620-1687), William Caslon (1692-1766), John Bas-
kerville (1708-1775), Giambattista Bodoni (1740-1813),
and Justus Erich Walbaum (1768-1837). Important
typeface designers of the twentieth century were Emil
Rudolf Weiss (1875-1942) with Weiss Antiqua and
Weiss Gothic, Rudolf Koch (1876-1934) with Wallau
and Cable, Paul Renner (1878-1956) with Futura and
Plaque, Eric Gill (1882-1940) with Gill and Perpetua,
Georg Trump (1896-1985) with City and Delphin,
Karlgeorg Hoefer (1914-2000) with Salto and Perma-
nent, Hermann Zapf (b. 1918) with Palatino and Opti-
ma, and Ginter Gerhard Lange (b. 1921) with Arena
and Concorde.
“Among the typeface designers who create today's sig-
nificant and widely used alphabets are Hans Eduard
Meier (b. 1922) with Syntax and Syndor, Ed Benguiat
(b.1927) with Souvenir and Barcelona, Adrian Frutiger
(b. 1928) with Meridien and Frutiger, Matthew Carter
(b.1937) with Galliard and Bitstream Charter, and Ger-
ard Unger (b. 1942) with Swift and Gulliver. In the im-
mediate present the new designs of Hermann Zapf and
Adrian Frutiger are receiving particular attention. With
his Zapfino typeface (1998), Zapf developed a calli-
Wee kaw stn bei ler Wat ioheeakin
oh ma sie Lika dia Frevce ode dew Dicken weik
| smn i sl oan
wll peri as Rl sll?
Winder sehow einmal cin Back, whee dich
sal a lie tna ag trl abt arte?
inom andere,
Hab jen Dek, send Ur od de Ln
lls ills wi
vo lr welt de ells jet ponde le va ib
sll bi bad Wee yp
Pickore vevnhen?
Ml, Klee piel!
Linen Aueyl fried dakea se: 'sie hitnen nicht cited
nee Dick sb
Zapfino No.1 Hans son Weber
Fig. 12-8
Zapfino of Hermann Zapf 1988); Zapf wrote this text
I inhi
in 1844; the characters were the beginnings of Zapfina giei
graphic typeface that has achieved surprising technical
Versatility in this group of typefaces (fig.1.2-8) by draw.
ing on the possibilities of computer technology.
Frutiger’s typeface Univers (fig. 1.2-9) was developed
during the years 1953 to 1957 and became a classic of the
modern age. In 1997 it was revised within the Linotype
Library as Linotype Univers with 59 type styles (up ta
then, there were 21 type styles), making it all the more
in use.
Despite all the changes and advantages brought by
technology compared to the Middle Ages, the design of
typefaces is still a process which has lost nothing of the
seriousness of the original way of thinking, of knowing
what constitutes technical and aesthetic quality, and of
the need to familiarize oneself with the essential ele-
ments of symbols for communication. Only few de-
signers have so far succeeded in achieving the highest
quality with their typefaces.
Besides Western typefaces (see DIN 16518 classifica-
tion), there is an extremely large group of non-Latin,
foreign types that have developed in their own way and
have highly elaborate technical requirements: among
others, there are Greek, Cyrillic, Hebrew, Arabic, Chi-
nese, or Japanese types, which, with slight differences
in typeface design, represent the languages of those re-
gions and provide a diverse range of alphabets per-
mitting typographic forms rich in detail (fig. 1.2-10).
Fa. 129
Inivers of Adrian Frutiger, examples of th is
plats xxamples of the various type design |
Eee ee ee
tee EL
Chinese
ay min erropp mn men m3
Santen ANDY yon NaN UN
Hebrew —
wT
nor |
[oly Aisle lal GIghOW Wash ca oly
ie xl lead 9 GS Aslge Made ot
| Arabic |
Pynneouanbane cucreMa ynpaRnenua ¥ aproMaTusanuNH
amicronsix ocpeerimsix mamas cbepnest Heidelberg,
Oyrilic
Fig. 12-10 Examples of non-Latin script
1.21.2 Typography
‘Type in its various forms is a fundamental require-
ment of typography. To put it simply, typography is
basically the design of printed text using and arranging
typefaces to create continuous text on a printed page.
The selection of available typefaces used to portray
texts and textual content and the layout of words and
texts on pages or other text carriers such as boards and
signs is an area of design requiring many years of ap-
prenticeship or study, followed by consistent practice
for purposes of refinement, improvement, or change.
All printing elements such as text or lines, but also
the non-printing segments such as empty areas or
spaces, have their own measuring system, the point sys-
tem (fig. 1.2-1). It was developed in 1795 by Francois
‘Ambroise Didot and his son Firmin. One point (pt)
measures about 0.38 mm. One Cicero corresponds to
12 points or 4.5 mm. In Anglo-American countries the
unit pica/point is used, which, at about 4.2 mm, is
smaller than the Franco-German system.
Choosing the individual design elements for the
typographical job at hand is done by selecting from
a system consisting of many interrelated parts. As
with all design problems, there are no hard and fast
rules for making this selection, but only approxima-
1.2 Production of Print Media |
| * Point system (DTP-paint) |
(mainly used nowadsys)
1 pt= 1/72 Inch = 0.353 mm |
Vapt= 1 Pica = 423 mm
6 Pica=1 Inch |
1 pt=0.351 mm
tee Pe 421 mm
| * Point system [Pica system) |
* Didot system in photosetting
(Franco-German standard system), [lead type} |
4 p=0.375 mm (0376 mm)
12p= 16 (Cicero) =4.5 mm [451 mm) |
Fig. 12-11
Comparison of typographic and metric systems of measurement
tions gained from experience, which can va
time and from different perspectives. The designer's
ability to interpret form is very important in choos-
ing the font. The Linotype FontExplorer can be very
helpful in this respect. This new typeface browser en-
ables selection of the correct fonts according to many
design criteria,
Itis apparent that the sensitive use of typeface deter-
mines the quality of the typography and that afresh ap-
proach must be used for every job. After the choice of
{font comes the setting of the font sizes (fig. 1.2-12) for
‘the various parts of the text, the setting of the type styles
(e.g., light, regular, or semi-bold), and the inclination
(eg., normal or italic), The font color and style (e.g
upper case, lower case, mixed) must also be deter-
mined.
Once these have been decided it is necessary to es-
tablish the text structure: how far apart the individual
lines are, what degree of line spacing (leading) there will
be, what column width should be set and which justifi-
cation will be selected. There is a distinction between
justified (fig. .2-13a), unjustified (fig. .2.-13b), and cen-
trally justified. Itis important to establish whether each
of the text paragraphs is to have an indent.
‘A few of the recommendations for good, legible
typography indicate what the basic problems of design
are: there should be a maximum of around 60 charac-
ters per line and around 4o lines per page. Lengthy texts
should be set no smaller than 9 pointand no larger than
11 point. The leading (line spacing minus size of type
height) should be 2 point.
19 20
| 1 Fundamentals
| 4prPal mceantancrae nee
[APPS er wane
6 pt Palatino ABCDEFGHYKLMNOPQRSTUVW XYZ
aciehinnmopapstavsnys 127000. C2
| BprPalatino —- ABCDEFGHIJKLMNOPORSTUVWXYZ
abedefghijklmnoparstuvwoyz 1234567890
10 pt Palatino
sTNfest2 he
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijkimnopgrstuvwxyz 1234567890." {]}ES!2&
12 pt Palatino
ABCDEFGHIIKLMNOPQRSTUVWXYZ,
abedefghijkimnopqrstuvwxyz 1234567890.,:;[]I} £8128
14 pt Palatino
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz 1234567890,,:;"[]{}£S!2& |
Fig. 1.2-12 Example of type sizes in Palatino
The Dover road lay, a5 to
him, beyond the Dover mail,
as it lumbered up Shooter's
Hill. He walked uphill in the
| mire bythe side ofthe malas
the rest of the passengers
did, not because they had the
least relish for walking
| exercise, under the
‘The Dover road lay, as to
him, beyond the Dover mail,
fas it umbered up Shooter's
Hill. He walked uphill in the
‘mire by the side of the mail
as the rest of the passen-
gers did, not because they
had the least relish for
walking exercise, under the
circumstances, but because
the hill, and the harness,
and the mud, and the mail,
were all so heavy, that the
horse had three times
already come to a stop,
besides once drawing the
circumstances, but because
the hil, and the harness, and
the mud, and the mail, were
ail so heavy, that the horses
had three times already
come toa stop, besides once
drawing the coach across
| the road, with the mutinous
Fig, 1.2-13 Layout.
a Justified,
‘b Unjustified
‘The technical requirements of lead type and the
typesetting system created for it determined to alarge
extent the form typography was to take. As a rule
right angle designs with horizontal lines were creat-
‘ed. Various aesthetic ideas repeatedly gave rise not
only to new typefaces but also novel typographical
styles.
The twentieth century saw the appearance of
historically oriented shapes (figs-1.2
expressionist and pictorial styles. There were function-
al and elemental styles, as well as experimental fads
such as psychedelic or punk typography (figs. 12-1610
18). Typography used graphic and pictorial elements
typefaces or alternatively created pictures using letter
ing, However, the basic typographic styles for reading
matter have not changed since Gutenberg’s time, but
have been continually refined.
Layout and Typography of the Present Book
‘The technical construction of the present book was
tablished at the planning stage by making various m™-
tually compatible decisions about the design. Taking
this as an example the extracts show the best methods
of designing a book to optimize its legibility and aes
thetic impact.
‘Typefaces
Basic Typeface/Body Type: .
Springer Minion Plus Regular 10/1.3 pt (type size! line
spacing)
for marking (emphasis): Springer Minion Plus italic
o/s pt.
Headings: ci
Linotype Univers Condensed Bald, in color (similar
Pantone 647¢), 12 Production of Print Media
Fig. 1.2-16 Expressionist book jacket (Emst Ludwig Kirchner 1824)
Fig. 12-14
‘Cover page of the trade journal Graphische Technik (July 1940)
Fig. 12-15
Cover page of price list ane in Art Noveau
(approx 1900)
a |__1 Fundamentals
Fig. 12-17
Event poster with functional elements for representing te content
(Max Huber 1948)
First-Level (title): 36/36 pt;
Second-Level: 18/19 pts
Third-Lev 12/3 pt;
Fourth-Levels 10/113 pt
Headers (Headings without Order Numbers):
First-Level: Linotype Univers Condensed Bold, 10/11.3 pt,
black;
Second-Level: Springer Minion Plus Bold, 10/11.3 pl.
Numbering of Figures and Tables:
Linotype Univers Condensed Bold, 9/9.5 pt, in color.
Figure Inscriptions:
Linotype Univers Condensed Light, 9/9.5 pt, black.
‘Typeface for Captions:
Linotype Univers Condensed Light, 9/9.5 pt, black.
Fig. 1.2-18
Psychedelic poster for @ concert from the flower-power movemé
(Wes Wilson 1968)
Column Lines/Running Hea
Linotype Univers Condensed Light, 9/9.5 pt, in colo®
Special Typefaces
Springer Symbol, Heidelberg Symbol.
Page Layout
‘The text is set justified on the base line grid in 1°
columns; highlights are italicized; paragraphs 58"
with a 3 mm indent in the first line,
‘Abullet is used as the first-level numbering symbol
a dash (en rule) is used as the second-level number
ing symbol. There is an empty line spacing befor
and after a list. The following paragraph is not i?”
dented.
Besides pure typeface decisions all other aspects of
the book were also determined: + the page format (193 mm x 242 mm),
+ the type area with two columns (156 mm x 200 mm),
> the column width (76 mm).
The figures are preferably single column, double col-
umn, or 1.5 column width; the frames are 100% colored
and 0.4 pt thick (for figures without a background), all
figures with a background (e. g., photographs) remain
frameless; pictures are centered within the frame.
Figure captions appear below the figure and are set
justified; for 1.5 column width figures they are next to
the figure and unjustified; the distance between the
caption lines and the edge of the picture is 3 mm.
‘The figure number stands on its own if the caption
text is longer than one line, otherwise it is at the be-
ginning of the line without a following period. The
part-figure designations (a, b, ¢, etc.) are printed black
and in bold. They are always placed on their own line.
1213 Graphic Design
For many centuries design was of a conservative nature
and governed mostly by religious content. The demand
for consumer goods that increasingly accompanied the
expanding economic systems after the French and par-
ticularly the industrial revolutions led to an avalanche of
printed matter. Up to the late nineteenth century, designs
‘were mostly black and white, printed on paper, and rela
tively rare, In the twentieth century printed products
such as posters, advertisements, prospectuses, maga-
zines,and of course books, became important media and
were widely distributed. This meant that information
had to be continually designed to attract attention. This
was achieved through long print runs, large formats, a
striking amount of color, but also topical subjects.
Photographs soon came tobe used as well illustrations.
Design in the Twentieth Century
‘The first high points of this new age were the great
number of artistic-illustrative posters of surprising de-
sign produced by designers such as Henri de Toulouse:
Lautrec, Jules Cheret, Eugene Grasset and A. A. Mucha
(fig. 1.2-19). These designers were situated between the
fine and applied arts, between the personal and gener-
al form. Informational subject matter also increased:
the design of packaging, direction indicators, forms,
charts, and corporate literature became tasks that no
longer had to be solved with ardent artistic feeling but
with clear conceptual designs.
It was the American William Addison Dwiggins who
in 1922 first used the professional title “Graphic De-
1.2 Production of Print Media
Fig, 12-19 Illustrative poster (Jules Cheret 1893)
signer” to describe more accurately the new type of de-
signer, who was no longer to be an artist in the tradi-
tional sense. This title describes someone who has spe-
ialized in the design of visual communication and
brings together the design tools of typography, illus-
tration, photography, and printing with the aim of in-
forming, teaching, or influencing. The term soon
caught on,
‘The development of graphic design was influenced
from widely divergent directions. On the one hand
there were the traditionalists, who created designs
using traditional artists’ tools. On the other hand
methods using new ideas of form and content arose,
which made this new area of design an unmistakable
part of twentieth century culture, The greatest contri-
bution to this was the work of the “Bauhaus’, a design
school in Germany (fig. 1.2-20). The teachings of this
school, which was in existence from 1919 to 1933, were
further developed in Switzerland (fig. 12-21), After 2
1 Fundamentals
| | |
t
a { |
qimitteilungen I |
2 ' |
| 2 i
‘ a
| s sonderheft |
a elementare |
& typographie |
Fig. 1.2-20
‘Magazine cover in elemental design (Jan Tschichold 1928)
1945, exemplary achievements from the USA trans-
formed this European development into the varied and
differentiated field which characterizes graphic design
in the world today (fig. 1.2-22).
1.2.2 Prepress
Prepress includes all the steps which are carried out be:
fore the actual printing, the transferring of infor
tion onto paper or another substrate (fig. 1.223). Tradi-
tional prepress is divided into three areas
+ composition, that is, recording text, formatting text,
and pagination; ;
+ reproduction of pictures and graphics, and particu
larly color separations for multicolor printing;
«assembly and platemaking, ie. the assembly of text,
picture, and graphic elements into complete pagess
{page layout make-up), from pages to print sheets,
Fig. 12-21
Concert poster in the style of "Swiss typography” (Joset Mle
Brockmann 1960)
Fig, 12-22
Feraisement fr @ magazin in contextual text-picture comb
tion (Gene Federico 1953) 1.2 Production of Print Media
8 Printed =
i} ;
Fae, NBtiginals etc. yages: £
B G7 customer =n tig Pe 3
sh aes.) fa | :
2 Zi q i I “Data” Data | E
= * n, plate, et. 8
Production flow
__ Storage $+
Consumables
Fig. 12-23 Prepress in the production flow forthe generation of printed products
and also the making of the printing plate as the ve~
hicle of information in the printing press (fg.1.2-24).
Chapter 3 gives a detailed description of both so-
called conventional prepress (sec. 3.1) and digital pre-
press (sec. 3.2).
Composition Technology
For centuries composition technology was dominated by
the pioneering invention of Gutenberg ~ the letterpress
‘with movable type. This process remained practically un-
changed from the fifieenth until the end of the nine-
teenth century, Letters molded from lead were assembled
into words,lines,and blocks of text (manual typesetting).
Composition only became mechanized towards the end
of the nineteenth century in the wake of industrializa-
tion, In 1885 Ottmar Mergenthaler developed a line cast-
ing machine, which became known by its trade name
“Linotype? It made it possible to compose whole lines of
matrices by means of a keyboard and to fil them with
molten lead. This machine dominated composition un-
til the 1960s—along with Monotype’, which operated in
a similar waybut produced individual letters,and thestil
indispensable manual typesetting.
Fig. 12-24
Prepress with conventional film stripping and digital master prepa-
ration [text, images, graphics} with EDP systems
B 6
| 1 Fundamentals
. As quicker and more effective printing technologies
egan to replace letterpress, particularly offeet and
Stavure printing, the traditional lead composition was
improved by innovations. Photocomposition began tbe
developed in the 1940s at first, as an analog process, in
ch Cext was exposed letter by letter onto film through
matrices. The breakthrough for photacomposition, and
with itthe decline of lead composition, fst came st the
beginning of the 1970s with digital photocomposition
systems. This involved the transfer onto film of lines of
text entered via a keyboard into the processor ofa com-
Puter by means of cathode ray tubes and later by laser,
Pictures and Graphics
In the early days pictures and graphics were integrated
in printed products in the form of woodcuts, and cop-
perand steel engravings. Reproduction technology inthe
modern sense did not come in until the end of the nine-
teenth century as photographic procedures made it
possible to capture pictures on film and to screen them,
that is, to break them up into small dots. (Screening is
necessary because with conventional printing tech-
nologies it is only possible to produce solid tints and
not continuous tones. The continuous tone effect is
simulated for the human eye by printing a number of
tiny halftone dots of varying sizes next to one anoth-
er.) An extra step with multicolor printing is the sepa-
ration of colors, that is, the breaking down of color pho-
tos into the process colors used for the print (usually
cyan, magenta, yellow, and black).
In letterpress printing the screened and separated film
served first as an original for etching a relief in a metal
surface (plate or printing block) from which prints were
made. In offset printing the films can be used directly for
platemaking. To check color reproduction quality before
printing, a test print or proof can be made. This proof is
produced photomechanically from the color separation
films and simulates the result of the printing process.
In the 1970s the scanner emerged, which is used to op-
toelectronically scan, separate in colors, and screen
originals and either directly record them on film by laser
or first store them as digital data for further processing
in a image processing system. Figure 1.2-25 shows @
scanner for producing color separations, such as the
four-color print shown in figure 12-26
ones for a
Platemaking ‘eed
ing is to assemble text, pictures,
The task of pltemaking is assemble text, SOT
into pages and pages
nits of most printing presses are essen-
and graphics i
printing form:
Fig. 1.2-25 Drum scanner for image capture Tango, Heeb)
tially larger than the page format of the printed prod
uct, several pages are almost always printed on ont
sheet. The next step is to produce the plate for the par
