Copyright Laws with images from the Internet

The Internet and Google search engine is giving people a great amount of information and images or photos.  This blog will hopefully help you understand the copyright laws  for images.  MarketMailPrint will purchase images to use in our graphic files.   We also use the copyright symbol when using an image.  We will not print a job if an image has been obtained illegally or does not have the copyright symbol. 

When searching Google for images or photos, remember that photographs are owned by someone.  Getting an image from Google does not mean it is public access for free pictures.  All images are first owned by the photographer or digital art creator.   This is the person who needs to give permission for you to use their image.   When an image is sold with rights to a company that deals with "stock photography", such as bigstockphoto.com or istockphoto.com, then the image is available for the public use.    The stock photography company can then make the image available for free or for a small fee.   A subscription is sometimes required to use their service.   This is the legal way to obtain images from the internet.  

The Copyright Law and Image Usage Rights are laws that should be followed.  Saying you did not know does not make using it legal if the image was obtained illegally.  

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Opacity vs Tints

I know this is probably one of those basic "well, I know that!" things, but I had to learn this one the hard way here at MMP and it is something that everyone should be sure to know... especially if you are designing for press.

I think the opacity settings threw me off originally because I started designing in Photoshop, and I had no idea where or even if the Tint setting was available. Once I moved into other design programs I took my habitual use of Opacity with me and ignored the Tint setting option all together.

The above image is an example of a press print when the opacity of a color turned down. The section on the left has the opacity turned down to 40% and the section on the right has the opacity turned down to 20%. Notice how the dots in the image get smaller and further apart as the opacity or tint  is turned down.

Opacity is the translucence of a color or layer. It can be 100% opaque meaning that it is full color and you can not see anything behind it, 99-1% opaque which makes it to where you can still see the front color as well as the color behind it, or 0% opaque meaning the color is completely translucent.

When the opacity of a color is turned down, if there is a color behind the color you are adjusting, that back color can affect the hue of your front color. In the first image above, both shapes are at 100% opacity and tint. In the second image, the blue square's opacity has been turned down to 50% making the yellow square behind it visible through the blue, as well as changing where the squares overlap to green.

Opacity in Photoshop, can be found in the Layers panel above all of the layers. If your Layers panel is not shown in your sidebar, go to 'Windows' at the top of your program window and select 'Layers' to activate it in your sidebar.

Don't get confused between the Opacity and the Fill options in this panel. There is a small but major difference between the two. Opacity takes the opacity down on EVERYTHING on that layer (including layer styles), whereas adjusting the Fill only affects the pixels in the layer but leaves the layer styles as is.

Opacity in Illustrator can be found in the Transparency panel. If your transparency panel is not active in your sidebar, simply go to 'Window' at the top of your program window and select 'Transparency', and it will appear in your sidebar.

Opacity in InDesign is in your Control Panel located at the top of your program window. If you do not see it, simply go to 'Window' and select 'Controls' to activate the control panel.

Tint is a field of color made out of dots that creates any available shade lighter than your original color. No matter how much you change the tint, the opacity of the hue never changes.

Unlike opacity, when the tint of a color is changed any color behind the color you are adjusting will not affect the front color. In the first image above, both shapes are at 100% opacity and tint. In the second image, the blue square's tint has been turned down. As you can see, unlike in the opacity example, no matter what you change the tint to you can not see the color behind it.

Tint in InDesign is in the Swatches palette on the panel on the right side of your program window. Just like finding any other available panels, go to 'Window' and select 'Swatches' to activate.

Tint in Illustrator can only work and be found if you have an item selected that is a Pantone color. If you have a Pantone selected, click on 'Colors' in your sidebar and you can change the tint.

Changing the tint is also an option in Photoshop, but only through the Duotone mode.

You might think it's strange that Illustrator only allows you to change the tint if you are using Pantones, but if you think about it it really makes more sense than trying to change the tint of a CMYK color. When you have a Pantone, if you need a lighter or darker shade you would have to search for a completely new Pantone swatch [refer back to Digital Printers vs DI Printers], thus making press jobs more complicated as well as expensive. Whereas, if you are working with CMYK all you have to do is move the color selector to a lighter or darker shade.

Knowing the difference between the two and knowing how to change them can save you from nasty color changes and printing blunders.

Pantone vs Process Colors

Much like you would use the primary colors (Red, Yellow & Blue) to make colors when you're painting a picture... process colors, or CMYK (Cyan, Magenta, Yellow and Black), are the primary printer inks that are combined to make a majority of printable colors. These colors are the universal printer ink colors, and are used world wide on all different kinds of digital printers and 4-color presses.

When a piece is printed on a digital printer using CMYK the colors aren't physically MIXED together, they are laid on the paper in tiny dots and are visually mixed to give the illusion of different colors and shades.

In order to specify a CMYK color in any Adobe Creative Suite program, locate your Tools Bar (most likely on the left side of your screen). If you do not see it, simply go to Window and select 'Tools'.

The overlapping boxes near the bottom of the Tools Bar is your selected colors. In my example, White is my fill color and black is my outline. So if I were to draw a box, the inside of the box would be white, and the outline would be black.

 

Anywho, if you double-click one of your boxes it will bring up the Color Picker. This box lets you choose the HSB, RGB, Hexidecimal Colors (the #), (all of which are mostly used for web)and your CMYK(which is obviously for print). If you know your exact CMYK color settings you can manually type them in, or you can choose a color by moving the small round color picker and it will tell you the CMYK percentage.

Pantone is a system of colors where each color is given a designated number (PMS #). PMS (Pantone Matching System) is the world-wide standard for matching colors. Although, some colors have specific names, such as Reflex Blue or Warm Red. Most Pantone colors are not made with CMYK, but are made by mixing inks using a specific formula. Because they are not made using CMYK, Pantones are used mostly on the 1 and 2 color presses. They can be used on the 4-color if you have four Pantones that are being used, but most of the time they are on the 1 and 2-color presses.

An advantage of using pantone colors is the color is consistent on every print... whereas on a digital printer, using CMYK, colors can change slightly from printer to printer, and even from job to job. This comes in handy when a company uses a very specific color throughout it's branding, like Home Depot's Orange or Coca Cola's Red. This color can stay consistent for anything from business cards, to delivery trucks, to ad campaigns.

There are two different kinds of Pantones colors, Uncoated and Coated. Uncoated is made to print well on uncoated (or matte) paper. Whereas Coated is made to print well on a coated (or glossy) paper. You won't be able to find these colors in the Color Picker, there is a special Swatch Library just for pantones. If you click on the 'Swatches' selection (most likely on the right side of your screen), it will bring up swatches that you have loaded. I, apparently, do not have any loaded, but any color I do use later will appear in this box. If your Swatches button is not there, simply go to Window and Swatches (just like when finding your Tools bar).

When you have your Swatches box open, go to the bottom left corner and click on your Swatch Library Menu, and go down and select Color Books. This will bring up all your different Pantone libraries. Most of the time you are going to stay somewhere in the box I have showing, but if the occasion calls for it you have all these other libraries to choose from. We're going to select the Pantone Process Coated library.

This is what your library looks like. Each of these boxes are a specific color with a designated number or name. When you hover over a color the name will pop up. In this case, the pink that I'm hovering over is Pantone DS 153-1 C. The C, of course, stands for Coated... whereas if it were Uncoated it would have a U. You have thousands among thousands of colors to choose from, each one made to work best for your job specifications.

You can also search for your pantone, if you know the number. Simply click on the fly-out menu on the upper right hand corner, and select Show Find Field.

Your 'Find:' field will pop up at the top of your library, and you can search away!

Just because you've designed your job with pantones, doesn't mean you can't print in CMYK. Colors can be converted before printing, just understand that when Pantones are converted, it is the CMYK "equivalent". The whole point is Pantone allows you to access colors that CMYK cannot create, such as a super-bright neon green Pantone is likely to print a bit dull, comparatively, as a CMYK print. Now why doesn't everyone just use Pantones? It's all about time and money! It's more expensive, it takes longer to set-up and print, and requires drying time. If you're in a hurry, you should probably use the digital printer with CMYK, but if you have the time and money, by all means, ...

PRINT WITH PANTONES ON THE PRESS!

Customer Stock

Customer Stock might sound familiar if you have ever bobbed around a print shop briefly. Customer Stock is material (paper, envelopes, etc) that a customer brings in to have printed on, instead of ordering through the shop. This happens a lot when someone wants to use specialty papers, if someone has a rush order and doesn't want to wait on paper delivery, or if by some odd chance it would be cheaper to bring their own paper.

The number one important thing to consider when bringing in 'customer stock' is always bring extras. It can take anywhere from 1 sheet to 25 sheets just to set up a job... especially if it's being printed on the press. So, if someone is having 500 envelopes printed the smart thing to do would be to bring in at LEAST 525 envelopes... or 550 if they wanted to play it safe!

When paper is delivered to us, or any other print shop, the boxes that the paper come in have all the specific details we need in order to send it through the printer without jamming (size, paper weight, textures, etc). But when a customer brings in a different kind of paper, a majority of the time the package doesn't give the necessary details in order to get the prints going. We pretty much play a guessing game until we get all the right settings. If the settings are wrong, the printer will inevitably jam.

This extra paper is not only for setting up the printer... it's also used for any other special requirements that may have been requested (scoring, booklets, numbering, stapling, drill holes, etc). Depending on what specifically the job entails depends on how much extra paper will be used. For example, setting up the scorer takes more extra paper than setting up for drill holes. Or a job that requires being printed on the offset presses, is scored, and stapled will obviously use more set up paper than a job printed on a digital printer and is only cut down.

Unless you are the person printing, there's really no worry in HOW MUCH extra paper is being used, just as long as there IS extra available. It's all trial and error when setting up, so it's really hard to peg an exact number of extra sheets, that's why (like earlier) we suggest to have at least 25-50 extras.

Work-and-Turn vs Work-and-Tumble

Turn & Tumbles

This is going to be a short and sweet post about work-and-turns vs work-and-tumbles, which are a couple different printing methods when printing double sided on a press. Most of the time you wouldn't worry about whether or not your job is a turn or tumble unless you are the one printing it, but it's interesting to know, and knowing how it works could possibly save you money. When printing on a press, after one side of a piece of paper is printed on, the main difference between the two is which way the paper is turned in order to print on the back side. It all depends on the size of your artwork and how it is laid out and printed on a plate.

A work-and-tumble (or work-and-flop, or work-and-roll) is when a sheet of paper is fed through the printer, then turned over long ways (below) and fed back through the printer to print on the opposite side. On the first pass through the printer, one side of the paper is used as the gripper edge (where the printer grabs the paper to pull it through), then when turned over, the opposite side of the paper is used as the gripper edge, resulting in a slightly smaller available printing area. This method makes it a little more difficult to align the images on either side.

A work-and-tumble.

A work-and-turn (or print-and-turn) is when a sheet of paper is fed through the printer, then is turned over short ways  (below) and fed back through. This method keeps the same gripper edge, which makes it easier to align and has a slightly larger printing area than a work-and-tumble.

A work-and-turn.

Now, like I mentioned, it all depends on how the artwork is laid out to be printed. If an image, like the one below, is printed and is turned as a work-and-tumble, the image on the back would obviously be upside down.

A work-and-tumble with upside down artwork.

Whereas, if it were turned as a work-and-turn, the image on the back would be right side up.

A work-and-turn with artwork right side up

Although if the image on the sheet was rotated, then the job could be turned as a work-and-tumble.

A work-and-tumble with artwork right side up.

MIND BOGGLING!

Back to the saving you money part, which is always exciting. A trick printers have to get a cost effective job done is to do a job 2-up on a sheet (where instead of a single print, one piece is printed twice on a larger sheet of paper and cut down) and do the front and back images side by side on the front and then flip it over and print the same thing on the back. This way, instead of having to pay for a plate of the image on the front and a plate for the image on the back, both are being printed at the same time on one plate.

It can be kind of difficult to wrap your head around it without seeing a physical example or without doing it yourself (I know it took me a little bit), so get out a sheet of paper and a pencil and try it for yourself.

Sharing InDesign Files

Links, Packaging, & Back-Saving in InDesign

There are a couple different things to consider when getting ready to share your files with your Printer or Designer: packaging, links, and back-saving a file to be compatible with an earlier version of InDesign. (We at MMP-MarketMailPrint set up and do most of our work in InDesign CS5, so this post will be InDesign specific.)

Links are images that are linked to your InDesign document from outside the document itself. When placing a photo into a document, go to 'File' and 'Place', and select your photo. The catch, though, is once the outside image is moved, renamed, or deleted, the link is broken and your high resolution picture is now low resolution. Notice the difference in the images below. The business card on the left has all of its images properly linked. Whereas, the business card on the right has lost its links for the image and font, therefore resulting in a low resolution image and the replacement of the name's font to something generic.

(Left) Business Card with proper links. (Right) Business Card with missing links.

This is where InDesign's nifty little packaging trick comes in handy.

Packaging, in InDesign, is when your document and all the links and fonts it may hold are gathered, copied, and conveniently put into one easy-to-access folder. This makes it easy for someone to zip and send a file to their Printer or Designer with all the necessary bits and pieces.

Before packaging, always make sure to Preflight your document. At the very bottom of your InDesign window, there is a small area that tells you if you have any missing links or not.

Preflight Menu dropdown.

 If you click on the small arrow, it will bring up your Preflight Menu. Click on 'Preflight Panel', and your Preflight panel will pop up. This is a quick and easy way to see if you have any missing links or if you are all ready to package.

In order to package your files, and go to 'File' and 'Package', and the Package window will pop up. Go through the different panels on the side making sure that no links or fonts are broken.

Package window, showing Found links and Missing links.

In each panel's window, it will tell you that a certain number of links or fonts were found and a certain number of links or fonts are missing. If it says something is 'Missing', then a link has been broken and will be replaced by (as mentioned earlier) a low res picture or a generic font.

InDesign lets you find and reattached your lost links and fonts in this window. I, however, would suggest Canceling out of the Package window, relinking from your document, then repackaging, unless you are confident enough in what you are doing. You want to be careful you have all the correct photos.

In order to relink your photos, open the Links panel on the right side of your window (or if it's not open, simply go to 'Window' and select 'Links').

Link panel with a missing link alert, and showing the location of the 'relink' button.

 All your photos will be listed, and if any of them have the stop sign symbol with the question mark then YOUR LINK HAS BEEN BROKEN! Simply click the 'Relink' button at the bottom of your list and find your appropriate file, and voila! 

Once you've made sure you have NO missing links, click 'Package', and the 'Printing Instructions' window will pop up. It is not necessary to fill out this window unless directed by your printer, so press 'Continue'. Lastly, name your folder and click 'Package' to save it to a location. Now, if you go and find your file, your document and all of its links and fonts will be nicely bundled into one tidy and convenient location.

As mentioned before, we at Austin MMP currently use Adobe InDesign CS5, and every once in a while we run into a customer who has a file from the newer version (CS5.5). InDesign often has trouble reading files from different versions, and since not everyone shares the same application, InDesign has another nifty trick where a newer version can save to be compatible with the previous version.

This is called back-saving. All you do is go to 'File' and 'Export', as if you were exporting normally, but before you press save click the drop down menu for 'Save as Type', and select 'InDesign Markup (IDML)'.

Where to find the 'InDesign Markup (IDML)' selection in the Export window.

This will save your file to be compatible with NOT ONLY CS5 but CS4, also! Remember, though, that this is still a normal InDesign file, and needs to be packaged and sent together.

Margins & Bleeds

What are Margins and Bleeds and how do I set up and export my files with them?

A couple things about printing and design that not a lot of people know or sometimes understand is margins and bleeds. As a Graphic Designer, I've spent years developing this useful habit, so I don't (nor any other person working in a print shop) expect everybody to know what they are and how to set up their files with them.

A margin is the area in between your text/artwork and the edge of the page. In the example below, the black lines are the edge of the page (where the business card will be cut) and the red line is the designated margin space. It is suggested to leave at least an eighth (.125) to a quarter (.25) inch of space from the edge of the page (depending on the size of your piece). This business card has an eighth of an inch margin space, because it is fairly small.

Margins (red line) on a business card (3.5in x 2in)

All the text and artwork is inside the margin space, so if this business card were to be printed it would not lose any important information after it was cut down. Good margin spacing is highly suggested because even if something is being printed on a big expensive printer, the pages do move ever-so slightly (some more than others). In the image below, this stack of trimmed paper shows how the papers shift as they go through the printer. It is not drastic enough to be extremely noticeable in the end, but it moves just enough to easily lose a chunk of text if you are too close to the cutting area.

A block of paper showing the movement of the paper when it goes through the printer.

Also, often times when a piece of paper is going through a printer, the printer needs an area to grab onto to pull the it through the machine. Therefore, if an image is supposed to print on the area where the printer has a hold of it, it will obviously not print.

A bleed, on the other hand, is the part of the artwork or background that goes beyond the cutting area so when the piece is trimmed down to it's finished size there are no white borders around the edge. The reason for bleeds is that it is extremely difficult to print color all the way to the edge of the page, so in order to achieve a full bleed a document is set up on a larger sheet of paper and trimmed down. For example, if a standard 8.5 x 11in flyer is set up for bleeds, it will be printed on an 11 x 17in piece of paper and trimmed down to it's finished 8.5 x 11in size so the color can go to the edge of the flyer.

In the example below, this business card is set up with a full bleed. The black lines are where the business card would be cut, and the red line is the edge of the bleed. Much like margin spacing, it is suggested to give the bleed an eighth (.125) of an inch to account for the movement of the paper. Because the blue color bleeds across the edge of the business card, there will be no white borders!

Bleeds (red line) on a business card (3.5in x 2in)

It is fairly simple to set up a document for bleeds. In Adobe InDesign and Illustrator, when creating a new document it gives you the option in the initial 'New Document' window (In InDesign, it is under 'More Options'). Just type in your desired bleed width in each of the four boxes.

The InDesign 'New Document' window, where to find the bleed and margin settings. (Note: Not all 'New Document' windows are the same, this image shows a general location of the settings and what to look for.)

In programs that do not give you the option to set up bleeds (like Photoshop) the easiest way to account for the bleed is to set up your document with an eighth of an inch extra on each side. For example, if the 8.5 x 11in flyer needs bleeds, set it up as 8.75 x 11.25in. Don't forget that each side will get an eigth of an inch, making the document a quarter of the inch bigger all together.

A lot of times it is simple to make up for a document not having bleeds when printing, but if your file is set up right it makes it easier for printers to set up and print your job quickly.

Just remember to stay away from the edge of the page. 

Now that you've gone through ALL this trouble setting up your document with proper bleeds, InDesign doesn't automatically export your document with your bleeds. So in order to export your document with your bleed setting AND crop marks simply go to File and Export. A window will pop up, type in your desired File Name and by 'Save As Type' click the drop down menu and select 'Adobe PDF (Print)'. Make sure 'Adobe PDF (Interactive)' is not selected. Click 'Export' and a new window (Export Adobe PDF) will pop up, this is where you will adjust your settings for crop marks and bleeds

The InDesign 'Export Adobe PDF' window, where to set up for bleed settings and crop marks

In the panel on the left, select 'Marks and Bleeds'. In this window, make sure to click the check boxes for 'Crop Marks', 'Bleed Marks', and 'Use Document Bleed Settings', this expands your document to show the bleed as well as give the necessary lines to show where it will be trimmed. After you have selected the proper check boxes, click 'Export' to finish exporting your document as a .pdf file.

Never hesitate to talk to your Printer or Designer, and ask questions. We're here to help!