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Creative File Prep 218 Final 010709
Creative File Prep 218 Final 010709
It’s easy to expand your creative options using This design guide covers:
the unique dimensional print capabilities Proven techniques
available only from Kodak NexPress Digital Vector textures.....................................................1
&
e o r g ia M a rie Connor Production Color Presses. Raster textures................................................... 3
G Pulling it all together......................................... 6
oyle
Liam Flynn B This guide will walk you through several
Checking your work................................................9
us
we invite you to join
proven techniques for getting the most out of
W ith jo yo us he ar ts Achieving the best tactile effects......................10
dimensional printing, along with tips and tricks
our wedding
in the celebration of for how to create your own individual effects.
Frequently asked questions................................ 12
p
r 20 The steps in this guide assume a working
Saturday, Septembe knowledge of Adobe Illustrator, Photoshop,
Adding dimension to print can be subjective.
the evening
at seven o’clock in
Be sure to talk with your print provider about
InDesign and Acrobat Software Programs. the results you are looking to achieve. Proofing the job
p before it runs is a great way to make sure your intentions
e
50 Maplecrest Driv
are being fully realized.
ork ilorjMade
Rochester, New YTa Custom tailoring and altera
tions
Reception to follow
Hannah Green
123 Main Street
Brockport, IL 55555
555-123-4567
3600
Proven techniques
tech n iq u e 1
Get started by creating a new file or 3. Create a new spot color swatch 6. Make sure the only swatches remaining in your
opening a source image: a. Name the swatch “NexPress DryInk raised clear” file are “NexPress DryInk raised clear” and white
b. Designate it as “Spot”
If you have another image you will be
placing the vector work on top of, it is best c. Set the color to CMYK: 0 | 75 | 100 | 0
to make both files the same height and width
to ensure proper alignment.
NexPress DryInk raised clear
tech n iq u e 2
Ch oosin g th e b e st te x tu re fo r you r j ob
- Edit the filter’s options and click OK The natural brushes, dry medium brushes,
and special effects brushes are good starting
points. Brushes with harder edges result in more
defined raised textures.
e. Increase the contrast of the layer if necessary Finally, a textured border was created as vector
art for unsuspecting fingers to discover. And the
f. Save your file
headline and dotted lines were created directly
e. Save your file in the InDesign layout.
6 Proven techniques: Pulling it all together with Adobe InDesign Software
Get started by creating a new file: Place your imagery: Step 7 is critical.
“Multiply” tells the NexPress Digital Press
1. Create a new InDesign Document 3. Place your color image on the bottom layer to print the texture transparently on top of the
2. Add a new layer in the Layers Palette 4. Copy the image color image below, rather than hide the color image.
a. Name the TOP layer “raised clear imagery” 5. Paste in Place on the “raised clear” top layer
7. Multiply — With the texture still selected, go to
(This layer will hold the textures you created)
6. Relink the file the Effects palette and select “Multiply” from
b. Name the BOTTOM layer “color imagery” the drop-down menu
(This layer will hold the color imagery) a. Select this newly pasted image and go to
the links palette
b. Re-link it to your “raised clear” raster or
vector texture
You can have multiple layers for images When you relink the file, make sure Note: Do not worry when the color image on the
and textures, but the textures must be on the option to “Relink all instances of bottom layer appears to be tinted by the orange
higher layers than the images to print correctly. YourFileName” remains unchecked. reference color. The reference color just helps you
verify on the monitor that the layer is there. The
actual raised clear layer is colorless when printed.
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Double check that you have a “NexPress b. On the “color text” layer, layout your text • Go over the proposed job with your print
DryInk raised clear” spot color in your InDesign as you normally would provider. If it is your first job with dimensional
swatches palette. It will show up automatically printing, allow some additional time for test
c. Once you are confident there will be no
if you have relinked to your texture file correctly. prints and client approvals.
changes made to the text:
• If your draft copy or layout is liable to change,
- Select the entire text frame you would
8. Adding dimensional typography: consider waiting to put all the textures in place.
like to make dimensional
a. Add 2 new layers in the Layers Palette— Conversely, plan on some additional final
- Copy the text frame
production time to be sure that your textures
- Name the TOP layer “raised clear text” - Paste in Place on the “raised clear text”
are exactly where you want them.
top layer
- Name the BOTTOM layer “color text”
• Adding additional layers to isolate each texture
d. With the copied text still selected, go to
as well as its related color element has three
the Swatches palette and change the
big benefits — those layers can be hidden while
text’s fill (and/or stroke) to the “NexPress
you work on other page elements, they can be
DryInk raised clear” swatch
locked to prevent inadvertently selecting and
e. Multiply—Keep the entire “raised clear” text moving them, and you can turn the texture
box selected and go to the Effects palette. layers off before creating a reference PDF for
Select “Multiply” from the drop-down menu. your clients to proof.
• Any elements on layers above a texture will
knock the texture out (i.e. cause it to not print
where they overlap).
Make sure both text layers are placed
above the existing “raised clear imagery”
and “color imagery” layers.
8 Proven techniques: Pulling it all together with Adobe InDesign Software
Visual Overvie w: t y pical file stru ct u re fo r dimen sio nal pri ntin g
9. Save your file and export a PDF using the settings below:
Ask your print provider if they prefer additional settings Note: Texture layers must be above their related color imagery layer.
when creating a high quality PDF for their NexPress Press.
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Our eyes see much more detail than our fingers Experimenting with scale Create different sizes and variations of
can feel, so the best texture for a project your textures and ask your printer to run
Feel the spool of thread on the business card.
isn’t necessarily a replica of the image that is a test sheet. Then, you can let your fingers decide.
The actual diameter of the thread would be
underneath it. Scale, height, and density are
much too fine for most fingers to feel the
factors you should take into consideration
individual strands, so we created vector art
when preparing the best texture for your image.
that produced larger ridges.
Here are some experiments with scale and
height to get you started.
ade
TaimltaoilorringjanM
d alteratio
ns
Custo Scale we used Close to actual
thread size
Green
Hannah
Street
123 Main
, IL 55555 Note: The dimensional clear samples above and on the
Brockport
567 facing page have a 15% tint of black underneath them
555-123-4
to help you see their patterns.
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100%
Vector, .5 pt. to 10 pt. line Raster, Photoshop Pattern Vector, 1 pt. line width,
width, 100% opacity Fill, 100% opacity 100% opacity
40%
U.DP.218.1108.en.01