When I began working in InDesign, style sheets were a little intimidating. But as I continued to learn more about designing large campaigns, it soon became evident how essential style sheets were for efficiency. In today’s post, I’ll be discussing the three types of style sheets and how they work together.

In the below example, two “character” styles will be used in the item rows. One style will be used to define the black text and the other the blue text. From there, two “paragraph” styles are defined, one for the heading format and another for the entire row format. Lastly, the whole box (the background and any borders) will be defined as an “object” style.

To define character styles, highlight the text, and press (shift, CMD, F11) or go to Windows>Styles>Character to open the Character Styles panel. The (none) line will be highlighted. Press the “new style” icon at the bottom of the window.

A new “character style 1” line will appear. Double click to access the character style definitions.

Go through each of the areas on the left side of the screen. Rename the style with something meaningful. Click OK.

The character style has been defined, but a link to the characters within the text box has also be established.

To define paragraph styles, place a cursor anywhere within the paragraph, press (CMD, F11), or go to Windows>Styles>Paragraph to open the Paragraph Styles panel. The “(basic paragraph)+” will be highlighted. Press and “new style” icon at the bottom of the window.

A new “paragraph style 1” line will appear. Double click to access the paragraph style definitions.

Go through each of the areas on the left side of the screen.

On the “Drop Caps & Nested Styles” panel, enter the nested character styles embedded within the paragraph.

On the main panel is an option to enter the “Next Style.” This option is used when several paragraph styles will be embedded within an object style. Rename the style with something meaningful. Click OK.

To define object styles, press (CMD, F7) or go to Windows>Styles>Objects to open the Object Styles panel. The “(basic text frame)+” will be highlighted. Press and “new style” icon at the bottom of the window.

A new “object style 1” line will appear. Double click to access the object style definitions.

You will note an option listed as “paragraph styles,” which will have a square icon with a negative sign on the left side of the screen. Double click on this option.

On the “paragraph styles” panel, enter the first paragraph style within the object. This option sets the chain of paragraph styles. (In this example, we defined the “New-head” as the first paragraph style within the object style and then defined “New-row” as the “next style” within the “New-head” paragraph style) Rename the style with something meaningful. Click OK.

If any of the styles need to be changed, the drop-down menu for paragraph styles is beneficial. If a “+” appears next to a style listing, this means that the style has been changed and that a link to a specific text box is not in line with the defined style. To correct this, select the “Redefine Style” option.

If, however, a text box unintentionally was linked to a style, use “Break Link to Style” to correct.

1. When print projects are held on a print queue, many options are available to the designer/printer.

2)Select entry and click on “properties.”

First, location the project on the job queue.

Options: off, short-side, long-side

Choose color options

X-Value: A positive value in X will move to the right. A negative value in X will move to the left. Example: 2.00 move to the right 2 points.

Y-Value: A positive value in Y will move up. A negative value in Y will move down. Example: -2.00 moves down 2 points.

Remember to signify the Units as “points.”

3_ Lastly, click on “print.” Remember to delete entries after printer.

So, color theory is a very basic component of the design. But I think it’s important to remember and revisit since it’s so vital to designing print or web.

Subtractive

Subtractive color mode is the subtractive effect of light. Is CMYK mode which is created with ink.

Additive

Additive color mode is the addition of light. Is RGB mode which is created with light.

Color types

Primary

Secondary

Tertiary

Complementary

Anaologous

Color Relationships

Today’s post is a review of the secondary principles of design.

“Scale” is used through the visual comparison of three vacuum cleaners. In real-time, these vacuums are approximately the same height. However, to show the “twice the suction of any other vacuum”, the Dyson brand’s scale has been increased to visually show it is twice as large as the other two vacuums.

The emphasis on density and textures are used in this advertisement to draw the viewer’s eye (focal point) to the bowl of cereal. The result is a contrast of solid, smooth, red, and white colors as opposed to the more variety of shapes (squares and berries), textures (roughness of squares, matte of berries), and colors (neutrals and blue) found in the cereal bowl.

Rhythm is portrayed in this advertisement through the way the text is presented and through visual cues of the mist and the leg’s direction. The text presents rhythm by repeating the beat: “The” (small), “Wait” (large), “is” (small), “over” (large.) The direction of the spray mist and text encourages the Movement of the ad (from top to bottom) by beginning the spray at the top of the leg and ending downwards to the foot.

By incorporating Movement into this advertisement, the viewer is encouraged to “read” the text in a circular movement. This ad used the repetition of cookie shapes to create the Movement to the next grouping of text (upper left: Meal Magic, lower right: Real Mom, lower left: product packaging.

The principle of Proximity can be seen by where the text, the visual element of the PC, and the use of a large negative space are placed. Since the text (both blue and yellow, Bold) is, all the same, a relationship is formed not only with the typestyle but also the space between the letters. This ad adds additional interest when the Proximity of the text overlaps the visual reference (PC) and creates a sense of unexpectedness and tension.

Repetition is shown through this advertisement by displaying three freeze-frames of the same scene of the film “Straight Outta Compton.” These freeze-frames create repetition for the entire ad by keeping all design elements consistent. Alternatively, the only object that observantly changes is the actor’s head’s position.

As a second-year student at Southeast Technical School, I like to review what I’ve learned in my first-year studies. Today, I’ll be revisiting the primary principles of design.

The lack of color variety achieves unity. The ad creates a sense of unity by repeating the chestnut brown hue found on the product’s packaging and repeating it on the model’s hair and makeup.

Variety is achieved by varying the shapes silhouettes associated with the film “The King & I” and therefore creating visual interest. However, the use of Economy of color, typography, and space keeps the ad organized.

Hierarchy is achieved by using the bright pink color to entice initial attention to the ad. The negative white shape draws interest by using a simple Sans Serif typography, which draws readers by asking a question about flexibility. And finally, the view of the ad, reading from top to bottom, is informed of Geico’s “flexible payment plan.”

Dominance is shown through using the elements of color and size. The red color of the tomato dominates the white/neutral remaining space. Also, the scale/size of the tomato, when contrasted with the hands which hold it, reinforces the dominant element of scale and size.

The advertisement is positioned within a vertical rectangle, even though the subject (automobile) is a horizontally shaped object. The advertisement can keep the viewer’s interest through the use of the proportion – moving back to the position of the typographical message (in the upper left corner) and the subject, which appears to be positioned using the “golden rectangle” approximations.

This ad achieves an asymmetrical balance by diving the ad into two sides. Although the sides’ division is not equal in size, balance is obtained by varying elements of color and texture. Although the right side is smaller, it uses the color red to hold the viewer’s interest. In contrast, the larger left side, which is composed of neutral colors, holds the viewer’s interest by the textures and lines of the model’s hair.

The swatches panel not only lists many types of swatches but designates the mode of the color.

Process colors.  These are CMYK or RGB.

Global process colors. (These colors are automatically updated when edited. Spot colors are always global, but process colors can be global or local.) If a swatch is global, it will be identified by the gray square icon.

Spot colors. These are standardized premixed ink. If a swatch is a spot color, it will be identified by a white square with a gray circle icon.

Gradients. A graduated blend between two or more colors.

Patterns. Patterns are repeating paths, compound paths, text with solid fills or no fill.

Registration. This swatch is a built-in swatch and cannot be removed.

Color Groups. These are colors which are grouped and assigned a group name. They can be spot, process, and global colors. They cannot be pattern, gradient, or registration swatches. These groups are identified by a folder icon.

Tints. A tint is a global process color or spot color with a modified intensity. Tints are identified by a percentage.

The drop down menu in Illustrator has the following options:

The drop down menu in InDesign has the following options:

To change the color mode of a swatch to CMYK, first go to File>Document Color Mode>CM
YK. Double click on its icon in the swatches panel. An options box will appear. Change the color type to “process” and the color mode to “CMYK.”

To change the color mode of a swatch to RGB, first go to File>Document Color Mode>RGB. Double click on its icon in the swatches panel. An options box will appear. Change the color type to “process” and the color mode to “RGB.”

To change the color mode for objects to Grayscale, select the object then go to Edit>Edit Colors>Convert to Grayscale. To change specific swatches to Grayscale, double click on the swatch icon, change the color type to “process color” and color mode to “Grayscale.” (For informational purposes, the name of the swatch was not changed.)

When creating a file that will be printed using a pre-press, it is necessary to turn on the
“overprint preview” mode. Go to View>Overprint Preview. It is also essential to use the “attributes” window to verify that overprinting fill or overprinting stroke is appropriately utilized.

In the above example, the upper left shows a CMYK mode of 0,0,0,100%, which does not entirely cover when combined with a partial background. (Attribute: overprint fill) However, the bottom right shows a CMYK mode of a combination of 74.61, 67.58, 66.8, 89.84%, or commonly referred to as registration black. Registration black covers the partial background without variations. (Attribute: overprint fill)

In the above example, a “trap” has been created. A trap occurs when a stroke is applied to the text and covers part of the background. First, create a knockout layer; define a background layer and a letter layer (which has outline type (Shift, CMD O).) Make two copies of the letter. Position the letter layer on top of the background layer. Select both layers and use the Pathfinder subtraction option to create a knockout.
Create the second letter layer with trap stroke; copy the same letter layer and add a stroke using 40% of text color and 100% of the background color. Position over background layer (Attribute: overprint fill)

In the above example, a “trap” has been applied partially to the background. Perform the same actions as in the “obvious trap” section except create a partial background. At the point when “creating the second copy of the letter layer,” – we are going to separate the stroke layer from the fill layer. Duplicate the letter layer and create a stroke layer by removing the fill. Modify the original letter layer by removing the stroke on the left side by adding anchor points where the background ends and later deleting the stroke in between.

The upper left example is a copy made in grayscale. Edit>Edit colors>Convert to Grayscale.

The above example shows what can occur when trapping is not utilized.

Sometimes the resulting color from the overprinting of two other colors is the desired effect, as two inks overlap to create a third color. Trapping (Knocking Out) would prevent the appearance of a third color.

In a Spread, the above object gets “knocked out” of the object below it, and the background color is brought into the knocked out area to ensure proper trapping.

Knock out without trapping will produce misregistration if printing is askew. Overprinting of the stroke would eliminate the misregistration.

The above example is self-explanatory. The top example displays Attributes>Overprint Fill. The bottom is an example of Attributes>Overprint Stroke.

In the past examples, we have shown how knockouts will emphasize text; however, the same is not valid for small text. The small text has a greater chance of misregistration, so overprinting is generally preferred.

In trapping cases involving smaller type, the eye can easily register changes in dark objects’ shape. To avoid the type appearing overly bold, shrink the background (choke). The left example displays Attributes>Overprint Fill and Overprint Stroke. The example on the right displays Attributes>Overprint Fill only.