October '22

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G R A P H I C S - P R O. C O M O C T O B E R 2 0 2 2 • G R A P H I C S P R O 6 1 multiple readers proof this hard copy again for errors. Final tweaks and edits are per- formed to ensure that all is perfect. YAY TEAM! e design team may consist of a photog- rapher, illustrator, graphic designer, copy- writer, and production artist who contrib- ute specific aspects of the piece and the art director who orchestrates the whole process into a cohesive whole. e creative phase of a graphics project can also be tightly integrated with the pro- duction phase. At one time, the job divi- sions of graphic production were quite spe- cifically carried out by individuals with unique skills who were assigned specific tasks, such as graphic design, typesetting, negative stripping, and production photog- raphy. It is more likely nowadays for many of the processes to overlap and be per- formed by a single individual. For exam- ple, a graphic designer or digital artist will set type, configure a layout, choose design elements and colors, and prepare images for print or other media. e integration of tasks is primarily due to the accessibility and compatibility of the various software pro- grams that are utilized in the workflow. SOFTWARE ere are several features in mainstream graphics software that neatly combine and integrate the information that constitutes published artwork. Much of the software in the Adobe Creative Suite is an integral part of a scheme to prepare complex files with many formats for ultimate output. Graphic arts software like Adobe Illustrator, Photoshop, InDesign, Acrobat and Bridge or Corel products such as CorelDR AW and PaintshopPro function in a non-linear workflow, which allows image elements to be inde- pendently accessed and altered or converted back to former states with little effort and without affecting other elements. ere are features in all these programs that support a dynamic workflow. SYNCING COLOR Interestingly, the first step in the dynamic production work- flow consists of a form of insurance. An environment must be established where colors are consistently predictable on all equip- ment. is includes image capture devices such as the scanner or digital camera, monitor, and printer. e system of calibra- tion is called Color Management (CM) and is a feature in all graphics software. If multiple programs are part of the workflow, it is important to synchronize CM in each of the programs so that the image content enters the same "color working space" in every phase of its production. Synchronization is simply a matter of ensuring the color working spaces of all the software are the same. To synchronize all Adobe products to the same working space, launch Adobe Bridge and choose Edit > Color Settings (Fig. 2). Synchronization doesn't automatically convert files to the cur- rent working space as they are opened or pasted into another program. Color Management Policies in the Color Settings dia- log boxes of each program determine how the files are processed when opened (Fig. 3). By default, the document's embedded color profiles will be preserved, but there are options for automatically converting files to the current color working space or, even more useful, programming a dialog box to appear that offers choices to convert or not convert when opening or pasting images with mismatched or missing profiles. Fig. 2: Synchronization is simply a matter of ensuring the color working spaces of all the software are the same.

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